Sharon Van Etten – Tramp

Sharon Van Etten - Tramp

By Richard Wink

A singer-songwriter has an integral, active role to play in the life of a music listener. I write this review after coming to the realisation that a woman I was steadily falling in love with has no interest in reciprocating my tame, vague advances. Whilst I and this ‘special ladyfriend’ were out together drinking together in a ramshackle pub she described to me her ideal man. Soberingly, I did not fit her criteria either physically, or emotionally. I was not tall, didn’t resemble the actor Nicholas Hoult and possessed none of the vim and vigour required to keep up with her vivacious, arty free spirit.

Feeling disappointed, Sharon Van Etten’s Tramp has become a crutch for me over the last few days, helping me realize that I’ve got to keep my chin up, and find my way through this bleak minefield of singledom. Van Etten, like Leonard Cohen, or Elliott Smith in the past, has helped me through a rough time. Leaving me to ponder what came first, the music or the misery?

Tramp works in the same way that a good stiff shot of whiskey does, as you attempt to block out those thoughts of ‘what might have been’, it helps to soundtrack the plod through the snow that’s covered the pavements, as you walk to work, a place where you will face this woman and realize that even if it could have worked, it would never have worked as you never should mix business with pleasure. Van Etten’s almost angelic voice, and by angelic I refer more to the voice of a fallen angel, one that’s been through the turmoil, and endured the melodramatic shame, relates with the listener.

Experiencing music against the backdrop of heartache means that the listen is uncomfortably intimate, and this tends to make the music overwhelming, ‘Give Out’ makes use of Van Etten’s ornate vocal presence, vulnerable, yet still capable of surviving a fall. “I’m biting my lip as confidence is speaking to me” sums up how it feels to be on the cusp of putting your whole way of being on the line for someone else.

‘Serpents’ rides on lazy indie Americana, trotting drums, and laid back, soft top down guitar meld together as Van Etten appears defiant, swinging a sword at her inner demons. The Country fried ‘Leonard’ swirls wistfully, a tumbleweed along a dirt track. ‘In Line’ hums nostalgically to a time when there were no worries, when emotions didn’t register so explicitly. ‘Magic Chords’ with its erratic drumbeat, which reminds me of a drunk tap dancer who returns to the stage to reclaim his lost hat, contains some of Van Etten’s best vocal work – it simmers with sophistication.

Confessional without being too self-obsessed, the tone of the album treats the listener like a good friend, with Van Etten providing us a glimpse into her soul. Building from her ironically titled last album Epic which alerted many to her talents, Tramp showcases Van Etten’s struggles, trying to find the balance between maintaining a sense of self, and at the same time portraying yourself as an artist.

Believing in Van Etten means what she sings isn’t difficult. There is sincerity here, which makes Tramp an alluring listen. After one last listen I realize that perhaps a relationship isn’t something that I should be seeking right now, but what I should aim for is perspective, and peace of mind. Van Etten is wiser for all she has endured, and made an album that reflects quiet, lonely meditation on what has been a difficult period in her life, however not all consuming for her. It is an album that represents a journey that climbs from rocky self-awareness into the steady ground of self-understanding.

Due to her associations with ‘indie’ darlings such as The National, Beirut and TV On The Radio there is quite the buzz around Van Etten, not to mention her recent appearances on high profile US talk shows. Despite the hullaballoo there is genuine reason to be excited about Tramp, an album which helps the listener to learn plenty about themselves.

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