The performance begins at 8:00; doors open 30 minutes prior.
For more than 12 years, Marissa Nadler has perfected her own take on the exquisitely sculpted gothic American songform. On her seventh full-length, Strangers, she has shed any self-imposed restrictions her earlier albums adhered to, stepped through a looking glass, and created a truly monumental work.In the two years since 2014’s elegiac, autobiographical July, Nadler has reconciled the heartbreak so often a catalyst for her songwriting. Turning her writing to more universal themes, Nadler dives deep into a surreal, apocalyptic dreamscape. Her lyrics touch upon the loneliness and despair of the characters that inhabit them. These muses are primal, fractured, disillusioned, delicate, and alone. They are the unified voice of this record, the titular “strangers.”
This sense of “end times” is exemplified by the sparse, piano-driven opener “Divers of the Dust.” Written utilizing a Dadaist cut-up technique (popularized by David Bowie and William S. Burroughs), Nadler layers hypnagogic imagery of waves pulling cities into the ocean over a very personal tale of longing.
Once again partnered with July producer Randall Dunn (Sunn O))), Earth, Black Mountain) Nadler has created a new album equal in sonic quality to the apocalyptic lyrical tone that covers its 44 minutes. In places her voice and guitar play off subsonic synths, while elsewhere, as in “Katie I Know,” a pulsing drumbeat launches the song off into an intense, confrontational place. “Janie in Love” is another full-band highlight, marrying the album’s most allegorically primal lyrics to the melodic hooks that makes Nadler one of the best songwriters working today.
For those 21+, your first beverage (beer or wine) is included in the ticket price. Complimentary non-alcoholic beverages for all.
MARISSA NADLER VIDEO
Dissolve Pitchfork Session
“All The Colors of the Dark”
Janie in Love
Katie I Know
MARISSA NADLER PRESS:
“When you realize you’ve taken an artist’s music for granted, it’s never a good feeling. Marissa Nadler’s music first arose in a theoretically familiar place: think folk revival and you’re on the right track. At the time, you might have seen her name in trend pieces beside those of Espers members Greg Weeks and Meg Baird.
"And it made sense. Nadler’s intricate, haunting music possessed a timeless feel, and she boldly delivered lyrics written with a skill for storytelling. (Which may run in the family: her brother Stuart is the author of several acclaimed works of fiction.) But to view Nadler exclusively as of this genre would underrate her musical range; consider her contributions to Xasthur’s Portal of Sorrow. There are few artists whose can compose memorably haunting songs, pull off an excellent Leonard Cohen cover, and make forays into the world of black metal. Nadler’s stylistic range shouldn’t be overlooked, but it may have taken a longer-than-expected interval between albums to remind listeners of all that she’s capable of…
"Thematically, Nadler’s narrators find themselves pushed to their limits; though her singing voice is clear and even, the emotions she describes seem on the brink of something far more grim. The imagery and hesitant tone of “Dead City Emily” suggests regret and loss, and the slowly-cohering orchestration unfolds into something brooding and majestic...
"'Was it a dream / Of something sinister?' Nadler sings on 'Was It a Dream,' and all that that line implies could apply to July as a whole. On this album, she both reminds the listener of her strengths as a songwriter and subtly redefines the ground on which her music rests.”
Tobias Carroll, Dusted