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Over the course of nearly 20 tireless years of writing, recording, and touring, Marissa Nadler has amassed one of the most singular catalogs in contemporary music. Her work glides between delicate folk, windswept Americana, doom metal-adjacent darkness, meditative ambient music, and fearlessly experimental sounds, all anchored in her unmistakable singing voice and finger-style guitar.

Shortly after finishing her Masters degree at the Rhode Island School of Design in Providence, Nadler released her first proper full-length album, the ethereal Ballads of Living and Dying, in2004. Though she was initially associated with the indie-folk movement, Nadler soon distinguished herself with her willingness to go darker and more personal, writing songs that felt deeply intimate with solitude and heartbreak while still retaining an otherworldly sheen. If she was born a century earlier, it’s not a stretch to imagine that her vast talents would be mistaken for conjured magic.

After a decade of releasing records with various labels and on her own, Nadler joined forces with Sacred Bones Records and Bella Union for 2014’s seismic July. That record marked a kind of reset in Nadler’s career, and the sounds she explored there served as a jumping off point for subsequent modern classics like For My Crimes and her collaboration with Stephen Brodsky, Droneflower — both of which she created the cover art for.

The Path of the Clouds is Nadler’s ninth solo album, and it feels like yet another significant evolution. Two decades into a storied career, there’s still an untapped reservoir of thrilling musical ideas and stirring emotions lurking in her endlessly creative mind.

Wend

Wend

Wend began as the solo project of multi-instrumentalist Riley Johnson, with a harp and vocals ran through an array of effects pedals to create a spacious, ethereal psychedelic backdrop. From that starting point it has grown into a full 8 piece ensemble, a combination of a rock band and a string quartet. For this Kin show, WEND will be performing in all its current iterations, from an ambient two piece to a string quartet centric 6 piece to the full 8 person ensemble, with music ranging from collaboratively written psych-prog rock to Johnson’s own emotionally orchestrated compositions, and of course the hypnotic lullabies for which the band is known best. As one YouTube user said, “I feel like I just dropped acid at a Renaissance Fair”