Sharon Van Etten takes a creative risk with her debut full-band album ‘Sharon Van Etten & The Attachment Theory,’ a project that may have ties to the TV series ‘Seinfeld.’
In a recent interview with The New Yorker, Van Etten discussed the album (set to release on Feb. 7 via Jagjaguwar), which is a follow-up to her 2022 release, We’ve Been Going About This All Wrong. This new album is crafted with the complete collaboration of her band. Van Etten shared that ‘Seinfeld’ has been a constant presence in her life since childhood and is even her son's favorite show.
Further exploration of her work reveals that her 2022 song “Mistakes” includes the line “I dance like Elaine,” which nods to Elaine Benes’ famously awkward dance moves from the ‘Seinfeld’ episode titled “The Little Kicks.” When a fellow fan pointed this out online, Van Etten acknowledged it, stating, “Ha ha! Thanks for noticing. ‘Seinfeld’ definitely still brings me great comfort after all these years. Elaine Benes has always been my favorite character.”
I couldn't help but wonder if The Attachment Theory provided an opportunity for Van Etten to conceptually elaborate on her affection for ‘Seinfeld.’ It piqued my curiosity, after all!
Her enthusiasm for ‘Seinfeld’ endears her to me, while likely enriching the warm and comforting quality I perceive in her vocals, especially as they emerge from the rhythmic pulse of the album's opening notes.
It is fitting that The Attachment Theory was recorded at the former studio of Eurythmics, as the surreal quality of “Live Forever” is complemented by Van Etten’s shimmering vocals layered with echo. When she asks, “Who wants to live forever?” it could be interpreted as both a question and a rallying call. The album is produced by Marta Salogni, known for her work with Björk, whose avant-garde beats are engaging, although it’s the clever, teasing bass work by Devra Hoff that maintains my attention throughout this record.
Sharon Van Etten & The Attachment Theory features: Sharon Van Etten (Lead Vocals, Guitar), Jorge Balbi (Drums, Machines), Devra Hoff (Bass, Vocals), and Teeny Lieberson (Synth, Piano, Guitar, Vocals) © Devin Oktar Yalkin.
The new band configuration feels genuine, if not immediately apparent, from the outset. Like a Stanley Kubrick film, I’m willing to trust the visionary even as I ponder, “What is happening here?” As for the opening tracks, I find myself settles in as Van Etten's voice peaks at 2:16, transitioning from artificial snare sounds to a human drummer.
I’m reminded of Aimee Mann’s distinctive quirkiness, which is notable since I often turn to Mann for that quality. However, Van Etten injects a touch of rock star energy that elevates this moment.
I appreciate when an album starts with a bang; it demands attention and places the listener where it believes they should be to fully appreciate the work. Whether to turn it up or turn it off is a clear choice.
Singles often play it safe. Artists approach their fanbase with new material, fully aware of the scrutiny awaiting them. “Afterlife,” the album's first single, is emblematic of this trend—its solid groove fails to deliver the gripping impact of The Attachment Theory’s impressive opener.
“Idiot Box” clearly comments on the iconic ‘Seinfeld’ episode featuring The Soup Nazi. When Van Etten croons “All that skin against the glass,” it's a direct allusion to the infamous character at his serving station. We all feel a wave of anxiety when Elaine taps on the counter, and Van Etten adeptly captures that sensation of tension in this track, setting a professional tone for the album ahead.
Everyone on the idiot box
Come on outside let me hear those thoughts
Call me out with the blue light eyes
Nervous, tired, desensitized.
Let it go.
“Let’s go!”
All that skin against the glass
All that skin against the glass
All these things we think we lack
All this time we can’t get back.
“Trouble” showcases patience, allowing bassist Hoff to lay a foundation as Van Etten’s ethereal vocals create a misty ambiance that doesn’t turn to stormy weather—no umbrella needed!
The band likely nods to the renowned ‘Seinfeld’ episode “The Chinese Restaurant,” where characters endure a lengthy wait for a table. That legendary TV segment breezes through its 22-minute runtime, mirroring the sound of “Trouble” which feels equally effortless, despite its quieter tone.
“Indio” offers the album’s first track under four minutes, providing a quick burst of energy amidst the lengthier pieces
Guiding the audience into the darkness, Rare DM’s latest single “The Ring” skillfully merges coldwave, minimal techno, and electroclash, creating a haunting piece that resonates even after the last note has disappeared.
"We tend to become bored with things fairly quickly," notes Squid’s Laurie Nankivell around three minutes into our discussion. Was it something we mentioned? Not really.
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Sharon Van Etten embraces an artistic gamble that proves successful with her first full-band album ‘Sharon Van Etten & The Attachment Theory,’ an album that might relate to the TV series ‘Seinfeld.’