A few months ago, André 3000 succinctly explained the creative philosophy that has animated his unlikely pivot to ambient-jazz flautist. “Sometimes, mastering shit can get boring,” the former OutKast member told Rolling Stone. “I’d rather go amateur interesting than master boring.”
I kept thinking of André’s eccentric credo while listening to this exhilarating debut (well… sort of) from Sharon Van Etten & The Attachment Theory. While Van Etten hasn’t transformed into a flute-toting vagabond (yet), she has spent the latter half of her career moving away from anything resembling a comfort zone. After taking her smoke-damaged indie-folk sound as far as it could go on her fourth album, 2014’s Are We There, the singer took a break from music and embraced being a novice again, making her acting debut on Netflix’s short-lived The OA and going back to school to study psychology. Eventually, she reemerged with 2019’s Remind Me Tomorrow, an extraordinary album wrought from atmospheric synths and curdled dread.
If 2022’s We’ve Been Going About This All Wrong felt like a slight retreat—a yearning for domestic comfort amid disasters both global (pandemic) and local (the wildfires depicted on the album cover)—its follow-up signals another new beginning. Or new band, rather, as this one’s billed not as a solo album but a record written in full collaboration with Van Etten’s bandmates, newly dubbed the Attachment Theory. Why form a band sixteen years into a celebrated solo career? Why not? During rehearsals for her 2022 tour, Van Etten grew tired of her own voice and impulsively asked her band to “just jam.” The experiment yielded two songs—the spiky post-punk workout “I Can’t Imagine (Why You Feel This Way)” and sludgy, disquieted “Southern Life (What It Must Be Like)”—and left the singer “feeling very inspired.”
It wasn’t a fluke. On Sharon Van Etten & The Attachment Theory, the frontwoman surrenders to the rhythm on a stormy, unsettled album centered on groove and mood. In lieu of verse-chorus structures, songs circle around mantra-like motifs, swirling and intensifying like tornado winds. “Who wants to live forever?” she wonders over and over on the stunning opener, flipping the aspirational immortality of Oasis’s same-named hit on its head as spectral synths from keyboardist Teeny Lieberson lead the way. Inspired by Van Etten’s friendship with a fan who died young from a chronic illness, “Afterlife” goes even bigger, reflecting the widescreen grandeur of Remind Me Tomorrow standout “Seventeen.” Grasping at all the big stuff—life, love, mortality—the song evokes the specter of a connection so strong it makes you want to believe in the fantasy of reunion after death: “Turned me inside out and now I find/I want to see you in the afterlife,” Van Etten croons.
Exploring the Creative Evolution of Sharon Van etten & The Attachment Theory
Table of Contents
A few months ago, André 3000 succinctly explained the creative ideology that has animated his unlikely pivot to ambient-jazz flautist. “Sometimes, mastering shit can get boring,” the former OutKast member told Rolling Stone. “I’d rather go amateur fascinating than master boring.” I kept thinking of André’s eccentric credo while listening to this exhilarating debut (well… sort of) from Sharon Van Etten & The Attachment Theory.While Van Etten hasn’t transformed into a flute-toting vagabond (yet), she has spent the latter half of her career moving away from anything resembling a comfort zone. After taking her smoke-damaged indie-folk sound as far as it could go on her fourth album, 2014’s Are We There, the singer took a break from music and embraced being a novice again, making her acting debut on Netflix’s short-lived The OA and going back to school to study psychology. Eventually, she reemerged with 2019’s Remind Me Tomorrow, an extraordinary album wrought from atmospheric synths and curdled dread.
If 2022’s we’ve Been Going about This All Wrong felt like a slight retreat—a yearning for domestic comfort amid disasters both global (pandemic) and local (the wildfires depicted on the album cover)—its follow-up signals another new beginning. Or new band, rather, as this one’s billed not as a solo album but a record written in full collaboration with van Etten’s bandmates, newly dubbed the Attachment Theory. Why form a band sixteen years into a celebrated solo career? Why not? During rehearsals for her 2022 tour,Van Etten grew tired of her own voice and impulsively asked her band to “just jam.” The experiment yielded two songs—the spiky post-punk workout “I Can’t Imagine (Why You Feel This Way)” and sludgy, disquieted “Southern Life (What It Must Be like)”—and left the singer “feeling very inspired.”
It wasn’t a fluke. On Sharon Van Etten & The Attachment Theory, the frontwoman surrenders to the rhythm on a stormy, unsettled album centered on groove and mood. In lieu of verse-chorus structures, songs circle around mantra-like motifs, swirling and intensifying like tornado winds. “Who wants to live forever?” she wonders over and over on the stunning opener, flipping the aspirational immortality of Oasis’ same-named hit on its head as spectral synths from keyboardist Teeny Lieberson lead the way. Inspired by Van Etten’s friendship with a fan who died young from a chronic illness, “Afterlife” goes even bigger, reflecting the widescreen grandeur of Remind me Tomorrow standout “Seventeen.” Grasping at all the big stuff—life, love, mortality—the song evokes the specter of a connection so strong it makes you want to believe in the fantasy of reunion after death: “turned me inside out and now I find/I want to see you in the afterlife,” Van Etten croons.
Interview with Music Critic and Journalist, Emily Johnson
On the Evolution of Sharon Van Etten’s Sound
Emily Johnson: Sharon Van Etten has always been known for her emotive, introspective songwriting. How would you describe the evolution of her sound on this new album with The Attachment Theory?
Dr. Linda Thompson, Musicologist: Emily, the evolution of Sharon Van Etten’s sound on this album is quite fascinating. She has moved away from the customary verse-chorus structures and has embraced a more fluid, groove-oriented approach. The collaboration with her bandmates has allowed her to explore new sonic landscapes,incorporating elements of post-punk and ambient music. This shift is evident in the album’s focus on mood and rhythm, creating a stormy, unsettled atmosphere that is both captivating and intense.
The influence of Collaboration
Emily Johnson: Collaboration seems to have played a significant role in the creation of this album. Can you elaborate on how this collaborative process has influenced the final product?
Dr. Linda Thompson: Absolutely. The collaborative nature of this album is what sets it apart from Van Etten’s previous work. By working closely with her bandmates, she has been able to experiment with new sounds and structures. This collective creativity has led to the development of mantra-like motifs that swirl and intensify, creating a sense of urgency and emotional depth. The song “Who wants to live forever?” is a grate example of this, with its spectral synths and repetitive questioning that flips the aspirational immortality of Oasis’ hit on its head.
Exploring Themes of Life and Mortality
Emily Johnson: The album delves into heavy themes like life,love,and mortality. How do these themes manifest in the lyrics and musical composition?
Dr. linda Thompson: The themes of life and mortality are indeed central to this album. Songs like “Afterlife” reflect the widescreen grandeur of Van Etten’s previous work while exploring the fantasy of reunion after death. The lyrics are raw and emotional, evoking the specter of a connection so strong that it makes you believe in the afterlife. Musically, the album uses atmospheric synths and disquieted rhythms to create a sense of unease and introspection, perfectly complementing the themes explored in the lyrics.
Conclusion
In this interview with Dr. Linda Thompson, we’ve explored the creative evolution of Sharon Van etten’s sound on her latest album with The Attachment Theory. From the influence of collaboration to the exploration of heavy themes, this album marks a significant shift in Van Etten’s musical journey. By embracing new sonic landscapes and groove-oriented structures, she has created a stormy, unsettled album that is both captivating and intense. This new direction not only showcases her versatility as an artist but also invites listeners to delve into the emotional depth of her music.
