Even though London-based Clear label kicked off its now-celebrated catalog of releases with singles from a variety of well known talent (Reload/Global Communication, Mike Paradinas/µ-Ziq, Acen, and Plaid), these were also quick to cultivate a homegrown stable of lo-fi innovators, including Matthew “Dr. Rockit” Herbert and David “Clatterbox” Kempston. Like Herbert, whose singles and remixes as Wishmountain (for General Vocabulary) and under his very own name (for Phono, Reflective, and SSR, amongst others) possess mined the greater pedestrian capacities from the sampler, Clatterbox’s audio can be reliant on sort of sophisticated, left-field minimalism. With paths often made up of only 3 or 4 loops judiciously organized, Kempston’s work sometimes suffers because of its simpleness. But much like early hip-hop manufacturers such as for example Man Parrish, the Unidentified DJ, and “Quite” Tony Butler, Kempston’s visual forces him to produce a small go quite a distance, often to wonderful impact. It’s hip-hop and electro that Kempston frequently draws, needless to say, but unlike lots of the electro nu-school, his audio is hardly vintage; tracks such as for example “Matterrox” and “Dunk” may suggestion their hat occasionally with thick, chat box-y bass, handclaps, and rubbery synth function, but his fusion of components from a variety of resources (funk, home, experimental techno, commercial/EBM) using a quality laughter and knack for extracting musicality through the oddest of resources defies easy dismissal. Furthermore to his materials as Clatterbox correct, Kempston in addition has released a set of 12″s on Crystal clear simply entitled “Clatterbeats”; stripped-down vignettes designed for DJ make use of rather than house listening.