DUSTED MAGAZINE

Dusted Reviews

King Darves - The Sun Splits for the Blind Swimmer

today features
reviews charts
labels writers
info donate

Search by Artist



Sign up here to receive weekly updates from Dusted


email address

Recent Reviews

The 2 Bears - Be Strong

Bitch Magnet - Bitch Magnet

Ursula Bogner - Sonne = Blackbox

Cardinal - Hymns

Cleared - Breaking Day

Conforce - Escapism

Ben Frost and Daníel Bjarnason - SÓLARIS

Russell Haswell and Florian Hecker - Kanal GENDYN

Howlin Rain - The Russian Wilds

Islands - A Sleep & A Forgetting

Eyvind Kang - Visible Breath

Eli Keszler - Cold Pin

Lambchop - Mr. M

Mark Lanegan - Blues Funeral

Leverage Models - Interim Deliverable/Forensic Accounting

Lindstrøm - Six Cups of Rebel

Robert Lippok - Redsuperstructure

Keith Rowe and John Tilbury - E.E. Tension and Circumstance

Simon H. Fell - Frank & Max: Bass Solos 2001-2011

Sonic Avenues - Television Youth

STS - The Illustrious

Todd Terje - It’s the Arps

Tronics - Love Backed by Force

V/A - The Total Groovy

Sharon Van Etten - Tramp

Andre Vida - Brud, Vol. I–III

Bill Wells - Lemondale

Alan Wilkinson - Practice

Wire - The Black Session - Paris, 10 May 2011

Wounded Lion - IVXLCDM

Dusted Reviews


Artist: King Darves

Album: The Sun Splits for the Blind Swimmer

Label: De Stijl

Review date: Jul. 16, 2008


King Darves - "All In My Sleep" (The Sun Splits for the Blind Swimmer)


I had to laugh with Tony Rettman’s liners for The Sun Splits for the Blind Swimmer. Not only has he accurately speared Devendra Banhart when referring to folk singers 'trying to sound like a nineteenth century druid,’ he’s hit the nail on the head re: the long-term damage done to the listener by underground spewage and experimental effluent. But he also makes it hard to deal with King Darves on his terms. Rettman’s notes, sharp and perceptive as they are, position King Darves as an effect, or unintentional critique, of freak folk’s cause. (Besides, it’s always seemed strange that folk music got the bum rap in the new age: surely its basis in tradition should gird it with sturdier legs, more able to withstand the wear and tear of one thousand hipsters clambering to get a foothold’s worth of subcultural capital?)

King Darves is a good songwriter – better than two-thirds of the artists he’s about to be compared to. His gruff, deep, vibrato-stained voice will make it hard for some to fully grasp his songs, but once you’ve adjusted to it as his natural delivery, his slightly nasal whinny feels just right. He’s given to strolling chord changes that don’t flinch at beauty, and his arrangements are thankfully spare – there’s no clutter here, and he even makes autoharp sound like a good idea, which takes some doing. And in the shakers and slightly clunky percussion on songs like “Fishhook,” you hear unexpected traces of bossa nova, something that’s not been done properly within this meta-genre since Tower Recordings covered Os Mutantes’ “Q Delmak-O.”

A few songs feel underdeveloped: “Seabird” could do with more structural work, and “Oh I’ve Come A Ragin’ Sun”’s movements aim for theatre but lack impact. But it’s hard to write and perform songs of this genus, at this point of scenester saturation, and not end up an instant cliché. King Darves dodges that bullet, and if The Sun Splits… isn’t an unqualified success, it’s a strong first pass ‘proper’ for the New Jersey troubadour.

By Jon Dale

Read More

View all articles by Jon Dale

Find out more about De Stijl

©2002-2011 Dusted Magazine. All Rights Reserved.