Review: “Off white” – Lotte Kestner

Coming out on September 1st for Saint Marie Records, the new album of Lotte Kestner called “Off white“and follows, after 4 years, the lucky The Bluebird of Happiness , from which the wonderful cover of Halo used in the television series The Young Pope by Paolo Sorrentino. She is a prestigious artist – who has collaborated with the Chemical Brothers, Anomie Bell, Motopony, Damien Jurado – The California songwriter seems to have decided to hang out for a moment the covers and after the enchanting Stolen (Saint-Loup Records) and “Covers“, her two poetry books and an honorary participation in the film I Cannot Go On As I Am, an unpublished record was a gamble that could have been too big.

But it takes a few seconds to understand that Lotte Kestner has not come back without having anything to say: her voice speaks, exposes, tells, but above all seems to be elevated spiritually, accompanied by a piano that plays the twin role and expresses all that primitive strength that has always stood in every embryo of fragility. It is a disk that sheds the heaviness of ultra-productive productions, rewarding the essence of a full vocal, which would even envy the most stoned heart. Track to track, as in an in a still journey where we go far away to regain ourselves, “In glass”coherently reveals choirs from other dimensions, recalling the photographic intensity of the director of”Les Revenants”, resembling our Thony and Joni Mitchell of overseas. Atmospheres are folk, with blues and melodrams, but amongst the incisors, great emotions of strength, ambition, and realization are felt. Nothing is totally new, it needs to be specified: “Ghosts” has the ethereal spectrality of Julianna Barwick, “Off White”The feminine delicacy of Beth Orton and of Aimee Mann.

Listening is not easy: the slowness of the tracks evokes that slow and pernicious deterioration of human vicissitudes. But in each passage, sealed as a secret to be reached with obstinacy, you find the beauty of a music conceived and realized through mind and pain. But Anna-Lynne Williams is certainly not an artist of easy emotional acuity, and of course she would never be satisfied easily: arrangements are brilliant and well cared for (the solo in Have you sailed home” is captivating), always in a delicate balance between emotion and melody, cross armed with sadness and expressiveness. Emotion puts its roots in a songwriting that we had to find and love for a long time. Those guitar strings like filiform curtains introduce elsewhere: Where? Wherever the heart has dug a harem for your sorrows. The Koran reminds us that on every man’s neck is attached his destiny. Thus, in the soul of this album, in its precious and enviable depth, there is all the admiration and potential of evoking poetry in the world as viral salvation. And if we were to rely on geomancy, the interpretation of figures drawn on the ground, this album would have the figure “Rubeus”, an Arabic name indicating fire, hot tempered and indomitable energy. A silent cry, that sometimes explodes in the rhythmic scaffold of sections of baroque arches but always in perfect alignment with emotion, sometimes with desolate texts or full of hope. In a track on all: Another moon, a gray piece that puts peace between the black of the angry reality and the spongy white of the lamb. Thank you Lotte Kestner for all this beauty




Secret Longitude
In Glass
Have You Sailed Home
Off White
Eight Ball
Go To Sleep Now
Another Moon
Boat Of Mine


*you can find the original italian version right here.


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