Olsen, Angel

Vinyl Records and Rare LPs:

	Aisles New - LP - JAG412 Sealed 2021 original. Angel Olsen's album "Aisles" is a hauntingly beautiful collection of songs that showcase her powerful voice and poetic lyricism. The album has a dreamy, atmospheric quality that transports the listener to a different world. The standout track on the album is "Safety Dance" which showcases Olsen's incredible vocal range and captures the emotional depth of her lyrics. Other highlights include "New Love Cassette" and "Lark," which are both melancholy and uplifting at the same time. "Aisles" is a collections of covers that Angel Olsen hots the mark as one of the most talented singer-songwriters in the last few years. more
	All Mirrors New - LP - JAG344 Sealed 2019 Original 2LP, Standard Black Vinyl. more
	All Mirrors Used - LP - JAG344 2019 2LP Gatefold Still In Shrink. Includes Poster And Booklet. VG++ Vinyl, Plays Better. This Is A More Full Angel Olsen Record. Produced With 14-piece Orchestra Alongside Guitars, Synths, And A Thundering Low End. Lush Arrangements Adds Texture And Depth To The Singer Songwriters Forging Through Life's Relationships. A Record That Deserves Full Attention. more
	All Mirrors New - LP - JAG344 Sealed 2019 Original 2LP, Standard Black Vinyl. more
	Big Time Colored Vinyl - New - JAG424LP Sealed 2022 2LP Gatefold. Limited Edition Pressing On Opaque Pink Coloured Vinyl. Includes Download. "On The Heels Of The Ambitious All Mirrors, Which Featured A 14-piece Chamber Orchestra, And Its Stripped-down, Solo Companion Album, Whole New Mess, Angel Olsen Headed To The Studio With First-time Collaborator Jonathan Wilson In 2021 To Record Her Sixth Full-length, Big Time, At His Studios In Topanga, California. With Components That Span Brittle Acoustics, Fuzzy Rock Textures, And Swelling Strings, It Revisits Some Of The Mournful Alt-country That Marked Early Albums Like Half Way Home, At Times With A Stronger Mid-century Feel. There's No Solitary Approach To Big Time, However, An Album That Was Written As Olsen Was Coming Out As Queer And Which Reflects On Endings, Regrets, And Loss As Well As Hope, Love, And Acceptance -- If All With A Yearning, Apprehensive Touch. The Track List's Country-heavy First Half Begins With A Drum Intro Followed By A Retro-shaded Arrangement Of Organ, Lap Steel, Concert Bells, And Horns On The Ambling "All The Good Times." Although Olsen's Sleepy, Circular Questioning Defines Much Of This Song, It Reaches Overdriven, Full-band Heights About Two-thirds Of The Way Through, As She Asserts, "So Long, Farewell, This Is The End/and I'll Always Remember You Just Like A Friend." While Tracks Like "Go Home" And "Through The Fires" Also Address Letting Go And The Notion That You Can't Go Home Again (Olsen Also Lost Both Of Her Parents During The Making Of The Album), Many Of The Songs Look To New Beginnings And Learning To Trust. Perhaps The Closest Thing To A Musical Smile On A Restless Set, "Big Time" Matches Lyrics Like "Pull Back The Curtains, Show Me The Sunshine" And "I'm Loving You Big Time" With A Midtempo Seven-piece Led By A Confident Drawl That Makes Use Of Olsen's Multi-breath-way Vocal Technique. At The Other End Of The Spectrum, Wispy Tearjerker "All The Flowers" Amplifies Its Disappointment And Gratitude With Acoustic Guitar, Strings, Piano, And Harpsichord. Somewhere In Between -- Or Triangulating -- Is "Right Now," A Song Whose Plaintive Vibrato And Acoustic Strums Morph Into Full-band Country-rock And Finally A Dark, Buzzy Alt-rock. Rather Than Offering Something For Everyone, Big Time Wrangles Complex, Overwhelming Emotions With A Broad Palette That's Commanded By Its Lyrics And Tormented Vocal Performances." AMG Review By Marcy Donelson. more
	Big Time Used - LP - JAG424LP 2022 2LP Gatefold. Limited Edition Pressing On Opaque Pink Coloured Vinyl. Includes Download. "On The Heels Of The Ambitious All Mirrors, Which Featured A 14-piece Chamber Orchestra, And Its Stripped-down, Solo Companion Album, Whole New Mess, Angel Olsen Headed To The Studio With First-time Collaborator Jonathan Wilson In 2021 To Record Her Sixth Full-length, Big Time, At His Studios In Topanga, California. With Components That Span Brittle Acoustics, Fuzzy Rock Textures, And Swelling Strings, It Revisits Some Of The Mournful Alt-country That Marked Early Albums Like Half Way Home, At Times With A Stronger Mid-century Feel. There's No Solitary Approach To Big Time, However, An Album That Was Written As Olsen Was Coming Out As Queer And Which Reflects On Endings, Regrets, And Loss As Well As Hope, Love, And Acceptance -- If All With A Yearning, Apprehensive Touch. The Track List's Country-heavy First Half Begins With A Drum Intro Followed By A Retro-shaded Arrangement Of Organ, Lap Steel, Concert Bells, And Horns On The Ambling "All The Good Times." Although Olsen's Sleepy, Circular Questioning Defines Much Of This Song, It Reaches Overdriven, Full-band Heights About Two-thirds Of The Way Through, As She Asserts, "So Long, Farewell, This Is The End/and I'll Always Remember You Just Like A Friend." While Tracks Like "Go Home" And "Through The Fires" Also Address Letting Go And The Notion That You Can't Go Home Again (Olsen Also Lost Both Of Her Parents During The Making Of The Album), Many Of The Songs Look To New Beginnings And Learning To Trust. Perhaps The Closest Thing To A Musical Smile On A Restless Set, "Big Time" Matches Lyrics Like "Pull Back The Curtains, Show Me The Sunshine" And "I'm Loving You Big Time" With A Midtempo Seven-piece Led By A Confident Drawl That Makes Use Of Olsen's Multi-breath-way Vocal Technique. At The Other End Of The Spectrum, Wispy Tearjerker "All The Flowers" Amplifies Its Disappointment And Gratitude With Acoustic Guitar, Strings, Piano, And Harpsichord. Somewhere In Between -- Or Triangulating -- Is "Right Now," A Song Whose Plaintive Vibrato And Acoustic Strums Morph Into Full-band Country-rock And Finally A Dark, Buzzy Alt-rock. Rather Than Offering Something For Everyone, Big Time Wrangles Complex, Overwhelming Emotions With A Broad Palette That's Commanded By Its Lyrics And Tormented Vocal Performances." AMG - Marcy Donelson. more
	Half Way Home New - LP - BATHETIC 68 Sealed 2012 Original, With Download. Top Corner Ding. "With Half Way Home, Her First Proper Solo Album Following Some Lesser Ep And Cassette Material, Chicago Songwriter Angel Olsen Constructs A Landscape So Starkly Beautiful It's Surprising She Can Hide Any Of The Emotional Intricacies Of Her Songs In A Sound So Wide Open. Olsen Spent Some Time Collaborating With Bonnie "Prince" Billy On Tour And Singing On His Records As Part Of The Cairo Gang, And While Relating Her Sad-souled Americana Songs To Those Of Bonnie Billy's Wouldn't Be Wrong, That Lazy Comparison Doesn't Really Do Justice To Their Complexity. Half Way Home Is A Collection Of Hidden Moments And Gracefully Wounded Sounds Taking Notes From Decades Of Masterfully Melancholic Artists. The Nostalgic Bounce Of "The Waiting" Filters An Upbeat Indie Folk Arrangement Through A Heavy Roy Orbison Lens, Spotlighting The Deep Loneliness Locked In What Comes Off As A Sprightly Mellow Rocker. Angel Flits Between These Shades Of Classic '50s Icons Like Orbison And Patsy Cline, Echoes Of Joni Mitchell's '70s Free-spirit Wandering, And The More Modernized Approach Shared By Her Indie Contemporaries. On Tracks Like "Can't Wait Until Tomorrow" And "Always Half Strange," She Manages To Run Through All Of These Styles, Building From A Disaffected Deadpan To A Soaring, Yodeling Crescendo. Olsen Keeps The Arrangements Minimal For Much Of The Album, But The More Fleshed-out Numbers Like "Lonely Universe" And "The Sky Opened Up" Have Touches Of '70s Euro-folk, With Understated Percussion, Haunted Vocal Delays, And Mumbling Bass Bringing Out Touches Of Fairport Convention Or Even The Muted Sorrow Of Sibylle Baier. It's The Understatement That Makes Half Way Home Such A Heart-wrenching And Gorgeous Listen. By Album Closer "Tiniest Seed," Olsen Has Laid Out A Transfixing Set Of Tunes That Fold Back Into A Softy Crushing Whole. Bare-bones Harmonies, Restrained Instrumentation, And Olsen's Brilliantly Isolated Musical Persona Result In An Album To Return To Repeatedly, With New Layers Revealing Themselves Each Time." AMG Review By Fred Thomas. more
	My Woman New - LP - JAG284 Sealed, Latest Press Of The 2016 Release. "Following The Acclaimed Burn Your Fire For No Witness And Its Expanded Sound By Two-And-A-Half Years, Idiosyncratic Singer/Songwriter Angel Olsen Broadens Her Palette Even More On LP Four, My Woman. Now With A Long Enough Discography To Note Trends, She's Made A Steady Transformation From Tormented Acoustic Crooner To Veritable Indie Rock Songstress, If One Still Capable Of The Most Intimate Of Deliveries. My Woman Has The Full Range On Display, Including Some Electronics And Extroversion Not Heard From Her Previously, As Dictated By A Loose Story Arc That Follows The Stages Of A Doomed Relationship, All Told From A Woman's Point Of View. The Album Was Recorded Live To Tape With A Five-Piece Backing Band At Vox Studios In Los Angeles. In The Ambivalent Opener, "Intern," Our Heroine Reluctantly Decides To Have One Last Go At Love, Foreshadowing With "Doesn’t Matter Who You Are Or What You Do/Something In The World Will Make A Fool Of You." The Song's Atmospheric Electronics, A First For Olsen, Brace Listeners For That Expanded Palette From The Opening Seconds. A Couple Of Tracks Later Is The Infectious "Shut Up Kiss Me." Also Unlike Any Of Her Prior Material, It's An Aggressive Retro Rocker That Captures Unbridled Passion And Lust ("I Ain't Giving Up Tonight"). Co-Dependency Sets In On "Give It Up," And Insecurity Follows On "Not Gonna Kill You," Both Full-Band, Electric-Guitar Tunes. Arrangements Get Sparer As The Subject Matter Gets More Philosophical And Despondent, Such As On The Artful "Sister," A Dusty, Nearly Eight-Minute Epic That Bargains With The Future. Soon, "Those Were The Days" Wonders "Will You Ever Know The Same Love That I Know?" The Breathy Torch Song Is Devoid Of The Singer's Trademark Heart-aching Yodel, Forgoing Past Country Styling For Low-Key Jazz-Rock. In Stark Contrast To Some Of The Other Songs On The Record, The Closer, "Pops," Is A Solo Piano Dirge That Bookends The Album With Its Somber Opener ("I'll Be The Thing That Lives In The Dream When It's Gone"). While Some Tracks Will Surprise Established Fans, To Say That My Woman Is A Departure Or Style Swap For Olsen Doesn't Really Take Into Account The Album As A Whole. The Elements That Are New Here Play Out Like A Means To An End For A Songwriter With A Tale To Tell, One Chock-Full Of Raw Emotions. The Songs Stand Just Fine On Their Own, Too, Out Of Context. So, Load Up The Playlists, But Consider Giving The Album A Proper Front-To-Back Play Through At Least Once For Old Time's Sake." AMG Review Marcy Donelson. more
	Phases New - LP - JAG314 Sealed 2017 Compilation of Rare Demos, B-Sides & Covers Recorded Over 2012-2017. Includes Download. more
	Whole New Mess New - LP - JAG354 Sealed 2021 Limited Edition Pink Glass Translucent Vinyl, Housed In A Deluxe Gatefold Jacket. "An Album That Close Followers Of Angel Olsen's Career Likely Expected, Whole New Mess Presents Earlier Versions Of Songs From 2019's All Mirrors, From Before They Were Orchestrated For A 14-piece Chamber Ensemble And Re-recorded. At The Time Of All Mirrors' Release, The Singer/songwriter Was Open About Having Originally Conceived It As A Double Album. Far Surpassing The Status Of "Demos Collection," The Fittingly Titled Whole New Mess Is A Spare, Aching Solo Effort -- Olsen's First Since 2012's Half Way Home -- That Completely Recontextualizes Nine Of All Mirrors' Heavy-hearted Songs. Also Resequencing And Altering The Titles Of The Tracks, It Swaps Out The Remaining Two ("Spring" And "Endgame") For Two Originals. It Was Recorded In Late October 2018 With Engineer Michael Harris At The Unknown, A Seaside Catholic Church Turned Recording Studio In Washington State Established By Mount Eerie's Phil Elverum And Producer Nicholas Wilbur. The Resulting Work Is Less Like Gus Van Sant's Nearly Shot-for-shot Update Of Hitchcock's Psycho And More Like If John Cassavetes Had Originally Directed Titanic. The Original Song "Whole New Mess" Opens The Album With A Weary, Howling Rumination About Efforts To Get Back On Track, Set To Rhythmic Strumming. The Character Of The Recording Is As If Someone In The Pews Captured A Miked Singer And Amp Setup At The Altar. The Rest Of The Album Continues In Kind, With Olsen's Dramatically Nuanced Vocal Performances At Least Bordering On Spellbinding Throughout. Appearing Midway Through The Track List, The Other Original Song, "Waving, Smiling," Is A Minimalist Guitar Waltz That Mourns A Forever That Didn't Last. Arguably The Most Devastating Entry Here Is Her Solo "Chance (Forever Love)," A Song Whose Sibling Closed All Mirrors But Which Serves As Whole New Mess' Penultimate Track. Its Leaping Melody And, This Time, Acoustic Arpeggiated Triplets Become More And More Haunted Over The Course Of The Song As The Echo Becomes More Pronounced. Whole New Mess Wraps With The Comparatively Jaunty "What It Is (What It Is)," An All Mirrors Chamber Rock Song That Reveals Itself To Be A Classic Folk-pop Round At Heart. It Leaves Listeners With An Implied Shrug And Lingering Stare. Managing To Be Uniquely Stylized And Engrossing While Stripped Bare, Whole New Mess Not Only Works In Isolation, It Deserves Equal Footing In Olsen's Discography." AllMusic Review By Marcy Donelson. more
	Whole New Mess New - LP - JAG354 Sealed 2021 Limited Edition Pink Glass Translucent Vinyl, Housed In A Deluxe Gatefold Jacket. "An Album That Close Followers Of Angel Olsen's Career Likely Expected, Whole New Mess Presents Earlier Versions Of Songs From 2019's All Mirrors, From Before They Were Orchestrated For A 14-piece Chamber Ensemble And Re-recorded. At The Time Of All Mirrors' Release, The Singer/songwriter Was Open About Having Originally Conceived It As A Double Album. Far Surpassing The Status Of "Demos Collection," The Fittingly Titled Whole New Mess Is A Spare, Aching Solo Effort -- Olsen's First Since 2012's Half Way Home -- That Completely Recontextualizes Nine Of All Mirrors' Heavy-hearted Songs. Also Resequencing And Altering The Titles Of The Tracks, It Swaps Out The Remaining Two ("Spring" And "Endgame") For Two Originals. It Was Recorded In Late October 2018 With Engineer Michael Harris At The Unknown, A Seaside Catholic Church Turned Recording Studio In Washington State Established By Mount Eerie's Phil Elverum And Producer Nicholas Wilbur. The Resulting Work Is Less Like Gus Van Sant's Nearly Shot-for-shot Update Of Hitchcock's Psycho And More Like If John Cassavetes Had Originally Directed Titanic. The Original Song "Whole New Mess" Opens The Album With A Weary, Howling Rumination About Efforts To Get Back On Track, Set To Rhythmic Strumming. The Character Of The Recording Is As If Someone In The Pews Captured A Miked Singer And Amp Setup At The Altar. The Rest Of The Album Continues In Kind, With Olsen's Dramatically Nuanced Vocal Performances At Least Bordering On Spellbinding Throughout. Appearing Midway Through The Track List, The Other Original Song, "Waving, Smiling," Is A Minimalist Guitar Waltz That Mourns A Forever That Didn't Last. Arguably The Most Devastating Entry Here Is Her Solo "Chance (Forever Love)," A Song Whose Sibling Closed All Mirrors But Which Serves As Whole New Mess' Penultimate Track. Its Leaping Melody And, This Time, Acoustic Arpeggiated Triplets Become More And More Haunted Over The Course Of The Song As The Echo Becomes More Pronounced. Whole New Mess Wraps With The Comparatively Jaunty "What It Is (What It Is)," An All Mirrors Chamber Rock Song That Reveals Itself To Be A Classic Folk-pop Round At Heart. It Leaves Listeners With An Implied Shrug And Lingering Stare. Managing To Be Uniquely Stylized And Engrossing While Stripped Bare, Whole New Mess Not Only Works In Isolation, It Deserves Equal Footing In Olsen's Discography." AllMusic Review By Marcy Donelson. more