For the Record: Gotye, Making Mirrors

We probably all know Gotye as the guy who sings “Somebody That I Used to Know”—the song that permeated radio, commercials and karaoke nights in 2012. The Belgian-Australian independent artist couldn’t have expected the massive international success of the single, which topped the charts in 26 countries and has sold 13 million digital copies to date. My guess is that many of those 13 million Gotye listeners have not heard any of the other tracks from the artist’s 2011 release “Making Mirrors,” but after picking up Best Alternative Music Album at the recent 2013 Grammy Awards, I have a feeling that many people will be taking a closer look.

What is remarkable about “Making Mirrors” is that it was recorded on a MacBook Pro from Gotye’s parents’ farm in Australia, far removed from the enormous production costs typical of stars as big as Gotye. Born Wouter De Backer in Belgium, Gotye had previously recorded two albums in this manner, garnering mild success and critical recognition in Australia.

Filled with ambition, “Making Mirrors,” was not made to impress anyone. The album alternates between songs that experiment with whisper singing and heavy synthesizers to pop-fueled cuts with catchy melodies and more traditional musical structures. Gotye brings in aspects of soul, rock, electronica and 80’s pop to the record with his Peter Gabriel and Sting inspired sound, while still providing enough material that appeals to radio and the masses. Audiences were captured by the contrast in “Somebody That I Used to Know,” which starts off quietly and then catches the listener off guard with its belted, funky chorus. The album works in much the same way. A quiet song focused on instrumentation makes way for a happy, full voiced single. Gotye sets himself apart by creating 12 distinct songs, not just copying one successful idea over and over again.

The themes of the album work well with the title “Making Mirrors.” “Somebody That I Used to Know” and “Eyes Wide Open” convey the shattering of a relationship, while later on the album “I Feel Better” and “Save Me” reflect the highlights. Gotye uses the album as a method of self-reflection, making the work relatable. The album hits a slump when Gotye throws out two random cuts, the highly synthesized “State of the Art,” followed by the creepily-whispered “Don’t Worry, We’ll Be Watching You.” These songs do not make sense with the rest of the album, or as singles, but they do not detract from the overall value of “Making Mirrors.”

The instrumental and vocal layering is inventive, captivating and refreshing. From a small Australian barn, Gotye accomplished what so many heavily funded pop artists do not. Utilizing a wide variety of instruments, not a sound board, there is a musicality and naiveté about the album that makes it stand out. I only hope that Gotye will not dumb himself down when he makes what will be a highly anticipated follow up. He is capable of more, and should hold himself to the higher standard.

I highly recommend listening to “Making Mirrors” in its most effective form, as an album, from start to finish. In today’s digital age of quick-download singles, it’s easy to forget about the album as an art form and “Making Mirror” is a refreshing reminder that some songs are meant to be listened to in groups.