The Fat Angel Sings

Marissa Nadler is releasing a new album, “The Path Of Clouds” on October 29th via Sacred Bones and Bella Union. shared its second single, “If I Could Breathe Underwater” via a video for the song that fittingly features Nadler underwater. The song features harp playing from longtime friend Mary Lattimore of Nadler’s. Jenni Hensler directed the video, which was partially shot with 16mm film camera.

Nadler had this to say in a press release: “When I wrote ‘If I Could Breathe Underwater,’ I was contemplating the possibilities of possessing various superhuman powers: teleportation, shapeshifting, energy projection, aquatic breathing, extrasensory perception, 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. I loved working on the melody for this song and bringing the choruses to their climaxes. Mary’s layered, hallucinatory shimmers really echo the netherworld of the story.”

Hensler had this to say about the video: “This song took on many meanings to me and I love that about it. How beauty and tragedy collide. Dreaming of having supernatural powers to change reality and have the ability to live and breathe underwater. It could also speak to the duality of existence. That we all have inner personas or shadow selves, and how we envision those different masks we wear. I chose to make something that touched on the idea of duality and the inner persona. To connect to the two worlds.”

Previously Nadler had shared the album’s first single, “Bessie Did You Make It ?” via a video for it. Nadler wrote and recorded the album during the pandemic and was partially inspired by binging reruns of Unsolved Mysteries as she “began to notice parallels between many of its stories and her own life,” as a press release puts it. On The Path of the Clouds she worked with various collaborators, including Mary Lattimore, Simon Raymonde (of Cocteau Twins and Lost Horizons and the head of Bella Union), multi-instrumentalist Milky Burgess, Jesse Chandler (Nadler’s piano teacher and a member of Mercury Rev and Midlake), Emma Ruth Rundle, and Black Mountain’s Amber Webber. Seth Manchester (Lingua Ignota, Battles, and Lightning Bolt) mixed the album.

If I Could Breathe Underwater, off of my upcoming album The Path of the Clouds. The album is out October 29th on Sacred Bones Records and Bella Union Records.

Hauntingly beautiful vocals paired with a minimal musical backdrop makes for a truly inspired selection of emotional and beguiling songs. Marissa Nadler announced a new album, “The Path of the Clouds” and shared its first single, “Bessie Did You Make It” via a video for it. The Path of the Clouds is due out October 29th via Sacred Bones and Bella Union.

Nadler wrote and recorded the album during the pandemic and was partially inspired by binging reruns of Unsolved Mysteries as she “began to notice parallels between many of its stories and her own life,” as a press release puts it. On The Path of the Clouds she worked with various collaborators, including Mary Lattimore, Simon Raymonde (of Cocteau Twins and Lost Horizons and the head of Bella Union), multi-instrumentalist Milky Burgess, Jesse Chandler (Nadler’s piano teacher and a member of Mercury Rev and Midlake), Emma Ruth Rundle, and Black Mountain’s Amber Webber. Seth Manchester (Lingua Ignota, Battles, and Lightning Bolt) mixed the album.

Thou’s Mitch Wells directed the “Bessie, Did You Make It?” video and had this to say in a press release: “When I first got the chance to hear Marissa’s new album, and was asked, ‘Which song would you like to do a video for?’ I sort of panicked because literally every song is SO good. It was like being at a buffet of all your favourite food and only being able to choose one thing to eat. I had a blast making the video, but there was always the pressure of ‘don’t let down the song.’ It’s such a beautiful opening track and I’m really lucky I was given the chance to be a part of it.”

Nadler’s last album was 2018’s “For My Crimes”.

So glad that Marissa releases all this extra material. I often like the demo versions better than the final thing, it’s so intimate and real. Like having a friend show you a song they are working on.

Bessie, Did You Make It? from the album “The Path of the Clouds” Out 10/29/21 on Sacred Bones Records and Bella Union Records

Released March 20th, 2020

“The Path of the Clouds”, Marissa Nadler’s ninth solo album, is the most stylistically adventurous, lyrically transfixing, and melodically sophisticated collection of songs in her already rich discography. Gripped by wanderlust while suddenly housebound at the start of the pandemic in 2020, Nadler escaped into writing, and came back with a stunning set of songs about metamorphosis, love, mysticism, and murder. Blurring the line between reality and fantasy and moving freely between past and present, these 11 deeply personal, self-produced songs find Nadler exploring new landscapes, both sonic and emotional.

One of Nadler’s distractions during the 2020 quarantine was binging reruns of Unsolved Mysteries. As she watched, she began to notice parallels between many of its stories and her own life. What began as a writing exercise became the bedrock of her song writing process, as she came to inhabit the narratives that had so fascinated her. In “Bessie, Did You Make It?,” Nadler inverts the canon of the murder ballad, crafting a narrative of female empowerment and survival. “The Path of the Clouds” tells the story of the infamous hijacker D.B. Cooper, but the song isn’t just about jumping out of an airplane, faking your death, and making a grand exit. It’s a meditation on perseverance and transformation, a salute to mastering one’s fate. “Well, Sometimes You Just Can’t Stay” details the ingenious plans of the only successful escapees from Alcatraz, as well as the lingering enigma that surrounds their history. The lyrical twist on the chorus turns a tale about a prison break into a humorous, shoegazing country song.

While she’s always been a brilliant guitarist, Nadler challenged herself to expand her palette for The Path of the Clouds, experimenting with synthetic textures that make the album feel untethered from time and space. A majestic grandeur sweeps through songs such as “Elegy,” shooting the listener into the stratosphere as synths swirl and entwine with Nadler’s celestial mezzo-soprano. Nadler also learned to play piano during the pandemic’s isolation, and she composed many of the songs on the album on keys rather than guitar, which further contributed to their exploratory feel. These songs are unmistakably Marissa Nadler’s, but they sound free to go places she’s never gone before.

Nadler tracked the skeletons of the songs at home and then sent them to some choice collaborators, including experimental harpist Mary Lattimore and Simon Raymonde, the Cocteau Twins bassist and her Lost Horizons collaborator. Multi-instrumentalist Milky Burgess, having recently worked on the soundtrack to the film “Mandy“, adds intricate melodic power throughout the album. Jesse Chandler, Nadler’s piano teacher (as well as a member of Mercury Rev and Midlake), plays winding woodwinds and plaintive piano to luminous effect. Fellow singer-songwriter Emma Ruth Rundle contributes a slinky guitar solo on “Turned Into Air,” while Black Mountain’s Amber Webber steps in as a vocal foil to Nadler, a ghostly apparition in the distance of “Elegy.” Seth Manchester, known for his work with Lingua Ignota, Battles, and Lightning Bolt, mixed the album at Machines with Magnets in Pawtucket, Rhode Island. Manchester added dimension to the songs’ atmospheric beauty with screeching feedback and distorted guitars. Stripped of the ethereal reverb that often swaddles her resonant vocals, Nadler’s delivery now stings and pierces with newfound immediacy and confidence.

As a songwriter, Nadler is as direct and urgent as she has ever been. There’s no coded language amid the bleak lows and exalted highs of songs like “Elegy,” “Lemon Queen,” “Storm,” and “Tried Not to Look Back.” Memories are painted with highly detailed imagery, and Nadler, also a visual artist, uses that eye not only to tell a story but to transport the listener there.

The Path of the Clouds showcases the power of an artist at the peak of her powers nearly 20 years into an acclaimed career as a songwriter and singer. Coming a long way from the spare dream folk of her earlier work, she has remained inspired and continues to evolve, open to new ideas and directions. The proof is right here, in Nadler’s most ambitious and complex album yet