Turns out if you get a Child to work, it allows kids to play. Sounds strange, but you cannot argue with the facts. Fact one: Louis The Child finished working on and released a hot new EP last Friday, October 26. Fact two: the EP is titled Kids At Play- EP and is a nine-song list of music that gets us kids moving. Louis The Child set up the playground with sliding future bass and swinging synth-pop. The kids cannot help but be at play when they are set up so well. If it isn’t already clear how factual our initial statement was, we will continue providing concrete evidence below.
Kids At Play is such a cohesively amazing work of art. The amount of work that Louis The Child put into making it is evident. The EP is clean, interesting, and complex. There is a sense of adventure and curiosity throughout the whole album- feeding to embody a child-like-wonder of the kids at play. The thought and time put into the EP is admirable and shines through each and every song.
‘Interstellar’ starts the showcase of the amazing ability of Louis The Child and this EP. The song starts from complete silence to the point where you check to see if the time is advancing. Then it slowly moves forawrd. Growing from a simple little one sound rhythm to more and more developing sounds. The song really signifies the creation of the album. It showcases this building from nothingness into something exciting. Through growing and being as bouncy as it is, it teases the listener so well for the album to come. The lack of lyrics and creation of ambient sound sparks that curiosity that exists further in the album.
After the fade out of ‘Interstellar’, we come into the first vocal song of the album. ‘Breaking News’ fades back in from where ‘Interstellar’ fell to, and then reinvents the sound. It starts off very gently, and then the bass line comes in for the verses. It is this beat that is constant motion, a motion that dumps into the chorus. The chorus rhythm is this very eye-opening and happy synth sort of sound. Paired with the very smooth lyrical voice of RAYE, the song give this sense of flowing. Listening to you almost feel like you are riding down a river with a current, and then dropping into these beautiful oases of calmed water- altering back and forth between the verses and chorus.
Where ‘Breaking News’ creates these experiences for us that we did not experience while listening, ‘Better Not’ took Where’s The Vibe back to a linked memory. The carefree and loving vibe created in this song takes us back to our first music festival Shaky Beats. We got to hear this song before its release in the Georgia sunshine. The song hits the same chord with us now, as it did that day. ‘Better Not’ uses the leading steel drum sound, soft voice of Wafia, and then this stretched synthetic string sound to create butterflies in the listener. It mimics the feeling that we associate with the loving lyrics it talks about, through its construction.
Moving out of the lyrical synth-pop sounds and back into the very future bass sound, our fourth song is ‘Ohhh Baby’. The song uses the change is the sound type to break up the lyricality of the album. It also reintroduces this seeming development that we had in ‘Interlude’. The same soundscape it seems, but the sounds have lowered in pitch, the bass hits a bit harder, things are slightly more abrupt. ‘Ohhh Baby’ closes with this cute clip of a baby screaming the words of love to an adult woman’s voice. Brings in the baby from ‘Ohhh Baby’, and then ties you right into ‘L O V E’.
Elohim continues the love vibe lyrically. She has a very pop EDM voice, that meshes well with the very soft production of this beat. ‘L O V E’ has bass that emulates listening to a heartbeat during the verses, with these higher beeps that almost emulate a monitoring machine. These sounds that seem to revolve around the heart give this loving warm feeling, and then bust into this intense chorus break. It is like fireworks of love exploding all over. The song looks to and does highlight the intensity and joy of love.
‘L O V E’ then closes again with a clip of a child that looks to highlight the simple yet loving mindset of a child. The clip follows the spelling idea of the song and adds the idea of the misunderstanding of what has been spelled. It seems to show that love could be as easy as spelling “cat”, but it isn’t because the little boy says C-A-T spell “dog”. Of course that is all up to speculation and discussion, however, what isn’t up for discussion is that the clip is just straight up cute.
‘Dear Sense’ comes in after the child’s voice stops echoing. The song feels very organic; as to say there is not a lot of electronic production at first. The song opens with piano and drums, with a clap that then starts further development. MAX’s voice is very alternative tenor, and the production again matches that vibe well. The song is not produced overly pop. It stays with a very relaxed vibe. ‘Dear Sense’ is the 80-degree overcast day at the end of summer. It holds this happy warm vibe, while also giving you that cool relaxed feeling of a shaded area. A different type of vocal EDM song, but again beautiful.
One of the most unique voices continues the different type of EDM vocal. Quinn XCII is one of the most amazing feature voices for any song, so it is awesome to Louis The Child pair with him so well. ‘The City” opens up with this 8-bit type sound. That sound is used throughout, just transformed by the needs of the vocals. The 8-bit builds with the drumset to make a beat that is very Quinn XCII unique poetic rap rhythm. Again giving the EP a change of pace and a sound for everyone.
‘Save Me From Myself’ is another alternative vocal EDM song. It still belongs on this EP though, because of its advanced matching production style. Matching two different contributing artists on this track is done so well. The low register and almost whispered vocals through the verses, the strong sung vocals during the chorus, and then the filling of no vocals demonstrates again how well it is done. Louis The Child is using sounds like guitar, bass, and trumpets in their production to match the vibe of the voices, but doing so with EDM production. This melding of all sorts of sounds and voices is what makes this album so great. It is also what makes ‘Save Me From Myself’ an absolute GROOVER.
The cap track for this EP wraps the package perfectly. ‘Space Jam’ is the embodiment of what it means to be a kid. The song is bouncy, engaging, and quick. You can hear the laughter of kids, the chirping of birds, and even seem to breathe in fresh air. The song is again so ambient and paints a picture so vividly. The old school vinyl scratches were a personal favorite of ours, just because it is another subtle sound that seems to add a layer to the song you didn’t even know you needed. ‘Space Jam’ isn’t complicated, it is simple and happy. It is the palette cleanser, but one that leaves you in bliss. The production of its also flows very well back into the title song of the album, so don’t be afraid to have it on repeat when you are listening.
So we can only imagine you agree without a doubt to the initially stated facts. Louis The Child did indeed work hard. They produced songs with different vibes, artists, and sounds. They found a way to do so without compromising their sound and because of that were able to flow each song well into the next, on Kids At Play- EP. Due to that hard work, we were given a kick-ass album with a bunch of different flavors of Louis The Child to taste. There is so much to play with and enjoy over and over. So we can now say a Child working hard, does indeed let the kids play.
Until next week