Natasha Khan, Unadorned

Natasha Khan has always made music that feels like it arrived from somewhere you can’t quite locate—not folk, not art-pop, not goth, but occupying some drafty corridor between all three. Marilyn sits in that same corridor: slow-burning, slightly unnerving, built around a stillness that most contemporary production would rush to fill with something. The ghost of Marilyn Monroe has been pressed into service so many times that naming a song after her is almost a provocation. Khan earns it.