His latest EP “Waterfall” finds Evian Christ exhibiting a creative restlessness that continues to make it harder to pigeonhole this young, evolving artist. On “Kings And Them” Evian Christ conjured up a sound that was influenced by hip hop as it much as it was by more ambient forms of music. On “Waterfall” Evian Christ has taken his unique sound into a far noisier and more aggressive territory.
The lead track from “Waterfall”, the hip hop laced ‘Salt Carousel’ may open the record with the sort of dreamlike serenity that typified the vast majority of Kings, but it’s really the quiet before the storm as harsher, more abrasive elements rush in and dominate. On ‘Fuck Idol’ huge walls of digital distortion clash with code red beats that grow more and more frantic as the track progresses, while the title track is a blast of metallic dancehall dread that mutates multiple times over the space of 4 minutes into something truly epic.
Having spent the past year experimenting and challenging himself, and in refusing to simply duplicate a sound that garnered him so much attention to begin with and led one of, if the not, the world’s biggest hip hop artists to seek him out, “Waterfall” finds Evian Christ growing in confidence as a producer and continuing to elude any sort of easy categorization.
Recorded partially in his hometown of Ellesmere Port and partially in New York, “Waterfall” was mixed by Noah Rubin (Pusha T, Wu Tang Clan) and mastered by Heba Kedry (The Mars Volta, Liturgy, Fis). Track 2, ‘Propeller’, contains a sample of ‘Nine’ by close friend and affiliate producer, Lukid.