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As the third album from British electronic duo Mount Kimbie, September 8th released Love What Survives promises to be their most expansive and ambitious yet. Featuring cameos from the Mercury-winning James Blake, just the tracklist highlights the steep progression of this band since their previous 2013 album. Off-kilter indie-dance.


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REVIEWS

Love What Survives by Mount Kimbie 1 review. Add your own review. 8/10
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8/10 Staff review, 12 September 2017

Mount Kimbie -- Dominic Maker and Kai Campos -- have certainly expanded their blueprint since the days of 2010 debut ‘Crooks & Lovers’ with its largely post-dubstep inflections. Their sound has gained an energy and urgency strangely lacking in their sophomore effort, 2013’s ‘Cold Spring Fault Less Youth’. Aggressive rumblings and bleeps reminiscent of a concerto of car alarms coupled with a pounding beat open up the track ‘Four Years and One Day’ to kick-start Kimbie LP number 3, Love What Survives. There’s an eruption of post-punk bass line, building into a crescendo of electro noise. Next, there’s the (re-)appearance of King Krule, on ‘Blue Train Lines’ and his usual pained spittings-with-attitude fly over lurching bass and flailing drums. Nice.

There’s an instrumental interlude in the Joy Division-ish ‘Audition’, leading into the gorgeous African instrumentation of ‘Marilyn’ featuring Micachu, another post-punk-mutating-into-Malian bassline and nice muted drumming. ‘SP12 Beat’ opens with what sounds like a thumb piano / Mbira and more lovely melodic bass playing and detailed percussive sounds which rock and sway. ‘You Look Certain (I’m Not So Sure)’ features the lovely voice of Mexican rocker Andrea Balency, an ‘80s electro-rock drum pattern and swathes of textured electronics. It’s a catchy song, too. ‘Poison’ is an Eno / Lanois-ish ambient interlude before Mr James Blake launches into his brand of deep melancholy on a typically delicately-crooned number, ‘We Go Home Together’. Instrumentation is muted here to complement Blake’s yearning timbres.

Synths rattle along and bass rumbles with furious motorik drumming on the very danceable ‘Delta’, the CAN / Faust-like bass that I can’t get enough of underpins ‘T.A.M.E.D.’ and James Blake returns for ‘How We Got By’ -- closing an impressive album with a strong vocal performance, piano drips like thawing icicles and percussive electronic textures bedding the song down nicely. A highly consistent record with delicious moments. Like finding the occasional strayed Lindor in a tub of Quality Street.


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