Kyle Hall: Is he the great, young Detroit hope? Judging by the raves he's gotten from the likes of Rick Wilhite, Omar-S and Mike Huckaby and—more importantly—the music that's come out thus far, I'm inclined to think so. Hall's productions have the sort of queasy funk associated with the likes of latter-day Parrish, a brand of organic house music that is delicate, beautiful and hard-as-hell to mix (according to Theo himself).
Hall's second release for his own Wild Oats imprint is no exception. The A-side, a collaborative track done with a group called Bsmnt City Anymle Kontrol—which includes the recently deceased son of Amp Fiddler—moves along as if by sheer will. The group's ramshackle production is loose, meandering and free, with Fiddler's sure-handed drumming giving room for keyboard solos from Hall that sound as potent and as gloriously indulgent as any guitar god.
Hall turns up by himself on the other side, dropping weird science over "Love Kontrol" and "OatnOut." The former grooves like a fart-y hip-hop track—in a good way—slowly unraveling its abstract wares, while the latter gets even stranger in pushing its keyboard loops out from underneath a mess of sonic floatsam composed of other miniature keyboard and percussion loops. Somehow, though, Hall keeps both together, forcing the weirdness to work with the beat, or productively against it. Whatever it is, it sounds different: And that's a very good thing.
Hall's second release for his own Wild Oats imprint is no exception. The A-side, a collaborative track done with a group called Bsmnt City Anymle Kontrol—which includes the recently deceased son of Amp Fiddler—moves along as if by sheer will. The group's ramshackle production is loose, meandering and free, with Fiddler's sure-handed drumming giving room for keyboard solos from Hall that sound as potent and as gloriously indulgent as any guitar god.
Hall turns up by himself on the other side, dropping weird science over "Love Kontrol" and "OatnOut." The former grooves like a fart-y hip-hop track—in a good way—slowly unraveling its abstract wares, while the latter gets even stranger in pushing its keyboard loops out from underneath a mess of sonic floatsam composed of other miniature keyboard and percussion loops. Somehow, though, Hall keeps both together, forcing the weirdness to work with the beat, or productively against it. Whatever it is, it sounds different: And that's a very good thing.
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Published /
Mon / 11 May 2009 -
Words /
Terrence Fuller -
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Tracklist /
A Bsmnt City Anymle Kontrol - The Perfekt Sin
B1 Kyle Hall - Love Kontrol
B2 Kyle Hall - OatnOut
Paris
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