In his Ted talk, David Byrne gives a fascinating talk about the connection between architecture and music. He claims, while making a lot of sense, that music was written along history to fit the venue it was playing at, be it the size of a church, or your car’s speakers.
I was listening to Marissa Nadler’s new album ‘July’ (Sacred Bones/Bella Union) just before watching Byrne, and I thought to myself that Marissa managed to make music that crosses venues. Sure, I can listen to The Misunderstoods even without being in a garage club in the sixties, but their music, coming from my living room speakers, doesn’t fit the intentions of the writers.
Marissa, on the other hand, fits perfectly in the large speakers in my living room, in the small headphone of my iphone, and in a huge church and in Carnegie Hall.
Her angelic, beautiful voice penetrates deep in whatever state of mind I’m in, wherever on the planet I’ll be. The music in July is soothing, even if the lyrics talk about the hard stuff like the regrets of letting go of someone. Though I’m a big fan of letting go, sometimes it comes with a pain that is bigger than the songs.
“All the years that I held you close, you should have been anyone else I know”
I think this record is a great step for Marissa, who proves to be a terrific songwriter time after time. I hope that her next project will feature a full string arrangement, that someone like Jean Claude Vannier would write. I would be happy if there was one album that cannot be heard on headphones, and that you just have to get a ticket to the Vienna Opera House to get the full experience. I‘m the first to buy a ticket.