Angel Olsen - All Mirrors

Her big pop girl era is upon us omg

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This hasn’t even come out and yet it’s the highlight of my week. I’ve listened to LQ recordings of the song from her solo euro tour and it’s already a hit in my book.
 
I love Angel and I welcome the change, but the song is just ok for me after my initial listen. I'm sure it'll grow on me after a couple listens. If anything, I am sure the song will make more sense in context with the rest of the album. Regardless, I am super excited for brand new Angel Olsen!

I do feel this may be her big pop girl era as well. With the video and song, it all feels just a bit more polished and refined than previous eras of hers. Whether that works for her or not, only time will tell.
 
Oh, the video is gorgeous. Was expecting something bigger out of the song, but it actually stays brilliant as it is, with a haunting atmosphere and almost like a cinematic feel as the strings come in

Obviously beyond hyped for the album
 
Wow. I think this sounds exactly like what I was expecting from Sky Ferreira’s new album. I love this. Very excited to hear the rest - it’s certainly a new sound for her.
 
Oh wow I adore the new song, this is a major leap for her sound wise.
The video is spectacular and is equal parts Chelsea Wolfe and 1980s Stevie Nicks.
Perched for the album is an under statement.
 
I'm addicted to the first single - can't wait to hear the rest.

I managed to sneak a listen to 30 second clips that I found online before they were abruptly & rudely taken down. The opener, Lark, sounds really intense & brilliant. The closer, Chance, sounded like almost '60s doo-wop to me. What It Is = very catchy, I could hear it on the radio. Summer also sounds like a big bop.
 
Excellent new profile from the New York Times

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The song descriptions have me really excited:
That change, of course, didn’t mean just allowing others — like the producer John Congleton — to do what they liked with the songs. It meant becoming a great deal moreinvolved, working with arrangers to communicate her vision of string parts that would react to her vocal lines, rather than simply accompanying them. One of those arrangers was Ben Babbitt, an old friend from Chicago who now composes for film in Los Angeles; for the song “Tonight,” he sent Olsen an idea on which he’d played nearly 50 meticulous layers of cello and violin. Another was Jherek Bischoff, an orchestral composer with a rock background. The spiraling chaos of “Lark,” the album’s opener, required him to devise a new way of conducting, not marking the tempo but using special gestures that allowed him to guide the ensemble through what he calls “a Doppler effect with a big chord of trills.” He and Olsen and Congleton and Babbitt would talk over references for the album’s sound: “Twin Peaks,” Nancy Sinatra, Gyorgy Ligeti, Brian Eno, Serge Gainsbourg, Robert Fripp, Henryk Gorecki, Ornette Coleman, the 1969 Scott Walker gem “It’s Raining Today.” Sometimes Olsen would write parts on piano and give them to Babbitt or Bischoff to translate for strings. Other times they would all sit together to think through how to make the arrangements more expansive, more surprising.
 

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