The KVB is the nom de plume of Nick Wood and his partner Kat Day, a two-piece outfit from the UK who combine an electronic-shoegaze-industrial garage musical aesthetic with an intense visual live show. In the beginning The KVB was Wood’s bedroom project, an opportunity for him to explore different sonic textures outside of the confines of his ‘regular’ musical projects.
The KVB will perform tonight their sixth album, the follow up to 2016’s Of Desire titled Only Now Forever, at Sidecar.
Like Kanye’s performance of All Day at the 2015 BRIT Awards, hoodie and flamethrower included. Like Skepta playing Shutdown at a rave under a London bridge to an audience going crazy. Like Stormzy spitting out his Shut Up in a park surrounded by a crowd. All these moments have something in common: their viscerality and their inherent intimidation and danger. That kind of danger that terrifies you but at the same time makes you feel alive. In the venomous grime by Tyron Frampton aka Slowthai there is danger, but there is also eloquence, rage, a sense of belonging (to Northampton), black humour, chaos and rawness (the one of a 23-year-old lad brought up on the margins). And there is a ton of energy, which explodes when Frampton plays live, half-naked and becoming one with the audience, honouring the person who said that nowadays punk is to be found on the underground passages of hip hop.
Teleman have always stood apart because of their constant desire to have fun. Signed to Moshi Moshi in 2012, the four-piece return with a third album that continues this fine tradition.
While they’ve always dabbled, ‘Family of Aliens’ is the band’s first out-and-out dance record. ‘Cactus’ recalls Hot Chip at their pomp, its driving bass line underlying the track – while there are some exquisite psychedelic touches that feel like they’re straight out of a sci-fi disco. ‘Submarine Life’, meanwhile, reveals them at their weird and wonderful best, and could reasonably pass as a track left off ‘Random Access Memories’. Tonight in concert at Razzmatazz.
Fear, chaos, fragility, strength, pleasure, pain, love… above all, love; Yves Tumor’s art expresses all this and so much more. If there is such thing as an iconoclastic artist in today’s musical scenario, Yves Tumor is one of them. At the crossroads between performance art, BDSM practices, ritual experiences and full on punk/rave destruction, his live show is one of the most mind-bending around.
Unpredictable and undefinable, the enigmatic producer’s music is indeed a serpent, slithering through the deepest levels of human emotion. Following previous work on PAN, Janus and various self-released sonic excursions, he is set to release his his new album “Safe in the Hands of Love” via Warp.
His performance at MIRA 2018, today, will be the Spanish premiere of his new A/V show in collaboration with visual artist, coder and designer Ezra Miller. If Miller’s previous work with artists such as Evian Christ, Suicide Year and Oneohtrix Point Never is anything to go by, their performance will be an experience that will become deeply ingrained in the minds and bodies of those present.
For nearly a dozen years, Here Lies Man existed only as a concept. In the mid-’00s, Marcos Garcia (aka Chico Mann) had been playing guitar with Brooklyn-based Afrobeat collective Antibalas, a group that rose to prominence by updating the rhythmic, political funk of Nigerian legend Fela Kuti. Yet between takes in a lengthy studio recording session, Garcia was struck by the idea of translating Afrobeat sounds into more of a heavy rock ‘n’ roll context.
However, the demands of his full-time gig kept him from doing anything about it for more than a decade. It wasn’t until 2016 when Garcia moved to Los Angeles that he got the opportunity to transform Here Lies Man into a fully-fledged band, and released their self-titled debut album in 2017. Here Lies Man have released their second album: ‘You Will Know Nothing’ Today in concert at Razzmatazz.
Everything started with Blonde: Frank Ocean proved, crystal clear, that thunderous bass was not necessary –sometimes even no bass was necessary– to make a R&B record bursting with rhythm, depth and punch. Softer, deeper. Many students applied at the school of Blonde, but none has been so outstanding as the American artist serpentwithfeet with his debut. With soil, his first record, Josiah Wise offers himself to the audience through his voice. It’s powerful, polyhedral, penetrating, silky; it wraps itself around you like a python to finally whisper in your ear. With this voice and the subtle incredibly modern and textured electronic bases by Clams Casino and Katie Gately, serpentwithfeet remains true to his commitment to free love (and break up) that represents his debut: from the heart of the earth, from a whisper in a deep hole, but destined for the sky. Today in concert at La2 of Apolo. Primavera Club.
It’s a common trope these days that some of the best “new” artists have been working behind the scenes years prior to their own debut, or writing for others before experimenting with personal output.
Compton’s Channel Tres, the latest signing from Godmode, is following in those footsteps, albeit with a completely different style of music. Having worked as a songwriter and producer for artists such as Kehlani and Duckwrth, Channel Tres honed his talents through the voice of others.
Recently signed to Godmode, Tres worked extensively with the pair that runs the label: songwriter Nick Sylvester and former major A&R Talya Elitzer. These two know how to help push an artist to the next level, having previously done so with both Shamir and New York City via Seoul producer and singer Yaeji. With Tres’ debut song, “Controller,” the polish the pair applied to their previous work is abundantly clear, and so is Tres’ experience.