Real Groove writes in it’s “Top Deadline Distractions” that the Haints album “has been dominating the stereo of late. Its slow lugubrious tones match the bitter chill outside, and this Tex Houston-produced beauty recalls prior local winners like the Renderers” The songs are sung snatches of memory, of guarded references to a ‘Carteresque’ family album of ‘manners and mystery’. The CD artwork also reflects this; featuring still life photographs taken by Kathryn on one of many trips to the American South. Kathryn’s fascination with this part of the world, as well as her own upbringing around the Bunnythorpe area in the Manawatu, grants a natural cultural crossover in her mind. Stephen’s very distinctive guitar is often ghostly and yet occasionally brash. He has turned the squalling feedback sounds (that were his trademark in the Subliminals) in on themselves, resulting in sparse and delicate textures. After the initial summer 2005 recordings, Kathryn returned to New Zealand for the final writing and completion of the remaining tracks. However, as the original late night sessions contained a certain organic and spontaneous magic, little was changed. Tex Houston, also known for sliding the faders on various 3Ds and Subliminals recordings, was bought in for the final mixing and mastering. The end result is a fragile, rural and low volume contemplative sound; where Julie Cruise meets the Carter Family |
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The Haints of Dean Hall
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