Beaumont BeaumontBlush Response
KINNEGO RECORDS (KGO004, 12” + digital)
Imagine what would happen if we genetically engineered a cross between “Le Parc”-era Tangerine Dream and the producer of The Weeknd, or between the sexually active Jimmy Edgar and the latest hypnagogic gem with influences from black music (like Toro Y Moi without vocals). That mutation, complicated in theory, is what young Scot Michael Rintoul sounds like, and he should be applauded for the great job he did of updating the Kosmische sound with a bit of groove. On pieces like “Foreign Intrigue” and “Tokyo” you can hear the same thing Ford & Lopatin are trying to do on the incomplete (though not unsuccessful) debut album, only with a lot more sex appeal: a soundtrack for a film with a lot of night shots, roads and railroad tracks, suspense and tense waiting, and of course some romance. Beaumont’s fixation with the eighties is obvious and undeniable, and of the seven cuts on this 12” there are hardly any moments where the synthesisers don’t float with a neon shine and end up like brass instruments. But inside, despite the civilised appearance given by the sleeve, there’s a hustler: his love for digital equipment doesn’t make him a nerd but a seducer, as he invites you to participate in his game of lovemaking.
My enthusiasm for this record is mainly due to its directness. From the very start, you’re part of this urban thriller packed with neon signs, illegal transactions and a lot of jewellery. “Lucky”, with 808 drum rolls, and “Flesh & Flood”, with its high-pitched voices, are possibly the best ever fusions of Californian new age and indie R&B. If Jan Hammer would make a beat for Drake, this is what it would sound like, while pieces like “Midnight” would be like a “Crockett’s Theme” for hypnagogic kids. All in all, another hit for Boxcutter’s label. We have to give him some room, but Beaumont seems to have everything he needs to occupy an important place in these times of synthetic mythomania. Robert Gras