longchamp
jordan pas cher
tory burch outlet
tory burch outlet
ray ban australia
cheap jordan shoes
Michael Kors outlet
ray ban australia
Christian Louboutin Outlet
Babyliss
nike air max
cheap uggs
Michael Kors outlet
louis vuitton outlet
ghd hair straightener
toms outlet
ray ban outlet
cheap oakley sunglasses
nike air max
toms outlet
louis vuitton outlet
nike air max
coach outlet
nike pas cher
cheap uggs
nike outlet
mulberry outlet
cheap ugg boots
nike air max
Oakley Sunglasses australia
Martin Kemp, German Salad – Little White Earbuds

Martin Kemp, German Salad

[Frijsfo Beats]


Buy Vinyl
Buy MP3s

The pairing of Martin Kemp and Frijsfo Beats makes perfect sense. Both artist and label have released some of the most compelling, party ready and adventurous music from the garage-y end of the bass spectrum these past few years, and they both share a refreshingly low-key approach with regard to the hype machine. Accordingly, Frijsfo’s release schedule has often championed cult artists such as Submerse and Sully — who work largely with experimental 2-step — alongside rangy cross-tempo fare from eclectic journeyman Geiom. Martin Kemp, meanwhile, released what was surely one of the most original records of 2009 — bona fide classic “No Charisma” — before mysteriously disappearing off radar. On this EP he releases some of his strongest — and certainly his trippiest — material so far.

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

“German Salad” is a warped affair — scattershot snares, dark synth lines, and off-key vocal snippets: UK Funky reimagined through the mind of a mescal-fueled goblin. “Closer” leads on a more pensive vibe, with moody synth drones and running water samples moving around dizzying layers of tribal drums. The best is saved for last with “Cracks,” though. An ancient-sounding African drum loop is vamped around a cacophony of kicks and snares with a menacing two-note stab of a bass line and a clipped voice counting “one, two, three, four” — compulsively hypnotic exotics. This EP is full of the raw, woozy, and mildly delirious beats Kemp has made his own. It’s heartening to see a producer with such a scant discography nail a sound so idiosyncratic as to be instantly recognizable, and this very strong record ably adds to his modest but perfectly formed discography.

Joseph Hallam  on July 18, 2012 at 4:47 PM

Bumpin’.

Your email is never shared. Required fields are marked *

*
*