KRAMAS JUST RELEASED A SINGLE AND WE'RE PRETTY NOSEY OVER HERE AT WIZARD WATER, WE THOUGHT WE'D DIVE RIGHT IN.
SINGLE NAME IS - GIVE ME YOUR MONEY - LISTEN HERE
Introducing Kramas: a Melbourne-based fusion of visual artistry and raw musical expression. At the helm is a singular talent: a visual artist and songwriter who crafts both the music and cover art. Under the moniker Kramas, their sound is eclectic and immersive, drawing listeners into a world where boundaries blur and creativity reigns supreme.
Live performances are a journey unto themselves, with Kramas leading a trio through stripped-back, raw renditions of their work. These shows are more than just concerts; they're spontaneous explorations of sound and emotion, where improvisation takes centre stage. Each performance is a unique experience, offering fans a glimpse into the ever-evolving world of Kramas.
TRACK REVIEW
"Give Me Your Money" by Kramas is a kaleidoscopic journey through sound, blending elements of psychedelic whimsy with a touch of indie charm. From the first note, you're transported into a world reminiscent of Babe Rainbow and Kikagaku Moyo, with a distinct twist that feels uniquely Kramas.
The song's infectious groove is guided by laid-back rhythms and dreamy melodies, evoking a sense of nostalgia and wonder. It's as if Mac Demarco himself is conducting the whole affair, infusing each moment with his signature coolness and charisma.
But what sets "Give Me Your Money" apart is its ability to surprise and delight at every turn. Just when you think you've got it figured out, Kramas throws in unexpected twists and turns, keeping you on your toes and fully engaged from start to finish.
Overall, "Give Me Your Money" is a testament to Kramas' talent as both a songwriter and a visual artist, offering listeners a sonic experience that is as immersive as it is unforgettable.
Your approach to live performances is described as stripped-back and improvisational. How do you navigate the balance between structured songwriting and the spontaneous energy of live improvisation?
I don't really subscribe to the idea that a live performance should sound like the record or the closer the live sounds like the record the higher the quality of the performer. Live performances should sound human and visceral. We're not really a jam band or anything who goes on a long tangent but we like to keep it sharp and rough around the edges while remaining true to the song's structure. "Gloriously sloppy" if you will.
As both a visual artist and songwriter, how do you find these creative processes intersect and influence each other in your work?
A lot of the time after I finish a song, it will spark an idea for me on how I want it to be represented visually. Usually it's harder to do it the other way round. Makes me wonder if "actual" artists use music as a muse too to create but I have done no research on that so I don't know. I'm only doing it out of necessity because I'm the only one who will do it for me for free you see.
Could you share some insights into your songwriting and production process? How do you typically begin crafting a new song, and what inspires your musical compositions?
Production wise I just believe in using what you got instead of chasing gear because the journey will never end once you start collecting things. I do like it to sound a bit unprofessional but slick at the same time. "Give me your Money" was just recorded on Garageband. I like the songs to be interesting for the music snobs and hipsters but also accessible enough for maybe I don't know people who listen to Triple J.
Your upcoming show at The Penny Black promises to be an exciting event. What can audiences expect from your live performance, and how does the dynamic of performing with your trio differ from your solo work?
Very excited for Penny Black. Expect lots of recycled dad jokes and some songs in between. It's different from the recorded versions as the live setting compels it to be. 3 instruments covering everything without any backup tracks or pedals which I believe can only work if the songs are upto a certain quality. It's raw, visceral, pop, punk, post-punk, romantic, sad, angry, resentful, all love, blues, psychedelic, minimalistic and my most favourite compliment we have received so far, it's "Art-Rock"!
The visual elements of your music, particularly your cover arts, play a significant role in conveying the aesthetic and atmosphere of your music. Can you tell us more about your approach to visual art and how it complements your musical expression?
I do not follow any artists in particular to be able to refer to as inspiration really. I never improved musically or artistically since high school but I think your limitations can always be covered up with good taste.
Melbourne is known for its vibrant arts and music scene. How has the city influenced your artistic journey, and are there any particular venues or communities that have played a significant role in shaping your creative identity?
Melbourne is definitely an artist friendly place and I have been influenced knowingly or unknowingly by people and places here for sure. "Nightcrawlers of St Kilda" is a pretty direct song inspired by the freaks and goons whose unusual life I have been privileged enough to interact and experience with. Never a dull night out there. I also have a song called "Moonee Ponds" which has it's own vibe. An early demo is on the internet somewhere but I will get around to doing it properly in the near future. It's funny how all these suburbs are so close to each other but has such a different energy compared to one another.
Your music blends various genres and influences. What artists or styles have had the most significant impact on your musical evolution, and how do you incorporate these diverse influences into your sound?
Music is what it is and I never noticed that it helps to talk about them or answer specific questions about them much less volunteer information in words. It also doesn't help that you can get compared to the artists you describe as your influences which is not fair. Besides one of the funnest thing for me is to hear what people think it sounds like and it always leads me to discover new artists I've never heard of. In this case being Babe rainbow and Kikagaku Moyo. So thanks Kyle. :)
The concept of improvisation seems to be central to your live performances. What draws you to this approach, and how do you ensure that spontaneity translates into engaging and cohesive live experiences for your audience?
I have always been interested in bands who play completely live and with a skinny line up. It was always one of the most exciting thing for me to do once I heard a studio version of a song from a band. "How is it gonna sound live? They've only got one guitarist and on the recorded version it's like 5. Or that's a lot of back up vocals, surely they're not gonna tour around the world with a full choir." I'd say if Cream played a show but with only covers of Velvet Underground songs that would be us.
Your music often explores themes of introspection and emotion. Can you delve into the themes and narratives that inspire your songwriting, and how do you hope listeners connect with your music on a personal level?
I've never put much emphasis or thought into the lyrics although I do try to keep it quirky and introspective. As long as the music provokes an emotion it probably doesn't matter what the lyrics is saying. Sometimes. I don't know really I connect on a personal level with a song called "Milk Man" by Aphex Twin but the lyrics goes "I would like some milk from the milkman's wife's tits" and I in fact don't want any milk form my milkman's wife's tits. That's not right.
Looking ahead, what are your aspirations and goals as an artist, both musically and visually? Are there any upcoming projects or creative endeavours that you’re particularly excited about sharing with your audience?
There is no ambition really other than I want to be proud of whatever I do next and if the rest of the world misses it then they miss it. Some kid will discover it 50 years from now and hopefully put it on a t-shirt and gate keep my work for another 50 years. That would be mint.
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