Kilo Kish is authentic to her craft, as she adds realized perspective in her songwriting. It has been a keen aspect of her talent; she has been able to draw up down-to-earth vocalizations and an array of whimsical, electro-grunge-R&B/Hip-Hop grooves that acquiesce in tangential bliss. 2013’s K+ put a spotlight on her because of it, and she continues to control it from mixtape to albums, including her new album, American Gurl. Building a foundation on Experimental and Alternative R&B/Hip-Hop, Kilo Kish branched out and used the basis of what works, adding elements that see her evoking elements of Pop; however, it can become forgettable, especially with her 2016 album, Reflections In Real Time. As a follow-up, America Gurl improves on some of the off-electronic overtones and transitions, with Kilo Kish growing more into who she is as an artist.
American Gurl is vibrant, switching styles and trying different ways to incorporate overarching themes that personify Kilo Kish’s life since her debut album in 2016. It’s a loose concept wherein she focuses on themes beyond what affects her on a personal level, as she creates parallels to her perspective on the “American Girl,” using themes like consumerism and personal freedom. She can give it to us with vibrant production and more dour-electronic synchronization between vocals and production, as it creates intricate transitions. We hear it through similar themes or ideas reflected in the songwriting or the production style. It’s a significant strength that shrouds over consistent details that already make her a great talent. Significantly, the stronghold of these songs is Kilo Kish’s intricate and hypnotic melodies, acting like the glue holding many of the tracks together.
American Gurl is great, and another reason is that Kilo Kish makes bold choices, specifically with her features. Unlike standard features, Kilo Kish uses them to elevate the sonic platform and add nuance to her vocals. She does this twice with “Death Fantasy” and “New Tricks: Art, Aesthetic, and Money.” “Death Fantasy” has Miguel delivering these ghostly vocals, which bring life to the song’s theme of death, like the death of a faux-pas physique that doesn’t reflect your inner. It speaks to more than self-worth, like how privilege–generally speaking–shields you from genuine freedom. “New Tricks: Art, Aesthetic, and Money” uses Vince Staples as a hype man for her unique flows and swagger.
There are varying transitions, whether through continuing to build on themes or by its production. “Distractions III: Spoiled Rotten” continues to build upon these illusions we have of attaining grandeur life to satisfy our insecurities; it’s expressed more personally in “Death Fantasy.” However, the transition in production delivers an interesting contrast to the more experimental “Death Fantasy.” While “Distractions III” uses elements of electro-pop, adding catchier melodies while retaining that experimental glitz, “Death Fantasy” is barer. It uses a balance of atmosphere and low synths to evoke its presence–something that is subtly vibrant beneath most productions.
The steady consistency in which Kilo Kish keeps turning heads comes from having an individualized identity to the songs on the tracklist. Like Rosalia’s Motomami, American Gurl has a different sound that barely parallels what we get. “Bloody Future” evokes an elegant island vibe; the cohesion between percussion and synthesizers is what spearheads it–that’s its identity. It continues as we get “New Tricks: Art, Aesthetic, and Money,” an experimental hip-hop track that explores more industrial electronic overtones over hip-hop-centric drum beats. The everchanging production breathes enough character that you’re left mesmerized by each direction it takes. It’s as if she took the best aspects of K+ and the best of Reflections In Real Time, and she, along with producer Raymond Brady, found a way to build something profound, though I can’t honestly say that about every track.
As you navigate American Gurl, the moments that get you perked up, and sometimes those moments aren’t as consistent–positively speaking. “Choice Cowboy” with Jean Dawson is overly ambitious with its electronic notes, that you get lost in this uninteresting techno-dance-pop hybrid that can easily get skipped. It’s the most jarring, comparatively, as it lacks smooth melodies that keep you entwined from start to finish without taking focus away from her songwriting. It’s the only instance that turns me away and causes this from being a perfect album.
American Gurl is fantastic; we see it blend an essence of life with musical progression. We get infectious melodies and unique percussion patterns that keep you attached to the lure, digesting what she sings about. It’s an album I recommend seeking out, along with her other work. More importantly, her words are grounded in reality and poignant.