The world premiere musical co-conceived by Menzel and playwright-director Tina Landau, with a score by Kate Diaz, is a triumph of groundbreaking media design.
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The EP was loosely inspired by American trumpeter Jon Hassell’s concept of ‘fourth world’ music, which brings together primitive and modern sounds, to bring forth “fantastical fictional cultures”, or imagined worlds that feel real. The three tracks are divided into past, present, and future. Opening track “The Princess and the Clock” is a peppy, 8-bit fairytale about a kidnapped protagonist who’s trapped in a castle, while “21/04/20” recounts a day in Bromley during the first lockdown: needing to go for a walk, seeing ambulances pass, scheduling in a call with a friend. Delivered in an unaffected tone, Perry’s lyrics are matter-of-fact, like a diary entry or a shopping list: “
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Though they came up in the same scene that produced A.G. Cook, GFOTY, and Hannah Diamond, Kero Kero Bonitoâs hyperpop always had a more personal touch. On 2013âs
Intro Bonito and 2016âs
Bonito Generation, the London trio synthesised a nostalgic and unruly palette of influences ranging from J-pop to post-punk, creating a modern sound that paid tribute to the trioâs hometownsâthe London suburbs for producers Gus Lobban and Jamie Bulled, and Otaru, Japan, for vocalist Sarah Midori Perry. This implicit fondness for cycles of referenceâfor the way that culture compounds over time, accruing layers of influenceâmeant that KKB never affected the same tongue-in-cheek tone as their peers: For Lobban, Bulled, and Perry, music is an earnest way to celebrate and interrogate the idiosyncrasies of history.