On Saturday, August 31st, British multi-disciplinary artist KESH unveiled a new single, "Cried For You" at a release party in Los Angeles. The new track set the tone for the night with its celestial soundscapes and lyrical intensity. The party was hosted by Mixed Feelings at Speed Los Angeles, a venue that is self described as “A space for creative exchange”— often featuring artist exhibitions, workshops, and performances. Guests also enjoyed sets and performances by Niko the Ikon, Saturn Risin9, Hu Dat, Stealth Angel, She Diamond, and other special guests.

FLAUNT spoke with KESH about “Cried For You”, art and design, what makes a good party, and more.

“Cried For You” is very impressive– I think there’s a delicate balance that you strike here  between the textural elements of the sound and the emotionally evocative tone of your voice/ lyrics. I’m wondering: how is the practice of musicianship an act of empathy?

I find musicianship to be empathetic in many ways. I tend to write my works from personal experience but  choose the songs that could possibly speak to others. I have many songs that celebrate my personal  highs and many more that dwell on my sorrows and woes, but I don’t think many of those will see the light  of day. I choose to release the ones that I feel could be relevant to others and maybe offer some type of  comfort or relief in the understanding that somebody else has experienced or is experiencing what they  also feel. Music can be empathetic, music can be sympathetic, music can be selfish—music can be many  things. But I like to think that my songs have elements of empathy and compassion in them, and it seems  they are being received as such.

Drum and bass (and techno music in general) is witnessing a renaissance in popular culture,  which can be good and bad. In your opinion, what is it about the here and now that is finally  making crowds pay attention?

I think we are in a new state of discovery. As we have witnessed the birth and evolution of streaming  platforms, we have evolved alongside them. Utilizing these outlets has become second nature for us,  allowing us to explore both the past and present with ease. This has enabled us to find sounds and genres we truly love, regardless of the decade. Additionally, with access to everything, there’s no longer a  limitation on a ‘current sound.’ We can blend elements of what once was with whatever we want. Drum and bass and techno are an everlasting language. I was watching one of the first-ever electronic performances from the 70s, and there were elements of techno in it—it was beautiful. Decades later, we see this ever-evolving genre continuing to warp and move through different chapters, and I feel it has  much further to go. I think that will always be interesting to music lovers and appreciators of sound.

I loved all of the people you featured on Saturday at the “Cried For You” single release party in LA. Can you talk about how you select artists to throw parties with? What, or who, makes a good  party?

For me, I put a lot of thought into the process. I tend to work with people I already know personally or  have previously collaborated with on other projects. The personal connection means a lot to me. For example, Niko the Ikon is one of my best friends and has helped me throw many raves in the past.  Recently, she took her first steps into DJing and is amazing at it. Witnessing my best friend work her  selection like that was a cosmic moment. Additionally, Stealth Angel has booked me three times for his  rave, Serenity Link, where I played some of my favorite sets ever to thousands of people in a downtown  alleyway. These are real, tangible experiences we've shared, which creates a genuine and passionate  environment. I also have similar connections with Hu-Dat, She Diamond, and Saturn Rising. The energy  has to be right, and I need to know the artists really care. It’s also important to me to blend multiple worlds. I’m known for being a multi-hyphenate in my roles as an artist, musician, designer, DJ, and more, and I apply this approach to everything I create. My sets are multi-genre, my line-ups span various worlds, and I love bringing everything together in a state of co existence. I believe that’s what makes for a great party—and what makes it a KESH party.

Do you feel that time moves differently in different places? How does it move in concert venues? How does it move in your home? How would you like it to move?

Time is ever-changing, so it’s not easy to interpret. Every concert has a different flow of time depending  on factors like location, venue, staff, team, and even astrology. Each show is a completely unique  experience and flows differently. It’s actually one of the things I enjoy the most as a performer—I really  love experiencing the flow of a show and seeing how things play out. It’s always a surprise.

If I could choose, I would have more hours in the day. There’s so much beauty in this world that I would  like to see, so much I would like to dedicate myself to, and so many people I would love to help. But the  time in the day is limited, and there’s only so much you can do. Maybe I’ll get around to it all one day.

How does your relationship to physical design and art inform your music?

I think ultimately I naturally see and hear the world in a certain way, and I’m bringing that out of my mind  into what we perceive as 'reality.' I’m not always aware of how these perceptions inform each other; they  simply ‘are.’ Everything is interconnected because it all comes from my natural perception and  expression.

You’ve talked about your iconic eye coming out of an early self portrait titled “Fetrinite.” Some  artists have this practice of perennial distillation as they age– do you feel that way about your art?  If the eye emerged from the self portrait, do you foresee something emerging from the eye? And  so on, and so on…

Absolutely. My process tends to be an ever-unfolding continuation, drawing from previous works,  expressions, and ideas. Everything is connected to my personal journey and observations, so it is only  natural to keep moving forward on my own path.

Who was the first artist– of any medium– to make you feel connected to your body?

I would say musically, The Prodigy had a significant impact. I was exposed to their music at a very young  age, and I noticed very visceral body movements triggered by their sound. It was extremely different from  everything else I had been listening to, and I remember being deeply activated in that moment. In terms  of art, I would say Marina Abramović. When I discovered her work, it helped me understand how I was  already existing as an artist in my body without fully realizing it. While I was presenting my works on  paper, canvas, and digitally, I was already expressing myself on a broader scale beyond the works  themselves, and she helped me recognize that.

Photos by ARN