Available now. (Back in Print!) St. Louis native ANGEL OLSEN has cut her teeth in Chicago the past four years crafting her music into a sincere form of folk music entirely her own. Taking influences from past artists such as Amalia Rodrigues, Timi Yuro and Helen Shapiro, as well as Persian and Turkish folk, Olsen creates something more than just run-of-the-mill "indie folk." Her music is a true emotional release: sincere and honest. Recently, Olsen has spent time on the road and working with Will Oldham (Bonnie Prince Billy) and The Cairo gang.
September 18 street date. A collection of both new and old music, honed and matured, thoughts revisisted. The work of Angel Olsen is entirely her own: a raw, glowing sound that stands out now just as much as it did in 2010. It's an emotional stew with Angel's robust voice up front, bold and engaging, coming out of the background, aching to be heard. Includes an innersleeve with lyrics and notes.
February 18 street date. Vinyl LP pressing. On her 2014 album Burn Your Fire for No Witness, Angel Olsen sings with full-throated exultation, admonition, and bold, expressive melody. With the help of producer John Congleton, her music now crackles with a churning, rumbling low end and a brighter energy. Angel Olsen began singing as a young girl in St. Louis. Her self-released debut EP, Strange Cacti, belied both that early period of discovery and her Midwestern roots.
Available now. "Angel Olsen's latest is her best record yet, a bracing mix of sounds and styles congealing around songs of pain, sadness, and hope." Pitchfork 8.8/10 "Best New Music"
October 4 street date. Angel Olsen's follow-up to "My Woman", one of 2016's most critically lauded albums.Olsen's artistic beginnings as a collaborator shifted seamlessly to her magnificent, cryptic-to-cosmic solo work, and then she formed bands to play her songs, and her stages and audiences grew exponentially. But all along, Olsen was more concerned with a different kind of path, and on her vulnerable, Big Mood new album, "All Mirrors", we can see her taking an introspective deep dive towards internal destinations and revelations. "All Mirrors" gets its claws into you on both micro and macro levels. Of course, there's that singular vibrato, always so very close - seemingly simple, cooed phrases expand into massive ideas about the inability to love and universal loneliness. And then suddenly - huge string arrangements and four horsemen bellowing synth swells emerge, propelling the apocalyptic tenor. Throughout "All Mirrors", Angel fully lets in the goth tones that always lurked at the ends of her song craft.
October 4 street date. Angel Olsen's follow-up to "My Woman", one of 2016's most critically lauded albums.Olsen's artistic beginnings as a collaborator shifted seamlessly to her magnificent, cryptic-to-cosmic solo work, and then she formed bands to play her songs, and her stages and audiences grew exponentially. But all along, Olsen was more concerned with a different kind of path, and on her vulnerable, Big Mood new album, "All Mirrors", we can see her taking an introspective deep dive towards internal destinations and revelations. "All Mirrors" gets its claws into you on both micro and macro levels. Of course, there's that singular vibrato, always so very close - seemingly simple, cooed phrases expand into massive ideas about the inability to love and universal loneliness. And then suddenly - huge string arrangements and four horsemen bellowing synth swells emerge, propelling the apocalyptic tenor. Throughout "All Mirrors", Angel fully lets in the goth tones that always lurked at the ends of her song craft.
October 4 street date. Angel Olsen's follow-up to "My Woman", one of 2016's most critically lauded albums.Olsen's artistic beginnings as a collaborator shifted seamlessly to her magnificent, cryptic-to-cosmic solo work, and then she formed bands to play her songs, and her stages and audiences grew exponentially. But all along, Olsen was more concerned with a different kind of path, and on her vulnerable, Big Mood new album, "All Mirrors", we can see her taking an introspective deep dive towards internal destinations and revelations. "All Mirrors" gets its claws into you on both micro and macro levels. Of course, there's that singular vibrato, always so very close - seemingly simple, cooed phrases expand into massive ideas about the inability to love and universal loneliness. And then suddenly - huge string arrangements and four horsemen bellowing synth swells emerge, propelling the apocalyptic tenor. Throughout "All Mirrors", Angel fully lets in the goth tones that always lurked at the ends of her song craft.
August 28 street date. The time had come, Angel Olsen realized in the fading summer of 2018, to take her new songs out of the house. Olsen's 2016 marvel, "My Woman", had been a career breakthrough, but it catalyzed a period of personal tumult, too: a painful breakup, an uneasy recovery, an inadequate reckoning. At home in North Carolina's Blue Ridge Mountains, Olsen penned songs that finally grappled with these troubles, particularly love - how forever is too much to promise, how relationships can lock us into static versions of ourselves, how you can go through hell just to make someone else happy. These heartsore explorations shape "Whole New Mess", an emotional portrait so intimate and vulnerable you can hear her find meaning in these crises in real-time. At least nine of the eleven songs on "Whole New Mess" should sound familiar to anyone who has heard "All Mirrors", Olsen's grand 2019 masterpiece that earned high honors on prestigious year-end lists and glossy spreads in stylish magazines. They are all here, at least in some skeletal form and with slightly different titles. But these are not the demos for "All Mirrors". Instead, "Whole New Mess" is its own record with its own immovable mood, with Olsen working through her open wounds and raw nerves with just a few guitars and some microphones, isolated in a century-old church in the Pacific Northwest.
August 28 street date. The time had come, Angel Olsen realized in the fading summer of 2018, to take her new songs out of the house. Olsen's 2016 marvel, "My Woman", had been a career breakthrough, but it catalyzed a period of personal tumult, too: a painful breakup, an uneasy recovery, an inadequate reckoning. At home in North Carolina's Blue Ridge Mountains, Olsen penned songs that finally grappled with these troubles, particularly love - how forever is too much to promise, how relationships can lock us into static versions of ourselves, how you can go through hell just to make someone else happy. These heartsore explorations shape "Whole New Mess", an emotional portrait so intimate and vulnerable you can hear her find meaning in these crises in real-time. At least nine of the eleven songs on "Whole New Mess" should sound familiar to anyone who has heard "All Mirrors", Olsen's grand 2019 masterpiece that earned high honors on prestigious year-end lists and glossy spreads in stylish magazines. They are all here, at least in some skeletal form and with slightly different titles. But these are not the demos for "All Mirrors". Instead, "Whole New Mess" is its own record with its own immovable mood, with Olsen working through her open wounds and raw nerves with just a few guitars and some microphones, isolated in a century-old church in the Pacific Northwest.
August 28 street date. The time had come, Angel Olsen realized in the fading summer of 2018, to take her new songs out of the house. Olsen's 2016 marvel, "My Woman", had been a career breakthrough, but it catalyzed a period of personal tumult, too: a painful breakup, an uneasy recovery, an inadequate reckoning. At home in North Carolina's Blue Ridge Mountains, Olsen penned songs that finally grappled with these troubles, particularly love - how forever is too much to promise, how relationships can lock us into static versions of ourselves, how you can go through hell just to make someone else happy. These heartsore explorations shape "Whole New Mess", an emotional portrait so intimate and vulnerable you can hear her find meaning in these crises in real-time. At least nine of the eleven songs on "Whole New Mess" should sound familiar to anyone who has heard "All Mirrors", Olsen's grand 2019 masterpiece that earned high honors on prestigious year-end lists and glossy spreads in stylish magazines. They are all here, at least in some skeletal form and with slightly different titles. But these are not the demos for "All Mirrors". Instead, "Whole New Mess" is its own record with its own immovable mood, with Olsen working through her open wounds and raw nerves with just a few guitars and some microphones, isolated in a century-old church in the Pacific Northwest.
September 24 street date (for vinyl) / October 8 (for cassette). EP including covers of songs originally by Billy Idol, Laura Branigan, Men Without Hats, Orchestral Manoeuvres in the Dark, and Alphaville. "I wanted to record 80's songs that I'd overheard walking the aisles at the grocery store, and I needed to laugh and have fun and be a little less serious about the recording process in general. I thought about completely changing some of the songs and turning them inside out. I'd heard "Gloria" by Laura Branigan for the first time at a family Christmas gathering and I was amazed at all the aunts who got up to dance. I imagined them all dancing and laughing in slow motion, and that's when I got the idea to slow the entire song down and try it out n this way. I felt that "Safety Dance" by Men Without Hats could be reinterpreted to be about this time of quarantine and the fear of being around anyone or having too much fun. It made me wonder, is it safe to laugh or dance or be free of it all for just a moment? I know it's not really in my history to do something unintentional or just for the hell of it but my connection to these songs is pretty straightforward, I just wanted to have a little fun and be a little more spontaneous, and I think I needed to remember that I could!" - Angel Olsen.
September 24 street date (for vinyl) / October 8 (for cassette). EP including covers of songs originally by Billy Idol, Laura Branigan, Men Without Hats, Orchestral Manoeuvres in the Dark, and Alphaville. "I wanted to record 80's songs that I'd overheard walking the aisles at the grocery store, and I needed to laugh and have fun and be a little less serious about the recording process in general. I thought about completely changing some of the songs and turning them inside out. I'd heard "Gloria" by Laura Branigan for the first time at a family Christmas gathering and I was amazed at all the aunts who got up to dance. I imagined them all dancing and laughing in slow motion, and that's when I got the idea to slow the entire song down and try it out n this way. I felt that "Safety Dance" by Men Without Hats could be reinterpreted to be about this time of quarantine and the fear of being around anyone or having too much fun. It made me wonder, is it safe to laugh or dance or be free of it all for just a moment? I know it's not really in my history to do something unintentional or just for the hell of it but my connection to these songs is pretty straightforward, I just wanted to have a little fun and be a little more spontaneous, and I think I needed to remember that I could!" - Angel Olsen.
June 3 street date. Fresh grief, like fresh love, has a way of sharpening our vision and bringing on painful clarifications. No matter how temporary we know these states to be, the vulnerability and transformation they demand can overpower the strongest among us. Then there are the rare, fertile moments when both occur, when mourning and limerence heighten, complicate and explain each other; the songs that comprise Angel Olsen's "Big Time" were forged in such a whiplash. "I can't say that I'm sorry/when I don't feel so wrong anymore", the record begins, her voice softer and more open than ever, as if she's singing through a hard won smile. "Big Time" is an album about the expansive power of new love, but this brightness and optimism is tempered by a profound and layered sense of loss. During Olsen's process of coming to terms with her queerness and confronting the traumas that had been keeping her from fully accepting herself, she felt it was time to come out to her parents, a hurdle she'd been avoiding for some time. After that tearful but relieving conversation, she celebrated with her partner, their friends, oysters, and wine. Three days later, her father died; his funeral became the occasion for Olsen to introduce her partner to her family. Only two weeks later Olsen got the call that her mother was in the ER. Hospice came soon after, and a second funeral came quickly on the heels of the first. The shards of this grief - the shortening of her chance to finally be seen more fully by her parents - are scattered throughout the album.
June 3 street date. Fresh grief, like fresh love, has a way of sharpening our vision and bringing on painful clarifications. No matter how temporary we know these states to be, the vulnerability and transformation they demand can overpower the strongest among us. Then there are the rare, fertile moments when both occur, when mourning and limerence heighten, complicate and explain each other; the songs that comprise Angel Olsen's "Big Time" were forged in such a whiplash. "I can't say that I'm sorry/when I don't feel so wrong anymore", the record begins, her voice softer and more open than ever, as if she's singing through a hard won smile. "Big Time" is an album about the expansive power of new love, but this brightness and optimism is tempered by a profound and layered sense of loss. During Olsen's process of coming to terms with her queerness and confronting the traumas that had been keeping her from fully accepting herself, she felt it was time to come out to her parents, a hurdle she'd been avoiding for some time. After that tearful but relieving conversation, she celebrated with her partner, their friends, oysters, and wine. Three days later, her father died; his funeral became the occasion for Olsen to introduce her partner to her family. Only two weeks later Olsen got the call that her mother was in the ER. Hospice came soon after, and a second funeral came quickly on the heels of the first. The shards of this grief - the shortening of her chance to finally be seen more fully by her parents - are scattered throughout the album.
June 3 street date. Fresh grief, like fresh love, has a way of sharpening our vision and bringing on painful clarifications. No matter how temporary we know these states to be, the vulnerability and transformation they demand can overpower the strongest among us. Then there are the rare, fertile moments when both occur, when mourning and limerence heighten, complicate and explain each other; the songs that comprise Angel Olsen's "Big Time" were forged in such a whiplash. "I can't say that I'm sorry/when I don't feel so wrong anymore", the record begins, her voice softer and more open than ever, as if she's singing through a hard won smile. "Big Time" is an album about the expansive power of new love, but this brightness and optimism is tempered by a profound and layered sense of loss. During Olsen's process of coming to terms with her queerness and confronting the traumas that had been keeping her from fully accepting herself, she felt it was time to come out to her parents, a hurdle she'd been avoiding for some time. After that tearful but relieving conversation, she celebrated with her partner, their friends, oysters, and wine. Three days later, her father died; his funeral became the occasion for Olsen to introduce her partner to her family. Only two weeks later Olsen got the call that her mother was in the ER. Hospice came soon after, and a second funeral came quickly on the heels of the first. The shards of this grief - the shortening of her chance to finally be seen more fully by her parents - are scattered throughout the album.
April 14 street date. Last year's "Big Time" brought Angel Olsen to a deeper, truer sense of self than ever before. Borne from the twin stars of grief and love, the album delivered beautiful sense of certainty, the sure-footed sound of an artist fully, finally at home with herself. But within that wisdom comes the realization that there is no finish line, no destination or static end point to life while you're living it, and "Forever Means" collects songs from the "Big Time" sessions that hold this common theme. They are, in Olsen's words, "in search of something else. What are the things I'm seeking in friendship or love, and how can "forever" be attainable if we're always changing?'" Sitting with the reality of that entropy, Olsen realized "maybe the secret to ongoing love is to embrace change as part of love itself, that forever must have something to do with playing, looking, constantly searching things out for yourself, never letting yourself think you’re finished learning or exploring". All this packs into the four precious songs that comprise "Forever Means", songs from Olsen's roads traveled and the ones ahead.
April 14 street date. Last year's "Big Time" brought Angel Olsen to a deeper, truer sense of self than ever before. Borne from the twin stars of grief and love, the album delivered beautiful sense of certainty, the sure-footed sound of an artist fully, finally at home with herself. But within that wisdom comes the realization that there is no finish line, no destination or static end point to life while you're living it, and "Forever Means" collects songs from the "Big Time" sessions that hold this common theme. They are, in Olsen's words, "in search of something else. What are the things I'm seeking in friendship or love, and how can "forever" be attainable if we're always changing?'" Sitting with the reality of that entropy, Olsen realized "maybe the secret to ongoing love is to embrace change as part of love itself, that forever must have something to do with playing, looking, constantly searching things out for yourself, never letting yourself think you’re finished learning or exploring". All this packs into the four precious songs that comprise "Forever Means", songs from Olsen's roads traveled and the ones ahead.
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2022/06/03
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