LANUE "LANUE" ALBUM REVIEW

Duluth’s Sarah Krueger has released her latest incarnation, the self-titled album Lanue. I basked in the rays of Sarah’s radiant voice and thought-provoking lyrics. The melodies blossom with ease and their strange familiarity resemble a beautiful specter.
The album was recorded in her hometown of Eau Claire, WI in two - winter and summer - sessions at the legendary Hive recording studio. Brian Joseph’s engineering and mixing (with the help of Sean Carey) are nothing short of excellent. The sonics are syrupy and melt over the verses.
This album was solely written by Krueger, but the featured musicians effortlessly shine and bring warmth to these songs. It’s an all-star supporting cast consisting of Ben Lester (Field Report) on Pedal Steel Guitar, Steve Garrington (Low) on bass, JT Bates (Taylor Swift) on drums, Ryan Young (Trampled by Turtles) with string arrangements, Erik Koskinen (4ontheFloor, Trampled by Turtles) on guitar and Sean Carey on acoustic and electric guitar as well as other production duties. Everyone weaves through each tune and functions as one breathing entity. The album's ambiance is comforting & the lyrics conjure deep, emotional springs from underground wells.
As soon as the swelling soundscape of the “Wars Intro” starts, it lets you know that this musical outing will swiftly defy any genre or expectations that you may have of alt-rock, folk, or country music. Sarah’s warm, reverb-drenched, vocals transcend over a war-torn battlefield. The sound design is stark and impressive. Its expanding drones perfectly complement while juxtaposing her premonitions. It is an uncertain future faced with a lone prayer.
The second song, “September,” starts with a pedal steel guitar and piano melody that slowly drift into JT Bates drumming with stunning clarity. As soon as Sarah starts singing, I feel my eyes fill with tears. She sings of close escapes and glimmering hopes of another lifetime. The musical moments are frequent and the song crescendos with overwhelming emotion.
“Oil Fields” brings me back to another time and reminds me of forlorn relationships that are not easily abandoned. The refrain of “It's never been easy for our love” echo’s through generations. Sarah reveals her integrity & her character with the loyal determination of the early homesteaders.
One of the album's highlights is “Pull Through.” The intro’s heavenly glow is rich and dense. The rising piano and lyrics would inspire even the most downtrodden listener. It paints a meaningful picture and manages to thrive even after its assumed defeat. “We can pull through the darkness to the other side” is an unlikely anthem and a theme that I found throughout the LP’s sentiments.

The first single and video, “What I love the most,” captures the album's summery aesthetic. It manifests feelings of simple delights and triumphs and also warns about overcomplicating things that we truly cherish. It’s a trouble-free song that alludes to conflicting roles that we all play in our own lives. Its ghostly reassurance is something you might catch out of the corner of your eye and reminds us to relax and be grateful for things that bring us joy.
“July” hosts some of the most intriguing sounds on the album. Its quirky electronic synth revolves and magically wraps around’s Sarah’s performance. Its chorus rises to proclaim its triumph. The lyrics' imagery describes its redemption in lucid color as it reaches the surface.
Returning to some of its earlier roots, “Mississippi,” brings the album back to the river, so to speak. Krueger marries worn paths with the unknown. Its mysterious contorting reflections of the waves urge us to embrace the freedom of the warm breeze. Sarah reminds us that “It could be easy if you let it be” and I felt it.
“Something Sacred” is a modern meditation of sorts. Its blend of traditional and modern techniques is awe-inspiring. The musings are contemplative, sincere, and speak in a heartfelt mystic lullaby. The electronic elements are absolutely lovely and tastefully interlaced throughout this record.
This collection culminates in “Days in the Sun,” a downhome reunion that brings a smile to your face and invites you in for a drink. Reminiscing about our yesteryears and inquiring about lost acquaintances, this song brings me back to a chance meeting of old friends. Sarah sings that she “Wouldn’t want it any other way,” and asks how your mother has been doing. It's small touches like these that stand out and warm your heart.
An album of this caliber only comes out every so often, so I urge you to take some time out to appreciate it in its entirety. I felt that listening to this album gave me the same feeling as doing the right thing. It revealed the hidden meaning of an unspoken truth. Maybe everything will be alright, even in the shadow of what lies ahead.

Melodic Noise: How’s your day going?
Sarah Krueger: It’s been good! Daylight savings has me a little off but other than that, it’s sunny here in Duluth and I can’t complain.

(MN) The pedal steel guitar is a big part of this album. Was that something that you envisioned prior to recording or is that something that happened during the process?
(SK) I’ve known Ben Lester, who played pedal steel on this record, for quite some years. He is from Eau Claire which is where I grew up. I just love the warmth of the pedal steel guitar. I think it adds this beautiful depth and sheen to a song. I wanted the pedal steel on a lot of these songs even though people equate it with the county. Something cool that Ben does is he can play in a way that adds a beautiful texture AND he can play a country pedal steel. I like that he is so versatile in his playing. I had him scheduled like “I need you on this record!”

(MN) I teared up when you began singing “September” and almost broke into an ugly cry, not because I was sad, it was just very emotional. Was that just me – or was I picking up on something that was very deep and transformative to you as well?
(SK) That song comes from a place of both shame and forgiveness. It’s a very human experience that we can all relate to. When I start writing a song sometimes, I go through a process, “I don’t know what this is going to be about,” I don’t have any plans for a song. What started coming out was that just like this feeling that we are all human, and sometimes we need to ask for a little forgiveness and a little grace in these relationships that we have with others. That can pull out a lot of emotions in people, so I don’t think that was just you.

(MN) How did you approach this album differently from the last?
(SK) It had been like 7 years since I had been in the studio, so I felt like I had an opportunity for a fresh start, and I wanted to be more intentional. One thing I really wanted was to record all these songs with the same group of people in the same space because I really love a cohesive record. I wanted that to be the thread between all the songs. We recorded them in two different chunks of time with the same crew in the same space in two different times of the year which brought a different energy to both of those sessions. Another thing that I wanted to be intentional with this record was my delivery with my singing, softening my voice and letting the tender moments come through with my vocal delivery. Brian Joseph, who engineered the record and mixed it, is good at capturing sounds when they are at their quietest and most tender. He is really great at capturing that energy.

(MN) “July” and “Something Sacred” have these amazing electronic elements to them that really add a depth to the songs, and they stick out when I look back. Can you tell me how those parts were incorporated?
(SK) It was something I was open to and when we would sit down and play these songs I would say “I don’t hear the pedal steel on this,” so Ben Lester would pick up a prophet keyboard or a synth or something else and play around with that while we were tracking. Most of that electronic stuff was happening in real-time and that is rare. As it was unfolding, I was like “that is cool.” It kind of added a pulse. I think it makes the album have this interesting peak and depth. Electronic music personally is not something that I do at home, but I knew in these sessions these guys have a unique touch when it comes to adding electronic and synth layers. They add a lot. As an artist it allows me to not peg myself in a certain genre, and I like that. They feel more ethereal and they all work together and that speaks to me. I listen to so many genres of music with so many arrangements. If I can let that come through in a way that feels tasteful and authentic, those songs showcase that.

(MN) Sometimes an album will be mainly influenced by an event in someone’s life. This album seems to encompass a lifetime of experiences. Can you tell me about the specific or general period of your life that influenced this album the most?
(SK) Part of me wants to say it’s my whole life up to this point, but these songs were written in the time of my life where I feel like I’m in a stable place, and I’m in a stable relationship. I’m making decisions like ‘how much time do I put in creative projects” while I was also working on my masters and teaching full time. These songs were written at a time where I have a strong sense of self but also grappling with what it means to still be an artist and make a living. Keeping music and songwriting at the forefront of my life so it comes from a place of adulthood. I’m not young and frolicking around or drifting anymore but I still want music to be a part of my life. Since I quit my teaching job and made this record and released this record, I feel a rekindling with art and I want to keep my creative process at the forefront of my life.

(MN) Will you speak about the Chemistry of the musicians during the sessions at the hive studio?
(SK) One thing that is important was to have a relaxed creative chemistry and space between whoever is working on these songs. Sean Carey and Ben Lester are good friends and have worked together on a lot of projects. Brian Joseph has also worked with them on a lot of projects, JT as well. All these guys can just hang. I just wanted to hang and feel comfortable. For me personally when I can feel a sense of trust in how everyone can gel, then I can feel comfortable bringing things to the table. That’s important to me. I need that comfort level where everyone knows their role, and everyone feels like they can be themselves. That chemistry comes through on the recording. Steve Garrington I know from my years in Duluth. He has played with me for years and my band. He helped a lot with the production. He had never worked with the other guys besides JT but they wound up having a really cool chemistry and now Steve’s working at Hive on his own stuff and with Brian. I just trust those guys. They are so good. They let me come through without stifling my voice and my vision. They are a great support.

(MN) Do you have a favorite memory of playing a show?
(SK) What comes to mind is a Concert series in Duluth at the Glensheen mansion. They do a concert series on the pier. They literally set the band on this pier on Lake Superior. People boat in. There are literally hundreds and hundreds of people on the shores, boating in kayaks, and they are floating on innertubes. The audience is soaking it in. It is such a Duluth experience and I have such a love for this area and the lake. Those concerts really stick out in my mind because it’s special and it’s different than playing in a club or a bar.

(MN) What about this album makes it so accessible to new listeners and people from different walks of life
(SK_ I hope it’s accessible. I think I have a straightforward songwriter style. I gravitate towards a traditional song, like having a chorus repeated twice, having a bridge, having verses. I think that’s an accessible formula and a style. That’s what my parents’ generation gravitated towards. That can draw people in. The textures and arrangements can draw younger people in, there are songs from different genres being pulled in and that is intentional.

MN: What is your plan for the future?
(SK) I’ve had a lot of time to think about this. I want to make recording and releasing music something I do more often without so much thought. There is usually so much anticipation leading up to studio time, and I want that to happen more organically. I already have my feelers out working with some new people. I like that collaboration and trying different things. So, I will be back to recording some new songs within the next couple months. Then I would like to get them out by fall. I feel like I want to keep moving and creating feels good to me right now.

(MN) Is there anyone you want to shout out or thank?
(SK) I am really grateful to have received a grant for some of the recording that was done on this album. As an independent artist that was huge because you are usually paying out of pocket if you are not on a label. So the Arrowhead Regional Arts Council awarded me with a grant to do some of the recording work on these songs. I have to shout them out. I would not have been able to afford to pay all of these wonderful artists to come be on this record. It would have unfolded much more slowly and that would have interrupted the creative trajectory so I would like to acknowledge AROC.

(MN) Where is the best way to find your music and support you?
(SK) If you like the album and these songs, share it with people. That might mean in a conversation or in a text or put it on a playlist. As an independent artist and releasing my first release independently, you feel like your reach can only go so far. I want people to hear the record, it’s just a matter of getting it in their ears. I would love if people dig it that they find ways to share it and get it in other people’s lives.

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Review and interview by: James Adamiak, Writer @RisingPathMusic
Edited by: Eric Martin, Writer/Assistant Editor @eamartin95