Corner House - Caribou Party

Corner House

Caribou Party
​self-released; 2020

By Dino DiMuro

Corner House is a Boston-based acoustic group with Irish, Scottish, Appalachian and bluegrass influences. Formed in 2017, they’ve released two EP’s (their previous release Smart Folks was reviewed here on Divide and Conquer) and had hoped to record a full length album when the pandemic hit. Instead, they’ve released their third EP titled Caribou Party and intend to complete an album later in 2021.

Corner House is comprised of Ethan Hawkins (guitar), Louise Bichan (fiddle), Ethan Setiawan (mandolin) and Casey Murray (cello.) These songs were written and recorded on a small Pennsylvania farm in a barn and cabin, which sometimes required the use of a large battery. “This music sits in a proud place in our hearts, and we hope that the minute your finger touches play, you feel the gravity that we felt listening to the notes leave our little music boxes.” The songs were engineered and mixed by mandolinist Setiawan with mastering by David Sinko in Nashville.

When I started listening to the opening track “Woolwich” before I read their bio, my first thought was that this was recorded in a warehouse or silo. I could feel the natural reverb and it works beautifully for this kind of music. The melody of “Woolwich” channels Irish traditional, with a bit of the baroque inventiveness of Gentle Giant. Even the percussion feels authentic. The band says this music “came out of rainy day at a serene cabin in Woolwich, Maine.”

“Grass & Peas” feels more like an old-timey walking blues tune. The arch lyrics were added the night before recording “while pondering if we’re doing as much good as we intend.” Even the disappearing bees get a call out! Some especially nice mandolin chording in this tune. “Caribou Party” adds Murray’s understated banjo to the mix, for a slower and more contemplative sojourn. The fiddle carries most of the emotion here, evoking a tentative disquiet. A gem among gems!

“The Hawk, The Hound & The Homers” was apparently written after the band interacted with some of the local animals, two or which are named Pete and Stevie. This one again feels traditional with an upbeat and lovely interplay among all the stringed instruments. Toward the end there’s a short section where the mandolin and fiddle take a moment to shine on their own.

“Easter Sunday” feels like a slightly more modern folk tune with a heartfelt vocal about grappling with “…the dichotomy we all experience between our upbringing and our lived experience.” The lyrics aim straight for the soul: “I want to believe in Heaven if I go / I believe the angels cry the day we all are born / I want to believe in the things I saw in church / I want to believe that God is not the worst.” The playing here is almost supernaturally gentle and evocative, until it morphs into another delightful reel. 

The final track is an eight-minute epic titled “Snow On The Rooftop / The Fallen Squirrel” and features guest Darol Anger on fiddle. Inspired by a nest of squirrels on a rooftop next door, the band says this set “…reminds us not to take pretty much anything too seriously.” Starting out slow and stately, the fiddle provides both lovely melodies and a pleasing drone. The tempo picks up after three minutes for some jig-worthy jamming. The solid “floor” provided by Murray’s deep and low cello should not be overlooked. 

​Clearly this is a group that makes you happier while listening to them, as my own experience and their many Bandcamp fans can attest. Can’t wait for the full length project!

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