I have a keen penchant for albums that blur genres into oblivion. We live in an era where fans and artists can listen to more music from more diverse sources than ever before. Thus, it makes sense that the sounds being developed should reflect that increased access. More people should broaden their personal listening whether it’s for fun or in advance of writing new songs.
The problem with that notion arises when artists can’t properly curate their musical tastes. Sure, your indie rock band might want to introduce roots rock, reggae, and raga into their latest creation. But you should concentrate your attention on melding those elements into an organic whole that reflects your true sonic impulses.
Because of my affection for ambitious art, I also maintain a high bar for anyone making such attempts. You must be intentional with how you first engage and then implement that wider range of sounds and ideas. Don’t worry about making some bold gesture, complete with a thesis statement. Instead, have a clear focus to your efforts.
Even the bravest adventurers in history – musical or otherwise – used some sort of map.
This very spirit of purposeful exploration creates the perfect lens for discussing Max Heart by Kalbells. Released on NNA Tapes, this ten track album delivers sour candy sweetness of the highest order and exceeded all my expectations. Imagine shimmering sweetness with roots in the cinematic French pop of the ‘60s. Then inject with dreamy ‘80s synth grooves, and finally, round it out with hefty doses of shiny ‘00s indie-pop.
Bursting with whimsy and packed with personality, this all-woman quartet delivers a powerful performance. My brain fused together Kate Bush, Kate Nash, and HAIM creating music that pays homage to Jane Birkin and Karen Carpenter.
The band coalesced its wide-ranging influences into a singular vision that combines floating ambience with crisp pop structures.
I’m floored by the rich instrumentation and layered vocal harmonies on display. These four musicians can read each other’s minds. Piles of lush synth pads fly around the mix like sarcastic pixies, while creeping synth bass lines create a feeling of sensual mystery. Supporting everything is a bevy of understated programmed beats. While they don’t grab your attention, you also can’t ignore how much they add to the music.
These songs display a warmth and suppleness, as they beckon the listener to dance and flirt while also chasing new beginnings. The lightness and airiness of tunes like “Flute Windows Open in the Rain” and “Poppy Tree” encourage you to celebrate the day, especially in light of the battle you won yesterday. Additionally, “Purplepink,” “Pickle,” and the title track provide up the sort magical magnetism that draws you outside on a sunny morning, especially if you went to sleep after defeating a grim funk.
You can get easily swept away by the smooth grooves and cinematic flair up top. Then again, the bite and snark that pervades the lyrics and the overall mood impressed me. Think of an Ottessa Moshfegh or Hilary Leichter novel set to music, complete with a flighty exterior that’s delicate and delectable.
I recommend that you stop long enough to peel back the surface. You’ll find a thoughtful interior life that deserves your full attention.
The blurring of genres on Max Heart is so damned effective because Kalbells approaches their work with love, care, and direction. Moreover, the group brings that same effort in how they engage their influences and insert them into their creations on their terms. Thus, the listener can’t dissect a given tune into its component parts. This is the essence of how anyone could create a unique sound, but these four artisans make it seem effortless.
The album conjures up images of a rapturous celebration among the very closest of friends. The music is fresh and ebullient while rejecting easy naïveté. Sure, the overt aesthetic is upbeat and airy. That aesthetic comes as a result of actively working toward a higher plane of existence.