Mark Erikson (MHE): We get asked a lot, “what kind of music do y’all play?” It’s always been kind of a tough question for us because it really has more to do with what we were listening to growing up than it does with current genre categories. In the sense that our sound is country, it’s because we grew up in the country listening to a lot of 90s country like George Strait, Chris LeDoux and Garth Brooks, as well as traditional forms like bluegrass and old cowboy fiddle tunes. But we also listened to a lot of bands like Led Zeppelin, Pink Floyd, Beatles, Jimi Hendrix, Allman Brothers Band, and that kind of music had a huge influence on our sound. So when people ask about our sound, you can spend a paragraph saying that, or you can just call it “Country Music Deathstar.”
Singer-songwriter Cat Canteri has been slowly been building herself an impressive career that now numbers three solo albums.
The sense of patience, self-determination and the evolution and refinement of her songwriting makes Inner North her most rewarding record to date.
Canteri’s ability to drift between styles is a real strength and the way she does it so seamlessly is a testament to her versatility. Primarily this is an album of contemporary folk music, both electric and acoustic, yet it also draws on indie rock and pop, country music, jazz and languid blues. Opener The Only One is as ragged as she gets, with her ringing Ryan Adams-styled guitar balanced by her warm and rich vocal tone. Canteri’s singing is prominent in the mix throughout this album and it impresses with dips into deep soul on Remember The Time and pure, rollicking country on How Crazy I’ve Been. One of the strongest moments on the album is the exquisitely presented, heart-wrenching tale of Bridget Agnew.
Reminiscent of the sound of Joan Armatrading, Eleanor Friedberger and the occasional flash of Joni Mitchell, Canteri’s album is a wonderful sonic snapshot of Melbourne’s inner north, past and present, through the eyes of the people that inhabit these suburbs.