Last updated: 11 hours ago
Itasca (veritas-caput) (a Latin / Ojibwe portmanteau place name meaning "true source" or "truth-head") The first Itasca record in over four years begins, in “Milk,” with a dream of Genevieve, “the myth in the mirror’s gleam”—perhaps, on this faith-haunted album, a reference to the fifth-century saint, or the chaste, cave-dwelling heroine of medieval legend. It ends with Olympia, standing at the shore—maybe, among these myth-haunted songs, a reference to the ancient Greek sacred site, or, considering the artist narrator of the title track, to Édouard Manet’s revolutionary 1863 painting of a defiant sex worker. Across its suite of smoky nocturnes, Imitation of War finds Los Angeles-based songwriter, singer, and guitarist Kayla Cohen continually embracing the tangled ambiguities of its evocative title, with its suggestions of artfulness, artifice, and antagonism alike. Her characteristically ethereal vocals precipitate, among orange and laurel trees, upon rockier terrain than ever before, negotiating a “muse’s crown” and “a snare set by the devil.” The uneasy idyll, set to a brisker tempo and more spirited and spacious band-centered arrangement than most anything on Spring (2019) or Open to Chance (2016), her prior two albums with Paradise of Bachelors, captures the flexibility and finesse Cohen wrings from reduction.
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