Nadler's upcoming release collects tracks left off her previous albums, 2004's Ballads of Living and Dying and the following year's Saga of Mayflower May. Some were released on compilations and others (namely 'Conjuring Spirit Worlds') stand alone as the result of an inspired collaboration between Nadler and Helena Espval on cello, Espers' Greg Weeks on synths and Otto Hauser on drums.

So, Ivy and the Clover a limited release from Eclipse records, stands as a carefully compiled collection of scattered recordings, incredibly deserving of this kind of release. 'The Air Inside My Lungs' works beautifully as most of Nadler's songs do – her amazing guitar work under a beautifully sung story of sorrow can't help but send shivers down your spine. The majority of the raw tracks – recoded with little more than a microphone – continue the moods of Nadler's two albums, however the rough recordings work in their favor – creating a new feeling for Nadler and her music, on top of the now trademark eeriness of her reverb-laden album recordings. Steeping her work even further in the folk tradition, the rawness contributes an organic warmth to stories that are essentially dying and cold (in their nature, not quality!).

However there are hints at complete departure, shown in the Kate Bush-esque exoticism of 'Conjuring Spirit Worlds'. This intriguing song showcases Nadler's prowess and ownership of any music put in front of her. Over discordant and exaggeratedly exotic music, her voice shines, melodic and delicate telling us, 'I used to be your girl, now I sit and conjure spirit worlds'. The brilliant musicianship behind her help to drive the point home, resulting in an uncomfortably mesmerizing and, for Nadler, completely different song. Whether this is the beginning of a departure from her gothic-folk style remains to be seen. However, as a key focal point of the compilation (and the only track from the collection that was originally to be on her forthcoming album) it stands strong and surprising with every listen.

While these songs are nothing new, therein lies the charm of Marissa Nadler and her releases to date. With the ability to sound comfortingly familiar and uncomfortably not of this world at the same time, her songs evoke an old-world sentiment and grief for love lost or love never even received. If you haven't already picked up her first two albums, make this your starting point. Tracing a distinct progression throughout her career thus far, this compilation shows off her fine points and goes far further than you would ever hear on her albums. A must have for any Nadler fan.

Jess Pinney
November 17, 2006