Sharon Van Etten has risen to the challenge on her new record, Tramp. Produced by The National’s Aaron Dessner and featuring an array of indie royalty (The Walkman’s Matt Berrick, Beirut’s Zach Condon and Julianna Barwick for instance), this is Etten’s moment – and she’s taken it.

Her voice manages to roll hope, hurt, regret and yearning into one singular instrument (with an exceptionally angelic tone). The songs mostly lean on melancholy – all backed with an effective set of guitars – some acoustic, some plugged in. The solemn, downward strums on the stunning Give Out accommodate Etten and harmonies – a touch of electric and percussion bolster the track, but this is all about the glorious vocal.

Serpents rolls relentlessly, kicking and spitting, an onward barrage of rolling rhythm, Leonard is more a mid-afternoon stroll of love, all delivered with a long-drawn vocal. Warsaw, meanwhile, has the gaze of Mazzy Star with a more humble set of reverb pedals. And the low rumbling electric edge on the surging In Line is devastatingly effective – opening with peaceful sway of reflection, then on to a charge of harmonies that sweep you clean off your feet.

This record is refreshing in its simplicity; the timeless arrangements breathe with little trickery or show-off tactics. Etten constantly creates space with her soulful intonation and hearty performance. These songs sound like they’ve been left out in the cold to fend for themselves and grow from the lessons learnt.

Tramp is a timeless record, full of honesty and extraordinary performances. What else can we say?

-Marnie Reed-

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