Posts Tagged ‘Kelly Lee Owens’

English electronic producer Kelly Lee Owens will return with her sophomore album “Inner Song” on Smalltown Supersound. Convention-blurring techno producer/musician Kelly Lee Owens will release her second album, Inner Song, on May 1st via Smalltown Supersound. Inner Song follows the 2017 release of her much lauded self-titled debut, as well as remixes of St. Vincent and by Björk, last year’s “Let It Go / Omen” 12”, and her recent collaboration with Jon Hopkins on the one-off “Luminous Spaces.

She’s returned with the latest single, “On,” another expansive and atmosphere-heavy electro-pop gem from her, the sort of song that she seems to have mastered already at such an early stage of her career. Find a bit about the track from Owens:

This is perhaps the most intimate and personal song I’ve written so far – the two halves of the track reflect upon sad acceptances of the truth and then the joyous aftermath of liberation that can come from that. This can definitely be heard in the production and arrangement of the track – the first half sonically connecting to the inner revelations and the second half, the liberation in action, the forward motion.

New album “Inner Song” out August 28th on Smalltown Supersound

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London producer and singer Kelly Lee Owens who released an outstanding self-titled album earlier this year, ‘a pulsating collage of electronica replete with an homage to arthur russell and a collaboration with Jenny Hval.  as if that album’s ten songs weren’t enough of a gift, Owens today released an extended version, with three additional tracks in tow.

“Spaces” is part of that addendum.  armed with a descending motif that meanders towards its destination and owens’ exacting lead vocal, “Spaces” is a chilly slow-jam, content with pausing at sparse plateaus before continuing its plunge to cavernous depths.



Initially, the music on Kelly Lee Owens’ self-titled debut comes across a certain way. Owens has already proven herself adept at chilly, claustrophobic electronic arrangements that nevertheless still move. But her record is a deeper and more paradoxical work than first impressions might suggest. Her background includes both childhood choirs and young adulthood stints in the indie-rock world, and you can hear the lingering influence of both in the music she makes now: choir vocals in the ghostly or cooing way she sings and produces vocals, a songwriter’s eye applied to the limitless boundaries of dance music. Kelly Lee Owens feels removed and hypnotizing as much as it feels intimate and emotive, a personal work abstracted and reconstructed to the point where listeners can find their own way in no matter which direction they’re coming from.



Even in the increasingly crowded field of electronic music, Kelly Lee Owens’ debut album arrives as a wonderful surprise. An album that bridges the gaps between cavernous techno, spectral pop, and krautrock’s mechanical pulse, the 27­ year ­old Londoner has made a debut album brimming with exploratory wonder, establishing a personal aesthetic that is as beguiling as it is thrillingly familiar

Piccadilly Records Manchester made this one of their albums of the year so far,  the Welsh wonder is back with a majestic full length on the excellent Smalltown Supersound. As she leads us through ten tracks of spectral techno, nebulous synth pop and squelching waveforms, Kelly meditates on anxiety, sadness and darkly-shaded ecstacy, pouring pure emotion into an expansive electronic landscape. Previous 12″ tracks “Arthur”, “Lucid” and the hypnotic “CBM” sound better than ever next to the brooding synth soul of “S.O.” and late night mysticism of Jenny Hval collaboration “Anxi”, while the bleep heavy “Evolution” is a sultry, seductive club cut for very late in the session. For me, this LP perfectly captures those moments when you get home from the club with a loved one and settle into that time honoured pre dawn routine. It’s intimate, emotional, sexy and slightly blurred – in other words, midnight music at its finest.  Like Anna Meredith’s “Varmints” from last year, Kelly Lee Owens engages her perfect sense of pacing to allow the listener to zero in on every sonic detail, with every shift in timbre and rhythm contributing to the ever-shifting aural picture. The most effective of these is “Lucid,” where halfway through the track, Owens ditches the compound meter for a completely different feel and key.