There’s something about Nico’s austere approach on this record that is my catnip. I have no idea if I would like this record this much if the songs were the same and the arrangements were more contemporary, but I like the aesthetic so much I don’t care.
I guess this is the logical end of Tim Buckley’s pursuit of jazz – a record that has basically nothing in common with his debut or any of his early music, and which feels really mislabeled if the term “singer songwriter” or “folk” is used.
If you only knew Nico from Chelsea Girl (i.e. you had never heard The Velvet Underground & Nico nor were you aware of her subsequent reputation), I have trouble imagining the shock of this record. It’s a little like what later happened with Scott Walker, albeit not nearly as radical, but it took Nico less …
When we were discussing Will Oldham’s debut (as Palace Brothers) on the podcast a few weeks ago, someone said it reminded them of Smog. So I approached this record with a very different idea than what I had when I first marked it down to listen to (I knew nothing about it).