Serving up major Luca Guadagnino muse vibes, Kid Hastings aka Jake McEvoy, the budding indie pop prince took his jazz roots and infused it with a major dose of synthy gestures. Following his debut EP Golden, Kid Hastings offers up an impressive vision for pop which captures the stylings of dreamy bed sounds, with a sophisticated flair for jazz greats Thelonius Monk and Wes Montgomery, albeit for the Tik Tok era. Below he tell us just how much the dance fervor of the social media app he and his creative collaborator Ava Doorley took upon themselves to produce “Call Me Up.”
Like most people, I haven’t really been able to shake the feeling that I’ve been trapped these last few months. In my art I’ve been wanting to do something to create a world where It would be appropriate and even necessary to express myself in an entirely different medium in addition to music – increasingly that medium has been movement and dance. In the “Call Me Up” video, ava and I wanted to create two entirely different characters that are both borne from parts of my identity and personality but are completely at odds with one another. The way these characters interacted with the world was mainly through their bodies ; through dancing, seduction, intimidation and even violence we wanted to tell a story of personal turmoil. It was a a challenge but ultimately euphoric to step into these characters that represent different parts of myself and tell their stories through movement.
In addition to this video, I’ve found such a great outlet in Tik Tok to explore dance, skits and other characters – sometimes they’re to complement my music but most of the time its just for fun. It’s been yet another world where I get to express myself through any medium I could think of. Self care wise, I think expanding my artistic outlets has been really good because it never allows me to feel stagnant in just one.
Regarding self care in general, I’ve been picking up new hobbies every few months or so and getting 100% into them until I can’t stand them anymore – right now its chess, a few months ago it was reading old sci fi books, and I have no idea what it’ll be next – but I’m excited to find it.”
Marcel Duchamp once said, “I am still a victim of chess. It has all the beauty of art — and much more. It cannot be commercialized. Chess is much purer than art in its social position.” Though one can disagree as to see how widely successful The Queen’s Gambit brought to an example of the ultimate in commercial successes, a surge of 273% on searching platforms within 10 days of the shows release can totally attest to the fact that chess has had a comeback as the it girl of gaming… Take that backgammon. Now that we are all up for a game that meets up with the stylized demands of our inside lives and the proposition to preserve our brains from the streaming wasteland, Amor Services have come to deliver, with their latest project CHESS, MON AMOR.
Abandoning the black and white traditions the board, this remix is envisioned in red and blue as a direct reference to current sociopolitical unrest and also raises the emotional stakes. Chess pieces by Alake Shilling (king), Tremaine Emory (queen), Bernhard Willhelm (bishop), Yves Tumor (knight) , Gaetano Pesce (rook) , Ser Serpas (pawn), Mandy Harris Williams (didactics) round out an ecclectic and brilliant crew of creatives. See more below.
For Inquiries contact firstname.lastname@example.org
So on and so on, why don’t you let me roll on?
I remember back in the days when I used to have to get my stroll on
Didn’t nobody wanna speak
Now everybody peepin’ out they window when they hear me beatin’ up the street
Is it Dre? Is it Dre?
That’s what they say every single motherf*ckin’ day
Yo, but I ain’t trippin’, I’m just kickin’ it
While my D’s keep spinnin’ and these h**s keep grinnin’ I’ll be—
Rollin’ in my six-four
What everybody sayin’?
To say that The Chronic is an important album is an understatement, especially if you grew up in the 90s. “Let Me Ride” is like a greatest hits of Rap sampling with tracks like James Brown, Parliament, and Bill Withers.
Hoping Dr. Dre makes a full recovery.
“A Gas Face can either be a smile or a smirk
When appears, a monkey wrench to work one’s clockwork
Perkin his brim to the rim of my cup
Don’t tempt me, you’re empty, so fill’er up!
Is I’m talkin coffee or cocoa, is you loco?
Cash or credit for unleaded at Sunoco
KMD and 3rd Bass is just ace in the hole
I mean soul, so make the Gas Face (HUAHAHA)
Damn, if looks could kill
You look like host was a ghost from your grill
But still, what’s the new fed, to recollect
To our passing phase to facades to ’80-deca
For my label reads Hood, street might have a tattoo
Don’t pick any card or no rabbit from my hat
Never a magician if I ever tricked em
“Oh sh*t!” Another Gas Face victim”
#2020 gets the gas face!
I was late getting Old School Wednesday out this week. It was going to be about 2020 sucking and looking forward to 2021. Then 2020 sent a reminder that is still has a few hours left and struck one more time. MF DOOM…
Just remember ALL CAPS when you spell the man name
What’s there not to like about John Carroll Kirby!? The multi instrumentalist, producer and purveyor of socal funk has long been the secret weapon for the likes of Norah Jones, Blood Orange, Bat for Lashes, Frank Ocean, Connan Mockasin, Kali Uchis, and Harry Styles, adding a touch of what some consider “Kirbyesque” nuances. In the past year he presented his own vision of jazz tinged piano compositions, restrained in its minimalism and collaborative in its vision on the masterful album My Garden.
Though the precursor, the haunting and meditative album Conflict, is what we are focusing on. Released in the earlier days of the pandemic this body of work presented a perfect soundscape to the morose sentiment of the beginning of lockdown. His version offered insight and self reflection in a way which lent to thoughts of wabi-sabi fundamentalism and the perfections of slow moving meditations.
With all this time spent to reflect, in came the decision to upend the conventions of merch. Taking on a collaborative project Kirby linked with close friend Josefina Valdés of the Mexico City based indie label Scent to create a collection of hand sourced stones that were polished and engraved with the albums track titles. The brand is part of a new wave of Mexico City based designers making unique and unconventional garments, Scent is highly sought after for their second layer body piece. In a way extending the song taken close to heart. We spoke with John Carroll Kirby and Scent’s Josefina Valdés on this union of creative spirits.
John Carroll Kirby
How did you guys meet it is such a wonderfully collaborative collection to mix the stones and track titles that are both so grounding.
John Carroll Kirby -Josefina and I met when i was on tour in Mexico City with Connan Mockasin, and stayed in touch since then!!! I was a fan of Josephina’s brand Scent, especially her second skin line as worn by Rihanna and Lil Miquela. I contributed music for her Scent Boveda 2020 show, and from there we decided to collaborate on some merch!
With this collaboration how did you go about deciding to use specifically the album Conflict? It was such a great piece of work to soundtrack the beginning of quarantine.
Josefina Valdés – I related with the Conflict album a lot because there is something so nostalgic about it, specially because this year has been extremely weird in so many ways and not precisely about happiness and for me this album has a lot of melancholy to it and goes incredibly well with the times we are living.
What was it like in translating the albums song titles into the wearable art?
Josefina Valdés – I listened to the songs and I envisioned a color palette, I felt this album contained a lot of brownish-goldish-orangey hues, not too much contrast just harmony between each color, then I started looking for the stones that contained this color palette.
How did you go about picking the specific stones that would be used for this selection?
Josefina Valdés – Stones were picked according to their colors and size, we needed something that gave us the space to carve on the songs, agate turned out to be the best material for what we wanted to express in color texture and shape. Agates worked so well because they contained the exact color palette I had in mind when listening to the album.
Was there a specific significance to the song titles that you chose, it felt like the symbolism is concentrated in the song.
Josefina Valdés – I’m obsessed with the whole album but these specific titles where so powerful against the agates, we used our favorite words to make them necklaces you could wear close to your heart.
Do you see the collaboration extending into other works John has created or other items customized in the Scent brand?
Josefina Valdés – I think it was a combination of both, but I had John’s aesthetic very present in the whole process, for me it easier to work with someone that has a very solid sense of identity as I see in everything John does, that gave me a strong base to start with and conjugate with Scent aesthetic as well, the result was very Scent and very John Carroll Kirby at the same time, we both related so well with the result.