On a late November morning, the laid-back version of Sharon Van Etten serving coffee from a thermos at a quiet kitchen table was both a miracle and an illusion.
Toys piled in a corner and a rocking chair from her own childhood revealed the momentary absence of a toddler, but little else betrayed the mix of chaos and ambition swirling just below the surface of Van Etten’s picturesque Brooklyn life.
In a few hours, she would fly to Los Angeles to film a quick scene for the second season of “The OA,” the Netflix show that became her first professional acting job in 2016. On the way, she would use the quiet hours away from her young son to study for the final exams that loomed as she continued to pursue an undergraduate degree in psychology. There was also a new script that needed reading and an experimental film score in the works, but those were just the side gigs.
At the same time, Van Etten, 37, was in the midst of returning to her day job as a singer-songwriter, plotting a music video shoot, getting ready for a tour set to begin in February and awaiting the imminent delivery of the finished vinyl for her fifth studio LP, out Jan. 18 via Jagjaguwar. Though typically understated, the album’s title, “Remind Me Tomorrow,” nods at Van Etten’s current juggling act — a tongue-in-cheek mantra for a multitasking mother who also happens to run the small business that is an independent band.
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“Crazy, crazy, crazy,” Van Etten said, taking in the scope of her hectic but life-affirming last three years, which, ironically enough, began when she tried to press pause on her music career. “I can’t even believe we’ve done what we’ve done.”
It’s Van Etten’s now-frequent use of we and our in conversation that best mark her transition from a solitary, searching singer, known for her languid, almost gothic breakup songs, to something fuller and less fragile — someone to be counted on, someone in charge of things. Together with her romantic partner, Zeke Hutchins, who was once her drummer and now works as her manager, Van Etten has undertaken what the couple characterizes as various adventures — acting, school, scoring, parenthood — each of which adds to her ongoing project: becoming a more well-rounded, more empathetic artist.
“So much of creative work today is all about like, the solitary genius and sudden rise,” said Zal Batmanglij, who directed Van Etten in “The OA,” the Netflix sci-fi series. “But it’s the people who actually do the work, day in and day out, that are special. They’re after something deeper, their work gets better — things that aren’t necessarily super-fashionable right now. They last the test of time. That’s everyone’s reaction to Sharon.”
“Remind Me Tomorrow” represents the singer’s journal on the path to getting whole. Nearly a decade on from her spare 2009 debut, “Because I Was in Love” — powerfully sad funeral dirges for the ghosts of toxic relationships — the new album embraces optimism, even when it sounds like end times. Written initially as love songs to Hutchins, the tracks only intensified as Van Etten finished the lyrics after giving birth, often working with headphones while staring at her napping son, who turns 2 in the spring.
“It’s about my love and my fear and about me wanting to be better, but doubting myself a little bit,” said Van Etten, who has an easy, disarming manner that quickly brings people close. “It’s my job to be strong and positive so that he feels safe and protected, even given the state of the world.” (Van Etten, who was pregnant during the election of President Trump, recalled “trying not to cry because I didn’t want the baby to absorb my emotions.”)
As she has expanded her artistic endeavors and emotional registers, Van Etten also found a fresh musical palette. While her early, softly strummed guitar songs were often gorgeous despite their brokenness, “Remind Me Tomorrow,” an album of hope, intimacy and perseverance, has jagged edges and a brooding swagger, built around droning synths and a propulsive rhythm section of studio musicians.
“I just wanted to do something different,” she said. “And the band setup bored me so much: ‘This is where the bass comes in, this is where the drums kick in …’” She continued: “I love the slow build — that’s what I do. But I found that I was more drawn to the darkness and the driven synths and the syncopated beats.”
Much of Van Etten’s recent evolution can be traced back to Nick Cave. She cited the Australian rock singer’s drone-heavy “Skeleton Tree,” from 2016, along with avant-garde and electronic acts like Suicide and Portishead, while seeking her new sound. But Cave had a less direct impact, as well: It was on tour opening for him in 2013 that she and Hutchins became something more than collaborators.
“When we realized we fell in love, we were like, O.K., we have to go home and figure out our lives and then make this record and we’ll come back to this and see how we feel,” she said, referring to “Are We There,” her previous release, from 2014. “It was the most adult thing. And the most torturous thing we could’ve done to ourselves.”
On that same tour with Cave, Van Etten was noticed by a casting director who would later swoop in to disrupt her life further. Following many months on the road in support of “Are We There,” Van Etten began feeling detached from her music and exhausted by the constant grind of performing heartbreak professionally. But inspired by her immediately intimate rapport with often-wounded fans after shows, she decided to take a moment away from music to finish her bachelor’s degree with the hope of becoming a licensed mental health counselor.
As she and Hutchins settled into their new relationship, Van Etten enrolled at Brooklyn College, alive with the possibility of a new life chapter. Two weeks into her first semester, she got a call asking her to audition for “The OA.”
“I almost didn’t take it,” Van Etten recalled. “I was doing this big dramatic pause with my band to go back to school and now I’m going to act? I’m such a phony!” She’d been in “West Side Story” in high school in New Jersey, where she grew up the middle child of five. But distant dreams of Broadway aside, Hollywood was never a goal.
To Hutchins, however, the show sounded like an adventure.
In the script, the role of Rachel, one of four damaged captives kept in glass cages by a mysterious scientist, called for “the voice of an angel.” Brit Marling, who stars in “The OA” and created the show with Batmanglij, recalled being floored by a video of Van Etten’s audition, in which she delivered a dramatic monologue and then sang a cappella, opting for “I Wish I Knew,” the opening song from her first album.
“When you watched her do the monologue what you felt is that she was not acting — and that’s the highest compliment you can pay an actor,” Marling said. “She’s an incredible artist and thinker and feels everything viscerally. It comes out in her music and in how she acts. There’s just no phoniness. It’s all real.”
Batmanglij added of Van Etten: “She could tap into something — these deep reservoirs of empathy. She can make herself vulnerable.”
She took the role, agreeing to defer her college enrollment. But the detours just kept coming. In addition to eventually getting pregnant and performing on an episode of David Lynch’s “Twin Peaks” revival, Van Etten signed on to compose the score for the filmmaker Katherine Dieckmann’s “Strange Weather,” working out of a practice space that she shared with the actor and musician Michael Cera. It was there, Van Etten was comforted to discover, that she could not help but write songs.
“It’s still an outlet for me,” she said. “It’s my therapy.”
Van Etten found herself gravitating to Cera’s Roland Jupiter 4 synthesizer, and writing more on keys when not working on the film. By 2017, she had a folder of more than 40 demos, including what she described as a whole country album and another of only piano ballads.
But the batch that became “Remind Me Tomorrow” was the most experimental, with sonic references that were “the sort of things you don’t think of when you think of Sharon Van Etten,” said the producer John Congleton, who would go on to oversee the recording sessions in Los Angeles.
“She seemed particularly excited that I was going for it,” said Congleton, who likened the new songs to abstract tone poems. “I wasn’t trying to make it Americana, or normalize it,” he added. “I wasn’t trying to wrangle her — I was embracing the wildness.”
That allowed a churning track like “Jupiter 4” — with plain-spoken romantic lyrics like “I’ve been waiting, waiting, waiting/my whole life for someone like you” — to come with a musical layer of dread, the kind that encapsulates how terrifying it is to fall in love and put down roots. (Van Etten’s composition was also recorded as “Jupiter,” an ’80s-ish pop jam, by the singer Donna Missal.)
Other love songs on the album, like “Comeback Kid” and “Seventeen,” feel aimed at Van Etten’s younger self. While much of her songwriting output has been viewed through the lens of her earliest public origin story — an abusive relationship with a man who tried to stamp out her creative impulses — Van Etten’s new work is less about picking at tender scabs than the faded scars that served as a road map to now.
“I think reflection is important,” she said, “but taking those experiences and moving forward is how I’ve gotten to be here.” She added: “It’s because of everything I’ve gone through that I’m a stronger person and was open and ready enough to accept the right kind of love into my life.” On the almost-Springsteen-esque “Seventeen,” she sings:
Down beneath the ashes and stone,Sure of what I’ve lived and have known.I see you so uncomfortably alone. Wish I could show you how much you’ve grown.
A few days after our first meeting, Van Etten was facing that nostalgia head-on as she scouted locations from her past for the track’s upcoming music video shoot. There were long-closed clubs on the Lower East Side, where she played some of her first shows, along with her early New York apartments sourced on Craigslist and too close to the rattling subway.
Van Etten laughed about seeing her “hazy past in daylight,” but the stroll through memories was also something of a goodbye, as she and Hutchins had agreed that a move to Los Angeles in the new year was probably best for raising a child. “I’ve worked so hard to live here and now I can’t afford it,” she said. “The New York story.”
But it wasn’t a tragedy. Van Etten said she was open to more acting following her forthcoming appearance in the second season of “The OA,” and has been working on writing comedy, including a personal project about a mother’s relationship with her babysitters. She even recently tried stand-up. And though she would most likely not have time to return to school until 2020, Van Etten added that she’s sticking to her plan to become a therapist by the age of 50.
“By then,” she said, “I’ll want to settle down.”B:
一九红五图库【神】【识】【入】【体】，【姜】【坤】【感】【觉】【自】【己】【好】【像】【来】【到】【了】【另】【外】【一】【个】【神】【奇】【的】【空】【间】，【一】【束】【光】【照】【耀】【着】【他】，【而】【四】【面】【漆】【黑】，【类】【似】【于】【心】【境】。 “【你】【来】【了】。” 【某】【一】【刻】，【这】【漆】【黑】【之】【中】【另】【外】【一】【束】【光】【芒】【出】【现】，【光】【芒】【里】【出】【现】【的】【身】【影】【则】【正】【是】【之】【前】【他】【见】【过】【的】【老】【祖】【姜】【神】【王】。 【只】【不】【过】，【此】【时】【姜】【神】【王】【已】【非】【彼】【时】【的】【姜】【神】【王】【了】，【他】【的】【容】【貌】【未】【变】，【却】【多】【了】【一】【些】【眼】【线】，【加】【上】【那】【乌】
【时】【氏】。 【总】【裁】【办】【公】【室】。 【秦】【逸】【敲】【了】【敲】【门】。 “【进】。”【里】【面】【传】【来】【男】【人】【淡】【漠】【的】【嗓】【音】。 【秦】【逸】【打】【开】【门】，【拿】【着】【一】【叠】【文】【件】【走】【到】【了】【时】【墨】【渊】【的】【面】【前】。 【他】【将】【文】【件】【整】【齐】【的】【放】【在】【时】【墨】【渊】【的】【办】【公】【桌】【上】，【开】【口】【道】：“Boss，【这】【是】【最】【近】【要】【签】【的】，【还】【有】【一】【个】【新】【的】【方】【案】【要】【您】【看】【一】【下】，【以】【及】《【逆】【势】》【这】【几】【天】【网】【络】【的】【风】【声】【不】【太】【好】，【我】【们】【投】【的】【资】
【守】【门】【将】【领】【眉】【头】【一】【皱】，【然】【后】【冷】【笑】【一】【声】！ “【不】【好】【意】【思】，【刚】【才】【我】【看】【错】【了】，【是】【你】…【对】【对】【对】，【就】【是】【你】，【你】【可】【以】【进】【去】。” 【他】【指】【了】【指】【最】【近】【的】【一】【位】【女】【修】【士】，【美】【貌】【还】【不】【错】！ “【我】？” 【女】【修】【士】【不】【确】【定】【问】【道】！ “【对】，【赶】【紧】【进】【去】，【不】【要】【挡】【着】【后】【面】【进】【来】【的】【人】。”【守】【门】【将】【领】【不】【悦】，【眸】【子】【闪】【动】【着】【寒】【冷】【的】【光】【芒】。 【女】【修】【士】【顿】【时】【惊】【喜】【连】
【再】【次】【见】【到】【明】【谦】，【谈】【话】【之】【间】，【两】【人】【还】【是】【如】【以】【前】【一】【样】【随】【意】，【仿】【佛】【什】【么】【也】【没】【发】【生】【过】【一】【样】。 【但】【是】【封】【苧】【和】【明】【谦】【都】【知】【道】，【他】【们】【再】【也】【回】【不】【去】【从】【前】【了】。 “【明】【谦】，【我】【已】【经】【派】【人】【打】【探】【清】【楚】【了】，【郭】【家】【的】【人】，【晚】【上】9【点】【之】【后】【基】【本】【都】【会】【在】【家】，【我】【们】【现】【在】【过】【去】，【时】【间】【正】【好】。” 【和】【明】【谦】【汇】【合】【后】，【听】【到】【明】【谦】【需】【要】【她】【配】【合】【时】，【封】【苧】【有】【点】【疑】【惑】【了】。 一九红五图库“【小】【悦】【的】【生】【日】【就】【快】【要】【到】【了】，【这】【次】【我】【要】【给】【她】【隆】【重】【庆】【祝】，【毕】【竟】【过】【了】【这】【个】【生】【日】，【我】【们】【的】【女】【儿】【就】【要】【十】【八】【岁】【了】。”【黎】【菡】【君】【坐】【在】【丈】【夫】【的】【身】【边】，【挽】【着】【他】【的】【胳】【膊】【说】。 “【我】【们】【可】【以】【邀】【请】【李】【总】，【赵】【总】【他】【们】【一】【起】【给】【女】【儿】【庆】【生】，【我】【黎】【菡】【君】【女】【儿】【的】【成】【人】【礼】，【一】【定】【要】【是】【最】【隆】【重】【的】。” “【要】【不】【还】【是】【问】【问】【小】【悦】【的】【意】【思】，【我】【觉】【得】【把】【女】【儿】【的】【成】【人】【礼】【办】【成】【商】
【非】【常】【感】【谢】【那】【些】【支】【持】【过】【的】【读】【者】【们】，【但】【是】【今】【天】【不】【得】【不】【告】【别】【了】。 【因】【为】【家】【庭】【原】【因】，【作】【者】【要】【出】【去】【工】【作】【了】，【本】【来】【打】【算】【的】【是】【一】【边】【准】【备】【公】【招】【一】【边】【码】【字】【的】，【但】【是】【奈】【何】【今】【年】【因】【为】【作】【者】【这】【边】【不】【考】【试】，【就】【得】【找】【工】【作】【来】【养】【活】【自】【己】…… 【而】【因】【为】【工】【作】【的】【时】【间】【原】【因】，【之】【后】【的】【更】【新】【肯】【定】【会】【不】【稳】【定】，【所】【以】【索】【性】【就】【告】【别】【了】。 【老】【实】【说】【这】【本】【书】【写】【的】【很】【不】【好】，
【苏】【河】【望】【向】【那】【刘】【天】【灵】【的】【眼】【神】【中】，【也】【是】【充】【满】【了】【强】【烈】【的】【杀】【意】！ 【显】【然】，【对】【于】【这】【个】【一】【直】【针】【对】【自】【己】【的】【药】【门】【强】【者】，【他】，【也】【是】【充】【满】【了】【恨】【意】！ “【如】【果】【你】【不】【站】【出】【来】【还】【好】！“ “【既】【然】【你】【占】【了】【出】【来】，【那】【么】【咱】【们】【也】【该】【好】【好】【算】【算】【账】【了】！“ 【苏】【河】【双】【眼】【微】【咪】，【神】【色】【中】，【充】【满】【了】【恨】【意】！ 【他】，【可】【是】【还】【记】【得】【对】【方】【在】【那】【丹】【药】【上】【面】，【下】【的】【毒】【手】！
【橙】【子】【在】【小】【鱼】【儿】【怀】【里】【沉】【沉】【睡】【去】，【很】【快】【身】【体】【的】【每】【一】【个】【细】【胞】【就】【好】【像】【进】【入】【到】【了】【一】【个】【完】【完】【全】【全】【放】【松】【的】【状】【态】，【自】【从】【灾】【难】【爆】【发】【后】【它】【几】【乎】【就】【没】【有】【这】【么】【放】【松】【过】。 【不】【多】【时】，【一】【个】【似】【梦】【非】【梦】【的】【场】【景】【便】【呈】【现】【在】【它】【面】【前】。 “【这】【就】【是】【灵】【域】【吗】？”【它】【暗】【自】【疑】【惑】。 【这】【跟】【梦】【境】【不】【一】【样】，【梦】【境】【中】【的】【一】【切】【都】【是】【不】【可】【控】【的】，【而】【这】【里】【给】【它】【一】【种】“【我】【随】【时】【可】【以】