“K1” by kmoe is Youthful But Polished

By Allen Hale

kmoe’s “K1” responds to a question that has long been posed by forward-thinking musicians: How can guitar-based music be electronically refashioned? Answering with 2020s-inflected ring, the record offers a fresh reply to this query, cohesively pulling from a variety of sounds indicative of this decade’s musical trajectory. 

After years of firing off digicore and hyperpop singles alongside collaborations with other young talents like Jane Remover, quannnic and ericdoa, the 20-year-old’s debut album almost feels overdue, despite his age.

While “K1” is chock-full of noisy indietronica-inspired songs that constitute a shift in genres, kmoe’s aforementioned associations make the pivot less confusing. And, while the format and style are themselves steps in a new direction, the fingerprints of kmoe’s prior electronic output and production prowess are all over this record. Noting the convergence of sounds, he stated: “I wanted to pull together every sound I’d explored in the past. It’s the culmination of my entire discography, glued together with my most personal writing to date.”

Beginning with a guitar loop drenched in reverb, “Dumpster fire” firmly establishes kmoe’s comprehensive vision from the get-go. Throughout the whole LP, the struggles of romance in early adulthood serve as the main songwriting thrust. Here, above a fuzzy backing, his autotuned, zoomerish lament warbly recounts a now-lost love: “How could I be mad if I’m starin’ at a screen?” While the lyrics here are nothing unexpected, their unity with the instrumental makes for some catchy pop gold likewise found on the anthemic track “Do I keep you up.”

“Thousand yard stare” is relatively comparable in approach, incorporating electronics that cut and dice through the mix. A plucky bass alongside kmoe’s isolated vocals guide the bridge’s breakdown and triumphant buildup, reintegrating the piercing synths before dissipating. The follow-up ballad “Watershed” is alright, but finds some difficulty matching the previous track’s impressive effect.

Initially, “idiot” poses as a (non-intriguing) continuity, albeit stripped-back in arrangement. Around two minutes in, though, a voice announces “stop” as skittering hi-hats open a dance beat, carrying the song to its close. Throughout the album, these unexpected tricks remind the listener that kmoe’s bag is deep. “Carpet,” for instance, is a glitchy EDM banger punctuated by hard-hitting kick drums and a soaring melody primed for clashing, sweat-drenched concertgoers. The attempted sensuality of “Bloodbath (Dance)” is less compelling owing to the ill-fitting vocals but, as the title indicates, its placement before “Carpet” nonetheless produces a smooth transition.

After the emo-rap of “You ruined it,” where kmoe’s shaky, melodic bars thrillingly clamor for space among rumbling bass and dizzying percussion, the album closes with two comparatively calmer songs. “Don’t be like a mouse” — despite being centered on a guitar riff — finds itself incorporating a drum machine. As bands grow prohibitively expensive to run, the emulation of their sound with one’s DAW has become increasingly common; the product can be a mixed bag. However, the talent demonstrated on “K1” centers around kmoe’s unique ability to skillfully blend non-rock influences with traditional rock instruments, avoiding the brittleness and textural loss that often accompanies these attempts.

Although the closer largely rehashes what earlier songs already explored, the track list’s order makes for a generally immersive listen, impressive given the brief song lengths and release format of kmoe’s previous work. At its best, “K1” constitutes an explorative effort that simultaneously leans into past strengths, suitable for bedroom listening and the festival stage alike. The result is an imaginative, refined project that manages to avoid the missteps that often accompany the overwhelmingly exciting prospect of a blank-slate debut release — while likewise capitalizing on the magic of that moment.