kristuit salu vs. morris nightingale - my mines i review from www.boomkat.com Miami’s M3rck crew return once again : another new artist and another surefire winner. Kristuit Salu is the work of Detroit’s Jimmy Edgar and his sound fits in so effortlessly with the Miami aesthetic that ‘My Mines I’ feels like the kind of record that’s already familiar on first listen. This is no bad thing – a warm infusion of electronic tinged hip hop beats and an emphasis on crackled glitch gives tracks like ‘Germain Fabric’ a richly textured character – softly softly blending a hazy arrangement of static with an engrossing nighttime beat. Straight into ‘Dope Soft Intake’ and we’re back to classic Machine Drum/Push Button Objects territory : scratches galore and moody electronic pulses in a Scott Herren stylee, via some glorious Detroit Neon. Amazing that this guy is only 18 – the cuts are not only staggeringly accomplished, the overall soundscape is beautifully original at times. So, if you want more of this sort of thing, you’ll love this from end to end. Highly Recommended. kristuit salu vs. morris nightingale - my mines i review from http://brucelev.home.mindspring.com/2002_03_01_archive.html HipHop’s influence on IDM (listen to the beats) has never been a big secret, but lately that influence has become more explicit, resulting in a new sub-genre named ClipHop. Mille Plateaux’s recent Electric Ladyland: Clickhop Version 1.0 compilation provides a tidy survey of the field, while Mokira’s Cliphop (Raster) and Machine Drum’s Now You Know (Merck) provide prime examples of the sub-genre’s two poles: minimal clicks-n-cuts electronic IDM with a pronounced HipHop rhythm, or a style leaning more heavily on samples, scratches, and vocal cut-ups. On My Mines I, Jimmy Edgar manages to have it both ways by assigning the minimal electronics to his Kristuit Salu alias, and the funkier sample-based material to his Morris Nightengale alias; the resulting album’s tracks alternate between the two styles. While Edgar clearly demonstrates skill with both styles, the juxtaposition makes for an uneven listening experience, although things do level out somewhat towards the latter half of the album as the two styles begin to merge. Eclecticism can add an extra layer of depth to a project, but only when the various tracks work together towards some overarching goal. Perhaps it would have been more appropriate to release these tracks as two distinct EP’s. Ultimately, your listening pleasure may depend on your willingness to reprogram you CD player, or else burn a custom mix onto a CD-R. kristuit salu vs. morris nightingale - my mines i review from a popular japanese music magazine Kristuit Salu & Morris Nightingale THE 18 YEARS OLD HAS NEVER SOUNDED THIS FRESH! A New Face from Merck that Even Underground Hip-Hopers Will Surely Dig by Naohiro Kato Take Detroit Techno, IDM, Minimalism, and ATCQ, put them into a mixer, and then restructure it all in a laptop computer. What do we get? This record. "My Mines I" is a brand new debut album by Kristuit Salu & Morris Nightingale for Miami's Merck label. A man behind this project, believe or not, is a young genious from Detroit, Jimmy Edgar, who is only 18 years old. Just like Dabrye, who is also from Detroit area, Jimmy Edgar successfuly fuses elements of Electronica and Hip Hop together. "Actually, I don't listen to that much hiphop. I mean, I did grow up on alot of hiphop, but it was usually underground hiphop. But I do strive for interesting rhythm. I actually played percussion and jazz drumset for 10 years. Rhythm comes bery natural to me in the sense that everything I hear is rhythm and music to me." However, his unique sense of rhythm and his ATCQ-like hard-hitting beats will definitely make die-hard Hip Hop fans smile, and the click-scratch sounds he programs himself on this record even remind you of Ko-Wreck Technique, which features DJ Craze and Push Button Objects. This record is a collaboration project by Kristuit Salu and Morris Nightingale, two different aliases that Jimmy Edgar uses. "With Kristuit Salu, I tend you get more of an offbeat, broken sound. Kristuit Salu often veers toward minimalism. I really love what these minimal artists have going on. Alva Noto and his concepts would definately be a big influence on my art. Some of the first Kristuit Salu works were formed from field recordings, vinyl jazz samples, and percussive type sounds, such as tape clicks. With Morris Nightingale, he produces more sample-based, rhythmic music. Morris is definately more soulful and hiphop inspired. Most of the influence for my Morris Nightingale project is detroit techno influenced. Its my way of crossing genres to form something new. Also, Morris's use of silence and dynamics is a big part of his concept and musical style." kristuit salu vs. morris nightingale - my mines i review from www.cyclicdefrost.com In a departure of sorts stylistically for Merck, 18 year old Detroitian Jimmy Edgar embraces all things micro DSP, but in a much more considered, refined and mature manner than the usual DSP fare. From the opening Conceptial Devaihdn that is a raucous switch-DSP-effect-each-half-bar affair, we jump to a fine example of subtle glitch-dub in Germain Fabric. Dope Soft Intake and L.P Output jitter along in a Plaid meets Scott Herren (Prefuse73) merging of old school electro stabs and disjointed r’n’b shuffles respectively. Bland Impair grows from skeletal defragments of a bit decimated percussion soup into a steadier mess of random syllables scattered amongst creeping synth pads. Pulsating washes of atmosphere altogether dislodge the schizophrenic r’n’b overtones of the LP with Anata Wo Ai Site Imasu. Edgar successfully applies his micro-refined programming template to a handful of styles on the disc, and much like label-mate Machine Drum he almost outdoes Prefuse73 at his own game. Also look out for the 12" version that features some bonus tracks as well as newly randomised parameters of selected tracks from the album. Barry Handler

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