King Midas Sound are reborn. The crew that Quietus called "one of the most exciting musical propositions the UK currently has to offer" are back with a brand new manifesto. Mirroring the avalanche of sound which has characterized their unforgettable live shows, Aroo is living proof that the non-aligned, nomadic trio have long since jettisoned their 21st century Lovers Rock, and set their sights uncompromisingly on a great unknown.

Drone, melancholy, and a sea of fuzz blisteringly collide, but Aroo is also utterly infectious, its central howl living on in the memory long after the first listen. Attracting an audience of post metal volume junkies, new generation shoegazers and disenchanted dubstep escapees, King Midas Sound's unilaterally fresh approach is paying off. The band have cultivated a crowd hungry for pure emotion, unforgettable spectacle, and who leave uniformly shocked, knowingly smiling and physically shaken.

The sweetest of bitter voices hits a wall of noise, with the deepest of dub basslines carrying the crew into a radically different dimension, as they now move with homicidal stealth, from a whisper to a scream, like no others at the moment.

When 'Passion of the Weiss' magazine reviewed KMS at Mutek, they said the three sound like an apocalyptic "My Bloody Valentine in Dub", but that description only just hints at the breathtaking bombardment of Aroo.

The band's neckbreak, headnod rhythms now owe more to New York than Jamaica, and the spirit of independence feels like Post Punk has been reinvented for a mutant B-boy/fly gyal generation. Pairing rhythmic bodyshocks with bewitching, lyrical, tone poems, it seems like Midas have found an unexpected meeting place for sheer beauty and musical terror.

Having recently shared stages with the likes of Hype Williams, Om, Fuck Buttons, Raime, Godflesh and more, the intensity of the sonic rollercoaster they have developed can be heard .......
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