Experimental pop duo FKL (Joe Gillick and Sage Redman) first met while studying at London’s prestigious arts school Goldsmith University, also the alma mater of James Blake and Katy B to name a few. Joe was a kid from South London while Sage had traveled across the ocean from her hometown of Seattle. It was there they met on the first day of classes and immediately started their Transatlantic collaboration.
Under the moniker Funktionslust (which means “deriving pleasure in creating something”), the pair released their cold wave synth-pop debut single “Seats” in 2014 to acclaim from FADER who called it “stern-eyed yet seductive.” Joe and Sage followed this up with two acclaimed 2015 EPs, “A Different Street” and “Window.”
It would be two years before Joe and Sage released new music. A flurry of circumstances outside of their control forced the pair to give up their London flat and move to Sage’s hometown of Seattle in 2016. Initially disheartened to be so far away from the music community they had grown into, Joe and Sage then started to see the move in a different light.
Though the Seattle music scene is still burgeoning, Joe and Sage strived to stimulate the rainy city’s creative community with their pirate network, Orphan. Radio out of the Capitol Hill arts space LoveCityLove. The station seeks to even the playing field when the divide between major label artists and independent acts continues to grow, seeking to bridge the gap and bring the community together. That same vocal, DIY spirit is evident in their new full-length “Out Of Tune.”
Written over the last year, the ten-track LP is a chronicle of their experience moving from London to Seattle. From Funktionslust, Joe and Sage opted for FKL, a shortened version of their previous moniker that is in a way, a reflection of the changes they’ve gone through in their personal lives. The LP was co-produced by Tim Goldsworthy (DFA, Massive Attack), who first met the pair after playing one of their Orphan. club nights. After hearing the anxiety-ridden track “1-800,” it was clear that they shared a common musical vision. “He was initially drawn to [the track] because it reminded him of 90s parties, listening to Nightmare on Wax’s “Biofeedback,” FKL says of the meeting. “Skyping and sending tracks back and forth, he would inspire us with stories detailing the imperfections and triumphs of artists we deeply admire. Whether it was hearing of Anohni’s self-consciousness on the Hercules and Love Affair album, (where she made some of the most beautiful music ever to be recorded!) or hearing about The Rapture’s reluctance in transitioning to their ‘Echoes’ sound, one that when they finally embraced, made a mind bending album.”