Kid Kin is the musical moniker of Oxford based Multi-Instrumentalist , producer and composer Peter Lloyd. Having released the Holy Youth EP in 2016 and the epic Masterclash single in 2017 Kid Kin is releasing the new EP “Kid Kin” on 16th November 2018 including an extended version via Bandcamp. You can exclusively stream the new EP below alongside our review from Ben Adsett 

With the opening  moments haunting organs set the scene for an EP that is full of theatrical suspense. The almost laboured introduction paves the way for sparse electronic sounds and thumping drums which crescendo into shrill guitars and just keep building. Almost as gradually as the wall of sound builds on opener ‘Jarmo’ it is gently deconstructed and the warming buzz of ambient feedback signals the death of this first track.   

This warmth compliments the delicate guitars that begin ‘War Lullaby’ and as drums combine with gentle synthesisers there is something incredibly satisfying in the simplicity. There is a real sense of purpose and flow as the synths build and glitch their way through eventually overtaking the guitar and creating their own soundscape complete with bass. As the final digital breaths are taken the sense of dramatic tension is released like a feedback laden sigh. This EP clearly blurs the lines between song writing and classical composition.

As ‘The Early Bird’ flows into the simmering outro of it’s predecessor the sparse drums take on the subtlest of breakbeats and the EP continues to develop and flow. This song writing is accomplished and clever and each track compliments the last creating a release that plays perfectly as a single piece of music. Three quarters of the way in it becomes apparent the build-up is not just within single tracks the musical themes continue and create all the drama of the most relatable lyrics. 

Within instrumental music lies a much greater freedom of interpretation and throughout this EP thoughts may be guided by musical themes and emotion may be hinted upon but here the listener is given fifteen minutes of reflection. ‘Gets the Worm’ closes with the EP with the warmest themes from the EP and jingling bells effortlessly flow into darkening synths ending the release like the sun going down.

There are musical references throughout from the warmth of Brontide to the dramatic tension of Talons there are links to aspects of bands Kid Kin don’t even sound like. This is where the song writing/composing is incredibly clever. The electronics quickly combine the glitches of Bibio, Anamanaguchi and in parts Digital Ash, Digital Urn era Bright Eyes. Behind all of this lies the moments of vintage pop hidden within 65Daysofstatic or Goonies Never Say Die’s most accessible moments. Somehow despite all of these influences and occasional moments of heaviness these release remains tender and gentle.

The only complaint here is there are only four tracks, as the release ends, you will be left wanting to see how this story develops.                


Press photo credit: Helen Messenger Photography