Kate NV is the multifaceted solo persona of Moscow-based artist Kate Shilonosova. A changeling that follows afflatus in all its forms, NV is a student of architecture, illustrates curious, colorful characters, and improvises live with bells and water glasses amidst compact synthesizers and cables. On March 3rd, 2023 Kate NV will release her fourth full-length release in six years, and her third for RVNG Intl.
WOW is fully saturated with color, deeply tactile and textural. Shiny, sproingy, plastic. Where Room for the Moon embraced structure (abstractly speaking) and veered pop, WOW happily abandons conventional song shapes, parsing the experience of musical time into ecstatic fragments.
WOW skews and skitters, trips over its own feet and laughs about it, plays out of tune on purpose, tilts and leans like a top-heavy flower. Shilonosova is a longtime user of Found Sound Nation’s Broken Orchestra sample pack, a sound catalog of over one thousand dilapidated instruments sourced from Philadelphia public schools. These perfectly imperfect instruments are tightly spliced into WOW’s patchwork of synthesizer and reworked snippets of Shilonosova’s friends playing clarinet, flute, and marimba. It’s central to the record’s internal logic: a disregard for what is, and isn’t, broken, what is, and isn’t, a sentence or a song. A commingling of subject and object, with a firmly new wave sensibility.
Kate NV’s WOW will be released on March 3, 2023 on vinyl and digital formats. On behalf of Kate NV and RVNG, a portion of the proceeds from this release will benefit War Child, an organization that supports children and their families impacted by conflict, and working to build sustainable peace for generations to come.
Matt Evans is a percussionist, composer, and experimentalist making acoustic and electronic music about the poetic interconnections between landscapes: internal, external, fictional, and virtual. Taking cues from millennial iconography, natural phenomena, and science fiction, Matt uses drum-driven hypnotic soundscapes and improvisatory performances to embody imaginary ecosystems. In “New Topographics” (2020) and “Soft Science” (2022), alien synth burbles, percussive skitters, and foraged samples are enmeshed like critters in a sci-fi biome, expressing a waning utopic yearning. His approach creates a groovy psychedelic instrumental music that’s been called “hyperreal and phantasmal” (Wire Magazine) and “a form of chill complexity” (New York Times).