Kali Uchis “Red Moon in Venus” Album Review
In accordance with astrologers and ancient mythological beliefs, a blood moon, often referred to as a red moon, is traditionally viewed as an ominous sign, a forewarning of impending natural calamities, economic crises, or the passing of a revered figure. Fortunately, the occurrence of a red moon is a relatively rare event, characterized by a full moon in total lunar eclipse, casting a deep, rusty hue across the night sky and serving as a poignant reminder of the infrequency of perfect celestial alignments. It is this symbol of fervent intensity and divine presence that serves as the guiding motif for the genre-blurring Colombian-American pop sensation, Kali Uchis, in her exploration of "Red Moon in Venus," her third studio album and the second predominantly sung in English.
Over the past decade, Kali Uchis has been on a journey of reshaping the boundaries within Latin pop music. She initially honed her craft, seamlessly blending R&B and pop genres to perfection with her critically acclaimed debut, "Isolation." Then, she embarked on a creative odyssey with her Spanish-language album, "Sin Miedo (del Amor y Otros Demonios) ∞," where she portrayed love as a potent antidote to anxiety. Witnessing her lounge-inspired psychedelic essence evolve into a confident and ever-morphing pop persona has been nothing short of captivating. A whole generation of fans has fallen under the enchantment of her experimental, nostalgia-infused music.
In many ways, she resembles a modern-day La Lupe, transcending musical borders and effortlessly bridging cultures with her timeless aesthetic, allowing her to seamlessly integrate various ideas into her unique artistic vision.
"Red Moon in Venus" represents a pinnacle in Kali Uchis' musical journey, indulging in the most exquisite sounds of her career. It's a fantastical album that weaves lush, lovesick narratives and high-femme escapism without relinquishing control. The album is adorned with the sounds of chirping birds, blooming flowers, and declarations of love, as seen in tracks like "In My Garden" and the lead single "I Wish You Roses." These two tender devotionals ignite the album's romantic fervor.
The first half of the album unfolds like the early stages of a relationship – boundless, sweet, and all-encompassing. In the pop-funk standout "Endlessly," she croons, "Wanna spoil me in every way/It's Valentine's like every day," donning rose-tinted glasses that paint the world in hues of affection. But this idyllic phase is ephemeral.
Even amidst the album's most picturesque moments, Uchis never loses touch with reality, committed to exploring despair with equal fervor. "Fantasy," featuring R&B luminary and Uchis' romantic partner Don Toliver, is an Afropop dance number that marks the end of infatuation witnessed in the first half of the record. The song delves into love at its most sensual and carefree, with Uchis yearning, "On my body/Don't let go of me/I just want the fantasy." Yet, she abruptly interrupts, declaring, "That's it, that's the end of the song—come on baby, let's go home," signaling the conclusion of the honeymoon phase.
In the R&B kiss-off "Deserve Me," she confronts the realization that it's better to be alone than remain in a toxic relationship. The undulating, Tame Impala-esque psychedelia of "Moral Conscience" offers a sage and scornful prophecy: "When you're all alone/You'll know you were wrong." Throughout these moments of emotional depth, Uchis maintains her sultry alto composure, allowing the idyllic production to underpin what could be moments of profound anger. She exudes cool and collected confidence because she understands that a better love awaits on the horizon.
This is an excellent album and I would give it 3 out of 4 stars.