The sheer beauty of sound on Kimyan Laws debut album is to be mentioned from the outset. There exists a brilliantly formularised contrast between organic percussion and metal or xylophone melody throughout, taking a threating or embracing poise and immersing the listener. All tracks are powerful, hitting varied genres from Drum and Bass to Future Garage and Dub. Also present is a strong element of storytelling through sound, providing the listener with a secret sense of ownership. SBM shouts – ‘Copperclock’ and ‘We Are Fish’
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Mortal Life (Feat mm oo)
Kimyan Law makes use of wood percussion and contrasts them with metal xylophone type tones, which brings this listener back to his childhood, memories of an old windup music box I had as a child constantly spike my melancholy throughout this track. As the album persists through it becomes clear this is a theme, regardless Mortal Life introduces these sounds perfectly and sets the mood up for the album perfectly
Here's an Album Sampler
Eclairage was the the b-side of Kimyan Laws debut, Run Ames. A steady piece with a slightly cold and threating aspect about it. This feeling is mostly brought on by the relentless clip clopping of Kimyans percussive style. The metal work which dances back and forth through what feels like a boundary, perhaps through a forest adds a sense of enchantment.
We are Fish (Kimyan Law Remix)
Dark, brooding featuring a puzzling metaphorical lyricism which weaves over the enchanted melody. In essence though the patterns for melody on this track are often heard within Drum and Bass. What has elevated it as one of the best on the album is Kimyans wonderful selection of sound and instrument. Brilliant. Should you ever of heard of an American singer called Joanna Newson this will remind you of her and almost certainly take you over, phew.
Kimyan Law takes wooden percussion to a purist level on Daimyo. Scatterings of orchestral strings play a warming role before the listener is dropped right back down again the thick pine jungle;-p
Embers features cracking static and distant chimes underpinned by a deeper than deep but ever so steady bassline. Kimyan plays around with an far eastern sound whilst entering in with some classic vocal pitch shifting. This is probably as close to Future Garage as the album gets but its clear form this point Kimyan Law has got the versatility locked down
The title track from Kimyan Laws debut on BluMarTen Music. Ice cold snares are underpinned by an earthly acoustic bass. Tickled strings shining throughout whilst Robert Manos adds his voice to this piece with subtle whispers and menacing poetry play – ‘Flowers or Bullets?
Vita features a musical box melody throughout, which dances playfully over a wonderfully crafted half beat drum and bass rhythm. Melancholy and playful.
Kimyan Law returns to the darker slightly more aggressive (punchy) side of his craft on Umbra. The tribal nature of the drum work switches in a pacy manner. Getting lost in this woods is physically rewarding here.
Musical story telling at its best. Kimyan Laws use of percussion to represent the clock throughout the piece and to turn that into something to physically dance to yet still hear every story telling transition makes this a piece to come back to.
Kimyan Law goes in with some Deep, minimal Drum and Bass on Blur. Far Eastern strings are plucked and a tinkering piano dances over strong reverberating kick drums all creating a sense of mystery
Cherry Lane (For Sarah Taisha)
Scaling back the tempo again Cherry Lane is perhaps the closest the album gets to Dubstep. Cherry Lane is packed full of percussive variations and textures and a hint of the Cinematic Orchestra sound. A thoughtful piece.
Solange is Kimyans shout out to Dub. A laidback bassline rolls under some playful percussion and chimes. A cracking end to the project.