If Indie Rock’s folk wing has any sort cardinal sin it would be the often saccharine level of twee-ness that seems to saturate the works of artists that are not wary of its toxicity after prolonged exposure. Anders Mattson, whose alias was originally designed to aid with a common mis-pronouncement of his name, abandoned his strict classical training on the viola during his teenage years in favor of the guitar and has found his way back to his native instrument in a similar fashion to Andrew Bird or Sufjan Stevens. Mattson’s classical training shines through in the beautiful, delicate string arrangements on Nodes of Overtones, but unfortunately that’s where the similarities between him and his colleagues stops.

Tracks like “How We’ve Grown” and “Pomegranate” start quite pleasantly, with a catchy viola melody that loops along while layers of strings and percussion are added, with Mattson’s lilting voice providing a delicate vocal melody. Quickly however, the almost limerick-like sing-song nature of Mattson’s voice starts giving the listener painful flashbacks to Barenaked Ladies. Mattson seems to almost be working against himself in a fashion, as the painful subject material of “The Icarus” seems downright silly when it’s being delivered in such a fashion, and the constant looping of the omnipresent viola wears those initially catchy melodies to death. The album’s strongest moments come when Mattson steps outside of the sing-song: “Mr. Butterfly” is a touching ballad showcasing the real vulnerability and emotion missing from the rest of the album, hopefully a sign of better things to come from the very promising Anders Ponders.