Australia may not come to mind when talking about hot spots of hip-hop, but perhaps that’s about to change. The land of Vegemite and Milo has produced one of hip-hop’s most exciting new acts, Koi Child. They aren’t your stereotypical hip-hop outfit though, in fact they’re far from it. Originally two separate acts (Kahikoi and Child’s Play) Koi Child is a seven man outfit consisting of emcee Cruz Patterson, saxophonists Christian Ruggerio and Jamie Newman, trombonist Sam Newman, drummer Blake Hart, bassist Yann Vissac, and Tom Kenny on the keys.
Though this self-titled release is the debut record by the group, they’ve been turning the heads of fans and musicians for the past couple years. More specifically, they caught the attention of Tame Impala’s Kevin Parker. After being invited to open for Tame Impala at select Australian shows, Koi Child also landed Parker as executive producer for this project.
Interestingly, as a side note, it was apparently recorded in some degree of isolation on an island… An island that had to be reached by packing all their gear by boat. It’s quite the unique backstory, to say the least.
The effort was worth it though, as the end product was quite special.
One of the big reasons this album is special is the instrumental work. Live instrumental work seems to be vastly underused in hip-hop; however, with Koi Child being stacked with talented instrumentalists, it can be found in abundance in their music. At times the ensemble wasn’t afraid to let the vocals take the back seat and have all the focus be on the instrumentation. These instances of pure instrumentation set a gorgeous atmosphere for the listener, and did not detract from the listening experience in any way.
That being said, Koi Child’s resident emcee certainly added something special to the album as well.
When Cruz Patterson was allowed to take center stage he often ran away with the show. Though his vocals were often drowned in an unconventional psychedelic reverb, Patterson’s lyrics and delivery were very reminiscent of old-school hip-hop (perhaps aided by throwback references to artists like MF DOOM and DJ Premier). He fit in seamlessly with the funky jazz sound provided by his band mates. It should also be noted that his energy on the mic was undeniable. Every bar was delivered with a captivating passion and excitement, which was clearly needed to keep up with complex instrumentation backing his rhymes.
It’s been a while since I looked into the future,
Write myself a letter, say “hey man, you used to,
Love MF DOOM and watch cartoons,
You’d be eating Frooty Loops in the afternoon”.
(Adventures for the Capsule)
To get too critical of this project would involve significant nitpicking, but perhaps it would be fair to say that the group played it too safe at times. It doesn’t take away from the album at any level, but it seemed as if Koi Child could have the ability to produce an even grander sound. Admittedly, this is less of a criticism and more a comment on what they could create going forward. The potential they displayed was incredible, and it’s easy to imagine them being capable of putting out something groundbreaking in the future.
With that being said, if this does happen to be a one-off effort from the group, there certainly will not be any disappointment either. The end product was beautiful, atmospheric, and worthy of high praise.