How beautiful to lose in the mysterious pop of Tomberlin | Rolling Stone Italy

It’s not that long ago that Sarah Beth Tomberlin lives in New York, it’s eppure sowing that she’s always been. The artist, who is known by the art name Tomberlin, has a Honda Civic that she wears patches next to her apartment in Brooklyn. She prefers to turn the quarter on foot, doing if 15 or even 20 chilometri al giorno with the music in cuffia.

“Sono super soddisfatta”, says the singer, 26 years old, born in Florida and raised through Kentucky and Illinois. “Il che è assurdo, abitare qui non era nei miei piani”.

Per Tomberlin ci sono state un sacco di prime volte a New York. She performed at one of the first concerts at the Union Pool in Brooklyn, it was August 2018 and she celebrated her debut At Weddings. When she was 19 years old, she had drunk for the prima volta qualcosa di alcoholic (she didn’t have a chiesto i documenti), an IPA amara beer (“she was disgusting”, she had said agli amici about her, “seven tutti dei disturbati! »). Ella ed è qui, in a caffetteria in Williamsburg, she impegnata nella her prima interview di persona, fissata per parlare del novo album I Don’t Know Who Needs to Hear This

He has the look of a young Rickie Lee Jones, more in a ’90s version, with capelli lunghi caramello fissati with a spilla and the plush with cappuccio under the giacca di jeans. She is shy by nature – conseguenza, forse, dell’aver compiuto gli studi a casa, in a battista family – but in the course of the conversation she reveals a pungent sense of humor.

I Don’t Know Who Needs to Hear This… It is an album of riflessioni sentimentali, a raccolta of folk songs with dense instrumentation and arranging that portano and pezzi oltre and five minutes of duration. Quello che apre l’album, Easy, arrive at six. Accompagnate da piano e clarinetto, in the text Tomberlin describes the rule that she all by herself assumes in a relationship: “Rest always in silence / In a cantuccio / Nessun desiderio da esprimere / e nego me stessa”.

“È un mio schema ricorrente”, he says while drinking a cappuccino. «I am so understanding that I finisco per annullarmi».

Questa consapevolezza returns in Tap, dove c’è a verse that in a certain sense spiega l’entiro disc: “I am not a singer / I am just a colpevole person”. Tomberlin ribalta la classica prospettiva dei cantautori, a bit like Mitski, where the author is usually the protagonist of a fish. «È facile mettersi dalla part della ragione e dire che non sei tu ad aver incasinato tutto. Gli artisti, compress me, hanno la colpa d’incolpare gli altri. I’m always close to having it in mind. Abbiamo tutti un qualche problema».

The strong fish of the disc is Sunstruck, an impressive brano who talked about a relationship with an alcoholic. “Non verrà niente di buono da un bicchiere que si riempie all’infinito”, sings Tomberlin with a resolute voice and accompanied by fluttuanti percussion.

“I have written that the fish gives the prospect of a serious relationship, of the type “I do see when I do see”, because I know that the person was sober from three months. Ho riconsiderato the storia in a different way, thanks to the fact that I read the messa alle spalle».

Tomberlin says that the chiusura della canzone, “Ci siamo lasciati alle spalle un po’ di dolore / Per avere un po’ di magic”, non parla della relazione, ma di lei: «La magic siamo noi che lavoriamo su noi stessi, che proviamo a trovare a little di pace e understanding».

Tomberlin has co-produced I Don’t Know Who Needs to Hear This… with Phil Weinrobe, I noted for seeing the love of the soloist of Adrianne Lenker and Buck Meek of the Big Thief. The album is registered live at Figure8 in Brooklyn, with plenty of sovraincisioni and senza cuffie, only Tomberlin and his band that suonavano in cerchio. He entered for the first time in a recording studio and it was also his first experience with musicisti ingaggiati per suonare le sue cose de him. «Phil diceva: suoniamo piano e guardianoci», Ricorda he. «I sound cresciuta singing and playing in chiesa, he has remembered me that the type of community».

That community has deep roots in her family. When she was 4 years old, her father was a deputy parish priest in a Christian church. Tomberlin has poi messo in discussione la fede. «Ti raccontano quella storia e tu pensi: “Ma sono stata io? Ho messo io Gesù sulla croce? Obviously my dispiace, non voglio andare all’inferno”. This is tough, but religion was for me the only way to build an identity».

Pray, dopo cinque anni di musica, i genitori ne approvano le scelte, ma non è stato facile. “The people of the chiesa di papà leggeva gli articoli su di me e gli diceva: “No so mica se devi essere orgoglioso di lei, who says that she is not a Christian”. She is hard per parrot. Io non capivo fine in bottom of the situation. Parlavo coi giornalisti come avrei fatto con gli amici e loro se ne sono decidedly approfittati».

Da bambina Tomberlin non poteva ascoltare molta musica e now fa del suo meglio per recuperare. “Per una vita sono stata un passo indietro”, she says riding her. «Ho mancato alcuni momenti chiave della cultura pop. Say Britney I know only three songs.

His mother, but, if she was the assistant of farle scoprire i Carpenters and lei è rimasta colpita da Karen Carpenter. “L’ho vista alla batteria e ho pensato: ma è assurdo”, ricorda she. «Ho due sorelle, even my mother sings, we always face it at home, we play with the harmony».

The teenager has reached Bright Eyes, Dashboard Confessional and Postal Service. Il suo primo concerto de him è estato quello degli Arcade Fire, in the year of his seventeenth birthday. She has also hired the band, who has written “happy birthday” to her, a neighborhood neighbor with her autograph. «È stato un primo concerto pazzesco, non riuscivo a smettere di gridare».

At Weddings It is the first convincing thing that he has written. She has published her bandcamp In a period when he worked in a caffetteria di Louisville. Non c’è voluto molto prima che Saddle Creek, un’etichetta che conosceva grazie alla passione per i Bright Eyes, bussasse alla sua porta de el. «Ho ricevuto la loro e-mail e pensavo fosse uno scherzo. When did I come to find myself nearby to convince me not to turn on: ma seven sicuri? Manco so leggere the music!».

Il successo è arrivato in fretta. Little dopo l’uscita ufficiale di At Weddings, Tomberlin lavorava da Urban Outfitters and has received another message: it was stata scelta per suonare nel late show di Jimmy Kimmel. “Avevo la sindrome dell’impostore,” she says. “Ero scioccata, eat tutti. C’era people who say: ma chi è? He è imposta dall’industria record? Absolutely not.”

È in this period that is diventata amica di Busy Philipps. L’attrice aveva iniziato to follow her Instagram. «Non scrivo mai in private alle persone, ma sono una super fan di Freaks and Geeks and dovevo farlo. I wrote something like: hey, I’m assurdo, I’m not going to say… I hope your aunt is having a beautiful holiday».

That year, while on tour with Andy Shauf, she brought Philipps and her husband Marc Silverstein to Los Angeles. When she is in 2019, she is transferred to the city, she is going to live with the coppia and her due to her, in her stanza degli ospiti. Philipps has also diretto il video di Wasteda brano dall’EP of 2020 projections.

“Busy has started davvero giovane, he has worked hard,” says Tomberlin. «She Sa thing she vuol dire fare tutto da sola. One day she has told me: I had to have the material for the stamp. I am pleased with her friendship with her ».

As of September 2020, While the fire in the West Coast invaded the aria, the Phillips family has affittato a house in Manhattan and Tomberlin if it is spostata with parrot. A maggio she has resolved the permanent thing by setting up an apartment of hers tutto her to Brooklyn. Ma invece di vivere sua new independence of her with Gioia, she has seen that period with pain.

«Piangevo ogni giorno, I feel a great weight sulle spalle. Prima vivevo con un famiglia ed ero a bit eat a tata. My ero finally transferred in a post tutto mio e mi sentivo solo. Pensavo: you are tenuta inside a sacco di cose, now there is finally one spazio per vivere i tuoi sentimenti».

Per Tomberlin quello spazio è un altar, ma di a different type rispetto a quelli che vedeva da bambina. «I was a bit like a strega, avevo il mio spazio e accendevo candele. Devi ricordare di averle access e ache di spegnerle, ed è a powerful gesture. In a certain sense, this album comes from quell’altare».

L’ultima traccia in scaletta, the title track styled with the acronym idkwntht, perfectly presents this sacral space. She is a dreaming baby girl with Felix Walworth ai cori. She is born as a meditation, an optimistic addition.

“The pandemic has created a false sense of online community,” he spiega. “People shared the photo of the pane che aveva cucinato e così via, ma la verità è che provavamo tutti una gran solitudine e non volevamo restare solo con noi stessi. That song is in my way to reach out. Non so dove stiamo walking, ma posso farvi rialzare e portarvi dove sono arrivata io. I am seduta qui e osservo».

This article is tradotto da Rolling Stone US.

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How beautiful to lose in the mysterious pop of Tomberlin | Rolling Stone Italy


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