Tag Archives: Casey Dienel

The Best Albums of 2017: #40 – #21

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We’ll be revealing the full list, 20 albums at a time, this whole week.

Last year, the Bandcamp Daily staff put together our first “Best Albums of the Year List,” 100 albums we felt defined 2016 for us. At the time I remember thinking, “This is tough, but it will probably get easier as the years go on.” Now, one year later, I’m realizing that I was wrong. The truth is, the world of Bandcamp is enormous, and it contains artists from all over the world, in every conceivable genre (including a few who exist in genres of their own invention), and at every stage of their career. The fact of the matter is, any list like this is going to fall short because, on Bandcamp, there is always more to discover. Right now, there’s probably someone in their bedroom in Buenos Aires, making a record on their computer that is going to end up on next year’s list. So as comprehensive as we’ve tried to make this list, we realize that, even at 100 albums, we’re only scratching the surface of what’s available. The albums that made this list, though, were the ones that stayed with us long after they were released—the ones we returned to again and again and found their pleasures undimmed, and their songs still rewarding.

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The Best Albums of Spring 2017

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Every three months, the Bandcamp Daily editorial staff combs through the stacks to present our favorite records of the year to date. This edition runs the stylistic spectrum, everything from jazz to pop to gospel to everything in between. And if you want to see our picks for the first three months of 2017, you can check them out here.

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This Week’s Essential Releases: Ethio Jazz, Sample-Punk & Country

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Welcome to Seven Essential Releases, our weekly roundup of the best music on Bandcamp. Each week, we’ll recommend six new albums, plus pick an older LP from the stacks that you may have missed.

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Casey Dienel Retires White Hinterland and Discovers Herself

Casey Dienel

Photos by Brad Ogbonna

Casey Dienel likes having rules. For more than a decade, the singer-songwriter has been recording lush, gauzy art-pop as White Hinterland. Each time she started writing an album, she would give herself a set of restraints. “No proper nouns on these songs,” she offers as an example, between bites of pizza at Saraghina, an eatery near her Bed-Stuy, Brooklyn apartment. “Or, ‘No acoustic instruments on these songs,’ or ‘No reverb.’”

She readily admits to having a “Type A” personality. But when she set out to write the songs that would make up Imitation of a Woman to Love, the first album she has released under her own name in 11 years, she decided she had to change things up. She wanted music that was livelier than anything she had made before, lustier and more fun. And, most of all, truer to herself. So that meant she had to forswear her reliance on rules.

Well, except for one. Old habits, etc.

Listen to Imitation of a Woman to Love in full exclusively on Bandcamp Daily: 

“The only thing I really wanted to stay away from was a sense of wonder. A lot of times when there are songs about people’s sexuality, they’re caught up in spirituality, and almost the saintly-ness of the woman’s body,” she says. “I don’t feel that way about my sexuality. I feel a more earthly situation with it. I didn’t want to have anything where I was talking about Gaia.”

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