Sometimes making a statement from a corner of a room feels truer than making one from its center. Kai Campos — one-half of the London duo Mount Kimbie — believes that reasoning was crucial to his desire to make electronica in the first place. During shows, Campos found, DJs often set up shop to the side and in the dark, allowing more attention to fall on the audience and music itself. That modest attitude was once "quite refreshing" and is still reflected in Kimbie's aesthetic, even though he's begun pulling away from the genre. "Certainly now," the twentysomething says, "we don't particularly want to be considered an electronic band."
Cutting Mount Kimbie away from their root genre is a disingenuous move — they are, after all, signed to influential electronica label Warp and touring with Squarepusher. But Campos's assertion is reasonable. As Mount Kimbie, he and Dominic Maker work with an electronica-born instrumental palette, but the results — frail sampler-made melodies, ominously spare drum beats, minimalist arrangements, hollow production — frequently brush against post-rock, drone-folk, or even plain ol' experimental music. "This [forthcoming] record is probably less minimal in some ways than the last one," Campos says. "I'd be surprised if there are a lot of guitar solos on the next one."
Grimes | Visions, Identity Festival rocks out the dance party, It burns, it burns, More
- Grimes | Visions
The debut record from Grimes, an alias of the Montreal-based Boucher, kicks off the peculiarity parade by presenting song titles steeped in cutesy affectation.
- Identity Festival rocks out the dance party
Genre predictions are dumb, but there is one thing absolutely certain in music: rock music is dead, and the era of electronic dominance is finally here.
- It burns, it burns
A presence locally with digital production efforts and a turn with Seekonk for more than a decade, C Money Burns releases this week his first full-length work under his own moniker, and its title is apt.
- Blackshaw's good vibrations
Blackshaw's low-key career has evolved as organically as one of his songs: at 28, the Londoner has amassed a body of instrumental guitar music that defies tidy categorization. What he does isn't really folk, jazz, or new age — and it's far too accessible to be mistaken for avant-garde.
- Hot Chip | One Life Stand
Four albums into a career that appeared to begin as an art-school goof, Hot Chip look more likely than any of their peers to ascend one day to the intellectual electro-pop heights of Pet Shop Boys or Scritti Politti.
- Photos: Mumford and Sons at the Ames Hotel
WFNX presents Mumford and Sons, live session at the Ames Hotel
- Photos: Massive Attack at the House of Blues
Massive Attack, live at the House of Blues, on May 13, 2010
- Goose Bumps 4.0 is an aural smorgasbord
Milled Pavement Records' Goose Bumps series of hip-hop/electronic music compilations comes to an end with a bang: The fourth and final installment has 66 tracks featuring 96 different artists over the course of four albums.
- Photos: SSLLOOWW with Avoxblue
Avoxblue plays at Middlesex Lounge's monthly dance night, SSLLOOWW.
- Bruce Springsteen | Wrecking Ball
There was a time when Bruce Springsteen didn't need rousing choirs, swelling orchestrations, or repetitive Pogues poses to broadcast anthemic populist subversion.
- Porcelain Raft eases out of the shadows
Although Porcelain Raft released their debut full-length, Strange Weekend (Secretly Canadian), earlier this year, the project's mastermind, Mauro Remiddi, is no novice.
: Music Features
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