I tend to often over think and obsess on finer details when I’m writing and producing, this piece is a result of pushing myself to lean into spontaneity and embrace imperfections.
Written on an oppressively hot summer day, I channeled the heat stress into pulses of noise and cooler tones.
Produced on a simplified analogue setup consisting primarily of an Korg Mini-700 and a Akai 4000DS Reel to Reel.
Image is a photo I took of a beach on the North Western shores of Tasmania
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Drawing from a range of stylistic influence, including techno, trip-hop, experimental electronic, soundtrack and jazz. Grippingly widescreen, warmly immersive and held by a production style that is both measured and detailed.
Since 2012 he has released a number of albums, ranging from the deteriorated and hazy Sublunar (2012, 12k), tense and atmospheric ‘Basalt Crush’ (2016, Latency), the shuddering and autonomic ‘Modern Pressure’ (2016, Type), exploratory shoegaze-techno on ‘Sensory Memory’ (2016, Echovolt) and the highly-charged durational work of percussion and exploratory synthesis on 'Boundary Curve' (2022, Longform Editions) as well as appearances on Room40, Parallax Editions and Blowing Up The Workshop.
In addition to his solo work, Kane is a member of Solo Andata and Bad Channel.
Parallel to developing and creating new works for future release, Kane works as a composer, producer, mastering engineer and sound designer with his works appearing in film, documentary and contemporary advertising.
Kane Ikin
I tend to often over think and obsess on finer details when I’m writing and producing, this piece is a result of pushing myself to lean into spontaneity and embrace imperfections.
Written on an oppressively hot summer day, I channeled the heat stress into pulses of noise and cooler tones.
Produced on a simplified analogue setup consisting primarily of an Korg Mini-700 and a Akai 4000DS Reel to Reel.
Image is a photo I took of a beach on the North Western shores of Tasmania
-
Drawing from a range of stylistic influence, including techno, trip-hop, experimental electronic, soundtrack and jazz. Grippingly widescreen, warmly immersive and held by a production style that is both measured and detailed.
Since 2012 he has released a number of albums, ranging from the deteriorated and hazy Sublunar (2012, 12k), tense and atmospheric ‘Basalt Crush’ (2016, Latency), the shuddering and autonomic ‘Modern Pressure’ (2016, Type), exploratory shoegaze-techno on ‘Sensory Memory’ (2016, Echovolt) and the highly-charged durational work of percussion and exploratory synthesis on 'Boundary Curve' (2022, Longform Editions) as well as appearances on Room40, Parallax Editions and Blowing Up The Workshop.
In addition to his solo work, Kane is a member of Solo Andata and Bad Channel.
Parallel to developing and creating new works for future release, Kane works as a composer, producer, mastering engineer and sound designer with his works appearing in film, documentary and contemporary advertising.
kaneikin.com