TIGERBEAT6 RECORDS MEOW 200 CD (2013)
Dearie me. Eleven more tracks from the noughties’ most notorious glitch-stepper: Kid606? My earlier, hype-fuelled exploration – which didn’t leave me a fan – returns sharply to mind: from the eclectic, frenetic electric playroom antics of Kid606 and Friends through to the mutant dancehall volley of Kill Sound Before Sound Kills You (which I did rather like, truth be told); I wearied further with each release until giving up. His haphazard and hyperactive drill n’bass antics struck me as overly prolific, provocative and disposable. I imagined him laughing about gullible Wire readers with his Tigerbeat6 mates, after hours: hardly the most illustrious artist/listener relationship potential. Admittedly, there have been moments when his irreverence has hit the spot beautifully: his bastard-pop cut ups of NWA and Eminem for instance, but for the most part the electro-punk sensibility yielded more exhaustion than exhilaration. Even Mike Patton’s heroic act of pre-career cartography – sifting through 10 hours of recordings to compile the Kid’s Ipecac debut, Down With The Scene – proved for me a gruelling and often forgettable experience. Thus, apprehension weighs heavily at the arrival of this dirty-booted revenant. Thrown-together cover art? Check. Waggish track titles? Check. Hesitantly but obligingly, I slip it on, knocking back a shot for good measure.
Sixty-four minutes later my mood’s transformed – rather as (the Kid’s alter ego) Miguel de Pedro’s appears to have, allegedly effected by his migration to sunny LA – into something vaguely triumphant. There’s no mistaking the author of these light-hearted, pastel-tinted melodies, but what surprises is how successfully they’ve been integrated into the glitchy atmospherics that might once have consumed them. Sunny centrepiece ‘Party Gambas’ best exemplifies: finely diced seagull samples add an authentic air of seaside leisure to the rolls of summery synth stabs that drive it like a beach party that doesn’t end in pools of vomit and a summoned ambulance. But nor does it become too responsible. Combing the same coast from dazed sunrise to hazy twilight at a moderated pace for much of the album, the Kid shifts gears now and again but never grinds them as he so often used to. I’m reminded in my newfound admiration that manic as it was, ‘Down With The Scene’ had just as much in the way of pastoral charm as it did aural demolition, yet impressions of the latter proved most durable.
His excision of blast beats and second-rate scribbling is a breath of fresh air for listeners as jaded as myself, and while there’s nothing that’s exactly anthemic it’s still a remarkably high hit count. ‘Happiness’ is of an ilk more akin to the Kompakt stable – exhibiting confident, life-affirming warmth that builds on the delicate, melancholic atmospherics of releases such as his Mille Plateaux debut PS I Love You (2000). Though supposedly a signal of his auspicious relocation to warmer climes, to my ears the eponymous ‘Happiness’ arises from a rapprochement between the Kid’s inner child and critic. Where the former once ran rampant, crayoning walls with sometimes serendipitous abandon, the other seemed very much the ‘no hang ups’-chanting hippy/laissez faire parent. Granted I’ve a few years of missed releases to catch up on, but I’m glad to witness the timely onset of the Kid’s maturity, even if he views it askance himself, as suggested by the shadowy final title ‘Man: The Failed Child’. Others might disagree with this cynical sentiment, or perhaps it’s a further sign that the earlier sense and sensibility of irreverent humour still prevails.