Kiesza’s Sound shines but ultimately disappoints
Though her name is not something you’d hear every day, you may have heard Kiesza in her hit single “Hideaway” last February. The song premiered at the number one spot on the UK Official Singles Chart, and the music video garnered her more attention, parading around London in one take even though the singer had a broken rib at the time. Now the Calgary, Canada, native is out with her full-length album, Sound of a Woman, and she continues to intrigue with her ability to weave ’90s beats and modern tones.
Charming sound · Kiesza’s “Sound of a Woman,” a powerful ballad, is a standout track from her debut album of the same name. – Photo courtesy of Kiesza
The album starts with “Hideaway,” which is apt considering it is the song that launched her career. Even though listeners will have heard this track before, it is still just as mesmerizing and experimental this time around.
“Taking me higher than I’ve ever been before,” sings Kiesza, with soul and power behind her voice and a ’90s techno beat accompaniment. The song is original and fresh, but unfortunately, the album that follows becomes redundant very quickly.
Each song is strong in its own right, but Kiesza’s intense vocals and clear ’90s influence quickly grow old in Sounds of a Woman. Songs blend together and there are few standouts. Unfortunately, her experimental style on this album proves to be too much to handle. There are several highlights, however, which make Sound of a Woman worth listening to.
There is no doubt Kiesza has drive and passion, and her background is proof. The songstress served in the Canadian Navy, competed in a Miss Universe Canada Pageant and pursued a career in ballet before transitioning to music. There isn’t an artist today that has a resume as interesting. When she did decide to make music, she immediately gained recognition, getting radio play and a live performance on a radio show only months after starting her career. She then studied at Berklee College of Music, a prestigious music school in Massachusetts, before travelling to New York and landing her first hit, “Oops,” about unprotected sex. Later, she stated that the song was made as a joke, but the tongue-in-cheek style she defined in “Oops” stuck with her, and her new album, though not as humorous, still has the same light-hearted energy. With so much talent and drive, it is a shame that this album doesn’t meet expectations.
Musically, Kiesza is in a category of her own. She has a soft, comforting sound that somehow feels rigid and tough as well, and her influences shine through in the backbone of every song. She has a sound reminiscent of ’80s and ’90s techno artists like Depeche Mode, and she even covers Haddaway’s 1993 “What Is Love,” an anthem of its generation that is still almost universally known today.
She also has clear roots in hip-hop, featuring artists Joey Bada$$ and Mick Jenkins on tracks, and using one of the most universally known hip-hop backbeats, known as Funky Drummer, in her track “Vietnam.” “Bad Thing” with Joey Bada$$ is definitely a standout, as is “Vietnam” and a slow jam titled “So Deep,” which sounds like SBTRKT’s “Wildfire” with more soul.
“Paint me with your body / I want to be the canvas that’s underneath,” sings Kiesza, with a wispy voice that sets the tone of “So Deep” and emphasizes the song’s hip-hop backbeat. There are certainly standouts on Sounds of a Woman, but it might take a little digging to find these gems.
One such gem is the title track, “Sound of a Woman,” which is an epic ballad about a regretful relationship, punctuated by lyrics like “I have no more tears to cry” that are both emotive and powerful.
Kiesza talks a lot about failed relationships on Sound of a Woman, ultimately setting the tone of the whole album. Even though many of her songs feel light and sensual, they are lyrically heartbreaking, as the artist tells of her experiences. It makes sense that Kiesza would cover “What is Love” as it fits lyrically with the album’s tone, even if the original is a lot more based in pop than her slow, piano only cover.
Closing out the album is another slow, acoustic track titled “Cut Me Loose,” and it leaves the listener with a hope that feels ripped out of a Disney musical. This doesn’t make it a bad track by any means, but it does have a certain cheesiness that is an acquired taste.
Ultimately Kiesza’s Sound of a Woman suffers from a misunderstanding of audience. The Canadian singer has a powerful, emotive voice and great composition, but her songs attempt too much. In certain songs, there are Disney-esque vocals with lyrically mature themes, ’90s hip-hop beats and techno house riffs, all culminating in an album that is jumbled and chaotic. Kiesza’s unique sound still needs refining, and unfortunately it shows on Sound of a Woman.
Matt Burke is a sophomore majoring in film production. He is also deputy design director at the Daily Trojan. His column, “Notes on Notes,” ran Thursdays.