Kerli’s “Love is Dead” and “Utopia”: Music review

I downloaded Kerli’s 2008 album “Love is dead” and her 2013 EP “Utopia” on the strength of my intrigue with the rise in the chorus of “Walking on Air,” and the faint Bjork-like strains of her voice, coupled with a passing interest in her gothy image, even if the image looked as produced and monied as her musical production. Someone had sent me the Youtube link when I said I was listening to Melanie Martinez’ “Carousel” a few times.
I still like that rise in “Walking on Air,” but the rest of the album is as disappointing as the rest of Martinez’ work was. “Love is dead” moves from the worst of derivative 90s bands like the Sneaker Pimps (“Creepshow”) and Garbage to no-man’s land pop-dance (“Beautiful Day”), with even dancer poppier numbers (“Up up up”) that would sound anomalous if you didn’t then listen to 2013’s wildly different “Utopia” EP – a mainly pop-dance affair with a few slower ballad numbers thrown in. There’s nothing wrong with varying your style – you’ll see I’m down with that approach when you hear the next three albums/EPs I release – yet there’s a lack of cohesive heart and depth throughout these two Kerli offerings.
Kerli has been known to use the term “Bubble goth” to describe what she’s going for, and while you can stretch to understanding what she’s talking about with “Love is dead,” “Utopia” is all bubble and no goth, and to be honest, there’s nothing much else going on there either.

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