Mount Kimbie Love What Survives

Few acts have a back catalogue as controlled, considered and consistent as Mount Kimbie, and it owes a lot to the fact that they’v never been a project to rush a release.

Back in 2010, Kai Campos and Dom Maker were gently shifting South London’s post-dubstep mood

with the hazy alchemy of their brilliant debut ‘Crooks and Lovers’.

In 2013, they followed that up with the glazed melodies and vocal forays
of ‘Cold Spring, Fault Less Youth’.

Now three albums in with ‘Love What Survives’, they’re moving forward once again with a floating mix of motorik beats, woozy pop and some solid vocal collaborations.

The steady, building insistence of opener ‘Four Years and One Day’, the
drifting pan pipes of ‘SP12 Beat’

and the beat-driven, wonky synth of ‘Delta’ give the album a familiar instrumental spine,

but in between those rhythms Archy Marshall (King Krule), who guested twice on the last album, makes a familiar raw return on bug-eyed confessional

‘Blue Train Lines’, Campos and Maker combine with Mica Levi (Micachu) on the soft lull of ‘Marilyn’, and then leave James Blake to add soulful theatrics

to the organ-grind of ‘We Go Home Together’ and add a haunted presence to the stilted keys of album closer ‘How We Got By’.

It’s a dynamic that proves Mount Kimbie aren’t solely about creating Mount Kimbie Love What Survives warp By reef younis.

In stores sept 8 soft-focus dance songs anymore, with both Maker and

Campos stepping behind the mic at various points this time, after tentatively doing so on ‘Cold Spring, Fault Less Youth’.

Even when they do, their unassuming vocals only serve to complement the blurry imperfections that have made Mount Kimbie so melodic, melancholic and cautiously soulful.

After playing these tracks out on the road for the last few months, it’s
also interesting to hear how ‘Delta’ ¬– the surging electronic anchor of
the recent live shows – feels

pointed and punchy on record, the way ‘Audition’ strikes a curious balance between New Order and Metronomy

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