When publicists attempts to put emerging artist KYKO on my radar fell short. The successful route taken to grabbing my attention and being suitably impressed, came when London-based producer Draper teamed up with the young multi-instrumentalist and vocalist on the track “I.O.U.” That was about two years ago. Back in the present, there have been developments. A name change to Kwassa (which let’s face it is properly distinguishable to the moniker taken on by a certain better-known DJ called KYGO.) Compared to earlier releases, the new material which has begun to drop under the name Kwassa feels somewhat bolder in its electronic engagement. Which means I am more likely to be supportive of the talent this time around. With regard to current single “Sad Songs” at least this is the case.

“I liked the idea of a making a really upbeat track called “Sad Songs,” because it reflects the confusion of growing up and the idea that you would listen to a ’sad’ song to make you feel some kind of way. When actually it often makes you feel the opposite.” – kwassa

Given its hopeful narrative. And when attending a Kwassa gig, this is the track which I would fully expect to earn the prestige of the audience pulling their “lighters out.” Only these days, being vigilant with health and safety consciousness, replaced by turning on the torchlight on our mobile phones. The lyrics and the softly styled melodic flow of the song have the measure to bring people together. That’s the vibe of this release in full effect. An exploration into expansive sonic beats with a dose of relatable realism in the lyrical belly of the song. We must be mindful to remember, this track alone, covers just one texture among many, which Kwassa strives to experiment in. Don’t expect his style and sound to stay in the same place any time soon. Switching gear and diversifying are the creative strengths what makes him tick. The sonic field is an endless grid of possibilities for Kwassa. Using differentiating processes and styles makes the options even more limitless.

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