Kid 606/ Kid Commando - Divorce Series 4

When a human arrives to a foreign land, often the natural fauna are extremely tame, sort of a Mars Attacks syndrome in which they have not evolved a healthy fear of the invader. Classic evidence is the Dodo bird. When another, more advanced culture arrives the results can be devastating, as in the case of Pizzaro and the Inca. But this is Kid versus Kid. Neither have distinct advantage; rather both endear a set of cultural traits so diverse that both are mutually destroyed.

Anthropologists have managed to recreate the death knell of the Kid Commando culture . Crashing cymbals, droning repetitive guitar, distorted vocals representative of a northern climate. Hailing from the icy waters of Sweden, the Viking influence is apparent, as is the sophistication of European aesthetics. The grind and clang of one thousand years of technological advancements storming across the Pacific in a Viking warship; the slave master pounding frantically on his drum.

Kid606 of course has a much more soulful Island sound. None of this cold Scandinavian business. This is due to the hot Equatorial climate and a more sedentary, subsistence lifestyle. The result is a warm laidback sound indicative of the ritualistic nature of less advanced cultures. But, after the arrival of the Europeans, the Kid606 culture flourished and began producing some of the most sophisticated minimal dancehall techno there is.

These unlikely opponents are paired through the DIV/ORCE 7” series along side other epics, HELLA & FOUR TET, MATMOS & DIE MONITR BATSS, and SIGHTINGS & HRVATSKI, as a protest to the barriers of trivial music classification. Have we not learned enough from history? Have we learned nothing from the rise and collapse of such empires as Electroclash, Grunge, and Emo? We must not forget in order to insure the same mistakes are not made again.

"A split with KID COMMANDO has (KID606) decommissioning the breakbeat weaponry and and putting flowers in the barrels, easing back into an irie skank that wouldn't be out of place on Sabres Of Paradise's Haunted Dancehall. "Good Times" rides a tinny ska guitar straight out of Duke Reid's old time sound system and simply bumps plump, cheeful Acid lines in and out of the mix. It ain't broke so he don't fix it, and the track is as simple as it is infectious. The other side is given over to now defunct Swedish three piece Kid Commando, whose frantic guitars lurk somewhere between the goonish hardcore of Truman's Water and the choppy dynamics of !!!. "Black Death" has buzzsaw riffs hitting in quick succession, keeping you on your toes and making you dance at teh same time. Like The Pop Group, the danceability of Kid Commando is not down toa dependable groove, but the swirling centripetal forces push the tune ever onwards and outwards." - The Wire 

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