The Path of the Clouds is the most stylistically adventurous, lyrically transfixing and melodically sophisticated collection of songs in Marissa Nadler's already rich discography. Gripped by wanderlust while suddenly housebound at the start of the pandemic in 2020, Nadler escaped into writing and came back with a stunning set of songs about metamorphosis, love, mysticism and murder. Blurring the line between reality and fantasy and moving freely between past and present, these 11 deeply personal, self-produced songs find Nadler exploring new landscapes, both sonic and emotional.
Nadler tracked the skeletons of the songs at home and then sent them to some choice collaborators, including experimental harpist Mary Lattimore and Simon Raymonde, the Cocteau Twins bassist and her Lost Horizons collaborator. Multi-instrumentalist Milky Burgess, having recently worked on the soundtrack to the film Mandy, adds intricate melodic power throughout the album. Jesse Chandler, Nadler’s piano teacher (as well as a member of Mercury Rev and Midlake), plays winding woodwinds and plaintive piano to luminous effect. Fellow singer-songwriter Emma Ruth Rundle contributes a slinky guitar solo on “Turned Into Air,” while Black Mountain’s Amber Webber steps in as a vocal foil to Nadler, a ghostly apparition in the distance of “Elegy.” Seth Manchester, known for his work with Lingua Ignota, Battles and Lightning Bolt, mixed the album at Machines with Magnets in Pawtucket, Rhode Island. Manchester added dimension to the songs’ atmospheric beauty with screeching feedback and distorted guitars. Stripped of the ethereal reverb that often swaddles her resonant vocals, Nadler’s delivery now stings and pierces with newfound immediacy and confidence.
The Path of the Clouds showcases an artist at the peak of her powers, nearly 20 years into an acclaimed career as a songwriter and singer. Coming a long way from the spare dream folk of her earlier work, she has remained inspired and continues to evolve, open to new ideas and directions. The proof is right here, in Nadler’s most ambitious and complex album yet.
