Tag: Blanck Mass

Since releasing their first EP in 2008, Sweden’s KITE have steadily grown in stature with fans including Vince Clarke.

After six acclaimed numbered EPs, the most recent being ‘VI’ in 2015 and live appearances in Germany, China and North America, the enigmatic pairing of Nicklas Stenemo and Christian Berg were on the cusp of a huge international breakthrough having been “Sweden’s best kept pop secret”.

While the striking Stenemo is a charismatic front man capable of the occasional high kick, the more reserved Berg paints a Rick Wakeman-like figure in charge of his multiple keyboard stacks; the latter comparison is quite apt as the ‘KITE On Ice’ spectacular at Stockholm’s Avicii Arena in February 2025 has already sold out.

However, with their first record label seemingly intent on playing at arrested development with their prize asset (something that other acts on that same label subsequently suffered from) and then a stress related illness afflicting Stenemo in 2017, KITE had to cancel activities and their inevitably career stalled.

After a period of recovery and recuperation, KITE made their triumphant live return in 2019 with a three night residency at Stockholm’s Slaktkyrkan. As momentum was steadily regained, the duo released ‘Tranås/Stenslanda’ in 2020, their first new material since ‘Demon & Shame’ in 2017; another five singles have since followed.

Now after prestigious appearances at the Royal Swedish Opera, the Dalhalla open air amphitheatre and the Amphi Festival, with European + US tour dates arranged for 2024, it is timely that KITE finally release their first full-length studio album on the American independent label Dais Records. As their seventh body of work and following on from the numbered series of EPs, the appropriately titled ‘VII’ contains music from their seven most recent singles released over the past seven years.

Four of the tracks were co-produced with Benjamin John Power, best known as Scared Bones artist BLANCK MASS and a founder member of experimental electronic duo F*CK BUTTONS. Despite being more associated with a much heavier aggressive instrumental sound as exemplified by his own ‘D7-D5’ and ‘Death Drop’, Power appears to have relished pushing a couple of his own pop buttons.

‘VII’ starts with an extended drone intro that may initially confuse listeners, but ‘Remember Me’ is a strident lengthy opening salvo, as if a return to innocence. It documents a battle for hope and resilience born out of “the struggle” of the worldwide pandemic that morphs into an exhilarating epic.

Another pandemic song, ‘Changing’ refers to a “Destination unknown / Without a vision”; reminiscent of ‘I Can’t Stand‘ from the ‘V’ EP, it owes its rumbling backbone to BLANCK MASS. Continuing the theme, ‘Hand Out The Drugs’ provides a huge wonderwall of synthesizers, throbbing beats and full of majestic melodies, it’s another BLANCK MASS co-production which captures the longing for fun and escapism in a locked-down world.

Named after the two small towns in the historical Swedish province of Småland that Berg and Stenemo respectively grew up in, ‘Tranås/Stenslanda’ possesses a lush introspection. And when an emotionally charged Stenemo hits the high notes and responded to by Berg’s gorgeous swirling synth, there is a melancholic grit that is also strangely uplifting in a manner that Scandinavians always seem to excel at. It celebrates the liberating escape that music provides with the profound line “now headphones can cover that hurt”.

A song about “the war between energies”, ‘Don’t Take The Light Away’ places Stenemo’s wounded croon over a tide of stabbing strings, galloping percussion and surging bass, the chanted chorus simultaneously coming over desperate yet triumphant.

Dominated by a melodic stabbing riff, the celebratory pop rave of ‘Teenage Bliss’, sees KITE explore youthful innocence and reminiscences, recalling their earlier songs like ‘Ways To Dance’ and ‘Jonny Boy’. The dynamic combination of KITE and BLANCK MASS is wonderfully hymn-like, with Stenemo’s bittersweet revelation that “life is not like your first kiss…”

Now if Ennio Morricone composed music for Nordic Noir dramas, it would sound like ‘Demons & Shame’. Shaped by a ritualistic drum mantra and brooding bass drones, it confronts the despair that life occasionally throws up while pursuing visions and dreams as Stenemo screams his frustration over Berg’s epic soundscape.

Then like a slice of Nordic gospel, ‘Glassy Eyes’ confronts the turmoil of existential anxiety while befitting its title, ‘Bocelli’ is almost operatic, sombre yet impassioned with backing from the symphonic school of Vangelis.

The hypnotic ‘Bowie ’95’ takes in midlife angst where you are “Supposed to know politics when you’re 46” but are “some light years away from this”; it was 1995 that David Bowie regained his artistic credibility with the ‘1.Outside’ album co-produced by Brian Eno after his ‘Glass Spider’ sins. With an intense BLANCK MASS assisted wall of sound, it is a call to return to self-expression rather than continuing to satisfy others to one’s own detriment.

Self-produced by KITE with Daniel Fagerström, ‘Panic Music’ is fierce. But while the neo-gothic textures are present and correct, Christian Berg further explores his fascination for electronic drones and swoops while there is also the surprise of a guitar solo in the middle eight.

Almost acapella at its start, ‘Losing’ is shaped by doomy piano chords to accompany an anguished vocal from Stenemo in deep harmony with Henric de la Cour as they see “dark skies on the rise”. As immense rhythms and synthetic sweeps creep in, the haunting canvas is dominated with fraught ad libs from Anna Von Hausswolff.

Originally recorded as the love theme to Titus Paar’s dystopian action thriller ‘The Perfect Weapon’ starring Steven Seagal, ‘Hopelessly Unholy’ is aesthetically cinematic, making fine use of traditional orchestrations arranged by Jonas Valfridsson. There is the emotive air of Hans Zimmer in the majestic arrangement, although a fading metronomic pulse of synth coming over like a tracking beacon provides an offset.

Photo by Jonas Andersson

As the wall-of-sound mood piece ‘Hum Hum’ closes proceedings, the question must be asked whether this collection of seven singles works as an album? Documenting a period of trials and tribulations for a duo who have endured an existential crisis, then ‘VII’ does the job and tells a story via its aural diaries. Nicklas Stenemo and Christian Berg are now back where there should have been.

In that time, KITE’s sound has got bigger and more ambitious, so naturally it is time to experience their mystic wonderland within bigger and more ambitious settings. Across its 70 minutes, ‘VII’ more than showcases the power and the glory of KITE.

‘VII’ is released on 9 August 2024 by Dais Records as a double vinyl LP in a variety of colour combinations, CD and download, available via https://found.ee/kitevii

KITE 2024 US + European dates include:

Richmond VA Fallout (28 August), Baltimore MD Metro Gallery (29 August), Brooklyn NY Murder of Crows Festival (30 August), Boston MA Middle East Upstairs (31 August), Berlin Hole 44 (18 September), Bielefeld Forum (19 September), Hamburg Reeperbahn Festival (20 September), Copenhagen Vega (21 September), Dortmund JunkYard (24 September), Cologne Gebäude 9 (24 September), Frankfurt Nachtleben (25 September), Nuremberg Club Stereo (26 September), Prague Futurum Bar (27 September), Atlanta GA The Masquerade Altar (9 October), Tampa FL Absolution Festival (10 October), San Francisco CA DNA Lounge (11 October), Los Angeles Cold Waves LA Showcase (13 October), Portland OR Star Theater (15 October), Chicago IL Beat Kitchen (16 October), Austin TX Elysium (17 October), Dallas TX Tassel (18 October), Minneapolis MN Ground Zero (19 October), Madison WI Crucible Madison (20 October), London Downstairs at the Dome (21 November)

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Text by Chi Ming Lai
Photo by Jonas Andersson
7 August 2024