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[th]【快乐分享055】一张专辑:There's No Leaving Now Tallest Man on Earth

littleflute 漂泊者乐园 2021-10-06

 


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There's No Leaving Now

Tallest Man on Earth

Music CD - 2012


 

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Authors:Tallest Man on Earth

Title:There's no leaving now
[sound recording]

Publisher:Bloomington, IN : Dead Oceans, p2012.

Characteristics:1 sound disc : digital ; 4 3/4 in.

Contents:To just grow away
Revelation blues
Leading me now
1904
Bright lanterns
There's no leaving me now
Wind and walls
Little brother
Criminals
On every page.

Alternative Title:There is no leaving now

Branch Call Number:P

Statement of Responsibility:The Tallest Man on Earth

Credits:Kristian Hollingby Matsson, producer.

Performers:Tallest Man on Earth.

Subject Headings:Rock music 2011-2020. Folk-rock music.

Topical Term:Rock music
Folk-rock music.

Publisher No:DOC068 Dead Oceans

The Tallest Man on Earth has carved out his own little niche of winsome and slightly raspy folk-indie-pop over the years of the 21st century, so little wonder that There's No Leaving Now continues that approach well enough. He's a bit of an acquired taste, not unattractive, but still a touch one-note, so There's No Leaving Now succeeds best when he breaks out of that mode of one enjoyable enough ingredient constantly reused, or at least tempers it more thoroughly than at other times. The brisk speed and sense of soft mournfulness mixed with empathy on songs like "Revelation Blues" set his expected mode as ever, while also allowing for such good lines as "Sometimes it's just roses dying too young." The middle of the album provides the necessary shift in variety, with the title track -- the first on the album to be led by piano instead of guitar -- being one of the best, his voice's intrinsically "son of Richard Ashcroft" quality turning out to be just what was needed. The other key is at least a little twist on the instrumentation, thus the lead acoustic instead of electric on "1904" and "Wind and Walls" and the mike-in-a-room feeling of "Bright Lanterns," which helps foreground his performance and his lyric in a way that other approaches can sometimes obscure. ~ Ned Raggett



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