‘BLESS THIS MESS’ is the long-awaited EP released today, Thursday July 30, 2020, by Kendall Layt.
This collection of songs takes on the form of an electronic concept album, dissecting the last 12 years of its creation into 5 chapters of significance, or as Kendall refers to them, ‘Fractures in Time’. Kendall’s evolution as an artist has been a drastic transition from an acoustic artist to now making himself comfortable in the stylings of Dark House music. Not only is ‘BLESS THIS MESS’ the debut release from Kendall, but the entire EP has been created, produced and recorded by Kendall, produced and mixed by Ellen Hartwig and mastered by Matthew Gray, remotely during isolation.
With the Covid19 global pandemic causing all gigs to be cancelled indefinitely, in the darkest beginnings of isolation, Kendall re-lit the passion he has for his original music through his realisation of his own mortality. In early 2019, Kendall was confronted with a list of health conditions by medical professionals, informing him that drastic changes needed to be made, and if they weren’t, Kendall would not make it to the age of 30. On Thursday, July 30, Kendall will reach the age of 30 and will have proven the experts wrong, via turning his life around into the productive, creative and incredibly passionate artist he is today. ‘BLESS THIS MESS’ has become the creative fire fuelling him throughout this year’s occurrences, grounding him back to his artistic goals.
Kendall Layt began performing solo in 2009, but since 2014 has been more well established as a bassist for bands of varying genres. In 2017 he created Turtle Juice Records, a Brisbane based independent label who work specifically with queer artists. With the inability to produce events and perform, and after the significant progress of his song-writing and state of mind, as part of his involvement in ‘You Can’t Take Me’, a project led by Sugarrush Music, Kendall turned to his own work again after starting and stopping this release multiple times over the last 11 years. He never progressed from his emo phase, nor has he worn any kind of jeans other than the skinny variety since 2005, and it’s distinctly obvious in the ‘creepy disco’ that’s he’s brought to life in ‘BLESS THIS MESS.’