K-Bust “Rebirth” (LP)  

Rebirth is the third album released by Chilean-born singer/songwriter and multi-instrumentalist K-Bust, the performing name for Karla Bustamante. Her ten tracks for the new song cycle are firmly ensconced in the synth/electro-pop genres and hard-hitting. You won’t hear any wasted motion. They are compact and focused compositions that delve into matters of the heart with fierce individuality. Listeners are in recognizable territory with these songs. These three full-length releases have allowed K-Bust ample opportunity to settle into a personal style that eschews imitation. She has an almost feverish and one-of-a-kind artistic vision that follows its own muse and brokers no compromise.

URL: https://kbust.com/

It’s my first exposure to her considerable talents. “Stronger”, the album’s first song, enthralled me with a single listen. K-Bust’s lyrics benefit from a willingness to confront vulnerabilities and take chances rather than contenting themselves with well-worn cliches. Synth or electro-pop may imply that these are glossy and even toothless affairs. It’s far from their reality. “Stronger” packs a heavy punch while remaining vibrant and light throughout.

“Heartbeat” is poppier fare. Deeming it such doesn’t mean that it’s less substantive. Meaningful lyrical content continues to impress me, and utilizing a bouncy, effervescent arrangement makes for entertaining listening. I hear K-Bust making a case for her vocal flexibility at various points, and comparing “Heartbeat” with songs like the opener nicely illustrates that. “Until I Let You In” supplies us with a notable contrast. It mixes the attributes of the previously mentioned tracks into a potent brew, and subtle touches such as the synthesized guitar add further variation. Also, it has an interesting tempo that gets under your skin.

Another of my favorite moments on the recording comes with the cut “Dream”. K-Bust does an exceptional job of incorporating anthemic elements into Rebirth’s songs without making them sound shallow. There’s no pandering for the audience’s attention. Each of Rebirth’s ten songs strikes me as honest reflections of K-Bust’s personality rather than craven attempts to curry favor with a specific audience. “The Love That Got Away” shares similar qualities. Anthemic tendencies are apparent throughout the performance, and the up-tempo pacing makes for an exhilarating listening experience. She uses double-tracking to fatten her vocals without sacrificing the core values of her voice.

The penultimate performance, “Tattooed in My Mind”, retreats from anthemic attributes. It has a far more varied dynamic range than songs like “The Love That Got Away”, but never ventures too far from Rebirth’s foundational elements. It’s an excellent prelude to the album’s last track. “Like a Storm” embraces the turbulence implied by the title while continuing to pursue a wider dynamic scope than the album’s anthem-like performances. Other artists may have closed their album with a heavy-handed climax or a musical curveball. However, K-Bust keeps the same consistency that distinguishes the preceding nine tracks. It closes Rebirth on an emotional high that I won’t soon forget.

K-Bust’s Rebirth features her working at or near the peak of her powers. I’m glad to be acquainted with her music. I won’t stop with this one, and nor should you.

Mark Druery