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  • Jennifer Janz


Emerging Australian music artist Anthony Kale recently reached number #1 on The Independent Radio Charts U.K. with his two singles Be Responsible and Without a Word, and is no doubt hoping to replicate these milestones with his new release Miracle.

With a respectable tally of over 300,000 Spotify streams, Anthony’s Miracle promises to expand his audience reach while maintaining a growing global fanbase. Like a hybrid Enrique Iglesias, Adam Lambert and Phil Collins, Anthony’s style fuses some of the major aspects of dance with the melodic weight of modern pop, absorbing a myriad of influences to arrive at an effervescent musical palette, quite an accessible one. And most of the elements of this ebullient ode to unrequited and barely bridled passion have been chosen with that in mind.

Miracle absorbs many of the typical traits of dance-pop of the radio-appeasing variety, the introductory sonic swells, the call-to-arms drum stomps, the vocal surges and the straight-time current, to create a hybrid that manages to tilt more heavily towards the pop than the dance. The chorus is aptly persistent, its hook focused on reinforcing the title’s homogeneity, reiterating the yearning of the lyric’s stark declarations.

Unrequited love? Possibly. Soon to be requited love? It is difficult to discern. One thing is clear and that’s Anthony’s zeal, peppered ever so lightly with a few technological adornments that do not necessarily negate any of the human sorts.

‘‘ The vocal surges and the straight-time current, to create a hybrid that manages to tilt more heavily towards the pop than the dance.

If one examines the chorus, perhaps the most enticing passage, one finds a curious structure, with its opening lines reaching for the obvious and the memorable, and the converging subsections plateauing, with the first chorus, yet providing quite a nifty segue into the second verses, and with the second, sailing into a bridge section with another voice (a female voice) and injecting the track with an interchanging route; one that’s powered by a shift in melody and an audible change in electrical fizz.

This section acts as a sort of second peak after the recurring one contained in the chorus. Miracle should have no problem attracting airplay and streams, its Euro-dance slash contemporary pop elements help it straddle an intriguing line; this infusion quite sufficiently masking the platitudinous tendencies of the lyric without denuding it of its appeal.



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