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Review Crooks & Lovers is an album of abrupt changes and paradoxes, at once organic and heavily processed, drowsy and yet with moments of eyes-on-stalks urgency, acoustically sweet and electrically charged. It's akin to gently drifting in and out of consciousness on a bus trip, only to be sporadically jolted back into consciousness.
Tunnelvision, the opener, floats down from some odd, hazy place, reminiscent of soon-to-be-revived oceanic 80s rockers A.R. Kane, a mix of short, acoustic riffs, disembodied voices and an adjacent rhythm shuffling by like a caterpillar. Would Know follows, swaddled in grainy bromide, borrowing the Daft Punk opening-the-door-to-the-nightclub effect. Before I Move Off and Carbonated exhibit Mount Kimbie's duality in full, double-vision effect, the latter juxtaposing effervescent pop balm with a dramatic, dub swell. Adriatic, blissful and lapping, is a sweet interlude, the briefest of holiday postcards, while Ruby, with its shimmering, apocalyptic horizon is most noticeably in some sort of neo-Burial, dubstep tradition. But then follows the beguiling, puzzling Field, whose lengthy, faded-in intro features the alien, thrumming sound of a rhythmic device hitherto unknown to man systematically chomping away at everything in its path, before being abruptly supplanted by to a bucolic mid-section more reminiscent of the likes of Bibio.
Unmoored and out there, Mount Kimbie come across in interviews as a little startled themselves by what they've come up with, and continue to come up with, but that's all to the good. They've no idea where they're going. Go with them.
--David StubbsFind more music at the BBC This link will take you off Amazon in a new window
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