Kat Robichaud is so over being a contestant on The Voice. She is now holding up her own distinct identity, and that is apparent in her upcoming album, Kat Robichaud and the Darling Misfits. Filled with completely diverse songs, the album proves that, indeed, there is strength and stability in the unity of difference. Kat has been known as a fierce rock star; however, this album reveals the many facets of the singer we may not have seen so far. The result is a cohesive celebration of Kat’s identity as a singer, mixed with her signature style that is both influential and influenced.
Of course, there is a big amount of rock in the album, which Kat did sucessfully. Nonetheless, the biggest surprise of the album comes when Kat managed to pull off some really vulnerable ballads. At one point, she even infused jazz elements that made the album more refreshing. It is a lengthy album; therefore, it should offer so much so that the listeners’ won’t skip the songs. In terms of refreshing variations, though, Kat did not dissatisfy.
“The Elephant Song”: The album opens with a marching song, which takes you to a place that feels like a happy festival. It’s appropriately put as the opening track, as it signifies the start of a fun listening expedition.
“Uh Oh”: The second track opens breezy, until it reaches a chorus that is motivating. The free-spirited melody of the song is backed by Kat’s vocals demanding for attention. It’s a nice song in a sunny afternoon, after a hard day at work. However, the chorus tends to lose the distinct identity of Kat. Towards the middle part of the song, it becomes a generic song present in any other artist’s album.
“Somebody Call the Doctor”: “It’s an emergency,” Kat claims. She is right, because of the urgency of the song. There is this beautiful rush in this that awakens the senses. It’s predicted to slay the airwaves, if given the proper opportunity it rightfully deserves.
“It’s Cruel That You Should Be so Beautiful”: After the spirited three singles, Kat bares a more vulnerable attack. This song is one of the many standout tracks in the album. It starts with a seemingly defenseless verse, which acts as a foreshadowing to something big that is about to happen. It’s masterfully produced, too, which promises a good sound on radio.
“Rock Stars Don’t Apologize”: Another standout track, this song is a demanding take on Kat’s music. It has an empowering sound that provides strength to those who are weak. Be sure not to skip the song until the spoken line in the end.
“Electrotica”: Of all the songs in the album, this song is completely Kat. It has the distinct rage that made Kat very popular. The song seems powerful when performed live. We better anticipate what type of visuals Kat will give the song. By the way, we should thank Kat for coining a new term that satiates the lack of electronically erotic sound these days.
“Of Course There’s Still Room”: The song is introduced by a melancholic piano piece, “Out of Chrysalis a Light,” followed by a haunting celebration of Kat’s ability to inspire through her voice. The song is a lovely proof that rock can be inspirational too. If Kat decides to release the song, it can be a potentially anthemic song even in the years to come.
“The Long Kiss Goodnight”: With “And Now Ladies and Gentlemen a Dirge” as an introduction, this vulnerable song shows Kat’s ability to be powerlessly yearning. The piano and violin introduction of the song is aptly utilized in contrast to the song’s fast progression.
“Definition of Pretty”: The biggest surprise of the album is this refreshingly jazzy song. What makes the song distinctive is the pretty infusion of Kat’s rockstar vocals to the song’s jazzy sound. For her future albums, Kat can add more songs like this. It does fit her voice so well. While the jazz sound is sultry, Kat’s voice mercilessly questions the society’s conventions of beauty. This song is the best the album offers.
“Apple Pie and a Knife”: The song, in terms of power, is distinctively Kat. She employs a futuristic, Florence and the Machine-like, sound. As it progresses, it only becomes even more delightful as Kat tackles the fast verses. However, on another note, it tends to lose the originality the whole album must be proud of. It categorically becomes reminiscent of songs we tend to hear all the time.
“Why Do You Love Me Now:” The song has Kat’s beautifully executed vocals. It is soft when it should be, powerful when it has to be, and vulnerable without sounding pathetic. The closing ballad of the song should be released as a single, as it shows how multidimensional Kat really is. It also affirms Kat’s strength as a vocalist.
“The Elephant Song (as sung by the ringmaster)”: The last track on the album shows a fiercer version of the first track. If Kat is the trainor in the circus, no one will ever want to be an elephant. She is that fierce.
Overall, Kat Robichaud and the Darling Misfits is a decent effort to reintroduce Kat Robichaud outside the mold of The Voice. It uses the many facets Kat is capable of as a vocalist. The album cover, one the other hand, is a visually stunning attempt to present herself as a musician not after the allure, but after the prolific love for music. In general, the album showcases the promising future of Kat in the music industry. If she manages to stay true to the integrity of her sound, she will never go astray.