Serrated Man Sound

Mason Lindahl

I was so happy to see Mason Lindahl make his return after a twelve year absence with 2021's Kissing Rosy In the Rain. I did really enjoy that record, but I'll be honest, it didn't really scratch the itch the way this hidden gem still does to this day. Kissing Rosy was a more instrumental, guitar focused, classical endeavour, and don't get me wrong, Lindahl has the chops to make that a lovely and mesmerizing experience. Serrated Man Sound on the other hand, gives a better idea of who Lindahl - an otherwise mysterious and seemingly introverted figure - is. Serrated Man Sound features a wider instrumental palate, ambient, drone, and world music influences, as well as some elements of folk in the cases where Lindahl graces us with sheepish whispers. This album also demonstrates that Lindahl has a bit of an experimental streak. He plays around with pitch effects to trick people into thinking he has a sultry bass vocal range on opener Warm Ducks. Nine sees Lindahl taking his stunning finger-picked guitar compositions and submerging it with curious time and modulation effects. One of the most egregious use of effects occurs on Smaller Sizes Bigger Words, where his guitar and vocal are so hot with distortion. Each heavy handed strum is a jarring plea for your undivided attention.

In fact, this whole album runs pretty hot. Perhaps a show of amateur engineering and production chops, but I think it adds an interesting dynamic to the record that makes it intensely intimate. The Greater Clapping of Hands, for example is perhaps Mason Lindahl's most vulnerable moment given that there is no application of effects or vocal doubling to hide the timid and reserved nature of his voice. The emotional intensity does come from the guitar pairing, which in this case is marred by a harsh static hum and some natural clip distortion when he really digs in. That dynamic doesn't only come about through this vocal/guitar interplay, however, as Lindahl showcases an astounding amount of control in regards to the volume and speed of his finger-picking. No Man and Absolutely are two songs that perfectly display not only how amazing of a composer he is, but also how that control over his instruments allows his compositions to live and breathe.

I can see why people may prefer Kissing Rosy In the Rain. It is certainly a more focused record. After all, Serrated Man Sound is a bit of a mixed bag: instrumental guitar, traditional folk, experimental detours; nearly every song has it's own character that is vastly different from the rest. You also have the inconsistent recording quality that further deteriorates any cohesion this record may have. For me personally though, I see Serrated Man Sound as nothing else but an intimate look at an interesting figure who is incredibly talented, skilled, and creative.