Inni-K – The Hare & the Line
Green Willow Records – Out Now
A few moments into the opening title track of ‘The Hare & The Line’, shimmering symbols, gently plucked double bass and guitar notes sway back and forth, building a soulful backdrop and introduction that perfectly elevates Irish singer songwriter Eithne Ní Chatháin aka Inni-K’s dazzling and fresh voice.
It’s an apt beginning to this boundary-pushing enigmatic and multi-faceted indie-folk record which unfolds with heartfelt songs, elements of traditional Irish music and an echo of the folk/pop heard on her acclaimed first album, 2015’s ‘The King Has Two Horse’s Ears’.
Since her debut four years ago, Inni-K has been busy touring far and wide. Already this year, as part of an ensemble of eight Irish musicians curated and supported by Culture Ireland. She’s played New York, Montreal, Europe and then independently promoted ‘The Hare & The Line’ with tour dates in England and across Ireland. For all the distance travelled and life experience gained, these new songs resonate a central introspective warmth framed with a darker edge.
Throughout ‘The Hare & The Line’, a combination of song writing style can be found. Ranging from the very personal “Just After”, which covers the immediate and intimate response to the bereavement of her father. To the poetic and symbolic ‘Edges’, gifting the listener plenty of scope to reflect on their own interpretation from the lyrics.
Often though, it’s the use of everyday observations which make this album a very accessible listen. We all relate to commonplace topics; “phone battery’s died”, “kettle boiling in the kitchen” and “down the lift, out the door”, meaning Inni-K’s success is the creation of a descriptive and detailed setting for many of the songs. Furthermore, the lyrics bring you inside her world if you imagine “soil between my fingers” or in the Dublin rain a passing Double decker bus “crawling round the corner”.
The first track ‘The Hare & The Line’ demonstrates well the diversity and progression of her song writing skill. It’s formed in part by an interpretation of an Irish folk story Cuinne an Ghiorria (The Hare’s Corner). A tradition for farmers to leave a field’s corner uncut for wild animals to flourish and have space for refuge. The song intertwines this story with the motivation to highlight the restrictive definition of a woman’s role, advocating not sticking to a prescriptive path and embracing the notion of being “free and wild”.
Inni’K draws on the interdependence between nature and humanity as a central technique, often using natural references as a means to link her thoughts metaphorically. It goes a long way to endorse the message portrayed from the outset.
Having collected a body of songs to record, Inni-K found her own corner of wilderness in the form of a remote farmhouse in County Wicklow. Along with main collaborator, Brian Walsh (heard playing drums and piano) and sound engineer/producer Alex Borwick they set about finalising the content and arrangements. The influence of this rustic setting can be felt at times during the album, but most notably in Póirste Béil which almost has a field recording atmosphere.
There’s a change of pace for the second track ‘Anaesthetic’. A slow groove that builds an undercurrent of suspense akin to a soundtrack for a 1960s spy film. About regaining consciousness and the appreciation of waking up from a sedated state the song is boosted by the addition of critically acclaimed composer and woodwind specialist Sean Mac Erlaine. His clarinet a beautiful ambient interjection that lingers and drifts around Inni-K’s pure and haunting voice.
Probably the most familiar song to the material on ‘The King Has Two Horse’s Ears’ and most “pop” of anything on this album is the bouncy tune ‘Crush’ (video premiered here). It flows through verses recalling young affection, nostalgically reminiscing of “sharing biscuits under the desk” and giving each other 10/10 in a spelling test. It’s a catchy and warm song which can easily be sung along to and enjoyed.
As the album progresses, the songs become more stripped back, and with this simplicity, a strong presence emerges. ‘Dewdrop’ perfectly encapsulates this point, with Inni-K’s vocal sweetness and fresh tone perfect for the quiet reflection which is felt. It’s soul-touching stuff!
The two Irish sung tracks highlight an ambition and bravery to push boundaries musically. They both encapsulate the spirit of freedom of a running ‘Hare’ and Inni-k’s development as an Artist. These two tracks could easily stand-alone given their different atmosphere but rightly included alongside the other songs they provide a rich diversity and comparison. Perhaps a hint of where we can expect the future direction of some of her English songs.
The first of the Irish sung tracks ‘Póirste Béil’ shines with is poignant rustic minimalism. The captured background instrumental noises quiver through like a flickering candle as they breakout from eerie shadows cast by Inni-K.
The other Irish sung track ‘On Radharc is Sia’ closes out the album with a mystical energy, driven by deep rolling drums in the surrounds of spacious but focused production work by Borwick. It’s an elevating finale, full of authenticity and emotion and a real showcase for the undoubted star of this album, Inni-K’s faultless voice.
Beyond Inni-K’s singing, the most powerful moments on ‘The Hare & The Line’ are arguably the most low-key. Although the mix of contemporary folk and sensuality are simply irresistible, the overall result is fun, touching and mysterious in equal measure. With something for most tastes, this Album is the perfect testament to an Artist whose passion and commitment to her creative journey finds herself stepping up and pushing forward. This record is worth enjoying and appreciating as an excellent reflection of modern Irish music from one of Ireland’s most exciting young musicians.