Good Morning to you! You are reading the words of Jacob Braybrooke, and it’s time for you to catch up on some great music from 2021 that may have skipped you by during the first time with yet another daily track on the blog, since it’s always been my day-to-day pleasure to write up about a different piece of music every day! If you’ve been a regular follower of my site for a while, you may know that I love a bit of moody, bluesy and sometimes Folk-ish Americana, with artists such as Weyes Blood, Sharon Van Etten and Alexandra Savior being some of my favourites of this style, to name just a few. One of the genre’s most memorable offerings from the past year was ‘The Path Of The Clouds’, an album released in late October by the Boston-based and Washington-born singer-songwriter Marissa Nadler via Bella Union Records. She has managed to sustain a 20-year-plus career, and her latest record was her tenth mainline studio album. She typically swings for a Chamber Folk style of sound with elements of Gothic Rock and Dream-Pop mixed into the cauldron, but myself and a few online publications, such as Pitchfork and The Boston Globe, have each also noticed an underlying influence of Black Metal within her production too, an element of her mezzo-soprano vocals and dark instrumentation that sets her apart from other fine artists of the genre. Raised as Jewish, Nadler studied Painting at the Rhode Island School Of Design, where she learned artistic drawing techniques such as illustration, bookbinding, woodcarving and encaustic painting while singing at Open Mic Nights in the Providence area while she achieved a bachelor’s degree and a Master’s degree a year later, and the hard effort that she puts into the visual storytelling of her music is evident through her unique background in Art Education, later touring with Drone Metal bands like Earth and the American primitive guitarist Jack Rose. Like many others, the origins of ‘The Path Of The Clouds’ were established during the Covid-19 pandemic, where she spent her time of self-isolation by watching repeats of the True Crime documentary series ‘Unsolved Mysteries’ and began writing songs about, and inspired by, the subjects of the series through their perspective. Receiving a wealth of positive reviews throughout NME, UNCUT, Record Collector, MOJO and more, Nadler fulfilled her goal of immortalizing the stories of people who deserve to be told on the recent LP. She also enlisted guests like Mercury Rev’s Jesse Chandler and multi-instrumentalist Milky Burgess. Her longtime friend Mary Littlemore, who plays the Cosmic Harp, features on Nadler’s wistful song ‘If I Could Breathe Underwater’ below.

Accompanied by an official music video directed and edited by Jenni Hensler with cinematography by Nick Fancher that depicts a preternatural world of fiction where Nadler changes the colour of the water and the sky, while floating effortlessly through a lake, becoming one with the colours and the ink, Nadler says, “When I wrote ‘If I Could Breathe Underwater’, I was contemplating the possibilities of possessing various superhuman powers: teleportation, aquatic breathing, extrasensory protection, and time travel to name a few. As a lyrical device, I married those powers with events in my life, wondering if and how they could change the past or predict the future”, in her press release. ‘Ethereal’ seems like an over-used word to me in the music press of today, but, really, there’s no better word to use for describing the textures of Nadler’s soundscape craftwork here, using a pulsating keyboard rhythm and a delicate, seductive bassline to create a light and flute-like series of sounds. Lyrics like “Shapeshifter, a cloud above your door/Late winter, like a storm” merge together with a poetic fluidity that conjures up a Shoegazing atmosphere and creates some menacing, but defiant, chords that feel as if they’re skipping weightlessly between a row of imaginary clouds while carrying an anchoring resonance through the zoned-out state of the subtle grooves of her rhythm guitar melodies. Lyrics like “If I could bring the moon down/So the day would never come/Would you fly, circle around the sun?” ponder something more philosophical and shore up against her vocals like the tide slowly coming in during a frosty morning at the seaside. Overall, it feels like perfect listening for the dry and icy December or January season of the year, as the melodies feel a bit ‘dreary’ in a way. That’s usually a derogatory statement, but what I really mean to state is that her sound is very cerebral while just about reaching some melodic heights that make it feel catchy enough to resonate. Moreover, the very layered and hallucinatory toolkit of Mary Littlemore’s cosmic harp echo the tone of the story nicely, as to bring the conceit of the song’s title to life in a fictional dream-state way when met with the consistency of the mildly anthemic guitar beats and the gradually paced Drum riffs. An intricate beauty with plenty of diverse inspiration to it.

That’s all for now! It is almost time to float away into the good times of Christmas in just a few days away, and so we will be soldiering on with our ‘Countdown To Christmas 2021’ series tomorrow with a brand new and original Christmas single that is also raising money for Feed The Homeless in Bristol. It comes from an equally talented female solo artist who released her debut self-titled LP on Invada Records last year with a follow-up EP releasing earlier this year. She also performed ‘Mork ‘N’ Mindy’ with Sleaford Mods on ‘Later With Jools Holland’ on BBC Two earlier this year.

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