Big Thief's Adrianne Lenker opens her heart further on 'Bright Future', recording direct to tape and keeping the instrumentation sparse to capture a homespun mood that's only bolstered by her casual, vulnerable wordplay. RIYL Julia Jacklin, Jessica Pratt, Sufjan Stevens.
There's a defined arc to 'Bright Future' that establishes Lenker's frame perfectly. 'Real House' is deceptively minimal: a muted piano, scraped fiddle and household creaks that blanket Lenker's informal memories with a sense of the real, or the lived in. "When I was seven, I saw the first film that made me scared," she remembers. "And I thought of this whole world ending, I thought of dying unprepared." Her familiar stories are rendered even more vivid thanks to the recording process, that takes on the brownish hue of a faded photograph. And as the arrangements take on more complexity - the twangy alt-country shimmer of 'Sadness As A Gift', the soft-rock flicker of 'Fool - we get the sense that Lenker's still deep in thought. On the latter, she wraps her voice around tape warbled arpeggios that sounds as if they're going to explode into bombast, but never quite crack. Instead she teases more experimental production tricks, smearing the instruments with snipped-off reverb and curling her breaths into percussive snatches. The words are chewable and robust, while she's able to let the accompaniments wash into the edges of abstraction.
This balance of high-mindedness and modesty makes 'Bright Future' an intriguing conundrum. At the album's heart, Lenker's gut-punching songs - that might as well be sung into an open mic - scorch the edges, but her arrangements pull her from place to place. There's the blissful, folksy 'No Machine' and the disarmingly blown-out version of Big Thief fan favorite 'Vampire Empire', the serene, minimal 'Candleflame' and the field recording-assisted 'Already Lost', each showing a different facet of America's country-folk landscape. On the closing track 'Ruined', Lenker juxtaposes her solemn piano with cool-headed pads that she bends with tape echo - an ambient moment that works as a fitting coda. Her approximation of well-worn sounds is literate, but not completely out of time, and like Sufjan Stevens, she's able to bring in the present little by little without losing her grip of the past.
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Big Thief's Adrianne Lenker opens her heart further on 'Bright Future', recording direct to tape and keeping the instrumentation sparse to capture a homespun mood that's only bolstered by her casual, vulnerable wordplay. RIYL Julia Jacklin, Jessica Pratt, Sufjan Stevens.
There's a defined arc to 'Bright Future' that establishes Lenker's frame perfectly. 'Real House' is deceptively minimal: a muted piano, scraped fiddle and household creaks that blanket Lenker's informal memories with a sense of the real, or the lived in. "When I was seven, I saw the first film that made me scared," she remembers. "And I thought of this whole world ending, I thought of dying unprepared." Her familiar stories are rendered even more vivid thanks to the recording process, that takes on the brownish hue of a faded photograph. And as the arrangements take on more complexity - the twangy alt-country shimmer of 'Sadness As A Gift', the soft-rock flicker of 'Fool - we get the sense that Lenker's still deep in thought. On the latter, she wraps her voice around tape warbled arpeggios that sounds as if they're going to explode into bombast, but never quite crack. Instead she teases more experimental production tricks, smearing the instruments with snipped-off reverb and curling her breaths into percussive snatches. The words are chewable and robust, while she's able to let the accompaniments wash into the edges of abstraction.
This balance of high-mindedness and modesty makes 'Bright Future' an intriguing conundrum. At the album's heart, Lenker's gut-punching songs - that might as well be sung into an open mic - scorch the edges, but her arrangements pull her from place to place. There's the blissful, folksy 'No Machine' and the disarmingly blown-out version of Big Thief fan favorite 'Vampire Empire', the serene, minimal 'Candleflame' and the field recording-assisted 'Already Lost', each showing a different facet of America's country-folk landscape. On the closing track 'Ruined', Lenker juxtaposes her solemn piano with cool-headed pads that she bends with tape echo - an ambient moment that works as a fitting coda. Her approximation of well-worn sounds is literate, but not completely out of time, and like Sufjan Stevens, she's able to bring in the present little by little without losing her grip of the past.
Big Thief's Adrianne Lenker opens her heart further on 'Bright Future', recording direct to tape and keeping the instrumentation sparse to capture a homespun mood that's only bolstered by her casual, vulnerable wordplay. RIYL Julia Jacklin, Jessica Pratt, Sufjan Stevens.
There's a defined arc to 'Bright Future' that establishes Lenker's frame perfectly. 'Real House' is deceptively minimal: a muted piano, scraped fiddle and household creaks that blanket Lenker's informal memories with a sense of the real, or the lived in. "When I was seven, I saw the first film that made me scared," she remembers. "And I thought of this whole world ending, I thought of dying unprepared." Her familiar stories are rendered even more vivid thanks to the recording process, that takes on the brownish hue of a faded photograph. And as the arrangements take on more complexity - the twangy alt-country shimmer of 'Sadness As A Gift', the soft-rock flicker of 'Fool - we get the sense that Lenker's still deep in thought. On the latter, she wraps her voice around tape warbled arpeggios that sounds as if they're going to explode into bombast, but never quite crack. Instead she teases more experimental production tricks, smearing the instruments with snipped-off reverb and curling her breaths into percussive snatches. The words are chewable and robust, while she's able to let the accompaniments wash into the edges of abstraction.
This balance of high-mindedness and modesty makes 'Bright Future' an intriguing conundrum. At the album's heart, Lenker's gut-punching songs - that might as well be sung into an open mic - scorch the edges, but her arrangements pull her from place to place. There's the blissful, folksy 'No Machine' and the disarmingly blown-out version of Big Thief fan favorite 'Vampire Empire', the serene, minimal 'Candleflame' and the field recording-assisted 'Already Lost', each showing a different facet of America's country-folk landscape. On the closing track 'Ruined', Lenker juxtaposes her solemn piano with cool-headed pads that she bends with tape echo - an ambient moment that works as a fitting coda. Her approximation of well-worn sounds is literate, but not completely out of time, and like Sufjan Stevens, she's able to bring in the present little by little without losing her grip of the past.
Big Thief's Adrianne Lenker opens her heart further on 'Bright Future', recording direct to tape and keeping the instrumentation sparse to capture a homespun mood that's only bolstered by her casual, vulnerable wordplay. RIYL Julia Jacklin, Jessica Pratt, Sufjan Stevens.
There's a defined arc to 'Bright Future' that establishes Lenker's frame perfectly. 'Real House' is deceptively minimal: a muted piano, scraped fiddle and household creaks that blanket Lenker's informal memories with a sense of the real, or the lived in. "When I was seven, I saw the first film that made me scared," she remembers. "And I thought of this whole world ending, I thought of dying unprepared." Her familiar stories are rendered even more vivid thanks to the recording process, that takes on the brownish hue of a faded photograph. And as the arrangements take on more complexity - the twangy alt-country shimmer of 'Sadness As A Gift', the soft-rock flicker of 'Fool - we get the sense that Lenker's still deep in thought. On the latter, she wraps her voice around tape warbled arpeggios that sounds as if they're going to explode into bombast, but never quite crack. Instead she teases more experimental production tricks, smearing the instruments with snipped-off reverb and curling her breaths into percussive snatches. The words are chewable and robust, while she's able to let the accompaniments wash into the edges of abstraction.
This balance of high-mindedness and modesty makes 'Bright Future' an intriguing conundrum. At the album's heart, Lenker's gut-punching songs - that might as well be sung into an open mic - scorch the edges, but her arrangements pull her from place to place. There's the blissful, folksy 'No Machine' and the disarmingly blown-out version of Big Thief fan favorite 'Vampire Empire', the serene, minimal 'Candleflame' and the field recording-assisted 'Already Lost', each showing a different facet of America's country-folk landscape. On the closing track 'Ruined', Lenker juxtaposes her solemn piano with cool-headed pads that she bends with tape echo - an ambient moment that works as a fitting coda. Her approximation of well-worn sounds is literate, but not completely out of time, and like Sufjan Stevens, she's able to bring in the present little by little without losing her grip of the past.
Black vinyl LP.
Out of Stock
Big Thief's Adrianne Lenker opens her heart further on 'Bright Future', recording direct to tape and keeping the instrumentation sparse to capture a homespun mood that's only bolstered by her casual, vulnerable wordplay. RIYL Julia Jacklin, Jessica Pratt, Sufjan Stevens.
There's a defined arc to 'Bright Future' that establishes Lenker's frame perfectly. 'Real House' is deceptively minimal: a muted piano, scraped fiddle and household creaks that blanket Lenker's informal memories with a sense of the real, or the lived in. "When I was seven, I saw the first film that made me scared," she remembers. "And I thought of this whole world ending, I thought of dying unprepared." Her familiar stories are rendered even more vivid thanks to the recording process, that takes on the brownish hue of a faded photograph. And as the arrangements take on more complexity - the twangy alt-country shimmer of 'Sadness As A Gift', the soft-rock flicker of 'Fool - we get the sense that Lenker's still deep in thought. On the latter, she wraps her voice around tape warbled arpeggios that sounds as if they're going to explode into bombast, but never quite crack. Instead she teases more experimental production tricks, smearing the instruments with snipped-off reverb and curling her breaths into percussive snatches. The words are chewable and robust, while she's able to let the accompaniments wash into the edges of abstraction.
This balance of high-mindedness and modesty makes 'Bright Future' an intriguing conundrum. At the album's heart, Lenker's gut-punching songs - that might as well be sung into an open mic - scorch the edges, but her arrangements pull her from place to place. There's the blissful, folksy 'No Machine' and the disarmingly blown-out version of Big Thief fan favorite 'Vampire Empire', the serene, minimal 'Candleflame' and the field recording-assisted 'Already Lost', each showing a different facet of America's country-folk landscape. On the closing track 'Ruined', Lenker juxtaposes her solemn piano with cool-headed pads that she bends with tape echo - an ambient moment that works as a fitting coda. Her approximation of well-worn sounds is literate, but not completely out of time, and like Sufjan Stevens, she's able to bring in the present little by little without losing her grip of the past.
Recycled colour vinyl.
Available To Order (Estimated Shipping between 7-14 Working Days)
This item is to the best of our knowledge available to us from the supplier and should ship to you within the time-frame indicated. If there are any unforeseen issues with availability we will notify you immediately
Big Thief's Adrianne Lenker opens her heart further on 'Bright Future', recording direct to tape and keeping the instrumentation sparse to capture a homespun mood that's only bolstered by her casual, vulnerable wordplay. RIYL Julia Jacklin, Jessica Pratt, Sufjan Stevens.
There's a defined arc to 'Bright Future' that establishes Lenker's frame perfectly. 'Real House' is deceptively minimal: a muted piano, scraped fiddle and household creaks that blanket Lenker's informal memories with a sense of the real, or the lived in. "When I was seven, I saw the first film that made me scared," she remembers. "And I thought of this whole world ending, I thought of dying unprepared." Her familiar stories are rendered even more vivid thanks to the recording process, that takes on the brownish hue of a faded photograph. And as the arrangements take on more complexity - the twangy alt-country shimmer of 'Sadness As A Gift', the soft-rock flicker of 'Fool - we get the sense that Lenker's still deep in thought. On the latter, she wraps her voice around tape warbled arpeggios that sounds as if they're going to explode into bombast, but never quite crack. Instead she teases more experimental production tricks, smearing the instruments with snipped-off reverb and curling her breaths into percussive snatches. The words are chewable and robust, while she's able to let the accompaniments wash into the edges of abstraction.
This balance of high-mindedness and modesty makes 'Bright Future' an intriguing conundrum. At the album's heart, Lenker's gut-punching songs - that might as well be sung into an open mic - scorch the edges, but her arrangements pull her from place to place. There's the blissful, folksy 'No Machine' and the disarmingly blown-out version of Big Thief fan favorite 'Vampire Empire', the serene, minimal 'Candleflame' and the field recording-assisted 'Already Lost', each showing a different facet of America's country-folk landscape. On the closing track 'Ruined', Lenker juxtaposes her solemn piano with cool-headed pads that she bends with tape echo - an ambient moment that works as a fitting coda. Her approximation of well-worn sounds is literate, but not completely out of time, and like Sufjan Stevens, she's able to bring in the present little by little without losing her grip of the past.
Available To Order (Estimated Shipping between 7-14 Working Days)
This item is to the best of our knowledge available to us from the supplier and should ship to you within the time-frame indicated. If there are any unforeseen issues with availability we will notify you immediately
Big Thief's Adrianne Lenker opens her heart further on 'Bright Future', recording direct to tape and keeping the instrumentation sparse to capture a homespun mood that's only bolstered by her casual, vulnerable wordplay. RIYL Julia Jacklin, Jessica Pratt, Sufjan Stevens.
There's a defined arc to 'Bright Future' that establishes Lenker's frame perfectly. 'Real House' is deceptively minimal: a muted piano, scraped fiddle and household creaks that blanket Lenker's informal memories with a sense of the real, or the lived in. "When I was seven, I saw the first film that made me scared," she remembers. "And I thought of this whole world ending, I thought of dying unprepared." Her familiar stories are rendered even more vivid thanks to the recording process, that takes on the brownish hue of a faded photograph. And as the arrangements take on more complexity - the twangy alt-country shimmer of 'Sadness As A Gift', the soft-rock flicker of 'Fool - we get the sense that Lenker's still deep in thought. On the latter, she wraps her voice around tape warbled arpeggios that sounds as if they're going to explode into bombast, but never quite crack. Instead she teases more experimental production tricks, smearing the instruments with snipped-off reverb and curling her breaths into percussive snatches. The words are chewable and robust, while she's able to let the accompaniments wash into the edges of abstraction.
This balance of high-mindedness and modesty makes 'Bright Future' an intriguing conundrum. At the album's heart, Lenker's gut-punching songs - that might as well be sung into an open mic - scorch the edges, but her arrangements pull her from place to place. There's the blissful, folksy 'No Machine' and the disarmingly blown-out version of Big Thief fan favorite 'Vampire Empire', the serene, minimal 'Candleflame' and the field recording-assisted 'Already Lost', each showing a different facet of America's country-folk landscape. On the closing track 'Ruined', Lenker juxtaposes her solemn piano with cool-headed pads that she bends with tape echo - an ambient moment that works as a fitting coda. Her approximation of well-worn sounds is literate, but not completely out of time, and like Sufjan Stevens, she's able to bring in the present little by little without losing her grip of the past.
Available To Order (Estimated Shipping between 7-14 Working Days)
This item is to the best of our knowledge available to us from the supplier and should ship to you within the time-frame indicated. If there are any unforeseen issues with availability we will notify you immediately
Big Thief's Adrianne Lenker opens her heart further on 'Bright Future', recording direct to tape and keeping the instrumentation sparse to capture a homespun mood that's only bolstered by her casual, vulnerable wordplay. RIYL Julia Jacklin, Jessica Pratt, Sufjan Stevens.
There's a defined arc to 'Bright Future' that establishes Lenker's frame perfectly. 'Real House' is deceptively minimal: a muted piano, scraped fiddle and household creaks that blanket Lenker's informal memories with a sense of the real, or the lived in. "When I was seven, I saw the first film that made me scared," she remembers. "And I thought of this whole world ending, I thought of dying unprepared." Her familiar stories are rendered even more vivid thanks to the recording process, that takes on the brownish hue of a faded photograph. And as the arrangements take on more complexity - the twangy alt-country shimmer of 'Sadness As A Gift', the soft-rock flicker of 'Fool - we get the sense that Lenker's still deep in thought. On the latter, she wraps her voice around tape warbled arpeggios that sounds as if they're going to explode into bombast, but never quite crack. Instead she teases more experimental production tricks, smearing the instruments with snipped-off reverb and curling her breaths into percussive snatches. The words are chewable and robust, while she's able to let the accompaniments wash into the edges of abstraction.
This balance of high-mindedness and modesty makes 'Bright Future' an intriguing conundrum. At the album's heart, Lenker's gut-punching songs - that might as well be sung into an open mic - scorch the edges, but her arrangements pull her from place to place. There's the blissful, folksy 'No Machine' and the disarmingly blown-out version of Big Thief fan favorite 'Vampire Empire', the serene, minimal 'Candleflame' and the field recording-assisted 'Already Lost', each showing a different facet of America's country-folk landscape. On the closing track 'Ruined', Lenker juxtaposes her solemn piano with cool-headed pads that she bends with tape echo - an ambient moment that works as a fitting coda. Her approximation of well-worn sounds is literate, but not completely out of time, and like Sufjan Stevens, she's able to bring in the present little by little without losing her grip of the past.