Some (but probably no-one) will remember his previous video release, featuring Kavinsky driving around like a bit of a hero and maiming police officers. This is essentially a continuation of that, as a superhero-styled Kavinsky stops off at a roadside diner, and proceeds to smack the ever-loving sh*t out of some rather rapey criminals/rapists. One of them even wets himself.
Much like its predecessor, it’s hardly complicated stuff, and instead is pretty much just visual badassery. Kavinsky gets to be a Superman/Terminator hybrid, beat up bad guys, and save the girl- what’s not to like. Well, besides the bad acting.
The track is a smooth electronic affair, combining jagged synths, mellow percussion and robotic vocals together for a quick blast of middling electro, sitting somewhere between lively and easygoing. It’s certainly nothing that’ll jolt you into life in the morning though, and hence is a pretty easy addition to pad out any playlist. OutRun is available now.
I was surprised to find Kavinsky is gearing up to release his debut LP next year. Why is it a surprise? The first tracks I had of his are now almost 7 years old, and given that I’d mostly forgotten about him, I assumed he’d have released an album years ago. Nonetheless, Outrun is on the way, and given that fellow electro act sebastiAn is also on production duty for the LP, there’s a lot of potential in that album.
He’s entered mainstream consciousness for his work on the Drive soundtrack, and now lets his lead single loose, the clip for which is heavily influenced by that film. The audio utilises Kavinsky’s electro sensibilities and mixes them in with a heavy dose of atmosphere, with the combination of sharp, 80′s-esque power synth with slow-paced yet sharp percussion giving the track a bright intensity, and the end result is a cinematic piece that fits the visuals well. The clip is car-heavy, as mentioned above with the Drive influence, featuring Kavinsky roaming around the dark roads being hunted by police, who he proceeds to (spoiler alert) maim at the end. Nothing massively complicated, but a visual full of urgency to accompany the audio, and it’s a good all-round audiovisual that sets his 2013 album up nicely.