This article was first published by The Edge on 8th August 2017
Ever since emerging in the Noughties Dubstep crowd, Mount Kimbie have challenged genre. Their interpretation of that scene practically deconstructed itself, employing elements of R&B and electronic, collated with the mystery from their warping of field recordings. Meticulously arranged production characterises the effortless feel of their tracks. Yet their third album Love What Survives demonstrates a greater relaxation than ever, along with more of Dominic Maker and Kai Campos’ boundless experimentation; Mount Kimbie now includes imperfections.
This article was first published by The Edge on 28th August 2017
Given the recent revival of American emo and indie rock by bands like The Hotelier, Sorority Noise, and Boston Manor, the work of PVRIS in 2014 debut album White Noise feels out of step just three years on. Taking the wall-of-sound technique and song structures found in chart-bothering dance music, and reapplying those same techniques with rockstar vocals, bombastic drums, and *loud* guitars is an inspired trick and one that worked to their advantage in 2014. It’s also a remarkably obvious one. Produce songs as pleasantly moving as any number of Guettas, Harrises, and Aviciis have made, in the outfits of a fresh rock band? Why didn’t anyone else succeed at that? By its very nature, such a trick could only work once – if musicians were magicians, PVRIS would give away the secrets to the coolest tricks whilst performing them. Continue reading