Release Date: Jul 10, 2015
Record label: Western Vinyl Records
Genre(s): Pop/Rock, Alternative/Indie Rock, Alternative Pop/Rock
It's hard to believe that Glider is only Heather Woods Broderick's second album. The first, From the Ground is now six years old, and remains the only thing she's ever committed to tape using her own name. So, with such a massive gap in-between albums, and on the dreaded 'difficult second album' at that, the stakes are pretty high. Thankfully though, Glider delivers.
Since college, I’ve had a fascination with airports – a fascination that had been roundly criticized by my engineer roommate who, for some reason, was more impressed with airplanes themselves. What’s alluring to me – even when taking a step back at its most frustrating and depressing – is the sense of transience; that, whether it’s waiting in giddy anticipation or stewing in travel-induced aggravation, everyone sitting there shares the reality that they aren’t meant to be in the place they’re in but, ultimately, belong elsewhere. There’s a beauty in movement and, often, it is a melancholy one.
Head here to submit your own review of this album. On July 10th, soulful chanteuse Heather Woods Broderick released her new album, Glider. This LP is an example of dynamics done right. At first listen, the melancholy and piano ballad roots are at the forefront. This is only one layer. Ms. Broderick ….
When Sharon Van Etten launched a tour last year a few weeks before releasing Are We There, her band included Heather Woods Broderick on backing vocals and keyboards. Broderick was a supporting player, but her role was obviously high-profile: in concert, as on the album, her ethereal harmonies sweetened Van Etten’s anguished leads, and their voices blended into a heart-stopping whole. Singing with Van Etten is just one of several gigs for Broderick, who has also worked with Horse Feathers, Efterklang Laura Gibson and Alela Diane.
Heather Woods Broderick’s Glider is for the weary. It’s for those who speculate where the time has gone, who hope someday to put their feet on the floor and feel something real, who feel kept in the dark by the ones they love. The record plays like the musical equivalent of an Andrew Wyeth painting: cold and dreary, rooted in an Americana sensibility that’s completely vague in its specific hardships but crystal clear in conveying the sheer lack of company, light, and happiness.