Today, The KVB released their sixth album, Only Now Forever, on Invada Records. To celebrate the occasion, the duo dug in and, well, dug in to the entire album, track by track, for us. The perfect for a companion for a first listen, kick back with your preferred system and read on!


‘Above Us’ is a song about defiance in reaction to the anxieties of modern life and was the first single we released from the album. We debuted this track live at Green Man Festival this summer and thought the reaction from the crowd at this show, and ones since have been even better than we imagined!

During the recording of this album, we got our hands on an OB6 synthesizer and it ended up featuring heavily on this song. The organ-like sequence at the beginning reminded us a little bit of the intro to Ride’s ‘Leave Them All Behind’, which we thought was a nice touch, having played with them a couple of times prior to making the album.

The video for this single was created by Alden Volney, whose 3D work has a similar aesthetic and intent to Kat’s live visuals.


‘On My Skin’ is the most openly romantic track on our new album. It’s a song that deals with the glowing anticipation of new relationships and the uncertainty and optimism whilst falling in love.

It’s also one of the most melodic songs we’ve ever recorded and is both melancholic and euphoric. We consciously allowed the vocals to sit higher in the mix, and be less obscured with reverb than in the past and think this song perfectly captures the bittersweet nature of our album.


This is the title track of the album, and we feel it has an almost beach-goth vibe to it, with the mix of surf guitars and dark electronics. Another synth that was used a lot on this album is the Dreadbox Erebus, which we used for the bass sequence on this track.

During our time writing this album we were influenced greatly by the experimental poet Keston Sutherland, whose work is visceral and melodic, and it is from him we got the title ‘Only Now Forever’. This title sums up the albums underlying theme of the perception of time and how different emotions can affect this experience, such as love, which can freeze it or anxious nights, which can seem endless.

Months after we finished the record, we had chance to reflect more deeply on it, and realised there was a strong sense of urgency and travel on this album, particularly on this track. Which is most likely influenced from all the touring we have done since our last album and will continue to do when we start our seven-week album tour later this month.


This was the first track we finished for the new album and definitely one of our favourites. For us, it feels very influenced by our time in Berlin. It’s about the temptations of living there and the struggle, but also fun that its lifestyle brings.

On previous albums we had always restricted ourselves instrument-wise to what we could play live, but this time we let the atmosphere and our experimentations dictate the tracks, especially this one.


Influenced by Lee Hazelwood and Nancy Sinatra, ‘Violet Noon’ is a dark love song set against the backdrop of the apocalypse. While the world falls apart all you can think of is the person you want to spend those last moments with.

The dreamy album cover, taken by Maria Louceiro, perfectly reflects the otherworldliness of this song in particular, as it doesn’t lend itself to a particular place or time.


The most electronic track on the album and the only track we’ve released that features Kat on lead vocals. Again, we would say it has a strong Berlin influence to it. For a few months this track was just a rough, yet seductive industrial jam with a sequence and drumbeat.

Our Berlin-made Tanzbär drum machine was the main source of our drums and percussion on this album and it sounds powerful on this song in particular.


Self-producing this album enabled us to approach things from different angles and record ideas whatever time inspiration struck (we had very nice neighbours!). The original demo of this song had more of a standard ‘psych’ style to it. So we decided to strip it back and rebuild it, like we would when working on a remix. In the end there were only a few parts from the original song left, which we also treated like a remix, and cut up these parts and reprocessed through various effects.

Thematically it’s about people living ‘In Fiction’ both digitally and IRL, whilst trying to determine what you can and shouldn’t believe.


We realise now, a lot of songs on the album seem about overcoming things. Perhaps an unconscious reaction to what’s happening in the world….

The British funk group Cymande originally influenced the bass line, but a friend of ours said that they could hear a Serge Gainsbourgh influence in the track, which is interesting, as we’ve spent a lot of time listening to Serge over the last few years. Sometimes these influences find a way out without you realising it. There’s definitely a happy/sad vibe to this song, something that features strongly throughout the whole album.


This is the oldest song on the album, dating back to before our previous album ‘Of Desire’. Originally it was more minimal, but after revisiting it again during the album sessions it ended up with a much more anthemic feel. It’s a song about youth; about thinking you know everything and the reality of finding out you don’t.


This was the last song written and recorded for the album, so it seemed a fitting way to end it. It started out as a dark, punishing endurance track, with the flanging bassline and electronic drums, but after watching Slowdive’s beautiful set at Levitation Festival in France last year the song developed into something dreamier, and more ethereal. If you’ve ever experienced a winter in Berlin, you would know how endlessly grey it can be, but also how fruitful it can be creatively. And so, this song is an ode to the passing of Berlin Winter, embracing it and also looking towards the end of the season and the future.