Highlights: To Just Grow Away, 1904, Criminals
I’m not saying that with
a voice less whiny he (Sweden’s Kristian Matsson) could be the next Nick Drake,
but there’s definitely an intriguing, timeless element to this music, best heard
in those contemporary, if old-fashioned, folk melodies or the gorgeous guitar
playing. On occasion. On occasion it is every bit as tedious and annoying as
your Bon Iver record.
That voice. It’s as if that voice has become
an inevitable part of indie-ing up folk music. Nothing you can’t get used to,
of course, and once you do, there’s no stopping you from appreciating much of
this stuff. Particularly on the first half of the album, when his indie update
of Dylan doesn’t get too grating. “1904” being a mysterious, classic-sounding ballad.
Then Kristian switches to piano on the endless title track (only four and a
half minutes in fact, but they just wouldn’t end), and it all starts falling
apart. There’s no reason why anyone would want to sit through spineless tracks
like “Little Brother” or the closing “On Every Page” that lack any edge.
Speaking of side B, the fluid, fingerpicked “Criminals” is a successful
impersonation of an early Dylan song, but that’s about it.
Overall, There’s No Leaving Now is a listen both
brilliant and frustrating. The most frustrating thing being that this stuff
could have been so much better. The guy obviously has talent, but I can’t see
myself giving this more than a high 6, low 7.
6/10
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