Not much is yet known of Melbourne-based producer Mumph.
Shrouded in a black bucket hat and a bandana, he’s not ready to show the world his face just yet.
But he is finally ready to show us his music. He has recently dropped his debut album TRAINING DAYS, a hard-to-define work that seamlessly blends influences of hip-hop, electronic and alternative.
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Crafted in his home studio, the ten-song release covers the artist’s legacy up to this point, documenting his experimentation with different patterns and tropes and his journey to find his style as an artist.
Ambient and textural, the album is a keen example of Mumph’s careful production. Skittering beats, dark synth melodies, industrial samples and wavering pads are combined into tracks that bounce along at a chill tempo, but can’t help but capture the listener’s attention.
It’s a brave debut from the young artist – he’s planting his flag in the sand.
“Most of the drafts and demos where honestly made and accumulated from the first year and half of myself getting into producing,” Mumph says. “A lot of playing around and experimenting, basically learning how to produce and what I could do with it. I wanted to get a project out at the end of 2022 to kind of, finish off the year by tying a lot of loose ends creatively.
“These demos got fleshed out and developed into tracks and then into a tracklist, putting a hatch down on the beginning stages and moving onto the next creative process, hence the title; TRAINING DAYS.”
TRAINING DAYS opens with GOTS, a groovy start that ebbs and flows in all of the right ways. The track develops over the top of a pulsating central melody, which returns with reckless abandon in what could be considered the song’s chorus. Using negative space to his advantage, Mumph creates a track that is both catchy and unpredictable.
Another highlight is the track SUSPEKT. On it, shuttering high hats build upon an eerie riff peppered with glitchy vocal samples – moans, the barking of dogs. It’s an energetic and meticulously-constructed piece that, through its design alone, captures the unsettling feeling of being on the run.
TEN, the album’s closer (and tenth track) takes a more romantic turn. Gentle piano melodies overlay a warm ambient fuzz, decorated with a breathy female vocal sample and delicately-placed percussion. It ends the album on a sweet note and leaves the listener wanting more.
“I honestly don’t think there is much of a message behind TRAINING DAYS, just stuff I think sounds cool,” he continues. “It’s like an audible diary/journal of sorts, showing the amateur/beginning stages of my music path.
“Pretty much all of it is instrumental anyway, besides the odd acapella but they are for more sonic enjoyment than any real “message” left behind them (maybe subliminally).
“Next on the agenda is to release a couple more projects, hone the craft and learn how the music business side of things works. Maybe I’ll stay independent, maybe I’ll join a label, maybe I’ll start my own. I just wanna make music and get to the point I can truly be proud of; these TRAINING DAYS are crucial to that goal.”
It’s clear the production on TRAINING DAYS took time and dedication. Layered and built upon with tactical precision, it seems each bar has been tweaked until it’s just right.
His work still carries that cruisy flow and effortless air for the casual listener but is packed with hidden gems for those who wish to go a little deeper. If this is just the beginning for Mumph, we’re keen to see what comes next.
To keep up to date with Mumph’s latest work, head here.
This article was made in partnership with Mumph.
