The English alt-rock trio Katalina Kicks release a new single on the 13th.
Katalina Kicks – photo credit @andrewcotterill
Over time the trio has changed players, each iteration necessarily developing a different dimension of travel, though always something you feel the need to listening to with limbs wrapped with partner. To attempt a more specific genre-definition with We Don’t Care I sense that – sexy-rock – is not too far wide of the mark as the breathy vocal teases the inner thigh whilst the winding instrumentation and electronica brushes the earlobe and caresses the neck while the percussion matches the pace of the racing and ever more desirous heart.
Given, additionally, that the lyrical content is of agitation with societal discontent – it will come as no surprise that I think this is a track that needs to be added immediately to the playlist.
The English alt-rock trio Katalina Kicks will release the LP Vices on the 12th of May.
With a lighter mood than last featured, though that does need to be taken as a comparison rather than a genre descriptor the fourth of the ten tracks Cut It Up is a song that takes a slight inflexion from J-pop which Katalina Kicks wrap up with their pressing signature sound.
The English agit-rock band Katalina Kicks are set to release the EP Vices in October.
The core of the band is as a trio, though in live-performance they are joined on stage by a fourth player. Katalina Kicks is band with some legs including two previous LPs dating back to 2011 behind them, they have established a confidence in delivery which enables them to provide the audience with a sound that, whilst frothing with indignation, has a a coherent layered structure.
Tempting as it is to write a full review of the band in this introduction, I will wait until nearer the release of Vices and merely concentrate on the first track to surface from the EP and the opener of the five – Guns – which is itself to be released as a single on the 3rd of July.
As is typical of their content, the lyric for Guns is an insightful frustrated commentary on the world around, though rather than haranguing the ears with volume and pace, the context is within measured instrumentation that reflects of the dichotomies of the ease by which rationalisation is lost to a dogma.
The solid percussion and bass fences off the room, while the guitar flexes through the inferences of hysteria to condemnatory growling from which the vocal waxes quizzically.