Eve-Marie Connolly

Mount Kimbie @ Invisible Wind Factory


When I found out where the Mount Kimbie gig was going to occur, I was intrigued by the name Invisible Wind Factory but didn’t think anything of it. I was told that the band would be on at 1am, and having never been to an event that started that late (or early if you think about it) I was all the more excited for it.

Me and my friend Harry decided to start the night by having a few drinks in Carnatic Student Village’s ‘Carnibar’, arguably the best thing about our accommodation, and then took the bus into the centre of Liverpool, hoping to catch the end of the LGBT+ society’s bar crawl. However, after finding out where they had last headed, we’d just missed them and therefore decided to just wander around Stanley Street Quarter until 12 when we would make our way to the venue.

Having no idea where Invisible Wind Factory actually was, we made the decision to walk to it, figuring it would only take us up to half an hour to find it. Unbeknownst to us, Invisible Wind Factory is off the beaten track (quite literally), and in the dark it felt like we were stepping back in time, passing disused factories and industrial graveyards that would have, during the Industrial Revolution, given Liverpool national identity for being at the heart of industry; now reduced to rubble and the skeletons of buildings, creating an eerie quality that made finding this venue all the more alluring. I don’t know if this was all just in our heads or the result of us not knowing where we were, but this experience created a surreal quality that continued throughout the night.

Finally, when we thought we couldn’t possibly make any more turnings into dark alleys which led to the great expanses of this industrial wasteland, we came onto a main road and spotted a queue spilling out of a tall building that looked almost like a warehouse. We had finally found Invisible Wind Factory. Whilst waiting in the queue we realised we were quite close to the docks and that all these people had come to the venue by taxi and were from a slightly older generation, but it still felt like some kind of secret, as if this place was only known to certain people.

Once inside, the venue gave off an almost science fiction like quality- a juxtaposition to the building’s past. Realising there were multiple floors, we went to the basement and came across a room with low ceilings, bright throbbing lights and intense dancing. People were dressed up in all kinds of crazy outfits, with an intense atmosphere being created that we didn’t want to leave.

Finally, we made it up to the main stage in preparation for Mount Kimbie. If it weren’t for the DJs and their tunes beforehand, this part of the night would have ruined the whole experience. When it came to 1am, there was no sign of the band, and this continued until 2.30am, with incessant fumbling around with the projector that kept failing to capture the laptop screen.

Nevertheless, when 2.30am came along, Dominic Maker and Kai Campos came out with their session musicians and created an experience, with a blend of synth, guitar and drums which I believe made up for their late entrance. They mostly played new tracks from their latest album Love What Survives, which was released earlier this year. One of the tracks, Delta, has no guest artists it and carries itself along, chaotic at times, but with a build up of synthetic sounds and electronic hi-hats as well as simple and almost seductive chordal structures. They also played Marilyn, the vocals (originally sang by Micachu) are said to emulate the late and great Arthur Russell. This song is quite simple, with a bass line and drum pattern that allows the listener to focus on the vocals.

The band also played Four Years and One Day, which uses the synth quite extensively, and yet again has a build up of instruments such as the drums, bass and other sounds which repeatedly flooded the room again and again. It is true to say that there was an almost electric quality to the audience, who were all deeply connected to the music, especially when I moved to the side of the stage, finding the most intense dancers. It was true to say that each of us was feeling the music. Fortunately, they also played one of my favourite tracks, You Took Your Time (normally featuring King Krule), which is from their second album, Cold Spring Fault Less Youth (2013), and is a favourite because of it’s quality of being a song in motion, with a destination almost, and on the night I found out that it was amazing even without Krule’s vocals.

Unfortunately, there was no encore to the event, but despite Mount Kimbie turning into an extremely late night, the whole night was definitely an experience.

You can buy Mount Kimbie’s new album, Love What Survives, here: http://www.mountkimbie.com

Listen to Delta here: https://www.youtube.com/watch?v=8rwXMvPm1HQ



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