Gotye : Making Mirrors

<img src="http://www.qromag.com/wp-content/uploads/2012/01/gotyemakingmirrors.jpg" alt="Gotye : Making Mirrors" /><br /> Australia's celebrated Gotye comes to the States with the American release of <i>Making Mirrors</i>. ...
Gotye : Making Mirrors
8.7 Universal Republic
2012 

Gotye : Making Mirrors Since the Australian release of Making Mirrors last year, ‘Wally’ De Backer, a.k.a. Gotye, has gone from being a domestic indie sensation to a household name.  With the U.S. release and coinciding sell-out shows in both Los Angeles and New York, his third album looks to be a sure success.  Boardface (2003) and Like Drawing Blood (2006) were centred on electro instrumentation, loops, samples, vocal effects, and intricate percussive patterns.  His latest release, however, has no discernible generic qualities; it is a mountainous, genre-jumping soundscape.  He trades in the ‘synth’ emphasis for a hybrid of the organic and the synthetic. 

The opening, minute-long title-track – a whimsical prologue to the album – is decorated in lush flutes, strings and bass as Gotye’s stunning voice questions the reality of his music: "Maybe I’m only making mirrors".  Moving from the existential, "Easy Way Out" enters Beck-like territory (think Odelay QRO deluxe edition review – or "E-Pro") and is the only song on the album to figure a guitar riff as its centrepiece.  Playing on the title, Gotye pulls the plug abruptly after two minutes – the song commits suicide to the line, "Looking for an easy way out".  The next two tracks, the ‘pop’ singles "Somebody That I Used To Know" and "Eyes Wide Open", are the record’s most addictive songs.  The first of these has an unforgettable melody, wonderful acoustic textures and a stunning vocal duet with Kiwi songstress Kimbra.  The second is a dystopian vision, ‘the end of the story,’ painted in desert tones of pedal steel guitar and thumping percussion. 

The middle section of the album showcases his chameleonic qualities, vocal harmonies/range and production/arrangement skills.  By this point Gotye is just about done with the straight rhythms.  "Smoke and Mirrors" moves to a lively 6/8 groove supported by a funky bass line and horn section.  The uplifting "I Feel Better" proves that a white guy can have soul, mirroring, if not bettering, Kool & The Gang’s "Celebration".  "In Your Light" returns to ‘pop’ in a bright and sparkly champagne manner, dressed in soulful bass, horns and drums.  "State of the Art" samples a traditional Korean horn phrase atop dark, synth-coated rhythms and downwardly pitch-shifted vocals.  The uncanny "Don’t Worry, We’ll Be Watching You" and stirring "Giving Me a Chance" continue to experiment with organic sounds and synthetic samples, but refigures them in extraordinarily unique and wonderful ways. 

The penultimate "Save Me" is the only track that somewhat encapsulates the sound of Making Mirrors as a whole.  Though not by any means the standout track, all the album’s elements come to a confluence here: love song, symmetrical pop structure, sharp lyricism, layered instrumentation, walloping percussion, and a heartfelt, sincere vocal performance.  Arguably the standout track, the devastating "Bronte" concludes the album poignantly.  A slow steel drum beat and slurred strings embrace this haunting dirge.  Shattering lines "Your voice still echoes in the hallway of this house," and "We will be with you and hold you till you’re quiet," manage to personalise your own grief and loss.  For anyone who has suffered as such, there is affinity and solace to be found on "Bronte".  But Making Mirrors is not a sombre record, merely a colourfully representation of life’s various sides, as the fractal album art might suggest.  Gotye is Australia’s most deservedly celebrated artist.  Now, he is the world’s to enjoy.

MP3 Stream: "Save Me"

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