Kai Campos et Dominic Maker, les deux Mount Kimbie se sont rencontrés grâce à leur passion commune pour le balbutiant dubstep, mais chacun a aujourd’hui fait un long chemin. Mount Kimbie a quelque peu minimisé l’importance des basses, enregistré partout des bruits de la vie quotidienne et inclus à tout ça des guitares, basses et autres instruments plus traditionnels pour composer un son unique. Une électronica rêveuse et intelligente, capable de saisir l’auditeur comme un tableau de maître, capable aussi de s’accorder quelques plages plus pop sans jamais perdre en subtilité.
Since 2009, Maker and his partner in Mount Kimbie, Kai Campos, have played a central role in forging a new form for electronic music. Their influence stretches far beyond the tiny corner of the dance music underground that birthed them and, with the duo now signed to the legendary Warp label, it looks set to stretch further still in the coming years. Since their emergence Mount Kimbie have repeatedly confounded expectations, transforming themselves from bedroom-studio producers to creators of one of the most fully realised electronic album-length statements of recent years. This year, with the release of the duo’s second LP, the perception of what Mount Kimbie is looks set to expand again. Still, at the heart of the band’s music lies that simplest of things: the meeting of two musical minds.
Campos was raised in Cornwall, Maker in Brighton. The pair met in halls of residence while studying at London’s Southbank University and bonded over a newfound passion for electronic music – specifically the burgeoning dubstep sound. « We weren’t particularly trying to break into any kind of scene or anything like that, » says Campos. « We were just making music that we didn’t even think was that weird at the time, but when you look back on it now… » Mount Kimbie drew on their thick soup of influences to make a hybrid music that was intimate in scale but far from lacking in ambition. Back then they were oddities; nowadays the approach they pioneered is practically the norm.
The first evidence of the impact Mount Kimbie would have came with the ‘Maybes EP’, released on then-dubstep label Hotflush in 2009. The title track was a dazzling statement of intent – a melancholic anthem of sorts, combining a delicate garage shuffle with gaseous vapour trails of guitar and fragmented vocal melodies. It was swiftly followed by the more colourful ‘Sketch On Glass EP’, and within the space of a few months Campos and Maker found themselves at the forefront of a new wave of bedroom producers radically re-interpreting the dubstep template.