Red Moon In Venus by Kali Uchis | Album Review
Reviewing the third studio album for the Colombian-American artist
There’s something about the heavenly, euphoric soundscapes Kali Uchis has to offer that would pair perfectly with tumbling through the vacuum of space. Perhaps, we’d come to the same conclusion Uchis does on Red Moon In Venus: “Love is the message. Red Moon in Venus is a timeless, burning expression of desire, heartbreak, faith, and honesty, reflecting the divine femininity of the moon and Venus,” the artist explains in her newsletter (Genius). This album serves as her third entry, with her next album allegedly already finished and in Spanish.
Red Moon In Venus only has three features including Omar Appolo, Don Toliver and Summer Walker, though the album feel whole even without them. Of course, Toliver is obligatory, their chemistry undeniable, fluid, and complementary. Their song, “Fantasy,” is addicting both in the choruses and Caribbean/Hispanic influence with Toliver providing a loose, carefree hook. This feel like the “radio hit” of the album. As expected from the quote above, this album hits different when you’re in love. It’s hot, heavy, and lustful as it traverses the euphoria of love and sex, matched with the ruts love can provide with breakups and relationship inequity.
Red Moon In Venus makes me believe that Kali Uchis, in all of her glimmering, provocative sex appeal is a mythical siren. She draws the listener in with seraphic vocal ability and crushes them with the revelations of love that come only from experience and the ultimate conclusion that it is nothing more than fleeting and heat of the moment in the search for the elusive “forever.”
The story of the album is circular — it begins with “I Wish You Roses” as Uchis laments the loss of a relationship though there’s no love lost. From the first verse, the artist sets up the metaphor, “My petals are soft and silky as my sheets,” both eliciting the sexual nature of the album and the personification of the artist as a flower (i.e. roses). This metaphor is simple, delicate, fragile even, similar to the love exhibited throughout the album which is marred by the prickling thorn of the relationship. It is evident that this relationship is over (“You’re gonna want me back”) and is largely manifested through wishful thinking, yet the fantasy lives on through seduction.
Red Moon In Venus paints love as irresistibly dependent, completing, eternal, almost a matter of life and death, a shrine of appreciation for a significant other, another world that rests solely upon their lips, comfort in the security of their arms, and more. This is ever apparent on “All Mine” (which rivals another one of my favorites titles the same by Brent Faiyaz), in which Uchis describes the commitment of a relationship. “It’s a scary and vulnerable moment,” she says in a blurb on Spotify, “and I think when you do it, you have to know theres half of people that support lovers, and the other half are bitter and alone…” As such, the song feels like a humble brag as two lovers coincide while tuning out said haters.
Kali Uchis’ ability to sway between Spanish and English is so fluid that its hardly noticeable until you realize you don’t understand what’s she saying (unless you’re bilingual, of course). “Como Te Quiero Yo” is an example of this as she reaffirms her love in both languages through a series of sensual moans and lamentations. The following song, “Hasta Cuando,” follows suit, though less effectively and seems to be the only miss on the album. Uchis sits in a falsetto that is jarringly opposed by the trill of drill Spanish. However, it does house one of the harshest and comical lyrics of the album:
“Your girl talk shit about me just to feel better / About the fact that you’re obsessed with me years later / At the end of the day, she’d eat my pussy if I let her / At the end of the day, she’d trade lives with me if God let her”
As expected, this album is riddled in songs you could dedicate to your lover, abundantly romantic and sexual themes run amuck. However, just past the halfway point of the album, “Moral Consciousness” reigns in a more serious reflection of the relationship, one that isn’t clouded by sex and lust. Here, she blames the lover, indicting them to a lifetime of guilt (“You’re gonna feel it, you’re gonna feel it / when you’re all alone, when you’re all alone”). She straddles (no pun intended) the line of forgiveness and acceptance for the rest of the album, seemingly unwilling to let this relationship go.
The best two songs come in this more serious emotional introspection. “Blue” studies the dependency of this love — the former lover is cold now, and Uchis is sad, hence the name of the song. The artist’s ability to sway between the happy highs and sad lows of this relationship is a strong point. The sad songs are equally as beautiful as the happier, more romantic songs, perhaps even better. “Deserve Me,” with Summer Walker, is an attempt at closure, as she realizes the love the two inhabited was a bit toxic, and as such, beginning to realize her self-worth. I feel this song potentially could’ve been better without the feature but it certainly doesn’t hurt, Walker is a wonderful singer and complemented Uchis’ style here.
If you’re head over heels, or not quite over your ex, this might be the perfect album for you. It reminisces in the beautiful, revels in the sultry, and begs the listener to swoon. Dedicate a song or two to your lover, they deserve it. Red Moon In Venus, as of today, is one of my top two projects of 2023, competing with Kelela’s, Raven (review here). Both cover love sensually while also providing aspects of introspection that are important in defining personal boundaries for relationships.
Favorite Tracks: Blue, Deserve Me, All Mine, I Wish You Roses
Rating: 8.7/10
