By Alec Wooden
Fresh off the release of their second release, Kairos, White Hinterland‘s Casey Dienel and Shawn Creeden discuss musical philosophies, the new record’s decidedly new direction and Creeden’s post-practice pasta dishes.
What’s your general philosophy as an artist?
Casey Dienel: When I feel curious about something, I’m compelled to explore and experiment with it. Maybe I discover a new range in my voice, or a new approach to rhythm. Discovery is so so so important. Without it, I would probably disengage. Part of the reason for this is that music is by nature ephemeral – you can never recreate anything exactly the same way twice. You sing a melody and it’s gone, time carries it away. So as soon as I complete a song or a record, I try to let go of it. Some elements stick, but I believe that whatever comes back to you is all that’s worth keeping. If by being ourselves we can illuminate or expand what passes for beautiful/interesting in pop/music/art — there is no greater contribution I could hope to have.
Kairos is an interesting record name, meaning (loosely translated) “supreme moment” in Greek. How’d you settle on that?
CD: I’m obsessed with Latin and Greek mythology/philosophy. When I saw the word, it was instant. We’d been trying to name our record, using descriptors like “time outside of time” or “filmy, diaphanous, hypnotic”. It hit me and that’s usually how I make all the big decisions: from the gut.
Do you have a “supreme moment” of your career thus far?
God, I hope not! I hope it’s still on its way. Read more about Q&A with White Hinterland; Playing DC9 with Dosh on April 25 and 529 on April 28 …