Christmas Poem

Farce by Roger Robinson

(an ode to stuffing)

The year we used cheap shiny wrapping
and our paper crowns, were thin and torn
The year our bird, was a few pounds lighter
and dangling pockets, were frayed and worn.
The year each nephew, godson and niece
got gifts we made, with our bare hands
the rest received things, from the pound shop
some cake tins, beads, and no name brands.
But what was Christmas, without the stuffing
cheap, tasty and plentiful to eat
Stuffed into our too small turkey
till plump and full, with width and meat
as if that thin bird whose life was gone
lived only on best bred seeds and corn.

Did you have a good Christmas?!

Yes I had a good one. Hope you all had a good one too !
And Have a Happy Dancehall new year!

Mix of the year 2009 - FACT magazine

http://www.factmagazine.co.uk/index.php?option=com_content&task=view&id=4199&Itemid=99

Thank you, much appreciated...k/h/r

Prisoner of the lab

A list i was invited to compile for 'Dusted'  http://www.dustedmagazine.com 10 productions/producers that inspired me to produce : Public Image Ltd. - 'Metal Box' An incredible mixture of anti-social, punk spite, avant-garde obtuseness, kosmiche repetition and fearsome dub exploration, this self produced odyssey, confused the hell out of me upon release, and still enthralls me today. Like a head on collision between Can and The Stooges, as mixed by King Tubby. Truly  a death disco. Public Enemy - 'Fear of a black planet' The Bomb Squad had already hooked me on to hip hop with 'Yo Bum..', but the sheer desnsity and the sonic avalanche represented by this faultless funk assault took my head off. Joy Division - 'Closer' Martin Hannett wasn't content to just capture an incredible band, he had the audacity to make them sound even better with his exploration of deep space and his love of dub techniques. Beautifully addictive, highly emotional, yet highly polished, deceptively simple and simply brilliant. Miles Davis - 'Bitches Brew' Macero boiled up this bewitching psychedelic jazz potion, as the incredible musicians set their controls for outer space, and Teo re-assembled an audacious electric-jazz jigsaw fearlessly. 23 Skidoo - 'Seven Songs' Feverish mutant funk pioneeringly produced by the band themselves with the aid of Genesis P and Throbbing Gristle in the early eighties. Still ahead of its time. Scientist - 'Scientist Wins the World Cup' Splicing and dicing the voice of reggae crooner Johnny Osbourne(amongst many others), Scientist gleefully tears up the logic rulebook and sets up a dub masterclass. Scientist knew how to deconstruct classics yet better the originals. Taught by King Tubby, how could he fail ? Brian Eno - 'Music For Airports' Vast air, endless space, and beautiful melodies, Eno taught me the value of slow motion stillness. Less is still more. Overwhelmingly seductive. Godflesh - 'Streetcleaner' Justin Broadrick stripped metal of the cheese and pumped it full of sonically perverted hate, and was responsible for me believing i could get behind a mixing desk. He was actually instrumental in teaching me how to produce music during our years working together as Techno Animal. Respect JKB. African Headcharge- 'My Life In a hole in the ground' Adrian Sherwood amplifying Headcharge's Babylonian voodoo spells, as he turned reggae inside out, and torched Lee Perry's blueprint with the aid of sampled chainsaws and ghosts in his machinery. Tribal and magical, experimental with the emphasis on mental. Method Man - 'Tical' I was a total Rza fiend, hot for every one of his first wave of productions. Unbelievably raw and dirty,this martial arts fuelled hip hop tour of hell , soundtracked the producer's heart of darkness on a diet of insanely hallucinatory chronic.

PANSORI meets reggae

This is traditional Korean pansori singing.


Here is live footage of I & I Djangdan in Seoul. The lead singer is actually a traditional pansori singer. 

Video Shoot for 'Lost'

Sub zero temperatures in Elephant & Castle and Hackney.

Directed/shot - Niall o'Brien.

Gratitude - Adrian Corsica & Lisa Blanning.

Best of 2009 consumed :

Recorded :

Demdike Stare- Symbiosis

Om - God is good

Clint Mansell - 'Moon' soundtrack

Ras G - Brotha From Anotha Planet

William Basinski - 92982

Mulatu Astatke - New York/Addis/London

Sunn O - Monoliths & Dimensions

Variant - The Setting Sun/Intrusion - The seduction of silence

Simon Scott - Navigare

Oneohtrix Point Never - Rifts

Live :

The Necks - Union Chapel

Corrupted - Scala

Ras G - Macbeth

My Bloody Valentine - Coachella

Mulatu/Heliocentrics - Athens

Flying Lotus - San Francisco

Sunn O))/Om - Koko

Joker - Brainfeeder

Anthony & the Johnsons - Coachella

Kode 9 - Uttrecht

The Guardian Introduces King Midas Sound

King Midas Sound interview and short film for The Guardian website. Film by Tomas Leach

Corsica Studios Soundcheck 21/11/09

Photos by Niall

www.niallobrien.co.uk

Video archive pt.1

Cool Out from Tomas Leach on Vimeo.

Video c/o Tomas

www.tomasleach.com

Uncertain gender, age, amphibian voice

I like voices where you cannot tell whether or not the singer is  male or female, old or young, black or white...Long live the freaks, mutants and originators..keep it blurred.

男？女？子供？!!

Mashed up

New King Midas Sound remixes in the pipeline(More to be confirmed) :

Ras G - http://www.myspace.com/rasg

Mala - http://www.myspace.com/malamystikz

Intrusion/Deepchord - http://www.myspace.com/echospacedetroit

Mixed Up

Exclusive midas mix for FACT magazine here :

http://www.factmagazine.co.uk/index.php?option=com_content&task=view&id=4031&Itemid=98

Tracklist:

King Midas Sound - Sometimes (Waiting For You/Hyperdub) 
Lovejoys - All I Can Say (Reggae Vibes/Wackies)
15/16/17 - The Weather (Magic Touch/DEB)
Burial - Night Bus (Burial/Hyperdub)
Little Dragon - Twice (Little Dragon/Peacefrog)
The Dynamics - 90% of me is you (Version Excursions/Points South)
Tanya Stephens - It's A Pity (Gangsta Blues/VP)
Jacob Miller - Baby I Love You So (Who Say Jah No Dread/Greensleeves)
Gregory Isaacs - I'm Alright (Cool Down/VP)
Wayne Jarrett - Live&Love (Horace Andy Meets Naggo Morris & Wayne Jarrett/Wackies)
Sade - Lovers Rock (Lovers Rock/Epic)
Rhythm & Sound ft Lovejoy - Best Friend (With the Artists/Burial Mix)
Larry Heard - Missing dub (Theo Parrish remix) (Missing You/Track Mode)
Vincent Gallo - Lonely (When/Warp)
A.R.Kane - Madonna is with child (69/Rough Trade)
Scritti Politti - Sweetest Girl (/Rough Trade)
Lloyd Chambers - Dry Your Tears (Firehouse Revolution/Pressure Sounds)
King Midas Sound - i Dub (Dub Heavy/Hyperdub)
Scientist ft Johnny Osbourne - In Your Eyes (Wins The World Cup/Greensleeves)
King Midas Sound - Outtaspace (Slow Motion mix) (Waiting For You/Hyperdub)
Japan - Ghosts (Tin Drum/Virgin)
Kevin Shields - Ikebana (Lost In Translation s/t/Emperor norton)
King Midas Sound - One Ting (Dabrye remix) (Cool Out/Hyperdub)
Oval - Do While (94diskont/Mille Plateaux)
Thomas Koner - Kanon (Isolationism/Virgin)
My Bloody Valentine - Touched (Loveless/creation)

 

And also 'Waiting For You' megamix by Kode 9 here :

http://thequietus.com/articles/03267-king-midas-sound-dubstep-interview-with-kevin-martin

dance dance dance

Texture, tone and grain

Three songs that directly inspired the sound of  'Waiting For You' :

Horace Andy - 'Cuss Cuss' (from 'Dancehall Style' on Wackies)

Scritti Politti - 'Sweetest Girl'(Robert Wyatt guest spot, and keys to die for)

Lizz Fields - 'Say the Word'(Hat tilted to loefah, for the tip off)

Reinvention & resurrection

Excellent new Gil scott-heron track available for free d/load :

http://imnewhere.net

Manga mind control

When I was kid, I used to watch many manga animation on TV in Japan.

This is one of my favorite one called Yokai Ningen(monster human). The drawing style is sick and the music is great.

Somehow there were so many antihero monster manga around that time including Devil Man and Dororon Ema-kun.

wordsoundpowervisions

60 second lecture on imagery and vowel sounds

Imagery in songs is one of the only ways that we can get across emotion in a song. If you want someone to feel how you feel in a song make them smell taste hear touch and see it. Vowel sounds hold the magic of emotion because they lend themselves to holding emotional resonance When writing certain songs for King Midas Sound we paid special attention to the imagery and the vowel sounds. For example in the song Lost; Like the sand holds the sea......Watch the stars kiss the sky .......when your tears fell like rain . So next time you're writing and emotional song think about the combination of vowel sounds and imagery.

Literary breaker

Eye candy and brain food

Visual trio

Hitomi has now also joined king midas sound visually...

New kms photo shoot c/o Niall (www.niallobrien.co.uk)

Scientist Meets the Ghost Captain

1994

'The first dub I heard was ‘King Tubby meets the Rockers Uptown’’ (Augustus Pablo) I couldn't make head nor tail of it. I didn’t know what was going on, it sounded like a series of mistakes.(Lol Bell-Brown, The Disciples)

1992

'Im is a scientist, original scientist y'know.’ (Augustus Pablo on King Tubby to Lol Bell-Brown/Dub Catcher) Cutting and splicing technology, King Tubby set songs adrift via customized Sound systems, mixing desks and echo units. Electronic engineer/technological wizard, Osbourne ‘King Tubby’ Ruddock inadvertently initiated today’s Drum & Bass Jungle 25 years prematurely, whilst developing dub as science and commodity. The deep reverberations from his cavernous dubs contaminated the rich bloodline of sorcerer's apprentices, such as Prince Jammy and Scientist (whose hallucinatory encounters With Space Invaders, vampires and pac-men bore out the mark of his master), training in his Studio, under his shadow.

1993

‘Tubby's right, with all the Drum & Bass ting now, dem ting just start by accident, a man sing off-key, and when you reach a dat you drop out everything an‘ leave the drum, an lick in the bass, an cause a confusion, an' people like it - me say "Yes. Tubbs, madness, the people dem like it!"'

(Bunny Lee, producer/mentor, to Steve Barrow/Dub Catcher)

1991

‘Joe played the mixing desk like an instrument.' (Johnny Leyton, singer, on Joe Meek, from 'The Legendary Joe Meek, Arena Television Special)

1960

‘Telstar’ producer Joe Meek releases the infamous ‘I Hear a New World as an alien testament reflecting his belief in extraterrestrial lifeforms and the Occult. He incorporates proto-synths and self-made echo boxes within his astral passage to pop perversion. Surpassing the psychosis that plagued producer Phil Spector, and the schizophrenia later suffered by head Beach Boy Brian Wilson (who dubbed a 15-minute version of 'Good Vibrations’ on 'Smile’ in 1966), Meek’s manic depression and eventual tragic suicide highlights the perils faced by early sonic test pilots. Blurring the distinctions between genius and madness, Meek's producer-as-king self-status later led to abstract delusions, as he eventually claimed to receive instructions from the deceased Buddy Holly.

1995

'I am the ghost captain.' (Lee Perry)

1974

If Dub is a journey through time and space, then ‘Blackboard Jungle Dub' is a black hole where the rational and irrational implode. Guided by self-proclaimed ‘Duppy (Ghost) Conqueror’, Lee ‘Scratch' Perry, Tubby’s pragmatic advances translated the fantastic into the mechanically tangible, delivering Scratch's first stereo Dub transmission. Satisfying both right and left hemispheres of the brain, skank merchants and space cadets alike, it was a successful war on logic. Perry continued to reduce musicians to spectres within his dream machinery. Weaned on Superman comics, spaghetti westerns and TV cop shows, Perry would later reconfigure Morricone's past and Black Ark studio's present as a visionary future on the Sound-bite infested ‘Dub Revolution’ - Science fiction made fact, his cathode-ray conversion encouraged the mixillogical body-snatching that would later manifest itself on Adrian Sherwood’s hot-wired productions.


1995

‘You’re listenin’ to a machine I imitate human being. I'm a machine being to satisfy your greatest dream.'

(Lee Perry)

1969

‘It is meant to suggest that man, in the face of encroaching technology, must confront technology and attempt to humanize it; using it to enrich his collective soul not only his purse. To explore inner as well as outer space. (George Russell. Musician/producer/composer in his sleevenotes accompanying ‘Electric Sonata for Souls Loved by Nature - 1968’)

‘Electric Sonata’ melted African, Indian, Rock and serial musics into its liquid grooves, as Russell cut up jazz into a pre-Laswellian dream state. He spoke of ‘vertical evolution' and ‘music as architecture’, locating an uncharted middle ground for jazz and electro-acoustic to thrive in with studio aids. Tao Macero's biomechanical work with Miles Davis on 'Bitches Brew’ similarly revolutionized jazz with its infinite, production-generated patterns. Both men surgically removed the power of the musician, as they emphasized the space between the notes. Reflecting reggae's changes, they both turned jazz upside down and inside out.

1953

Sun Ra dubbed out 'Cosmic Tones for Mental Therapy’. Its reverberating echoes atomized his tradjazz environment and guaranteed a place for machinery as a means to freedom or exile, in Luddite surroundings -

‘I am a spirit being. - (Sun Ra, to Graham Lock/The Wire)

1990

‘With Stalling all are embraced, chewed up and spit out in a format closer to Burroughs’ cut-ups or Godard’s film editing of the 1960s than to anything happening in the 1940s.’ (John Zorn, on composer Carl Stalling’s genre-surfing for animated cartoons) Tod Dockstader inherited Stalling’s nomadic impulses and the invention of Varese, having 'cut picture and sound for animated cartoons’ in Hollywood. The self-taught engineer/sound effects specialist incorporated musique Concrete’s microscopic detail, whilst re-assembling recorded sounds; to splice, cut, manipulate and mix them into a disturbing whole.

1964

Dockstader created the monstrous Quatermass’ (inspired by the futuristic TV series of the same name). He revealed his passion sources as being ‘the early satellites, starting with "Sputnik"'.

‘I had a library of 300,000 feet of tape (125 hours at 15ips). From this mass, I would select cells that seemed like they might work together into a piece, and then turn them into stereo (with more classical techniques of tape delay and tape echo between channels panning, reverberation and placement).‘ (Ted Dockstader, on the construction of 1964’s ‘Quatermass' -Starkland Records)

1955

‘After I had travelled 16 miles and was still running further from the fearful noises, I didn’t know the time that I entered into a dreadful bush which is called the "Bush of Ghosts", because I was very young to understand the meaning of "bad" and "good".‘ (Amos Tutuola, extract from ‘My Life in the Bush of Ghosts’, Faber and Faber)

Eno and Byrne's LP of the same name amplified Tutuola's haunting novel and fanned 'soul fire’ into a sampladelic prototype.

Adrian Sherwood’s 'International Web of Outsiders', featuring itinerant dreads, punk exiles and free jazz outcasts gathered under the On-U-Sound banner to record the ironically entitled 'My Life in a Hole in the Ground’ as African Headcharge. A mutant guide to sci-fi Babylon, its multidimensional info-overload and depth-charged heaviness fed off the BBC sound-effects library and floated upon Nyabinghi tribal drumming. Old met new in an anarchic declaration of psychodelic intent, it announced separation from reggae's puritanical roots that begat such a fetishistic beast.

11th century

‘Nothing is true, everything is permitted.’ (Hassan i Sabbah, assassin)

1989

‘We hear from all directions at once... If our eardrums were tuned any higher we would hear molecules colliding in the air or the roaring of our own blood.’ (Marshall McLuhan/Bruce R. Powers, from ‘The Global Village’, Oxford University Press)

1995

Jah Shaka's enlightened offspring, Abashanti and Iration Steppas, lock woofers in a gladiatorial sound-system clash. Militantly proud and insanely loud, ‘Shanti plays a righteous dub plate, sounding like church bells ringing 20,000 leagues under the sea. (My Bloody Valentine meets Sly & Robbie in a psycho-acoustic twilight zone). Ritualistically, the audience reject applause and stand awestruck in reverential silence. Quadrophonic, wall-to-wall speakers render resistance impossible; forced into meditational worship with the pure sound relationship to the music. Iration counter with 'Killimanjaro', systematically reducing its geographical title to a hypnotically mind-bending Chant of ‘Kill a man, kill a man . . .' Fusing the physical with the metaphysical, the Scientific with the archaic, the earth-moving EQ and time-warping effects reduce hours to minutes and make seconds stretch eternal. A tribal trek lost in sound.

1960

‘The word of course is one of the most powerful instruments of control as exercised by the newspapers... If you start cutting these up and rearranging them, you are breaking down the control system'. (William S. Burroughs, ‘The Job-John Calder Ltd')

Dub has evolved into a mutant virus. Its amoral corruption effects all musical forms it digests. Addicted to change, Dub has ignored the rule world by cutting out all territorial claims. As a technological agent of transformation, its core identity remains compellingly elusive, leaving only rarefied traces of its mysterious past. Just as reggae's pioneering spirits were infected by pops instantaneousness, so Dub's leading practitioners were aware of Phil Spector. Berry Gordy and Brian Wilson’s radical sound exploits. Dub's public broadcasts rocked Jamaica's sound system infrastructure throughout the 1970s. Not only outmaneuvering the scientists and eccentrics by appealing to both body and intellect, its overground exposure and structural liberation provided the perfect recycling product for mass consumption. With the timely advent of Drum & Bass (‘Version’), remix and Dub, its manufactured addictiveness was guaranteed. Dub appealed to human greed and spiritual need. A formless folk-music to be baptized in. when McLuhan announced that the Global Media Village as ‘a proper place for the birth of metamorphosis’, his sentiments had met their match in King Tubby's echo chamber. Turning technology in on itself Dubs feedback has continued to regenerate and redirect arid forms, Its revelatory peaks and paranoid visions have provided invaluable musical breakthroughs.

1968

When Jimi Hendrix promoted ‘the slow notion speeded up sound that sometimes cut so deep’ within 'Letter to the Room Full of Mirrors’ on the sleevenotes to ‘Electric Ladyland’ , its disorientating sentiments tapped past, present and future. Drum & Bass had already taken root in Jamaica and now the Junglists’ polyrhythmic charge repeats the loop two decades later.

1989

Lee Perry’s ‘The Tackro’ , a visionary resize of his filmic hit ‘Clint Eastwood’, previewed the shapeshifting sound of Dub to come. Not that reggae had immaculately conceived instrumentals, effects processing or structural edits. Perry had monitored Motown's moves and James Brown's instrumental B-side grooves. Tubby had followed the leading figures of jazz. Sporadic emissions had been covertly received from as far back as the proto-Dubs highlighting Chess or Sun gems in the 1950s. Musique Concrete's institutionalised disciples close-miked their environment to map out micro-space in effects-laden studios. Pierre Schaeffer rearranged reality as a 'concept of noises' in the middle of the twentieth century. Even Stravinsky protégé Varese wrote of music as being 'spatial', 'sound set free, yet organised'. His 'Americues' (1918) not only challenged the status quo, it dubbed in sirens and a lion's roar 50 years before the Caribbean grassroots revolution.

Dub's infinite horizons arose from the promise of deep space and an insatiable appetite for techno info. It lusted for space, both inner and outer. Its advancement echoed Jackson Pollock reducing fine art to spectral fragments, Dali replaying non-narrative dream sequences and Warhol remixing repetition. With supernatural allusions and aural illusions, Dub's prime movers reflected the edited reality of Modernist film. Both Bunny Lee and 'Scratch' were obsessive Western consumers (surrounded by guns and strife, it seems obvious now). So the slow-motion shoot outs punctuating Peckinpah's 'Wild Bunch', the temporal cut-ups of Kubrick's '2001' or even Jean-Luc-Godard splicing up the Rolling Stones in 'One Plus One', added to the exhilarating confusion.

Oxymoronically, a non-organic medium conveying organic messages, Dub's initial broadcasts filtered yearning, cultural struggle and a Rastafarian Zion. Yet it reduced humanity's status to ghosts within its machinery. A thirst for control or a humanising quest? Dub supplied the blueprint for the man-machine inter-face. Crowning producer as king, it pre-empted the dawn of music's silicon age. Offering bliss to hedonists and madness to Babylon seekers.

1995

'The studio is like your own world, and you become the god.' (A Guy Called Gerald, to Simon Reynolds/Melody Maker). Whilst Dub's individualistic genre claims can be contested, reggae's historical innovations cannot. Sound system, rapping, the 12-inch single's advanced sound all emanated from Jamaica's survivalist doctrine of profit through invention. Straddling science and mysticism, Dub's self-mythologising strength was supported by a populist mandate and an open-ended lack of structure. The practitioner's bastardisation of recording technology was a genius/pragmatist split. The vocabulary of effects, delays, echoes, phasers, distortions and reverberations formed the clues. Reproduction by definition it was related to J.A. patois for ghosts. The key to Dub is the illusory nature. From out of the lab into the dancehall, Dub proved there was an audience eager for insecurity. By chopping the word, there was no absolute truth. Faith was placed in a process of abstraction, fusing the inner with the outer, it has sought to simulate the eternal whilst setting its controls to infinite. Witnessing Dennis 'Blackbeard' Bovell's mix of the Pop Group's 'Y', Hank S. Shocklee's Bomb Squad dissecting the flux on 'Fear of a Black Planet', or even Andy Weatherall carving up My Bloody Valentine's 'Glider', it becomes blatantly apparent how destablised Dub's audio-visual worldview has become. Seeking the secrets between the notes, with the mixing desk for transport, its mystique has proven magnetic. Whilst reggae's opportunism has left the memories to be fought over, the mutation continues. The Old Skool versus Digi Dub? Do people really think Tubby wouldn't have utilised the surrounding tools? He was already compute literate prior to his tragically premature death.

Even cyber-space cadet William Gibson enlisted Dub's sound for salvation in 'Neuromancer'. Increased membership of Dub's Altered States of Consciousness is unavoidable. Strictly forward, there's no way back as evidenced by 'Macro Dub Infection - Volume 1'.

'People get warped by Dub and reggae and they never recover.'(Ian Penman, journalist/The Wire)

© K.Martin.

[Taken from the sleevenotes of the thoroughly recommended Macro Dub Infection Volume 1, Virgin Records 1995. Catalogue Number AMBT 7]

60 second lecture on Tone

Melopoeia is not just the art of forming a melodic passage but it is also how it puts weight on to what is said or sung. A moan from Gregory Isaac in a high falsetto singing the word "baby" carries far more heft than saying the actual word baby. When Vincent Gallo sings the words "Honey Bunny" he takes a cliche and subverts it and wrings out the emotional resonance that was there before the words became a cliche. Melopiea also brings to the songwriting equation the space between the words. The combination of words and melody cant' be effective to the listener if there's no time to absorb it. When we were making "Waiting for You" we tried to simplify the lyric and its space as much as we could and instead concentrated on what tone and melody would add to it.

Stone Cold Love at First Hear

A review from online Seattle newspaper, LINE OUT.

King Midas Sound: Stone Cold Love at First Hear

posted by DAVE SEGAL on THU, OCT 22, 2009 at 11:04 AM

King Midas Sound (producer Kevin Martin and vocalist Roger Robinson) strikes me as a fantastical fantasy project hatched from two of Charles Mudede's biggest musical crushes—Burial and Tricky. The duo's album on Hyperdub,Waiting for You... (due in November), sounds like an ideal merging of those artists' phenomenal talents. Difference is, Robinson can really sing, emitting creamy, soulful sotto-voce sentiments in wispy clouds over Martin's subtly noir-ish lovers dubstep; main exception is "Earth a Kill Ya," a doom-laden, Linton Kwesi Johnson/SpaceApe-style ecological-warning manifesto.

Understatement is King Midas Sound's watchword, but this low-key approach somehow magnifies the songs' impact. Musically, this is the mellowest Martin—notorious for his extreme frequency fucking with the Bug, Ice, Curse of the Golden Vampire, and many other endeavors—has gotten since the ambient disc on the 1995 classic Re-Entry. But the cumulative power of Waiting for You...'s simmering, sensual sizzle and its aura of post-coital/post-breakup desolation keeps swirling through my head and gripping my heart with muted desperation.

Album of the year, unless somebody surprises the hell out of me in the next two months.

Album artwork

Today we got the proof back from the printing factory for the 'waiting for you' album artwork.

The album comes with a 24 page booklet containing illustrations by me(Hitomi) and lyrics by Roger(Robinson).

Here is the one of the pages from the booklet.

Darlin’

I bring you this song

Sing it for all its worth

Sing on the road

Sing it to stop the hurt

Darlin d’you need me

Darlin you don’t

Darlin please take me back

Darlin you won’t

I bring you this song

Sing it for all its worth

Sing on the road

Sing it to stop the hurt

All of my dreams

seem to be bright as sun

but now it seems

that my new day won’t come

the heart so far the night the stars

Darlin d’you need me

Darlin you don’t

Darlin please take me back

Darlin you won’t

something like rain is flowin over me

feelings like rain takes me across the sea

Overflow love is rushing through my head

Wish I was there waking up in your bed

the heart so far the night the stars

Darlin d’you need me

Darlin you don’t

Darlin please take me back

Darlin you won’t

Album release date

Releasing from Hyperdub on 30th November 2009

"Waiting for you..."

After two singles on Hyperdub, and a release on Soul Jazz, King Midas Sound's ‘Waiting For You’ is the debut album from Roger Robinson and Kevin Martin's new group.

In previous collaborations, Roger performed as a highly respected poet, but when he opened his mouth to sing in a fragile falsetto, everything changed and King Midas Sound was born. The signature intensity of their previous solo projects remains, but the mood and feeling is radically different. As opposed to Roger's spoken word pronouncements and The Bug's fierce battleground dancehall, King Midas Sound is more like an opiated aftermath.

‘Waiting For You’ is all about intimacy. Roger’s falsetto is fragile and vulnerable, a sound somewhere between Gregory Issacs and Vincent Gallo, nestled inside an intimate blanket of bass and vertiginous atmosphere. On three of the album cuts, the duo becomes a trio, as the bittersweet backing vocals of Hitomi (from Dokkebi Q) add a further disorientating swirl around the mix like memories gatecrashing the present.

Two years after Hyperdub released Burial's 'Untrue' it is still rare to find albums packed with such intense and honestly exposed feelings. King Midas Sound often deals with a similar strain of musical melancholia, but instead of hyperemotional haunted garage, ‘Waiting…’ is absolutely song based, and generates the spectral bliss of a jilted lovers rock, a sublime, heartbreak reggae. We learn quite quickly that the opening fresh breeze of sound system nursery rhyme 'Cool Out' was actually the back draft of an emotional apocalypse. As we move from the yearning title track, to the ital ecology of 'Earth a Kill Ya', to the elevation of the lunar 'Outer Space' and 'Miles and Miles,' the emotional geography opens out into full, dread soul glory, a wasteland populated by songs of psychic meltdown, the sweet toxicity of love, echoed lullabies to the departed and an acidic undertone of resentment - ("I wish you luck with a capital F, boy").