About Langhorne Slim:
For more than two decades, Langhorne Slim has been a fearless voice in modern Americana, known for his raw emotion and rule-breaking spirit. On his ninth album, The Dreamin’ Kind, the Nashville-based songwriter plugs in his electric guitar and dives headfirst into big-hearted, 1970s-style rock & roll. Produced by Greta Van Fleet’s Sam F. Kiszka, the record pairs power chords and soaring hooks with the vulnerable storytelling that’s long defined Slim’s work. “It felt like I was blowing some old shit up so I could plant some new flowers,” he says. “I love folk music, but rock & roll tickles the same part of my soul. I wanted to explore that.” The collaboration began after Slim opened for Greta Van Fleet, leading to loose, inspired sessions with Kiszka and drummer Danny Wagner. Together they built songs that move from the propulsive rush of “Rock N Roll” and the swagger of “Haunted Man” to the tender sweep of “Dream Come True” and “Stealin’ Time.” Recorded over a year in Nashville, The Dreamin’ Kind bridges Slim’s rootsy past with a louder, more expansive present. It’s a record of freedom and discovery, equally at home in rock clubs and around campfires—proof that Langhorne Slim, ever the dreamer, still finds new ground to break with every song.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
About Marnie Stern:
It’s been a decade since we last heard from Marnie Stern, but when her guitar bursts in like a shower of stardust on The Comeback Kid, the follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed.
But this is no nostalgia trip. The Comeback Kid is a statement of intent.
“I can’t keep on moving backwards, ” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout The Comeback Kid, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons.
“Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”
“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me, ” says Stern of writing songs for The Comeback Kid.
“I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”
Taking joy in your individuality is the message of The Comeback Kid, as is the realization that making music which truly reflects who you are in all your brightness and your weirdness is quite possibly the key to happiness.
“This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
