Artist: Elsdeer Album: Namara Genre: Alternative Pop, Indie, Folk Release Date: February 29th, 2024

Elsdeer, the moniker of German-Romanian songwriter Denise Dombrowski, is poised to become a household name in the indie pop scene, hailing from the vibrant music hub of Berlin. Their debut album, ‘Namara’, scheduled to release on February 29th, 2024, promises to be a game-changer, showcasing Elsdeer’s mastery in seamlessly blending genres, resulting in a kaleidoscopic richness that is both ethereal and utterly unique.

This album is the whole package. In an industry often dominated by singles, ‘Namara’ stands out as a cohesive and meaningful listening experience from start to finish. It’s an album that is truly worth listening to all the way through. It’s a testament to the talent and passion of its creators, showcasing proficiency in songwriting, performance, and mixing. The artists behind this project are clearly dedicated and excited about their craft, and it shines through in every aspect of the album.

Album art can be crucial in shaping our perception of an album. We’ve all experienced listening to a song and then glancing at the cover to get a sense of the artist’s vision, only to feel disappointed when the visuals don’t quite match the music’s vibe. It’s a letdown that can dampen the listening experience. ‘Namara’ flips this scenario on its head. As I listened to the album, I found myself drawn to the album cover, envisioning the world from which the music emanates. The visuals perfectly complement the sounds, creating a seamless connection between what we hear and what we see. Before delving further, I highly recommend taking a moment to appreciate the album art; it sets the stage for the auditory journey that awaits.

The intro track, ‘Metal, Wood, Fire, Earth’ could be a track off of a more experimental BADBADNOTGOOD album. It’s a kaleidoscope of sound and texture with instruments careening around the soundscape, everything just barely being held together by the beat. It’s an announcement: this is what we’re working with. These are the musicians. These are the textures. “We’re good at what we do.” The track grabs your attention immediately then dives head-first into slow, heart-tugging indie-folk, (some of the best I’ve heard in some time) with the second track, ‘Ten Years Time.’ The range between just the first two songs is astounding. ‘Ten Years Time’ is a slow walk through the rain. The guitars are Pinegrove, the banjos are Sufjan Stevens, the vocals are Adrianne Lenker of Big Thief. Her influences are laid clear, and yet it maintains a completely original feel, and even manages to be greater than the sum of its parts. She reflects: “[it’s been 10 years] since I called your name… since I wore that dress.” It’s a pure and moving wave of nostalgia, and it’s as painful as it is beautiful.

“Adrian” takes us on a journey into the realm of relaxed, clean tones synonymous with chorus-guitar-led indie music a la Mac DeMarco. Once again, the artist demonstrates her versatility. The track is irresistibly catchy and straightforward, delivering an absolute dopamine hit. It’s the kind of song that feels right at home whether you’re hosting a summer barbecue or taking a leisurely stroll through the park. With its infectious refrain of “It goes on and on and on and on,” it embeds itself in your mind, refusing to fade away – and you won’t mind one bit. “The Devil I Know” continues in a similar vein, blending elements of modern folk-pop with echoes of artists like Of Monsters and Men and Oh Wonder. There’s a certain familiarity to it, somewhere in its DNA is an early Coldplay tune, yet it’s not mere imitation; it’s a fusion of inspirations resulting in something entirely new. As Picasso famously said, “good artists borrow, great artists steal.” This track exemplifies the art of blending influences to create a distinctive and memorable sound.

“Mimicry” maintains a steady pace, evoking the ambiance of a dimly lit cabin in the evening. It serves not as a finale, but rather as a poignant “goodbye and farewell.” Interestingly, the title serves as a fitting synecdoche for the entire album. In a collection that openly acknowledges its inspirations, mimicry is inevitable. However, as I mentioned earlier, borrowing from existing artistry is often a hallmark of good art. While I hesitate to label Elsdeer as unoriginal – it’s undeniably unique – the album encapsulates the essence of artistic inspiration. It blends elements of familiarity with innovative perspectives, resulting in a creation that feels both fresh and deeply rooted in the artist’s own vision.

This is an album with a presence that’s felt after it ends. When it turns off, the room doesn’t feel quite as warm anymore, and the play button on the first song looks very tempting. ‘Namara’ leaves an indelible mark, lingering in the air like a fond memory. Its melodies continue to echo in your mind long after the final track fades away. With each listen, it reveals new layers of depth and emotion, inviting you to immerse yourself in its captivating world once again. In a world filled with fleeting distractions, ‘Namara’ stands as a testament to the enduring power of music to touch our souls and enrich our lives. It’s an album that leaves you longing for more, eagerly anticipating the next chapter in this musical journey.

As Elsdeer gears up for an exhilarating full-band tour across Western Europe in March 2024, fans can expect spellbinding performances that bring the shimmering guitars and lush arrangements of ‘Namara’ to life on stage. For those who appreciate raw emotion and intricate storytelling reminiscent of Adrianne Lenker, Sufjan Stevens, and Aldous Harding, Elsdeer’s music is a treat not to be missed.

Check out their socials: Spotify, Soundcloud, Bandcamp, Youtube, Instagram

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'Adrian' and other tracks featured this month can be streamed on the updating DA DA DA - Best New Music

We discovered this release via MusoSoup, as part of the artist’s promotional campaign.