5 stars (out of 5)
By Donald Teplyske
Toronto, Ontario—hotbed of Appalachian music.
Alongside the recent release of the Slocan Ramblers’ Coffee Creek, one might well have growing evidence that Canada’s most cosmopolitan city has more than a few inhabitants who know their way around the music of the holler.
Originally released a year ago, Sorrow Bound receives wider distribution this summer and deservedly so. Low and mournful are the sounds Kaia Kater, a traditional musician in her early 20s, appears to favour. Playing in the traditional clawhammer style—Art Menius has identified her as “the Ola Belle Reed of the 21st century”—Kater has spent a great deal of time in West Virginia studying the traditions of Appalachian balladry and dance.
Much like Anna & Elizabeth have done, Kater plays with traditional music to gently knit together connections between ancient tones and modern times. Whereas that duo does so largely through their interpretation of traditional songs, Kater takes a more modernist approach, one equally necessary to allow the music to thrive and flourish. “Southern Girl ,” one of several originals contained on this stunning debut, has its foundation in the remnants of another time, but its passionate hopes are well observed in the changes our society is currently undergoing.
The title track is a revelation. Featuring what sounds like bowed bass, this atmospheric song explores dark challenges of previous times and personal yearning through poetic snatches of language, leaving the story open to interpretation; Kater’s frailing banjo flourishes provide percussive punctuation. Another Kater song, “Oh Darlin’,” in lyric, essence, and structure, could easily be a couple of centuries old.
Kater, who knows her way around the old songs like someone raised in the tradition, is nothing if not unconventional. A song borrowed from Anna & Elizabeth, “Sun to Sun,” flows into a French-language old-timey ballad. “Moonshiner,” familiar enough through interpretations from folks as varied as Bob Dylan, Cat Power, Buell Kazee, and the Sweetback Sisters—whose lead Kater follows—and like those sizable talents, Kater makes the song all her own. “Come and Rest” provides a coda of comfort and belief, while “West Virginia Boys” is less volatile than other renditions of the “cornbread, molasses, and sassafras tea” tune.
This album is an ideal balance of then and now, the past and present, of originality and influence.
Kaia Kater, who has performed throughout the eastern United States and Canada, is one of the many youthful performers by whose sure hands the traditions so many of us appreciate and love are being tended.