"She sings along with strings, her voice perfectly matching the soaring, instrumental smoothness, and there are strains of classical tango ballads, if I can say that, on tracks like The Disappearance of Antoine Labelle, a story that evokes the atmosphere of old dance bars in Montreal, smoke and mystery.
Songwriters who turn their music into stories is becoming a rare pleasure, but Di Gregorio’s whole album is a palette of song and story, as with wistful tracks like Painted by Boldini, a powerful number that showcases her immense vocal prowess and her ability to create emotion with words, melancholy lyrics about a woman’s regrets.
The way she uses image-heavy descriptions and breathy vocals to paint pictures of lost loves and vintage moments turns what is already an enjoyable album into an inspirational call to arms to musicians everywhere.
Reminding us that music comes in many intricate designs, The Whiplash Curve is audio utopia for anyone who appreciates the dazzling journey of beautiful sound."
Ceilidh Daniells - Frontlines Press
"Brooding and self-consciously elegant."
Tom Harrison - The Province
"[Kristia] mined her library of influences for The Whiplash Curve, which is named after a tenet of the Art Nouveau movement. The velvety sounds on the album (which was recorded in Victoria by star producer Joby Baker) are meant to mirror the subject, much of which involves the spirit of the late 19th-century, early 20th-century music and art worlds — and the women and courtesans who populated them."
Mike Devlin - Times Colonist
"A clue to the foundations of Kristia Di Gregorio's new album, 'The Whiplash Curve' can be found in the title of one her new compositions called 'Painted by Boldini'. Giovanni Boldini was a painter who became a portraitist at the dawn of the 20th century. Known as the 'Master of Swish', it was a reference to the flow of his brush strokes, not the flamboyance of his subjects..., although, among the aristocracy, the early 1900s did retain an air of lace and refinement. That classic sensitivity, resonates through Kristia's new music (in the string arrangements for example), poetry (the poignant lyrical ache of ' Oh My Heart'), and her everyday loves of things like ornate table settings and the hues and textures of the natural world. Her own refinement and maturity as a musician and a singer belies her rootsy roots, elevating the new material into the realm of chamber folk. Above all, Kristia's voice rings authentic, confident, with a quiver of vulnerability that brings realism to an emerging audio portrait of the Belle Époque and the unruly women of the turn of the 20th century."
Cal Koat - World Beat Canada
"Kristia's husky voice is reminiscent of a particularly gothy night by Norah Jones; thick with the breathy humidity and decaying eroticism of old New Orleans."
John Threlfall - Monday Magazine
"Suitors deemed unseemly... born out of time, far too late to get out of line... one hundred years to be misunderstood'. My ears usually concentrate on lyrics later on, but this story of 'borrowing trouble', 'opening shutters' and 'flirting with the girls' has me dialed in. Imagine Laura Marling having an out of wedlock child with Lhasa de Sela and you'll be right inside the atmosphere of this recording. I've never heard Kristia sing with this sort of elegant strength. She's not EMOTING like so many other modern female singers. Nope, this is honesty. Her melodies float like Lee Konitz playing a solo ballad and she falls off her phrases with the delicacy of Gil Evans regrettably walking away from a lover who was pressing him for more of his time."
von Loewen on 'Painted by Boldini'
"The power of Kristia's voice has an edge and a depth that makes her music unique… leaving the listener yearning for more of her, and no one else."
Warren Footz - SEE Magazine