Review: Hiatus Kaiyote - Mood Valiant (2021)

Reviews

Jan 18

Review by Jayden Pinn

Melbourne's very own, and much beloved Hiatus Kaiyote return with their ARIA nominated third album - 'Mood Valiant', continuing to push boundaries and establish themselves at the forefront of the 'future soul' genre.

Admittedly, I am pretty late to the party on this one. I only just got around to listening to the album in full today after purchasing the wax today from Greville Records, Prahran. I had previously been obsessed with the single 'Red Room', being my favourite Australian release for the year and damn right repeating it into the ground. When I saw that the album was on sale on Greville's website, I knew that it was time to add a bit of Kaiyote to the collection.

Both of my knowledge and journey with the band has been relatively limited. Though I don't know much about its members, I am well aware of the group's various outstanding accolades. The fact that their track 'Atari' off the 2015 Choose Your Weapon album was sampled in Kendrick Lamar's song 'Duckworth' off of his 2017 release DAMN by none other than 9th Wonder is an incredible feat for a young, neo-soul quartet from Melbourne. Although I played a few songs from the group sub-regularly (such as 'Borderline With My Atoms' and 'Breathing Underwater’), I never managed to give their entire projects a full listen. However, the group really captivated my interest after I experienced listening to their track 'Little Church Remix' off of Robert Glasper's 2016 tribute album to the late, great Miles Davis - Everything's Beautiful. The prior use of the term 'experienced' is used incredibly intentionally here, as the song takes you on a journey that can not be described by words. The song is boldly daring yet delicate, and indeed, extremely beautiful. Ever since my run-in with that joint Kaiyote have been on my radar and noted as a group to pay more attention to.

Several things interested me about this project. Firstly, the striking cover art was designed by Amy Lou (IG link below). Secondly, the story behind their lead single 'Get Sun' featuring Arthur Verocai. Verocai, born in Rio de Janerio in 1945, is an exquisite arranger and composer or Brazilian Folk and Jazz music. While he is commonly known for his 1972 self-titled release (which garnered international success in the UK and United States, resulting in a cult following), he has worked among Brazil's elite, helping design the sounds and rhythms of Jorge Ben, Gal Costa and Elis Regina among many others. Being a big fan of Jorge Ben and familiar with both Costa and Regina, this greatly piqued my interest. While I am currently uncertain how or why Verocai was contacted to contribute to this song, I do know that his additions of horns and strings were powerful enough to bring tears to the band's face. And that's enough for me.

Without further ado, let’s get into it, shall we?

1. Flight Of The Tiger Lily

The album opens with orchestral strings and Nai Palm's elegant vocals in a mirrored kinship. Simple, yet effective.

2. Sip Into Something Soft

Immediately loved the chemistry between the drums and Rhodes. Nai Palm's fluttering vocals do well to propel the dreaminess of the track. Got a hypnotising lullaby here that for whatever reason reminds me of those old toy music boxes....nomsayin nomsayin?

3. Chivalry Is Not Dead

A sudden build of urgency before slipping into a DnB paced neo-funk groove. Very unique energy to this track, somewhat of a cosmic love song with an almost 8-bit feel. Then the bass drops! Pwoah, this one carries you. The forceful change up soon switches back into the original groove with a punching bassline which really commands the track's energy. Love the lyrics here;

'If I were a leopard slug, I would reach out with the blue rose of ours, wrapping myself around you, High up in the treetops, we could get lost in our lust, us'

Dope.

The bassline is infectiously relentless too.

4. And We Go Gentle

'Tell me can I get a lighttttt'.....that shit is catchy as a MF. Next time I'm out and about and need to bum a lighter off someone for a mate ima approach shawty like this and hope she gets it lmao, if she does that's a great start.

A slowing of pace results in a swaying funk groove orchestrated by a sturdy drum beat, a valiant bassline and various catchy, melodic vocal chants in a perfect triage. Still trying its best to hypnotise me here, you got me on the hook - just reel me in! Subtle synths here introduce spicy dimensions that entice the senses. Digging the sound of the drums here too. Their dusty sound introduces a raw feeling to an almost sci-fi angelic soundscape.

A lovely song right here.

5. Get Sun feat. Arthur Verocai

Time for some sunshine! I must admit I had heard this song in part upon its release midway through the year and I wasn't really feeling it. Who the FK knows where my ears were though, I'm pretty sure I was about 2-3 months deep into a Crimeapple/ Mach-Hommy binge so I don't think Kaiyote's cutting edge melodies and cosmic agenda would have been really doing it for me back then.

Get Sun brings a stark change of uplifting energy to the project, which previously indulged in a more silky sense of neo-mystique. The addition of Arthur Verocai's string and woodwind arrangements add an orchestral dimension that drapes this tune in theatrical magic. Verocai brings 18 musicians with him to fulfil these arrangements achieving glorious results. As the song unwinds, things begin to get more experimental and progressive. Nai Palms dreamy vocal chants and the chiming keys contrast tremendously to the thundering percussive work. In what could almost be called a 'seductive Amazonian soundscape', the listen will find themselves falling for the Kaiyote hypnosis once again, this time akin to Mowgli staring into the eyes of an audacious Kaa, welcoming you into a captivating tribal fever dream that, in my humble opinion, is far too fleeting.

This track is sounding much better this time around. Gonna pump this in the morning with my coffee as I step outside to 'get sun'.

6. All The Words We Don't Say

Getting some Tangerine Dreams/ Isao Tomita vibes from this intro. In true Kaiyote fashion, we're getting left-field here. Various rhythm changeups are executed seamlessly. The introduction of vocals and bass creates an enticing sense of depth. Nai Palm's leads appear very confident here, singing with increased bravado. Each band member contributes something special. The electronic feeling of the drums and keys' infectious rhythm fuse perfectly with the cutting-edge psychedelic funk energy cast from the guitar and vocals. The final swaying rhythm brings more jungle-Esque energy, and personally, acts as the last 'nail in the hypnotic coffin'. I'm sold.

Similar to my adored 'Little Church Remix' this song takes you on a sonic journey. I look forward to listening to this again when the time is right.

7. Hush Rattle

Is that pan flute?

I f*cking love pan flute.

It might not be pan flute though.

Either way, take me to the Andes Kaiyote!

8. Rose Water

Ooooh, this looping piano melody is giving me East Coast 90's rap vibes. Nothing is that simple with the ol' 'peyote Kaiyote' though, and that's a good thing. Loving the break-beat nature of Perrin Moss' drumming here. Though I find myself enjoying this one I find myself relatively ungripped. As usual, Nai Palm hits the mark. Wait a second.....is that a pan flute? In that one second? A one-second pan flute?? One second trip to the Andes?! What a tease! The outro is nice though, a gentle trip away from Kaiyote trademark hecticness into something more simple and beautiful.

9. Red Room

Red Room baby! Been very excited to hear this. Every time I cue up this song I get excited to hear it. Something about the simple nature of it. This neo-soul number carries a saucy lofi hip-hop feel to it too, with Moss' drum rhythm having the feel of a Dilla classic. The bass supplies the sturdy bedrock to playful jazz guitar work that almost holds a George Benson feel. Piano work intertwines with Nai Palm's melancholy here immensely well. Nai Palm shows her range seamlessly while conveying great emotion. Beautiful effort for a beautiful song.

10. Sparkle Tape Break Up

Ooohh those synths are dangerous. And the pause! The pause gets me every time haha, something so damn sexy about it. Am I crazy? Probably. Anyway, I'm loving Nai Palm's tone here, reminding me of Ari Lennox's inflection. Admiring her flow choices as well. The drums 'slunken' rhythm gives this track a, wait for it, hypnotic bounce that would otherwise be a tad stale without it. A decent album track here in my option doesn't really stand out per se but certainly plays its part in the album as it begins to enter its finality.

11. Stone Or Lavender

A slow, soulful ballad introduces an interesting change of pace here. Marvin's piano work and supporting strings erect the canvas for Nai Palm to truly demonstrate her fantastic RnB capabilities. I know you're probably getting sick of my useless (and most probably, inaccurate) comparisons, but I really do get a Donny Hathaway feel for this number. It’s alluring with a classic feel, the latter of which is somewhat unchartered territory for the band, and although this song doesn't necessarily reach the same potency as a Hathaway ballad (which by no means is an easy feat), I do applaud them for their efforts in such. It's a great song.

12. Blood and Marrow

The cosmic 8-bit vibes are welcomed back, against classic, dreamy Nai Palm vocal efforts that provide sweeping sonics for lyrics that express affinity and love for love and nature alike. The bass does cool things here towards the end, to be honest, I wish they would have played with this track more and expanded on that idea. Would have been great to see this track enter great dimensions as the closer to an album that had such an energetic first half. Not a bad track, but does leave the listener wanting more.....which may be the point come to think of it…

Final Thoughts

Well, we have reached the end. In doing so, I must ask myself one question, is my mood 'valiant'? Is it even supposed to be? I honestly don't know, but all I know is that I enjoyed this project. HYPNOTIC (sorry not sorry) sonics set the tone of an enticing listening experience that explores a medley of funky, soulful futuristic vibes that are best enjoyed when one find's themselves in a mood of energetic, yet sensual quirk. I didn't even realise that was a mood until I listened to this album, so props to Kaiyote for getting me on the sensual quirk tip. My one gripe with the album is the stark contrast in quality between the first and second half. While I will find myself returning to several songs on the first half of the album, I don't particularly see myself revisiting much of what the latter half has to offer (besides Red Room of course). It appears that Hiatus Kaiyote may have put all their eggs in the first-half's basket, and while I applaud the experimentation and creativity explored later on the album, I feel as if it lacked the potency that the listener would have become accustomed to while listening to Mood Valliant's triumphant first half.

All in all, I would rate this project 7/10 leopard slugs. Loved the bulk of the instrumentation, and in my opinion from admittedly limited experience, Hiatus Kaiyote seemed most in harmony with each other's playing and members than previously seen on earlier bodies of work. I was definitely impressed by both Nai Palm's delivery and lyrics, providing excellent range and captivating harmonies that deliver unique lyrics that really encapsulate the mood and atmosphere Kaiyote continually attempt to project with tremendous continuity. I will say that I feel like the album needed more pan flutes though, but maybe I'm being a bit pedantic.