Mount Kimbie mark the distance travelled since the post-dubstep days with a road trip type album refracting their constituent influences of shoegaze, indie-pop, and electronica, tied with a signature melodic ribbon and starring King Krule, Andrea Balency-Béarn, and Micachu drummer, Marc Pell
Mount Kimbie follow a period of solve et coagula defined by 2022’s ‘MK 3.5: City Planning / Die Cuts’ to consolidate their rangy whims in a succinct 9-song soundtrack for coasting to the horizon. It was recorded in the UFO epicentre of Yucca Valley, California and is understandably imbued with a warm energy and sun-baked texture that distinguishes it from previous, whilst carrying over a timeless melancholic ennui that’s been there since ‘Crooks & Lovers’ became a de facto afters score to ravers untangling their feet during the late ‘00s phenomenon of post-dubstep.
For all intents and purposes they naturally assume an ultimate role of indie-pop band with ‘The Sunset Violent’. Guitars are to the fore, drums are live-sounding, and vocals on most songs, but all tastefully smudged with a sun-dazed sheen of electronica in a way that places them somewhere close to Mica Levi and co’s Good Sad Happy Bad or bar italia. Initially gauzy, glossolalic in ‘The Trail’, they come into full voice with the ‘90s indie wallow of ‘Dumb Guitar’ sung by Andrea Balency-Béarn, who harmonises with the lads’ counterpoint on indie disco tune ’Shipwreck’, while King Krule chimes in on the woozy shoegazer ‘Boxing’ and helps see it off with the MOR indie chug of ‘Empty and Silent’. We reckon they’re best when echoing their earlier sound in the baroque stepper ‘Got Me’, and craftily winking to Prefab Sprout in ‘A Figure in the Surf’, but elsewhere it errs too close to a ‘Shine’ compilation for our comfort.
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Mount Kimbie mark the distance travelled since the post-dubstep days with a road trip type album refracting their constituent influences of shoegaze, indie-pop, and electronica, tied with a signature melodic ribbon and starring King Krule, Andrea Balency-Béarn, and Micachu drummer, Marc Pell
Mount Kimbie follow a period of solve et coagula defined by 2022’s ‘MK 3.5: City Planning / Die Cuts’ to consolidate their rangy whims in a succinct 9-song soundtrack for coasting to the horizon. It was recorded in the UFO epicentre of Yucca Valley, California and is understandably imbued with a warm energy and sun-baked texture that distinguishes it from previous, whilst carrying over a timeless melancholic ennui that’s been there since ‘Crooks & Lovers’ became a de facto afters score to ravers untangling their feet during the late ‘00s phenomenon of post-dubstep.
For all intents and purposes they naturally assume an ultimate role of indie-pop band with ‘The Sunset Violent’. Guitars are to the fore, drums are live-sounding, and vocals on most songs, but all tastefully smudged with a sun-dazed sheen of electronica in a way that places them somewhere close to Mica Levi and co’s Good Sad Happy Bad or bar italia. Initially gauzy, glossolalic in ‘The Trail’, they come into full voice with the ‘90s indie wallow of ‘Dumb Guitar’ sung by Andrea Balency-Béarn, who harmonises with the lads’ counterpoint on indie disco tune ’Shipwreck’, while King Krule chimes in on the woozy shoegazer ‘Boxing’ and helps see it off with the MOR indie chug of ‘Empty and Silent’. We reckon they’re best when echoing their earlier sound in the baroque stepper ‘Got Me’, and craftily winking to Prefab Sprout in ‘A Figure in the Surf’, but elsewhere it errs too close to a ‘Shine’ compilation for our comfort.
Mount Kimbie mark the distance travelled since the post-dubstep days with a road trip type album refracting their constituent influences of shoegaze, indie-pop, and electronica, tied with a signature melodic ribbon and starring King Krule, Andrea Balency-Béarn, and Micachu drummer, Marc Pell
Mount Kimbie follow a period of solve et coagula defined by 2022’s ‘MK 3.5: City Planning / Die Cuts’ to consolidate their rangy whims in a succinct 9-song soundtrack for coasting to the horizon. It was recorded in the UFO epicentre of Yucca Valley, California and is understandably imbued with a warm energy and sun-baked texture that distinguishes it from previous, whilst carrying over a timeless melancholic ennui that’s been there since ‘Crooks & Lovers’ became a de facto afters score to ravers untangling their feet during the late ‘00s phenomenon of post-dubstep.
For all intents and purposes they naturally assume an ultimate role of indie-pop band with ‘The Sunset Violent’. Guitars are to the fore, drums are live-sounding, and vocals on most songs, but all tastefully smudged with a sun-dazed sheen of electronica in a way that places them somewhere close to Mica Levi and co’s Good Sad Happy Bad or bar italia. Initially gauzy, glossolalic in ‘The Trail’, they come into full voice with the ‘90s indie wallow of ‘Dumb Guitar’ sung by Andrea Balency-Béarn, who harmonises with the lads’ counterpoint on indie disco tune ’Shipwreck’, while King Krule chimes in on the woozy shoegazer ‘Boxing’ and helps see it off with the MOR indie chug of ‘Empty and Silent’. We reckon they’re best when echoing their earlier sound in the baroque stepper ‘Got Me’, and craftily winking to Prefab Sprout in ‘A Figure in the Surf’, but elsewhere it errs too close to a ‘Shine’ compilation for our comfort.
Mount Kimbie mark the distance travelled since the post-dubstep days with a road trip type album refracting their constituent influences of shoegaze, indie-pop, and electronica, tied with a signature melodic ribbon and starring King Krule, Andrea Balency-Béarn, and Micachu drummer, Marc Pell
Mount Kimbie follow a period of solve et coagula defined by 2022’s ‘MK 3.5: City Planning / Die Cuts’ to consolidate their rangy whims in a succinct 9-song soundtrack for coasting to the horizon. It was recorded in the UFO epicentre of Yucca Valley, California and is understandably imbued with a warm energy and sun-baked texture that distinguishes it from previous, whilst carrying over a timeless melancholic ennui that’s been there since ‘Crooks & Lovers’ became a de facto afters score to ravers untangling their feet during the late ‘00s phenomenon of post-dubstep.
For all intents and purposes they naturally assume an ultimate role of indie-pop band with ‘The Sunset Violent’. Guitars are to the fore, drums are live-sounding, and vocals on most songs, but all tastefully smudged with a sun-dazed sheen of electronica in a way that places them somewhere close to Mica Levi and co’s Good Sad Happy Bad or bar italia. Initially gauzy, glossolalic in ‘The Trail’, they come into full voice with the ‘90s indie wallow of ‘Dumb Guitar’ sung by Andrea Balency-Béarn, who harmonises with the lads’ counterpoint on indie disco tune ’Shipwreck’, while King Krule chimes in on the woozy shoegazer ‘Boxing’ and helps see it off with the MOR indie chug of ‘Empty and Silent’. We reckon they’re best when echoing their earlier sound in the baroque stepper ‘Got Me’, and craftily winking to Prefab Sprout in ‘A Figure in the Surf’, but elsewhere it errs too close to a ‘Shine’ compilation for our comfort.
Limited edition petrol blue vinyl.
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Mount Kimbie mark the distance travelled since the post-dubstep days with a road trip type album refracting their constituent influences of shoegaze, indie-pop, and electronica, tied with a signature melodic ribbon and starring King Krule, Andrea Balency-Béarn, and Micachu drummer, Marc Pell
Mount Kimbie follow a period of solve et coagula defined by 2022’s ‘MK 3.5: City Planning / Die Cuts’ to consolidate their rangy whims in a succinct 9-song soundtrack for coasting to the horizon. It was recorded in the UFO epicentre of Yucca Valley, California and is understandably imbued with a warm energy and sun-baked texture that distinguishes it from previous, whilst carrying over a timeless melancholic ennui that’s been there since ‘Crooks & Lovers’ became a de facto afters score to ravers untangling their feet during the late ‘00s phenomenon of post-dubstep.
For all intents and purposes they naturally assume an ultimate role of indie-pop band with ‘The Sunset Violent’. Guitars are to the fore, drums are live-sounding, and vocals on most songs, but all tastefully smudged with a sun-dazed sheen of electronica in a way that places them somewhere close to Mica Levi and co’s Good Sad Happy Bad or bar italia. Initially gauzy, glossolalic in ‘The Trail’, they come into full voice with the ‘90s indie wallow of ‘Dumb Guitar’ sung by Andrea Balency-Béarn, who harmonises with the lads’ counterpoint on indie disco tune ’Shipwreck’, while King Krule chimes in on the woozy shoegazer ‘Boxing’ and helps see it off with the MOR indie chug of ‘Empty and Silent’. We reckon they’re best when echoing their earlier sound in the baroque stepper ‘Got Me’, and craftily winking to Prefab Sprout in ‘A Figure in the Surf’, but elsewhere it errs too close to a ‘Shine’ compilation for our comfort.
CD in 4 panel digisleeve.
Out of Stock
Mount Kimbie mark the distance travelled since the post-dubstep days with a road trip type album refracting their constituent influences of shoegaze, indie-pop, and electronica, tied with a signature melodic ribbon and starring King Krule, Andrea Balency-Béarn, and Micachu drummer, Marc Pell
Mount Kimbie follow a period of solve et coagula defined by 2022’s ‘MK 3.5: City Planning / Die Cuts’ to consolidate their rangy whims in a succinct 9-song soundtrack for coasting to the horizon. It was recorded in the UFO epicentre of Yucca Valley, California and is understandably imbued with a warm energy and sun-baked texture that distinguishes it from previous, whilst carrying over a timeless melancholic ennui that’s been there since ‘Crooks & Lovers’ became a de facto afters score to ravers untangling their feet during the late ‘00s phenomenon of post-dubstep.
For all intents and purposes they naturally assume an ultimate role of indie-pop band with ‘The Sunset Violent’. Guitars are to the fore, drums are live-sounding, and vocals on most songs, but all tastefully smudged with a sun-dazed sheen of electronica in a way that places them somewhere close to Mica Levi and co’s Good Sad Happy Bad or bar italia. Initially gauzy, glossolalic in ‘The Trail’, they come into full voice with the ‘90s indie wallow of ‘Dumb Guitar’ sung by Andrea Balency-Béarn, who harmonises with the lads’ counterpoint on indie disco tune ’Shipwreck’, while King Krule chimes in on the woozy shoegazer ‘Boxing’ and helps see it off with the MOR indie chug of ‘Empty and Silent’. We reckon they’re best when echoing their earlier sound in the baroque stepper ‘Got Me’, and craftily winking to Prefab Sprout in ‘A Figure in the Surf’, but elsewhere it errs too close to a ‘Shine’ compilation for our comfort.