Last updated: 3 hours ago
The dense compositions of NYC-based trio Kill Alters crash into you as a glorious mess of hyperactive vocal lines, pulsing electronic textures, and interwoven percussion patterns. Primary composer and producer <a href="spotify:artist:1BzWF7VaVxI5XrqWRxJH6x" data-name="Bonnie Baxter">Bonnie Baxter</a> leads the band with her impassioned vocal performances, pummeling drum machine beats, and peals of chaotic synthesis. In addition to Kill Alters, Baxter has released solo albums and is 1/2 of the duo <a href="spotify:artist:48C6zfF4uSk2R9V1B3Ym0D" data-name="Prolaps">Prolaps</a> alongside <a href="spotify:artist:17Vw9uuOYB7XYjPt0LNFN0" data-name="Machine Girl">Machine Girl</a>'s Matthew Stephenson. In Kill Alters, Nicos Kennedy serves as the project’s co-producer/mixer, sound engineer, and synthesist, both shaping their sound in the context of performance and rendering their final recorded output in all its overloaded detail. <a href="spotify:artist:4OlKzAvTFcY7g3WAz9idlc" data-name="Hisham Bharoocha">Hisham Bharoocha</a> (formerly of seminal US underground projects <a href="spotify:artist:6xV3tISBQOJ46BJPlC02tX" data-name="Black Dice">Black Dice</a> and <a href="spotify:artist:2og3FOCLYXT9H7IYE6QPUq" data-name="Lightning Bolt">Lightning Bolt</a>, and a solo artist under the <a href="spotify:artist:3SFyU7nHsvBF46kKtVtL5B" data-name="Soft Circle">Soft Circle</a> moniker) provides his signature battering ram drum performances, which collide with electronic percussion elements to animate the band’s ballistic compositions both on record and in the context of their live shows.
Baxter and Kennedy started the Kill Alters project as an outlet to recontexualize the audio from an archive of home-recorded tapes made by Baxter’s mother, which date from the 1970s through the 1990s. The care and the vulnerability with which Kill Alters infuses their music with these archival recordings recasts the trauma and confusion documented within them as a source from which to draw power and achieve a new sense of clarity.
Baxter and Kennedy started the Kill Alters project as an outlet to recontexualize the audio from an archive of home-recorded tapes made by Baxter’s mother, which date from the 1970s through the 1990s. The care and the vulnerability with which Kill Alters infuses their music with these archival recordings recasts the trauma and confusion documented within them as a source from which to draw power and achieve a new sense of clarity.
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