British trip-hop pioneers Morcheeba are sharing a new remix courtesy of London based electronic artist and producer Kelpe.
The Kelpe remix of ‘Free Of Debris’ – an interlude of sorts on Morcheeba’s 2018 album ‘Blaze Away’, is a sumptuous, slow-burning electronic beauty. Pairing soft synth pads and lilting keyboard runs, with deep rumbling electronic bass notes – Skye Edwards’ vocals compliment the instrumentation beautifully – to create something not wildly dissimilar from the original track, yet something wonderfully enjoyable and fresh.
Speaking on his work on the remix, Kelpe (real name: Kel McKeown) said: “Working from a stripped back original song of around one minute length, this was a really fun remix to work on as I felt I could add quite a bit of my own sound to it, expanding on it without making it sound too cluttered. I replaced the main guitar hook with my own synth sounds which replicated the original melody, then added in some programmed beats and the fender rhodes sound from the original, then further layers of my synths and vocals with a different effect treatment. My approach to this remix was quite simplistic but I was happy with how it turned out as I felt that even though a lot of the sounds on it were new ones that I had recorded in myself it didn’t deviate from the actual original tune too much.”
Morcheeba’s 2018 album ‘Blaze Away’ is out now.
Kelpe has shared the video for Valerian, taken from the THE CURVED LINE LP, out now on DRUT Recordings. The UK producer used sound reactive visuals to create a landscape of other worlds & galaxies in his ace new video (everything’s created from scratches or burns from a vinyl)
Kelpe will be playing a London show on Sept 17th at The Waiting Room too.
Over the last twelve years, Kel McKeown, or Kelpe, has carved himself a unique perch in the UK’s electronic underground. Today he returns with new single ‘’Doubles of Everything’ as he announces his fifth album ‘The Curved Line’, which is set for release on August 24th on DRUT Recordings and will be available on double vinyl & via download.
‘Doubles of Everything’ is an intoxicating blend of haunting pianos, aqueous synth chord progressions and over-driven drum machines, and marks the first step of this British producer’s forthcoming full-length.
Across several full-lengths, various EPs and remix projects, Kelpe’s misfit electronica has managed to cohere a staggeringly deep spectrum of influence along the way. A natural son and heir to Generation Warp and the fathers of Krautrock, his pioneering experiments in the early ’00s also positioned him as one of many stylistic precursors to the arrival of LA’s now-sprawling beat scene. Much like scene-savants Prefuse 73 and Dimlite, Kelpe has remained an enormously respected stalwart of the fringes, always dabbling variously in sample-heavy beat-craft, oddball ambient, and – more recently – dancefloor-ready club grub.
In 2013, he christened his newly-born imprint DRUT Recordings with ‘Fourth: The Golden Eagle’, its first feature-length. After seeing out releases from Chesslo Junior and 1000names, Kelpe returns to grace his still-young imprint with a second full-length: ‘The Curved Line’. Like its celebrated predecessor, it’s a record transfixed on tonality and texture – Korgs, Moogs and pocket pianos all feature heavily across the album’s rich palette. The exciting sonic bursts of his last effort have evolved confidently and blown out into soaring progressions and flowing structures – all evidence of a tireless producer gunning to out-do himself.
Like its name suggests, ‘The Curved Line’ plays out in a tenderly considered arc – an album in which sun-swollen chords build up into sparring synths and bottom out into quietly frantic minimalism. Twinkling sound experiments follow confident club fare. The tracks are longer and wider than ever, advancing and building up loops to great heights before breaking them down again. On two of the albums cuts, live collaborator Chris Walmsley makes a return appearance on the drum kit, recorded by Stereolab’s Andy Ramsay at his Press Play Studios.
As ever, Kelpe presides over a delicate union of the electronic and the organic. ‘Chirpsichord’ is a neat embodiment of the album’s openers – a loping slice of soft bubbling arpeggios and shifting loops. ‘Calumet’ runs harder with the same themes – driving loops into a club headspace clapped with big drums and droning synths. The record pauses for breath here and there, shoehorning skittish sound experiments like ‘Red Caps of Waves’ and the delicately exotic ‘Morning Two’. After tosses and surprise turns, the album finishes dramatically on ‘Incantation’ – a thumping beat workout followed by a deep and whirring coda that seems only achievable if you’ve been noodling with sound hardware for over a decade.
Ultimately, ‘The Curved Line’ is Kelpe’s most urgent yet – a mature soundworld full of glowing club experiments, bounding chords and mellow interludes. There’s more analogue synths, skittish surprises and white noise – and the signature warmth still remains in spades. All said and done, it’s definitive Kelpe.
1. Doubles of Everything
4. Sick Lickle Thing
5. Red Caps of Waves
7. Drums For Special Effects
8. Morning Two