Factoring it

White Hinterland’s debut album is a modern girl’s answer to nerd rock. Singer Casey Dienel writes thoughtful, quirky lyrics that make her sound like Regina Spektor’s chilled-out little sister. And her voice is almost reminiscent of a young Joni Mitchell, backed up by lo-fi jazzy piano riffs and drums.

The opening track of Phylactery Factory, “The Destruction of the Art Deco House,” doesn’t exactly hook you in as a listener. Dienel often appears to be mumbling, as she sings along effortlessly to a gloomy piano-based instrumentation.

But the album picks up with the next song “Dreaming of the Plum Trees,” a hooky, harmonious tune with enough movement to keep listener interest. The remainder of the album contains twee narrative songs that are fun to sing along to.

“Lindbergh + Metal Birds” sounds like it could have been a song by The Shins circa Oh, Inverted World. Other songs are of a dreamy and morose nature, while the frequent string instrumentation enhances the slower jams to a brilliant effect.

The ballad “Hung On a Thin Thread” is where Dienel’s voice most vividly moves from breezy to sturdy. With a band that seems so reliant on its lyrics, her vox should deliver far more expressively. Instead, more often than not, Dienel appears too timid to speak up.

In keeping in tradition with its label, Dead Oceans, the group draws on classic recordings from the past, transforming them into a distinct indie appeal. The same has been done with labelmates Dirty Projectors and The Explorers Club.

If you have trouble getting into Phylactery Factory at first listen, do not fret. This is certainly the kind of album that gets better with every listen.

For a debut release, Dienel and Co. show a lot of promise, charisma and talent. As a whole, the album is a bit mild and anticlimactic for my taste, but it just needs a little more “oomph.” As it is, Phylactery Factory is a great listen for indie girls to put on while knitting, drinking soy milk or playing with their cat.