The New Citizen Kane has always excelled at building lush, electronic worlds, but his latest offering, Psychedelika — Stripped, proves that his songwriting is just as potent when the lights go down and the synths are turned off. This collection acts as a thoughtful bridge between the high-energy production of Psychedelika Pt. 1 and the upcoming Pt. 2, trading shimmering layers for a raw, acoustic-led intimacy that feels refreshingly honest.
The record features nine acoustic versions of tracks we previously knew as synth-heavy anthems. By removing the digital polish, Kane reveals the sturdy architecture of his melodies. There is a specific kind of bravery in this level of exposure; when you strip away the “excess,” as Kane calls it, the song has nowhere to hide. A standout moment is “Baile de Máscaras,”a bilingual track sung in English and Portuguese. Here, the metaphor of the masquerade ball feels even more poignant. Without the heavy production, the lyrics regarding emotional avoidance and the fear of endings hit with a quiet, devastating weight.
We also get a glimpse of the future with “Beers & Bad Lies (Acoustic).” This preview of Pt. 2 leans into a sense of restraint that suggests the next chapter of the project will prioritize emotional depth over mere spectacle. Kane himself notes that this project is about “remembering where they began,” and that sentiment is felt in every chord.
Psychedelika — Stripped is more than just a companion piece; it is a celebration of the song in its most human form. It is fragile, unvarnished, and deeply moving. For those who loved the scale of his previous work, this album offers a necessary, quiet perspective that confirms The New Citizen Kane as one of the most versatile songwriters currently working in the London scene.
