The whole album is a love letter to the city’s sounds and colors. And not just because the magnificent music video for single “Seventeen” is Van Etten’s self-described “love letter” to the city, though that clip, which shows her revisiting NYC venues like Union Pool and Pianos, is compelling enough to convince you of the Brooklyn-based artist’s fierce love for the place she’s called home for almost 15 years. Remind Me Tomorrow is a New Yorker’s album. Remind Me Tomorrow is the first great rock album of the year, and it would behoove any and all of Van Etten’s fans, even those who staunchly prefer her folk-leaning material, and rock ‘n’ roll aficionados of all stripes to open their ears (and their hearts) to this beautifully executed pivot. And here, on her fifth studio effort Remind Me Tomorrow, those evolutions are apparent in a powerful sonic swerve, and in Van Etten’s desire to explore both nostalgia and rebirth, and maybe even how they intertwine. Singer/songwriter Sharon Van Etten has experienced a lot of change since the release of her last album, 2014’s Are We There, and they’re the kind of life-altering shifts-newfound romantic partnership, motherhood, career advancements-that are all but destined to reveal themselves in one’s art. But the fact of the matter is people change, and as art is so often an extension of the inner-self, their music evolves, too.
Saturday Night Live’s recent critique on the matter, using the always divisive Weezer as a marker, proves as such: Sometimes we’re just not open to change. They might commit themselves to one particular album, destined to play it on repeat forever even as their favorite band grows and grows. Die-hard fans might feel angry or betrayed at a musician’s new direction. We all approach artistic evolution in different ways.
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