"The Blue Life" explores the Blues with a modern twist.
Driven by an emotive lead guitar, smooth drums and a groovy bassline, while being rounded out with all the textures and dynamics of sadness, grief, hope, and longing.

original artwork hand drawn by Luke Vecchio

The Blue Life

The Blue Life (Original Mix)

'Black Panda' out now through @pilerats Records, on Spotify & iTunes!

https://itunes.apple.com/au/album/black-panda/id999263481?i=999263903

“The completely insane genre blending is all Koi Child. Nice work, gang”
– BBC Radio
 
“Sick flow and dirty production that sounds like nobody else in the biz right now”
– Stacy Gougoulis, triple j
 
“Neck-snapping linguistic battles untangled at every opportunity by the experimental jazz jam contingent. It's a merging that recalls the freedom of The Roots 'Illadelph Halflife' era soul/rap”
– Rolling Stone

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By now, the breezy port of Fremantle, WA has a reputation for birthing some of the worlds’ best alternative music. Enter Koi Child, the combined forces of local hip-hop party starters Childs Play, nu-jazz quartet Kashikoi, the brains behind the smooth as silk debut single Slow One & the riotous new offering Black Panda, both of which produced by Kevin Parker (Tame Impala). 

Since the single dropped in April, Black Panda has been played on BBC Radio 6, triple j, double j, and community radio across Australia, on top of a massive show at the Groove In The Moo Festival.
 
“It started with me beat boxing that fat bass line, Tom heard it and within seconds had the synth replicating the sound I was making. A few days later the band was on a break and Tom busted out that same bass line. Before we knew it the whole band had walked back in to join the jam, I busted some spare rhymes I had and we all lost our shit at the obesity of the track we’d made. What started as a piss take jam, turned out to be a fricken monster!” - Koi Child vocalist Shannon Patterson on Black Panda’s creation.
 
The 7 piece have already had a seriously busy first year of formation, supporting Tame Impala at Rottnest Island for Koi Child’s second gig, where The Music says they "managed to get a completely sedated crowd on their feet and grooving" and "genuinely felt like a band who'd been kicking around for years”.
 
As comfortable on stage with NY rap punks Ratking, as they would be with modern soul stars like D'Angelo, combine that with the magic aural touch of Kevin Parker, and you've got something worth paying attention too.
 
Koi Child are one of the most promising up-and-coming collectives in Australian music!

Produced & Mixed by Kevin Parker
Mastered by Rob Grant at Poons Head Studio
Artwork by Tom Benson, Kieren Johnson & Layton Webber
Photo by Matsu Photography

Black Panda

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2. True Danger

An exploration of creating through process.

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A sonic exploration of the botanic gardens. All sounds made from field recordings in the botanic gardens.

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To book Holden & Zimpel, please speak to Naomi at Earth Agency: https://earth-agency.com/

Our resident synth wizard James Holden’s collaborative streak continues apace as he teams up with celebrated Polish clarinet guru Waclaw Zimpel for a four track EP of deliciously krauty in-the-moment improvisations, recorded over four days in Holden’s London studio back in the summer of 2018. The richly textured 'Long Weekend EP' pits Holden’s handmade modular synth rig against Zimpel’s multifariously expressive alto clarinet, judiciously supplemented by organ, voice, assorted percussion and (on 'Tuesday' & 'Wednesday') the Balearic-tinged guitar playing of Zimpel’s long-time collaborator Jakub Ziolek, making for an immersive and transcendent lost weekend of deep listening.

Finding himself at a loose end in London one July weekend in between UK live shows, Zimpel put the downtime to good use and joined Holden in his Sacred Walls studio to undertake a series of musical experiments, with the goal of completing one track per day. Over the course of the weekend, built up in sequential tape-layered live overdubs, first the lush hypnotic undulating noodles of 'Saturday' would emerge from the ether, followed by the rushy enveloping expanses of the stridently emotional 'Sunday' (Holden’s own personal favourite from the EP) – a productive two days indeed.

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