I’m not sure anyone does deep melancholy quite as well as Tomberlin. Released today, her new album i don’t know who needs to hear this… was structured around the need to “examine, hold space, make an altar for the feelings”, and while not exactly a departure from her 2018 album – and one of my all-time favourites – At Weddings, there’s definitely been a progression: a sense of expanding boundaries; of actually being able to see the horizon in comparison to the lo-fi ultra-intimacy of her debut. easy is the album opener, and manages to be haunting, inviting, despondent and peaceful all at once.
I really liked Tess Roby’s 2018 album Beacon – especially the song Plasticine Hills – a perfect balance of haunting synths and her extraordinary vocal – so the release of her new LP Ideas of Space last week was very welcome. Century is the opening track and immediately draws you into her intimate, fragile world, with glistening chords and hushed percussion providing the ideal framework for her wonderful voice to work its magic.
If there is an artist bio more hopelessly, beautifully melancholic than “I’m not writing the same song over and over so much as writing one long continuous song that will end when I die”, I am yet to read it. Taken from their new LP Their Invisible Hands which lands today, Dead Tree March fully embodies the threads of sorrow and despair which run through the album, with Engel’s mournful strings brought to the fore against a backbone of funereal percussion.
Photo credit: Ilyse Krivel