“Razorsharp machete beats, these electro terrorists have been exploding NME’s head all week” NME

“It’s a beast of a track! Like Massive Attack before the Funk dissipated” 5/5 MIXMAG

“…The best psyched-up, twisted-soul dance record of the year” Sunday Times

“Wonderful sonic spookiness from the more crepuscular corners of the dancefloor with twisted techno-soul” Sunday Times - No. 2 ‘Best New Acts for 2007’

FlyKKiller is the second collective project of musical collaborators Stephen Hilton and Pati Yang. Separately they have been at the forefront of avant-garde electro music, both bringing a wealth of experience into a band that in such a short time have already been seized upon as pioneers of the genre.

Polish born Yang spent her childhood on tour with her fathers iconic punk band; an outfit that underwent extreme danger to smuggle their anti-regime message through soviet censorship, before signing her first album deal at age 18. The release was an instant success in Poland, becoming widely acclaimed across the European dance scene, earning a reputation that hastily spread worldwide for her enchanting voice, musical talent and unrelenting creativity.

It was on taking her work to London that Pati met Stephen Hilton, co founder of The Free Association with music partner David Holmes, also putting the beats behind many soundtracks for films such as two James Bond movies, Hot Fuzz, Moulin Rouge, Ocean’s 11, 12 and 13, while producing albums with the likes of Pulp, Depeche Mode and Trevor Horn. Stephen also co-wrote with Siouxsie Sioux on her new album.

Together they formed the band Children and once again were praised alongside the likes of Kieran Hebden, Steve Reed and Prefuse 73 in the Independent Newspaper’s round up of new electronic experimental artists. Together, Pati and The Free Association found a level of working which was nothing short of exceptional; collaborating on the soundtrack to Michael Winterbottom’s film Code 46. The score was nominated for the best soundtrack at the European Film Awards in 2003, which was a personal high for Pati along with supporting Depeche Mode at their stadium show in Warsaw, 2006.

For their new project, the cannily titled FlyKKiller, the pair set about recording a studio album with (as legend would have it) an extraterrestrial called V; which when you hear the outcome of these sessions you can understand where such claims might come from. The gallant and incessant beats that have become the backdrop to Yang’s howling, stirringly poignant and harmonic vocal were, again as the myth insists, recorded by V who created these cubes (whilst in captivity in the FlyKKiller Institute in Poland) as a vessel in which to pass on her peaceful communications to us earthlings. However the otherworldly sci-fi cubes have been seized from her by her captors at The FlyKKiller Institute, and sold to fund their scientific research. Additional information is being presented via download and physical formats.

The first FlyKKiller single rocketed straight into the DMC Zzub chart at number 1. NME, DJ Mag, Hip Hop connection and DJs such as Annie Nightingale, Zane Lowe and Rob Da Bank at Radio One, John Kennedy and James Hyman at XFM and Joe Ransom and Loose Cannons at Kiss all went berserk for FlyKKiller’s cosmically inspired conspiratorial beats while BBC 6 Music made FlyKKiller’s second single their Record of the Week.

The album chronicles tales of discovery, capture and salvation, through electronically simulated musical transmissions. The genetically mutated sound comes out as sharp and cold as The Knife and as feral as Siouxsie Sioux and the Creatures. The album made it to The Sunday Times best albums of 2007, at number two, also notching up a top ten spot on The Fly’s albums of the year. Though the work was designed to be a studio dance album, Hilton and Yang applied the work to a stage where they found a whole new world of possibility radiating from the micro-beats that punctuate songlines like spiked gothic turrets.

With a pummelling live band behind them, and along with guest vocalists, our front woman whispers and wails enchanting songs like threatening spells, each song a disturbed vignette into a David Lynch-like story, whilst the underlying beats stutter through minimal hip hop and mechanical breaks with electro finesse and FlyKKiller’s 96 eyes firmly fixed on all musical and artistic movements.

So huge was the success of the album and its accompanying singles within the music world that the stage show is now set to move across the country and allow, for the first time, a public to view this multifaceted masterpiece that has unified the souls of not just electro, but of jazz, alternative rock and dance into a project so unfathomably coherent and visually stunning that its power simply takes your breath away. The level of both Hilton and Yang’s onstage presence is going to make their shows a yardstick for all live dance music that follows thereafter, or so say the people it touches.