Katie Gately
Katie Gately
Boomkat Product Review:
Gosh this is a bit good - a suite of highly visual and dynamic concrète-pop deviations from first timer, Katie Gately, swiftly picked-up by the ruddy excellent Public Information. If Julianna Barwick and Jam City made a record with Bee Mask dedicated to the GRM, there's every chance it may sound something like 'Ice' - a tortuous and fractal mind-bender blasting buckshot foley into shredded chamber vocals and astral synth harmonies rent in neck-cricking 3D. Quite remarkably, this is Katie's debut release - she's only been making music for a year now - but if you factor her academic background in film production and editing, and her current environment embedded within LA, then her dynamic and disjointed take on sonics all starts to tessellate and make sense. Her opener, 'Ice' is as shocking as we've heard all year, coming off like Parmegiani and Demdike's mutant, manic sibling, with the sounds of cubes in a cup made to sound like a nail-biting horror theme, whilst 'Last Day' ricochets (what could be) gunshot around her fragile vocal and its deformed reflections like a weird Total Freedom CDJ mashup minus the funk. Deeper in, 'Dead Referee' revels in the illusory, surreal element of sound processing with basketball courts squeaks transformed into hi-pitch string stabs and wet slaps around cascading ambient vocals reminding of Madalyn Merkey at her oddest, an element which recurs in the chaotic closer, 'Stems'. If we've any gripes, it's that there could be more depth to the mix, but for sure the ideas are far more important, and the technical thing will definitely come with time. It's a seriously compelling entrance to this world, and one we urge you to check without delay.
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Boomkat Product Review:
Gosh this is a bit good - a suite of highly visual and dynamic concrète-pop deviations from first timer, Katie Gately, swiftly picked-up by the ruddy excellent Public Information. If Julianna Barwick and Jam City made a record with Bee Mask dedicated to the GRM, there's every chance it may sound something like 'Ice' - a tortuous and fractal mind-bender blasting buckshot foley into shredded chamber vocals and astral synth harmonies rent in neck-cricking 3D. Quite remarkably, this is Katie's debut release - she's only been making music for a year now - but if you factor her academic background in film production and editing, and her current environment embedded within LA, then her dynamic and disjointed take on sonics all starts to tessellate and make sense. Her opener, 'Ice' is as shocking as we've heard all year, coming off like Parmegiani and Demdike's mutant, manic sibling, with the sounds of cubes in a cup made to sound like a nail-biting horror theme, whilst 'Last Day' ricochets (what could be) gunshot around her fragile vocal and its deformed reflections like a weird Total Freedom CDJ mashup minus the funk. Deeper in, 'Dead Referee' revels in the illusory, surreal element of sound processing with basketball courts squeaks transformed into hi-pitch string stabs and wet slaps around cascading ambient vocals reminding of Madalyn Merkey at her oddest, an element which recurs in the chaotic closer, 'Stems'. If we've any gripes, it's that there could be more depth to the mix, but for sure the ideas are far more important, and the technical thing will definitely come with time. It's a seriously compelling entrance to this world, and one we urge you to check without delay.
Boomkat Product Review:
Gosh this is a bit good - a suite of highly visual and dynamic concrète-pop deviations from first timer, Katie Gately, swiftly picked-up by the ruddy excellent Public Information. If Julianna Barwick and Jam City made a record with Bee Mask dedicated to the GRM, there's every chance it may sound something like 'Ice' - a tortuous and fractal mind-bender blasting buckshot foley into shredded chamber vocals and astral synth harmonies rent in neck-cricking 3D. Quite remarkably, this is Katie's debut release - she's only been making music for a year now - but if you factor her academic background in film production and editing, and her current environment embedded within LA, then her dynamic and disjointed take on sonics all starts to tessellate and make sense. Her opener, 'Ice' is as shocking as we've heard all year, coming off like Parmegiani and Demdike's mutant, manic sibling, with the sounds of cubes in a cup made to sound like a nail-biting horror theme, whilst 'Last Day' ricochets (what could be) gunshot around her fragile vocal and its deformed reflections like a weird Total Freedom CDJ mashup minus the funk. Deeper in, 'Dead Referee' revels in the illusory, surreal element of sound processing with basketball courts squeaks transformed into hi-pitch string stabs and wet slaps around cascading ambient vocals reminding of Madalyn Merkey at her oddest, an element which recurs in the chaotic closer, 'Stems'. If we've any gripes, it's that there could be more depth to the mix, but for sure the ideas are far more important, and the technical thing will definitely come with time. It's a seriously compelling entrance to this world, and one we urge you to check without delay.
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Boomkat Product Review:
Gosh this is a bit good - a suite of highly visual and dynamic concrète-pop deviations from first timer, Katie Gately, swiftly picked-up by the ruddy excellent Public Information. If Julianna Barwick and Jam City made a record with Bee Mask dedicated to the GRM, there's every chance it may sound something like 'Ice' - a tortuous and fractal mind-bender blasting buckshot foley into shredded chamber vocals and astral synth harmonies rent in neck-cricking 3D. Quite remarkably, this is Katie's debut release - she's only been making music for a year now - but if you factor her academic background in film production and editing, and her current environment embedded within LA, then her dynamic and disjointed take on sonics all starts to tessellate and make sense. Her opener, 'Ice' is as shocking as we've heard all year, coming off like Parmegiani and Demdike's mutant, manic sibling, with the sounds of cubes in a cup made to sound like a nail-biting horror theme, whilst 'Last Day' ricochets (what could be) gunshot around her fragile vocal and its deformed reflections like a weird Total Freedom CDJ mashup minus the funk. Deeper in, 'Dead Referee' revels in the illusory, surreal element of sound processing with basketball courts squeaks transformed into hi-pitch string stabs and wet slaps around cascading ambient vocals reminding of Madalyn Merkey at her oddest, an element which recurs in the chaotic closer, 'Stems'. If we've any gripes, it's that there could be more depth to the mix, but for sure the ideas are far more important, and the technical thing will definitely come with time. It's a seriously compelling entrance to this world, and one we urge you to check without delay.
More from Katie Gately:
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Katie Gately Fawn / Brute Houndstooth Electronic- MP3
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Katie Gately Loom Houndstooth Electronic
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Katie Gately Bracer Houndstooth Electronic
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Katie Gately Color Tri Angle Records Electronic
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