KOGG are a London/Essex experimental electronic duo formed by Selena Kay and Cerys Hogg. Emerging in 2018, they’ve carved out a distinctive niche that blends contemporary classical composition, jazz improvisation, and DIY sound invention.
Signed to Nonclassical, KOGG challenge the traditional austerity often associated with experimental music. Their work feels tactile and playful — grounded in curiosity, collaboration, and process rather than rigid formalism. Having performed at venues such as IKLECTIK and The Moth Club, as well as festivals including Huddersfield Contemporary Music Festival and Aldeburgh Festival, they’ve steadily built a reputation for high-energy, theatrical audiovisual performances.
“Doing Things” is taken from their debut album Mechanista (out May 22), and it captures KOGG at their most instinctive and inventive.
What begins as a gentle vocal chord progression evolves into a rhythmically elastic, slightly off-centre dance track — built entirely from the human voice. Every sonic element is derived from that original recording: sliced, reshaped, stretched, and reassembled into a full-bodied electronic ecosystem. Even the chorus emerges from a probability-based generative system, blurring the boundary between composition and algorithmic process.
The result is kinetic yet human. It feels like dancing on uneven ground — unstable, surprising, but joyful. A rework by Gabriel Prokofiev further extends the track’s experimental DNA, reframing its textures through a sharper radio-friendly lens.
Why It Is Trending: Experimental Music That Feels Playful, Not Precious
KOGG’s rise reflects a broader appetite for electronic music that prioritizes process and personality over polish.
With early support from BBC Radio 6 Music and BBC Radio 4, “Doing Things” is resonating because it repositions experimental composition as accessible and alive. Rather than presenting complexity as something distant or intimidating, KOGG frame it as discovery — sound built from breath, broken piano keys, elastic bands, and everyday objects.
In a digital era saturated with hyper-optimized production, “Doing Things” stands out by foregrounding transformation. It’s not just a dance track — it’s a demonstration of how a single human sound can become an entire moving system. That tactile inventiveness, paired with a quietly radical perspective in a male-dominated field, makes KOGG one of the most compelling experimental acts to watch in 2026.
