19 Songs, 44 Minutes

EDITORS’ NOTES

Dean Blunt is becoming a master of collage, an artist whose aural assemblages are often so disparate that they manifest visual creations for those who listen closely. Using everything from harps and cellos, found vocal samples, hard beats, and watery soundscapes, Blunt seems to rarely find a sound he doesn’t think worthy of inclusion. There’s a grimy guitar riff he wants to let loose on “All Dogs Go to Heaven,” a massive gong on “Mmix,” trumpets and whistles in “Need 2 Let U Go,” a broken man and his piano on “Brutal,” and a crisp, bluesy guitar line on “Make It Official.” “Demon” is a patchwork of echoing toms (courtesy Kate Bush’s “Sat in Your Lap”), car horns, breaking glass, violin ostinato, and looping vocals chants that sound vaguely demonic. The title track floats on wheezing accordion or melodica notes, with the sweet vocals of Blunt’s former musical partner Inga Copeland fleeing from an ugly outburst of male frustration before faux strings soften the mood. Blunt’s knob wizardry isn’t for everybody—if you're looking for a good dance groove, a hooky tune, or verse/chorus/verse, keep going. But working through this multitextured pastiche offers a unique method for emotional temperature-taking.

EDITORS’ NOTES

Dean Blunt is becoming a master of collage, an artist whose aural assemblages are often so disparate that they manifest visual creations for those who listen closely. Using everything from harps and cellos, found vocal samples, hard beats, and watery soundscapes, Blunt seems to rarely find a sound he doesn’t think worthy of inclusion. There’s a grimy guitar riff he wants to let loose on “All Dogs Go to Heaven,” a massive gong on “Mmix,” trumpets and whistles in “Need 2 Let U Go,” a broken man and his piano on “Brutal,” and a crisp, bluesy guitar line on “Make It Official.” “Demon” is a patchwork of echoing toms (courtesy Kate Bush’s “Sat in Your Lap”), car horns, breaking glass, violin ostinato, and looping vocals chants that sound vaguely demonic. The title track floats on wheezing accordion or melodica notes, with the sweet vocals of Blunt’s former musical partner Inga Copeland fleeing from an ugly outburst of male frustration before faux strings soften the mood. Blunt’s knob wizardry isn’t for everybody—if you're looking for a good dance groove, a hooky tune, or verse/chorus/verse, keep going. But working through this multitextured pastiche offers a unique method for emotional temperature-taking.

TITLE TIME
0:36
2:27
5:00
4:08
0:50
3:32
2:13
3:35
1:44
2:34
0:58
1:31
2:16
0:54
5:32
2:28
0:13
3:23
0:06

About Dean Blunt

Maverick musician and producer Dean Blunt, a London (Hackney) native born Roy Nnawuchi, played bass in Graffiti Island prior to making bigger waves with Inga Copeland as Hype Williams. The duo was classified as chillwave and as hypnagogic pop, two terms Blunt rejected. From 2009 through 2012, Hype Williams released a handful of albums and several singles and EPs, where material ranged from lo-fi house to noisy collages with equally whimsical titles. Blunt started releasing solo material in 2011 and quickly built a discography that rivaled the size of his work with Copeland. Among his most notable full-lengths were The Narcissist II (Hippos in Tanks, 2012), The Redeemer (Hippos in Tanks, 2013), and Black Metal (Rough Trade, 2014). The first two of those three saw him dabble in slack singing and songwriting, while the last of the bunch was a full embrace of the form that was even, at times, guitar-based. In 2015, he released an online mini-album titled Babyfather. He then expanded Babyfather into a full-blown project, presented as a trio including DJ Escrow and Gassman D (which, in all likelihood, are alter egos of Blunt himself). Following two self-released mixtapes, Hyperdub issued Babyfather's single "Meditation" (co-produced by Arca) and full-length BBF Hosted by DJ Escrow in 2016. ~ Andy Kellman

Songs

Albums

Listeners Also Played