Artist Profile: Kudo Nyc
Kudo Nyc, the rapper and producer from Brooklyn, has found his personal voice and expression through the genre of hip-hop and, with his collective BLAK NOMADS, has blossomed into a multi-disciplinary artist, making sonic waves across the East Coast.
As a child with West African and Haitian roots, Kudo was exposed to a variety of ancestral sounds. Both his mother and father were drummers and dancers who specialized in African-rooted music, and Kudo grew up hearing the various Caribbean and African artists that permeated his parents’ musical scope.
As a middle schooler, Kudo began making DJ mixes, capitalizing upon the popular double tap dance scene of the time and spinning his songs at parties. However, this was a short-lived pursuit, as his brother quickly convinced him to begin making hip-hop beats instead that he could rap over.
Influenced by Nas, mixtape-era J. Cole, and N.W.A, Kudo began producing, using his brother’s wisdom to help him become more advanced in his soundscapes.
“I’ve always inputted that soundscape-y vibe and that grand sound from Nas' best songs or N.W.A.'s best songs or Wu-Tang's; just the environment of their music really inspired me. I only wanted to do things if it was grandiose, and my brother, he was very patient with me and I was very patient with him. We went for the biggest sound that we could achieve.”
However, shortly after gaining his chops at hip-hop production, Kudo moved to Baltimore with his father, where he was forced to find a new scene entirely to integrate himself into. Luckily, at the Baltimore School for the Arts, Kudo discovered a set of like-minded artists: ones that viewed rap as a unique means of expression and the creative process as an inherently transitory state.
Moreover, his experiences at the Peabody Conservatory in Baltimore, where he was able to study West African percussion, further diversified his musical horizons and introduced him to even more potential collaborators.
Yet, it was the forming of BLAK NOMADS, a collective that spawned from his friend group at Baltimore School for the Arts, that truly allowed him to pursue his artistic vision for the first time.
“I was couch surfing in high school with my musical friends up until I graduated and eventually got my own spot, but it was through that I found my collective… To this day, the dopest producers, the dopest artists, dancers that I know make up the collective, and it was really that that influenced my grungy side… It allowed me to have a purpose with my voice and become a vessel through the experiences I was going through.”
His first tracks, from the flute-driven “Bodega” to the experimental “Amistad”, bear the marks of his experiences within the context of his collaborations within the collective, unpacking dense emotional dynamics within the tightly-bound rhythms and grandiose instrumentation of his soundscapes.
In that time, he also learned to conceptualize and direct his own music videos, pairing stunning visuals with the driven manifestations of his own tracks.
Now, as Kudo returns to NYC after almost a decade, he plans to continue work with his collective but, at the same time, take his homecoming as an opportunity to start fresh in a scene, diving back into New York wielding the immense talent he has expressed over the past decade.
From the outset of his musical pursuits, Alex Glendening’s goal has always centered around songwriting— crafting tunes that not only serve to scratch a certain sonic itch but also, as his career has unfolded, are marked by his signature rhythmic complexities and idiosyncrasies.
Ebbb began merely as a Pandemic-spawned idea of producer Lev Ceylan, but that vision has continually evolved and folded in upon itself, and with their debut record Shallow Hits, the UK-based electronic trio has found its stride, etching out wavering emotional canvases across an ever-expanding sonic range.
Although youbet began as the bedroom-pop project of singer-songwriter Nick Llobet, the project was never simply just a creative outlet. As Llobet transitioned from his early days of obsession with technical guitar mastery and turned his attention towards building a fuller sonic world, he had a hazy vision of a layered, otherworldly songwriting approach— one that ultimately manifested in the experimentally-inclined indie folk of youbet and, with the addition of bassist Micah Prussack to the project, reached its culmination.
When Hillsboro’s frontman, Vancouver native Nima Walker, first began making electronic instrumentals in his bedroom as a teenager, he never imagined he would have the inclination to lead a rock band, let alone find the confidence and community that the activity required. But over a decade later, Hillsboro has found its fullest expression under the winsome eye of Walker’s earnest songwriting, and with the release of their new album A Party in Your Name, this artistic impulse has worked its way to the forefront of a distortion-heavy, garage-rock-oriented backdrop.
When guitarist and songwriter Jack Shields got the call that he was being invited to join Richy Mitch & The Coal Miners, he knew that his life, in many ways, had changed forever. In a sense, he had accomplished the goal he had first set out to achieve as a teenager— to live and work full-time as a musician. But beyond the tours and the recording, Jack’s new gig has yielded one central benefit. He’s gotten to devote his attention to his solo venture, Jack Shields & The Mojave Rush, and with the release of his newest album Avalanche Hour, he’s continued to carve out the distinct, ragged sound that has become all his own over the past few years.
For Ellen Froese, the Saskatchewan-born singer-songwriter, the release of her 2026 project Solitary Songs, a collection of 11 tracks recorded in an open studio setting with a group of friends in 2024, represents more than a return from the four-year break she took from the music industry. The project is a testament not only to the new artistic balance she’s found, but to a mode of living and a freedom of expression she’s carved out as she’s slowly come into her own as a songwriter.
Jason Balla, currently of indie-rock outfit Dehd and formerly of NE-HI and Earring, has been a fixture of the Chicago rock scene for almost as long as he can trace back his musical consciousness. But with the release of his second solo record as Accessory, entitled Dust, he’s at his most intrepid, carving out spaces informed, but not wholly defined by, his roots in noise rock and his long-held passion for “weirdo” music.
Valentin Prince’s winding musical journey, which began as a child listening to his father sing Bob Dylan songs as he walked through the halls of their house outside of Boston and came to fruition in the small, passionate scene of Harrisonburg, Virginia, has left him with an endless array of imprints and fascinations— one that has been expressed in various forms in each of his unique solo releases.
When Violet Beller and Anakeesta Ironwood first met at the University of Miami, they knew immediately that they would click as friends. Their similar musical and creative affinities ensured it. But what they didn’t know was the coiling twists and turns that their original sapling of an idea would take on, incorporating member after member from their scene until rug, as a sprawling, seven-piece indie band, came to find its complete form.
When Northampton-based composer and producer Dan Langa set out to create a live version of his COVID-era concert After Nothing Comes, enlisting a number of collaborators to re-interpret and re-record the work in a live setting, he had very little idea what would ultimately come of it. Fugue State and its first full release— a collage-oriented, experimental version of the original chamber composition— came about unintentionally, as a gradual crystallization of Langa’s artistic intentions as he worked on the project.
NYC-based guitarist and singer-songwriter Eli Frank has found creative release through Bummer Camp, his solo endeavour turned full-band project, in the years since the dissolution of his DIY punk venture Top Nachos. But now, as the release of the newest Bummer Camp record Fake My Death indicates a turn in a more pop-leaning direction, it’s become evident that Frank is operating at a level of artistic freedom that has, at times throughout his career, been difficult to keep near the forefront of his creative atmosphere.
For founder and frontman Ed Moreno, SoCal-based indie and garage-rock band The High Curbs has served as a sort of journal for his musical inspirations and creative leanings since its formation in 2013. At the time, Moreno was in high school, but over the decade-plus The High Curbs have been in action, he has watched himself grow from an energetic, rock-loving teenager to a more mature artist, coming to love the artistic process itself to the same extent he’s always been impassioned by the actual act of performing his music.
she’s green has come a long way from their roots scrapping together demos in their shared house in Minneapolis, but their unique brand of “moss rock”, a folk and indie-inspired, dreamy shoegaze blend, has managed to maintain its centrality to their image and their artistic output in the meantime. With the upcoming release of their third project swallowtail, however, they have reached a new level of creative polish and cohesion— one that is imminently recognizable in the nooks and crannies, the infinite and collapsing spaces, they fill with their withering sonic atmosphere.
Although Dirt Buyer originated as simply another foray in the playful experimentations of founders Joe Sutkowski and Ruben Radlauer, it quickly took on a life of its own, serving as an outlet for the constant musical energy and slowcore-tinged riffs the pair exuded. But for Sutkowski particularly, the band (and the release of Dirt Buyer III) have become a sort of baseline— one that, as he exits a long-standing battle with addiction, represents a goal of a comfortable and intimate creative space to return to.
From the time he was first immersed in his brother’s rotation of southern hip-hop, NY-born producer and rapper Radicule. knew that, in some shape or form, he wanted to be involved in the direct thematic delivery and pure artistry those rappers exhibited. In the years since, his style has taken massive leaps and turns, but he and his central creative intention have remained intact.
Iguana Death Cult came to life as the garage-punk passion project of four teenage friends, and it has seen its fair share of transformations over the roughly 12 years since its inception. But their newest record, Guns Out, represents more than just a sonic evolution for the Rotterdam-based band. After two of the band’s original members made the difficult decision to move on from the project, Guns Out is a triumphant and searing continuation of the psychedelic and funk-rooted influences that defined their earliest efforts.
best dressed ghost, the garage and surf-inspired punk band from New Jersey, has taken a leap of artistic confidence in the release of its second record, Let’s Go Home, in March. When tracing the creative threads through the trails of their first record, however, a singular characteristic of the band’s work becomes clear— all four members possess a special sort of creative unison, elevated by the sheer charisma and energy that percolates not only through frontwoman Stef Leo’s personality-laden vocals but also through the band’s relentless willingness to adapt to the diverse vibrancies that each track demands.
Ovven, the solo project of Dallas Ugly guitarist and touring virtuoso Owen Burton, came to life in February with the release of Gnawing At The Cord, Burton’s debut solo album. But the foundations of Ovven’s sound, which differ starkly from the softer Americana that composes much of his body of work, trace back to his childhood in Chicago— they are, in a word, utterly natural to Burton’s sonic vocabulary.