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- 1 Black Sky 5:24
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composer
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- 2 Everybody Knows 4:46
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composer
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- 3 The Good War 4:19
- 4 Hi Def Distance Romance 3:32
- Total length: 18:01
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2 Reviews
Releases that follow albums with ‘re-imagined’ versions of their songs can be a nice spin-off but very few, if any, give much incentive to return for more. Perhaps it is just my biases showing here but this was a worthy exception. After the fantastic Primal Heart, one of the star art pop albums of the year, Kimbra must have seen something still yet to unfold in its songs, because the four tracks on this EP sound like they may as well be different songs entirely; meditations from a fresh mindset. ‘Meditation’ indeed, considering that these new versions are much more patient and aquatic, calming in spirit but no less magical than the originals. A big shout to this EP’s version of the album’s outtake ”Hi Def Distance Romance”, which I might argue is even prettier than the original.
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It's funny, because conceptually this is virtually identical to MassEducation, and yet I found that retread to be fine but largely pointless, whereas this little EP is fresh and invigorating and makes me want to listen to its sister album all over again. I suppose one reason for this might be that St Vincent's re-recordings at times felt like they were designed as deliberate and unnatural correctives to the divisive, hyper-polished style of Masseduction. The new versions of Kimbra's songs on here, however, do not seem to have been conceived as purposeful contrasts to their other versions, but as equals. She isn't just going through the motions here, plodding through stripped-back versions of her songs as if she were doing an acoustic-only set; she's teasing out new avenues of emotion in her lyrics by switching up the vocal delivery on certain lines and actually throwing in a few new ideas, like the extended overdubbed outro of "Black Sky", which actually improves on its counterpart from Primal Heart.
The other reason I think this succeeds where MassEducation failed is quite simply that it's shorter: the small number of songs here indicates that these tracks were deliberately chosen for reinvention, because Kimbra thought that there was more she could get out of these songs specifically. Consider the fact that one of them, "Hi Def Distance Romance", wasn't even included on Primal Heart - that suggests to me that there was something about the original version she maybe wasn't fully satisfied with, which, if true, would have made it a prime candidate for reimagining. To drive the point of comparison into the ground, St. Vincent went ahead and redid every song from Masseduction, and whilst some of the new versions were good, many were just fine, most felt unnecessary, and at least one just simply didn't work ("Pills", which, tellingly enough, was the best song from the original album and the one which felt more vividly realised by Jack Antonoff's maximalist pop production).
I don't mean to diminish Kimbra by devoting so much of this review to criticising someone else, but I think the comparison is an illuminating one in that it shows exactly why, for me, this EP works so well. This is a very fine EP which should serve as a deserved victory lap for one of the most exciting and naturally talented pop artists around right now.
The other reason I think this succeeds where MassEducation failed is quite simply that it's shorter: the small number of songs here indicates that these tracks were deliberately chosen for reinvention, because Kimbra thought that there was more she could get out of these songs specifically. Consider the fact that one of them, "Hi Def Distance Romance", wasn't even included on Primal Heart - that suggests to me that there was something about the original version she maybe wasn't fully satisfied with, which, if true, would have made it a prime candidate for reimagining. To drive the point of comparison into the ground, St. Vincent went ahead and redid every song from Masseduction, and whilst some of the new versions were good, many were just fine, most felt unnecessary, and at least one just simply didn't work ("Pills", which, tellingly enough, was the best song from the original album and the one which felt more vividly realised by Jack Antonoff's maximalist pop production).
I don't mean to diminish Kimbra by devoting so much of this review to criticising someone else, but I think the comparison is an illuminating one in that it shows exactly why, for me, this EP works so well. This is a very fine EP which should serve as a deserved victory lap for one of the most exciting and naturally talented pop artists around right now.
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i want kimbra to do a full album like this ughhh her vocals are so gentle here, it matches the sparser production
Totally gorgeous.