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Kilbey Kennedy

Premonition 'K'

    New album by the successful duo Steve Kilbey (The Church) and Martin Kennedy Interest and profile of Steve Kilbey has been raised considerably over the past year due to the church re-forming touring and issuing 2 new albums Steve’s solo albums are all getting a complete make over and the fan clubs are ablaze with rumours and gossips regarding forthcoming releases.

    Embark on a mesmerising journey with the third and culminating chapter of the highly acclaimed trilogy by Steve Kilbey and Martin Kennedy. Building on the success of Jupiter 13 (2021) and The Strange Life of Persephone Nimbus (2022), their latest epic, 'Premonition K,' unveils a sumptuous and organic sonic landscape, delving into the dark and enigmatic realms that exist between the boundaries of life and death. This album, a testament to their musical synergy, encapsulates a darkly beautiful soundscape, drawing inspiration from diverse sources, ranging from the haunting tones of Roger Waters' Final Cut to the shadowy depths explored by early 1970s Black Sabbath. Steve Kilbey, best known as frontman of legendary Aussie post-prog rockers The Church, infuses each track with an emotional resonance and sense of mystery. Martin Kennedy co-pilots this sonic odyssey with Steve Kilbey, weaving an intricate musical bed for Kilbey's lyrical dreamings. Drawing from his twenty years of soundscaping with All India Radio, Kennedy adds layers of sonic complexity, at once warmly familiar and mysteriously strange, creating an immersive experience for the listener. Together, Kilbey and Kennedy invite you to break out the ouija board, turn off the lights, and immerse yourself in the mysteries of 'Premonition K'.


    Side A
    Breaking The Fourth Wall
    The Doctor
    My Better Half
    That's Gotta Hurt
    Side B
    Whispered Voices On Tape
    The King
    The Contender
    The Ouija Board
    Menace In The Past
    The Song That Wrote Itself

    Borderless hi-tech soul music with loose rhythms, supported by Amsterdam jazz man Han Litz!

    Kennedy returns to another musical dream state bringing nocturnal visions to life through the power of machines. On this third 12" in the series he widens his sonic scope via elements of jazz and African rhythms next to his own distinctive take on the original sounds of Detroit.

    It's another musical offering that comes from deep within mind, body and soul. Side A sounds like a warm fusion of loose rhythms and glowing synths determined by machines, whereas the B-side is more explicitly human-made with flute recorded live by Amsterdam jazz man Han Litz, bringing a lightness of touch that imbues the music with hope and optimism. Beneath that, a battery of drums is set free calling up acoustic sounds driving from deep inside in a dense forest.


    Matt says: Hi-tech, full spectrum psychedelic house here aimed squarely at the cosmos. Spiritual elements combine as Kennedy sets out his synths as one to watch.


    My Friend The Sun Ft. Han Litz
    Heliosphere Ft. Han Litz

    Sophia Kennedy


      Sophia Kennedy’s music sometimes sounds like a soundtrack to a world disintegrating, hanging on by a thread of memories, it combines the glamour and the morbid charm of tin pan alley show tunes from the 1960s or 70s and yet it fully embraces the deconstructed modernism of club music. Her new album Monsters, is full of plot twists, moments of prettiness dashed with paranoia. The title itself, is a self-ironic, comic-like commentary of being an artist trying to tame own creations like “monsters” gone wild but also a nod to a generally threatening tension in the world. Monsters is pop music teetering on the verge of ruin.

      Kennedy’s creative approach has always been unusual. Growing up in Germany after her family emigrated from Baltimore, she developed an ear for off-centred songcraft picking through her mum’s record collection: Whitney Houston and Simon & Garfunkel at first, Karen Dalton and the Velvet Underground later. With no equipment to hand, she started recording audio on a camcorder, blurring the lines between music and her other passion, film. Obsessed with the work of John Cassavetes and 70s horror films like Carrie, Kennedy moved to Hamburg to study film and ended up making music for theatre productions. Her involvement in the local creative community led her through the doors of the “Golden Pudel”, a techno nightclub. Immersed in Hamburg’s dance music scene she met Mense Reents, a musician best known for his work with the celebrated house act, Die Vögel. The pair formed a writing and production partnership, and would make Sophia’s eponymously-titled debut record together in 2017 which was released through DJ Koze’s label Pampa.

      One step further is where Kennedy has taken her sound on Monsters. It’s full of hints of a former life, abstract melodic turns, instrumentation that shouldn't work, but does, wrongness that’s right. “Seventeen” is acid-washed Americana with creeping sub-bass, closer “Dragged Myself Into The Sun” is a full-on left hook, drones stacked like lasagna and pumped with steroids. There is pop centre pieces like “I Can See You” and the velvet-lined anthem “I’m Looking Up”, dealing with grief and death, recalling the rawest edges of Krautrock and, for Kennedy, nods to Baltimore artists Panda Bear and the strange currencies of Animal Collective.


      A1. Animals Will Come
      A2. Orange Tic Tac
      A3. I Can See You
      A4. Francis
      A5. Seventeen
      A6. Loop
      B1. I’m Looking Up
      B2. Chestnut Avenue
      B3. Do They Know
      B4. Cat On My Tongue
      B5. Brunswick
      B6. Up
      B7. Dragged Myself Into The Sun

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