Papercuts

Jason Quever has done the indie arc, working up from charming scrappers like Antenna Farm and Gnomonsong to bigger players like Sub Pop and Easy Sound. Now he’s settling into his seventh album for Slumberland and it feels like a perfect fit. Quever has always straddled the lines between folk-pop and dream pop but he’s never quite blurred the borders like he has here. The record opens with the narcotic, hazy strains of “Mattress on the Floor,” a half-dreamt attempt to work the sleep out of his eyes, but from there he grabs hold of hooks like a man with conviction. Quever conjures melodies to his aid with the deft hand of a seasoned musician, The album is full of strums and swoons, heartbreaks and hubris and each piece of the puzzle has the potential to hook into listeners with a wave of primrose pinpricks. Its an album about leaving behind a life that was supposed to pan out for a new venture that’s no sure thing. As Quever is crushed, so are we but he’s not always playing his hand straight.

The soft focus approach here is what gives Papercuts such purchase in the Slumberland ranks. There’s a jangled core that’s not too far from the folk shores he’s often populated, but this time each song is smudged at the edges like a photo faded by time, colored by the orange and brown hues that eat at old Kodak prints, clouded by dust and fingerprints to the point where the shapes remain, but the details are lost. In the same way he looks back on a relationship set adrift, the mistakes smudged the same as his strums and the details lost by one’s own dusty biases and emotional gaslighting. Parallel Universe Blues is a strong entry to the Papercuts catalog – dreamy and working its way into your life with subtle earworms that are as strong as any at his command. While the album is about leaving pain behind, its also a comforting companion to those who ache and a salve in times of need. Its proof that Quever was never just a tangential folk voice, but a vital one that never quite got his day.



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