New Zealand artist imports a spin on pop vocals

Gaining worldwide attention from that international radio troll of a song “Somebody That I Used to Know” by Gotye, Kiwi singer-songwriter Kimbra will release her shaded-pop debut album, “Vows,” stateside on Tuesday.

Likened to Bjork, Nina Simone and Florence + The Machine by blogger Perez Hilton, Kimbra takes the global stage with a flair for the different and a set of pipes not to be sniffed at, something like a hybrid of Christina Aguilera and Fiona Apple.

Her album begins with the track “Settle Down”, which starts with a cacophony of voices and noises before Kimbra’s lounge singer-esque vocals take charge over the beat of her skat singing. Her voice goes on to be backed by a more tribal version of what appears to sound like Amy Winehouse’s backing band. Overall, the track is a little underwhelming, with more emphasis on repetition than real substance. It would’ve sounded better on Gotye’s “Making Mirrors” release alongside the aforementioned earworm from hell, “Somebody That I Used to Know.”

“Two Way Street” is showcasing yet another different sound, more of a mix of chamber pop and hip-hop and a hint of a xylophone. The song’s musical depth is a boon to Kimbra’s adaptive vocals, as they meld more easily into the song than her previous tracks.

The album takes a slower approach with “Old Flame” and yet strives to make it the most soothing yet powerful track, with bits of jazz and blues alongside more electronica-esque synthesizer.

The Amy Winehouse-vibe is even more evident in the following track, “Good Intent.” It also sort of reminds one of Kate Nash’s ability to weave multiple vocal layers together, which Kimbra weaves into a quilt of loquacious velvet.

On “Plain Gold Ring”, the sultry yet huskiness of Kimbra’s vocals reaches its crescendo, with a feeling imparted to the listener that would be the audio approximation of a smoky blues lounge mixed with a Victorian-era velvet smoking jacket. That is, soft with a little rasp around the edges. This easily ranks as one of the best of Kimbra’s tracks.

“Call Me”, a vibrant, urban sounding track that could’ve easily fit on the golden age of “Soul Train,” was in part produced by Australian hip-hop producer M-Phazes, who has worked with likes of Talib Kweli. The song’s driving bass line lends to the dance-feel of the track, making it easily head-bopped to as well as one of the better tracks on the album.

“Limbo” features a more pop sound that sounds like something Adele might’ve scrapped from her last album; that is to say, it’s good but not great.
The final track, “The Build Up,” is actually a two-part track, in that there is a hidden track for the last three minutes of the song. It starts with the seemingly trademark Kimbra intro, slightly discordant percussion and Bobby McFerrin wannabe skat singing with Kimbra’s voice floating over the top. However, the twisted blues/jazz/pop hybrid is even more soothing than on previous tracks and has a Miles Davis’ “Kind of Blue “-modal jazz feel as opposed to the more upbeat jazz earlier on the record.

The hidden track, “Somebody Please,” sounds more like a electronic-fado song than her other tracks. It’s surprisingly pleasing with Kimbra’s voice, especially as it transitions more into the cool jazz sound. As far as hidden tracks go, it’s one of best this reviewer has heard.

On the whole, “Vows” is a deviance from the typical pop album. However, it’s a great deviation. While some songs get a little repetitive, it still makes for a pleasurable listen. The implementation of the different styles of jazz, from cool to modal to bebop, as well as the hints of the blues and hip-hop lend the album a diverse feel as well as giving Kimbra a platform for her varied vocal talents. Some may say that this is just a down-under version of Amy Winehouse, but it’s more layered and technically advanced.