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P.S. I Love You is a significant depature from the manic breakbeats and blatant noise barrages of Kid606’s preceeding Down with the Scene, instead embracing the clicks + cuts sound of Mille Plateaux circa 2000. It’s a refreshing change characterized by lush ambience, twitching textures, and subtle glitches.

The Soccergirl EP marks the second release in Carpark’s “sports-FAN” series and just about the first time Kid606 strives to flex his lamenting ambient muscles. In its own way, this is as effective and intense as any of his earlier freako-nutso-breakbeat electro-punk psychosis. From the waiflike electronic glide of songs like “Thank You for Being My Angel (Rev 1)” to the amusingly sweet of others like “If My Heart Ever Ran Away It Would Be Looking for the Day When Right Beside You It Could Stay Forever,” Kid606 refuses to even play by his own previous rules. His anarchic gabba has been replaced with a sentimental, Arovane-aping, Pole-like understatement and one might guess that Kid606 suddenly saw that his own specialized style has become a mini-establishment in itself. Which, one guesses, demands an internal rebellion of his own. Even his usually humorous titles suggest this shift. Instead of the insulting or the absurd, there is a sequence of songs that seem to encircle a simple narrative of a love found (“Start”) and lost (“Over). This newfound candid step is a crucial earmark in Kid606’s career. Understated, yet still unexpected. It’s an admirable stab at joining the ranks of the unpretentious auteurs like Boards of Canada or Aphex Twin, and it’s shocking how well he succeeds. It’s likely that this will become the biggest understatement of all.

While not as cerebrally hemorrhaging as his album releases, the Kid compiles some of his earlier works for Why I Love Life. Surprisingly, there’s more somber material here than on any other of his releases to date, suggesting a more personal side and opening a new angle in which to approach his works. The hallmark Max/Msp digital programming is replaced throughout with treated guitar, piano, and more of an electro-heavy groove. But even when his trademark sound is utilized it’s definitely more subtle and complementary to the extremely melancholic synth lines. While this could easily be perceived as a throwaway/cash-cow release due to its short length, don’t be misled. This is a potent EP that is painfully too short and will leave you in want of more.

-Dean Carlson, Rob Theakston, Jason Birchmeier,

P.S. I LOVE YOU (2000)


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