Amy Winehouse’s legend and spirit guides Kevin Richard Martin aka The Bug from beyond in a smoky ambient jazz drone livication best compared with his heartbreaking work with King Midas Sound, or the elegiac appeal of Bohren und der Club of Gore at a midnight crossroads with Rhythm & Sound.
‘Black’ respectfully marks what would have been Amy Winehouse’s 40th birthday with a brooding, impressionistic reflection on her legacy, and the imprint her work left upon Kevin Martin.Across 11 instrumental parts, totalling 77’, Martin stokes his studio to bake each piece to the heaviest degrees and intense flavours. His muse prompts a slow flow of grief manifest in haunted dancehall dimensions.
‘Loveless’ heaves with gutted reverberations, and the 14’ ‘Black’ grows from a kernel of plucked double bass into a magisterial, goose-pimpling cloud of ambient noise. He summons a gorgeous sort of molasses Lovers Rock on ‘Love You Much, Love Too Much’, and again takes time to gulp heart-in-mouth in the 15’ gulf of ‘On Top of the World’, while the hard jazz dub noise of ‘Camden Crawling’ expresses a more aggressive stage of grief alongside a side-eye to Winehouse’s one-time husband and purported enabler in ‘Blake’, before the final section shuffles into oblivion with the 9’ of ’To Disappear’ and Bohren-esque ‘Rest In Peace’.
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Amy Winehouse’s legend and spirit guides Kevin Richard Martin aka The Bug from beyond in a smoky ambient jazz drone livication best compared with his heartbreaking work with King Midas Sound, or the elegiac appeal of Bohren und der Club of Gore at a midnight crossroads with Rhythm & Sound.
‘Black’ respectfully marks what would have been Amy Winehouse’s 40th birthday with a brooding, impressionistic reflection on her legacy, and the imprint her work left upon Kevin Martin.Across 11 instrumental parts, totalling 77’, Martin stokes his studio to bake each piece to the heaviest degrees and intense flavours. His muse prompts a slow flow of grief manifest in haunted dancehall dimensions.
‘Loveless’ heaves with gutted reverberations, and the 14’ ‘Black’ grows from a kernel of plucked double bass into a magisterial, goose-pimpling cloud of ambient noise. He summons a gorgeous sort of molasses Lovers Rock on ‘Love You Much, Love Too Much’, and again takes time to gulp heart-in-mouth in the 15’ gulf of ‘On Top of the World’, while the hard jazz dub noise of ‘Camden Crawling’ expresses a more aggressive stage of grief alongside a side-eye to Winehouse’s one-time husband and purported enabler in ‘Blake’, before the final section shuffles into oblivion with the 9’ of ’To Disappear’ and Bohren-esque ‘Rest In Peace’.
Amy Winehouse’s legend and spirit guides Kevin Richard Martin aka The Bug from beyond in a smoky ambient jazz drone livication best compared with his heartbreaking work with King Midas Sound, or the elegiac appeal of Bohren und der Club of Gore at a midnight crossroads with Rhythm & Sound.
‘Black’ respectfully marks what would have been Amy Winehouse’s 40th birthday with a brooding, impressionistic reflection on her legacy, and the imprint her work left upon Kevin Martin.Across 11 instrumental parts, totalling 77’, Martin stokes his studio to bake each piece to the heaviest degrees and intense flavours. His muse prompts a slow flow of grief manifest in haunted dancehall dimensions.
‘Loveless’ heaves with gutted reverberations, and the 14’ ‘Black’ grows from a kernel of plucked double bass into a magisterial, goose-pimpling cloud of ambient noise. He summons a gorgeous sort of molasses Lovers Rock on ‘Love You Much, Love Too Much’, and again takes time to gulp heart-in-mouth in the 15’ gulf of ‘On Top of the World’, while the hard jazz dub noise of ‘Camden Crawling’ expresses a more aggressive stage of grief alongside a side-eye to Winehouse’s one-time husband and purported enabler in ‘Blake’, before the final section shuffles into oblivion with the 9’ of ’To Disappear’ and Bohren-esque ‘Rest In Peace’.
Amy Winehouse’s legend and spirit guides Kevin Richard Martin aka The Bug from beyond in a smoky ambient jazz drone livication best compared with his heartbreaking work with King Midas Sound, or the elegiac appeal of Bohren und der Club of Gore at a midnight crossroads with Rhythm & Sound.
‘Black’ respectfully marks what would have been Amy Winehouse’s 40th birthday with a brooding, impressionistic reflection on her legacy, and the imprint her work left upon Kevin Martin.Across 11 instrumental parts, totalling 77’, Martin stokes his studio to bake each piece to the heaviest degrees and intense flavours. His muse prompts a slow flow of grief manifest in haunted dancehall dimensions.
‘Loveless’ heaves with gutted reverberations, and the 14’ ‘Black’ grows from a kernel of plucked double bass into a magisterial, goose-pimpling cloud of ambient noise. He summons a gorgeous sort of molasses Lovers Rock on ‘Love You Much, Love Too Much’, and again takes time to gulp heart-in-mouth in the 15’ gulf of ‘On Top of the World’, while the hard jazz dub noise of ‘Camden Crawling’ expresses a more aggressive stage of grief alongside a side-eye to Winehouse’s one-time husband and purported enabler in ‘Blake’, before the final section shuffles into oblivion with the 9’ of ’To Disappear’ and Bohren-esque ‘Rest In Peace’.
Double LP in a gatefold sleeve designed by Simon Fowler.
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Amy Winehouse’s legend and spirit guides Kevin Richard Martin aka The Bug from beyond in a smoky ambient jazz drone livication best compared with his heartbreaking work with King Midas Sound, or the elegiac appeal of Bohren und der Club of Gore at a midnight crossroads with Rhythm & Sound.
‘Black’ respectfully marks what would have been Amy Winehouse’s 40th birthday with a brooding, impressionistic reflection on her legacy, and the imprint her work left upon Kevin Martin.Across 11 instrumental parts, totalling 77’, Martin stokes his studio to bake each piece to the heaviest degrees and intense flavours. His muse prompts a slow flow of grief manifest in haunted dancehall dimensions.
‘Loveless’ heaves with gutted reverberations, and the 14’ ‘Black’ grows from a kernel of plucked double bass into a magisterial, goose-pimpling cloud of ambient noise. He summons a gorgeous sort of molasses Lovers Rock on ‘Love You Much, Love Too Much’, and again takes time to gulp heart-in-mouth in the 15’ gulf of ‘On Top of the World’, while the hard jazz dub noise of ‘Camden Crawling’ expresses a more aggressive stage of grief alongside a side-eye to Winehouse’s one-time husband and purported enabler in ‘Blake’, before the final section shuffles into oblivion with the 9’ of ’To Disappear’ and Bohren-esque ‘Rest In Peace’.