As we noted in his recent video premiere, Kai Basanta has a penchant for blurring the line between digital and organic. Every facet of his new EP, earth, seems determined to draw both elements into the liminal space that divides them, blending jazz instrumentals with synths, samples, and drum-machine beats. The result is an artful take on jazz-hop that feels more intentional and dynamic than the bounds of the genre usually dictate.
From the summery grooves of "sunlight" to the off-kilter mashup of a Kendrick Lamar interview and an Olivier Messiaen quartet that is "love," earth isn't afraid to show off Basanta's impressive range. The album feels like an ascent into unrestrained creativity, as we move from more recognizable tropes into the simmering soundscape of "shadows," its beats resolving slowly out of an ominous ether before closing the EP.
At first glance, earth feels familiar, and perhaps that's the point. It's only by delving deeper into its textures and homages that we can see Basanta's sound evolve right before our eyes.
Kai Basanta's new video, "sunlight," is a stunning exploration of texture and movement. Directed by Derek Branscombe, Basanta's undulating beats are matched with a patchwork kaleidoscope of mesmerizing, uncannily organic shapes and patterns that unfold with languid serenity. This is a video you can truly melt into, letting the rays of titular sunlight wash over you in waves.
The opening track on Basanta's new EP, earth, "sunlight" uses a beautiful combination of atmospheric synths and acoustic instruments, with the percussion (his specialty) seemingly a blend of both. This is reflected in Branscombe's video, as the line between CGI and the natural world is blurred; it's often hard to tell which images were created from scratch and which were captured in the wild.
It raises the question of whether the distinction between "natural" and "artificial" is really a meaningful one. If anything, it's their synthesis that makes "sunlight" so impactful, and such an alluring landscape to get lost in.
