Longform Editions acknowledges the Gadigal people of the Eora Nation, the traditional owners of the land upon which we operate.

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A gallery for listening

Kane Ikin is an Australian composer, producer, DJ and live artist, currently based in Naarm/Melbourne.

Drawing from a range of stylistic influence, including techno, trip-hop, experimental electronic, soundtrack and jazz, his music coalesces a deliberate blend of sustain and release, grippingly widescreen, warmly immersive, weighted down by a production style that's measured and detailed. Since 2012 he has released a number of albums ranging from the deteriorated and hazy ‘Sublunar’ (2012, 12k), the tense and atmospheric ‘Basalt Crush’ (2016, Latency), the shuddering and autonomic ‘Modern Pressure’ (2016, Type) and the exploratory shoegaze-techno on ‘Sensory Memory’ (2016, Echovolt). 

Alongside his own releases he has collaborated with Mike Katz aka Harvey Sutherland, as Bad Channel (2018, International Black) and Paul Fiocco as experimental electronic duo Solo Andata (2008–22, 12k). Parallel to developing and creating new pieces and expanding his sound practice, he works as a composer and sound designer with his music appearing in long-form tv, documentary and contemporary advertising.

Artist notes:

Exploration of collisions, asynchronous, superpositioned and dispersed, bled into and around each other. 

Drifting textures. Alien familiarity. Loops that aren’t. 
Layers of stone, wood, ceramic and metal.

A matrix-1000 pushed into and out of itself, refracted and re-assembled. 

One track spirals into another, or, one track dives into itself.
In complete flow. Each pushing out, the other pushing in.
Out of the dream a grain of the map.


Inspiration: Jan Jelinek, Sade, Ryuichi Sakamoto, Laurel Halo, Eli Keszler, Geinoh Yamashirogumi.


For me deep listening is a submission. I have early memories of pouring myself into albums, collapsing onto my bed, headphones on, submerging into the details—letting the outside disappear. This form of listening never really went away. Sound and music is the first and last thing I notice and pay attention to in any environment. I think this is why my work tends to be so sonically overloaded and enveloping. I don’t like to leave space for anything else to get your attention.

You could needle drop to any point in ‘Boundary Curve’ and slip into or out of a moment, but I hope it’s listened to as a longform work with its duration pulling you in as deep as it can.

Produced, mixed and mastered by Kane Ikin