1. Boundary Curve
Exploration of collisions, asynchronous, superpositioned and dispersed, bled into and around each other.
Drifting textures. Alien familiarity. Loops that aren’t.
Layers of stone, wood, ceramic + metal.
A matrix-1000 pushed into and out of itself, refracted and re-assembled.
One track spirals into another, or, one track dives into itself.
In complete flow. Each pushing out, the other pushing in.
Out of the dream a grain of the map.
Produced, mixed & mastered by Kane Ikin for Longform Editions
Boomkat - 'Kane Ikin returns to the spotlight after a lengthy break, dematerializing on the Aussie Longform Editions label with an almost half-hour composition that combines meticulous mechanical rhythms with processed guitar and delicate piano echoes. RIYL Oren Ambarchi, Taylor Deupree.
Ikin uses the duration well, building his composition slowly from rattling pots 'n pans and barely-there glitches, folding in indistinct drones to create a low-light texture that centers the record's cinematic gaze. But it's the ticking, mechanical pulses that really get us - a few minutes into "Boundary Curve" and it sounds like you're trapped in a celestial clockmaker's workshop, surrounded by whirring rhythms and quartz-powered plucks.
As the composition evolves, Ikin conjures gaseous atmospheres, interspersing rolling rhythms with prepared guitar and faint blasts of synth. It's almost like a hyper-reduced, mechanized take on a Krautrock-kosmische formula, fired into another dimension and made completely weightless. Barely anything happens, but plenty is implied - and it's better that way. Fantastic stuff.'
4. Street Flare
Five grippingly widescreen, warmly immersive, dubwise soundscapes — propulsively roiling, droning and ticking, smudging the limits of their own coherence.
Boomkat - Basalt Crush steers the abstract techno themes which have emerged over the course of Ikin’s Warehouses (2014, This Thing Records) and Modern Pressure (2016, Type) into ‘floor-fringing structures ripe for more experimental DJs and home listeners alike..
The A-side presents the elegant string flutters of Echoic and an amorphous, haunting stuyd in electro-acoustic dissonance with Autophasic, before titling ‘floor-wards with the ghostly momentum of Gestalt, which could be some spectral relation of Pye Corner Audio.
B-side delves deeper into that theme with more robust, stepping bass wickedly offset by a flinty rimshot, but still keeping the atmospheres wide and gauzy in Street Flare, and Grid draws us farther in to a mix of diaphanous bass and thistly hi-end, precisely balanced in the mix so you could practically lean in and it would support your weight.
2. Haze Shimmer
4. Tap Tap Collapse
5. Smoke Hood
6. Auto Dialler
8. Closer Closer
Boomkat - Rendering a world of glancing shadows and efficient, amorphous rhythms from an ever-decreasing sonic palette; pushing himself farther into an escapist’s abyss, but using streaks of electro-acoustic light, elusive field recordings and redemptive chord structures to keep us from falling off the rope.
They’re not club tracks, but the sense of momentum is gripping, driving from the Pye Corner Audio-alike highway cruise of Partial to the truck-stop lay-by vibes of Crosstalk and the shuddering, almost Autonomic syncopation of Tap Tap Collapse, before ratcheting the tension further with the euphoric doom of Smoke Hood and resolving an opiated conclusion in Closer Closer’s creeping buzz.
Produced and mixed by Kane Ikin for Type Recordings LLC
Mastered by Matt Colton at Alchemy Mastering
Distributed by Boomkat/Morr Music
Photographs by Traianos Pakioufakis
Tap Tap Collapse film by Nic Hamilton
2. Soft gloss
6. VGA Tracer
Bleep - Brilliant new Kane Ikin LP, moving between moody post-punk atmospheres and streamlined dub techno.
Capping off a vintage year Kane Ikan builds upon his Type and Latency issues with an LP of polluted machine funk that sounds like a gritty instrumental jam between DVA Damas & HTRK. The drum machines call to mind the early 80s shoegaze slowness of classic JAMC, but the absence of vocals pinpoint this as a strictly techno affair, in the vein of Portion Reforms The Supreme Negative.
Time will tell, but this is sure to be a slow burner that is sure to gather much-warranted attention as the cold months roll on.
Produced and mixed by Kane Ikin for Echovolt Records
Mastered By Brandenburg Mastering
Photography by Antonis Pitsios
13. Dry heat
Collection of salvaged works rescued from digital dust and collected into a seamless mix.
Thanks to Matthew kent
Produced, mixed & mastered by Kane Ikin for Blowing Up The Workshop
Art by Nick Spolarich
Boomkat - Crushing "anti-club constructions" from Melbourne's Kane Ikin, following his 'Strangers' collaboration with David Wenngren for Simon Scott's Kesh label. 'Warehouses' comprises a triptych of cavernous sound designs tessellating industrial percussions in three vast, simulated spaces. Whilst not strictly dancefloor material, the title track mixes brute synth force, clanking drums and dynamic synths to propulsive effect, and 'B.N.R.' twirls on a seductively grooving sway ready for the after-after hours, and the sinuous syncopations of 'April' twist to a thunderous elated momentum ideal for more leftfield warehouse sessions.
Released March 14, 2014
This Thing Records + Tapes
Mastered by Mikey Young
Artwork by Nic Hamilton
Warehouses film by Nic Hamilton
2. Slow Waves
3. The Arc
7. Sleep Spindle
8. An Infinite Moment
9. The Violent Silence
10. Black Sands
12. Prometheus' Trail
14. Compression Waves
15. In The Shadow Of The Vanishing Night
Boomkat - One of the strongest releases we've heard from 12K in quite a while. Kane Ikin is one half of Solo Andata, with a previous EP for 12k and a release for the Kesh label, but this is his debut album proper - and it's a goodun. Ikin takes in a number of familiar tropes but somehow re-works them in a way that's progressive, assembling elements you might recognise from the floaty ambience of The Sight Below (complete with references to Wolfgang Voigt's GAS project), the deconstructed dub of Rhythm & Sound, and a homespun vibe that's become the calling card of countless CDR labels whose names neither you nor us can quite remember, albeit weighted down by a production style that's measured and detailed. It's an absorbing listen, but there are moments that offer a tantalising glimpse of what might have happened if Ikin dared himself to challenge the listener a bit more. He's grabbed our interest enough on 'Sublunar', however, to keep a close eye on what he does next. In the meantime, it's a solid work that comes recommended if any of the above reference points tick your boxes.
2. A Synthetic Setting
4. Short Wave fade
Contrail marked Kane’s debut solo release outside of Solo Andata and while the same sense of dark, warm space is present he returns to his roots and focuses more on shoegaze guitar experimentations, lo-fi sample manipulations and warped field recordings. He recorded everything through and onto old technology — aged analog consoles, reel-to-reel tape — and all heard through a hazy science fiction filter.
Music composition, production + sound design for visual projects across film, fashion, advertising, installations and products.
Selected Clients: Calvin Klein, Bottega Veneta, Bobbi Brown, La Mer, Vice, BMW, Puma and Victoria Police
For Licensing or commissions: email@example.com
NTS RADIO 2
NTS RADIO 1
Lullabies for insomniacs #50
Éditions • Mix 001
INTO THE BLUE #69
2022 • MLB • Longform Editions Launch w/ Fia Fiell
2018 • MLB • w/ Demdike Stare
2018 • MLB • w/ Slowdive
2018 • SYD • w/ Slowdive
2017 • MLB • Obsidian Festival
2018 • MLB • SuperSense Festival
2017 • MLB • ¿Club D'érange? w/ Laila Sakini
2017 • KYOTO JPN • Kyoto w/ Yousuke Yukimatsu
2017 • OSAKA JPN • w/ Yousuke Yukimatsu
2017 • MLB • w/ Helm & Croatian Amor
2017 • MLB • w/ My Disco
2013 • MLB • w/ Demdike Stare
2013 • MLB • w/ Actress
Kane lives and works on the unceded lands of the Eastern Kulin Nation.
He acknowledges and extends respects to the traditional owners and all First Nations people.
Always was always will be.