Kilo Kish - American Gurl Review
Striving for Authenticity
Kilo Kish is a very interesting force in music as a multi-disciplinarian of visual and auditory arts that approaches every project she has with a ‘Doctoral Thesis’ type of focus. Sometimes, when an artist gets too wrapped up in the ‘art’ weeds it can lead to an album that is more interesting than it is fun to listen to, and there is a place for that but luckily for us (me) here at the Skeleton Groove, Kilo Kish seems to have avoided that trap with her newest release ‘American Gurl.’
You won’t find a lot of love songs or catchy dance numbers about letting all loose on the dance floor in ‘American Gurl.’ What you will find, however, are meditations on self-identity and social expectations. Much like her 2016 release ‘Reflections in Real Time’ (of which this is a continuation in many ways) we take a similar microscope and adjust the lens to examine ourselves under the microcosm of American life.
Starting off the album we get a short skit of two women running into an arcade, excited to play a game with the album’s title; egging each other on. This leads nicely into the title track, ‘American Gurl.’ As a song it’s a good introduction to what is to come, really picking up in the chorus with a catchy refrain and a nicely dance-able beat.
Who are you, baby?
Who are you keeping around?
But I'm changing places
So I can't see you anymoreWho are you, baby?
Will I know your face?
In a locked box
In a locked drawer
Will I find me an American girl?
American girl
One of Kilo Kish’s strongest assets is her lyricism. Every word on this album paints a picture but nothing is overt or overbaring. You may not believe that seeing a track titled ‘Death Fantasy’ but when you dig into the lyrics a bit what you find instead is a song about casting aside the expectations of others and finding a reality that is closer to your fullest self.
The death fantasy
Projected spaces in your frameworks, they do not go to me
To fit inside your empty visions, livid bird in a cage
Death of my hustle, my trajectory, my style and my lane
That flagrant look on your face
With the slow, sober drums and funereal back vocals by the inimitable Miguel, ‘Death Fantasy’ may have my vote for favorite track on this release. It does come close with a few other tracks, though, including ‘New Tricks: Art, Aesthetics and Money’ featuring Vince Staples. It’s scrambling/drilling beat blend perfectly with Kilo Kish’s spoken verses with Vince in the back like a hype-man there to balance the cheery/ominous surroundings. When that snap hits in the beat everything else seems to drop out and I can’t get enough of it.
The other major highlight is ‘On the Outside (Justin’s Song)’ which I believe is a dedication to friend and collaborator J. Scott who sadly passed in 2020. It’s the most emotionally resonant track on the album and Kilo Kish’s vocals are as strong as they’ve ever been. The first time I really heard the lyrics I was instantly taken away to a place of grief and the love that goes with losing someone close.
Captain, I think
We’ve lost control
Wish I could see you
On the outside, outside
Still can’t believe I’m on my own
Wish I could feel you
On the outside, outside
My ship is lost
Can’t stop, won’t go
Think we’re in trouble
On the outside, outside
Still won’t believe I’m on my own
Think we’re in trouble
On the outside
The other tracks on the album are also a great mix of dance-electronica blended with a little 80’s new-wave inspiration as well. ‘Bloody Future’ while not as punchy in its chorus like some of the other songs has a really catchy and fun refrain about living in the 80’s, 90’s and beyond (am I ‘crazy’ or is there a Prince reference in this track?) and ‘Attention Politician’ has a great synthy-organ sting that carries through the entire song and builds in intensity and power as all the elements of the track come together toward the end.
‘Distractions III: Spoiled Rotten’ is a poppy callback to the two previous ‘Distractions’ tracks from ‘Reflections’ and has a great chorus and stomping beat that meditates on the dissatisfaction that comes with relying on creature comforts for emotional support. It’s followed by another track with beautifully cryptic verses and a catchy-as- hell chorus, ‘No Apology!’
I can't forget you
Give anything to flip the switches off (off, off, off)
I'm past a breakthrough (ooh-ooh, ooh-ooh)
Still trying to find good spirits in the cup
To kill a believer, you killed a believer
Shocked me into everything I know
I kill it, I need it
I kill it, I need it
Taste my inhibitions, burning cold
As much as I enjoyed Jean Dawson’s feature on 'Choice Cowboy’ the track does get a little too chaotic for its own good at times. It sticks out a little amongst the other tracks on the album as it leans a little more on the featured guest than Kilo, but that’s only a problem if you aren’t a Jean Dawson fan (which, if that’s the case, you have a character flaw that needs to be addressed.)
The final track on the album is a conclusion to the opening skit with ‘Continue?’ where the girls in the arcade are stunned to find that the ‘American Gurl’ game was a big disappointment and they want their money back, which comes as a solid thematic conclusion to this album. If you’re playing a version of your life that isn’t authentically yours, you’re going to find the ending unsatisfying and should demand a refund instantly.
Overall, I really enjoyed this album, and it seemed like a nice evolution of Kilo Kish’s electronic-pop-infused sound while still maintaining that Modern Art aesthetic that drew me to her work in the first place. She is without a doubt one of the most interesting creators currently working and I’m excited to see what else she has coming.
