It’s impressive to hear how well K-Bust balances a consistent stylistic approach without ever imitating herself. This stage name for Chilean-born Karla Bustamante provides an energetic vehicle for her musical artistry; a single listen supplies ample proof that Bustamante is a “lifer”. Her third album Rebirth enjoys an unity of sound I associate with the most assured performers; there are no missteps, and each of the ten cuts feeds from the same overarching aesthetic. Her capacity for discovering entertaining variations in that style, synth/electro, sounds boundless.
However, Rebirth’s songwriting is ebullient across the board. “Stronger” begins the collection with a bracing message of endurance. It points towards the future while acknowledging the price paid to make it there. K-Bust knows what she has by kicking the album off with a cut such as this; it throws the doors open on the remaining songs with a memorable flourish that promises much to come.
She doesn’t disappoint. “Til the End of the Night” begins with a brief passage of synthesized guitar before launching into a full-throttle synth-pop blazer. Her rock chops rarely lead the way, but the album’s third number surges forward with an unstoppable motor. K-Bust’s vocals show her fully in command of the moment. Many of Rebirth’s songs exhibit undeniably anthemic attributes. “Til the End of the Night” is one of the best examples of this and will have an irresistibly inspiring effect on many listeners.
“Heartbeat” blends the best of what we’ve heard so far with atmospheric touches the earlier performances lacked. K-Bust doesn’t slather such moments onto a song. Tasteful restraint isn’t a characteristic you may associate with synth or electro-pop, but K-Bust confounds such preconceived notions. “Heartbeat” reveals the talents of a performer in full control of their sound. Bustamante is realizing the sound she hears in her head.
There’s scarcely higher praise. The insistent physicality propelling “The Love That Got Away” forward is straightforward; K-Bust is the unquestionable star of this late album performance. Post-production atmospherics dress up her singing with arguably needless theatrics. Bustamante’s voice conveys enough breathy longing colliding with regret that studio contrivance will only cheapen the effect of her singing.
“The War” is one of Rebirth’s pinnacles. K-Bust benefits from a powerhouse arrangement that leaves no stone unturned deepening the song’s impact. It never veers into the gaudy or overly artificial. There’s great youthful vitality running throughout Rebirth’s songs. However, there’s no question that K-Bust uses the studio like a canny veteran.
The amenities of modern technology help K-Bust imbue “The War” with a quasi-theatrical bent. She never sacrifices the track’s musical strengths in service of such qualities; the familiar balance between archetypal crowd-please synth-pop and an individual style elevates K-Bust’s work several notches. “Tattooed in My Mind” has a relaxed mid-tempo stride that checks off every fundamental. Her pop song chops are fully displayed during this performance, and she exploits the song’s near-bottomless potential. It’s songs such as this that really clinch it for me.
They cement Rebirth’s place as K-Bust’s finest full-length release. Do yourself a favor and seek it out today.
Chadwick Easton