kiskadee, the moniker of London-based producer and composer Jack Chown, has swiftly emerged as a prominent figure in the electronic music scene. With a background enriched by collaborations with artists like Benjamin Francis Leftwich and Tycho Jones, and engineering work for Jessie Ware, M.I.A, and HAELOS, kisakdee’s transition from behind-the-scenes maestro to centre-stage has been seamless.
His music—a blend of emotive melodies, intricate beats, and lush soundscapes—reflects a deep dedication to crafting immersive auditory experiences.
The title of kiskadee’s forthcoming album A Room To Breathe comes from therapeutic nature of his time spent in Iceland time there, locked into the studio by the snow outside and able to find freedom in the blank canvas that an album project offers. It also encapsulates themes of finding inner peace and meaning within everyday life.
With the lead EP U / Euphoric Recall out now on the UK independent label Another Rhythm, we wanted to explore the work of this striking rising artist is a little more detail.
Reflecting on your journey from starting with drums and experimenting with various instruments to your current setup, how has your evolution as a musician informed the way you approach music production today, particularly in blending electronic and organic sounds?
I originally come from a classical background, as an orchestral percussionist, before exploring the studio as an instrument and the dark-side of electronic music while I was at uni (and couldn’t play for a few months due to repetitive strain from drumming!). I think you can still probably hear that influence, especially in a track like U with the strings in the bridge and lilting chords on the Rhodes in the main section with the dulcimer all supported by that electronic beat. I started the project by collecting voice-notes from friends and family during lockdown in 2020 too and flipping those into beats so I think lot of those sounds still find their way into various grooves etc. too and bring some life to them as they’re so personal.
Given your background in soundtrack work and your affinity for cinematic soundscapes, how do you approach the narrative or storytelling aspect in your electronic compositions, especially in projects like the Believe In Love EP and your upcoming album?
Great question! I know it’s a bit odd in an age of singles and Spotify but I’m a big lover of albums/bodies of work so definitely write with that bigger picture in mind and always try to build a collection of sounds and influences together unique to that particular moment. That crosses over into my cinematic work too where I’ll usually create sounds/sample instruments specifically for a film almost like bringing a band together. Those sounds will then be weaved throughout various cues so it all comes from the same place. I’ve been doing the same with kiskadee, for example there’s an MS20 clave sound in ‘U’ which is also at the start of ‘_DOWN’, my first release back in 2021. I think viewing projects on a slightly longer timeline enables me to sort of see a bigger picture where a track like Euphoric Recall serves a purpose within the album rather than as a standalone banger!
What initially drew you to Iceland as the location for recording your debut album?
I’ve always been super inspired by the music and art coming out of Iceland, composers like Olafur Arnalds, Ben Frost and Hildur. The sense of isolation and self-assuredness leads to some really interesting work too. I was lucky enough to go for New Years Eve in 2019 too and fell in love with the landscape and the people, as well as their commitment to DIY firework displays, so jumped at the chance to return and make music there.
Can you share a specific moment or experience in Iceland that directly inspired a track on A Room To Breathe?
I kind of got caught in a snowstorm at one point, venturing to the local supermarket in a rental car for some supplies and timing it very badly! Being a bit of a studio hermit, I’m probably not the best equipped for such a survival situation and – having made my way back at snails pace – settled down to write Euphoric Recall which was definitely some meditation through creation.
How did the isolation and tranquility of Iceland affect your creative process compared to working in a bustling city like London?
It was bliss! If i’m honest, I got to the point earlier last year where I was struggling to make music for the kiskadee project and was just looking over my shoulder and social media at what everyone else was doing. Isolating myself in Iceland, even just for a week, has really helped me get over that, find (and be confident in) my own voice which has been a great thing to take forward!
You mentioned wanting to capture the dual worlds of organic and electronic. Can you provide examples of how this manifested in your recording techniques or instrument choices?
I keep returning to this idea of craft at the moment, of taking your time over creativity in an age of shortening attention spans, ai and results-based thinking. With that in mind, I really try to treat the studio as an instrument to explore sound – whether organic or electronic – and to create something unique. For example, the drum sounds throughout the album are usually a combination of found sounds/field recordings, drum machines/modular and acoustic drum recordings. There’s a kick sample that I use a lot which sounds electronic but I actually made from hitting a large bass drum with a soft beat very quietly and maxing out the gain on a U47 which creates this beautiful warm/subby/saturated sound which works really nicely as a foundation for the groove.
The transition from old projects to new beginnings seems pivotal in your journey. How did revisiting past work while in such a distinct location impact your artistic evolution?
Yeah I think it really helped with that search for finding a unique voice and the idea of musical/personal memories being embedded within my work is super important to me, even if it’s not something picked up by the listener. Being separated from London, my studio and the rat race really allowed me to reflect on the past decade of working in music too and producing an album that’s super personal and a collection of those memories.
With the album’s title reflecting the therapeutic nature of your time in Iceland, can you share how personal reflection during this period influenced the lyrical content of your songs?
Great question! So, I actually turn 30 the day the album comes out at the end of May… I think there’s often such a feeling of youth and impatience in the music industry, like everything needs to happen instantly. Almost a decade in, you begin to realise how ridiculous that is – especially for longevity. It’s definitely that feeling which informed an upcoming release with the lyric ‘There’s Always Time’ repeated over and over like a mantra. As it begins to repeat the brain kind of tricks itself into hearing ‘Let’s All Waste Time’ which is kinda fun. I’m also singing on it, which I think is the first time i’ve sung on one of my tracks other than Hypna where the vocal sample is something I recorded on my phone in a very reverberant toilet.
The incorporation of natural sounds and landscapes is often pivotal in electronic music. Did you record any local sounds or nature in Iceland to use in your album?
Yes! I did a few binaural field recordings whilst I was there, and also in London, which open and close the album and are low in the mix throughout. They might not be the most noticeable aspect of the album but it’s nice to know they’re there!
Are you taking the album on tour? What will the show look like if so?
We’re just about to announce a headline show to coincide with the album launch (and my birthday!) in May and then I’m just organising a joint tour with Michael Sebastian (who features on an upcoming release and I’ve just finished co-producing an EP with for his project) which will go through Germany, Netherlands and France before doing a few dates in the UK later this year. For my own show, i’m working on some projections and incorporating immersive sound and then with Mike we’re looking to collaborate with some contemporary dancers for those shows too as that’s really at the heart of his practice which is something I’m really excited to explore too.
U / Euphoric Recall is out now on Another Rhythm
