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Ken Kase Releases New Self Titled Album 'Ken Kase'


Now based out of St. Louis, Missouri, Connecticut native Ken Kase boasts

a musically cosmopolitan identity that few peers or contemporaries

share. The vocal, songwriting, and multi-instrumental dimensions of his

skills spawned from a potent blend of popular music, jazz, and classical

influences with an emphasis on music education. Despite his obvious

chops, however, Kase’s songwriting never fails to establish an immediate

connection.

















It's apparent on his self-titled solo debut. The five track EP filters

those aforementioned influences through a consciousness shaped by other

art forms such as writing, and photography, but other truths help shape

these songs as well. Kase is legally blind, and it touches his work in

unique ways.
















After a professional and artistic lifetime playing in bands such as the

Groupers, The Ken Kase Group, power pop outfit The Sun Sawed in ½, and

recent projects such as The Birthday People, these five tracks are Ken

Kase’s most personal work yet.


The release begins in spectacular fashion with “Entitled”. This

impassioned pop-rock gem glows bright thanks to its deceptively

shambolic pace and assorted flourishes scattered throughout the

arrangement. Kase’s singing and harmony vocals are another strength as

well. His lyrics for the first track are inspired fare that listeners

may interpret in a variety of ways, but many will hear it as a

resounding statement of purpose kicking off the debut.


Kase’s “Entitled” makes colorful use of organ fills to flesh out the

performance and this carries over into the second song. Its presence is

more thoroughly integrated into the instrumental tapestry of “Cambrian

Explosion” and never as pronounced. It nevertheless complements the

lighter pop tendencies of this cut. “Cambrian Explosion” retains the

same sparkling vocal melodies and harmonies without retreading over the

prior track’s territory.


The rootsy vibe he achieves for “Philosophy Machine” is an unexpected

stylistic turn. Nevertheless, the energetic acoustic guitar playing, and

otherwise unvarnished sound of the song doesn’t veer so far outside

Kase’s skillset that it sounds alien in the context of this solo debut.

The EP’s single “Quality Control” is another surging guitar-fueled pop

rocker. It marries the vision of the opener and “Philosophy Machine” by

uniting his acoustic predilections with potent electric guitar

accompaniment and the arrangement’s airy fingerprints has a much lighter

overall touch than the earlier “Entitled”. His ear for entertaining

vocals remains as keen as ever.


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“The Big Whatever” concludes this self-titled release with its most

soulful moment. Organ returns in a big way with this closer acting, in

essence, as Kase’s duet partner, and he likewise utilizes different

dynamics to compel the listener’s attention. The finale is far less

overtly busier than its predecessors and Kase, once again, lavishes a

lot of attention on the song’s vocals. It’s a fitting final curtain for

this brief yet powerful release. Ken Kase sounds like an artist hitting

his creative stride and it behooves any serious music fan to seek this

out.

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