KESMAR is a new chapter for Sydney musician Nathan Hawes. Having first picked up a guitar in 2006, Hawes spent over a decade serenading audiences with his folk tunes with great success. Considering his musical background, Hawes’ latest evolution into KESMAR comes as an eyebrow-raising surprise. He’s traded his acoustic guitar for swirling synths, introducing a more disco-oriented chapter of his career. The KESMAR project began when he participated in some new writing sessions in 2016, where he “basically fell in love with learning production and vintage synthesisers.”
“Coming from writing folk music, the simplicity was everything but felt I was limited… Before, I used to write a song in a night and only when I was feeling creative, I took on a whole new writing method of starting a session with someone I’d never met and finishing a track in seven hours,” KESMAR says. From there, he threw himself headfirst into his latest musical adventure, purchasing recording software and a 1982 Juno-60 synth. KESMAR began co-writing with indie and electronic mainstays like Lanks, Panama, Tim Ayre (Tim & Jean) and George Nicholas (Seekae) to hone his craft, while also living off a healthy soundtrack of like-minded European artists like Metronomy, Roosevelt and L’imperatrice.
As a result, KESMAR is very much a project of collaboration and experimentation, and his latest sounds ooze with the brave ambition of an artist who’s treading through uncharted sonic waters.