What are we talking about?
'Masterclash' is the latest release by KID KIN, from Oxford, the moniker given to Peter Lloyd’s solo project, has already gathered a degree of momentum in critical circles, gaining play on Radio 6 and supporting acts such as El-Ten Eleven and Public Service Broadcasting. It’s an ambitious track, claiming to include more than 50 different instruments. Let’s say it sounds rather expansive.
What hooked me?
The introduction of this piece, a combination of reverse delay guitars and a crisp two chord piano arpeggio, is an intriguing beginning, which signals that what follows will be an introspective track. However the real centre of the piece is the earworm guitar melody, which fades in around the 2.45 mark before being allowed a full statement, unveiling itself as a chorus of guitars which echo across the landscape of your cochlea. This melody continues in one form or another throughout the rest of ‘Masterclash’, passed between instruments and registers. It’s an addictive melody, yet what allows the prolonged, graceful flourishing of said melody is the slow feeding of new, relatable elements which make sure to hold your attention, not cutting the previous element too short, nor letting it go on for too long and lose its impact.
Artwork
There is something elemental to ‘Masterclash’, feeling like a walk through the shires turned into Friedrich’s Wanderer above the See of Fog, the warm rain cover captures well the slow burning manner of the song, as well as relieving rainy side.
Feedback
As a piece of music which is progressive in its development, 'Masterclash' is much more about the substance than the initial hook. The aforementioned slow feeding of elements allows the piece to develop as a series of swells, starting with an initial false start based off of a short chord progression, before main one centred around the guitar melody mentioned earlier. Very clean and clear in terms of its recording, ‘Masterclash’ has a carefully crafted and delicate texture, echoes and suggestions cosily placed within the mix, not too much, not too little. It’s clear from the first listen that a lot of time has been spent on the track itself, from the wide variation of synth sounds which pad out the texture, to clipped electronic drums delicate enough keep the track from imposing on the listener’s state of mind, yet giving enough propulsion to keep the track wandering in the right direction. Arpeggios, drones and melodies glide across a range of guitar, piano and synth sounds, creating an ever expanding texture which almost becomes cushioning around your ears. A favourite moment is the crisp, clear, yet chunky guitar tone around 1.46, which reminds me of the one heard Don Caballero’s ‘Peter Jazz Crisis’. It is this guitar track which begins the four chord progression on which the majority of the track it’s placed. Constantly developing, it’s major key tonality comes into line with some more recent Mogwai tracks. Finally, having blossomed and peaked, the track drops down to ending arpeggio on guitar, track drops down to a chorus of guitars and analogue reverb to fade into the hillside of the sonic landscape created over the course nearly 8 minutes.
Summary
A progressive track, ‘Masterclash’ falls somewhere within the zone of influence for Ambient, Post-Rock and Shoegaze, and whilst electronically based parts of it come close to Alt. Rock, which is by no means a bad thing. As stated earlier this is music that will not impinge on your state of mind, but instead encapsulate and amplify it. Music which is happy if you’re happy and sad if you’re sad. Keep it on your iPod in the event of a particularly dramatic moment in your life, for it could make it feel cinematic. Would recommend seeing these guys when they come to Maguire’s on the 8th October.
Line from the band
The man himself 'Masterclash' is a song I've been playing live for 2 years and has taken 18 months to finally finish the recording, which had over 50 different instruments in the final mix.'
Vital info
Kid Kin's new single 'Masterclash' was released on 3rd October on iTunes, Spotify, Amazon, Bandcamp etc.
Kid Kin is going on tour to promote the single. Dates are:
Oct 6 - Bristol - Stag and hounds
Oct 7 - Chester - Live Rooms
Oct 8 - Liverpool - Maguire's Pizza Bar
Oct 14 - Oxford - What Became of Us Festival
Oct 15 - Manchester - A Carefully Planned Festival
Nov 13 - London - The Old Blue Last
Then back to Oxford on November 24th for a headline gig at the Library.
------------------------------------------------------------------------------------------------------------------------------
Reviewer
Catch Max Baker in the street and he will not shut up about his band, Barlon Rando, Parrot Punk revivalists, for whom he cannot in any way slap the bass.
'Masterclash' is the latest release by KID KIN, from Oxford, the moniker given to Peter Lloyd’s solo project, has already gathered a degree of momentum in critical circles, gaining play on Radio 6 and supporting acts such as El-Ten Eleven and Public Service Broadcasting. It’s an ambitious track, claiming to include more than 50 different instruments. Let’s say it sounds rather expansive.
What hooked me?
The introduction of this piece, a combination of reverse delay guitars and a crisp two chord piano arpeggio, is an intriguing beginning, which signals that what follows will be an introspective track. However the real centre of the piece is the earworm guitar melody, which fades in around the 2.45 mark before being allowed a full statement, unveiling itself as a chorus of guitars which echo across the landscape of your cochlea. This melody continues in one form or another throughout the rest of ‘Masterclash’, passed between instruments and registers. It’s an addictive melody, yet what allows the prolonged, graceful flourishing of said melody is the slow feeding of new, relatable elements which make sure to hold your attention, not cutting the previous element too short, nor letting it go on for too long and lose its impact.
Artwork
There is something elemental to ‘Masterclash’, feeling like a walk through the shires turned into Friedrich’s Wanderer above the See of Fog, the warm rain cover captures well the slow burning manner of the song, as well as relieving rainy side.
Feedback
As a piece of music which is progressive in its development, 'Masterclash' is much more about the substance than the initial hook. The aforementioned slow feeding of elements allows the piece to develop as a series of swells, starting with an initial false start based off of a short chord progression, before main one centred around the guitar melody mentioned earlier. Very clean and clear in terms of its recording, ‘Masterclash’ has a carefully crafted and delicate texture, echoes and suggestions cosily placed within the mix, not too much, not too little. It’s clear from the first listen that a lot of time has been spent on the track itself, from the wide variation of synth sounds which pad out the texture, to clipped electronic drums delicate enough keep the track from imposing on the listener’s state of mind, yet giving enough propulsion to keep the track wandering in the right direction. Arpeggios, drones and melodies glide across a range of guitar, piano and synth sounds, creating an ever expanding texture which almost becomes cushioning around your ears. A favourite moment is the crisp, clear, yet chunky guitar tone around 1.46, which reminds me of the one heard Don Caballero’s ‘Peter Jazz Crisis’. It is this guitar track which begins the four chord progression on which the majority of the track it’s placed. Constantly developing, it’s major key tonality comes into line with some more recent Mogwai tracks. Finally, having blossomed and peaked, the track drops down to ending arpeggio on guitar, track drops down to a chorus of guitars and analogue reverb to fade into the hillside of the sonic landscape created over the course nearly 8 minutes.
Summary
A progressive track, ‘Masterclash’ falls somewhere within the zone of influence for Ambient, Post-Rock and Shoegaze, and whilst electronically based parts of it come close to Alt. Rock, which is by no means a bad thing. As stated earlier this is music that will not impinge on your state of mind, but instead encapsulate and amplify it. Music which is happy if you’re happy and sad if you’re sad. Keep it on your iPod in the event of a particularly dramatic moment in your life, for it could make it feel cinematic. Would recommend seeing these guys when they come to Maguire’s on the 8th October.
Line from the band
The man himself 'Masterclash' is a song I've been playing live for 2 years and has taken 18 months to finally finish the recording, which had over 50 different instruments in the final mix.'
Vital info
Kid Kin's new single 'Masterclash' was released on 3rd October on iTunes, Spotify, Amazon, Bandcamp etc.
Kid Kin is going on tour to promote the single. Dates are:
Oct 6 - Bristol - Stag and hounds
Oct 7 - Chester - Live Rooms
Oct 8 - Liverpool - Maguire's Pizza Bar
Oct 14 - Oxford - What Became of Us Festival
Oct 15 - Manchester - A Carefully Planned Festival
Nov 13 - London - The Old Blue Last
Then back to Oxford on November 24th for a headline gig at the Library.
------------------------------------------------------------------------------------------------------------------------------
Reviewer
Catch Max Baker in the street and he will not shut up about his band, Barlon Rando, Parrot Punk revivalists, for whom he cannot in any way slap the bass.