Hello Mix Tapers. This is Kerli.
I know, I know – her publicity shot look like one of those airbrushed stock photos from one of those New Age bookstore posters, but we’re going to focus on the music anyways.
We’re also going to ignore the fact that the title of her album also reads like some bad emo ‘zine entry.
We will discard all these faux pas because Kerli has actually come out with a decent debut record.
Born in a small town in Soviet-occupied Estonia, Kerli has the stereotypical story of the girl who had dreams too big for her little village. She performed in a series of really bad European versions of Star Search and American Idol contests with mediocre success…blah, blah, blah, right? Well, eventually – and when I say “eventually” we are relatively speaking here, considering this girl’s only 21 – music industry Svengali, LA Reid, signs her (he was the man behind such discoveries like P!nk, Janet Jackson, TLC, Usher, Oukcast, Dido, Avril Lavigne, among many others) and here we are today folks.
I’ll be honest. Usually I wouldn’t devote the time to promote one of Reid’s pet projects. Firstly, because he certainly doesn’t need me to move his publicity train along, but also because I think he represents almost everything wrong with the music industry today. I’ll spare you my whole rant on the bastardization of everything good and holy that was rock-n-roll through the mafioso leanings and overall anal probing of the corporate America machine. That said, I think he does find talent and Kerli is no exception.
Tracks such as “Love is Dead,” “I Want Nothing,” and “Creepshow” could be played at a 90s-theme seance for their powers to evoke the spirits of Evanescence and Bjork, while “Bulletproof,” “Hurt Me,” and “Strange Boy” certainly took some tips from the Avril Lavigne playbook as well. While Kerli is occasionally overwhelmed by her influences – which is understandable considering her age and production team – she delivers enough of her own stamp to this project to make it hers.
Time will tell if she will emerge as her own artist – or become just another banal chart-seeking whore monger. Kerli can really go either way.
For now, it deserves three bitch slaps…