Kites With Lights The Weight of Your Heart Review by Gary Hill
Kites With Lights is just one guy - Jonah Cordy. With The Weight of Your Heart he has produced an EP of electronic pop music much like we haven’t heard since the days of the 1980’s. This stuff is catchy and will have you thinking back to the days of Depeche Mode and others. I’d have to say that if I had been putting this beast together I might have rearranged the tracks a bit for better flow, but beyond that you can’t really argue with it. If you miss the electronic pop of the 1980’s then this is definitely for you.
This review is available in book format (hardcover and paperback) in Music Street Journal: 2010 Volume 1 at lulu.com/strangesound.
Track by Track Review
The Weight Of Your Heart
An electronic beat starts the set. Some keyboard based sounds join to create the melodic elements. The vocals come over the top in a gentle, dreamy kind of pop approach. The beat takes prominence again later. This piece does a nice job of bridging the gap from old school electro-pop and more modern sounds.
A Mystery I love the climbing, dramatic, piano melody that leads us off here and holds a lot of the song. It’s got a very James Bond music kind of texture. This is dramatic and powerful and more purely prog like than the opener – although you can still make out plenty of Europop in the mix. I liked the opener, but this one is far stronger than that.
We're Ready Rather bouncy and yet moody, this makes me think of a cross between The Buggles, Depeche Mode and New Order. It’s not really progressive rock, but it has some leanings in that direction. Of the three tracks to this point, I’d consider this one the weakest.
The Space The rhythm on this one is again too electronic, but the music is solid. It’s not that different from the last track, though. Perhaps a cut should have been put in between them to break them up a bit.
Sound Of The Rain There’s an almost soulful groove to this, although the general motif hasn’t changed that much. I think this would have helped to put in between the last two pieces. On the other hand, it’s arguably the best piece on the EP, so perhaps the closing spot is better.
