From the off, Sharon Van Etten & The Attachment Theory is sonically different from Van Etten’s previous work. Writing and recording in total collaboration with her band for the first time, Van Etten finds the freedom that comes by letting go – letting go of her normal modus operandi or the need for control or attachment to the outcome. No safety net. It’s somewhat terrifying, but also liberating. The result of that liberation is an exhilarating new dimension of sound and songwriting. The themes are timeless, classic Sharon – life and living, love and being loved – but the sounds are new, wholly realized and sharp as glass.

This new approach–releasing music under this new moniker–began with inviting her bandmates into the creative process. Rehearsing in the desert for an upcoming tour, Van Etten describes an epiphany: “For the first time in my life I asked the band if we could just jam. Words that have never come out of my mouth – ever! But I loved all the sounds we were getting. I was curious - what would happen?” Magic, apparently. “In an hour,” she says, “we wrote two songs that ended up becoming ‘I Can’t Imagine’ and ‘Southern Life’.”

A stark and dark doom synth sequence opens the album and lead song “Live Forever”. A crack of sharp, electronic white noise propels the track with a frenetic urgency, as Van Etten asks the question that we all have to answer eventually:

“Who wants to live forever?
It doesn’t matter.
It doesn’t matter...”

This type of wisdom didn’t always come easy for Van Etten. She has been an artist in control of her powers for many years; but now, working in lockstep with this band, that wisdom permeates in new ways. “Afterlife” is a case in point: popcorn synths mesmerize as they dance around the words and melody. Despite the subject matter (will those we love still be with us when our lives end?), or maybe because of it, it’s elevated by The Attachment Theory’s new sound. The music is sweetly cascading, almost euphoric.

“Somethin' Ain’t Right” is both moody and contagiously danceable, powered by sequenced synth from keyboardist/vocalist Teeny Lieberson, an ostinato that weaves together the whole track into a cohesive whole. “Fading Beauty” begins with a barely audible musical motif before Van Etten’s voice creeps in like smoke. Here, Van Etten deepens the discourse that animates so much of her catalog, exploring what it is to be simply human. This is her genius – oblique, but also relevant and personal.

The foundation of The Attachment Theory is Jorge Balbi on drums, as Van Etten says, “Jorge has really beautiful feel, he can stay behind the beat. So, he's got that sensitivity... He’s open to exploring different kinds of technology, which I'm still learning about myself.” Van Etten describes bassist Devra Hoff as “very sensitive to melodies. I was so excited to play with a bass player that was driving and melodic,” she says, “and very sensitive to the songwriting.”

The trio was completed by Teeny Lieberson on keys/vocals. “It's a very spiritual thing,” explains Van Etten, “to sing harmonies with somebody and just sing together in general. Her sense of harmony is incredible. All the textures that I wouldn't intuitively use. I haven't had that in a really long time.” Lieberson continues, "it is rare for me to feel completely at ease in the studio, especially coming from working mostly with male producers. I believe this is one of the few times I’ve felt encouraged and completely free in my creativity."

Producer Marta Salogni (Bjork, Bon Iver, Animal Collective, Mica Levi) added another vital element, as both a connector and a producer renowned for her skills with synthesizers and electronics. “Her love of synths and sense of adventure was a huge draw to me. Her predilection for tapes and analog instruments was super exciting.” Salogni also proved adept at balancing the group, “facilitating many different personalities, fielding ideas from the different perspectives and making sense of the collective thoughts,” Van Etten continues. “I wanted to ensure the band that I would find a producer who would embrace the darkness and the unique sounds we had honed in the writing process.”

While it was conceived in the desert, the album’s recording took place in London. Here, the band’s mystical mix of electronics and analog textures found a perfect match at Eurythmics’ former studio, The Church.

Reflecting on this new artistic frame of mind, Van Etten muses, “Sometimes it's exciting, sometimes it's scary, sometimes you feel stuck. It's like every day feels a little different – just being at peace with whatever you're feeling and whoever you are and how you relate to people in that moment. If I can just keep a sense of openness while knowing that my feelings change every day, that is all I can do right now. That and try to be the best person I can be while letting other people be who they are and not taking it personally and just being. I'm not there, but I'm trying to be there every day.”

Sharon Van Etten & The Attachment Theory is a quantum leap in that direction.