When Mount Kimbie, the London-based production duo of Kai Campos and Dominic Maker, dropped 2010's critically-acclaimed debut album Crooks & Lovers, the media swiftly christened them poster children for the "post-dubstep" movement. But even then, it was a reductionist label for Kimbie's sound.
While held up by broken beats and sub-bass lines, their intricate, nuanced collages of found sound samples and field recordings were as much part of an avant-garde tradition going back to early 20th century musique concrète, as post-millennial UK bass.
"[Post-dubstep] doesn't mean much to us, really," Kai Campos tells Crossfade about being pigeonholed. "I think the word dubstep normally throws people off from what we actually do. I feel like we've always been judged on our own merits over here, though, so whatever it needs to be called is fine with me."
