{"id":21512,"date":"2020-06-10T14:43:37","date_gmt":"2020-06-10T18:43:37","guid":{"rendered":"https:\/\/panm360.com\/records\/white-whale\/"},"modified":"2020-06-10T14:59:01","modified_gmt":"2020-06-10T18:59:01","slug":"white-whale-c-diab","status":"publish","type":"records","link":"https:\/\/panm360.com\/en\/records\/white-whale-c-diab\/","title":{"rendered":"White Whale"},"content":{"rendered":"\n

Built by way of bowed electric guitar, very subtly supplemented by flute, trumpet, synths and audio-tape tinkering, White Whale<\/em>, the latest from British Columbia\u2019s Caton Diab, exists at a fog-enshrouded meeting point of post-rock, ambient, contemporary classical, and folk (\u201cHaunter\u201d stands out in that last category). It\u2019s at points admirably patient, at others anxious, even angry \u2013 there is a drive and bite to \u201cStreet Scenes\u201d and \u201cInfernal District\u201d that contrasts sharply with the grand and gradual passages elsewhere. There\u2019s a gritty, rust-chewed roughness throughout \u2013 the artist\u2019s hand is ever apparent, and Diab is clearly comfortable getting that hand dirty. The result is a sound that resonates emotionally where a diligent cleanliness might have left the listener cold and distanced. Diab describes these pieces as reflections on the unraveling of the social contract, the better days and ways that no longer seem to lie ahead. There\u2019s a lot of hurt in this music, it\u2019s deeply wounded stuff. Conversely, or perhaps consequentially, there is a heap of hope and healing to be had here as well. The brief, earnestly entitled interlude \u201cUtopia\u201d offers a small dose of solace, as does the uplifting closer, \u201c100 Famous Views\u201d.<\/p>\n\n\n\n