You might not recognize Foxes by name, but you’ve likely heard Louisa Rose Allen’s voice on Zedd’s “Clarity” (which incidentally turns ten this year – feel old yet?). But she’s been busy – several headlining tours and releases later, Allen has released The Kick. Stylistically, it’s retro-flavored synth pop that perhaps garners some comparisons to MUNA, Pale Waves, or even Taylor Swift herself.
Allen wastes no time proving she’s far from a one-hit wonder. The Kick is stacked with hit after hit, powerful instrumental hooks, and earworm choruses. There vibe is high-energy, capturing images of car singalongs and workout dancing. Even the most stoic soul will be tempted to bob along. The energy is infectious.
In some ways, it feels like a winter release for an album like this is an obstacle to full enjoyment. Sure, these songs are exciting in their own right – but the sense of adventurous that accompanies these bright, summery tracks is juxtaposed against snow storms and below-zero temperatures.
That’s one of the highlights of The Kick. It doesn’t lean on melodrama or nostalgia too heavily. Yes, there are some somber lyrics mixed in. But musically-speaking, the fast pacing, tight rhythms, and general mix make even the darkest lyrical moments feel like a day at the amusement park. Take “Forgive Yourself”, where funky synths and arpeggiated chorus blanket the track in radiance.
There are a few tracks that miss the mark a bit, however. The title track isn’t bad but any stretch, but in some ways it’s a bit more predictable and the chorus isn’t quite on par the energy of many of the other tracks. The primary offenders however are the last two tracks. “Sky Love” was released as a single, but it’s honestly one of the more passable tracks. The verses are fine, but it’s not very compelling instrumentally and the chorus is a bit bland lyrically. “Too Much Colour” caps the record off and it’s a ballad that frankly feels out of place when put alongside the full production of the rest of the tracks. My main complaint isn’t the track itself but more with its place as the final track. It fades out, ending on a quiet note. Some listeners might appreciate this choice, but it doesn’t feel like an appropriate closing statement for an album packed with energetic hits.
But three weak tracks out of twelve is hardly a major issue, especially when some of the criticism are pretty minor. Nearly every song stands on its own, but as a collection, this is one of the most balanced mainstream releases I’ve heard in years. Some highlight tracks include “Sister Ray”, “Potential”, “Absolute”, and “Gentleman”. Allen explores everything from Cyndi Lauper influence to Paula Abdul exercise soundtrack in a way that never feels too homogenous nor too disparate.
Ultimately, The Kick is the sort of pop album with enough crossover that even people who never touch the radio will find something to love. There’s all the production nuance you’d expect from an artist of this scale, but the songs are full of surprises and a diverse set of sounds that keeps the experience pleasant. Minor criticism aside, this album is loaded with great tracks you’ll want to hold onto for when the weather gets warmer.
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