As members of up and coming internet collective Gendergrind, Big Dimp and Boxkitty are currently minor players in one of the most powerful music scenes of the past decade. DimpKitty may be brief, but it solidifies its creators’ importance and suggests that they have the potential to make a huge splash in an already overcrowded musical pond.
With Dimp on vocals and Kitty handling production, each of these four songs offer more experimental music than the last. ‘Fuck the Night’ opens with a guest vocal from Canadian rapper Dag, whose voice is contorted in immensely pleasing fashion over a stuttering, noisy beat. The production shifts completely when Dimp begins his verse, adopting a sad, twinkling melody to reflect the isolation of the lyrics: ‘To be honest no one really cares, I don’t care what you think at all. Is there anybody out there?’’. In under two minutes the track manages to cover various perspectives on loneliness and making it through dark times, Kitty’s immaculately bizarre production heightening the feeling of 21st century, Covid-inspired dread.
‘Let Me In (My Head)’ is a much simpler song, it mainly comprises the titular mantra being chanted at various pitches and speeds. This constantly repeated demand for control is another lyrical motif reflected in the production, which is far more bass-heavy and vast than before. The almost ambient ending of this track seems to represent Dimp’s awareness of the futility of these desires (something that we can all relate to on some level), and this in turn leads into the themes of ‘I’m Not Tired’. Here Dimp is essentially singing, floating through a sonic vacuum as terrifying as it is weirdly comforting. Kitty’s mixing on these tracks is truly impeccable, each one has its own unique soundscape while also tying into the hazy, disorientating vibe that the EP boasts as a whole.
Closer ‘Bye Bye Bye’ initially seems like the most traditional of the four, as its song structure is pretty typical and its vocal patterns are some of the most decipherable. However, the echoey effects on Dimp’s voice make his performance on this song seem even more like part of the production, an aspect that makes its ear-shattering crescendo all the more impactful. There’s no doubt in my mind that Kitty’s work here is their best ever, indeed with this EP under their belt they should soon become one of the scene’s most in-demand producers. Dimp is equally impressive, he clearly pours his heart into his lyrics and in doing so appears wise beyond his years. Despite being so young, he is able to craft totally unique songs that people of all ages can relate to. This doesn’t only apply to the lyrical content either, as the uber-sharp songwriting and top-notch production quality will go a long way towards attracting audiences unfamiliar with this style of music. Indeed, that may be DimpKitty’s greatest strength overall.
Listen to the EP below.
– Chris (@108seraph)