On "Confianza," she matches distorted, wailing vocals to an unsettling piano motif, but then seconds later the B-side's escalating discomfort melts into "Born Yesterday," where Sia belts out over an assault of twitching synths and samples. On its back half, KICK ii dips into abstract territory, sounding more like a tangled web of overactive synapses than anything immediately recognizable as pop. She is explored across the front side of KICK ii, which continues the flirtation with reggaeton Ghersi began with "KLK." Here she pushes things in a more aggressive direction: on "Tiro," her vocals become increasingly scattered and dramatic, as the percussion warps into a mash of cracking whips, laser shots and grinding metal. They branch off and expand beneath KiCK i like a system of deep roots, dedicated to zooming in on and enhancing Arca's multitude of musical personalities.įirst there's Arca the pop star, who surfaced on KiCk i. Where the first installment was presented as a carefully-refined experimental pop opus, shifting gears and compressing ideas into a unified whole, the following entries-originally announced as a single album release, followed by news of two more, then a surprise fourth on release day-take a different approach. It's through this lens that the KiCK series starts to unfold. All of these events were part of a chain reaction, crucial turning points in Alejandra Ghersi's career that pushed her past the confines of the producer-DJ label and into something less defined and much more multifaceted. This was before events like Mutant Faith, her multi-level installation performance at The Shed in New York, or her eight-CDJ live set alongside pianists Katia and Marielle Labèque for Ricardo Tisci's AW20 presentation for Burberry, way before last year's Grammy-nominated KiCK i catapulted her to a new tier of avant-pop stardom. It felt honest and raw, as if the seams holding her music together were being split apart and exposed for all to see. Over the course of the night, Arca emerged from a coffin, crooned to post-industrial beats from inside a blood-stained glass case, led a salsa moment and even went acoustic-playing folk songs while strumming a cuatro, a small four-stringed guitar from her native Venezuela. A few years back I attended an evening-long concert in LA called Night With Alejandra.
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