Sunny came home mandolin free#
Growing up in Los Angeles’ punk scene, Sunny was hopping trains from a tender age, riding free on the rails and living homeless on the streets. I’m never happy about something that’s real anymore.” It bums me out when the thing I’m happy about is paying the light bill. “Now I’m worried about moving from a studio to a one-bedroom. “I feel like I’ve tricked myself into trying to be a part of the system that I swore I’d never participate in,” she says. Holed up in a studio apartment in an old halfway house that’s rumored to be haunted, Sunny muses “I think I’ve heard ghosts, but I’ve always heard ghosts everywhere.” These ghosts are reflected in the songs on the new album, either through the ghosts of friends who’ve passed away, from overdose or accident, or in the ghosts of who she used to be. Shell of a Girl, coming Jon Hen House Studios with vinyl released by Org Music, was written in a burst of creativity in Los Angeles, and marks a new transition period, with Sunny moving from the Venice Beach boardwalk, where she first made her name, to the streets of downtown Los Angeles. Released on the heels of her critically acclaimed 2018 album, With the Sun, Sunny War’s new album finds her a little bit older, a little bit more mature, but looking back on the rocky roads of her past with a surprising amount of nostalgia.
There are many powerful ways of acknowledging loss sometimes the most powerful one is saying nothing at all. “This record is a little more cosmic, almost in a spiritual way-the space between the notes was there to suggest all those empty spaces the record touches on,” acknowledges Marlin.
There is a telepathy and warmth in the interplay on Tides of A Teardrop that brings a new dynamic to the foreground-that holy silence between notes, the air that charges the album with such profound intimacy.
“We went and did what most people do, which we’ve never done before-we just holed up somewhere and worked the tunes out together,” Frantz says. Having recorded all previous albums live in the studio, they approached the recording process in a different way this time. I’m ready to bring forth some happier memories now, to just remember her as a living being.”įor this album, Marlin and Frantz enlisted their touring band, who they also worked with on their last album Blindfaller. In some ways I associated the grief and the loss with remembering my mom. “I’ve been holding on to the grief for a long time. But beneath the hushed surface, they are staggeringly straightforward. These songs, as well as their sentiments, remain simple and quiet, like all of their music. But Tides of A Teardrop confronts a defining loss head-on: Marlin’s mother, who died of complications from surgery when he was 18. Intimations of loss have always haunted the edges of their music, their lyrics hinting at impermanence and passing of time. Then, as he went back to sharpen what he found, he found something troubling and profound. On Tides of A Teardrop, Marlin wrote the songs, as he usually does, in a sort of stream of consciousness, allowing words and phrases to pour out of him as he hunted for the chords and melodies. Singer-songwriter Andrew Marlin and multi-instrumentalist Emily Frantz have honed this lamp glow intimacy for years. You can hear the air between them-the taut space of shared understanding, as palpable as a magnetic field, that makes their music sound like two halves of an endlessly completing thought. By all accounts, it is the duo’s fullest, richest, and most personal effort. The North Carolina duo have built a steady and growing fanbase with this kind of intimacy, and on Tides of A Teardrop, due out February 1, it is more potent than ever. Mandolin Orange’s music radiates a mysterious warmth -their songs feel like whispered secrets, one hand cupped to your ear.
Tickets: on Sale Friday 6/28 10am General Admission Standing $25 advance, $30 day of show at, Babeville Box Office (M-F 11a-5p), or charge by phone at 877.987.6487 DSP Shows presents Mandolin Orange live at Asbury Hall with Sunny War
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