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A deeply poetic record.
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The record is no departure, but when the form is this strong one isn’t needed.
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A quintessential collection of the kind of subtle contrasts and ambiguity that makes her such a fascinating songwriter.
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On Leaving has an elegiac delicacy; it’s an album to make you weep.
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Her words read and speak like a haunting.
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UncutNeither beholden to tradition nor self-consciously moderne, she crafts skeletal songs of great warmth and grace. [Oct 2006, p.117]
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Under The RadarA dark tour de force of a master songwriter. [#15]
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MojoAn exercise in economy. [Dec 2006, p.120]
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After Run to Ruin, it's difficult to hear Nastasia pull back to a songwriter-with-guitar style.
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The majority of Nastasia’s guitar-and-piano bit parts are full bodied and masterful, overshadowing many big-footed leading ladies’ recent folk releases.
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Q Magazine[It] finds her on familiar territory, offering 12 concise yet fully realised vignettes. [Oct 2006, p.124]
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If that same sense of insularity and reserve -- magnified by Nastasia's pitch-perfect, inflectionless soprano -- keeps On Leaving from connecting like it could have, the music draws you in, even at its slowest and starkest.
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With all due respect to Mr. Albini, perhaps it’s time Nastasia broadened her collaborative horizons.
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Paste MagazineHer voice isn't a particularly versatile instrument, but it radiates a certain dignity and keeps the focus on her well-crafted songs. [Nov 2006, p.85]
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The lyrics lack the indirectness of so much of The Blackened Air and Road to Ruin, just as the piano-embroidered instrumentation skims the surface of what the singer’s band once plumbed with all of its clawing and scraping.
User score distribution:
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Positive: 7 out of 8
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Mixed: 1 out of 8
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Negative: 0 out of 8
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stevewOct 22, 2006lovely stuff
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jdOct 5, 2006An intensely crafted work of raw emotion.