Over the course of nearly 20 tireless years of writing, recording, and touring, MarissaNadler has amassed one of the most singular catalogs in contemporary music. Herwork glides between delicate folk, windswept Americana, doom metal-adjacentdarkness, meditative ambient music, and fearlessly experimental sounds, all anchoredin her unmistakable singing voice and finger-style guitar. Shortly after finishing her Masters degree at the Rhode Island School of Design inProvidence, Nadler released her first proper full-length album, the ethereal Ballads ofLiving and Dying, in2004. Though she was initially associated with the indie-folkmovement, Nadler soon distinguished herself with her willingness to go darker andmore personal, writing songs that felt deeply intimate with solitude and heartbreak whilestill retaining an otherworldly sheen. If she was born a century earlier, it’s not a stretchto 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 joinedforces with Sacred Bones Records and Bella Union for 2014’s seismic July. That recordmarked a kind of reset in Nadler’s career, and the sounds she explored there served asa jumping off point for subsequent modern classics like For My Crimes and hercollaboration with Stephen Brodsky, Droneflower — both of which she created the coverart for. The Path of the Clouds is Nadler’s ninth solo album, and it feels like yet anothersignificant evolution. Two decades into a storied career, there’s still an untappedreservoir of thrilling musical ideas and stirring emotions lurking in her endlessly creativemind

Since relocating from Kansas City in 2017, Scout has become a fixture in Brooklyn’s music scene, playing in multiple live bands and even starting her own booking company to organize local shows. Her intrepid nature was born of necessity; the product of a childhood spent running barefoot through rural Missouri and a coming of age in Kansas City’s punk scene.