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Listen to ‘Echo Saw You’
Listen to Meter (Mr Dan remix)

Listen to ‘99 Luftballons’

‘Wood has one of those imposing voices that seems to envelop your surroundings, with Goulder’s transparent production providing a subtle electronic counterpoint.’ – NME

‘The production is sharp, with drama drenched lyrics being backed up by a sinister cause.’ – DIY ‘Muted and smouldering in a way that lingers on your mind like rain on the windows.’ – THE FADER

‘Kaleida are the stewards of our feminist future. Politically active and environmentally aware, Tear The Roots is an attempt to map these concerns out of the abstract and into musical form.’ – GOD IS IN THE TV

‘A gorgeous slice of electronic pop which stands out in the overpopulated world of electronic music.’ – INDIE SHUFFLE


Anglo-German electronic duo Kaleida are set to play their next London date at Birthdays on the 18th October. This follows the release of their debut album ‘Tear The Roots’ on Lex Records.


Album highlights include the cover of the anti-war protest song '99 Luftballons' which featured on the original motion picture soundtrack of “Atomic Blonde” - the  action spy blockbuster of the Summer starring Oscar winner Charlize Theron.  “99 Luftballons” first appears on the soundtrack as the original 1983 recording by the German band, Nena.  Kaleida bring a modern stripped back interpretation to the fore, “She plays this female bisexual Bond” ­–  the song’s political sentiment, and it’s unsettling, brooding sound, “just fitted” so they included it on their debut album too.  Set in East Berlin just before the collapse of The Wall, the film is a heady mix of propulsive action, bold sexuality and slick styling. The movie soundtrack reached #1 on the US iTunes album chart upon  week of release.


The first single, 'Echo Saw You' showcased a haunting vocal over a muted, percussive bass riff. Kaleida felt it a fitting introduction to the album because “it’s a sound that says something about the album. I think with this song, we were trying to create a sound world, rather than it being a literal story.”


Elsewhere, the track  'Meter' was remixed by twice Mercury nominated producer Dan Carey (Lianne La Havas, Kate Tempest, Lilly Allen, Sia, Bat for Lashes, Kylie). Under the guise of Mr Dan, he adds an irresistible bounce to Christina Wood's sublime vocals.


"The model where men control everything," says Cicely Goulder, "and there's a woman singing on top of music that men have produced, for men's gratification, is breaking down."  Enter Kaleida, who are here to help it crumble. The electronic duo write, record and produce all their music themselves.


The first thing they wrote together, the darting, minimalist ‘Think’, a song that makes you want to dance in slow motion, racked up 60,000 YouTube views the night they put it online. It’s about sex, says Christina, and wanting something you can’t have anymore - though it was the sinister edge to its sultriness that made it work so well in one of the most violent scenes in neo-noir thriller John Wick. With 34 million streams across all their singles to date, Kaleida has an impressive foundation of work.

Tear The Roots, Kaleida’s debut LP, offers a deep, unsettling kind of pop. Their identity is partly informed by the music they grew up with – Cicely’s late godfather was an electronic composer, and Christina was in a church choir that sang Appalachian songs as a child – but they try not to be too influenced by the noise around them. They don’t listen to other people’s songs while they’re making their own, and even working with other writers and producers dilutes the formula.

Kaleida like the meaning behind their music to be ambiguous. The eerie ‘Coco’, with a beat that sounds like the tapping and scraping of medical machinery, as the falsetto spectre of Christina’s voice hovers above it, “is sort of like a psychiatric breakdown. It’s supposed to be quite mantric and creepy.” Sometimes Kaleida are drawn to darkness, other times they despair of it.

'House Of Pulp', for example, which ripples with an anger that’s only become more relevant as the political landscape has become more disturbing: “What are we building here above the dead cement?” pleads Christina, “Out in the plastic sea, we drown the innocent.” Her work in climate policy filtered into one of the album’s threads – what she only half-jokingly refers to as “the apocalyptic future.”

Ultimately, shutting the door to the outside world has served Kaleida well. “You shouldn’t do stuff to please other people. If you want to make something that really resonates with people on a core level, then it has to really come from you, it has to be really genuine.” Tear The Roots is just that – and now they’re ready to let you back in.

"Tear the Roots" is out now on Lex Records

Kaleida play Birthdays, Dalston 18th October

01 September 2017