Kit Sebastian – ‘New Internationale’ album review: expansive and vital psychedelic pop for the modern ages
THE SKINNY: For several years, Kit Sebastian has been making incredible music, blurring the boundaries between genres and countries in search of a unique sound. They remain wholly underrated despite their ability to consistently deliver songs that offer danceable grooves and impressive instrumental stylings, ranging from psychedelic-rock-infused riffs to French-pop-inspired melodies.
Kit Sebastian’s first record, Mantra Moderne, established the duo K Martin and Merve Erdem as a creative, ambitious, vital new act. Their debut was easily one of the best of 2019, and after that, they released another great record, Melodi, and toured the world.
That brings us to New Internationale, their third album, which boasts some spectacular fusions of sounds, languages, voices, and moods. The band isn’t afraid to push their music further, maintaining their usual hallmarks while incorporating even more instruments and influences they gleaned from their travels.
They contemplate what it means to have no fixed place and the judgement that comes with living in a foreign country—themes that are right at home within Kit Sebastian’s sonic world, where borders blur, whether between countries or even the past, present, and future. The record also explores some more conventional themes, like love and longing, although these songs are in no way unoriginal.
On ‘The Kiss’, for example, the song takes on a soulful feel, and Erdem’s voice sounds angelic as the instrumentation builds into something more expansive and cinematic. It’s addictive and all-encompassing, with moments that feel like they could have emerged from a prog-soundtracked Italian horror movie merging with subtle synths and brass.
The band works well with contrasts – enticing us with catchy rhythms before presenting us with timely lyrical topics. New Internationale is an impressive and ambitious record that pays homage to the beauty to be found in other cultures, encouraging listeners to expand their musical tastes. It’s proof that Kit Sebastian is a necessary voice in the current landscape, and their artistic output only seems to keep getting better.
For fans of: ‘60s psychedelia and globetrotting.
A concluding comment from my housemate: “Stop dancing around the kitchen and finish writing your review.”
New Internationale track by track:
Release Date: September 27th | Label: Brainfeeder | Producer: K Martin
‘Faust’: Erdem exudes confidence as she sings the dramatic chorus, exclaiming words like “Down on your knees”. Her versatility is on full display as she soon takes on an airier tone to repeat “love”, drawing out the word. Martin’s voice weaves in and out of the song, adding an interesting contrast. [4/5]
‘Camouflage’: From the get-go, this feels like a song designed to take up space – to make ears prick up and draw listeners in with an elusive charm. The pair duet with each other, and the instrumentation stops and starts at points, creating a playful atmosphere. [3.5/5]
‘Ellerin Ellerimde’: A sparse guitar welcomes upbeat instrumentation, which makes a perfect background for Erdem’s sweet declarations of love. In Turkish, she sings lines like “I thought the fault was in me until I met you”, expressing her relief at having found her lover. At one point, she even mirrors the childlike way certain French yé-yé girls of the ‘60s would sing, adding a charming sense of character and expression to the song. [4/5]
‘Göç / Me’: Talking over seductive guitars, Erdem addresses some poignant, relevant topics, such as suicide attacks being shown on the TV and feeling “strange” and pessimistic. She paints an apt picture of the modern world, which will surely be relatable for many, regardless of where you live. [4/5]
‘The Kiss’: Somehow, the band seem to fit an epic, romantic story into four-and-a-half minutes, allowing Erdem’s words to be carried into a cinematic world through the use of complex and varied sounds and tempo. “I don’t know where you start and I end,” she sings, later assuring, “I love you/ Doesn’t matter what you have been through/ In deep sleep/ I will kill your pain.” [4/5]
‘Metropolis’: It is clear to see why the band released this as a single. It’s an infectious number featuring retro-inspired refrains and catchy melodies. However, the words that Erdem delivers are perhaps some of the most important on the record, addressing how people often view immigrants. “Tame your words/ Are you a barbarous Turk?/ Work/ Work/ Work,” the Turkish singer teases. [4.5/5]
‘Bul Bul Bul’: This is easily an album highlight, enticing us with a solo bassline before a fast-paced drumbeat and kaleidoscopic guitars chime in. There is a strong essence of fun ‘60s psychedelic pop at play here, and you’ll surely find yourself returning to this track a lot, which utilises Erdem’s smooth vocals and a more spoken style of delivery midway through. [5/5]
‘Mechanics of Love’: Erdem questions love here, comparing it to a “funny game” and pondering the way it can make one feel over some summery drum beats and layers of other sounds, like synths. “Sometimes the sun shines, hiding all the painful memories/ Some days the sky falls on me,” she explains. [3.5/5]
‘Odyssey’: There is a sense of mystery here, with the initial pangs of guitar echoing a ‘60s soundtrack. Erdem’s words are simple, but her voice really shines, floating over a steady beat and wistful riffs. [3.5/5]
‘New Internationale’: Bringing the album to a close is the title track, another expansive number that ensures that we’ll remember the record after we finish listening to it. To put things simply, the band aren’t going to finish the album without a bang; as keys frantically tinkle alongside strings, Erdem’s spoken meditations on the state of the world bring the record to its fever pitch. The band takes the song in an entirely new direction, yet everything flows perfectly, leading listeners to a powerful end. [4/5]
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