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Coilguns/Red Fang members collaborate as Red Kunz for one-off release/show

Red Kunz recording setup

In October last year, fans of The Ocean were rocked by the news that drummer Luc Hess and guitarist Jonathan Nido would be leaving the band at the end of 2013.

However, the sting was taken out of that bad news by the knowledge that they would continue to operate as the rather thrilling Coilguns with similarly ex-Ocean comrade Louis Jucker, along with a host of other DIY-style projects that are brought together under one metaphorical roof with their label Hummus Records.

There is already a pile of material available, featuring various combinations of the trio and their wider musical family, which can be explored through their Bandcamp page.

Now we have news of an unusual and interesting project that is underway literally as I type, known as Red Kunz.

Red Kunz brings together Luc and Louis, who have previously performed and released avant-garde bass and drum explorations as Kunz, with Aaron Beam and John Sherman , better known as the rhythm section for stoner monsters Red Fang.

That’s right, kids: two bassists, two drummers. Seemingly not much else, but however this project turns out, I think we are safe in assuming it is going to be percussive.

On top of the remarkably non-standard collection of musicians, the approach they are talking to writing, performing and recording is also out of the ordinary. The quartet are spending this week – and only this week – holed up at le Romandie, a venue in Lausanne, Switzerland, where they will write and rehearse, culminating in a single show on Friday night that will be recorded for posterity.

A few scant details have surfaced online here, most tantalising of which is a (very) short teaser video, but given the methods these guys are employing, I don’t think we are going to have to wait very long to hear the finished project.

This bold, experimental approach, compressing the creative process virtually to its limits, is a whole world away from The Ocean and, indeed, the vast majority of other bands.

Luc and Louis have used similar without-a-safety-net processes with the Coilguns recordings, and the results have been enormously exciting, and dangerous to the point of feral, so I have little reason to doubt that whatever Red Kunz come up with in their short time together is going to be worth listening to, even if it is unlikely to sound much like anything you’ve heard before.

Freed from the restrictions that being part of a globally touring band had placed on their creativity, Red Kunz should prove to be an early indicator of what to expect from Luc, Louis (and Jonathan) in the coming months.

I’m certainly going to be paying very close attention.