Kid Sister
Ultraviolet
When the single “Pro Nails” was released a few years ago, listeners became exposed to an eclectic style of music that incorporated shades of Pop, Electronic, and Hip Hop into one brand. Along with Kid Sister’s sassy, charismatic lyrics matched up with a cocky Kanye West, the record became a mainstay in clubs across the country, as well as making its way up the Billboard singles chart. Working with Fools Gold label co-founder A-Trak and after a handful of release delays that included a title change from Dream Date, Sister has finally dropped her debut effort Ultraviolet. In effect, this is Sister’s best chance of emerging as an emcee at a time where her other female comrades are more concerned with sex appeal than skills.
Through an anthem-like chorus, “Right Hand Hi” opens up the album with an energetic DXnext alum. Over an upbeat backdrop from overseas producer/deejay Steve Angello, she proceeds to boastfully explain her tactics at the nightclub. “Life On TV” comes in immediately afterward with a more contemporary approach, yet the energy level is still at a 10. Describing her rise to success, Sister uses the hook as a warning about paparazzi.
While smoother tracks like “Let Me Bang 2009” and “Get Fresh” provide a bit of dynamic, Sister’s strongest effort comes in the form of “Switch Board.” Produced by the much-heralded DJ Gant-Man, Kid Sister brings out her own Chicago roots via the “juking” movement. Though little lyrical prowess is on display here, the record is infectious enough to get your feet moving. By the end of the record, Sister is throwing out directions for “jukers,” capping it off by adding, “I got a Coca-Cola shape with an onion in the back.”
Unfortunately, the party aspect that Kid Sister implements on Ultraviolet is not enough to provide a fulfilling experience from an artist who showed promise before her release. Then you have a track like “You Ain’t Really Down,” where Sister attempts to lay out a love that could have been. Starting out using acappella in the first verse, it becomes evident that Kid Sister should steer clear of vocalizing by herself. Holding similar content, “Step” is a record about a man gunning for her after-party endeavors, yet the delivery is poorly executed. While a featured-Estelle chorus would sound like a plus, in actuality her voice sounds utterly annoying under a lackluster beat. By the time “Control” comes in, you’re almost relieved the album has finally come to a close.
Ultraviolet could be summarized as an attempt to blend nightclub ethics with a Hip Hop edge, yet only the former is apparent. While Kid Sister may have made a conscious effort to instill a lasting effect through her playful cadence and free spirit antics, Ultraviolet is ultimately an album about nothing. For some listeners, the grooves may be enough to keep this CD in rotation. After three years of creation, however, Kid Sister has left many others scratching their heads.
Through an anthem-like chorus, “Right Hand Hi” opens up the album with an energetic DXnext alum. Over an upbeat backdrop from overseas producer/deejay Steve Angello, she proceeds to boastfully explain her tactics at the nightclub. “Life On TV” comes in immediately afterward with a more contemporary approach, yet the energy level is still at a 10. Describing her rise to success, Sister uses the hook as a warning about paparazzi.
While smoother tracks like “Let Me Bang 2009” and “Get Fresh” provide a bit of dynamic, Sister’s strongest effort comes in the form of “Switch Board.” Produced by the much-heralded DJ Gant-Man, Kid Sister brings out her own Chicago roots via the “juking” movement. Though little lyrical prowess is on display here, the record is infectious enough to get your feet moving. By the end of the record, Sister is throwing out directions for “jukers,” capping it off by adding, “I got a Coca-Cola shape with an onion in the back.”
Unfortunately, the party aspect that Kid Sister implements on Ultraviolet is not enough to provide a fulfilling experience from an artist who showed promise before her release. Then you have a track like “You Ain’t Really Down,” where Sister attempts to lay out a love that could have been. Starting out using acappella in the first verse, it becomes evident that Kid Sister should steer clear of vocalizing by herself. Holding similar content, “Step” is a record about a man gunning for her after-party endeavors, yet the delivery is poorly executed. While a featured-Estelle chorus would sound like a plus, in actuality her voice sounds utterly annoying under a lackluster beat. By the time “Control” comes in, you’re almost relieved the album has finally come to a close.
Ultraviolet could be summarized as an attempt to blend nightclub ethics with a Hip Hop edge, yet only the former is apparent. While Kid Sister may have made a conscious effort to instill a lasting effect through her playful cadence and free spirit antics, Ultraviolet is ultimately an album about nothing. For some listeners, the grooves may be enough to keep this CD in rotation. After three years of creation, however, Kid Sister has left many others scratching their heads.
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