In May 2025, electronica musician KPT shared the ‘Claw’ EP. Taking a massive sidestep from some of KPT’s more “pulse” oriented sounds and tracks with a distinct melody, the EP’s trio of tracks ventured into bleaker territory. With one number presenting six minutes of industrial noise, one blending drone with a collection of found sounds and field recordings, and one splicing dark ambient elements with unforgiving, machine-like industrial sounds (taking industrial right back to its origins) it certainly wasn’t a lightweight listen.
The two tracks that make up ‘Tramp’ return to earlier, more “techno” based influences within KPT’s world of sounds, and with good reason. Both were recorded before ‘Claw’ took the musical project into darker places – in 2016 and 2018, respectively – but never found a true home. Realising these pieces had potential, they were resurrected in 2025, and despite not sitting naturally among prior KPT works, in the artist’s own words they “fit fantastically together” and are “rather reflective of what their titles describe”.
‘Reconstruction’ opens with an ominous sounding wavering sound, almost like the basis for an old synth-goth jam, before branching out with the help of very brittle noises evoking a sharper edge. The contrast of the two sets something soundtrack-like in place, before a third sound feels reminiscent of the “passing cars” at the heart of Kraftwerk’s classic ‘Autobarn’. In some ways, this would be enough to sustain the whole piece – at least in minimal electronica terms – but things build gradually from there, firstly with the help of a brilliant pulsing synth adding a very late 80s/early 90s tone, and then, thanks to a repeated passage, with a light, ambient drone that sounds as if it’s been culled from part of Future Sound of London’s seven part ‘Lifeforms’ suite. Although this is purely about mood, those into deep electronica will love this number in a heartbeat.
‘Abandon’, meanwhile, takes a longer and much darker journey. From the outset, a pulsing rhythm and incessant ticking set a danceable groove in place – something absent from KPT’s more recent compositions – and hammers that into the listener with only minimal changes to the rhythm. Like the phased effect present during ‘Reconstruction’, the core melody really gives the feeling of movement and travel. Even when the ticking is replaced by a more intrusive knocking sound, the rigidity of the arrangement holds firm. At around the two minute mark, the strangely danceable sounds become a little more obtuse when the pulsing is replaced by a drone fuelled backdrop and the ticking gives way to something that sounds like mangled handclaps. You could probably still dance to it, if you were that way inclined; however, it all comes with a cold feel and a genuine sharpness that invites the audience to concentrate just a little harder. Again, mood wins out over an easy melody here, but the end results are always interesting.
As is often the case, those looking for easily digestible electronica might feel a little frightened by KPT’s slightly obtuse world of sound, but those who’ve found a love for the pre-‘Claw’ recordings will definitely find a great deal of interest within these unearthed recordings.
[‘Tramp’ will not be on streaming services. It is offered to everyone for free, however, exclusively at the Give/Take website, here: https://givetake.life/shop/kpt-tramp?mc_cid=470840d68a&mc_eid=9dc0ce0fca]
November 2025