kin kin Top


iamamiwhoami iamamiwhoamikin

8.4 / 10

Viral artiness personified, after so many cryptic messages that we have lost count, they have finally decided to release an ordinary album. It seems like just yesterday, but really the fuse was lit in 2009, when the first alarms went off on blogs around the world, raising more questions than answers. At that time, no one knew that behind this unusual project were the Swedes Jonna Lee and producer Claes Björklund. During those early months, speculation abounded that the first numerical references uploaded to YouTube might be the latest from Goldfrapp, Lady Gaga or Christina Aguilera’s pop cadaver—the guessing game was bloody hilarious.

It wasn’t until Lee showed herself with her mile-long eyelashes in “b” in the middle of March of 2010 - and presented her first creations in a false live show, that in November of the same year went down in the annals of internet audiovisuals - that iamamiwhoami made their intentions clear. Beyond those videos drunk on Art (without a need to resort to astronomical budgets), there were larger-than-life songs like “John”, “O” and “T” - real synthetic pop gems armed with chilled, hyperemotional beats which, although they may have been a legacy of The Knife, made this multidisciplinary project one of the most fantastic surprises of the decade.

If we’re trying to find a flaw in “kin”, it would be that it doesn’t include any of the pieces that date back earlier than February of 2012. Nevertheless, focusing on their latest creations - those corresponding to this last period, with Lee’s very hairy videos - the band has managed to create a very solid product (in a strictly musical sense), full of subtleties and electronic half times that are hard drugs for people who may have felt a bit disappointed by The Golden Filter or Niki & The Dove.

We’ve already had the chance to go over these nine songs quite thoroughly on our own, like pills taken every two weeks. But when you listen to them one after the other, it is impossible not to surrender to the evidence that there are some real jewels here. There is nothing extra. Those delicate beats that pinch the soul in “Good Worker”, the industrial touch of “In Due Order” (that seems to have borrowed the schizophrenic melody of Portishead’s “We Carry On”) and “Goods” - a sibylline disco hit that closes the circle after the trip-hop “Rascal” and “Kill” - make this album one of the biggest feeling electronic pop inventions to have appeared in recent months. The iamamiwhoami phenomenon (as we wait for the album to be released physically in September with the obligatory DVD containing the video clips; for now it can be found digitally and on Spotify) has only just begun.

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