INCLUDING UK DATES SUPPORTING SUUNS
With a new video for “Drying“
Taken from the debut album, Crease, released 11th March
KEE AVIL LIVE DATES:
Europe / Spring
20.05 Vigo ES Radar Estudios
21.05 Lugo ES Liberdades Sonoras
24.05 Leeds UK The Brudenell*
25.05 Glasgow UK The Hugs and Pint*
26.05 Nantes FR Whine Nat White Heat
27.05 Dublin IE Pepper Canister Church*
29.05 Manchester UK The White Hotel*
30.05 London UK Oslo*
31.05 London UK Oslo*
01.06 Vienna AT Replugged
02.06 Prague CZ Underdogs
03.06 Brussels BE Les Ateliers Claus**
04.06 Antwerp BE wunderkammer x de studio
*with Suuns
**with Horse Lords
~
Canada / Spring
10.06 Toronto ON TONE
11.06 Ottawa ON Pique Summer Edition
17.06 Montreal QC Suoni Per Il Popolo – official Crease release show
25.06 Vancouver BC Vancouver International Jazz Festival
~
Europe Summer / Fall
10.08 Berlin GE A l’Arme
13.11 Utrecht NL Le Guess Who?
And more to be announced.
 |
Crease is the debut full-length album of deconstructed electroacoustic postpunk songcraft by Montréal guitarist and producer Kee Avil, whose touchstones range from Scott Walker and Coil to Fiona Apple; (early) PJ Harvey and (later) Juana Molina to Eartheater, Pan Daijing and Smerz—or like Grouper produced by Matmos.
Chiselled twitchy minimalist guitar, sinuous electronics, industrial and prepared-instrument micro-samples, furtive rhythmic propulsion, all galvanised by the anxious intimacy of finely wrought lyricism/vocals: Crease is one of those debut records that excites a wide range of peerless references precisely because it’s so compelling and convincing in its own idiosyncratic originality, vision, detail and execution.
Kee Avil · Crease
SIDE A
01 See, my shadow
02 saf
03 Drying
04 Melting Slow
05 And I
SIDE B
06 Okra Ooze
07 I too, bury
08 Devil’s Sweet Tooth
09 HHHH
10. Gone Again
Constellation
CST162 • 180gLP / CD / DL
Release date: 11 March 2022
Genre: Experimental, Electronic, Postpunk, Avant-Pop
RIYL: Scott Walker, Fiona Apple, PJ Harvey, Juana Molina, Bjork, Matmos, Rashad Becker, Eartheater, Autechre, The Books, Pan Daijing
Produced by Kee Avil and Zachary Scholes at Concrete Sound Studio, Montréal
Mastered by Guy Hébert at Concrete Mastering, Montréal
CD in custom mini-gatefold paperboard jacket with red inner sleeve.
Crease is a singular expression of fractured dream logic concretised in chiselled postpunk guitar, sinuous low-end electronics, a panoply of organic and digital micro-samples creating alternately twitchy and propulsive rhythm, and the anxious intimacy of Kee Avil’s finely wrought lyricism and vocals. Bound by an outstanding production sensibility throughout, Crease relentlessly unfolds one oblique ear-worm hook after another, with compositional innovation anchored to an inscrutable and wholly compelling voice, across 10 songs of tremendous and imaginative sonic detail.
Kee Avil brings a contemporary electroacoustic sensibility to bear on traditions and conventions of pop, postpunk, electronic and sound-art songwriting, where touchstones range from Scott Walker and Coil to Fiona Apple, (early) PJ Harvey and (later) Juana Molina to Eartheater, Pan Daijing and Smerz—or like Grouper produced by Autechre. Her idiosyncratic alloys also sit confidently alongside the guitar-inflected deconstructions of Gastr del Sol and the crystalline micro-worlds of Bjork, Matmos and Rashad Becker. Crease is one of those debut records that excites a wide range of peerless references precisely because it’s so compelling and convincing in its own idiosyncratic authority, originality, vision and execution.
Each song on Crease is its own sculpture, meticulously assembled to resemble disassembly: “each of these worlds was built without consideration for the other; it felt impossible to me, once I would enter the atmosphere of a song, to try to start another until that idea was finished.” The album nonetheless unfolds in impressive holistic integration through a palette of textures and techniques deployed in recurring but continually refracted ways. Alongside her superbly austere guitar work, stitched together in dark ambient, electro-industrial and minimal-techno soundworld, it’s her voice—confidential, hermetic and ineffable—that provides the galvanising, always captivating through-line.