Out of all the comments that our fans left about “Harmonica Andromeda” (from here on denoted as HA), one in particular impressed me the most, stating “KSHMR created an album knowing that its songs won’t be played live (in the upcoming months)”. That’s the key for comprehending this LP, a compilation that brings forth a fable narration of a child looking for his mother. In-between, there is a melting-pot of exotic elements and captivating experiments along with radio-friendly records. Obviously, some fans didn’t prefer the “weaker” section of this selection, however candidly, the rationale behind this strategy makes sense. With 2021 promising a few live events for the scene, KSHMR decided to branch-out to calmer and relaxing tones, as anticipated from his side-project Dreamz. It seems to be his newer direction, one alienated from the festival-orientations, something we have to come in terms with in this new abnormal era. Additionally, since this is an album, and in a retrospect, they usually performed well when it contained more commercially viable works than underground adaptations.

Considering that, this is perhaps one of the most creative albums I have heard so far, as the compendium ranges from Hip-hop to Trance (never tried before by KSHMR). I can’t really complain much. Yes, it not a “masterpiece” or a bona fide classic, as there are shortcomings which I will mention on this review afterwards.

Even if HA won’t be on a repeat cycle for me (except the title track): it’s a beautiful gem that demonstrates how electronic soundscapes can sculpt beautiful creations for this world, as an artist can craft stories through music. Like a precious book, I will enjoy it during special moments.

All this said, here is my take on the fourteen elements of HA:

Harmonica Andromeda – 85/100

Starting with the titular song, the exotic vocal is laden with different instruments used together to paint complex sequence with a laid-back melody. It reminded me of “Delhi”, one of my favorites from KSHMR. The vocoded vocal and the bassline towards the end is amusingly reminiscent of Daft Punk.

Midnight Lion Walk – 83/100

Trap elements meet with a tribal influence, without constraining the relaxing theme. The bizarre name syncs in perfectly as a curious gem. The intricate, elaborate construction with tons of components becomes a bit overwhelming in under five minutes of introduction. Elegant, with a powerful Trap drop segment.

Blood In The Water – 75/100

Upon starting this, I immediately felt akin to a running horse, just as an exotic instrument starts to dominate the drop. I guess it’s a Sitar, or something else entirely. The result thus formed from this congregation is excellent, yet I felt deliberate elimination of some aggressiveness from the first drop, something that could have further emphasized the symbolism of “Blood” in the calm water. Final one disappoints to a degree, as I hoped an energetic replay this time.

The World We Left Behind (ft. Karra) – 66/100

A gorgeous chorale that funnily seems to be predictable when compared to its experimental colleagues. Karra and her radiant voice fits like a glove on the calmer, sentiments-heavy base, yet gets caged in a generic radio-suitable proportions that didn’t emanate anything specific, except for being alluring. It will probably be that “radio hit” for HA (and KSHMR knows it well, since it was releases a fortnight prior as a single).

Gypsy Waltz – 88/100

Underrated, featuring a hypnotic vocal presence and elements attributable to the Gypsy culture that builds up in a romantic and peculiar ballad. It crosses the Dance music boundaries, as if KSHMR playing with fire here, and thus renders as a stunning interlude. There’s a sizeable amount of experimentation, such as misses (the vocal chop at 1m 20s sounds a bit cheesy) and sometimes a hit (the sudden heavy kickdrum at 2m 20s).

Song of War – 85/100

The given epithet declares it all. The American act adopted old-school ideas (with an almost glitchy drop) combined with robust drums and orchestral ensemble, capturing essence of an upcoming battle. It’s astonishing how the bespoke artist managed to depict a tale in just a couple of minutes using a few instruments. While the melodic riff didn’t struck a note for me (no pun intended), it is otherwise a gorgeous foray that was a second close to earning a ninety plus.

Around The World – 50/100

Songs that venture into popular norms has never satisfied me entirely, as best put forward by my opinions earlier. Contradicting this here however, the vocal is gorgeous as NOUMENN did a notable contribution in the telling of the child’s journey around the globe. The base reminded me of less emotional form of Kygo-esque style, including an warm round of saxophone in the end. In my opinion, it is an overused choice in Tropical House.

Mystical Beginning – 84/100

In the comments, KSHMR states how he imagined a hypothetical collaboration with the reputed Dr.Dre for this production: very interesting! The vocoder approach is astonishing, and the dreamy atmosphere is particularly hypnagogic. KARRA showed a surprising versatility, mixing the palettes of Hip-hop and Lo-Fi aesthetics. If the convoluted vox sits right with you, rest of the instrumental is hooking to great standards.

The Little Voice – 80/100

Heading towards the colourful African vibes, thanks to the charming singing and the Kalimbas, this track concludes the adventure on a positive timbre. The calmer and slower arrangements leaves a peaceful notion, adding further serotonin to the experience with slight Future House indulgence. As sweet and cute production!

Paula – 90/100

Exiting the realm of EDM, KSHMR wrote and sung (!) an enticing tune dedicated to his mother, interweaved with heartfelt lyrics and a stripped-back acoustic rendition. It purely functions to radiate emotions, keeping me engaged and creating a strong and moving imprint on my mind.

I Will Be A Lion – 70/100

Well, if you were wondering why Trance hasn’t been mentioned yet, here it is! Although Jake Reese didn’t outright deliver a masterstroke performance, KSHMR acted adeptly in a genre not familiar to him. The elegant strings in the breakdown are the highlight here, while the drop remains adherent to the generic standards (not deal breaking, knowing it’s a first attempt). A normal tune that provides more variety to the platter, adding to the already impressive collection as discussed above.

Afterthought

There are three interludes placed in the album, which continue the narrative of the said child and his story with interesting audio snippets. Albeit not discussed in this review for the sake of brevity, they add more depth and meaning to the overall concept.

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