Las Venus Electric shares new single ‘Kid Gloves’

Admittedly for Evan Sue-Ping, time has ticked slowly on the countdown clock to the release of his debut as Las Venus Electric, ‘Knownothing EP’. Chalk that up to the peculiarities of making music in the isolation era. 

Months since the release of his last single Halfway Done, the year has come to an unsatisfying end. Uncertainty may have tightened its grip but his latest single Kid Gloves tries to punch its way out. Written from the point of view of a man in a hard battle with the feeling of helplessness, Kid Gloves draws hope from that very well. Just like his debut single Middle Ageless, this single also delivers a wall of guitars and sound. Watch the video clip via YouTube below.

“There’s a lot to be said of perspective,” Evan Sue-Ping says. “Faced with an uncertain future, we can surrender to the times or try to look beyond. I’m choosing to get back up on my feet.”

While many of the tracks on the forthcoming ‘Knownothing EP’ deal with the angst of aging, Sue-Ping admits that these songs have taken on a different tone with the unease currently plaguing the world. In what can be described as a kind of post-covid blues, he hopes these songs bring a bit of personal clarity and ultimately, healing.

“So many things that I’m feeling stem from the same place,” Sue-Ping says. “Trying to get a handle on a Global crisis while having a crisis of self.”

Producer Chris Osti (Headstones) does an incredible job capturing the woozy state one experiences after a knockout blow. “I really wanted the song to have the overwhelming quality of regaining consciousness,” says Sue-Ping. “The disorienting tunnel-vision and the anxious desire to shake it off.”

The power behind the punch is delivered by the track’s drummer, Andre Skinner of Slow Death Lights. Employing Sabbath-like precision, there’s an elegance in the walloping syncopation he provides. 

The accompanying video was created by Toronto Motion Graphic artist, Christopher Johnston. “I’m a real fan of the way he creates shadowy environments,” Sue-Ping says. “He really captured that indiscriminate space where self-doubt lives.”