Out of all the singing-songwriting folksy chaps out there, why listen to Doug Paisley over any others? Bob Dylan, Jeff Buckley, Neil Young… obviously these are incredibly iconic and influential artists, but in a genre full to the brim with everything from pub acts to world class superstars, where does his new record Constant Companion fit in?

Firstly, it’s probably more fair to draw comparisons to artists such as Ryan Adams, Bonnie ‘Prince’ Billy and Will Oldham with this album. You know: that sweet, dreamy, back-porch-rocking-chair style of americana that’s probably considered ‘alt-country’ these days. It works, but like every great invention, you want it to stand out from the crowd; something that the LP only rarely considers.

Take opener ‘No One But You,’ for example: it begins with a delicate finger-picked acoustic guitar with this soft, gentle drumming in the background that will certainly have you tapping your fingers, but it’s so textbook that most listeners will probably pay it no mind. Paisley’s vocals are undoubtedly good, and while his lyrical skills – ‘who would you be so cruel / to someone like you? / no one but you,’ aren’t the finest in the universe, they’re not trying to be either.

It does get very formulaic from here on out, but simplicity acts as the backbone of the record. You do get some fairly whimsical synths throughout the verses to add some more depth to the melodies, but that tends to be as adventurous as the record gets.

Rebecca Parnell, who reviewed Paisley’s self-titled debut on this very site last year, described that record as “one of tradition and old time soul.” ‘Constant Companion’ is no different. It delivers exactly what you expect from Paisley and the alt-country scene, and it asks for no more either. The problem is, there’s just better alt-country records out there.

A sophomore album can be a difficult burden to carry, and it’s almost like Paisley realized this right from the get-go: the last few tracks are far less awkward (‘O’ Heart’ and ‘I Stand Alone’ are definitely two of the standout tracks on the album) as the melodies become more interesting (the addition of piano is one that’s welcomed at this stage) and just so much more relaxed. It’s a shame that by the end of ‘Come Here and Love Me,’ it’s all over, as it feels like Paisley has only just warmed up.

‘Constant Companion’ definitely has it’s moments, but ultimately, it’s nothing you haven’t heard before. I can’t describe this album in simpler terms. For fans of the first record, it’ll have your attention in places throughout; but it’s certainly not going to be your constant companion for the rest of the year.