Review: Kimochi Sound introduces a new artist for their 30th release. This debut record is all deep beats and breaks and it's full of the fuzzy feels and swollen atmospheres we've come to expect from the imprint. It's a bit of a mini album, moving from Ilian Tape techno influences to a closing number reminiscent of Ulrich Schnauss.
Review: Today Kimochi Sound gets Baltic Sea sonar pinging techno deep, maybe something like bridging the gap between Sleeparchive and Mono Junk.
There are enough hypnotic spaces and hallucinatory frequencies in these loops to tide over the dark winter months, with enough funk packed into the riddims to inspire some heated early morning grooves.
Review: Since making his vinyl debut on Kimochi back in 2012, Justin "Dreamlogicc" James has flitted between labels, delivering all manner of dark ambient, electro, techno and grime delights. This belated return to Kimochi sees him exploring an altogether lighter, dreamier sound, variously informed by early '90s ambient house, IDM, and left-of-centre deep house. It's all of a pleasingly high standard, with highlights including the trippy, early morning dancefloor trip of the ambient house flavoured "I've Said It A Million Times", the crackling Autechre-on-acid wooziness of "Circle Dance" (check those whistling synth melodies and droning rhythms), and the deep and drowsy "Ramamine Worker".
Review: Conoley Ospovat, having crossed paths with deep heads like Pier Bucci, Pablo Bolivar, and Area, now turns up with a fully-realized EP for Kimochi. Solitude is a pulsing meditation, but with the rays of sunshine breaking throughout, it's clear that if it's alone, it's not lonely. The springtime sounds are full of optimism as well as introspection. Ambient house for the adventurous.
Review: Earthen Sea adds to the Kimochi Sound with a soulful examination of indistinct margins, suffused with dusky haze. It's a heady atmosphere and has a palpable heaviness throughout. Starting the record are the concrete reverberations of You Don't Never Know, followed by the murky ebb and flow of Fly. 13 Beat(less) is diffused ambience.
Shielding fittingly closes the record, and weaves Earthen Sea's many textures with intricate syncopation.
Review: Building on his very sexy works for the Borft weirdos, Jon Doppler's Security is a meeting of Sued's minimal funk sound and the post-acid house trip of early Rephlex. The elasticized acid of Ciphertext, the skanky dub of Wonwah, and the mammoth low end of Lag Down all propel from below, while the swollen synthwork on Hot Sauce and showstopping MK650 inspire from above. These are late, late night jams that growl ominously in the bassbins, enhancing the foggy atmosphere and begging you to stay for one last dance.
Review: While the name may be new, A New Line (Related) is supposedly the work of an already established musician, although Kimochi was never a label that cared about hype. The music stands just fine on its own, digging into the kind of dusty and dusky house and techno formations that the label has forged its hand-sprayed identity on. There's plenty of ambient techno twirls to be enjoyed on the likes of "Dancing On Soft Borders", while the beats melt away entirely on "After A Short Illness" and grandiose EP closer "RIYL Failures". Once again Kimochi comes up with the kind of meaningful variations on the 4/4 framework that keep our record bags full and our souls enriched.
Review: Sweltering, humid emotion permeates the gauzy atmosphere and rolling basslines on Neotnas' latest. The tracks here combine the artists' loves of junglism, 'ardcore, stoned ambience, and classic house.
Taken together, it's a batch of instantly nostalgic grooves and future / past chillout rave reimaginings.
Review: The ever on-point Kimochi crew has described this label debut from talented Finn Lauri Saine as "a deceptively simple series of compositions that rewards deeper listening". We get what they're saying. One of the EP's greatest strengths is the way the intricate details and subtle layers of Saine's productions creep up on you on the third, fourth or fifth listen. It gives all four cuts a super-deep feel, putting them somewhere between lovely warm-up workouts, horizontal home listening fare and Sprinkles style peak-time hypnotism. Highlights include the sunset-ready jazz-house fluidity of "Swirl", the undulating, wonderfully picturesque ambient shuffle of "Saw U" and the dub-techno influenced soundscape flex of "Babel".
Review: There's much to enjoy about the output of the Kimochi label, not least the bespoke, spray-painted sleeves and their habit of releasing only the deepest, most hypnotic electronic music. Their latest must-have release is another super-limited affair that drifts lazily between ultra-deep cuts shot through with dub-wise rhythms, atmospheric shoegaze motifs, echoing ambient chords and beats straight out of the early '90s ambient techno playbook. It's utterly gorgeous and deliciously hazy, with slow-burn melodies and undulating electronics slowly rising above reverb-laden chords, warm basslines and occasionally skittish rhythms. There's something particularly special about the locked-in drums and hypnotic bassline of "Elljus", but the ambient soundscapes "Heden" and "Inland" are also superb.
Review: Shielding's Innerlig is viscous, densely detailed, trippy music. Dripping with texture, these are supple tunes that generously expand to fill whatever space they're in, loops stretching towards the lilac virtual horizon. Constantly mutating rhythms, heavily atmospheric grooves. RIYL Harmonious Thelonious, Jan Jelinek, Theo Parrish.
Review: Area returns to his Kimochi label to deliver a rich musing on ambient approaches from a techno mindset, and he's brought some esteemed friends along for the ride. "Through The Wall" is a magnificent slice of melancholy that leads the A-side in a cloud of billowing chords that undulate through modulation, while "Everything Thrown Away" takes a more intimate approach with quietly drifting synth tones and subtle FX processing. Donato Dozzy's "Genesis Chamber" mix of "Entireless" is a more extravagant affair with layers of noise and feedback working into the beatless space, and Eltron John's guest spot on "Pop Life" adds further aquatic shapes to the fluid tones contained within.
After The Cremation (Area Green Green Grass version) (4:23)
Pankow (SW Electrofunk mix) (5:36)
Steamed Up Window (Skookum Reminiscence) (4:06)
Review: Mystery production unit UD returns to Kimochi, one of the more overlooked imprints of the last few years, with four new cuts and a rather fine selection of remixers to boot! The mood is pensive and the sounds are atmospheric throughout, where tracks like "Lollipop Robot" or "Adapter" stand somewhere between ambient and electro-acoustic. The remixes give the tracks slightly more dancefloor weight, and both Area Green Grass and label regular Skookum contribute with a set of pretty killer reinterpretations a-la outsider house, but the silent killer is most certainly SW's remix of "Pankow". The SUED records co-owner fixes up a wonderfully bizarre concoction of sounds and shapes, moulding them into a dubby, sparse and cinematic twister. Another fine slice of Kimochi, beautiful artwork and all.
Review: The Kimochi label has been steadily releasing quality output over the last four years and they've been responsible for introducing us to a pool of new talent from the ambient corners. This latest beautifully presented 12" comes in their usual house style and comes from UD, an unknown artist who has already released one EP for the label last year. "Muy Casera" starts things off with colourful minimalism thanks to its glitchy sonics, while "Meticulous" breaks the groove and takes the beeps to an irregular tempo. "After The Cremation" is looser and more heavily focussed on cinematic pads, whereas "Pankow" takes subtle bursts of noise and places them above grey-scaled low frequencies. There's some special appearances on the B-side in the form of two remixes by Leipzig's Mix Mup and Sued's SW: the former gives his own version of "NFL CC DUB", a slow and chuggy beat burning below mild pads, whereas the latter interpretation of "Dewy" contains that classic SUED sound, a bag of rickety percussion and rich soundscapes. Don't miss it, gone before you know it.