#Remind me tomorrow professional

Zachary Dawes – bass (1, 3–9), synthesizer (6).

Heather Woods Broderick – backing vocals (1–10), synthesizer (10), electric piano (10).

Accolades PublicationĪll personnel credits adapted from Remind Me Tomorrow 's album notes. At Pitchfork, Laura Snapes mentions how Van Etten 'conjures tempests and explores their subsequent calms', remarking how it is 'the peak of her songwriting and her most atmospheric, emotionally piercing album to date.' Stephen Thomas Erlewine of AllMusic rated the album four-and-a-half stars out of five, indicating that Van Etten 'plumbs the depths of contentedness, setting her satisfaction to a sound that's nominally dark yet strangely comforting and nourishing.' Rolling Stone considered Remind Me Tomorrow as her finest album for including styles ranging from 'expansive electro groove' to 'trip-hop rumination' and singer ' Siouxsie -style wails'.

#Remind me tomorrow professional

That, in turn, is what really makes Remind Me Tomorrow a triumph.Reception Professional ratings Aggregate scoresĪt Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, Remind Me Tomorrow has received an average score of 86, based on 34 reviews, indicating 'universal acclaim'. While she still deals with intensely personal stuff in her lyrics, she finds here a way to make something so intimate sound big and universal. This can be heard on both singles “Comeback Kid” and “Seventeen,” both of which find Van Etten sounding properly stadium-sized. That allows Van Etten to experiment more freely (as she does on “Jupiter 4”), but it also gives her a chance to write with a more grandiose, epic sweep. This isn’t to say that Van Etten has wholly embraced a drastic shift in direction rather, her already well-honed songwriting process has been augmented with different flourishes of synthesizer and drum machine, all recorded by producer John Congleton to mesh with Van Etten’s more organic sound. However, Remind Me Tomorrow further sets itself apart from both Van Etten’s discography and from similar songwriters with its tentative embrace of electronic elements in these compositions. The version of Sharon Van Etten we get on Remind Me Tomorrow is a person who has lived, lost, and suffered, but who has also come through the other side as a stronger person, even if they don’t quite believe it themselves.Īs it stands, though, that lyrical theme wouldn’t make Remind Me Tomorrow all that much different from some of Van Etten’s previous work. “Seventeen” delves further into her past, looking back at the woman she used to be and wishing that she could teach her past self the lessons she would eventually learn from painful experience. Opener “I Told You Everything” finds Van Etten reflecting on a tumultuous life and only just realizing what she’s been through.

This isn’t an album about domestic bliss or celebrating fulfillment, but about how the anxieties that plague life manifest themselves in different ways as one gets older. The album casts off Van Etten’s previous work as a prelude and finds her changing things up as both a composer and a lyricist, and the result is something truly astounding.Īnxiety has been the driving force of Van Etten’s music, and while things have changed for her, that anxiety is still present on Remind Me Tomorrow. That growth, and the reassessment of priorities that follows, is very much evident on Remind Me Tomorrow.

But something interesting happened in the five years since her last album: between starting a family and pursuing new interests outside of music, Van Etten seems to have grown beyond the one-on-one dichotomy of those early records. It started with something deeply personal (her debut Because I Was in Love stems from her life with an emotionally abusive ex-boyfriend) and has slowly evolved into something more universal with each subsequent album. On her past albums, Sharon Van Etten explored fraught relationships and the fraught nature of the way people interact with each other.