Eve Maret Credit: Rian Archer

When asked by online magazine Earhart whether she’s a musician or a performance artist, Nashville multi-instrumentalist and composer Eve Maret described herself as “a spiritual being that seeks to know herself and the divine within-without her through creative acts.” If that sounds like a quote from the liner notes of a new age album, well, you’re not totally off the mark. Maret’s latest album, 2018’s No More Running (Banana Tapes) is an exercise in spaced-out 80s retro electronica; its heady frequencies transmit the bright uplift of starry-eyed seekers of generations past, including innovative composers Vangelis, Beverly Glenn-Copeland, and Pauline Anna Strom. “Sound of Space Between” makes copious use of synth shimmer as the composition builds and dissolves into ambience around Maret’s heavily processed vocals. “I Can’t Hear What U Don’t Say” is sweet techno disco for gyrating flesh computers, “No More Running” slips between odd grinding noises and soaring tones that culminate in a cascade of thereminlike swoops. “Many Moons” is perhaps the album’s most affecting track; Maret’s voice, rising out of a crystalline multitracked chorus, almost seems to come apart as she sings “Everyone I love will change.” It’s not a lament so much as a prayer for a future in which we all get to shift into new cyborg bodies made of vacuum tubes and light.   v