![]() ![]() This record is too easy for someone who cites the likes of Prince, Minnie Riperton, and Björk as influences, Kimbra owes it to herself to push her own limits and really go crazy with reinvention. But alas, this is where PRIMAL HEART gets lost. Wailing with abandonment or sensitively whispering, she’s already proven her attraction to extremes. She often swallows the listener in layers of vocal half-pipes and loops of mouth instrumentation, backed by production that is, at times, glittery and airy, or bass-y and groovy-both pyrotechnic and guttural. There is a certain deep, ecstatic energy about Kimbra’s music. Where would she blast off to on PRIMAL HEART? Kimbra’s wildly soulful pipes and knack for earworm-y vocal samples are not a thing of the past-from “Settle Down” to “Love In High Places,” they’re her MO, and without fail, she creates thickly textured, expressive pop homages while shooting her sound into galactic orbit across two full-length albums. In it, I described one track as “BEETLEJUICE if he were in a Michael Jackson’s ‘Don’t Stop ‘Til You Get Enough’ music video,” and another as, “an acid trip being rewound on an old VHS tape.” While it’s now a file I’d rather keep buried in the folders of my computer, the document still reiterates for me the glamorous, funkalicious heart of an album I continue to go back to with the same enjoyment of its first listen. When I applied to Crossfader a couple years ago, I sent in a review of Kimbra’s sophomore release THE GOLDEN ECHO as my writing sample. Favorite Tracks: “The Good War,” “Top of the World,” “Recovery,” “Human,” “Past Love,” “Right Direction,” “Real Life” ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. Archives
December 2022
Categories |