The Child of Lov

The Child of Lov
 producer and multi-instrumentalist Cole Williams employs a restless mentality and calculated taste to slice apart D.N.A from the soul and funk genre.
The whole affair is wrapped up in a shroud of anonymity, half covering the identity of the man behind the project. Admittedly, Cole isn’t nearly as aggressive towards his secrecy as other, more notorious musicians, who have shown a preference to the secluded charm of publicity’s back alley. But that’s beside the point. Whether the motive lies in minimizing contact with sweaty palmed fans or boosting the excited chatter of speculation and admiration around his music, remaining a closed circuit seems like a no brainer in preserving whatever creative process seems to be working for him. Through his selectiveness and willingness to remain in the driving seat, the emerging producer has struck a perfect balance of help from established talent in the industry, preventing his vision from being hacked up in the process of adding big names and long standing legacies.
Masked hip-hop veteran MF Doom contributes a verse to the hypnotically off-kilter track ‘Owl’, fusing Middle Eastern strings with flickering vocal snippets, replicating the funeral march of a particularly sinister Disney villain. ‘Fly’ follows immediately after, and sounds like something spawned from the creative ooze of James Murphy. There are quite a few moments on this album where the contrast of neighbouring tracks make it clear how much variation exists here, almost every song sits awkwardly against its numerical counterpart.S
‘Give Me’ is whiskers away from being a doppelganger to the 2008 song titled ‘Deuces’,  from a project headed up by RZA and Shavo Odadjian (best known for his work with System of a Down). The two songs differ in the employment of Cole’s high pitched vocal and a Funkadelic style guitar riff. There’s a wide reaching sound on this record, echoing the space in which it was recorded.  Studio 13, constructed for the use of Damon Albarn and a number of his collaborators, was the origin of a number of Blur albums. In a previous Interview with Sound on Sound Magazine, Tom Gilbert, one of the studio’s creators, summarised the sense of experimentalism exploited by Cole, saying that “In our opinion, gear is built to be abused”Previous Page

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