In a parallel universe somewhere it was Cristina who was catapulted to stardom in the 1980s, while Madonna continues to wait tables somewhere in Williamsburg. There, Katie Kim’s records sell by the truckload.
Few things delineate us more distinctively than those secret discoveries we make in the worlds of music, books, film and television. But if any of those discoveries suddenly enjoy unexpected commercial success, we become deeply suspicious of them. Nothing contaminates art quite as irredeemably as popular acclaim.
All of which makes Katie Kim the most alluring artist working anywhere on these isles. Her latest album Salt came out last autumn, and so unheralded was its release that it completely passed me by.
I had first come across her in 2011 when I saw her perform at the event curated by Donal Dineen at Dublin Contemporary. And when her second album, Cover and Flood, came out later that year, I had no hesitation in declaring it the album of the year, not withstanding what a stellar year 2011 was music-wise, which I reviewed earlier here,
So I had been eagerly awaiting her new album ever since, but somehow I still managed to miss it when it came out last autumn. I only heard of its arrival when it was nominated for the Choice Music Album of the year award. And although of course I’m delighted that the prize eventually went to Rusangano Family, few artists would have merited that boost to their career that winning an award like that would have given her than Kim.
Salt is a more compact and cohesive affair than her previous couple of records, but the atmosphere it evokes and the feel of the album are familiar. We’re in 4AD territory here. And if it never gets quite as primal, guitar wise, as it does on a Cocteau Twins record, there’s no mistaking the terrain.
Think Stina Nordenstam recording an album for 4AD with some of the Dead Can Dance crew providing production duties. There’s an ethereal vulnerability to the vocals that’s bolstered by the heft and propulsion produced by the layers of sound that surround and give weight to the melodies.
The result is a wonderfully dark album that you want to hear at four o’clock in the morning, but with the volume turned up loud.
Secrets are wonderful, but it’s pointless if you’ve literally no one to share them with. So for goodness sake go and buy this album. I need somebody else to talk to about it.
You can see the video for the track Ghosts here.
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