Review Summary: This could well be gold, but all I’m hearing is the dull aftermath of an echo.
Kimbra’s debut album Vows is certainly a favourite of mine. Not of 2011 (because I was late to the party), but just in terms of being the most promising release so far to come out of Australia (or New Zealand if you must) in this new decade. Vows’ organic sound and soulful performances, particularly my favourite track Withdraw, I believe is what really has propelled Kimbra forward just like the hairs she raises on the back of my neck. But now it’s 2014, and Kimbra’s second LP release had snuck up on me to the point I realised it was out when I walked into my local JB Hi-Fi.
So, let’s get to it!
The Golden Echo features a much more electronic based sound, with the use of drum machines and an array of buzzy and glitchy synthesizers. The influences on this record aren’t concealed; in fact Kimbra has practically rolled up her sleeve on this one. Tracks like Miracle and Madhouse I see will be quite prone to being labelled 80’s era Michael Jackson B sides. Hip-hop dominates the first half of this record, particularly on tracks such as Gold Mine which features trap beats, particularly the trap hi-hats found on its chorus.
While this all might sound cool, this release lacks the magical vocal performances found on her debut, Vows. As a singer/songwriter, you’d expect Kimbra to be the focus of the record being that it’s hers, but sometimes the instrumentation on tracks can be so thick and dense that it ends up stealing the focus. Though truth be told, it’s more so that Kimbra buries herself within these tracks with her wall of vocals. Case and point would be the opener Teen Heat, Carolina, Miracle...actually, a fair few too many. While I can understand the go for big vocal harmonies, reality is within the mixes here, it’s unclear about what is the lead vocal at times. There’s no distinct melody under the haze of vocals, and suddenly the songs breeze by without standing on their own feet. What’s further more disappointing is there’s a lack of magical make-the-hair-stand-up-on-the-back-of-your-neck moments or the demand for emotional response when listening to The Golden Echo. The album tends to roll by per listen, and further listens don’t really reward the listener with finer details.
But what bums me most about the record is that a good portion of the tracks don’t sound like they were very interesting to begin with. The production seems to have bled into the song writing, as well as guest acts. Madhouse sounds like the product of Thunder Cat’s bass line, Goldmine comes off very underwhelming due to the flat fusion of hip-hop meets Kimbra’s vocal style. Then there’s Everlovin’ Ya which just sounds like a mess quite frankly with its never changing two chord progression.
This could well be gold, but all I’m hearing is the dull aftermath of the echo. When the record does shine gold is when the tracks are stripped down, particularly the last 4 tracks. As You Are features Van Dyke Parks’ swelling string arrangement to accompany Kimbra’s breathy harmonies, but they work well here with the minimalist instrumentation. Love In High Places has a very chilled vibe that’s soothing, especially when Thunder Cat’s bass solo comes in at the end, and Nobody But You is probably the most catchy and memorable track on this entire LP. Then there’s the closer Waltz Me To The Grave which features a near powerful end, ringing similarly to that off King Crimson’s Starless oddly enough, taking the track out to the 7 minute mark.
Though despite a stronger end, a lot of the magic and identity Kimbra has created for herself on her debut has been lost but not thoroughly replaced on this new release.
3.0 – My idea of ‘Okay.’
