![]() This record is a bit of a departure from “Vows”. Kimbra is ever in the front seat wearing the conductor’s hat, and everything about these songs centres around her voice, lyrics, and artistic vision without distraction. As for the guest spots from collaborators (a list that goes on and on), it never feels like a group party. The use of segues was somewhat present on “Vows” (siren sings atop acapella horns after “Old Flame” and “Posse” ends with a remixed “Settle Down”), but on “The Golden Echo” so much more consideration and time was spent making these songs seamlessly blend into one long experience. ![]() ![]() This includes giggling children, a spiraling haze fading into chanting and pickaxes, strings rising before a broken record skips, a laughing frenzy swirls down before abruptly stopping at a clap, and a fuzzy piano softly playing out. This helps seal each song together as a package and narrative ride, rather than a sequence of songs that play after each other. This “The Golden Echo” really works as a whole, most notably because of the segues that lead the end of one song into the start of an other. “The Golden Echo” really works as a whole, most notably because of the segues that lead the end of one song into the start of an other.
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