On “Miracle,” you get Kimbra’s funky side it’s the disco song you didn’t know you wanted. Starting out the album like that gave me high hopes for The Golden Echo, and luckily, I was not let down. Not only is it musically captivating, but also it is beautifully written. Once she utters “back” you are engulfed in what seems to be a choir of Kimbra.

“If I cannot stop/ There ain’t gonna be no coming back,” she belts out. “Teen Heat” is the opener to the album and is a harmony masterpiece.

One of the things that makes Kimbra so unique is her brilliant use of harmonies, and this album sure uses them. Kimbra is seen in washes of color and outlandish outfits all giving homage to the good old days of the 90’s. Even if you don’t like the song, you can’t deny that the video is a perfect 90’s throwback. It seems like she’s just having a good time writing and trying new things. I like it I think it’s something new and fresh. Honestly, this song is not for everybody, and it may even be a huge turn-off for some of you, but Kimbra is much more than this one song. It’s full of scratchy guitar, eccentric beats and heavy synth. The song is like a musical version of the dial-up computer start-up noise, but trust me, it’s less annoying. The lead single for The Golden Echo is “90’s Music,” an anthem to everything only 90’s kids would understand. The album is a perfect conglomeration of electropop, jazz and soul that will take you on a magical journey through Kimbra’s mind. This New Zealander made her mainstream debut when she was featured in Gotye’s “ Somebody That I Used To Know.” After one EP and one full-length album, she released The Golden Echo on August 18, almost three years after her first album. The Golden Echo is out now via Warner Bros. The visual was created by Chester Travis and Timothy Armstrong and shot entirely in an abandoned Berlin warehouse. Gold foil spills in, around and through everything in the animated clip, keeping perfectly in line with Kimbra’s stuttering art-pop aesthetic. Given the way that gold has to be boiled, refined and polished, that analogy makes a lot of sense. Today she’s released a video for one of the album’s core songs, “Goldmine,” which she told Rolling Stone is part of a metaphor for pain and suffering. It seems like one of those albums that 17-year-olds will dig up in a couple decades, baffled that it had no impact on their parents. I listened to it extensively last July and August while prepping to interview her, but sometimes it feels like I was the only one. In fact, despite its heady, colorful, and technically brilliant layers of textured, psychedelic pop, it had almost no influence on the larger conversation about music last year. Last summer, New Zealand’s foremost pop experimentalist Kimbra put out a wonderful, stubbornly eclectic sophomore album called The Golden Echo.

New kimbra album