‘Blow’ by CITIZEN:KANE is a kinetic, dynamic 8-track instrumental album that captures emotions and moments in a loose narrative form. Every track except the last ramps up the album’s soundscape, keeping the energy moving from one place to the next.
There’s this constant sense of motion to each track that keeps the overall soundscape’s momentum going. The movement alternates from quick to slow, allowing space for the listener to simply vibe in the moment, no thoughts.
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‘Blow’: Track-by-Track
‘Blow’ pt. I: ‘The Club’-’Peiote’
‘The Club’ is a track that is frantic, quick but mellow. It introduces the album’s main instruments (percussion, synth and horns) with this sense of organised frenzy, allowing each element to build. The highlight and main anchor of this track is its bass however, that pulls you in and keeps you there through the track.
‘Jam’ keeps up this frantic frenzy with a percussion that seems to run almost immediately at the get-go. Two synth melodies seem to be in a dialogue, almost like two robots in an almost constant argument throughout the song’s runtime. One is calm while the other is frantic, getting louder and louder as the song goes on. The repetitatve nature of the song, along with this attempts to lure us into something.
‘Fluid’ in comparison to the songs it follows feels deeper and slower. It introduces a lower frequency to the soundscape that helps communicate this deep. There’s also this sense of rush and pressure, like the song is an unsettling lullaby braided together with strands of heavy percussion and calm synths. A whirring build like waves on the ocean.
‘Peiote’ begins with ambient sounds that feel like we’re at a fair, or listening to a mariachi band. This before the soundscape transforms with a fast-paced percussion tripping over itself, before settling into cascading build with unsettling bass and spiralling synths.
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‘Blow’ pt. II:‘The Fence’- ’Family’
‘The Fence’ feels different from the songs that came before, with a sound that feels mysterious, mischievous and intriguing. The light synths sound like strings that keep pulling the narrative forward, giving the song’s emotions space to settle. Setting the scene. All the melodies on this track seem to volley back and forth, as though they’re being thrown around during a game of volleyball.
‘Montreal’, in this vein, seems to capture something, twisted, winding yet carefree. There’s this sense of calm playfulness to the melodies that strut through, with horns that flow and loop through the soundscape.
‘Frankie Nata’ introduces a percussion that beats through, allowing for loud moments that feel like they are beating you down. This with menacing synths that begin to gradually slow down, giving the song this foreboding air of darkness that feels almost urgent. This song showcases this sense of movement as each element of the soundscape constantly layers over the next.
‘Family’ and Conclusion
The last song on the album, ‘Family’ uses its slow synths and minimal percussion to drag the listener into this sort of cool down mood. There’s this beating sound that fans through the sonic narrative, evoking the sounds of a ship’s engine slowing to a stop. Or beating at a constant rhythm.
The song effectively brings us to pause, almost as though we’ve been moving through oceans before we’ve finally made it home.
‘Blow’ by CITIZEN:KANE is a body of work in constant motion. Its an ambient, loud, rhythmic and at times moody album that captures all the cascading emotions that come to it in waves.
You’ll find my correspondence with the artist below, where he talks about ‘Blow’, his process, his start and more.
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About ‘Blow’
‘Blow’
1. Congratulations on the release of ‘Blow’! How does it feel now that the album is out there for the world to experience?
The last two years have been quite challenging for me. My day job keeps me incredibly busy, and there were moments when I wasn’t sure I’d be able to finish this album by the end of 2024. Releasing it in November became a personal goal I was determined to achieve, especially because the project had financial backing, and one of the conditions of the funding was that the album had to be released no later than November 28.
Having the album out now feels like a huge accomplishment. It’s always incredibly rewarding to start receiving positive feedback from people who take the time to listen to it, and I’m grateful to say that’s been the case so far. It makes all the effort and late nights worth it.
Inspiration
2. The soundscapes on ‘Blow’ all sound like vivid and intricate loops. How did you approach crafting each track to putting them onto this track-list?
The album ‘Blow’, like any creative act, is an intimate exploration. It starts from a simple premise: a tribute to some of the jazz-influenced music I heard in the late 90s and early 2000s. All eight tracks dialogue with each other like chapters in a sonic narrative that emerges from intentional boundaries. Using only a MIDI keyboard and software, with no other instruments, each composition carries a stripped-down and direct essence, yet rich in textures.
Two trips – to Montreal in 2022 and Mexico City in 2023 – also left their mark on the album, bringing soundscapes and feelings unique to those cities. Montreal, with its vibrant atmosphere, perhaps inspires introspective and melodic moments. Mexico City’s multifaceted energy, on the other hand, can be felt in the pulsating rhythms and more dynamic arrangements. The sample of a Mexican band that is heard in “Peiote” was recorded in a coffee shop near Teotihuacan.
These elements not only unite the tracks but also create a cohesive journey, where jazz serves as the leitmotif for a story that is both personal and universal.
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About CITIZEN:KANE
CITIZEN:KANE
3. Could you tell us a bit more about how CITIZEN:KANE got its start?
Music composition is where I find the most freedom and enthusiasm. Ever since I was a teenager I’ve been looking for different ways to express myself through music. I’ve been involved in various projects, starting with the band Lemon Candies, where I was the drummer. Later, in 2000, I founded Orson & Welles with Nuno Patrício, a project more focused on DJ sets and some experimentation.
At the same time, I was involved in music journalism. I worked as a reporter for Fórum Estudante, was editor of Luso Beat magazine and collaborated with Dance Club Magazine until 2010. This period was crucial in broadening my perspective on music and getting to know different scenes and aesthetics.
In 2009 I started to explore the potential of some music creation software, which led me to create the production-oriented project CITIZEN:KANE. It was an important phase, marked by releases on Mands Music and the release of ‘Idefix/Odie’ in 2014, a single that paved the way for my debut album ‘Dogtooth’. Since then, I’ve released a few albums in partnership with other musicians, founded new musical pseudonyms (Tó Mauzão and Rose:bud) and have also been involved in a record label and artist collective called Fungo.
Musical Process
4. What do you try to capture in your music? Is it a specific vibe or mood or are you telling us a story? (Or both?)
I’d say it’s a bit of both. My music is often an attempt to capture a particular vibe or mood, but there’s always a narrative element underlying it. Each piece I create can start with a feeling, a memory of a movie, or can be influenced by the current moment I am living. For example, my first album’s title (Dogtooth, 2014) is a homage to Yorgos Lanthimos’ movie. My EP Changing Diapers by The River (2016) was created right after I had my first child.
I see music as a dialogue. It’s not just about what I’m saying but also about how the listener connects with it. Some tracks might evoke a cinematic quality, drawing from experiences or places I’ve visited, like my recent album Blow, which was inspired by trips to Montreal and Mexico City. Others might focus purely on creating a space for reflection or movement.
Lately, I’ve been applying some rules and limitations to my creative process, and this approach has been working really well for me. By setting boundaries—whether it’s sticking to a specific instrument setup or focusing on a particular genre like jazz—I find that it actually opens up new avenues for creativity. For example, in my latest album Blow, I limited myself to just a MIDI keyboard and software, which forced me to focus more on the essence of the compositions rather than relying on a variety of tools.
That said, it’s not always easy to stay enthusiastic about making music. Like anyone in a creative field, I have moments where the drive isn’t as strong. Over the years, I’ve learned to actively seek ways to keep the passion alive—whether that’s by experimenting with new techniques, drawing inspiration from travel, or simply giving myself space to step back and reflect. These methods help ensure that making music remains a fulfilling and exciting process for me.
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A Message for Listeners and Aspiring Artists
For Your Listeners
5. Do you have a message for your listeners?
My main message to listeners is simple: thank you for taking the time to connect with my music. I make music purely for the joy and pleasure it brings me, but I always strive to keep it honest and authentic from a creative standpoint. Every track is a reflection of where I am at a particular moment—what I’m feeling, what’s inspiring me—and I hope that resonates with you in some way.
At the same time, I’d love for my music to reach as many people as possible. Music is meant to be shared, and I believe its impact grows when it finds new ears and perspectives. So, if you enjoy what I create, I’d ask you to share it with others. Whether it’s a friend who might like a specific track or someone who loves discovering new sounds, your support makes all the difference. Let’s keep the conversation going!
To Aspiring Artists
6. Do you have anything else you would like to say? A message for artists on a similar artistic journey as you?
To anyone on a similar artistic journey, I’d say: embrace your process and trust the unique path you’re on. It’s easy to get caught up in comparing yourself to others or feeling like you’re not moving fast enough, but every step—no matter how small—has value.
I’ve also learned that setting boundaries in your creative process can be surprisingly liberating. Limiting your tools, defining a specific direction, or even giving yourself creative “rules” can help you focus and push your artistry further. Don’t be afraid to experiment with these ideas; you might be surprised at what you discover.
And most importantly, stay connected to why you started creating in the first place. It’s not always easy to keep that fire burning, but finding ways to reignite your passion—whether it’s through collaboration, travel, or just taking a break—is crucial. Keep going and stay true to your voice.
Thank you for taking the time out to answer my questions!
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Listen to ‘Blow’ here:
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