Capitol K is back with a fresh recording, Goatherder, a sonic marriage between the Malta of primordial times and the London rave scene. Review by Ramona Depares.

We have waited long and hard, but finally it’s happened. Kristian Craig Robinson – better known as Capitol K – has released his new album.

The artist, whose blend of electronic and traditional sounds seduce the mind so easily, taking the listener on exquisite flights of fancy, returns with a true-to-form release titled Goatherder.

Why true-to-form? Capitol K may not be based in Malta, but his inspirations remain tied to quintessential Malta. His last album before Goatherder, 2012’s Andean Dub, could be said to be the epitome of this, with tracks like Zokkor u Popcorn, Celestial and the title track itself pretty much being the musical manifestation of the Maltese summer spirit.

Likewise, it is impossible to listen to Goatherder without acknowledging the Maltese roots and influences of the artist – and yet, the essence of this album is completely different from its predecessor.

Where Andean Dub is all about the hedonistic party vibe, Goatherder takes the island identity to a deeper level, exploring more ancient sounds and rituals thanks to the use of several bamboo instruments, to build an aural picture of primeval Malta. The surprise, perhaps, being that primeval Malta appears to have known how to throw a mean party or two.

Because, while the album kicks off with the somewhat introspective title track – there’s goats’ bells, pipes and whistles, as befits any respectable goatherder – the old Capitol K influences that we know and love don’t take too long to sneak in, with feisty motifs snaking their way amid more sombre sounds.

A series of unique tracks that embody both the spirit of our ancient gods and goddesses and those of a millennial rave

If the intro track is to be considered a prologue, Landlocked is the track that opens the floodgates, as it were, subtly bringing in a hypnotic hook that’s all about undulating hips, a mood that subsists with the first sounds of pipes in tracks like the tinkly Fennel Dance.

The sound of the Quecha reeded pipe is a constant on this recording, an old instrument that gives the album a strong identity; fresh, unexpected and sensual.

Capitol K. Photo: Nhu Xuan Hua

Whether combined with repetitive vocals – as in Building Fire and Field Walk – that wouldn’t be out of place in a more traditional techno record, or used in a more subdued manner, such as the evocative Collective Farming, the instrument morphs seamlessly with the more electronic beats, resulting in a series of unique tracks that embody both the spirit of our ancient gods and goddesses and those of a millennial rave. I guess that’s the exhilirating result when you properly merge Maltese inspiration with London producing.

The album’s appeal increases drastically upon reading on the artist’s official site that it was actually developed and recorded in a cave that was formerly used as a goat stable. Even better, those who love his music will be able to experience, to a certain extent, the process during a concert that will be held... you guessed it, in a cave in Malta.

The concert is being held as part of the Kinemastik Short Film Festival series of events and, if Capitol K’s part performances are anything to go by, the audience can expect to have its senses overwhelmed by a totally immersive experience.

Kinemastik Cave Sessions – Capitol K and John Johanna takes place on August 3 at San Brincat Cave, Għargħur. Space is limited and tickets need to be pre-booked by sending an e-mail to kinemastiksocial@gmail.com.