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Real heavyweight collaboration right here! King Midas Sound, Kevin Martin’s vehicle for enormous bass and dark soulful songs, join up with none other than Fennesz, the wizard of electronically processed guitar haze. The resultant Edition 1 is a suitably weighty and textured trip, presented with a bonus disc / download of instrumental versions. On Ninja Tune.

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  • LP £13.99
  • Not in stock / Usually ships in 2-3 days ?
  • Shipping cost: £3.15 ?
  • NormanPoints: 140 ?
  • ZEN225 / LP on Ninja Tune
  • Includes download code

This item needs to be ordered in from a supplier.
Usually ships in 2-3 days but delays are possible.

  • CD £9.99
  • Not in stock / Usually ships in 2-3 days ?
  • Shipping cost: £1.00 ?
  • NormanPoints: 100 ?
  • ZENCD225 / CD on Ninja Tune + bonus disc of instrumentals

This item needs to be ordered in from a supplier.
Usually ships in 2-3 days but delays are possible.

REVIEWS

Edition 1 by King Midas Sound / Fennesz
1 review. Add your own review.
11 people love this record. Be the 12th!
6/10 Laurie Staff review, 16 September 2015

This record is the first in what King Midas Sound hopes to be a 4-part collaborative series, each with different artists, all on Ninja Tune. Edition 1 sees the unlikely pairing of the group with Austrian ambient magister Christian Fennesz to place KMS’ gothic odes to the approaching winter within the icy echo waves of Fennesz’ ambient guitar style.

It’s quite uneasy throughout, the earnest emotions in the vocals offset by some level of lurking texture or synth, a dissonance that flaws the idyllic sound field. The peace sometimes wins out, which is definitely Fennesz smoothing out some niceness. It could have been great if they had written some good vocal parts but they’re all way too jarring. 4th track ‘Loving or Leaving’ seems like vocalist Roger Robinson is singing on a totally different song to the instrumental parts, the disturbed dub/trap hybrid definitely not calling for soulful, bluesy croons. The 2nd track is pretty awful too - angsty soaring vocal lines backed by a raspy, over-the-top synth, like the Prodigy collaborating with Evanescence, in a world where the latter discovers electronic music and gets it completely wrong.

Still, the instrumentals hold some interest, particularly Fennesz’ augmentations, when they’re not too far removed from what else is going on. We’ll see what happens the next time round.


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