EP Review :: King Blood - King Blood

King Blood

'King Blood' EP

Self-release (unsigned)

9/10

Words: Dave Beech


These days, it seems the term lo-fi is used, more often than not, as a synonym for poor production quality or, even worse, a lack of talent. Too often do bands douse themselves in liberal lashings of under-produced fuzz, migraine inducing drums and other general miscellaneous bullshittery that masquerades as aesthetic decisions made in order to draw attention away from sub-par musicianship. Thankfully, however, Bury St Edmunds' King Blood aren't such a band and, following in the footsteps of other bands from the area such as Keys or Horse Party, they're encompassing a DIY aesthetic that serves only to heighten their genuine lo-fi appreciation.

Having only been a band for a relatively small amount of time, the way that this surf-psych duo have applied themselves is nothing short of impressive. What's even more impressive, is the fact that both Aaron Powell and Robbie Day are only sixteen, and that their self-titled 'King Blood' EP is a far more accomplished and understated record than I could have hoped for.

At a little over 8 minutes long, the record is a little on the short side given it's three song track-list, that is, until one actually presses play. The three tracks laid down by the lads begin to merge in to one long jam session, in which both guitar and drums are surrounded and entwined by the threads of psychedelia whilst Powell's distinct, reverberating drawl merges effortlessly with lo-fi soundscapes in a manner that is both hugely indebted to the 1960s, yet still manages to maintain a certain degree of the contemporary.

For a duo, the sound that King Blood have honed and crafted in such a short space of time is surprisingly full. Not once does the record stumble and clamour for the obligatory bassist. Instead, tracks such as 'Sweet Heaven' relish in their understated psy-blues grace, knowing full well that the grooves contained therein are exactly enough for the track in question. This is an important concept to grasp when making music: the notes one doesn't play are equally important as those one does. King Blood have not only grasped this concept but mastered it, contorted it, used it to their own advantage and exemplified it perfectly in their song 'Sophie'.

It's both refreshing and almost-alarming to hear this record knowing that it comes from two 16-year-olds from Suffolk in 2013, and not in fact from a group of acid-dabbling peace-monkeys from San Francisco in 1967. The ease with which these two conduct themselves and their music is genuinely impressive, despite the fact there seems to be an air of laissez-faire about their music. In fact, it is this notion of laissez-faire that allows their music the time-spanning appeal it has. There really does seem to be a distinct appreciation of counter-cultural attitudes at play, which, when coupled with their lo-fi surf-pop personas makes King Blood the quality band that they are. If their local label Sturm Und Drang haven't been sniffing around them yet, it's only a matter of time before they do.