Just Call it a Comeback: Sharon Van Etten’s Remind Me Tomorrow

An Album Review by MJ. Catch her on-air every Tuesday from 1 PM – 2 PM on Revolution 91.7.

2019 has seen Americans dishing on  super moons, government shutdowns and Jordyn Woods, but the indie underground is steady streaming perhaps the biggest news this year has delivered yet—the release of Remind Me Tomorrow, the fifth full-length studio album release from the folk goddess herself, Sharon Van Etten.

While Van Etten bowed out of the spotlight for a time after 2015`s Are We There Yet, in the four years since her last album Van Etten has graced Netflix super natural thriller The OA, returned to college in pursuit of a psychcology degree, and gave birth to her first child.

But if you really want to know what she’s been up to, she dishes all in her most optimal album to date.

Van Etten’s fans have always regarded her for her atmospheric harmonies and poetically sultry pianos, and the new sound is a sexy as ever. Remind Me Tomorrow delivers all of the elements that hooked fans, with a freshly grated sprinkle of synthesizers and organs that adds a pop feel to songs like “Comeback Kid,” the first single.

Lines like “Yeah I’m the runaway / I’m the hardly stay / Let me slip away,” suggest a once hard-to-pin-down gal might be considering commitment, tying perfectly into the album’s theme. The 39-year-old is clearly comfortably in love, and this album depicts that in a way that’ll make ya want to do a little shimmy in the kitchen in your underwear, while you’re waiting for your bagel bites to cool.

“Jupiter 4” is eerily romantic, proclaiming “our love is for real” and giving listeners all the feels of euphoria felt in the arms of a secure relationship. It’s total “this is going to last a lifetime” vibes.

It awakens your 18-year-old self and inspires memories of creeping softly for a late night bathroom break, in an attempt to not wake your snoring partner. It leaves you aching for THAT all over again. Word on the street is that John Congleton produces this masterpiece, the same genius behind Phases by Angel Olsen, slanging a progressiveness that’s nothing if not stunning.

An open letter to New York City, “Seventeen,” is a sultry dance setup served with a side of Cindi Lauper-like chills. “Downtown hot spot / Halfway up the street / I used to be free / I used to be seventeen” signifies a tunnel back in time, reminiscing of both freedom and growing pains throughout innocent days.

“I see you so uncomfortably alone / I wish I could show you how much you’ve grown,” Van Etten piercingly trills. If life is like riding a train backwards,  so that only what’s behind us is visible, this tracks gives an all-knowing depiction that only a spiritual guru could match.

Remind Me Tomorrow is Sharon Van Ettens most tantalizing album yet, raw yet polished. She gets her grown woman on in a raw and sassy  storytelling mode with relatable insights into where she has been , where she is, and where she is going. Perhaps time has made my heart fonder, but maybe, just maybe, she truly is the ultimate comeback kid.