Words by Ash Kissane
SINCE Mount Kimbie debuted EP Maybes in 2009, the London duo have proved themselves to be game changers in dance music, born out of the UK’s post-dubstep era. One of the busiest acts around, Mount Kimbie have in the last 5 years alone released six EPs and two studio albums, as well as producing remixes for some of the biggest acts in the world. The trailblazers have always performed as a live band, once counting James Blake in their live lineup, and have just added a third member for their international tours. I had a chat to Mount Kimbie’s Kai Campos from his Paris hotel about the new record, Cold Spring Fault Less Youth, their relentless tour schedule and their upcoming Australian appearances.
MM: You guys are in the middle of a huge European tour at the moment. How is it going so far?
MK: Yeah, really great! I’m sure everyone always says that, but it has been genuinely fantastic so far. We were just in America for six weeks and we were doing some smaller shows as well. It’s nice to be back here playing in really nice venues. It’s been really good.
What’s been the best show you’ve done so far?
In Europe there have been a few… Dublin was really special and I think London will be hard to top; that was the first time that we’ve played London really well and come off stage feeling good about it. It was a pretty amazing place, and it was sold out for a long time before. It was a really nice atmosphere and King Krule was there… It’s all been good, but those ones stand out.
You’ve had such a big year of touring with your massive US tour and huge festivals like Pitchfork. Has there been a highlight for you so far?
Just going back to London; that felt like a culmination of the whole record really, because hadn’t done a London show after we’d released the record. It was good, it felt like the end of the process of doing this record, we were really in our stride by that point. New York was really special as well earlier this year and even Austin. We did a show there that was pretty special.
Does this record feel like it brings with it a bigger live show? As there’s more live sampling and new toys to play with?
It’s something that we’ve always done, but I guess it’s easier to see now and it’s a little bit more out in the open.This record is definitely easier to translate to the live setting so I think there’s a really good energy about it, and some of the songs work a lot better on stage which is nice and I think surprising for some people.
You also added a third member this year. Do you feel that’s lightened the load a little bit for you guys?
It definitely has allowed us to approach it in a different way and let loose a little bit more which is really cool, and have a completely different landscape and not have to worry about us each controlling so many things. Just kind of getting lost in it, which is really cool.
When you guys worked in Andy Ramsay’s studio, you had access to a lot of his equipment like drum machines and stuff like that. Did that change the process of writing and producing the record this time around knowing you had access to a lot of new toys?
Yeah, it was fun. I hadn’t even thought of that as an option really, but Andy was really open about going through all of his stuff. We had a great time there, it was the same process as always really, we just recorded hours and hours and hours of music and noises and sift through it.
You guys tour so relentlessly. Do you ever get much of a chance to write on the road?
We hardly get to write on the road at all actually. What we did last time was tour for two years and at the end of that took a year out completely and use that to write a record in. I like having a big period of time to write in, I can’t really dip in and out of it. This time, I guess we’re trying to fit two years of touring into eight months, which is why we’ve been playing really hard and then we’ll stop around March and try to get another record at.
How did the collaboration with King Krule come about?
We asked him to do it and he did. He lived quite close to the studio; it was a pretty local thing. We shared these ideas, like 10 second bits of music and just started writing a couple of songs together. He was someone that I massively wanted to try working with, which never happens so it was a real joy, super easy. It was a great time.
So how did you guys meet and decide you would make music together?
We were just living in the same crummy old building and had no money and we were studying and sharing music and stuff like that. There was some stuff that we’d been working on separately and we ended up collaborating and it ended up being something to do. That was something before we were even good friends, but it’s been as long as I can remember.
How do you feel about the term ‘post-dubstep’ being thrown at you all the time? Do you think it really applies?
No, not really. I guess I can see where it came from where at the beginning we were playing a lot of those clubs and we were very much inspired by that first wave of dubstep as it was in London at the time. I just think the meaning of the word, really now and in terms of what we were talking about then, bares almost no relevance to what we’re doing. I don’t have a massive problem with it, but at the same time it’s not something I’ve coined myself.
What kind of stuff did you listen to growing up?
All kinds really. I was super into RHCP but also jazz music and hip hop, John Coltrane, a lot of blues. All manner.
Have you heard anything lately you’ve really liked?
I tend to listen to a few albums at a time and absolutely rinse them. Mac Demarco’s album from last year, Dean Blunt’s album, and Conan Mockasin as well.
Nice, so you’ll be in Australia early next year for Laneway, how do you feel audiences here treat you guys?
So far it’s been amazing. The first time we came over we didn’t know what to expect and it was incredible. Triple J have always been really great to us, moreso than any other radio station. It’s where we’ve had some of our best shows. I don’t know when we came last, but I’m really really looking forward to it. I guess it will be different performing at a festival, but I’d really like some sideshows as well; that would be fun.
How do you find those festival slots compared to your own intimate shows?
It can be really tough, but it can also be exhilarating. We’ve gotten better at figuring out how to play our music at any kind of concert now. Some of the best times over the summer have been at festivals because people are willing to go with their friends to it where they normally wouldn’t necessarily buy a ticket. It’s a lot to play to 20,000 people in a tent and when it goes well it’s pretty incredible. At the same time, there are times when it doesn’t work and you kind of miss the intimacy of playing your own shows. It’s nice to do both.
Is there anywhere you haven’t played yet that you’d really like to head?
Hopefully next year we’ll have time to go to South America. I’d like to head down to South Africa as well and see a part of the world that we haven’t really had a chance to yet. There isn’t much left which is cool, but definitely those two.
What would be a dream gig if you could play anywhere?
Something ridiculous in Tokyo would be fun. There’s a place we really like in Hamburg called The Golden Poodle which is like an 80 capacity, which is always the most fun thing to do. Other times we want to play to 100,000 people so…
What’s coming up for the rest of the year that you’re excited about?
Christmas? Being home for a little bit. It’s all up in the air really, but after this tour my lease runs up so I’m kind of thinking about where I want to live, and I want to make this record. So, it’s all up in the air, I’m not sure what’s going to happen after March, it could be anything, which is exciting.
Do you think the UK will always be your base?
No, not at all. I’m really thinking of moving out for the next year or so, but I’m not 100 percent sure. There’s always something that keeps you in London for some reason. I’ve been saying I’m thinking about leaving for about five years now, so we’ll see.
aislingkissane.com 