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Artist..........: White Hinterland ±ß
Album...........: Kairos ±
Genre...........: Indie ÿ
Label...........: Dead Oceans
Catnr...........: DOC034
Source..........: CDDA
Rip.Date........: 29-07-2010
Street.Date.....: 08-03-2010
Quality.........: VBR/44.1kHz/Joint Stereo
Url.............: http://www.myspace.com/whitehinterland
Size............: 44.22MB
Song.Title :
01. Icarus 3:47
02. Moon Jam 4:21
03. No Logic 3:41
04. Begin Again 3:43
05. Bow And Arrow 3:35
06. Amsterdam 2:55
07. Thunderbird 3:39
08. Cataract 5:15
09. Huron 5:14
10. Magnolias 5:20
Runtime: 41:30 min
Release.Info :
Kairos is an Ancient Greek word that describes a particularly fortuitous moment
in time. It’s also the title of Casey Dienel’s third release as White
Hinterland, the album where this Massachusetts-born, classically-educated
singer-songwriter comes into her own.
Her 2008 album Phylactery Factory – following 2006’s debut Wind Up Canary,
recorded under her own name while she was studying at New England Conservatory
Of Music, and a rather overly-precious curio she’d now rather forget – was a
painstakingly-etched, winningly offbeat set that suggested Dienel was, like
Joanna Newsom, another Freaked Folkie in love with old-time orchestration and
tangled songcraft. She thwarted such attempts at pigeonholing with the same
year’s Luniculaire, an EP sung entirely in French, and including a delirious
cover of J’ai 26 Ans, originally recorded by Brigitte Fontaine for Comme a la
Radio, her 1971 collaboration with avant-jazz weirdniks the Art Ensemble of
Chicago.
Dienel throws a further curveball with Kairos, doing away with piano, guitar,
strings – the acoustic instruments that previously made up her palette – in
favour of synths and sequencers, a brave move that entirely pays off. Scoring
her songs with electronica, Dienel is making no vain play for the dancefloor –
rather, Kairos offers hypnotic digital chamber-pop, the minimal orchestration
brilliantly foregrounding her playful and joyous vocals. This contrast, between
the machine music and her most-human vocals, is particularly delicious on the
sublime Begin Again, as sub-bass smudges and percussive clicks and whirrs play
off Dienel’s swooning, lilting voice, pirouetting through effortless pop hooks.
On Amsterdam, industrial clanking builds a mood of grey melancholy, Dienel’s
multi-tracked yowls and yelps puncturing the gloom. No Logic, meanwhile,
strings together loops of percussion and scratchy guitar to cook up a loping
trance-pop somewhere between Eno and Byrne’s Bush of Ghosts and Konono #1’s
Congotronics.
It’s impressively ambitious, experimental stuff, a brave leap on the part of a
young artist. It’s an album that, in translating her Freak Folk into digital 0s
and 1s, finds for Dienel a true, unique voice. It’s her golden hour, and you
should bask in it.
Contact : crossfader@hush.ai
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