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Let Me Go, Let Me Go, Let Me Go

Rate It! Avg: 4.0 (138 ratings)
Let Me Go, Let Me Go, Let Me Go album cover
It's Easier Now
Everything Should Try Again
Alone With The Owl
Don't It Look Like Rain
Some Things Never Try
It Must Be Raining There Forever
Get Out Get Out Get Out
It Costs You Nothing
Let Me Go Let Me Go Let Me Go
Album Information

Total Tracks: 9   Total Length: 34:16

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Exquisitely Haunting


Possibly the most beautiful thing I've listened to in a long time.

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Dark and brilliant


More Songs: Ohia in it's haunting and stripped-down lyrics than Magnolia Electric Co., and for my money, that's a great thing.

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intensely haunting


This is such a simple album. Aural hopelessness, but without despair. Or maybe it is despair without hopelessness. Anyway, listening to this doesn't make me want to give up, but it does get me to look at the pain that I have felt in my life and that is part of being alive. Unrelieved sadness in every song - a musical hangover to heartbreak.

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A dark masterpiece


Jason Molina provides perhaps his darkest hour in this introspective drama of pain and sorrow within a struggling and bitter relationship, and the aftermath. His plaintive echoing cry fills the gaps between sombre and striking chords. It is a work far more like Pyramid Electric Co or Song: Ohia near its final hour than the group he later formed: Magnolia electric Co. In my opinion this is Molina at his best, the raw nerve of his soul, casting shadows and sorrows into the depths of darkness and despair.

They Say All Music Guide

Much like on his solo debut a couple years earlier, Jason Molina sheds both the band name and the full band sound on Let Me Go, Let Me Go, Let Me Go, providing his always intense, personal accounts of devastation and alienation with an intimate setting to match. It’s almost as if he uses his position of solitude as an opportunity to excise songs that are too unstable to fit in with Magnolia Electric Co.’s more rock-oriented domain, laying them down with brooding precision while making them feel like unrehearsed first takes. Given ample breathing room, his music unravels with a particularly haunting urgency, most of all due to Molina’s singularly plaintive voice, which is as nuanced as it is powerful. Amidst ambient sounds like inexplicable background voices and creaky chairs, the songs fade in and out with little warning, as somber ruminations operating at the same level as the narrator’s own confusion and uncertainty. Molina’s characters — always delivered through a first-person voice — are often in the midst of disastrous defeat, in a position of despair before utter failure but after the point of no return. On album standout “Get Out, Get Out, Get Out,” for example, the lyrics offer that repeated advice “before there’s nothing left of us,” even though it’s clearly too late. He fills out his songs by contextualizing these hollowed out lives with constant imagery from the natural world — the prairie dawn, the ocean, rain, the “moon above my life” — and more than once the notion of burning maps comes up, creating the sense that the narrator is unavoidably tied to the surroundings from which he wants to escape. Despite the deliberately subdued pace, there is an undeniable sense of subtle build in the latter half of the album which heightens the energy level while upholding the same sense of woozy melancholia: the final three tracks find Molina gradually adding simple drum loops, an organ, and a piano, and finally a blistering electric guitar on the title track that comes across like a wounded animal, an encapsulation of all the torment endured through the course of the album. Jason Molina is skilled at channeling powerfully bleak emotions — for his sake, you hope that he draws more from imagination than from personal experience. – Ben Peterson

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