Contributing WriterAdelaide electronic experimentalist Avalon Kane has always been drawn to the spaces between light and shadow, but with her forthcoming album Dissension, she ventures deeper into darkness than ever before. Following 2024’s transcendental Solace, the new collection of tracks serves as the visceral counterpart to her ambitious double album vision. A journey from ambient dreamscapes into what she calls “the side of me that has been hidden for a long time, just waiting to come out.”
Working alongside collaborator Stu Patterson, Kane has crafted an immersive sonic world that embraces the macabre, the bizarre, and the beautifully unsettling. From underground techno homages to cinematic soundscapes inspired by westerns and horror films, Dissension represents Kane at her most fearless and authentic.
We caught up with Kane to discuss her artistic revelation, the contrast between chaos and calm, and how she channels deeply personal experiences into electronic music that transcends traditional boundaries.
You describe Dissension as your “reveal album” that unveils a side of you that’s been hidden. What held you back from exploring these darker themes earlier in your career, and what finally gave you the courage to embrace them fully?
At first, I thought maybe people didn’t want to hear about dark things. Growing up, I was called “weird” for liking things that weren’t on the lighter side of life, so naturally, I thought most people would feel the same way about those themes. I have always felt supported in my home to be myself; however, finding like-minded artists and creatives to work with has helped me gain confidence and embrace all my interests now. That’s what keeps you different from everyone else, too.
The contrast between Solace and Dissension is striking—one transcendental and calm, the other chaotic and visceral. How did you approach creating such opposing sonic worlds while maintaining a cohesive artistic vision across both albums?
Easy, I’m a Gemini. Haha. I knew from the beginning of the project that there were two distinct themes resonating from my writing. Instead of narrowing them down, I just let them go where they wanted to. We have days, weeks, where we are unsettled. The same goes for being happy, sad. I feel more inclined to write if I don’t have boundaries and restrictions.
You mention being fascinated by “the macabre” and “the beauty in the bizarre” since childhood. How do visual media like westerns, horror films, and games influence your songwriting process, particularly on tracks like “Devil in the Dust”?
Sometimes I get so overwhelmed by a creative piece that my only outlet to let out that emotion is by writing a track and creating music for the experience. I can easily look back on moments, objects, experiences, and feelings that truly left their mark on me. I might not remember the name of the movie, the date of the event, but I know the emotion and how it left an impact on me. I appreciate all forms of creativity. It’s the way it leaves you feeling something (good or not) after the experience that is the most important part. Every emotion is valid. Some of my songs are just a big thank-you for making me feel.
Your collaboration with Stu Patterson spans both albums and seems central to your creative process. How has this partnership evolved, and what do they bring to your sound that you couldn’t achieve solo?
Stu and I come from different worlds, but we have created our own little world within our music and our collaborations. I really had no idea of the impact Stu would have on my music. I thought they would come in and sing a song or two and then be on their merry way! Little did I know we would become so close and have all sorts of projects and interests together. We finished Red (our second track), and while on the video set, the chorus to Dreamers popped into my head. I sang it to Stu, and they loved it, and so we moved on to another. Then another, then another! There was just something about the way Stu approached their music and vocals that just set me off writing! It was good timing with Stu’s other bands, as they had time to experiment too. I didn’t sing at that stage, and I was just writing song after song for Stu’s voice, so we just kept on going!
“The Only One Who Knows Me Is Me” was written in just a few hours and marked the first time you felt you truly had something to say as a vocalist. What was that breakthrough moment like, and how has adding vocals changed your approach to production?
I had a bit of fire in me that day. Sometimes that can be a waste of time in the studio if you can’t contain it, but that day I poured it into my track.
I just remember playing the track back, and the vocals just came straight away like they were telling me they wanted to be there, and that was that. When my voice sounded good with it and I was really enjoying singing it back, that was so empowering. I haven’t had a song like that. When I was writing for Stu, I would sing very hesitantly, and the vocals never sounded very good. Lucky for me, Stu could hear something in them and encouraged me to keep trying, and I finally got it! So, this track was incredible as I had everything I wanted to do all by myself.
Now I have this added layer with production that I never had access to before. I perform and record sounds to my voice, and don’t have to worry about changing my track too much during mixing.
Several tracks on Dissension deal with deeply personal themes, including trauma and loss. How do you balance vulnerability with artistry when channelling such intense emotions into your music?
I decided with this project that I was not going to hold anything back. I have withheld so much for too long, and it only stays there. It doesn’t go away. It has been a hard road getting the albums done, and I have had times when I have had to take a break from the project due to mental exhaustion. I always pick myself up. Go again. It helps me build resilience and better ways to cope with things moving forward.
You’ve described your albums as journeys, with Dissension beginning at “gothic gates hidden in the forest.” How important is the visual and narrative aspect of your work, and how do you translate these cinematic concepts into sound?
My music, and the music Stu and I create all need to be experienced. It’s like a movie – you don’t get the intense feelings without the sound effects and the score. The tiniest creak in the door can be the biggest moment in telling a story.
I’ve always seen my music as stories, visual concepts in my head. Certain sounds will give me certain visions in my head. Descent gives me gothic gates. Red gives me a demon putting a blanket around the shoulders of a child. Holding them, nurturing them as no one else is. Sometimes I find a visual that moves me, and then I will need to find its sound. Everything has a sound.
Looking at both albums as a complete double album vision, what do you hope listeners take away from experiencing the full spectrum of emotions you’ve explored across Solace and Dissension?
Ultimately, I want them to enjoy the soundscapes. The biggest compliment is having the songs on repeat. There is nothing better than finding a song you want to play all the time, and have it as part of your life. I hope someone can find one in the albums and have that.
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