I don’t know if it’s something I inspire or attract, or if it’s just in the way I’m looking at my surroundings, but drama is something that surrounds my world and always has,” Olsen wrote in an artist’s statement that accompanies All Mirrors.
angel olsen brooklyn steel – A Chat With Angel Olsen And Jess Ribeiro
The descent into darkness is a trope we find time again across history, literature and film — a protagonist plunging further and further into the depths. Juice B Crypts biggest drawback is that, with so much going on, some of these songs get lost in the album’s frenetic whiplash pacing. ‘śA Loop So Nice’¦’ť is a fleeting piece of crystalline glitch-pop that suffers from its placement alongside its superior companion piece, ‘śThey Played It Twice,’ť which features a vocal part from Xenia Rubinos that attains almost religious levels of ecstasy. ‘śLast Supper on Shasta, Pt. 1’ť gets some mileage from Merrill Garbus’s typically wild vocals, but ‘śPt. 2’ť buries her singing under a mountain of noise.
All Mirrors is out worldwide on October 4 on Jagjaguwar. Pre Orders from the Secretly Store come on exclusive opaque aquamarine vinyl. The Jagjaguawar limited and exclusive bundle includes the aquamarine vinyl and the All Mirrors 7″ on silver and black splatter vinyl. The 7″ includes two versions of the album’s title track: All Mirrors” album version and We Are All Mirrors” solo version.
Known for her boldly and admirably uncompromising performances” (Rolling Stone), Angel Olsen is pleased to announce a North American fall headline tour. Olsen will present a brand new live show across the country, including two nights at New York’s Brooklyn Steel, Los Angeles’ Palace Theatre, and Denver’s Gothic Theatre. Special guest Vagabon will support. Additionally, Olsen will be playing her biggest headline show to date in London at Eventim Apollo in February 2020. This is Olsen’s first full band tour since fall 2017.
In a message posted to Nick Cave’s online portal The Red Hand Files , a woman named Malina asked a hard, raw question: ‘śMy husband died some years ago but I feel him all around. How can this be?’ť Cave replied that, for those who’ve lost someone, ‘śSometimes these intuitions hold more truth than the rational world can ever hope to offer’”when we are faced with a world that has long since stopped making sense and, indeed, lost its reason.’ť Released four years after the accidental death of the singer’s 15-year-old son Arthur, Nick Cave & the Bad Seeds’s Ghosteen explores those intuitions with immeasurable generosity, acknowledging the line that separates magical thinking and faith, and the contradiction between the individual pain of grief and the universality of death.
As is the inclination when confronted with any powerful artist, especially one who articulates emotion so clearly, people want to categorically understand Angel Olsen. Don’t fall into that trap. If you approach this album like another piece in the Angel Olsen puzzle, you won’t get far. In Olsen’s own words , this is an album about changing.” Open yourself up to change, and enjoy the psychic ride of All Mirrors.
If there’s a dip in momentum, it starts at FIBS’s most conventional song, ‘śLimpet,’ť which follows a more typical guitar-rock arrangement. Downtempo tracks like ‘śRibbons’ť and ‘śUnfurl’ť also suffer in comparison to the album’s richer, bolder experiments. These songs’ lyrics can feel at times perfunctory, more in service to the melody than any actual meaning. The album’s purely instrumental songs’”like ‘śParamour,’ť a hulking behemoth of a track’”spark more of a visceral, emotional reaction. It’s on tracks like these that Meredith is at her most daring, building and refracting shards of sound into bewildering, kaleidoscopic patterns.
The 32-year-old singer made a name on uncannily intimate work, but her latest album is thrillingly ornate. Here’s where the strings come in. With cinematic strings and goth-noir drama, the singer-songwriter makes her biggest, boldest record yet.
We believe that music is a universal language that unites all of us and brings people from all walks of life together. We thrive on making people happy from the time we open our doors to the last note of the concert.
Olsen first found an audience as the sort of lone, hypnotic figure you see in that Tiniest Seed” video — one who seemed to bare the quick of her soul in hushed, startlingly emotive songs. Her earliest releases had the unadulterated intimacy you find at tiny D.I.Y. shows, the kind where you stand in a basement three feet away from the performer, absorbing every trace of her presence. On albums like Half Way Home,” you could hear the breaths in her phrasing and sense the dimensions of the rooms she was playing in; some songs ended with the sound of an unseen hand pressing a button to stop the recording. Those early songs were lo-fi and sparsely arranged; their spotlight was reserved for Olsen’s luminous voice, which acted out precise emotional gestures: a quivering early-20th-century vibrato, a phrase that curved up into a rockabilly yelp, another that wavered between murmuring and piercing.
In her book Our Aesthetic Categories, literary and cultural critic Sianne Ngai describes ‘śzany’ť as a type of artistic quality that reflects the exhaustion engendered by late capitalism. By that token, Battles makes some of the zaniest music imaginable, drawing on jazz, art rock, avant-garde classical, and electronica for its maximalist, experimental soundscapes. On their fourth album, Juice B Crypts, Battles and a handful of guests launch an all-out assault to overload the listener’s brain, and with mixed results.
While that album added a dollop of rock’n’roll release to 2014’s spare, lo-fi sound of ‘Burn Your Fire For No Witness’ , this one piles on rich, orchestral layers. Olsen’s love songs always come with the suggestion that eternal, unchanging love is impossible. Her addictive hooks, and the equally addictive presence of infatuation, feel almost too huge: like they could be snatched away in the gust at any moment. In the giddy arrangements of ‘All Mirrors’, this only intensifies. Show me a love that won’t ever leave,” she challenges on ‘Spring’.
Although sporting hooded pajamas and sunglasses, singer-songwriter Angel Olsen (born January 22, 1987) first gained media attention as the stand-out singer from Bonnie Prince” Billy’s backing sextet, the Babblers. Prior to her work with Bonnie Prince” Billy, Olsen first received her first keyboard as a parting gift from her biological mother before being adopted by a foster family. Growing up, Olsen attended many local St. Louis punk rock and noise shows, inspiring her to move out to Chicago where she began learning the guitar and writing her own music. She released her first album, Half Way Home (2012), with critics praising her expansive vocal range and tender, yet heartbreaking lyrics about the loss of a mother figure and selfish betrayal. Due to her debut album;s success, Olsen signed with Jagjaguwar prior to the release of her first full-band record, Burn Your Fire for No Witness.
In early 2013, Olsen added drummer Josh Jaeger and bassist Stewart Bronaugh to flesh out her stripped-back sound, which added a brooding, garage rock appeal to her intimate music. Soon after forming the trio, Olsen returned to the studio with producer John Congleton to track sessions for her third album, Burn Your Fire for No Witness, which saw release in early 2014 via Jagjaguwar. The record was critically well-received and marked Olsen’s debut on the Billboard 200.
Wilco’s 11th album, Ode to Joy, doesn’t break out of that mold, though its sound is a bit more pared down. The project grew out of frontman Jeff Tweedy and drummer Glenn Kotche’s close collaboration, with the two forming the basic shape of the songs around the latter’s percussive ideas. The album’s primary sonic thrust is a driving, two-step march meant to evoke the rising tide of global authoritarianism, with current geopolitical climate influencing the album’s lyrical content as well. Tweedy insists that Ode to Joy’s title isn’t meant sardonically: Even in the midst of chaos, the album suggests, humans have a right to feel joy.
That seems to be as close as All Mirrors gets to a USP: it’s an album that keeps taking ostensibly recognisable musical forms and twisting them out of shape into something challenging and intriguing. The title track deals in a certain kind of alt-rock’s current favourite mode – 80s-influenced synths drifting dreamily along – and shifts its mood completely. Olsen starts out singing in the standard blank-eyed style that goes with dreamy 80s synths, but gradually ratchets up the intensity until it feels discomfiting. Then another off-kilter string arrangement crashes in: the effect isn’t lush so much as oppressive, deliberately crowded with sound.
If time is circular, All Mirrors is an eternal return to self where previous forms are born anew from enduring energy – the experimentalism we saw in My Woman pushed beyond expectation.
Angel Olsen reportedly recorded two different versions of her fourth album, All Mirrors. One is raw and stripped down, more akin to her early releases, while the second is lusher, wilder, and layered with orchestration’”less a mirror image of the first than a reflection in rippled water. On an album that ultimately sees Olsen make a solemn commitment to accepting change as an implacable force, it only seems right that she chose to release the latter version, documenting the growth of her sound into uncharted territory.
Olsen has always had a gift for choruses that’ll stick with you all day, and she doesn’t really flex that power on All Mirrors. Instead, she sends her voice echoing through these vast temples of sound. You may or may not be able to hum any All Mirrors songs when you’re not listening to it, but it makes for one hell of a sonic experience. I don’t think Angel Olsen really thinks about things on these terms, but All Mirrors couldn’t possibly be better timed. It’s a true fall record, an impeccably layered sweep-you-away headphones record. It’s an opus made of broken, depressed, confused feelings, and it lends weight and dignity to those feelings.
Partnered with the fluid instrumental styles, though, this introspection retains a sense of timelessness, of endurance. ‘New Love Cassette’, ‘Too Easy’, ‘All Mirrors’, ‘Spring’, ‘Chance’, and ‘Summer’ are awash with the Americana of Olsen’s home.
Wow, time has revealed how little we know us,” she observes on ‘Spring’, delivering that exclamation so flatly it passes by almost immediately. I’ve been too busy, I should’ve noticed.” Slinking and grinding with a Parisian synth-strut, the title track is jarring and playful even as its heart is snapped into sharp bits. ‘What It Is’ reels off the various ways in which the rush of falling in love turns life into a breeze: You just wanted to forget that your heart was full of shit,” Olsen sings, seeming to address herself.
In fact, it’s fatiguing to listen to All Mirrors straight through, which makes it easy to overlook the collection’s highlights: the oceanic torch song Impasse,” with its gothic bass fuzz and buzzing-beehive strings; the St. Vincent-esque What It Is” and its galloping, pizzicato string accents; or the jazz-kissed sprawl Endgame.” Even songs without strings suffer by extension: The foggy ’70s-rock homage Spring”—which boasts piano, Mellotron, and various guitars—is sunk by overly busy instrumentation, while the exquisite French-pop trifle Too Easy” is plush but slight.
The album’s remaining tracks showcase the incredible versatility of Olsen’s voice, from whispery falsetto to husky and sonorous belt. Although Olsen begins to incorporate more conventional harmonies and upbeat tempi, the rich instrumental layers prevent any song from veering too far into the realm of pop. Instead, Olsen’s eclectic blend of elements from different genres results in a sound all her own.
All Mirrors” is not only the lead single, but the title track of Angel Olsen’s upcoming fourth album. I chose this one as the title because I liked the theme: the theme of how we are all mirrors to and for each other”, she said.