Heather is Sharon Van Etten’s longtime collaborator and band member. Since the release of her last album Heather has toured with Alela Diane and Lisa Hannigan, and has opened twice for The War On Drugs. Invitation features vocals and synth contributions from Peter Broderick. RIYL: Sharon Van Etten, Weyes Blood, Marissa Nadler, Julianna Barwick, Julia Holter. Invitation was conceived on the Oregon coast, an outlier among American landscapes, where vast stretches of empty beach are decorated with silver driftwood and towering pines. It is here among the dunes, tide pools and colossal rock formations that Heather spent her childhood summer day-trips. And it is here that she returned as an adult to construct her newest LP, an album of dreamy baroque-pop that swells and whispers with grand string arrangements, intimately descriptive lyrics, and impassioned songcraft built around earnest piano melodies, painting a lifelike picture of the locale in which it was written. In the years between her early youth and the creation of Invitation, Heather has played in Efterklang, Horse Feathers, the live bands of Laura Gibson, Lisa Hannigan, and Damien Jurado, and has also been a longtime collaborator and bandmate to Sharon Van Etten. But while this list may seem enviable for an aspiring young musician, any experienced player will know that the life of a touring musician comes with its own sacrifices. Lasting relationships and financial certainty can be tenuous, as can mental stability itself. Feeling this first hand, Heather traded her usual launchpad of Brooklyn for the sleepy town of Pacific City where she would quietly take a job cleaning houses for a cast of local eccentrics, sitting down at the piano in the off-hours to unpack the personal tragedies and triumphs of the intervening decades since her first trips there. Throughout Invitation, floral tendrils of sound design and dynamic strings decorate the edges of each track, propelling the album beyond mere singer-songwriter fare into something altogether more grand and immersive in scope. And somehow still, the album maintains a humble quality throughout. It’s not about the epic and beautiful physical features of the Pacific northwest seaside that first stirred Heather Woods Broderick as a child. It’s about how the stillness of such settings can unearth the disquiet often buried by the infinite distractions of a life without pause.

“It is ethereal and perfect. I just madly love this record.” Bob Boilen, NPR MUSIC

“…exquisitely beautiful.” MOJO

“…so beautiful…Stunning.”The Sunday Times

“…this could be our record of the year.” DROWNED IN SOUND

“…a swooning, whispering delight, impressive…” THE LINE OF BEST FIT