Reviews of “Nobody Knows”

Indie Music Reviews

Award winning Canadian songwriter Paul Kloschinsky has established a much deserved reputation as a formidable talent, but his latest full length release Nobody Knows likely pushes him onto a much brighter stage than before. Rarely are albums so unified and, yet, so difficult to pin down stylistically. Kloschinsky maintains a strong uniformity of mood and atmosphere while displaying all the characteristics of a musical chameleon, seamlessly alternating between various strains of genre without the seams ever showing. This fleet-footed facility places his work in a rare class. Kloschinsky’s recording has a distinctly low-fi ambiance, but it enhances the intimacy of the release. The ten song collection sounds like songs written in the wee hours when bleariness skews our perceptions in attention-catching, imaginative ways.

“Fallin’ for You” provides an excellent primer on Klonschinsky’s style for any novice and an affirmation for those familiar with his earlier albums. Klonschinsky is a well-rounded songwriter, but there’s a distinctly cinematic or narrative-based quality to much of his work “Fallin’ for You” embodies through its wealth of specific detail and the undeniable voice informing its narration. There’s a strident pop rock element present in the guitar playing. Things are much more tempered on the album’s title track than the opener, but the same atmospherics pervade despite being employed to different ends. The more meditative mood means a different use of energy, not less of it. Placing the album’s title track so near its opening curtain denotes a certain confidence  “Do You Remember?” has an understated mournful swing underscored by the slowly unfolding violin lines laced through the arrangement. Kloschinsky takes an equally deliberate approach and his careful reading of the lyrical

“I Long For You” covers familiar territory in popular song and Kloschinsky lifts the muscular drumming straight from his rock and pop influences, but there’s an insistent acoustic pulse and attentiveness to melody throughout the song distinguishing it from run of the mill folk rock efforts. “Ravish Me” has some of the same insistent rock energy heard in earlier song, but its an even leaner aesthetic powering this song. Kloschinsky focuses on melody as much as ever and the effort rewards listeners with another memorable entry. “Sing for the Silence” is one of the more interesting tracks on Nobody Knows thanks to its subtle, yet exotic, musical turns and the droning emotiveness in Kloschinsky’s voice. Vibrant harmonica turns the album’s penultimate number, “Tell Everybody”, into a breezy pop folk rocker light on its feet and bubbling with assertive charm. Nobody Knows ends with “Xmas Time Is Near”, the album’s shortest tune by far. The amped up shuffle gains added color, like much of the material here, from the inclusion of violin.

Paul Kloschinsky has released a handful of albums reaffirming the fundamental strengths of melodic and emotionally direct songwriting. He takes things a step further with his strong sense for the visual and powerful storytelling gifts. The supreme achievement of the album, however, is Kloschinsky’s ability for bringing those elements together in a completely realized musical package. Nobody Knows is his finest work yet.

9 out of 10 stars.

Jason Hillenburg

Paul Kloschinsky, like many of our finest talents, has largely worked off the radar as one of the best songwriters in the indie scene, but recognition is increasingly forthcoming. The laudatory critical notices continue piling up, awards are handed out, and Kloschinsky’s long pull away from the rest of the pack is closer to reality than ever with his latest release. The ten song collection Nobody Knows is anchored by some tried and true musical elements, for instance acoustic guitar and violin, but Kloschinsky’s songwriting vision extends far beyond unoriginal recreations of traditional music. He brings a number of influences to bear on the songwriting and incorporates them all into his songs with a steady, confident hand.

Some might quibble with the presentation. The album’s sound has a muted, funereal quality, but while Kloschinsky’s DIY realities demand certain concessions, there’s not a single production decision affecting the material in an averse fashion. If anything, the muted sonics give the material unintentional atmospherics it might otherwise lack. The title song is an ideal example. It is a meditative effort, but there’s a mood of artful restraint surrounding the song. Kloschinsky sings like a man who knows more than he’s letting on. “Do You Remember?” has a much more studied, openly sensitive air. Kloschinsky’s musical skill set means he understands the ideal marriage between arrangement, melody, and lyrical content. The added bonus, however, is that Kloschinsky understands how to finish it all off with his thoughtful delivery. “I Long For You” is one of the album’s more direct songs and his condensed, tightly packed intimacy drives much of its effectiveness. Songs like this flirt with commercial influences without ever pandering for attention in any significant way.

Kloschinsky spends much of his songwriting energy exploring connections to experience through his songwriting, particularly romantic entanglements, and the bluntly entitled “Ravish Me” covers much more ground than typical songs of its type. “Sing for the Silence” is certainly one of the album’s more unusual moment, practically a quasi-psychedelic acoustic turn with dreamy, elongated vocal melodies and an accompanying arrangement that achieves its effects through accumulation rather than any outright hook. “Can’t Forget About You”, however, practically demands a full fledged rock arrangement. The acoustic drive of the song has remarkable stridency for the relatively laid back nature of this album and its steady rise will prove an exhilarating listen for many. “Tell Everybody” has a vague Dylan vibe, but Kloschinsky never overplays his hand and lapses into outright mimicry. The album closes with the pleasingly layered “Xmas Time Is Near” which manages to honor the holiday it celebrates while moving listeners in a far deeper, more surprising fashion.

Nobody Knows continues a string of first class releases from Paul Kloschinsky and rates as his most sustained effort yet. His efforts are accessible, yet readily surrender perhaps surprising depths to listeners willing to travel with him. This is traditional music filtered through the prism of an unique personality and certain to leave a lingering positive impression on any astute listeners.

9 out of 10 stars.

Lydia Hillenburg

Carlitos Music Blog

Paul Kloschinsky’s career spans five albums and the latest, Nobody Knows, brings together many of the same elements distinguishing his earlier releases. Thoughtful songwriting, solid structures, sharp instrumental talents, and a frequent emphasis on melody helped set his work apart from many contemporaries and those strengths abide on Nobody Knows. The album’s songwriting spirit, however, takes some unexpected turns along the way and they enliven an already sturdy work with a sense of daring and anything is possible desperately lacking, usually, in such releases. Kloschinsky is never a paint by numbers performer or songwriter. Even his DIY method of recording brings an unusual veneer to the work and helps weave added atmospherics where otherwise none might have existed. Kloschinsky turns everything to his uses on Nobody Knows and the result is an impressive ten song collection.

He kicks the album off nicely. “Fallin’ For You” doesn’t tackle any new subject matter for popular song, but Kloschinsky pours old wine into new bottles with more than a little style and facility. He keeps his guitar playing practical and quite direct – there’s no virtuoso trips on a Paul Kloschinsky album and not a single gratuitous note to be found. The same economical artistic vision helps shape the title song into one of the album’s marquee numbers. It’s one of the album’s best examples of understatement while still carrying a discernible personal flourish that sets it far apart from similar efforts in this vein. Klonschinsky often shows a wise and knowing sense of life’s absurdities that eludes music’s more literal minded songwriters. The slow swirl of strings and light percussion married with Kloschinsky’s acoustic guitar molds “Do You Remember?” into one of the album’s finest moments. The melancholy melody never overtaxes listeners with over-familiarity and lulls you in from its opening notes.

“Ravish Me” sprints out of the gate with a sprightly bounce that’s equal parts pop confection and even hints of commercial alt-rock bleeding through. There’s little question that, if he so desired, many of Kloschinsky’s songs could find new life as rock tracks and “Ravish Me” is no exception. He has a sharp ear for melody that never lets him down. “Can’t Forget About You” has a ton of propulsive energy and never relents from the first bar onward. Kloschinsky delivers an appropriately laconic vocal, but he’s attentive enough to varying his phrasing at key points for more effect. “Until You Said Goodbye” affords Kloschinsky a final opportunity to indulge his love for orchestral influenced pop music. The results are much more mixed than earlier efforts thanks to any uneasy union between the vocal delivery and lush backing track, but the song is far from irredeemable. Instead, it feels unfinished somehow, tantalizingly close to its fullest realization, but still falling just a little short of its potential. “Tell Everybody” is a nice late addition to the album thanks to its brisk pace and jaunty musical voice.

Artists like Paul Kloschinsky and his songwriting sensibility is increasingly rare in these fragmented times. However, these lonely voices are still wandering the wilderness, spreading their songs, and investing their time and heart into a tradition long predating them and sure to survive them. Paul Kloschinsky is a proud member of that tradition. His songs on Nobody Knows, like the four albums preceding it, are well worth your time and money. 

9 out of 10 stars.

Bradley Johnson

The Journal of Roots Music – No Depression

The fifth recording from Canadian songwriter Paul Kloschinsky, Nobody Knows, is a full length release well poised to capitalize on the growing critical notice he’s received for his most recent efforts. The ten songs on his new album reaffirm his constant strengths, center on his abiding virtues, and lunge free of his comfort zone is often surprisingly frequent ways. Kloschinsky doesn’t have a virtuosic voice, but his instrument has surprising versatility that allows him to convey his own songwriting for a potentially wide spread audience. There’s an understated rock and roll spirit imbuing what can otherwise be justly labeled an artsy folk album and some of the songs could certainly substitute their acoustic guitars for Fender Telecasters with little rearranging. Like all of the best songwriting, Kloschinsky’s creations are elastic and breathe. Nobody Knows, as a whole, is an important work.

It opens with the sharply paced “Fallin’ for You”. Kloschinsky certainly has thematic ground he likes to frequently cover, most often relationships between people, but he equally favors the brisker side of arranging. The opener maintains an impressive pace and scarcely gives the listener a moment to breathe. “I Long For You” is, arguably, the album’s best example of a high grand style Kloschinsky adopts on a handful of tracks trying to meld the sonic values of classical music with his stripped down acoustic arrangements. The experiment is not wholly successful, but “I Long For You” likely represents the high water mark of his attempt. Much of his songwriting efforts are confined to melodically strong but traditional fare like “Ravish Me”, but even these relatively upbeat songs embody the aforementioned idea that, with few changes at all, these tracks could work as quite impressive rock songs.

One instance of Kloschinsky busting out of self-constructed boxes is “Sing for the Silence” and his songwriting sounds quite convincing in its attempt to bring his soft-pedaled acoustic textures into accord with more exotic Indian flavored fare. “Until You Said Goodbye” is a final stab at another genre hybrid, bringing together classical instrumentation with his folk song roots and the result is quite pleasing. Kloschinsky delivers a fine, understated vocal. “Tell Everybody” seems to take a nod in the direction of songwriters like Dylan and Petty, perhaps with a dash of John Prine thrown in, but Kloschinsky’s point of view is his own and the melodic virtues of the song have no clear antecedent. The album’s finale, “Xmas Time Is Near”, surely rates as one of the album’s more thoughtful songs and a wholly appropriate closer.

Paul Kloschinsky’s upward trajectory continues. His songwriting covers all of the expected bases, but it’s heartening to hear someone so in command of their powers be so willing to reach beyond them and try to expand their frame of musical reference. His efforts at blending different styles on Nobody Knows are what gives it much of its merit and character. There isn’t any filler to be found among its ten songs and the album’s appeal grows with repeated listening.

Paul Kloschinsky – Nobody Knows

9 out of 10 stars.    

Cyrus Rhodes

The New Saviour

As conventional religion has stopped meeting most peoples needs as a way to deal with the mystery and mortality of life in the past century, these needs have been nonetheless met by a new, albeit implicit, source. It seems that the new supreme deity is now science, with its promises of salvation with its statistical studies and inferences, which are treated like holy scripture, and are supposed to point the way to a longer, healthier, happier life. It is also to science people turn to explain the mysteries of life, and some think it has solved the fundamental questions. Indeed, science’s Darwinian creation myth is considered fact beyond question, and a bleak, material, random universe is the only explanation allowed in most serious, academic circles.

Perhaps in this new century its time to stand back and take a philosophical approach to reason, science and statistics, and identify their strengths and weaknesses in the search for truth. I feel they are good at dissecting and determining the mechanics of the material world, or matter, but in terms of the subjective, spiritual realm and life’s most profound questions they fall terribly short. Its still to the great spiritual teachers and philosophers that one should turn for the answers to the great mysteries, and how to have the good, long life, and deal with the inevitable mortality of us all. It is time to put our faith and hope for salvation back where it belongs, and not give it all to the damn scientists.

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Non Religious Faith

Like a lot of people these days, organized religion doesn’t do it for me, with its rigid rituals and dogmatic positions. Since reading Nietzsche as an undergrad, I have thought like him that Christianity and morality are problematic. I interpreted his statement that “God is Dead” to mean the Christian God was no longer going to meet the needs of most people in the 20th century, but as to the actual existence of a higher power, Nietzsche was just a mortal like the rest of us, and the answer is still shrouded in mystery. Along with karmic justice and an afterlife, these three beliefs form the basis of my faith, and have not been ruled out by science.

As I enter the second half of my life, and can see the brevity of our time here, and have lost some loved ones I had in my youth, I don’t know how you deal with these tragedies without believing in something. The solace that we will see our loved ones again, and that all our effort to learn, love and grow will not be ultimately meaningless and just reduced to dust, and that the end is something to look forward to, provide a meaning to our pilgrim’s journey here that science, math and statistics can never give.

Unlike organized religion, I believe the diety to be non-denominational, and not just for some sect you were fortunate enough to be born into, and to be accessible to anyone with an open heart, and that have the courage in this science obsessed society to dare to believe. The alternative is just the random, chaotic, meaningless existence that science proposes and which provides little comfort as we inevitably pass through the life cycle with its certainties of aging and death. The beauty and mysteries of nature and the universe suggest an architect to me, and therefore a purpose to our lives beyond the random and absurd.

If these thoughts appeal to you may I suggest you check out my other newsletters on this site.

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Thanks for your support of my music,

In song and in spirit,

Paul Kloschinsky

Heart Over Head

It seems the head reigns supreme these days. The long march of reason, and its offspring science, from the days of Socrates and Plato through the Renaissance and Enlightenment to the present day has put forth rational argument and empiricism as the pinnacle of methods in the search for truth. Man’s left hemisphere or reason not only guides our approach to understanding ourselves and the natural world, but can also generate an ideological system of rules and idealistic version of perfection that condemns parts of humanity that could be accepted as part of our imperfect glory and natural instincts. Indeed, our human, all to human disposition is denied by these moral systems, and like a harsh light, produce the deepest, darkest shadows, that eventually emerge in the horror of the return of the repressed.


In contrast to such moral dogma, our conduct could instead be governed by the human heart, with its capabilities for love, compassion and empathy. The soft light of tolerance produces the smallest shadow, and counteracts the labyrinth of mind produced when people condemn themselves for being merely human, and deny some of the fundamentals of human nature. Our desires and reward centres need to be gratified somehow, whether with the regular vices, or if denied, can emerge later in much more destructive forms.


For me the human heart, or ethics, always reigns supreme and trumps the arguments of the human head, or morality. I find this leads to a kinder and more accepting attitude to both myself and the others in my life.


Paul Kloschinsky

Another review of “Better Late Than Never”

Paul Kloschinsky has just released his newest album, Better Late Than Never, at the end of 2014. The stunning album blends complex elements of folk, indie and rock, creating a pleasant, and surprising 10-track album. Kloschinsky’s voice hovers over the tracks with a unique and steady hand. Kloschinsky currently resides in Delta, British Columbia, Canada, where he hones his songwriting skills. These skills are evident in Better Late Than Never, his fourth release. With several music accolades under his belt, he embraces his songwriting on these new tracks.


Opening up the record is the breathtaking piece, “Across the Sea.” Acoustic guitars are prominently strummed throughout the track, accompanied by an array of instruments that help bring the song to life. Kloschinsky’s voice is not overpowering, but it stands out and speaks volumes. The folk and Americana element is already noticeable within the track, which will carry through the record. “Better Late Than Never” is the title song from the album, which serves as a perfect representation of the overall feel of the collection. In the song, horns enter slightly that work in perfect unison with Kloschinsky’s vocals.


“When Dawn Breaks the Night” brings a very alt-country/indie-folk sound to the record reminiscent of an early Bright Eyes song. The addition of strings makes this piece an instant favorite. The vocals in the track are flawless, and the combination of instruments compliments each other nicely.


“Give Me a Sign,” brings a slightly different, more up-tempo feel to the album; bringing a true Rock n’ Roll sound into the record. “Pearl from Paradise” and “What Good is Love to Me,” usher a downbeat sound into the album. “Pearl from Paradise,” is filled with gorgeous piano work that will draw you in closer, listening to every melodic note that fills the space.


“The Soft Glow of Midnight,” brings the album back to life, with a slight undertone of 80’s elements. Synth keys are flowing throughout, giving the record an even more pleasurable and well-rounded musical experience. “Sundown Tonight,” is a breathtaking and heartbreaking piece on the record, with a beauty you will not be able to shake. The melody takes you away to a musical journey. “Knock on Wood,” fills the record with a strong and powerful string section that acts as a musical bed for Kloschinsky’s strong vocals. The piece proves to be gentle, and insightful in content. Closing out the record is “Electronic Paradise,” which is the perfect way to end the collection of songs. Clocking in at just over 5-minutes, the synth laced track combines a complex set of musical undertones to create a track that is compelling and danceworthy; adding something new to the album.


Paul Kloschinsky’s Better Late Than Never is a stunning collection of songs that will surely stand the test of time. Kloschinsky’s talent for songwriting and crafting together the perfect song goes above and beyond to impress in this record. This is one record that fans of folk-laced music should check out for 2015.


Paul Kloschinsky

Better Late Than Never

By Melissa Nastasi

5 out of 5 Stars

CD Review of “Better Late Than Never”

The CD wastes no time getting off the ground with melodic intro piece “Across the Sea”. This song serves up infectious folk ambiance against mesmerizing vocals, hypnotic guitar and driving rock rhythm that leads you by the hand down the path of soulful musical indulgence. Track 2 “Better Late Than Never” shifts gears a bit with its slamming Keyboard and impressive musical build to the chorus and thought provoking lyrical content, inviting/soulful vibe and infectious charm from Kloschinsky. Track 3 “When Dawn Breaks Through the Night” a somewhat striking piece that is full of musical peaks and valleys, impressive rhythm guitar that flow and ebbs its way through to emotional fruition. As the CD slowly unfolds I can hear many musical influences reminiscent of a classic Roy Orbison, John Cougar. Todd Rungren, Marc Ford, Gov’t Mule, John Cougar, Northern Mississippi All-stars, The Allman Brothers and Tom Petty. I would classify this music as rocked out Soul, Singer/Songwriter and Americana Folk-Rock with a fun and electrifying flair. The CD at times adequate brilliant peak and valley flow via a strong American perspective (via the lyrics) that takes no prisoners. Besides the four piece standard you will also notice rich layers of Electric Guitar, solo guitar, Keyboards, and enticing melodies – all built on a electronic drum rhythmic foundation. As a vocalist Kloschinsky showcases a budding and soulful singing skill set. He’s got good songwriting instincts. He’s got a good “rugged” look. All the musicianship and compositions are pretty solid across the board. Kloschinsky has an effective baritone and his vocal risk-taking and overall touch behind the microphone are consistent. From rocking “Give me a Sign” to flowing “What Love to Me” to danceable “The Soft Glow of Moonlight” this CD has something for just about everyone. The CD ends with Track 110 “Electronic Paradise” the perfect finale statement for a CD of this caliber.

“Better Late Than Never” by Paul Kloschinsky is a compelling, soulful, melodic, musical journey. The music is diverse, consistent, grooving, upbeat, soulful and entertaining. The songwriting – all consistent musical experiences, each one possessing a unique personality, flair and signature groove. This CD will be a real joy for those listeners out there who want an old school folk-rock experience to fill their atmosphere. This straight forward, easy to digest musical format makes for a great musical experience many will enjoy. I recommend you just hit play, close your eyes and see where the journey takes you.

Cyrus Rhodes

Mystery, Humility and Wonder

With all the science and statistics gushing forth from the past century, celebrated by the bright light of the media, it seems to some that the answers to our most profound questions have been answered, and the doctors and engineers have everything under control. Although the rise of reason and humanism was a reaction against religious dogma, and has determined much about matter that calls into question a literal biblical explanation of things, this same reason and humanistic spirit has grown cocky, thinking it has solved everything, and all its conclusions are certain, beyond reproach, and now puts forth dogmatic proclamations of its own.

Well, I take exception with anyone who thinks they have definitively solved all the mysteries of life, and put forth their views as certain, whether it is from a religious or a scientific atheist viewpoint. For all our technological advances I feel humanity should now regain a sense of humility before the great mysteries that still remain, including our origins and spiritual nature, and the ultimate meaning and outcome of life here on earth. Instead of crowing about our superiority over all on this planet, perhaps it is in order to regain a sense of awe and wonder before the sublime, like the stars, the seasons and the magnificence of nature, which all came into being with no human input or intervention.

Perhaps it is also in order to develop a new philosophy of reason and science that acknowledges both its strengths and weaknesses in determining truth in different domains. In my view, science is the best way to determine objective world truths about matter, but it falls short in the subjective world, which is qualitative and not easily quantified, and is best approached with myth, allegory and poetry. It is this subjective realm that is full of mystery and magic, and is what alchemy, the kundalini and Arthurian myths are referring to and where they are valid.

You can check out my photography, poetry and songs at

In Song and in Spirit,

Paul Kloschinsky