I remember listening to Ins Kino’s electrifying lead single “Bauhaus Party” before it appeared on his latest EP, entitled Ins Kino 2. Safe to say, it’s just as sublime as I remember. I still can’t get over the sheer productive chops on this colorful baroque-pop track. The meshing of a warm bass groove, punchy, intimate drumming and evocative piano chords all create a spectacular foundation for a well-crafted tune on a melodic level, as well as being a production marvel. And Kino’s vocals are just as enigmatic as I recall; that Alex Turner twang shines onwards, but other than that, it’s hard to compare this sound to anything else. Kink has gelled so many influences together that he has created an epically inspired and utterly unique masterpiece.
I waited with bated breath for the second track “Other Worlds.” I prayed that it would match the tremendous tone set by the opener on Kino’s latest release, and I certainly wasn’t disappointed. There’s a floaty, psychedelic vibe to this upbeat follow-up track. It shows Kino’s versatility; from the intimacy of the intro to the spacey, washed-out vibe. There are some wonderful synth flourishes and dreamy vocals. Definitely a big fan of it.
But the dreamiest vocals come to the forefront on “Box Kite.” The harmonies on this track are such earworms — Kino reply outdid himself on this one. His flowing croons give the song such breathtaking Beatles-esque life. I’m so transfixed by them, in fact, that I find myself guilty of ignoring some of the amazingly intricate instrumentation on display beneath the superb singing. The tone on the synth keyboard arpeggio is hypnotically sharp, and it’s a very catchy little melody. All in all, another strong tune on a strong EP.
The closing track is another beautiful piano-driven tune, but it glides along at a slower pace than the opener, and that’s a welcome switch-up. “A Man for All Seasons” is brimming with twinkling, mesmerizing piano flourishes that are given plenty of room to flourish atop gentle percussion and drumming. Kino’s powerful vocal performance is another example of a song in which his dominating and stupendous singing abilities demand so much of the listener’s attention that it’s hard to focus on any other aspects of the brilliant musicianship that he has to offer — that’s a weird compliment, I know, but I promise it is a compliment. I suppose the well’s running dry in terms of any other terms of praise I could give to this ultra-talented artist. Keep it up.