Sister Kindhook, Rasputina’s seventh album, finds band directress Melora Creager expressing a thematic fantasy of Colonial Federalism. Subject-wise, she also touches on feral children (Snow-Hen of Austerlitz), the Anti-rent Wars of 1844 (Calico Indians), and Early American portraiture (The 2 Miss Leavens), not to mention the theory that giants were indeed real, but killed each other off in a self-genocidal holocaust (A Holocaust of Giants). Sister Kinderhook is a return to Rasputina’s early, more organic sound. Melora produced and engineered the thing at her homestead in the country. Hudson, NY is home to many fabulous female artists that gained notoriety in the 1990’s, including Melora, Melissa Auf Der Maur and M’Shell N’Degeocello.
For the first time, Rasputina employs a male cellist. Daniel DeJesus came of age listening obsessively to Rasputina records, and can play and sing the entire catalog. Catie D’Amica was a local punk-rock teenager. Melora thought, “If I put her behind an eccentric kit that included a concert bass drum, a djembe and ankle bells, and if she played her simple but cool punk-rock beats, we might really have something.” When the internet compared Catie to a “Native American drum machine”, Melora knew that experiment was successful. In addition to voice and cello, Melora played banjo and harpsichord.