- Marissa Nadler has one of the most spellbinding voices of this millennium. It's an otherworldly, ethereal wonder, communicating levels of heartbreak and loss that surely no 37-year-old could possibly have experienced. Her voice is rich, pure and vulnerable, while simultaneously containing a great strength. Through around a decade-and-a-half she has built worlds around that voice, mostly mining a rich vein in American gothic folk, oftentimes with fairly minimal backing – a guitar or a piano, maybe some strings or other atmospheric accompaniment, occasionally some percussion, and her voice centre-stage, perhaps with a chorus of multitracked Marissa's embellishing her lead. Despite placing her voice as the undeniable focus of her songs, Nadler is rarely showy in the way that some of her contemporaries can become, such as frequent collaborator Angel Olsen (who lends her backing vocals to For My Crimes' opening title track).
On this, Nadler's eighth album, she keeps things relatively simple. The songs tend towards the short side, with the record clocking in at just over half an hour, and the arrangements are relatively bare – unlike the comparatively lush instrumentation of her previous album, 2016's Strangers. It's a fitting presentation for these songs, which largely deal with heartbreak and the disintegration of relationships. There are some relatively big name guest appearances on the record – in addition to the aforementioned Angel Olsen there's also Sharon Van Etten and Hole drummer Patty Schemel – but you wouldn't know it without reading the credits, such do they lend their talents in subservience to Nadler's. The most striking accompaniment is that of the swooning, mournful and atmospheric strings provided by Janel Leppin, which beautifully support this batch of near weightless compositions.
I can imagine that in her home of north-eastern USA, with its rapidly cooling weather and autumn hues at this time of year, For My Crimes would be perfectly matched to the weather. It's music for cold, rainy days indoors with only a bottle of red wine and perhaps a fire for company. Down here in Australia I recommend getting in on this record while the nights are still cool, and utilise them tobask in some wondrously downbeat music.
- Cameron Smith.