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![]() ![]() ![]() It’s an incredible reimagining of what weight, muscles and undeniable gall bladders * her songwriting can achieve. Sharon van Etten! I can’t wait to see where you take your sound and evolve your music on this new album! But, having said that, please make it exactly the same record as ‘Are We There’! You can, I dunno, add a few trap beats to a couple of songs and have track eight heavily influenced by Hardware, but make sure that, at the base level, it’s exactly the same as ‘Are We There’!! Give me those exact feels! Reach into my bloodied chest and tear out all of those emotions like you did in 2015!! While I spend all of my time excruciatingly droning on about how artists/people should be constantly evolving and pushing their sound/personality forward, I often catch myself just hoping that artists responsible for my favourite things will just do those favourite things again! Hey, Jazz Cartier, why isn’t the new album just Red Alert ten times? Hey, Tegan and/or Sara, why aren’t you just giving me Walking With A Ghost? Lil Yachty!! Why are you… why are you… Why are you doing any of this…? I… I’m not sure what exactly I want from you… But do that, please. I have to assume that Toy Story 3 was still totally a topical reference point when that prodigiously insightful yet dangerously sexually alluring reviewer wrote that. It was such an amazingly accomplished and powerful record, one that moved the more eloquent reviewers to state that it was “ an absolutely devastating Sturm und Drag bulldozer of emotion, a sharp piercing blade of hopeless heartache that is as heartbreaking and moving as any movie you’ve seen since ‘Toy Story 3“. Her fourth, ‘ Are We There’, was one of the three albums released in 2014 that were legitimate GOAT contenders and all kinda given my joint album of the year. Considering neither The Manic Street Preachers or Lupe Fiasco were scheduled to release an album in 2019, I don’t think I was looking forward to any record this year as much as Ms Van Etten’s fifth. ![]()
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