Mhm, Mhm
CALLING FOR A PEOPLE TO COME
Boomkat Product Review:
Klein’s Parkwuud Entertainment label quietly released this debut album from unknown entity Mhm, Mhm at the very end of last year, making it to the runner up spot in our annual list of new discoveries - just pipped by the sheer scale of that 5 hour long Voice Actor debut. It now lands on tape, coming to you with our highest recommendation if you’re into anything from Space Afrika to Lucy Liyou to John T Gast to Dawuna.
Back in November last year we could find zero information about Mhm, Mhm, but the internet has now hatched some clues; a listing for a gig with Alan Licht in Belgium that tells us that the project is the work of a multidisciplinary artist based between Amsterdam and New York, “a maker of blues you can only see once your eyes and ears get adjusted.”
“Calling For A People To Come” is one of those elusive debuts that appeals to our love of an indecipherable narrative while also exuding pure feeling in a way that blends ambient blooz and smudged chamber classicism recalling everything from RZA’s Ghostdog OST and Babyfather to The Caretaker and John T Gast. Yeah it’s that special stuff, weaving intricate, concrète sound design around beautiful strings, swirling atmospherics and an occasional spoken narrative not unlike the kind of intimate but larger-than-life sound documents Klein herself has had us snagged on since her debut almost a decade ago.
The five parts evince the groggiest liminal headspaces as the album unfurls from city at dusk scenes of slanted jazz bass loops and distant dogs and dibble sirens on ‘Nowhere is now, here’ to the melancholy caress of down pitched flute in ‘To be reduced’. It passes out into pure ambient noir loop styles like Klein meets Philip Jeck or that Tomorrow The Rain Will Fall Upwards anomaly on Blackest Ever Black in ‘More finishes other things’, whilst the gauzy smudge of ‘demonstrate’ is comparable with the most red-eyed quarters of Rat Heart, and ’N O K is NOT OK’ gnaws on the nerves like some abandoned Dawuna production.
A great, great debut: lather, rinse, and repeat.
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Boomkat Product Review:
Klein’s Parkwuud Entertainment label quietly released this debut album from unknown entity Mhm, Mhm at the very end of last year, making it to the runner up spot in our annual list of new discoveries - just pipped by the sheer scale of that 5 hour long Voice Actor debut. It now lands on tape, coming to you with our highest recommendation if you’re into anything from Space Afrika to Lucy Liyou to John T Gast to Dawuna.
Back in November last year we could find zero information about Mhm, Mhm, but the internet has now hatched some clues; a listing for a gig with Alan Licht in Belgium that tells us that the project is the work of a multidisciplinary artist based between Amsterdam and New York, “a maker of blues you can only see once your eyes and ears get adjusted.”
“Calling For A People To Come” is one of those elusive debuts that appeals to our love of an indecipherable narrative while also exuding pure feeling in a way that blends ambient blooz and smudged chamber classicism recalling everything from RZA’s Ghostdog OST and Babyfather to The Caretaker and John T Gast. Yeah it’s that special stuff, weaving intricate, concrète sound design around beautiful strings, swirling atmospherics and an occasional spoken narrative not unlike the kind of intimate but larger-than-life sound documents Klein herself has had us snagged on since her debut almost a decade ago.
The five parts evince the groggiest liminal headspaces as the album unfurls from city at dusk scenes of slanted jazz bass loops and distant dogs and dibble sirens on ‘Nowhere is now, here’ to the melancholy caress of down pitched flute in ‘To be reduced’. It passes out into pure ambient noir loop styles like Klein meets Philip Jeck or that Tomorrow The Rain Will Fall Upwards anomaly on Blackest Ever Black in ‘More finishes other things’, whilst the gauzy smudge of ‘demonstrate’ is comparable with the most red-eyed quarters of Rat Heart, and ’N O K is NOT OK’ gnaws on the nerves like some abandoned Dawuna production.
A great, great debut: lather, rinse, and repeat.
Boomkat Product Review:
Klein’s Parkwuud Entertainment label quietly released this debut album from unknown entity Mhm, Mhm at the very end of last year, making it to the runner up spot in our annual list of new discoveries - just pipped by the sheer scale of that 5 hour long Voice Actor debut. It now lands on tape, coming to you with our highest recommendation if you’re into anything from Space Afrika to Lucy Liyou to John T Gast to Dawuna.
Back in November last year we could find zero information about Mhm, Mhm, but the internet has now hatched some clues; a listing for a gig with Alan Licht in Belgium that tells us that the project is the work of a multidisciplinary artist based between Amsterdam and New York, “a maker of blues you can only see once your eyes and ears get adjusted.”
“Calling For A People To Come” is one of those elusive debuts that appeals to our love of an indecipherable narrative while also exuding pure feeling in a way that blends ambient blooz and smudged chamber classicism recalling everything from RZA’s Ghostdog OST and Babyfather to The Caretaker and John T Gast. Yeah it’s that special stuff, weaving intricate, concrète sound design around beautiful strings, swirling atmospherics and an occasional spoken narrative not unlike the kind of intimate but larger-than-life sound documents Klein herself has had us snagged on since her debut almost a decade ago.
The five parts evince the groggiest liminal headspaces as the album unfurls from city at dusk scenes of slanted jazz bass loops and distant dogs and dibble sirens on ‘Nowhere is now, here’ to the melancholy caress of down pitched flute in ‘To be reduced’. It passes out into pure ambient noir loop styles like Klein meets Philip Jeck or that Tomorrow The Rain Will Fall Upwards anomaly on Blackest Ever Black in ‘More finishes other things’, whilst the gauzy smudge of ‘demonstrate’ is comparable with the most red-eyed quarters of Rat Heart, and ’N O K is NOT OK’ gnaws on the nerves like some abandoned Dawuna production.
A great, great debut: lather, rinse, and repeat.
Boomkat Product Review:
Klein’s Parkwuud Entertainment label quietly released this debut album from unknown entity Mhm, Mhm at the very end of last year, making it to the runner up spot in our annual list of new discoveries - just pipped by the sheer scale of that 5 hour long Voice Actor debut. It now lands on tape, coming to you with our highest recommendation if you’re into anything from Space Afrika to Lucy Liyou to John T Gast to Dawuna.
Back in November last year we could find zero information about Mhm, Mhm, but the internet has now hatched some clues; a listing for a gig with Alan Licht in Belgium that tells us that the project is the work of a multidisciplinary artist based between Amsterdam and New York, “a maker of blues you can only see once your eyes and ears get adjusted.”
“Calling For A People To Come” is one of those elusive debuts that appeals to our love of an indecipherable narrative while also exuding pure feeling in a way that blends ambient blooz and smudged chamber classicism recalling everything from RZA’s Ghostdog OST and Babyfather to The Caretaker and John T Gast. Yeah it’s that special stuff, weaving intricate, concrète sound design around beautiful strings, swirling atmospherics and an occasional spoken narrative not unlike the kind of intimate but larger-than-life sound documents Klein herself has had us snagged on since her debut almost a decade ago.
The five parts evince the groggiest liminal headspaces as the album unfurls from city at dusk scenes of slanted jazz bass loops and distant dogs and dibble sirens on ‘Nowhere is now, here’ to the melancholy caress of down pitched flute in ‘To be reduced’. It passes out into pure ambient noir loop styles like Klein meets Philip Jeck or that Tomorrow The Rain Will Fall Upwards anomaly on Blackest Ever Black in ‘More finishes other things’, whilst the gauzy smudge of ‘demonstrate’ is comparable with the most red-eyed quarters of Rat Heart, and ’N O K is NOT OK’ gnaws on the nerves like some abandoned Dawuna production.
A great, great debut: lather, rinse, and repeat.
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