The Goldenhorse lead singer’s solo album sounds exactly as you would expect: like Goldenhorse in some parts, different in some parts, and altogether great. It’s a pop album with varied songs and arrangements, solid performances and production that manages to stay interestng throughout repeated listenings.

Some songs do sound like Goldenhorse. Kirsten knows it too — a line in Silent Window mentions a “golden horse”. Geoff Goldenhorse worked on some of the tracks, so similarities are inevitable. The obvious difference is that Kirsten is the only vocalist on this album. A few songs are simple voice and guitar melodies and make for fragile, beautiful listening.

Ghosts, the opening track, has a fast toe-tapping beat, with some interesting distortion and nagging melodies. Kirsten’s voice sounds like Ruth Carr from the NZ electronic band Minuit. That same snarling edge, especially in the chorus. The cute “da da da”s are pure Morrell though.

Friday Boy has the slightly off-kilter style of verse familiar to Goldenhorse fans. The end of the verse builds up with an “oh, oh…” and just when you’re expecting the big key change for the chorus, the next verse just comes in. In fact the anticipated soaraway chorus never appears. This confounds my expectations, and not in a bad way.

Cherry Coloured Dreams has a sweet melody and a somewhat funky beat in the chorus. This is the sort of thing that I could listen to all day long. And in fact I have been listening to it all day long.

If you like Goldenhorse then you’re sure to like Ultraviolet. And if you don’t like Goldenhorse then there’s something wrong with you.

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