*This is NOT a CD*
Release Year: 2015
Label: Speakeasy Records
- I’ll Make Time For You
- Hold Steady
- Time Will Wait
- Bird On A Wire
- Eyes To The Horizon
- True Devotion
- Deepest Blue
- Driving In Your Car
- Make The Most
- Honey, Leave The Light On
- Kristin Diable – Vocals, Guitar, Piano
- Dave Cobb – Acoustic & Electric Guitar
- Chris Powell – Drums & Percussion
- Mike Webb – Keys, Mellotron, Piano, Synth
- Brian Allen – Bass
Reviewed In OffBeat
Stephen Maloney (March 2015 Issue)
When an artist is said to have “broken through,” it is safe to presume that some sort of barrier or set of limitations have been finally conquered.
While I am not entirely sure what barriers may have held Kristin Diable back in the past, it is immensely clear that she has catapulted herself over anything that could possibly hold her back with her new album, Create Your Own Mythology.
The opening drum flourish of “I’ll Make Time for You,” the album’s first track, effectively erases all expectations.
The laid back groove, perfectly syncopated guitar notes, and expansive organ tone open you up perfectly for Diable’s relaxed singing style, which provides a real and immediate hook.
The album’s title, while having no immediately accessible link to the 10 songs contained on the album, does manage to create a framework for Diable’s reinvention.
The songs all tend to follow broad themes of love, compassion, devotion, and learning to become a better person.
As Diable recounted to Brett Milano in her February cover story, the same themes have become ever present in her life in New Orleans since she settled here full time six years ago.
Diable manages to be open while maintaining a cool detachment (I’ll make time for you/but I will not hold you down), steady as a rock (No matter where you go, I’m gonna follow/ no matter where you’ve been, I’m gonna stay), and yet still open to whatever may come (I’m going to a place I’ve never been, with eyes up around the horizon/and if I’m not back before the dawn, please tell my love not to wait up).
There seems to be a tangible difference between a New Orleans musician who is making New Orleans music that is aimed squarely at a New Orleans audience and someone like Diable, who seems to be chasing the muse of universally accessible almost-pop music.
As Milano pointed out, Diable does not deal in Katy Perry pop, but rather Stevie Nicks ’70s pop-turned-classic rock.
In this age of internet mythology and smartphone oracles, Diable seems to be the perfect musical accompaniment to a sweeping personal reinvention on a grand scale.
And she makes the most of every moment