The “post-dubstep” godfathers are exploring traditional instruments. Certainly, expanding boundaries to include both software and analog wins fans on both sides of the line, but can we still call Kimbie innovators of electronic music? Should we care anymore? And if we don’t care, can I stop calling them godfathers?
With familiar beats underneath otherworldly productions, Mount Kimbie are arguably responsible for the birth of the term “post-dubstep.”
– Mount Kimbie YouTube
In their full length May release Cold Spring Fault Less Youth, Mount Kimbie not only do much of their own vocals, but they pair guitars & drum kits with software synthesizers and samples. As a listener, if you’re trying to leave those old guitars in the attic, the future dub veterans‘ new album might sound like an identity crisis.
Here’s where we concede. Though we didn’t expect this mix of sounds, we’re enjoying the dizziness with closed eyes. Listen to the wisdom in that accordion.
The album boasts two very powerful sessions with lanky, London cockney crooner King Krule, where the eighteen year old’s signature swoon adds a perfect contour to Kimbie’s bright yet melancholic chords. Although Krule sings of frustrations, “You Took Your Time” relaxes the nerves.
Kimbie & Krule slay us further. Later in the album, “Meter, Pale, Tone” somehow puts a smile on my face. Maybe it’s because I enjoy hearing a kid so young sing so skillfully and earnestly about his feelings. But Kimbie provide that warm church organ, and at 130bpm, their punchy, authentic kick drum makes a party out of heartbreak.
Perhaps the rest of Mount Kimbie‘s Cold Spring Fault Less Youth doesn’t stick to our ribs in the same way as “You Took Your Time” & “Meter, Pale, Tone.” Maybe their next album will be generic indie electronic. Regardless of the duo’s direction, they’re forcing us to pay attention with potent poetry and musicianship.
We can’t look away.