I just been eating away when I found her. All drowned in grey, I might have drowned her. I caught her plate number, and yeah, I might have seen it all.
If I picked out a random song in the entirety of Mount Kimbie‘s discography and asked you what the genre was, the potential answers would most likely be varied, because of how diversely they cover their genre’s spectrum. For example, if I played you Made To Stray, or Sullen Ground you’d probably say they’re along the lines of, left-field, house. If I played you Maybes or Blood and Form, you’d get mixed reactions, from Ambient Downtempo to Lo-fi hip-hop beats. If you listened to Home Recording, at the risk of sounding slightly pretentious, you could call it post-left-field-electronic-jazz-dance. However, it is a difficult task for artists to switch between sub-genres, yet keep up with their own unique style, so well. And that is exactly what Mount Kimbie do, not only in their past releases, but in their new album, Love What Survives.
Contrary to their previous albums, Mount Kimbie deliver a detailed, massive, live-sounding, collection of arrangements, despite being only an electronic two piece. However, the entire album is still defined by its heavily syncopated rhythms and slight jazz influences, and world music influences.
With the album featuring King Krule, James Blake, Andrea Balency and Micachu, Mount Kimbie never fail to show how well they have collaborated and synchronised with other artists, witth either parties stepping out of their comfort zones but also implementing their own style, creating something completely new and ethereal. This is mostly notable in the songs We Go Home Together featuring, James Blake, and my personal favourite, You Look Certain (I’m Not So Sure), featuring Andrea Balency. That song is an absolute cluster explosion of energy.
When Blue Train Lines was released as the second single, both Mount Kimbie‘s and King Krule‘s fanbases were excited due to this collaboration meaning new music to be released soon. This song is the musical equivalent of speeding down the motorway. Featuring straight to the point keyboards, overwhelming and fast tracked rhythms, and Archy Marshall’s iconic gritty, London accent voice (King Krule and Mount Kimbie have collaborated many times before).
Marilyn is another great pick from Love What Survives. It starts off with various african like percussion timbres, soon after disappearing into silence, then bursting into an arrangement of very fixed rhythms, working so synergistically with an accompanying smooth bass guitar. The vocal delivery from Micachu is phenomenal, displaying a performance just underneath the mix of all the other layers of the song, not stealing away any of their prominence, much like the rest of the album.
The album contains many extremely hidden gems. With previous albums being very focused in the left field area of electronic, many of these songs include a new varied approach to electronic, making of the songs sounding like a live band at points. Some of them also sound a lot cleaner, more accessible, and they have collected their post-dubstep-hip-hop influences and flipped it straight around, moving towards the other side of the musical spectrum, whilst keeping their unique, established sound. For first listeners, I recommend these: Delta, Marilyn and Blue Train Lines.