White Hinterland

nik.mercer — Mon, 23 Jun 2008 07:17:29 -0700

Casey Daniel released a solo album when she was just 19, but her life in music goes back even farther than that. "Honestly I have more memories playing [music] than not playing," she says. All these years of practice have allowed her to develop as a bold and distinctive artist. Her newest project, the three-person band named White Hinterland, is a bold shift from her solo project but also one that shows maturity. It also feels like a logical progression for Daniel, especially after she says, "Purgatory is doing the same thing on repeat and I'm not interested in that."

Sounds come swooping in and out on Phylactery Factory, White Hinterland's first full length release. Sumptuous strings, fluttering pianos and an subtle drum backbone lend the songs a conversational feel. Each song starts off almost haltingly but soon settle into something of a coherent though. These conversations are both precious whispers ("Vessels") and rousing shouts("Dreaming of the Plum Trees"). That's not to say that all the songs are straight forward—far from it, in fact—as moments like the slow-building crescendo of "Napoleon at Waterloo" deftly illustrates. Like the best talks with friends, these songs go off in all directions gradually gathering their footing. According to Casey it's an attempt to "live as spherically as possible, trying to go off in every direction." The whole thing may sound strange, but it's more than effective anbd oddly inviting. Phylactery Factory's songs have welcoming warmth, one you wouldn't expect from the group's name (one which is sure to conjure up images of cold winter nights). Songs like "Calliope" and "Lindbergh + Metal Birds" are ones you can be with from the begining or join half way through. Either way you'll be able to come away satisfied. This is how music should be, the sort of stuff that allows you to feel something else. It is to White Hinterland's credit that their songs are inviting no matter when you happen to catch wind of what's going on.

White Hinterland's live performances share a similar feel. Their set starts off unassumingly but as the music starts to punctuate the smoke-filled air, it's hard not to get caught up. Pool games are abandoned, the normal barroom chatter peters out, and everyone makes their way towards the stage, a new atmostphere filling the bar. The smoke is still there of course, but now everyone has something to pay attention to. It's like catching little hints of of something special, a happening that you want to be a part of. It seems that the jazzy drummer, the wistful saw player and the slight woman in the middle of it all are on to something. They are too, and it's something you wouldn't want to miss.

White Hinterland's Homepage

White Hinterland's MySpace