The weird, the bizarre, the fantastical have never been met by such open arms of audiences from far and wide, across the spectrums of music and across the globe. Having an edge in modern music no longer simply means talent or superior qualities, but instead, qualities that are first and foremost, unique. Being the best isn't good enough. Being different, being experimental, and being boldly artistic in creation is preferred and respected.
Classic genres have collapsed. Subgenres are entirely unimportant. Everything, everybody, and every sound exists in some grey area. But all of it is art and most of it is incredibly intriguing to anyone with an open mind. Music is experiencing a full-fledged renaissance and the results have changed the definition of everything concerning music.
If you're a fan of traditional sounds, they obviously exist both in original music and in the music of the new age, but if you're a fan of styles across a wide plane or if you subscribe to the new age altogether, there is surely something for you happening this very moment. Some artist somewhere, thanks to the internet's rapid expansion of art, is making music that you love for reasons you never could have imagined. You just have to go out there and find it.
The first time I heard Kill J, I was doing just that. I believe I was digging too deep in some sort of YouTube rabbit hole in search for new music. The mid-2010's electronic scene - one of the greatest and shortest runs in history - was in full force. As for me, I was particularly drawn to the dreamwave sector of low-fi, experimental, impressionistic sounds by way of artists like Slow Magic, Darius & Crayon, and Summer Heart. Heavy yet minimalist production, ghostly sampling, and catchy, experimental pop synths dotted the landscape of my choosing and I was always looking for more.
I clicked on a link, turned up the volume, and let the incredibly smooth, unapologetically Scandinavian production instantly calm any nerves I may have had. I was put into some sort of swaying trance. By the time the vocals came in, I was prepared for anything except for what I heard. To describe Kill J's voice as strange would be an understatement, weird would be an insult, and uncomfortable would seem far too unenthused.
Her voice is capturing, bizarre, and nightmare inducing in all the right ways. She evokes the typical music-related emotions like love and lust while simultaneously making her listeners aware of a net that invisibly surrounds us all, leaving us trying to escape not her music, but everything else in our lives that gets in its way. Kill J, like the writing of Bradbury or Orwell, makes us reflect on our reality, question its morality and truth, and give up on its purpose. It is, above all, beautiful and terrifying. It's hard to imagine an artist that could exist alongside Kill J in her bizarre, haunting anti-reality.
For these reasons, until very recently, I would have thought that a successful collaboration with Kill J was impossible. She's too experimental, too out there, too incomparable. But if it were possible, a joint project highlighting her uniqueness would surely be otherworldly and could be, given the right kind of collaborative artist, incredibly special for both.
That right kind of artist is Alxndr London because just as Kill J subsists in her barely tangible dimension, Alxndr London exists as some sort of soul-singing super villain with poetic intentions to make us aware of the tribulations of his home planet. In essence, he too is the manifestation of all things strange and bizarrely gorgeous.
His music is neither here nor there and belongs only to the experimental edges of what used to be R&B, electronic, and something else entirely indefinable. He is, himself, a mysterious character with a one-of-a-kind stage presence and a gift in the art of performance, which would also help to prove collaboration with Kill J successful.
There's no doubt of either's uniqueness, but in many ways, they exist as each other's musical counterpoints. They live as their borderline non-human characters. They thrive overtop off-kilter, European electronic production. They are both in possession of haunting, ghostly vocals. They almost never fail in being entirely unlike anyone else in all of music. And, to top it all off, they pull it all together smoothly - an impressive feat considering their one-of-a-kind personas and experimental tendencies. Most artists would fall short of seeming genuine with such a long list of unattainable attributes, but Kill J and Alxndr London are simply being themselves. This is no act.
At the end of the day, a successful collaboration between the two wouldn't only rely on their ability to communicate through a nuage de bizarre. It would come down to the music. Both artists are not only incredibly unique, but supremely talented. Kill J's falsetto slithers through the microphone at a vibrato pitch rarely heard naturally. It's as heart-warming and romantic as it is nightmarish and haunting, and her range is in no way limited by her uniqueness. Alxndr London is too the wielder of a mighty falsetto and also delivers it in a manner bewitchingly welcoming. Both are lyrically poetic and masters of storytelling. Both are of the rare breed to so seamlessly blend with their production (though some of that compliment is certainly geared towards the talented producers they consistently work with).
Realistically, a project between the two wouldn't be for everyone. Like their music it would be experimental, avant-garde, and simply odd. But for the right audience, it would be a smooth, sharp, and flawlessly natural meeting of styles strange and enticing, uncomfortable and welcoming, frightening and romantic. As part of that audience, nothing would make me happier than to see the result of two such talented, bold, and inventive artists who are pushing the boundaries of music, performance, and art as a whole with each and every release.