Kadhja Bonet

Childqueen

by Kadhja Bonet

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thedoggboy Psychedelic pop soul that has feets planted in both the Woodstock era and the modern world. Airy but never frothy, it's a bit like deep meditation on a bed of warm angel cake. Both chill and engaging at the same time. Excellent. Favorite track: Wings.

R Deschamps Highly realized and very cohesive, a must have.... One of 2018;s finest!! Favorite track: Childqueen.

trevvvy This album is the joy that makes me whole. Favorite track: Joy.

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Record/Vinyl + Digital Album
Includes unlimited streaming of Childqueen via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.

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Digital Album
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Ltd. Edition Peach 12" Vinyl + Digital
Record/Vinyl + Digital Album
Includes unlimited streaming of Childqueen via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.

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CD + Digital
Compact Disc (CD) + Digital Album
Includes unlimited streaming of Childqueen via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.

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Ltd. Edition Peach 12" Vinyl w/ Bonus 7" + Digital
Record/Vinyl + Digital Album
Ltd. Bandcamp Edition Peach 12" Vinyl and a Bonus 7" with 2 new bonus tracks, exclusive to the 7". 7" comes in clear sleeve

Includes unlimited streaming of Childqueen via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.

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1.	Procession 02:52	buy track
2.	Childqueen 03:11	buy track
3.	Another Time Lover 03:38	buy track
4.	Delphine 05:54	buy track
5.	Thoughts Around Tea 02:12	buy track
6.	Joy 04:07	buy track
7.	Wings 04:03	buy track
8.	Mother Maybe 04:15	buy track
9.	Second Wind 04:08	buy track

about

Childqueen is something of a Hero's Quest. In the opening "Procession," above a muted drummer's march, an unseen oracle announces to you, the listener: "every morning is a chance to renew, a chance to renew." This is your first clue, setting you on a path to what Kadhja has christened the "childqueen," that innermost self that you were truthfully and instinctively before the weight of the world came crashing in. As with her 2016 debut The Visitor, the songs on Childqueen are never casual, never ditties. Instead, they invite us into a world not wholly our own, a half-mythical atmosphere where past and future meet in a parallel, yet faraway, present. Acting as a sort of diffuse chanteuse, Kadhja's achingly lovely voice achieves what can only be described as "ambient song." Particularly in songs like "Delphine" and "Nostalgia," we hear the jazzier intricacies of the vocal melodies brushed soft at the edges, at times so soft they vaporize into pure mood, or merge with other instruments or with backing vocals that seem to emanate from celestials bodies. And the instruments— played mostly by the polymathic Bonet herself— mix the cinematically and classically orchestral with the noticeably more synthetic. On tracks like "Thoughts Around Tea" or "Another Time Lover," flutes, violins, guitars, drums, and bells share or trade the stage with acousmatic warbles, whooshes, and lines, each gently couching the contours of the others. By combining softer enchantments with an ever-listenable experimentalism, Kadhja has created a soundscape the listener sinks into, unplaceable in genre and decade from beginning to end.

Despite its soft tones, despite its listenability, Childqueen challenges us as much as Kadhja's self-description: "I don't like calling myself an artist. I don't like calling myself a singer— or even a musician." This isn’t just paradox. Kadhja came to music early through a maniacally rigorous classical training in her childhood, mastering the violin and viola, in addition to picking up the flute, guitar, and formal composition. But she abandoned classical music for wilder groves, and credits what she now creates as springing from a place of intuition and candid self-reflection rather than theory or her academic past. The Kadhja that leads us through Childqueen is unyielding, truth-seeking, and even mildly misanthropic, dismayed by humanity's talent for self-deception. She urges us to do better. These urges may come in rebuffs to our daily thoughtlessness, from the possible love sacrificed to business sense in "Thoughts Around Tea" to the caustic calls from the title track: "what's the matter, don't you got a man, to tell you what you're worth to him? Where you been at Childqueen?" At other points, her tone turns imploring, as in "Delphine," or encouraging as in "Second Wind" which serves to remind "sometimes I forget, moss grows from my lips. I am fertile. I am rich. I am moist and mineral."

The lyrics and melodic lines nudge us along a path of self-discovery— or act as breadcrumbs along her own path. Everything that you hear on Childqueen was created by Kadhja, who has always produced all her own music, insisting on a total vision that is nearly as difficult to co-create as a dream. She does confess: "this record crushed my ego, and I'm surprised I'm still alive." Nevertheless, music remains for Kadhja Bonet a primarily solitary activity, one in which she can tender a connection with that innermost self, the childqueen. The rest of the world, if it pleases, is welcome to listen in, and join her quest.

credits

released June 8, 2018

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about

Kadhja Bonet Los Angeles, California

(sounds like) Kad-ya was born in 1784 in the backseat of a sea-foam green space pinto. After spending an extraordinarily long time in her mothers plasma, she discovered the joys and gratifications of making noise with her hands and face while traveling at maximum velocity through intergalactic jungle quadrants. She is currently arranging her debut album, and hopes you will join her on a journey ♥ ... more