What they say


Toll ( 2016)


” Toll shows Norton is surely becoming a master of music that, alongside other modern outlier visionaries such as Daniel Patrick Quinn, is not concerned with purity and nostalgia, but instead pieces itself together from the flotsam and jetsam of sounds and tales that collect all around us….  The music meanwhile may seem at times poised and controlled – a staple of electronic music created through laptop means – but bubbling underneath is a teeming mass of sadness and loss that evokes the mutable mess of history, myth, and duration.

– The Quietus ( full review here  )




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Loor ( 2014)

“Using such minimal instrumentation as a laptop, harmonium and Casio keyboard, together with various low budget recording equipment, Norton seems to have an extra sensory knack of creating something moving, eerie and somewhat chilling out of almost nothing.” – The Wire

“I’d like to think Loor‘s potent collision of memory and place, of ancient and modern, of hand-me-down stories and personal dreamscapes, might be excavated one day in the far future and puzzled over anew; where Kemper Norton’s extraordinary music would continue to extend myths of old, as well as creating new ones”. – The Quietus

“Loor (the Cornish word for moon) pulls off the same spiritual trick that Aphex Twin sometimes used to employ in the 90s during more reflective moments, which is to use electronic equipment and modern production methods to capture something of the ancient character of the British Isles without this seeming in any way incongruous. Anyway this is brilliant. And uncanny.” – Vice Magazine

“Don’t approach this record expecting the craggy coves and bracing seas of romantic cliché. Instead, imagine a cold wet night in a St Austell municipal car park, the car radio scanning channels in search of an appropriate post-industrial soundtrack for the poorest county in England.” – Record Collector


Carn (2013)

“The music of Kemper Norton streaks across the ages like a tipsy beachcomber, enthusiastically and expertly skipping across time’s tide and handpicking an array of instruments, contexts and influences to form what he succinctly describes as ‘ coastal slurtronic folk ‘.” – The Quietus


Joseph Stannard( The Wire, NME, Mojo) on Kemper Norton’s “Rough music” ep, released by Front and Follow Records as part of their Collision / Detection series in 2012.

“When it comes to Brighton’s Kemper Norton… where to start? Having followed his progress through a series of remarkable releases and live shows, I can state with confidence that there are few artists whose appreciation of the British folk tradition is so keenly matched by their faith in its ability to evolve. With each release, each live performance, Kemper has demonstrated increased confidence and adventurousness. His contribution to Front & Follow’s consistently impressive Collision/Detection series represents yet another advance, aided in no small part by the introduction of his own vocals into the mix alongside electronics and live instrumentation. Close-miked and intimate, Kemper’s tones serve to amplify the already pervasive uncanny qualities of the music. Some may detect the influence of Coil, Fovea Hex, even Autechre – the fact of the matter is that Kemper’s music is utterly unique. If that sounds fanciful in an age when some would have us believe the well has run dry… just listen. And believe.”

From the article ” Wyrd sounds from the West country ” by Matt Ingram in The Wire issue 346 December 2012.

“… Norton’s own language, even at this fledgling stage, is startlingly original. The lexicon of unusual folk instrumentation, all traditionally English (presumably Cornish), but remarkable for its unearthly, non-Western scales, is tiled up and funnelled, swirling, through the matrix of electronic music. On both Libraries Act (2011) and this year’s Unrequited Volume 3 any vestige of beats is difficult to spot. On the track “Unrequited 12”, Norton’s harmonium playing makes a confident debut, wheezing and ebbing tearfully in the mix. His music now describes a truly syncretic bridging of folk and electronics…”

Lovely words about “Rough Music ” at soundsxp

“..Previous Collision/Detection EPs have been brilliant, especially those by West Norwood Cassette Library and BLK TAG, but with v6 this series has released something of genius…”

Review of Carn and Collision/Detection 6 ( Rough Music) at Freq

“…Here the songs sing, almost unhindered by the dark roots and clanking behind them. The music is there to allow the songs to rise to the surface, even if the Spirits are still flying around them…”

Carn 1 and 2 liked by psychedelic fanatics Active Listener

“…The effect of listening to “Carn 1” and “Carn 2″ is like a heavy Salvia timewarp in one of these sacred places, experiencing 20 centuries simultaneously…”

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