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The WireNov 20, 2019Nelson used to use his voice to give focus to soundscapes; now they are means to express some uneasy feelings about country and relationships in the 21st century. [Dec 2019, p.52]
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MojoNov 7, 2019Beat-less but involving standouts like Memphis Helena, with its plangent lead line intimately tracked by Nelson's hushed hazy intoning, and elegiac, rippling acoustic guitar-propelled Muriel Spark are as inexorable and immersive as a high summer sunset. [Dec 2019, p.92]
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UncutNov 7, 2019A Son tilts slightly more towards conventional song structure, minimising electronics in favour of (mostly) acoustic guitars. [Dec 2019, p.30]
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Nov 7, 2019A Son may be a return to Nelson's roots, but it still fits snugly within his catalog of spacious meditations.
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Nov 7, 2019Both a departure from the expected modern/postmodern/future-possible sound he is usually credited with, but also an arrival at its very beginnings.