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From Frank Sinatra to Kimbra, from New Jersey to New Zealand in 70 years. It is the last pop record you ever need to own.
#KIMBRA VOWS REVIEW PITCHFORK HOW TO#
And she knows how to sound thoughtful without making you think. In a crass marketing sense - is there any other kind? - Kimbra is able to be urban without being ethnic. And most importantly, her songs will fit on the radio here. Kimbra comes across as an artist who has taken all the best parts of Glee, X Factor, the various Idol’s and Got Talent’s, and synthesized them into a whole. She’s perky and proportioned, here to entertain and eager to please. So to answer that question, is it going to fly in the States? Probably. Those people are probably just jealous that she has a husband as talented and beautiful as Wally DeBacker. Has Taylor Dayne? The great ones always know. Has Aretha Franklin ever talked shit about Kimbra? Of course not. Has Kimbra ever been criticized by someone who could actually sing better than her? Of course not. But what do those people know about soul? Here’s a question for you to think about. Kimbra swallows the history of music into herself and produces, simply, Kimbra.ĭetractors might say her voice has two settings - mewling or overwrought, that it lacks genuine soul. It combines weight and light in a way that obliterates both. Vows mingles pop and art until you can no longer tell the difference. Like a thinner, paler, less wordy Lauryn Hill, Kimbra holds nothing back. And as is the case with Bruce Springsteen, whoever named Kimbra knew exactly what they were doing. The word ‘Kimbra’ is an old Maori word meaning “one of prodigious gifts”. And it’s closer to Tune-Yards than you might initially think. She is the peacock to the dull, literal plumage of Gotye.Īccording to AOL Music, it “sounds like: Gotye, Tune Yards”. Whether she arrived at this knowledge through her Pentecostal roots or through endless readings of Lacan is something for future generations and interviewers to ponder. Would anyone who believed in the power of linguistics write, “Love is like a silhouette of dreams”? She knows that language has failed us, that an “ooh-ooh-oh” can say more than any words. It’s the kind of deconstructionist pop nonsense that Greer Gartside tried to achieve on Scritti Politti’s Cupid & Psyche 85. Her lyrics subvert the very cliches they swim in. “Open up your heart and let me pull you out” is, in the most literal sense, profoundly disturbing. It’s so meaningless, it verges on the avant-garde.
“Love is like a silhouette of dreams” is the best line I’ve heard all year. Which is exactly what makes it so relevant. Kimbra is here today, making music that is relevant in an age when relevance no longer exists. And all he ever did was sing about a future that now belongs to our past. She’s smarter than that.Īlso, if you rearrange the letters (along with the strokes and serifs) of PRINCE, you get KIMBRA. But Kimbra’s never going to be inducted into the Rock & Roll Hall of Fame. Vows is 56 minutes long, because it was 56 years ago that Elvis first appeared on the scene - it’s the history of rock and roll, one minute at a time. Where can anyone go from here except sideways? It’s like the Rolling Stones if they were still alive. It’s like Adele if she knew how to dance. It’s like Cat Power if she had someone who loved her. It’s like Kate Bush if she knew how to write a good song. People who are working on albums for 2013 have their work cut out for them as well. I’ve only given Kimbra’s album 73 listens, but I still feel confident in saying that you - and I use the pronoun as specifically as possible - probably won’t hear a better pop album this year. But don’t worry, both albums still have the same title. It omits ‘Call Me’, ‘Limbo’, ‘Wandering Limbs’, ‘Withdraw’ and ‘Somebody Please’. The US version differs from the Australia/New Zealand release, adding ‘Something In The Way You Are’, ‘Come Into My Head’ (Kylie wanted you to come into her world, but not Kimbra, she wants you to come into something else), ‘Sally I Can See You’, ‘Posse’ and ‘Home’. I resolve from here on out to listen more closely before forming an opinion. I can hear it all now - the talent, the ability to play more than one instrument, the insight into human relationships. I think it was the 146 th time I heard ‘Someone I Used To Know’ that it finally clicked with me.
With the benefit of hindsight, I can see I was wrong about Gotye. And there’s one question lodged in the throat of anyone who cares about money and music (in that order): Can Kimbra duplicate Gotye’s success? The singer of the most popular verse in the world’s most popular song written by Australia’s most popular man (Everett’s still running a distant 47th), Kimbra’s album is out now in the United States. Decrease Font Size Increase Font Size Text Size Print This Page Send by Email
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