There has
been an enormous level of potential attached to Kaia Kater. Although, it is the
release of her latest album GRENADES that will see the seam most productively
tapped. This album (Kater’s fourth) is having a staggered release across her
target territories, with it taking a UK bow on January 11th after
initially beginning life across the pond in the latter months of 2018. The vagueness
of ‘across the pond’ is pertinent in this context as it portrays a Canadian
artist heavily schooled in old time American music exploring their very own Caribbean
roots. The multiple facets that adorn this record make it one of the most
interesting releases discovered in a while, providing an abundance of
thoughtful moments across a soundtrack that amply rewards an open-minded
approach.
For the record,
GRENADES consists of eleven songs and three spoken interludes drawing
inspiration from the island of Grenada; the home of Kater’s father who fled the
country in the 1980s in the aftermath of political upheaval and subsequent US
invasion. While the music will ultimately claim the spotlight, the three spoken
parts delivered by her father and strategically placed at track numbers: 4, 8
and 13 add an atmospheric element to splice the album with traces of documented
history.
For folks previously
aligning Kater’s work with the banjo, the reduction of its impact will be
instantly noticeable without a move too far away from a roots base. One
interesting addition to the sound is the work of fellow Canadian Christine
Bougie, whose twang laden input has enhanced artists such as Good Lovelies,
Bahamas and, more relevant for fans in the UK via a previous key member of
Gretchen Peters’ touring band. This sound, presumably from lap steel, is subtle
yet detectable and threads throughout the album starting in the opening track ‘New Colossus’.
The writing
input strengthens this side of Kaia Kater’s armoury. Only on ‘La
Misère’ does she dip into the archives, and the impact of this short track
lies in its language delve into some French dialect. Elsewhere apart from the exquisite
storytelling, the ability for a continuous array of strong chorus melodies to emerge
smooths the way for the album’s sonic capabilities to take hold. Even in the
first half of the forty-three minutes playing time, this feature has lauded the
reception of tracks such as the aforementioned opening one, ‘Canyon Land’ and ‘Meridian Ground’.
If the
spoken parts achieve one thing, they will surely create a curiosity to dip back
into the history books and learn more about the circumstances surrounding
Grenada and ultimately the aggressive side of US foreign policy at the height
of the Cold War. These spoken parts chronicle the optimism of change, the
horror of invasion and the ultimate re-settlement. The personal element
provokes thought and supplies the intent that has led to Kaia Kater making
GRENADES.
Further fascinating
content emerges in the second half. ‘Hydrants’
sees all instruments ditched for a Capella delivery, while the banjo re-appears
to support the penultimate song ‘The
Right One’. Title track ‘Grenades’
is a worthy candidate for stand-out number in the latter stages with its
shimmering organ play out ending the song on a high. To dismiss any lingering
doubt about this album being a compelling listen, ‘Poets Be Buried’ seals the deal in a stunning heartfelt finale that
urges further delving rather than closing the book.
From a
personal perspective, GRENADES moves the game a lot further forward than its predecessor
NINE PINS, the release that accompanied Kaia Kater on her recent tilt at the UK
market. It was unsurprising that Rhiannon Giddens had played a significant part at the outset of Kater’s overseas touring career including offering opening slots, and an invitation
to join the Cambridge Folk Festival curation. 2019 sees Kaia Kater return to
play shows in the late spring and this time equipped with such a strong new
album that the potential tag can be finally removed. A record that will prosper
further in a live setting. So kick-start your New Year listening by allowing
this album to educate and entertain you.
www.killbeatmusic.com/kaiakater
www.kaiakater.com
