As a follow up to 2017’s acclaimed album of a very similar name; Music To Draw To: Satellite, comes Kid Koala’s latest work, Music To Draw To: Io. Are we in for more of the same, or something altogether different?
Born as Eric San, Kid Koala is a Canadian of many talents. Primarily DJ and electronica artist, he’s also a graphic novelist, which may have inspired the names of his last two studio albums. But how will the album hold up to listening, as opposed to just music to draw to? Opening with a massive, spacey track in the form of “Circle of Clouds”, it feels like Kid Koala has created this seven-minute frequency sweep as a method of warming up your respective listening system. Loaded with massive plunging bass loops and sparkling bleeps and whistles, it’s quite simply a very isolating and moody ambient track – and it sets the mood perfectly.
Moving away from the pseudo-preceding album, Io is considerably darker and less poppy. Trading in Emiliana Torrini’s intriguingly sweet voice for the richer, dulcet voice of Trixie Whitley, it feels like everything has been taken down an octave.
Unlike the previous Music To Draw To, there’s a distinct lack of vocals on a lot of the tracks, allowing Kid Koala to work his own soundscape magic without vocal interference. Not that Whitley’s voice is ever unwelcome, it’s just impressive to hear someone conjure such impression moods out of samples, synths and turntables.
As we move through the album on to tracks such as “Transmission 4”, it’s easy to hear how Kid Koala managed to set himself apart from the deluge of run-of-the-mill DJs that pervade every party. But far from the middle-aged man who once owned a pair of old Technics and now creates Spotify playlists in the hope someone will want to use them at their own event, San treats his decks like instruments, in his deft hands they truly are instruments. By using custom cut records, altering pitch and speed over single notes to drag, twist and distort them – San is capable of creating sounds that even circuit benders like the gifted Aphex Twin would be proud to produce. The engineering is as masterful as to be expected as well. On tracks such as “Lost At Sea”, Trixie Whitley’s voice has somehow been set so far back in the soundstage that she genuinely feels distant as her voice penetrates the foggy synth noises that reverberate across the track.
Despite this very polished and well executed studio technique, everything feels personal and not just like a factory stamped studio production from the likes of Nashville. Every track gives the impression that San would have no issue replicating this sound in a live environment. Somehow taking complex and somehow minimal tracks such as “Transmission 5” and keeping the sound constant and accurate despite all the record swapping and pedal work involved.
Despite the DJ background of Kid Koala, the ambient feel of the album doesn’t ever feel dull. The tracks feel engaging and almost meditative. They’re chilled enough that you could simply have them on in the background of a calmer activity (the clue may very well be in the name…) or you could listen more intently to each surprising nuance. With tracks like “Emuii”, more detail is revealed with each listen, rewarding you for your time.
The album is a great example of DJ work as it should be done. It’s not going to rock the USA Billboard, or sit at the top of our own charts, but judge it solely on its own merits, and not modern pop or even other genres’ standards – and it’s really a standout performance.
Author: Steve, Chiswick store
