Removed from the provocative intricacy of his previous albums, Michael Kiwanuka’s ‘Small Changes’ reflects a sound where simplicity is given space, offering listeners a much gentler soundscape.
Stream: “Rebel Soul” – Michael Kiwanuka
Michael Kiwanuka’s fourth album, Small Changes, reveals a departure from the grandiosity of his past albums.
I’d be lying if I said I wasn’t slightly disappointed; I’ve come to love Kiwanuka’s distinctive ability to permeate rumination with complexity. But despite my bias for his dramatic string sections and choral flourishes, I’m trying to appreciate what Small Changes has to offer, even if it’s not quite the anthemic highs I’d hoped for.
Out November 22, 2024 via Polydor Records, this album marks a significant departure from Kiwanuka’s previous work. If KIWANUKA and Love & Hate were cathedrals of sound, Small Changes pulls back, embracing simplicity and restraint.
Here, Kiwanuka, alongside longtime collaborators Danger Mouse and Inflo, opts for more stripped-down instrumentation, focusing on the basics; vocals, bass, guitar, and the occasional organ. Gone are the layers of strings and the orchestral bombast that gave his earlier albums their almost cinematic feel. While this may lend a certain raw, intimate quality, ultimately, it feels too bare.
Kiwanuka explains that this shift in his music stems from his desire to let go of the pressure to appear “cool,” and Danger Mouse himself admits, “It’s a little bit more naked.” While this approach requires a vulnerability I admire, I miss the drama of Kiwanuka’s more elaborate arrangements.
In a way, Small Changes feels like the equivalent of a monastic retreat, and while there is beauty in restraint, there’s also a lot of boredom.
This isn’t to say that Small Changes lacks artistry; it’s just subtler. Tracks like “Lowdown (part i)” simmer with exposure that feels demo-like, and while this might be more rewarding with repeated listens, it’s not exactly the kind of song that exudes the building magnificence of songs like “One More Night” and “Final Days.”
Sure, the album’s spareness, and Kiwanuka’s ability to draw listeners in with such minimalism, reflects his standing as an artist, but this isn’t the same music that breathes and expands to fill monumental spaces.
It’s personal, it’s intimate, but it’s also smaller.
Whilst I’m still championing Kiwanuka to write the next Bond theme, I don’t think Small Changes is up to the task.
Tracks on the new album like “Floating Parade” mix swooning guitar strums with soft background harmonies and strings that rise up, almost like an afterthought.
It’s beautifully composed, no doubt, but it’s missing the complex layering that defined songs like “Cold Little Heart.” The effect is mega mellow, but it means each track bleeds into the next, and as I listened to it, Small Changes passed me by without me really realising it.
Being nudged gently into introspection isn’t what I want; reflection should be more conscious.
Despite my lack of enthusiasm for Kiwanuka’s stripping back, ultimately, Kiwanuka’s sincerity is obvious, and it’s a testament to his integrity that he’s making the music he wants to make.
Fans of Kiwanuka’s signature blend of ’70s soul, vintage R&B, psychedelia, and folk should still be content, and Kiwanuka even had veteran bassist Pino Palladino join the lineup.
Small Changes is certainly not a difficult listen, and “One and Only” in particular stands out as a favourite, with its soul-scratching opening guitar and progressively increased strings that are quite simply beautiful.
Even if Small Changes doesn’t satisfy one writer’s penchant for stirring orchestral anthems, it’s Kiwanuka exploring new territory – and that alone makes it worth a listen.
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