Kerry Devine would have felt at ease at the Bang Bang Bar (Roadhouse), at the end of an episode in the third series of Twin Peaks by master director Lynch. This rings true overwhelmingly listening to “Work You“, with its ectoplasmatic pad, those tragic basses and that emotional hijacking in the voice that turn those feelings of which she sings into ghostly undefined presences in an abandoned house, whose walls weep terrible memories.

Her two preview pieces from “Away From Mountains” – which will be released on Trapped Animal with a fair distribution, as all records of this caliber should be – demonstrate an intense, mature craftsmanship. The guitars are finely entwined in a shiny filigree, and the whispers of a voice that has taken a different path to a destination that is nevertheless the same: a prismatic non-place where one flees to avoid thinking too bitterly about painful appointments, for the usual fragility that distinguishes us.

Drama is infused in every single pick of her immaculate fingerpicking on “Charleston Town”, somewhere between Suzanne Vega from “Some Journey” and the last Pink Floyd of Gilmour, those of “High Hopes”. Kerry seems to sing from within, scribbling notes in a diary of psychic events, like in “Lines in the Landscape”, in an attempt to escape an inexorable descent into the Maelstrom. In “Ariel“, a cinematic music-box shows us the entrance into a fairy kingdom. Time is suspended, and space is seen only through light inner sighs: an almost imperceptible dialogue between ghosts.

Kerry has enchanted us with her songs of the spirit, rising up towards the parched skies of existence, although they still distill the poetry of abandonment; they leave hurriedly at the dawn of a new day, like the last dark hours of a pitch-black night.

Here the link to Kerry’s latest work.

Nando Dorelassi


Now Reading:
Kerry Devine
2 minutes read
Search Stories