Paul K & the Prayers
Saratoga
(Alias) reviewed in issue #178, 3/15/99

You might call this stuff pop, but it's not, exactly. The press keeps referring to Paul K as a bluesman, and that's not quite right, exactly (though he does play a mean slide guitar). What is undeniable is that Paul K can write a song. Or two. Or a few.

Using storyteller mode, though much of the time the characters aren't as realized as the ideas. Nothing wrong with that, of course. Plenty of ways to gain access. And every song here is more than inviting.

I do with the acoustic guitar had been recorded a bit better (I hate that tinny whine that almost everyone gets these days), but that's really a minor quibble, especially considering what's really on display here: The ideas in the songs.

I'm not blown away, but this is the sort of album that sneaks up on you. You listen a few times, and you think you kinda like it. You listen a few more, and you're sure you do. The more you listen, the tighter it sets the hook. The best sort of addiction, really.

Edward Ka-Spel
Tanith and the Lion Tree
(Third Mind)
reviewed in issue #6, 1/31/92

I don't know why, but this reminds me of Daniel Johnston. A technically brilliant Daniel Johnston, nonetheless, but still. It could be the voice. The sticker on the cassette here says he is the vocalist of the Legendary Pink Dots. I'll come forward and claim ignorance. I don't even know if "Legendary" is part of the band's name or just an overblown adjective.

The music is commonly understated, but at times it rages. Hard-core industrial and tape-loop fans will appreciate, but most anyone can get a little into this. Rather weird, but worth a listen.

The Kabalas
The Eye of Zohar
(Dionysius-Hell Yeah)
reviewed in issue #149, 12/8/97

Any band with two accordion players is definitely work checking out. And when you consider that the only other instruments regularly played are drums and sax, well, something kooky must be going on. If Firewater is the world's worst Bar Mitzvah band, then the Kabalas at least give that Tod A and friends some company.

Actually, though, the Kabalas make little pretense toward playing rock or being serious about anything. With songs like the "Traci Lords Polka", and "The Crossing Guard's Coffee Break", you might get the hint. There are quite a few unconventional run-throughs of traditional numbers (though this version of "Hava Nagila" is fairly straight until the vocals come in) to keep the oldsters happy.

Irreverent and amusing, and certainly weird enough to scare off most any poseur who happens to be sharing your space at the moment. A big wad of fun. No pretensions of grandeur, just a good time. I can handle that just fine.

Jeff Kaiser
(With Ernesto Diaz-Infante
Pith Balls and Inclined Planes
(Pfmentum)
reviewed in issue #201, 6/26/00

Ernesto Diaz-Infante takes care of the acoustic guitar and some vague vocal work, and Jeff Kaiser does the rest, including manipulating samples from Diaz-Infante's Solus album.

When I say guitar, by the way, that's the whole guitar. Not just strings resonating. There's tightening and untightening the strings, rubbing the neck, thumping the body ... just about every noise that can be made with a guitar.

Kaiser does the same thing with his trumpet and flugelhorn. Yeah, sometimes they're "played" in a traditional sense. But there's a lot of "other" going on as well. The pieces themselves come together in the mind of the listener. They have to be assembled. Part of the experience is finding your own meaning.

I know, most folks find such exercises tiring. Not me. There's such exuberance, such a sense of serendipity here that I just can't put it down. Does it make sense? Not all the time. Not yet. But this puppy is primed for many more listens down the road.

You might think that an ockodektet is a group of 18 musicians. Maybe that's how Jeff Kaiser meant it, maybe not. After all, there are only 17 musicians listed in the liners. Of course, there are only 14 songs (in two suites), so maybe Kaiser is referring to his players (and not the music itself) with that "17." Hard to say. I will note that I have a number of big dictionaries, and none of them list the "ocko" prefix. I, for one, think the old man is having one over on us.

I say old because this set was recorded on the occasion of Kaiser's 40th birthday. Not a bad idea to get a passel of friends together and play some cool music as a celebration.

The music here sounds like it has its improvisational moments, but in general these pieces are much more controlled (or, say, written out) than most of the stuff I've heard from Kaiser. His often whimsical taste is on full display here, putting his percussionist and other rhythmic instrumentalists to the task. Man times, the melody can be counted out rather than hummed.

This disc surprised me with its delicate structures and deliberate style. I'm used to hearing Kaiser operate in more improvisational settings, but his compositional work is impressive. Hardly conventional (duh), but quite inspiring. A deceptively majestic disc.

Kaiser is impressive as usual on trumpet and flugelhorn, and Dutz plays just about every percussion instrument available on the continent. The songs fall on the coherent side of the block, so don't afraid. Kaiser has a way of making the avant garde accessible. Dutz shares this ability, and the result is at once adventurous and comfy.

Triskaidekaphobia, of course, is the fear of the number thirteen. An ockodektet might be an 18-person ensemble, though none of my dictionaries list the word. In any case, there are 18 people (plus Jeff Kaiser) working their way through some really fun (and warped, of course) compositions here. And as usual, I'm impressed.

This is Mothers of Invention kind of stuff. Or maybe it's more relevant to Zappa's later orchestral period. At times it's neither. At times, it's both. I think you get my drift. It sounds like Kaiser has written out these pieces fairly strictly, but I think there are improvisational moments as well. A blurb of spontaneity here and there within the inscribed explorations.

Basically, this is avant-garde composition done well. Kaiser doesn't much like to stick to the ordinary, but his flights of fancy are always unique and creative. He doesn't "get weird" just for the sake of making listeners shake their heads. Rather, he travels unusual pathways so that the listeners can discover a new and exciting window on existence.

I like unusual music of all kinds, but Kaiser's one of my favorites. He knows how to use the experimental in ways that are approachable. And he creates works of lasting impact. This disc is another amazing outing.

The Alchemical Mass was written between 1490 and 1516. In Latin. The music was commissioned by the Ojai Camerata (the Camerata sings the work here) and performed earlier this year. Suite Solutio was recorded back in 2001, and in "classic" classical music style has been added to this disc to fill it out.

The Mass is, well, a mass. The vocal sections of the work sound fairly traditional, but the instrumental parts are more "conventionally" Kaiser. He likes to use instruments in unusual ways within relatively "normal" structures. This mass is no different. There's a good amount of noise and dissonance, but the proceedings never get out of control. Rather, a palpable intensity focuses everything toward the center.

Avant garde? Ehh. I'm not entirely sure what that means. The mass is a powerful piece, one that is best enjoyed as a whole. The suite shouldn't be overlooked, either. Kaiser and Diaz-Infante and four of their pals work their way through music that is unmistakably Kaiser's. Very different from the mass, but just as intriguing.

The main reason these two pieces are together on this disc is one of space. The mass wasn't really enough for a full CD, and the suite was lying around. Would that all of us have such attractive detritus. As usual, this adventure through the world of Kaiser is most invigorating.

Kaiser on trumpet, McNalley on guitars and both tweaking the knobs. Definitely a treat for fringe folks only, but if you want to head into deep space, this is an E ticket ride. I'm never bored when listening to anything Kaiser does, and this album is no exception.

Kaleidepy
Snapcracklepop
(demo)
reviewed in issue #176, 2/8/99

Comprised of members from various southwestern Florida bands (including Ben Glover from Guchlrug), Kaleidepy (you know hard it is to type that name?) runs along the lines I expected: Obtuse and weird.

I'm not complaining, mind you. The sound is minimalist, and the songs are not complicated, either. Everything is stripped down and laid bare, waiting for the listener to use a little imagination.

I was hoping for a bit more looniness in the songs; musical flights of fancy which left me breathless. This just kinda amused me. Which isn't bad. Still, kind of a comedown from Guchlrug. Not quite the same fire.

For what it does, though, Kaleidepy does well. I do wish the sound was a bit sharper (this is extremely lo-fi, and when the main instruments are drum machines, keyboards and guitars, well, that's odd), but I'll take this and hope for better next time out.

On the stranger side of weird, Kaleidepy returns with more twisted musings. Most of these songs have some sort of animal theme, which combined with the quite unusual playing makes this almost the perfect album for young kids.

Kali
Francofaune
(Tinder)
reviewed in issue #177, 2/22/99

Kali knows his reggae, but he gives it a whole new spin, adding in the rhythms of north and south Africa, South America and Europe. Plus, he plays the banjo. That's right, a reggae banjo.

He hails from Martinique, which is why these songs are in French. Just another cultural curiosity to add to his stew. Kali isn't afraid to try anything. This leads to some good and bad ends.

Almost exclusively good. At times the production is a bit treacly, overdone to a small extent. But always, always, his spirit comes through fully. That spirit of collusion and adventure which sometimes creates vibrant new sounds in music.

Which Kali does at times. He spends this album morphing around styles and sounds, not really worrying too much about defining himself. Sometimes his identity gets lost within the ever-changing music, but always, his adventurous hand can be felt. Intriguing and fun.

Kalypso Lipstich
split 7" with Prospekt
(Moment Before Impact)
reviewed in issue #224, 11/5/01

Different bands, same people. Prospekt is Andrew Danser, Harlan Campbell and Jay Murphy. Kalypso Lipstich is simply Campbell and Murphy. Prospekt is a meditative pop band with its toes dipping in the noise pool. Kalypso Lipstich is an organic electronic project.

The two songs are very similar in theoretical construction. They rise and fall in much the same way, and despite obvious differences in instrumentation are quite obviously created by the same people.

Both well done, I might add. These guys have creativity to spare, and they don't hesitate to put that inventiveness to work whenever possible. The two sides of this slab are more than enticing enough to demand a second helping.

Kamikaze Butterfly
Blind Sided Orange
(Hardknocks)
reviewed in issue #166, 8/31/98

Grungy hardcore, you know, with those leering lead guitar riffs and crunchy rhythms. Lots of hair dance moments. But even more spots where inspiration strikes.

When Kamikaze Butterfly reverts to simple, generic fare, it's pretty forgettable. But when it kicks the tempo up just a bit and rips out a spot more of the hardcore attitude, well, the stuff clicks. Now, that's not most of album, but there are some nice moments.

In general the playing is good, and sometimes it's quite impressive. The production is solid and presents the band's sound in just they way anyone would expect. And I'm not so sure that's a good thing.

The trap of influences. Kamikaze Butterfly can't really craft its own feel and sound. Too many average riffs. Oh, this stuff is fine. Just that. Fine. Not particularly inspiring. I can't find the spark.

Candye Kane
Diva La Grande
(Antone's/Discovery)
reviewed in issue #135, 5/26/97

The blues and western swing approximations are fairly good, and Candye Kane has a few humorous observations about life, love and size, but in the end her desire to make a point weighs the project down (no pun intended).

Her voice is strong enough to carry a "straight" blues album, but Kane has no desire to walk the acceptable line. Fine by me. And, in fact, she's at her best when she lets loose and really belts out the songs. Often enough, though, she tries to hard, and both her voice and the music sound somewhat strained.

Plenty of fun to be had, even with the problems. The production is a bit overbright, but since this isn't really a blues album (there's far too much going on to characterize the music in any specific way), that's alright.

Whenever it gets tedious, just jump over to the "The Lord Was a Woman", which is sure to make you smile. Hey, if you don't expect much more than a good time, then you'll surely be happy here.

Christine Kane
Rain and Mud and Wild and Green
(Big Fat Music)
reviewed in issue #228, April 2002

Christine Kane has that fuzzy, slightly nasal voice that seems to fit modern folk music so well. She certainly writes her songs in such a way as to compliment the way she expresses herself. Which only makes sense.

Amazing how few people do that. Anyway, these pieces are often funny observational bits and statements, making this album a collection of characters as much as anything else. Kane pours herself into the songs, but I don't get the sense that she's singing about herself.

So she's got perspective to go along with perception. I heard an interview with Nick Lowe where he said that he had to find a new character for each song because there was no way he could be all the people he wrote about. Kane obviously feels the same way. And her descriptive powers don't end with the lyrics. Her guitar dances differently for each unique situation, adding even more color to the portrait.

Just the way this sort of music should be played, and Kane makes it sound effortless. I love it when an excess of craft results in an easygoing collection of tunes. Few can accomplish such a tough task, but Kane has here. A most inspiring set.

Kankick
From Artz Unknown
(MeanStreet)
reviewed in issue #223, 10/15/01

Kankick is the DJ, spinning tracks for a number of talented MCs or simply dropping some spare beats for the floor. An obvious devotee of late 70s soul and funk, Kankick's compositions are all about flow and style.

Which isn't to call them dull or vapid. Rather, he imbues his simple beats and melodies with an underlying strength and complexity. There's always something more going on.

And on the tracks with vocal accompaniment, the rhymes and the beats fuse seamlessly. Kankick's dexterity allows him to tailor his sounds to the needs and desires of the MCs. Indeed, there's quite an interplay going on in most tracks.

While not the most ambitious of albums, this set of tracks quietly impresses. There's a subtle beauty to the beat work, and the rhymes always have something to say. Great music for simply kickin' back.

Karate
Unsolved
(Southern)
reviewed in issue #206, 10/9/00

Pretentious, idiosyncratic and almost maniacally controlled, Karate plays the sort of abstract rock that really pisses off most folks. Few bands approach the almost willful annoyance that Karate creates.

That's a compliment, by the way. I'm more than willing to accept the fact that I'm "one of those critics" who likes the weirdest stuff around and sneers at the everyday. My feeling is, if you've got a rocket in your pocket, then baby, you've got to let it roll.

Anyway, the pseudo lounge feel (a very clean and dull guitar sound, in particular) sands down some of the prog leanings, though the rather unorthodox songwriting really can't be changed. And it shouldn't. I like the way the lines intersect at strange angles, the stream of consciousness lyrics. The stuff that makes Karate truly original.

Why sound like somebody else? I've never understood why some folks slavishly imitate their idols. Karate has created something that it can properly call its own. There's not even a genre to drop this in. It simply is. It's more than alright, is what it is.

Karma to Burn
Karma to Burn
(Roadrunner)
reviewed in issue #129, 3/3/97

Piledriving rock madness. Catchy, heavy tunes with undeniable grooves. Bits and pieces of the NYC metalcore sound, but Karma to Burn has really glammed a lot of that out. Hey, the time is right...

Brilliant, really. Heavy enough to appeal to today's metal mavens, but with enough juice to bring back a few of the poofy-hair types back into the fold. And undeniably fun.

A lot like an old, old Roadrunner band, Last Crack. Yeah, the songs are serious, but they sound so damned good, you know? The music advances toward the apocalypse, with no looking back. And why would we want to go back to world without Karma to Burn?

And, of course, the best thing about the band: they obviously understand that there is no such thing as good karma. It's something to be worked off, like spiritual restitution. I just wiped a whole slate of bad memories cranking this puppy up.

Karnak
Karnak
(Tinder)
reviewed in issue #150, 12/29/97

Oh, the hype that arrives with this album. A set of Brazilian critics have placed this album among the 15 most important recordings in Brazilian history. The back cover calls Karnak "The Mothers of Invention Go to Brazil". The band's leader, Andre Abujamra says in the liners: "Karnak is not world music! Karnak is a band without precedent! Karnak is a temple!" I'm sitting here thinking, "This shit better be good, or I'm gonna start lobbing mortars right and left."

First, let me say that Karnak is not a band without precedent. However, that's probably the only bit of excessive hyperbole in the hype. Paul Simon, among other folks, has blended multiple musical concepts into songs (including Brazilian pop), though his gift has always been language more than music. With Karnak, the music is of paramount importance.

Well, I'm sure the lyrics are at least interesting, but I'm not terribly proficient in Portuguese (like, I kinda know Spanish), so you're not going to get any announcements praising wondrous poetry here. But, see, the music is amazing. The rhythms are probably the most intoxicating part, but the way that musical ideas from a multitude of cultures are laid over Latin and South American grooves is most impressive. Abujamra has assembled a large number of musicians with experience in a wide array of music forms, from classically trained virtuosos to instinctive hackers.

And so the Zappa reference is most appropriate. Abujamra utilizes the talents of his musicians to the utmost, fully fleshing out his rather expansive vision. The final result is a gorgeous array of tunes that throb with the vitality of many diverse cultures. It's the unusual album that make such complicated concepts sound so appealing. Get lost. Now.

Kastrophy
Kastrophy
(demo)
reviewed in issue #16, 6/30/92

From the same pipeline as Punisher comes this Ohio outfit. Same fine production, both musically and artwise. Whoever is behind the cassette sleeves for these bands should have a job at a label.

Fine sludging going on here; this would fit in well with the folks playing Defiance out there (and there are a few of you). Sometimes when I hear a band like this I begin to wonder if it's worth it to stay in the Midwest when talent like this is being missed. then I console myself by listening to talent like this.

If you're out to become brain-damaged, crank this for a few minutes and try to survive.

Kataklysm
The Mystical Gate of Reincarnation
(Nuclear Blast)
reviewed in issue #48, 2/14/94

From the cover, to the lyrics, to the vocal presentation, this just screams old school!

I know, it's kinda hard to believe but a scant year or two ago most death metal bands were hocking loogeys and making sure no one could make out what they were saying. Now that enunciation is not just a coming trend but a fact of life, it's a little refreshing to hear something so, well, Neanderthal.

I never really got into the silly stuff like this back then, but it does get me a little nostalgic. Oh, for the early days!

I remember really hating their last disc. But this one is pretty decent. It's still awful silly and pretentious, but the wild mixing of grind, doom and death metal (with some keys and drum machines-I really like those!) is rather interesting.

Three sets of three songs, from one of those death metal acts that tries too hard for its own good.

I made the same complain about At the Gates for years, and then when the guys finally created a great work, the band broke up. Kataklysm is out there, taking all sorts of chances, playing at the edges of musical chaos. I don't want to discourage that, but I've got to say it still isn't working.

I'm giving all sorts of points for effort here, but all I can say is that after listening to three albums, the band hasn't gotten much better. Throwing a whole bunch of stuff in the blender and hoping it works out isn't a terribly good way to create a great album. Sometimes crafting and work are necessary.

I'm beginning to feel like a Brooklyn Dodgers fan here...

Katie the Pest
Banner Day
split EP
(Toy Records)
reviewed in issue #246, October 2003

Katie the Pest is a dead-ringer for Cub, except that instead of a trio, only two women make up the band. Talia Rose and Mary Suzuki play blissful pop tunes. It's amazing how sweet a simple guitar and drum sound can be. The four songs here are just wonderful.

Banner Day also plays peppy, poppy stuff, though with more attitude (and, you know, bass). The hooks are on the complicated side, but these boys carry them off with ease. As with Katie the Pest, there are only four songs. And once again, I'm left wanting more.

Quite a fine introduction to both bands. I'm particularly taken with Katie the Pest (for the obvious reasons, I suppose), but Banner Day is just as impressive. Sheer happiness.

Reed KD
The Ashes Bloom
(Dirty Laundry)
reviewed in issue #287, July 2007

It's been a long time since I've heard someone try to sound like Simon and Garfunkel. It's not just that Reed KD plays simple songs written with voice and guitar on the verse and overdubbed harmonies and extra instrumentation on the choruses. The whole sound has that fullness-with-echo that, particularly, the first three S&G albums have.

KD (Reed? I dunno) is no Paul Simon. His songs aren't as perceptive. But he's got a nice feel for the hook, and in truth, this stuff stands up reasonably well to the comparison. I like folks who are willing to make their songs stand up for themselves. There's not a lot adornment here, and these pieces work quite well.

More pretty than insightful (Am I repeating myself? Sorry), but not insipid. The songs flow along nicely, every once in a while registering a fine moment. A real pleasure to hear.

I just can't tell how much this is going to grow on me. It might become one of my favorite albums, or I might forget about in a couple months. I wish I had a feel for that, but I don't. Oh well. I'll take my enjoyment now and see where that takes me.

Keelhaul
Keelhaul
(Cambodia)
reviewed in issue #175, 1/25/99

Remember what I said just a review ago about the normal Cambodia sound? Well, Keelhaul has that. Maybe a bit more straightforward, but still loud and intense. You know, that Black Sabbath meets Black Flag kinda sludge thing.

The music of pain, loss, agony and despair. I guess. I'm something of the opinion that Eyehategod and Buzzov*en got this right a few years ago, and most folks today can't quite touch that. This is moderately amusing, but nothing new or particularly original.

Just a lot of thrashing about (often at insanely slow speeds). I'm not getting old, am I?I hope not. But this just doesn't get me cranked in any way.

Still, it is loud and mean. There is always something to be said for that. Even if I really don't dig this particular sorbet.

The Keeners
Soup 7"
(Zelda)
reviewed in issue #129, 3/3/97

Roots-oriented pop, with just enough of that punchy punk sensibility to keep things moving along.

Three songs: catchy, inventive and appealing. Nothing complicated or overdone; just simply great music. The Keeners follow enough of the rules to make sense and break enough musical tenets to be truly fine. Folks who know how to distill the good stuff.

A really solid 7". This puppy is being released on the band's label, so I'm not sure how interested they'd be in some offers. Putting out a slab of vinyl like this makes that sort of attention almost impossible to avoid.

A real find.

Keleton DMD
Body Double
(Makoto Recordings)
reviewed in issue #221, 9/3/01

Not unlike the Inside Five Minutes, these guys also remind me of my time in southwestern Michigan some seven-eight years back. Keleton DMD also relies on a strong rhythmic base, though this one is much more technical and grinding--almost an early Jesus Lizard feel to many of these songs.

Which doesn't bother me in the slightest, of course. The manic, almost crazed quality to the pieces is the sort of thing I love to feed on from time to time. And the boys do add their own spin to the sound, dropping a more complex chord structure in from time to time.

In other words, these songs may be fast and loud, but they're utterly within the control of the band. Any "craziness" is calculated. It doesn't sound that way, but I can hear some serious playing going on within the chaos.

Ah, first class all the way. Keleton DMD sounds like the sort of band that never disappoints live. I bet the guys take chances, and judging from these songs, I'd say those shots almost always pay off. Sure did here.

The Craig Kelley Band
Tried & True
(self-released)
reviewed in issue #175, 1/25/99

The title is kinda right. This is regular rock and roll, basic roots rock riffage. Oddly, and certainly interestingly, Craig Kelley sounds like a glam metal singer (without the whine), in the same neck of the woods as Jon Bon Jovi.

The songs are meticulously written, with ruffles and flourishes in all the prescribed places. The playing is dead on. The recording is primitive enough to give a nice flavor, but really, there needs to be more songs like the title track, a fairly sloppily-played raver which doesn't adhere to convention. It's fun.

But too much of this is locked into a formula. No matter how impassioned the singing and playing are, many of the songs just don't leave any room to infuse a shining spirit.

As ever, there are moments. Many of these songs probably translate better live, and some more live work might have filed down the formulaic edges. I'm resorting to a tried and true formula myself here: These boys simply need to keep plugging away and getting better.

Paula Kelley
The Trouble with Success or How You Fit into the World
(Kimchee)
reviewed in issue #245, September 2003

Paula Kelley cut her teeth with the Drop Nineteens, then shot through Hot Rod and Boy Wonder before finally recording her first bona-fide solo album a couple years ago. All that preparation certainly prepared her for this album, one of the most astonishing pop albums I've heard in some time.

And don't get me wrong. This is pop as in "pop," Burt Bacharach and Carole King and all that. Kelley draws on sounds from the 60s, 70s, 80s, 90s and even this new century as she assembles these gorgeous confections. Yeah, it helps that she's got one of those "tough little girl" voices, one that has a lot more strength than might be imagined.

Production is key on an album like this. No matter how good the songs or how fine the performances, it's still awfully easy to screw things up in the booth. Kelley took the reins herself, and she delivers a dreamy, bouncy sound that perfectly frames her songs.

The craftsmanship alone is astonishing. The final result is such that all the hard work that went into making the album is well-hid behind the final sound. This album is a grabber from the first line, and it becomes more addictive with each successive song. Wonderful.

Kate Kennedy
Circle, Spiral, Line
(Barely Bias)
reviewed in issue #280, November 2006

The sort of girl-with-a-guitar album that could become tedious in no time. And Kennedy's voice is a most uncertain instrument. She uses it with undeserved confidence. And it is that unsteady voice that makes this album so appealing.

Kennedy's guitar work is wonderful, clean and most expressive. And yet, truth be told, nothing spectacular. Her voice informs the songs here, and takes them somewhere the words and notes couldn't. Her voice makes these well-crafted pieces exuberantly human.

The untrained voice can be a grating, horrific thing. Kennedy's voice is generally just slightly off, kind of a blue note effect. But I'm sure she's not a wee bit flat (normally, anyway) on purpose. The more she pushes, the flatter she gets...but always on the side of good music.

Rock and roll (or folk, or whatever) isn't about perfection. It's about expression. And Kate Kennedy does quite well in that department. Most engaging.

Sean Kennedy and the King Rats
Big Town
(self-released)
reviewed in issue #223, 10/15/01

Just yer basic old-time rock and roll quartet: Guitar, upright bass, tenor sax and drums. Every piece has its say, and there's room for all to speak. The songs? Well, they lie somewhere between the jump blues, rockabilly and Chuck Berry-style guitar-led rock. Played with fire and verve.

Almost prototypical 50s-style rock and roll, at least the way folks view that music today. Of course, this stuff sounds much better than the old stuff, just because of the way the sounds boom out of the speakers.

But modern recording methods aren't what make Sean Kennedy and the King Rats so good. Rather, its the way the guys play off each other, swingin' and swayin' from song to song. The pieces themselves are sharply written, but these guys just play the hell out of them.

That combination is irresistible. This album just smokes. Anything else I could say is superfluous.

Stephen Kent
Family Tree 2xCD
(City of Tribes)
reviewed in issue #145, 10/13/97

The first disc is a set of pieces from the last 10 years of Kent's output. some previously released, some not. The second disc is the Deep Space suite, comprising three pieces.

Kent plays the didgeridoo, which is the one instrument everyone associates with Australia. Kent takes the didgeridoo to a few spots that the Aboriginal people probably never imagined, but I don't think they'd complain. Perhaps the epitome of "world" music, Kent's pieces incorporate musical ideas from around the globe in creating his wide range of songs.

The first disc shows the versatility of the didgeridoo. The second disc illustrates the true artistry involved in playing the instrument. Put another way, the first is an introduction, and the second is the main course.

Thoroughly amazing. "Deep Space" is a challenging and unique set of pieces, and the "reminiscence" of the first disc simply proves how far this instrument can go. Brilliant.

Keoki
Altered Ego-Trip
(Moonshine)
reviewed in issue #163, 7/20/98

Mixes can be remixed, and those remixes could be remixed, then the first remixes could be remixed with the second remixes to create a new strand of remixes which can be redone and evolved and devolved until its all gone too far without going anywhere at all. Welcome to the electronic experience.

If you're going to dive into the swarming pops and beats, it's always important to start with a good creator. Keoki is one. On this album, his mixes are revamped by Crystal Method, AK1200, Cirrus, Omar Santana, and others. Some of the remixes are better than the originals, and the whole album flows on a twisting, pulsing, vibrating wire that you cannot let go of once you touch it.

This is a good ride to go on if you enjoy the synthesized world. Don't forget, the brain commands the body through its electronic pulses, and nothing quite hits the spot like a good DJ. Or in this case remixes of a good DJ.

--Aaron Worley

Calvin Keys
Vertical Clearance
(Wide Hive)
reviewed in issue #281, December 2006

Calvin Keys plays guitar, and he invites an astonishingly long list of friends to stop by and help out. Gregory Howe produces (this is a Wide Hive release, of course), and the resulting sound is as vibrant as any jazz guitar album I've ever heard.

And as might be expected with such a wide variety of guests, the songs themselves don't stick to any one sound. There are plenty of echoes of early fusion (Phil Ranelin's trombone sounds some welcome notes), but these pieces are a lot busier than yer average fusion. I can hear plenty of nods to the likes of Coltrane, Ornette Coleman, Herbie Hancock and the gamut of 60s jazz, but again, this is more modern (that's cemented by Headnodic's contributions).

No, in the end this is simply a good jazz album, one that defies further categorization. The sound is warm and inviting, and Keys's expressive and generous playing always leaves a good vibe. Not happy jazz by any means, though. There are serious (and seriously good) ideas at work here.

One of those albums I enjoyed from start to finish. Now I know what it feels like to lounge in a smoking jacket.

Kepone
295 7"
(Alternative Tentacles)
reviewed in issue #57, 6/30/94

Yes, their album comes out on Touch and Go. In fact, the A.T. folk congratulate T&G (1/4 Stick, actually)for their fortune.

And with this taste, the good luck is all ours. Kepone is another one of those bands from Virginia, but they have a lot more in common with A.T. and T&G bands than most others in their area.

The two songs are so amazing, I can barely find words. Kepone is a trio, so the bass is used to double as a rhythm guitar at times. But everything is in motion all the time, kinda like a Chicago hard core noise band on speed (just the music, now). The vocals are from somewhere in the punk vein, a nice'n'harsh melodic assault.

I can just imagine the faces of the 1/4 Stick folk when they first heard this. Stunned disbelief, and then a mad race to the telephone. Deal in seconds.

The real world isn't like that, but then the real world hasn't encountered Kepone yet.
Watch out. Domination is next.

I loved the 7", I loved the advance, and the disc only makes things better. Kepone have a sense of rhythm that completely shreds its competitors.

It's the speed that really does it. Kepone takes a hardcore attack and merges it with that keen Chicago noise thing (of course, they're from Richmond, a town I've slammed before), not forgetting to add just a pinch of punk melodic sensibility. Um, it's really very good.

Looking back at this year, I think I've had two or three favorite albums of the year so far. Hell, that's better than Joel Siegel, who seems to see the "Movie of the Year!" twice a week. But I refuse to cheapen that declaration, so I won't make it any more. This is one of the best albums I've heard this year, and with the potential I sense, them Kepone boys could be real rock gods real soon.

While the noise and rhythms are as overpowering as last year's T&G debut, Kepone has created some blue spaces in its sound as well.

So each song doesn't move at breakneck speed and threaten to drive your heart into terminal collapse. There are plenty of aggro moments, but the production overall leaves more space between the instruments, and Kepone attacks this advantage for all it is worth.

After all, the true test of a band is to see how it uses silence and stasis. Anyone can throw noise and distortion in your face. It takes a real artist to manage to empty space to perfect effect. And once again, Kepone is up to the task.

Setting a new standard for noise rock, Kepone has ripped of an ambitious bite for its sophomore release, and somehow fulfilled every expectation. Once again I am left at a loss for words to describe how I feel about this disc. Simply stunning.

Kepone kicks off with "The Ghost", an amazingly powerful tune. The groove builds from the start and never quits until the tune flies out in a blaze of glory. More captivating than most of the last album, and one of the better songs I've heard all year. A real crowdpleaser.

Not to be outdone, Pegboy counters with "Dangermare". Still riding that "smells like rotting flesh, tastes like Naked Raygun" style that has worked all these years, Larry and the boys are simply having fun, destroying eardrums along the way.

A truly inspired pairing, and the bands pull it off with aplomb. Fans of the bands: this is a must! And if you have any pretensions of being a real punk fan, well, you'd better not miss out, either.

The first Kepone single I got knocked me out. The album did about the same. The second album, Skin showed a departure, mellowing things out a bit. At times, the band sounded almost hooky. I wasn't sure what to think.

The split 7" late last year with Pegboy set me straight. Not only was "Ghost" one of the finest songs of all 1996, I could hear that the band had finally reconciled its roots (Jesus Lizard, early Helmet and other flogging-type bands) with the obvious pop tendencies the band's songwriters have.

And so Kepone finally goes eponymous, with an album that is a perfect statement of what the band intends to become. The guitar lines are as tight and mean as ever, and that the rhythm section throbs and wails goes without saying. But now the hooks have been properly filtered, retrofitted with whup-ass. An intoxicating brew of the pristine and the obscene.

I know, I've sworn by Kepone before and people look at me, shaking their heads sadly. FUCK YOU!, alright? THIS IS FUCKING GREAT! And anyone who doesn't agree can go listen to the new Kylie Minogue or whatever it is they're playing on the lass-ass musical taste side of town. Alright, so I'm a little worked up. Want to make something of it? I'll fuck you up! I really will, man...

Did I mention the testosterone infusion? Direct to the brain. No stopping at go. On second thought, you might not want to listen to this before meeting your blind date. I mean, folks generally don't go ape-shit for that whole dazed and drooling look. Though if that's your look, well, work it, baby.

Anousheh Khalili
Let the Ground Know Who's Standing on Him
(Triple Stamp)
reviewed in issue #261, February 2005

Woman at piano, playing songs of anger, betrayal and general angst. I suppose I might think of this as just another Tori Amos ripoff. Except that I don't like Tori Amos at all. And I like Anousheh Khalili a lot.

First and foremost, this is almost entirely Khalili and her piano. There are a few vocal overdubs and the occasional bass and percussion, but by and large this album is simple, spare and rather arresting.

The closest comparison I can come up with is David Singer. Yeah, Singer uses a much fuller orchestration, but his songs revolve around his remarkable (and unusual) voice and a piano line. Everything else is window dressing. Khalili simply left off the accouterments.

One of those albums you'll love or hate within the first minute. Khalili is direct and to the point. She doesn't shift around her sound or vary her style much at all. She's just who she is. And I think that's something most impressive.

Khoury*Shearer*Hall
Insignia
(Public Eyesore)
reviewed in issue #231, July 2002

This trio (Hall on percussion, Khoury on violin and Shearer on winds) works its way through a sprightly set of decidedly free jazz. It sounds to me like the genesis of the pieces was improvisational, and they evolved over time to a somewhat more static form.

I really don't have any info to support that inference; I'm just guessing here. Perhaps the main themes were blocked out, leaving room for improvisation (a well-worn jazz writing technique). And perhaps I'll have to renege on that free jazz appellation. There's quite a bit of structure here, though the boys still don't adhere to any particular tradition I'm familiar with at all.

Recorded at a number of locations, this album doesn't have a perfectly consistent sound. Some studios and concert locations are better than others, and it's easy to hear the difference between stops. Not distracting, though, just a point of interest.

The endlessly inventive minds of this trio are what really impress me. Each piece here is worthy, and the set as a whole is almost impossible rich in ideas and strong performances. A delight for the intellectual listener.

Michael Khoury, Jason Shearer, Benjamin Hall; violin, sax, percussion. Not exactly a traditional trio, and not exactly a traditional sound. The songs sound like they've been sketched out, but not actually arranged. There is a large amount of improvisation, to be sure. Mostly, though, what makes this disc click is the ability of the three players to communicate with each other and combine to create something greater than themselves.

In part because of the instruments these guys play, but mostly because of their musical ideas, the pieces here remind me a lot of "Rite of Spring" and other modern classical works. These boys aren't afraid to mix melody and dissonance in order to make a point.

And it's that willingness to go out on an edge--even while keeping a hand on the wall--that serves the trio best. The sound is almost undeveloped. The drums rumble, the sax squeals and the violin wails. There isn't a lot of subtlety in the sound, though the playing itself is often achingly beautiful.

Even though the trio takes on a number of jazz themes, the overarching ideal is more of a classical one. I'm not schooled enough to explain this difference properly, but it's one that I think I can hear. In the end, though, it doesn't matter precisely what the sound is as long as the music is good. And you know something? The music is great.

Dan Kibler
Capsule
(Big Deal)
reviewed in issue #155, 3/23/98

Rote pop that manages to grope its way out of mediocrity. The songs are extremely commercial, with all the right flourishes and simple, overpowering hooks. The solos are simple and wouldn't confuse anyone. It's just done so well.

Which doesn't make the music great. The songs are ultimately throwaway, but Kibler is almost gratingly earnest, and the production lends just the right amount of kick. The roots-pop formula has been followed perfectly, and yet the album isn't stilted.

An amazing feat, really. Every time I hear another carefully plotted overdub or too-obvious chord change my skin rankles, but even so, I keep listening, wanting to hear the next song. One of those things that must be destined for big things, I suppose.

At times, Kibler reaches a bit deeper into the bag and whips out some almost-country licks. Like on the title track, which, oddly, is an instrumental. more moments like "Capsule" and I might have really liked this.

Kid Brother Collective
split 7" with Camber
(Doom Nibbler)
reviewed in issue #187, 8/30/99

Hey, I just reviewed the new Camber disc, and I was utterly knocked out. This split is with Kid Brother Collective, a band out of Flint, Mich.

A typical Camber song: Raucous, complex and completely involving. The guys just have a way of drawing folks into their sound. Me, in any case. "The Long Goodbye" is fabulous.

Kid Brother Collective's "Sketches of Spain" (not the jazz song) is somewhat more subdued, leading with a spare guitar line before bringing on the fuzz. In that way, it's a bit more by-the-book, but both the musical and lyrical ideas are intriguing. More than enough to make up for a somewhat generic emo song construction.

Two solid (hell, much better than that) pieces. A most worthy seven-inch.

Three tunes, bounding about the various emo forms. "Fragile" is perhaps the most conventional, with its strident guitar line and anthemic chorus. I'm always surprised how that form manages to affect me. Anyway, KBC does it well.

"This End Up" is simply a wonderful power punk pop piece. The energy comes in waves, but it never lets up. Full throttle, all the way. "Ringfinger," which is also slated for KBC's upcoming album, builds slowly off a single lead guitar line, a la Mineral. Again, a somewhat well-worn form, but the band performs admirably.

While the writing is not particularly inventive, Kid Brother Collective sure knows how to sell its songs. Solid, if unspectacular pieces delivered with more than enough panache.

Kid Dynamite
Kid Dynamite
(Jade Tree)
reviewed in issue #171, 11/9/98

Nineteen songs tracking in at less than 28 minutes. Yet another album by yer basic punk band. And, again, highly impressive. Kid Dynamite take a bit more of a hardcore approach to the riffage and singing, but basically, this is still uptempo sing-along punk. Lotsa shouting, lotsa attitude.

Short, sweet and dead on the point. Kid Dynamite isn't afraid to take on anyone, from authority figures to pop icons. All done with wit and style. These aren't cheap shots. They're reasoned and concise arguments.

Poetic, almost. And I don't say that too often, at least when writing about punk outfits. But the words to the lyrics here multiply upon each other, like good poetry. Brevity of words, breadth of message. That's the trick.

More smilage from these here parts. It's been ages since I heard so many good punk discs. Maybe it's contagious. Maybe I'm just blissed. Who knows? I can say I really dig this puppy. That's good enough for now.

Kid Rock
Prodigal Son CD5
(Top Dog-Continuum)
reviewed in issue #33, 4/30/93

Eyeing the success of the Beasties and House of Pain at metal radio, the Continuum posse (I had to use it) is cranking this single out to said audience. Kid Rock is a white homeboy (once again) from Detroit who uses every bad rap cliche in the book, and then travels down the list again. Should sell a couple of million.

The problem white rappers have is that they don't have anything to bitch about. So Chuck D was an accountant or some such before P.E. The singular experience of being a proud black man in a white world will provide enough grist for years to come.

White guys rap about bad hair days, the pain of suffering under P.C. or nothing at all. This falls under the last category. It seems to be some sort of boast gig, but the music is of a real bad metal ilk. He's almost as good (so to speak) as the Beasties, but that's not saying much at all.

Coming on with more cliches than a latter-day Aerosmith song, the dumbest white rapper in the world continues to make me wonder if his I.Q. enters double digits.

Not just stupid in the lyric sense, but moronic riffs and posing make this an amazingly stupid persona. Good for a laugh, as long as you're really drunk at the time.

Kid Silver
Dead City Sunbeams
(Jetset)
reviewed in issue #176, 2/8/99

I can remember back in 1986 (87?) when that first World Party single, "Ship of Fools", hit the airwaves. It was one of the first dark visions of Beatles-y pop I'd heard. I know, the Brits kinda specialize in that, but that was my first induction.

I get that same feeling listening to Kid Silver. Not in style, really, but just the slightly off-kilter (sometimes a bit more than slightly) take on pop. Drum machines, vaguely out-of-tune vocals and chords which don't quite change when I expect. I hear a hint of the Magnetic Fields, with a dash of the Carpenters. Now you might begin to understand where my unease is coming from.

Oh, but this is utterly gorgeous stuff. The arrangements are astonishing, perfectly set up for maximum dramatic effect, all while keeping a darkly effervescent pop feel. One bite and I need ten more.

Holy shit. That's how I felt when "Ship of Fools" lurched into the chorus for the first time. And that's what I've got going now. Some truly amazing, beautiful songs. Never what you expect, always what you need. Expect to be dazzled.

Christian Kiefer
Welcome to Hard Times
(Extreme)
reviewed in issue #197, 3/27/00

A concept album, full of heavy thinking about the American West. This is kind of a statement against the myth of the West as propagated by Hollywood. And it's also a stylized statement about one man's personal vision of the West.

What's probably most interesting about the disc is the way Kiefer veers from neo-classical pieces to clunky folk jobs and lots of spots in between. And he stretches as much with his lyrics, emulating some of the very scholars and writers he studied in preparation for the album.

Fans of bands like Calexico or the Dirty Three (particularly the Horse Stories album) will immediately leap into Kiefer's work. Despite all the study and preparation, he has created an earthy, accessible sound. A lot of that has to do with the wide variety of instruments used from song to song, and credit must also go to engineer Michael Madden, who gave the recording a warm feel.

This may be an album that is bought by more history professors (and avant garde music fans) than regular folks. That doesn't take away from Kiefer's accomplishment here. I was a bit worried that this disc might come off as stagey or somehow stifled. Not at all. The vision is whole and complete, and so is the sound.

Kieskagato
Kieskagato EP
(self-released)
reviewed in issue #261, February 2005

First and foremost, the band is giving this disc away for free. Well, they'd like a buck for shipping, but what a deal! Anyway, this EP consists of new versions of songs from the band's two albums (one of those sets done under the moniker Rm 101), specially recorded to celebrate the new four-piece (as opposed to the former five) nature of the band.

Not only do these boys ply the line-driven, moderately abstract waters of the post-rock universe, they write songs that make sense within that structure. Interestingly, the band's album last year only rated a short review (which merely means I liked it a lot), but this one gets a fuller treatment. So am I a fool or are these new recordings of old songs actually better?

Both. I don't think I fully appreciated the band's exceptional handle on such a complex sound--though, like I said, I liked it a lot. Upon listening to the older versions, I find these new renditions fresher, tighter and altogether more arresting. Slimming down has its advantages, I guess. Kieskagato's next move ought to be quite interesting.

The Kill
Superdragsmackheadpsychoplasticgogopunk
(self-released)
reviewed in issue #159, 5/20/98

The album title is something of an attempt to describe the sound of the band. They guys seem to think they're breaking new ground. Not really. I've heard a good number of industrial glam metal takes on grunge. The Kill does it as well as any, and if you're into thick, heavy grooves covered in cheese, well, this here's a nice set.

A lot more glam than grunge. Kinda sounds like a bit heavier of Kill for Thrills or Faster Pussycat, bands which had some nice moments. And since this sound is coming around again, this is as good a time as any to crank it up.

The Kill hits its stride with "I Wanna Know", which marries a neo-industrial sound with a bouncy groove and anthemic hollering. A real guitar anthem that excites easily. Tasty stuff.

The album gets better as it goes along (suggesting some sequencing issues). Not just a rehash of glam metal nostalgia, the Kill updates the sound and has created some very addictive music. The hair dancers proudly survive.

Kill Henry Sugar
Popular Music for Today's Active Lifestyles
(Generic)
reviewed in issue #207, 10/30/00

Pretty much Erik Della Penna and Dean Sharenow (nicely put together in the studio), who rip off bright, jagged chunks of rock. The dominant instrument is often an electric piano, but it's actually used correctly. Not as a mellow neutralizer, but as a rhythmic countermelody.

The songs themselves are intense but not overly raucous. The kind of sound that immediately beckons, and then turns on the listener with some wonderful dark imagery.

Darkness in the lyrics and the music. A real solid bit of writing, really. And the way Sharenow produced this two-man project (with a little help) is simply amazing. Sounds like a band playing live to tape. There is that electric, interactive feel. Quite a job.

Indeed, the care and talent exhibited on the album are inspiring. Top notch all the way around. Della Penna and Sharenow have a real knack for carving out little nuggets of gold, shining them up real purty for the jaded rock fan.

Kill Switch
Bastard Story EP
(self-released)
reviewed in issue #139, 7/21/97

Kill Switch is part of the amazingly fertile Kalamazoo scene (Twitch, Thought Industry, Bell's Amber Ale--alright, so the last is my favorite beer. Sue me...). This sound is very much in line with the meandering style of Thought Industry. The lyrics to the four songs seem to have something to do with a relationship gone bad, and I get the feeling the end wasn't good.

Kill Switch does a great job of crafting a truly weird sound. The guitars and bass seem to be tuned to different keys, and they seem to be using some strange effects to create this almost unwound feeling. One of the effects is the way Bill Clements has had to play bass since he lost a good part of his right arm a few years back.

Focus isn't a key, but that doesn't bother me too much. This is some really creative stuff. Probably too strange to attract a lot of outside attention, but you never know. Every once in a while unusual music makes a comeback.

Ugly and sublime, Kill Switch is truly intriguing. Anyone who craves experimentation with loud music should get a hold of this disc.

Kill Switch... Klick
Beat It to Fit, Paint It to Match
(Cleopatra)
reviewed in issue #70, 2/14/95

Following the (high quality) lead of acts like Nine Inch Nails and Ministry, Kill Switch... Klick starts with the killer groove. Once that is established, then anything goes. But it's that basic rhythm track that makes or breaks the industrial dance band. And these folks have what it takes.

At times the beats are a little more simplistic than I might prefer, but this small problem is overcome by the rest of the attack, usually including guitars as well as synthesizers.

The production leaves things more on the sterile side than the "live" sound that is currently in favor. But that's no reason to ignore this fine disc. There's more than enough to choose from and make you happy.

Seattle's finest industrial technicians spew out a set of old demos, remixes and other stuff you haven't heard before.

Much of the fare isn't nearly as experimental as the recent album, but then, some of this stuff is three years old. It helps fill out a more complete portrait of this rather innovative outfit.

Mostly a set for fans only, those who haven't picked up on KsK could take a test drive with this. Plenty of stuff here to impress most anyone.

Smoothly aggressive, Seattle's Kill Switch... Klick has always been the embodiment of the "one-man band" sound, even though main man D.A. Sebasstian has plenty of help. Degenerate is quite the kick.

Heavily synth-laden (a nod to Vancouver, perhaps) but with more than enough real-time samples and instrumentation to keep the sound in the realm of the now. KsK has never disappointed in the past, and this album is more than I could have expected.

The production is really amazing. I know I'm focusing on that an awful lot, but you listen to this disc and tell me the sound is anything but stunning. The songs are excellent, as always, so there's no real need to pick there.

Degenerate is much more silky than the current industrial trends, but I think that might work to the band's favor. After all, trends must turn someday. Albums like this aid that process. The good stuff is what folks remember.

Gorgeous, profane and alluring, KsK has crafted another great album. With just enough electronic experimentation, even the creative jones is satisfied. Not much more to say.

A hybrid sort of release, with remixes alongside 7 new tracks. The remixes don't seem to change a hell of a lot, but that's okay, since the songs were quite good to begin with.

The hallmark of D.A. Sebasstian's work as KsK has always been a willingness to use electronic recording techniques to find new types of sound and sonic experience. That desire for innovation flows through this set of songs, crashing through barriers many folks could never even envision.

All that wrapped up in a core of engaging beats and accessible melodies. How music this good could be so appealing has always somewhat surprised me, though by now I should know better. Never underestimate.

Even if it isn't a completely new group of songs, this disc is still quite impressive. KsK is simply one of the finest electronic acts around.

Um, yeah, those are D.A. Sebasstian's kids on the cover. He's doing his own thing now, and this disc does showcase a departure of sorts from his usual sound.

The creativity levels are still high, but there are many more instruments and much less electronic sounds here. The way it's done, though, is a bit more seamless than you might think. Like I said, the complexity levels are still high, and the songs are still assembled. But the feel is more... organic, to coin a term (ahem).

I've long been advocating the mix of "analog" and "digital" worlds. I know I'm using those terms inappropriately, but I think they make the point best. Well, really, this album also makes the point quite well. Sebasstian has crafted some addictive and intriguing songs, stuff that will stand up to repeated scrutiny.

That which could also be said about previous KS...K outings. And so, while in some ways a departure, Organica also continues a legacy. One that I hope continues for some time to come.

Kill Your Idols
Funeral for a Feeling
(SideOneDummy)
reviewed in issue #220, 8/13/01

One of the first bands I've heard to emulate NOFX's recent (past couple of years) more strident guitar sound. Thing is, Kill Your Idols sticks closely to a general hardcore sound rather than prettying things up with melody.

So what I hear is lots of angry songs about screwed up relationships and other pleasantries of life. Nice bits of aggro, but very little here to distinguish the boys from the pack.

Other than the lyric content, which is a bit more "emoish" than most hardcore bands. But while that's kinda interesting, it doesn't really hold me for more than a few seconds. I really do want to hear more from the music.

And that's just not forthcoming. Kill Your Idols crank out some impressive energy, to be sure. But the stuff just gets too generic too fast. The boys need to work on finding their own sound.

Killer Khan
Kill Devil Hills
(self-released)
reviewed in issue #183, 6/7/99

Killian Khan sings like Ozzy Osbourne. His band's music is something like Iron Maiden meets Black Sabbath (it is fairly upbeat). Reasonably entertaining fare.

Now, Killer Khan does not advance music anywhere. It does, though, kick out some decent riffage and good songs. Generic, perhaps, but definitely serviceable.

I would advise some soul searching and work on the band's sound. It's perfectly fine to be influenced, but these sounds are way too close to the originals, particularly the vocals. There is talent here. A unique sound has to be found.

Plenty of work left to do, but the skills are all here. Killer Khan must simply figure out what it really wants to be, something akin to a cover band (like it is now) or its own powerhouse.

Killdozer
The Pig Was Cool! 7"
(Touch and Go)
reviewed in issue #41, 10/15/93

Dim the lights and chill the Spam, cuz' Killdozer is back in the house.

This is just a taste of their soon-to-arrive full-length. My buds are already roasting.

On my first radio shift, a listener called in and requested "that hamburger song somebody called Killdozer does". I said sure, found something that fit the description and was treated to a string of obscenities even I could not replicate without straining my tongue. Needless to say, I was transfixed.

As goofy and foul as ever, Killdozer rolls through the two songs here with their concrete guitar sound and ready-mix vocals intact. Just like Jesus told me last week.

With one you get Burl, the 1986 Killdozer ep. Why Burl? Well, on this album the boys reprise Jessi Colter's "Hot n' Nasty", and on Burl they did her one big hit, "I'm Not Lisa". Everything clear?

With Killdozer? I don't think so. Inventors of the "sludge-o-matic" sound over ten years ago, Killdozer disgusted listeners until 1990, when they decided to give up and try getting real lives.

Thankfully, it didn't take. Well, Billy decided he would rather get paid, so Paul Zagoras takes over on guitar, but everything is otherwise the same.

Unusual for the boys is the meticulous detail on the liners. Usually things are scratched out in handwriting worse than mine. No... not maturity!

Of course not. This is the gravel in your gullet to help digest all the crap that comes your way. Just eat like a chicken.

Killdozer's vision of concrete blues usually goes down like a load of bricks. This stuff is chunky, slow and mean. The only thing that hurts worse is passing it a day later.

But here we find a kinder, gentler Killdozer. The tunes are still generally rude, but not quite hateful. And instead of being a series of pile-driving guitar riffs, the songs actually hold together quite well.

For more evidence, check out their rendition of the country standard (I've heard it more than a few times, but I don't know who did it first) "Pour Man". While admittedly heavy, this is nowhere as truly vicious as their attacks on Neil Diamond, Lynyrd Skynyrd and Jesse Colter (twice!) in the past.

For final proof of the mellowing of Killdozer, check out "Daddy's Boy". This is a tune that could have been done by Led Zeppelin. Sure, the guitars are a little heavy, but not by much. That fucker has "big monster hit potential" written all over it.

Is all this bad? Nope. This is still the same old Killdozer. I think the guys just got tired of everyone telling them they couldn't play their instruments, so they decided to show us they could. Probably next album they'll play "1000 Smiling Knuckles" at half speed and twice the volume. Cool.

Killdozer & Alice Donut
Michael Gerald's Party Machine Presents... CD5
(Touch and Go)
reviewed in issue #104, 3/25/96

The Donut does the early Bee Gees tune "Every Christian Lionhearted Man Will Show You", Killdozer does Procul Harum's "Conquistador" and the combined unit called Kill Donut takes on the 5th Dimension's medley of the first and last tunes from Hair, "Aquarius/Let the Sun Shine In (The Flesh Failures)".

Oddly, the take on the Bee Gees is pretty damned straight, which is unusual for an Alice Donut cover. The Procul Harum tune is torqued out in the usual excessive Killdozer style. Killdozer does have a way with stupid pop anthems.

The combined effort is the most satisfying. A complete breakdown in the wall between slavish devotion and parody. Is it a joke or the ultimate tribute? I don't know.

The press on this passes on the word that Alice Donut has called it quits. I've heard it spoken in other quarters, but it still bums me out. This isn't a worthy end note, but perhaps it is an appropriate one. For a band that never paid much attention to propriety or current trends, Alice Donut bows with a stab at the current wave (70s music).

Gotta say, though, that the Frank Kozik art work is brilliant. Make of all this what you will.

Ted Killian
Flux Aeterna
(pfMENTUM)
reviewed in issue #222, 9/24/01

Ted Killian plays guitar. This is kinda like saying Miles Davis played trumpet, but hey. Killian's playing is fairly impressive, but it's what he does with it that's even more astonishing.

The songs on this album are constructed out of long and short bits of playing accompanied by various samples and loops. Reminiscent of some of Helios Creed's more experimental work, Killian's songs illustrate a world that is dark and tough, yet still capable of beauty.

And he takes his time painting his pictures. These songs are dense and complex, but hardly rushed. Contemplation is on the menu, but this is an active, forceful method of thinking. There's nothing dull about these ideas, no matter how abstract they might be.

What I hear most is a deliberate use of power. Despite all of the different crashing waves of sound, Killian remains in total control. These are his ideas, after all, and he makes sure each sound is where he wants it to be. And he does so with a light, and not overbearing, touch.

Killing Culture
Killing Culture
(Edel America)
reviewed in issue #130, 3/17/97

If Pantera was a full-time industrial act, it might have wandered this way. Hardcore vocals, mid-tempo up-and-down riffs and a tres-artificial sound on the drums. Well, the band comes out of that NYC hardcore school (Biohazard, etc.) and is produced by Scott Ian, so I guess all that makes sense.

Reasonably catchy, once the songs truly get moving. Sometimes that doesn't happen, and I get a latter-day Ministry vibe (most unpleasant). But for the most part, this is at least comparable to Pro-Pain, so there's something good going on.

Ian left a big wall of sound, which is good, because subtlety isn't called for here. This is kick-ass boot-stomping music, and you might as well crank everything up to the breaking point. Helps hide some of the weak songwriting.

I actually liked the tech-y sound (don't get me wrong; there are no keyboards here), and enough of the time Killing Culture was able to whip out a fairly good tune. Yeah, the stuff is straight-ahead, no-look-back stuff, but that's always a nice change of pace. An encouraging album.

Killing Floor
Killing Floor
(Reconstriction)
reviewed in issue #72, 3/15/95

Much more than many industrial acts, Killing Floor sounds very much like a band.

Killing Floor lays a thin veneer of heavy funk over traditional industrial riffs and production (distorted vocals-and everything else), providing songs in which the average metalloid and club type can find common ground. Plenty of slamming action ahead.

Killing Floor sounds very much like the typical Reconstriction band: danceable tunes with an attitude. The production is superb, bringing the proper feel to each tune. Nothing in the sound shrinks from exposure; all components are properly acknowledged.

A good debut. Killing Floor now has to build on this. Not easy, but the best manage somehow.

Rather politicized cyber-industrial stuff. A bit more accessible than most Reconstriction stuff, really. No less impressive, however.

Indeed, Killing Floor's seamless sound is good, as before, and the songs are able to merge the lyric and musical ideas much better than on the debut. The complete package is coming together.

Add in judiciously added spoken-word samples, and you get the audio equivalent of the Romeo + Juliet flick from last year. Snatches of glory, presented in an overdose of sensual information.

And crunchy, crunchy, crunchy. Almost punk in attitude and abandon, Killing Floor uses everything to its advantage: riffage, throbbing rhythms, shouted vocals and a wonderful touch in the studio. Utterly addictive.

As anyone who's heard the album knows, this is NOT the Beatles song. And there are two album tracks, the title one and "About to Break", with remixes of "Tear it All Away" (by Institute of Technology), "About to Break" (by Alien Faktor) and "Wood" (by Christ Analogue).

And unlike quite a few remix sets, these reworkings do make solid and creative improvements on the originals. The three remixes are all rendered extremely club-ready, punching up the beats and the general rhythmic tendencies.

More, really, would be nice. I don't often say that, but what is here is of the highest quality. A remix set that is worth the cash.

Killing Joke
Killing Joke
(Zuma)
reviewed in issue #244, August 2003

Jaz, Georgie and Youth team up with Dave Grohl and whip out another self-titled release (no, this is not a re-issue of the first album). I haven't really kept up with the boys in recent years, but as near as I can tell, neither have the boys themselves.

So anyway, I'm listening to this disc. Full of buzzsaw riffage, booming bass lines, bombastic drumming and manifesto-like vocals. Something like electronics-laced hardcore with a Tabasco kicker.

Hard to believe these guys will be eligible for the Rock and Roll Hall of Fame next year (their first album was released in 1979). I mean, they shouldn't be eligible for the rest home of washed-up hacks. As if the phrases "rock and roll" and "hall of fame" should ever be used together in the same sentence. Killing Joke can still make fresh music that matters. That alone should keep them off the ballot.

Anyway, this album is a real kick in the ass. Long-time fans will be pleasantly surprised; this stuff is quite good. Can't say that the kiddies will come running, of course. Good Killing Joke albums never did sell much. But what the hell. Good music is what matters, right? There's plenty of that here.

Steve Kilpatrick
Westside Crop Circles
(self-released)
reviewed in issue #247, November 2003

Loopy, and sometimes spooky, songs driven by bluesy, technically-picked guitar. Enough contradictions in there for you?

Kilpatrick's general style is all over the book, though since his songs are built solidly around whatever guitar line he's created (and often enough it's just him and his guitar), the general feel is minimalist. He might be playing some blues or a little rockabilly (his two favorite influences), but the sound is fairly consistent.

He likes reverb, but not distortion. There's plenty of echo in his vocals, but no overdubs. If you want a reference, Kilpatrick's favorite Beatle has to be George. He's just one notch off where you might expect his songs to go--a very good instinct, if you ask me.

A cool, kick-back sort of album. And while every little thing on this disc was created by Kilpatrick, he really doesn't fit into the whole singer-songwriter stereotype. More of a mad scientist who knows how to write good songs. I like that, myself.

Kilroy
The Neon Gate
(self-released)
reviewed in issue #258, October 2004

Very few artists have plowed as many rock and roll fields as Kilroy. There are echoes of 60s garage, 70s prog, 80s new wave, 90s grunge and today's electronic scenes, with just about everything else thrown in most artfully.

Some songs have vocals, and those vocals are sung appropriate to the styles used. So a song that, say, emulates Big Star, Pavement, Neil Young and Beck, among others ("The Phone"), there's a slightly off-key, whiny sensibility to the singing. Other pieces may have a clearer tone or adhere more scrupulously to the proper melodies.

I'm not sure if bringing forth so many different styles (and combining them in rather unusual ways) is really the path to being all things to all people. But who knows? Maybe it will work for Kilroy.

If nothing else, the folks (folk, singular?) have created a stunning album, one which throws more things into the pot than any other album I've ever heard. That sort of ambition is admirable, even more so given how many leaps of faith are rewarded. Improbably amazing.

Kind of Like Spitting
(Kind of Like Spitting/Lemuria)
Your Living Room's All Over Me split LP
(Art of the Underground)
reviewed in issue #279, October 2006

Two trios who hail from opposite sides of the continent. They decide to throw down a split. Thank goodness.

Lemuria has seven songs, and the construction is pop. The sound turns from raucous to introspective to shiny and back to raucous without losing the central vibe of the band. I really like these folks. But I'm a sucker for energetic music with great hooks.

Sounds like Spitting is much less refined. These guys make a lot of noise, and they hide a fair amount of it in the slightly muddy mix. That would usually be a complain coming from me, but here it simply gives the songs that extra bit of character. These boys are from Portland, and they remind me of Treepeople and Built to Spill and other PacNW outfits. Completely unsophisticated, and rather charming that way.

Splits work best when the bands aren't a perfect match. These two acts complement each other quite well without getting in the way of the other. Just the way it should be.

The Kindness Kind
A Novel
(self-released)
reviewed in issue #291, November 2007

Take the vaguely nasal vocal style of a Hope Sandoval--but this time, throw it in the middle of a band that knows how to rock. Alessandra Rose (that's not her real name, is it?) kinda tosses off her vocals, and that offhand delivery is exactly what the music demands.

These are songs, I suppose, but they sound more like canvasses to me. The pieces aren't always constructed in a straightforward fashion, but again, that's one reason why the energy of the band and the almost uninterested vocals work so well.

The sound is very much assembled. There are all sorts of little bits and pieces (extraneous sound, etc.) sprinkled into the songs. That sort of thing can get tedious, but here it's done with subtlety and restraint.

Perhaps that "band that knows how to rock" was a bit of an overstatement. The Kindness Kind can certainly kick out the jams when it wants to do so, but most of the time it is content to conduct intense explorations into the softer side of music. That's okay. There are no drones here, just good music.

Kinetic
Sun & Glacier
(Paribus)
reviewed in issue #275, June 2006

Kinetic is, indeed, kinetic, but not in the way you might intuit. The songs do seem to possess an ever-flowing stream of energy, but more often than not that energy is gentle rather than throttling.

And so these songs move with unparalleled grace, flowing along their paths like majestic rivers approaching the sea. There is a grandeur to these often simple songs that is almost impossible to explain. It's much easier simply to feel.

That, I suppose, is the kinetic part of the equation. These are pretty midtempo (for the most part), introspective tunes that remind me of Seam and other cool 90s outfits. Not particularly complicated or involved, but still possessing that something which makes turning off the stereo utterly unthinkable.

The album title is almost as instructive as the band name. The light within the cracks of glaciers can seem to emanate from all sides. The same goes for these songs. Their power is palpable, yet invisible. I like that.

King Black Acid
Loves a Long Song
(Cavity Search)
reviewed in issue #205, 9/18/00

Reveling in the excess, King Black Acid indeed does love a long song. These spacey, distortion-laden pieces average almost 8 minutes per. Not that the average listener would notice.

See, there's a trick to making long songs seem shorter. I'm not entirely sure how it works, but the key is keeping a listener occupied. It's also important not to repeat yourself too many times. Neil Young accomplishes this with some great guitar solos. King Black Acid is a bit more structured, but still manages to stay focused.

The sound, of course, is lush and languid. Never hurried and never stark. The band is certainly reaching for something great, and I think it has stretched just far enough to make it.

There are so many too-long rock songs out there. Despite the length of the pieces here, King Black Acid hasn't added to the total. Rather, these long songs are just right. Take a dip in this and you'll want to bathe for some time to come.

King Crimson
Epitaph 2xCD
(Discipline Global Mobile)
reviewed in issue #137, 6/23/97

An utterly gorgeous package, with extensive (if rather cryptic) liner notes booklet. If you're not in the know, DGM is Robert Fripp's record company. In typical Fripp fashion, the catalog contains the company's mission statement. And the copyright notice is as follows: "The phonographic copyright in these performances is operated by Discipline Global Mobile on behalf of the artists, with whom it resides. Discipline Global Mobile accepts no reason for artists to give away such copyright interests in their work by virtue of a 'common practice' which is out of tune with the time, was always questionable and is now indefensible.". And while all the printed material may take a while to digest, don't forget that the music is King Crimson. 'Nuff sed.

The two discs here comprise two shows in December 1969 at Fillmore West in San Francisco, a November 1969 show at Fillmore East in New York and four tracks recorded for BBC Radio. The sound quality is bad, though not uniformly so. The most interesting thing I noticed is that the original incarnation of King Crimson sounds a lot more like Black Sabbath than I remembered.

Of course, I'm not a big fan, but I appreciate all of the chances King Crimson (in all of its incarnations) has taken. Not everything worked, but when it did (check out the renditions of Holst's "Mars" at the end of each disc), hoo boy, it's something else.

Like I noted, the sound quality is bad, and there are many moments of excessive feedback or where one or more of the instruments seems to drop off completely. Still, if you like to study how musicians evolve, comparisons of solos and other bits between the various performances are absolutely fascinating. And I kinda like early Crimson best, before Fripp and whatever cohorts he rounded up got so obsessed with highly technical playing. Almost 30 years after the fact, this music is still very obviously alive.

Like everything on DGM, the package is completely gorgeous. From the artwork to the comprehensive liner notes, these folks know how to gussy up a concert recording from 1973.

Amsterdam, on November 23, 1973, to be specific. The recording is amazing, managing to convey both the excitement of improvisation while still presenting the music in a rich, complete fashion.

There are three free improvisations, and they provide the most intriguing moments. Sitting through such things can be difficult in a live setting, but it's much easier to appreciate on something like this. The improvisations showcase the impeccable musical talents that have always inhabited King Crimson, and they drive this set.

The "enhanced" part of the CD is basically a DGM catalog. A nice way to present such things, but it doesn't really enhance the music. Excessive adornment, however, has never been the King Crimson game, so I'm not gonna worry about it.

The lineup on this album is Adrian Belew, Robert Fripp, Tony Levin and Bill Bruford. This album is taken from the last King Crimson show (and last Crimson anything) before a decade-long hiatus. The liners explain all of that, and also go into more obsessive detail about the Discipline Global Mobile concept. This concept, apart from being a conduit for scads of Crimson-related endeavors, also insists that all artists, and not the label, own all the copyrights on their works. But I think I've mentioned this before.

As the final performance of the 1981-1984 Crimson group (and really the last time King Crimson performed as an individual group, rather than individuals getting together and calling themselves King Crimson), there is some historic value to this set. And the performances themselves are also revealing.

It is not too difficult to hear the band members banging against the group confines, even as the band itself managed to hold together, if only barely. In particular, Belew's singing and playing is much more expressive and free than what is found on the corresponding studio albums. Levin and Bruford keep time in wonderfully idiosyncratic ways, and Fripp wanders off into a few corners.

In other words, nothing surprising. DGM has been releasing tons of King Crimson albums (and plenty of side projects as well), and this set does clear the standard. By a wide margin. I like this set more than any of the other recent releases. This may have been an end, but the guys kept the energy up to the final notes.

See also King Crimson.

King Diamond
In Concert 1987-Abigail
(Roadracer)
reviewed in issue #3, 11/30/91

While I have some appreciation for Mercyful Fate, King Diamond has become a real cartoon, especially after his appearance on the Geraldo "Devil Worship" program. While I'm sure his profession of faith in the Devil (whatever that meant) won him legions of new fans, his goofy make-up, which he says has some ritual meaning, makes him look like some ugly cousin to Batman.

To be honest, his last studio effort was much closer to Bon Jovi than any of us want to admit. However, this disc may wake him up and get him to record some stuff comparable to his early solo stuff. At least that (and this) had balls.

You all probably know these songs a lot better than me, so pick your favorites. The solos are just that, so if you're into that sort of thing, indulge yourself. I've always found such things masturbatory and usually detracting from any performance. But I'm weird.

And if the success of this disc can get KD to journey down a heavier path in the future, well, good deal.

See also Mercyful Fate.

King Diamond
Mercyful Fate
A Dangerous Meeting
(Roadrunner)
reviewed in issue #23, 10/31/92

Boy, the liners are pretentious as hell. I was worried that such a greatest hits package would be as overblown as many of King Diamond's later songs. So it is.

But on the other hand, Mercyful Fate had its moments. Back when they were just another Euro-metal band with a demonic fetish, they managed to break from the crowd and attract a following. Now, of course, the King managed to lose my respect when he did that ridiculous gig on the Geraldo special on "Devil music."

As a GH package goes, this hits most of the highlights. There is a lot of filler, too, but savor the gravy.

King Hell
King Hell
(demo)
reviewed in issue #12, 4/30/92

This is a demo?

I now understand why everyone is reporting King Hell. This tape sounds better than most "real" releases I get. How a band with the talent and sound contained herein could avoid getting signed is beyond the scope of my imagination.

A brief description: shredding riffs, intelligent lyrics, gruff, yet enunciated vocals, and a rhythm section that would be the envy of most bands. Watch out: King Hell is a definite band to watch.

King Khan & His Shrines
Smash Hits
(Vicious Circle)
reviewed in issue #253, May 2004

Absolutely incendiary R&B from a Canadian who is now wandering somewhere around Europe. The label is French, and it says King Khan lives in Germany, but I'm not exactly sure how up-to-date it is. Screw all that. Listen to the music.

When I say R&B, I'm talking about the real thing, the whole Screamin' Jay Hawkins meets James Brown kinda thing. This is rock and roll, of course, the purest distillation of the sound. The Rolling Stones approached this level a couple times, of course, but they couldn't sustain it. Very few other folks have even tried.

But man, they should have. The energy and grooves here are enough to bring JFK back from the dead. Khan is lucky to have the Shrines backing him up; the ensemble is one of the tightest I've heard in years. I can only imagine how intense a live show might be. Khan might well be one of the few modern performers who can approach the pure sexual thrill of James Brown in his prime.

I guess Europeans appreciate this sort of music much more than Americans. That's too damned bad. I'd love to experience the wonder of King Khan & His Shrines live. Something tells me it's precisely the sort of danger than music has been missing for decades.

King Kong
Funny Farm
(Drag City)
reviewed in issue #38, 8/31/93

Quirky pop-country music. Everything sounds simple on the surface, but then you start to peel the thing like an onion. And it just keeps getting deeper.

The melodies sort of spin around each other, and the near-spoken vocal delivery makes the words' sounds clear, if not their meaning.

It just keeps rolling along, on and on. In a pleasant way, of course. Almost hypnotic, especially that mellotone organ effect. This and a Dogbowl album and my mind would be ready for an extensive field trip.

Louisville has a reputation for fostering bands that take a simple idea and make things very complicated (Guilt, reviewed in this issue, and the legendary Rodan flit to the top of my brain, though Slint is probably the band that started this whole notion). King Kong does the same thing, by taking loose pop music and driving it to annoyingly cloying and catchy extremes.

The songs are cleverly written, with some of the loonier lyrics to find themselves accompanying a tune. Ethan Buckler's voice is addictively aggravating (he sings almost atonally, but that almost makes all the difference), and then when Amy Greenwood chimes in with her (relatively) perfect voicings, the whole package seems far too incongruous to actually be escaping the speakers.

The music itself is nothing special, just a constantly moving accompaniment for the lyrical chaos, but it works so well it's hard to work up much in the way of complaints. The sound is generally lite pop, with the occasional heavy fuzz guitar lick. Lots of organ, with leaves the stuff sounding something like a cross between Love and those cheesy 60s movie soundtracks.

On the mellow tip, obviously. As you might be able to tell, I've never been able to explain why I like King Kong. Perhaps the quirkiest band in the world, King Kong is simply one of my vices. This album actually relies on the band a bit more than others, but there's no way escaping Buckler's rolling, droning observations. Highly recommended, but certainly an acquired taste.

King of Prussia
Save the Scene EP
(Kindercore)
reviewed in issue #292, December 2007

Not sure what scene these guys are saving, as they sound most like a post-modern update of 60s psychedelia.

Yeah, yeah, I know. The update part is two parts slicked-up garage and one part layered indie pop. That second bit is a direct descendent of the whole 60s thing, though, so I don't know if that counts. Whatever. It is cool to hear heavy-reverb guitars, echo-laden vocals, a banjo and slide guitar in the same piece. That's something you wouldn't have heard way back when.

And in point of fact, these boys aren't stealing from anyone. These multi-faceted songs more than pay back any classic stylings borrowed. Exceptionally-crafted and bouyantly played.

The only band I can think of that has ever tried anything quite like this was the once-brilliant Brian Jonestown Massacre. As much as I love that band, if King of Prussia continues to improve and evolve, it might well blow those boys out of the water. If you want higher praise than that, you'll have to find another critic.

Kingsley
Kingsley
(Blood Orange)
reviewed in issue #266, July 2005

Some lovely fuzzed-out rock. Kingsley reminds me of many excellent bands from the early 90s, but the one that most comes to mind is Brainiac. Maybe the second or third album, before the boys (and by then, they were all boys) became full-on electronic math freaks. No, Kingsley is all about the rock, with some classy keys on the side.

And damn, if the stuff doesn't just fall into place. These anthemic piece could sound ponderous or overblown or simply turgid, but Kingsley always remembers to step lively. The energy level never flags, and the songs remain in full flight.

Plenty of reviewers will likely reference the Kings of Leon and a few other modern rockers, and that's cool. Others might mention that guitarist (and songwriter) Harris Thurmond served in Hammerbox and other outstanding Seattle bands. There's lots to mention, like the fact that Kingsley always keeps things tight and stylish--and that's the only way to play this particular musical game.

The songs are sharp, but the arrangements and performances are what make this disc. One or two steps off the path, and this material would sound generic and dull. Thankfully, what we have here is fresh and invigorating. Quite the solid effort.

The Kinison
The Kinison EP
(Fearless)
reviewed in issue #245, September 2003

Five songs, mini sludge symphonies. Well, not exactly, as the Kinison has a really fine sense of rhythm and even deigns to throw in a melody once in a while. Kinda.

The melodic elements are in the music. The vocals range from screechy to just plain screeches, and the riffage is quite impressive.

You know, this stuff really reminds me of Bullet LaVolta, The Gift era. Heavy, loud and yet still grounded in some seriously addictive beats. This sound has never been particularly popular, but I love it. To death, I'm afraid.

Sam Kinison
Live From Hell
(Priority)
reviewed in issue #44, 11/15/93

Louder than Hell is certainly a comedy classic. I don't know about you, but from the first shouts of "I fucked 'til I was blind!" to the final rhapsody of "You lying whore!", it broke just about every rule there was.

Unfortunately, it made money. A lot of money. And lots of people bitched. Sam was homophobic, misogynistic and all those other bad things. He also had Ronald Reagan prancing around the Lincoln Bedroom with a hard-on after the Lybian bombing and taught a lot of us oral sex technique.

So Warner Brothers recorded mostly his tame material, and Sam got dull. While this isn't as fresh as Louder than Hell, it gets back to the basics. After all, comedy isn't pretty.

"Oh, we're a riot in a war! You know we said: It might be funny if we put a video camera right on the head of it, just so the last thing you see is the guy sticking his head out the window going 'Oh God!' That way you've got it on film! You know those generals were getting drunk all night going, 'Rewind it! Rewind it!'"

I'm sorry, but that's funny. Too bad he had to die to get good stuff out again, but at least it's there.

Kiss the Clown
Kiss the Clown
(Rotten)
reviewed in issue #98, 2/5/96

Cool pop music, infectious and distorted and played with vicious punk abandon.

Sort of a alterna-pop version of the NOFX sound. Really fast wall of noise, thin guitar sound and shouted vocals. But the clean and thick (not necessarily a contradiction, as this proves) production and songwriting style leaves Kiss the Clown sounding more like a pop band. No complaints from my side.

Right up my alley. The guys know how to make pop tunes really sing, and the sound is pure bliss. All the stars are in alignment, and everything came together right. This is one of those albums that manages to take the possibility of mundane music and turn it into something great. I can't say anything else; I'm giddy from the experience.

I was listening to the first Kiss the Clown disc in my car a couple weeks ago, wondering out loud if the band was still around and if there was another album out there. And not two days later, this thing arrived. As a born-again atheist, I'm a bit skeptical in general about supplications to the gods. But, hey, if there's anyone listening, I haven't heard anything from the Boorays in years...

In all seriousness, there's more than one good reason why Kiss the Clown has put a stranglehold on my mind. Starting with Kerry Donivan's raspy, warbling vocals (no one sounds anything like him, trust me) and continuing pn to the band's manic metal-pop music (I can think of a couple obscure bands in the 80s which tried this trick, but it never caught on), I guess there's just something in the whole mess which ties my pleasure center in knots.

The only real change in sound I can hear is somewhat slower songs. Or, perhaps, I should say there are more slower songs. Because the norm is still something like the band's self-titled theme song, which bounds with joy and abandon.

That's the thing. Listening to this disc is akin to sucking down a bottle of oxygen tipped with caffeine. I simply feel like hopping around and getting all goofy. Hard to complain about something like that, surely. In all ways, this lived up to my high hopes. Simply lovely.

Kittie
Spit
(Ng-Artemis)
reviewed in issue #194, 1/24/00

There is something of the novelty to this disc. Four women cranking out modern day metal (think Fear Factory channeled through Earth Crisis). Not particularly well, not particularly badly.

The female vocals do give Kittie a unique feel. But the songs and playing are undistinguished. The recording is a bit mushy, but that's not the thing. I've heard these ideas before, and generally expressed better. Kittie is competent; I always hope for better.

I think a more technical production job would have given the band a better chance to impress. Yeah, they're heavy. No need to overemphasize that with excessively thick sounds. Let Kittie generate its own power. I can't tell from this disc if that's possible.

But I'm not gonna slag 'em too hard. Like I said, Kittie is perfectly fine. Just not innovative or particularly exciting (unless the thought of women playing metal is exciting in itself for you).

Kitty in the Tree
Hello Kitty
(LunaSea)
reviewed in issue #198, 4/17/00

It would be way too easy to dismiss Kitty in the Tree as just a 70s retread. Easy and wrong. First, the pop references are more 60s, which means this Kitty is reaching back to its influences' influences, if you can follow.

Yes, the surface screams T. Rex and Bowie (in fact, Kitty in the Tree cribs little snippets of riffs and lines for a few laughs), but really, this sound is rather modern. T. Rex never sounded this sharp. Bowie did, once he and Brian Eno hooked up, but that was later.

And anyway, there are far too many 90s modern rock conventions running about to stick this disc in a basic retread box. Kitty in the Tree takes a familiar sound and pumps another full syringe of life into it. Which, of course, is the right thing to do.

So there's no need to find those glam boots and face glitter. Kitty in the Tree can be enjoyed in a normal state of mind. Perhaps a bit too clever for the mainstream (all those references managed to tire me out), but probably not. These songs can be appreciated on their own merits. Straight or as an aside, Kitty satisfies.

Kittyhawk
Kill Devil Hills
(self-released)
reviewed in issue #214, 4/2/01

Jennifer Zablocki writes the tunes and sings them, too. Kittyhawk (one word, I think, which isn't exactly right) is the band. The folks play rough-edged, heavy roots stuff. Plenty of guitars.

Zablocki's voice is low and full, just right for this sound. The heaviness of the band gives Kittyhawk a distinctive sound. Most roots acts aren't willing to rock out. These folks are ready and willing.

And still, most of the songs are contemplative affairs. They're missing memorable hooks. Zablocki's songs are dense, holding lots of words. That works alright in the verses. But the choruses could use a little trimming. And the melodies could be a little more pronounced.

The physical talent is undeniable. Zablocki's voice sounds great, and the band can play anything. But the songs need more emotional punch, a bit more to hang a hat on, if that makes sense. Something to make me remember them better. Not easy work, but it can be accomplished.

Klange
The Heart/Hertz Files
(Hypnotic-Cleopatra)
reviewed in issue #72, 3/15/95

I don't know where these sounds are from (though the band is from Italy), but Klange puts a space face on ambient in a fun way.

Playful is not a word often associated with ambient (trance, whatever) music, but I can't really think of a better adjective. This music toys with your subconscious, daring you to dig deeper. And when you think you're at the center, there's something facing you that makes you laugh.

Or something like that. This isn't music for the coffee achiever, obviously. But if you want to sit and contemplate reality for a while, Klange will help as well as anyone.

Klank
Still Suffering
(Tooth and Nail)
reviewed in issue #125, 12/23/96

Klank is Daren Diolosa, and he has cranked out a cool set of industrial tunes that merge club beats and metal conventions quite well.

Yeah, this is a common tack these days, and Klank isn't the most innovative industrial act around. Still, Diolosa has managed to infuse his music with enough bells and whistles to keep folks interested. And the songwriting sticks to tight grooves, which is always best with this sort of thing.

Vicious and impure, Klank riffs through plenty of fine songs. Nothing astonishing or brilliant, but certainly plenty in the very good category. And when obvious influences such as Fear Factory and NIN are so masterfully integrated, well, it's hard not to get a little excited.

This one is good. Give Diolosa some more time, and he make may Klank great.

Klee
Honeysuckle
(Minty Fresh)
reviewed in issue #276, July 2006

Gorgeous, resounding pop music. Ringing melodies, husky female vocals...awfully seductive, you know. It's a formula sound, but there's a good reason for that. It works.

The music is wonderfully realized, with tasteful use of keyboards to supplement bounding piano and guitar licks. Pop music is best realized with up and down beats, and while lots of folks seem to forget that, Klee doesn't. These tunes have pop.

Remember the Lightning Seeds? Klee's sound is somewhat more organic, but the pure pop sound is much the same. These songs are great because, well, they simply must be great. If that doesn't make sense, listen to this album and it will. From the first beat, there's this feeling that nothing can change the inevitability of joy.

Pure pleasure, the kind of album that's fun to wallow in for days and days. I think I'll do that now.

KLiP
Herman Sonny Blount
(Should I Be Concerned About This?-Edgetone)
reviewed in issue #239, March 2003

The Edgetone distribution ought to be a hint. The KLiP trio of Elliot Kallen, John Lauffenburger and Garth Powell doesn't do anything conventionally. Oh, sure, at first glance you notice that there are piano, bass and percussion players. But each member also brings a wealth of other noisemaking activities to the table.

Noisemaking as a good thing, mind you. I'm not sure how you play a cicada (the generally green critters commonly known as locusts that shed their skins before boffing as many other cicadas until they die), but Elliot Kallen does it. It is possible, of course, that Kallen doesn't play an insect but rather some implement inspired by the creature. I really have no idea.

Perhaps this stuff might be best described as music for a truly spooky (rather than viciously scary) movie. There's a sense of otherworldliness, a general unease that permeates the pieces. The noise I referred to isn't clutter. It is truly integral to the completion of the overall sound.

Boy, I dove into this puppy headfirst and didn't emerge until the needle pulled up on side two (yep, the sweet things sent me vinyl). The sound is amazing. There's so much space, and yet I was completely swallowed up. I can't think of a better complement than that.

Sy Klopps
Berkeley Soul
(Bullseye Blues & Jazz)
reviewed in issue #213, 3/12/01

Somewhere between the blues and r&b, lives Sy Klopps. He drenches these songs in horns and other accouterments, somewhat disguising his average voice.

Ah, the voice. The reason these songs work as blues rather than soul. Klopps has a decent voice, but it's not strong enough to carry these songs (many of them r&b standards) on their own. When he adds in all the trimmings (including Ralph Woodson's blistering guitar), well, they work.

The full sound of the production really does bring out the life in these songs. This album sounds great. The band smokes, and even Klopps' limitations as a vocalist help him color his performance.

Fun, though not an album that drives me to ecstasy. Just something comfy for the rainy nights.

Klute
Excel EP
(Cleopatra)
reviewed in issue #103, 3/18/96

Another sampling of the ever-present German industrial pop stuff.

Goes down like cotton candy. A little is sweet and yummy. Too much, and you puke like a dog. Only five tracks here, so there's not too much temptation that way. Klute has a little more goth in the mix than, say, Die Krupps, and obviously this is a little more techno, too. But then, chances are you've heard Klute before.

I've never been terribly impressed with Klute's creativity, but this is nicely catchy, with beats perfect for dance floor grinding. Okay, so you've heard it all before. I have too. The folk still manage to pump enough oomph to keep the clubs happy. You could find many worse generic dance bands.

KMFDM
KMFDM vs. PIG
Sin Sex & Salvation
(Wax Trax!-TVT)
reviewed in issue #68, 1/15/95

In what must seem like a former life, Raymond Watts (a.k.a. PIG) was a part of KMFDM. This is a little reunion EP that still sounds a lot like recent KMFDM, with a few more samples.

Through the years, KMFDM has become more groove-oriented and less aggressive, and sales have followed. The idea may have been to get Watts back for three tracks (and a couple remixes) and try and harness the earlier fire, but the end project is simply wildly accessible.

Not a bad thing at all. This is industrial dance music at its peak. While Trent may claim to be the most artsy of the bunch, KMFDM wins by sheer numbers. And while things have gotten a little generic in this camp (the title track particularly), the music still cannot be denied. A triumph of some sort of will.

Just when I thought KMFDM had run themselves into a deep rut...

Maybe I just wasn't paying attention. I liked the EP quite a bit, but it sounded like the same-old same-old. I can hear touches of newer industrial ideas (plenty of NIN and others), some gothic influences (which showed up occasionally in the past, but still) and an overall aggressive approach I haven't heard since UAIOE (remember "Thrash Up"?).

And then after the breathless, breakneck cruise through Nihil, I say, "Had to be KMFDM". This is catchier, heavier, more danceable, more experimental and more adrenaline-pumping than on any previous single album. A true amalgam of the KMFDM eras, Nihil shows why you still have to pay attention to those German industrial bands.

Last time out, Sascha and En Esch teamed up with original mate Raymond Watts (aka PIG) for an EP and the album Nihil. This time, the idea is to bring in as many special guests as possible.

(Take a deep breath)Chris Connelly, F.M. Enheit, Nicole Blackman, William Rieflin and more. Connelly gets co-writing credit on half the songs, and most of the guests get writing credits on their songs. The result is the most diverse KMFDM album yet.

Don't worry; the guitars still shimmer and the beats still pulsate. This is diversity within the techno-industrial ideal set forth by the multitude of previous releases. Not a bad idea at all.

Finally, a KMFDM album that might move the band from dance floor craze to real mainstream acceptance. Hell, the guys were on the cusp of such things even before this outing. Now It seems inevitable.

A complete powerhouse album. It's as if KMFDM copied the Pigface concept (and brought over many compatriots from that enterprise) and incorporated it into a KMFDM album. Completely awesome.

I seem to recall the press for Xtort claiming that there wouldn't be any personal re-mixes of songs from that album. I believe the claim was that Sascha had better things to do.

Well, he gives "Son of a Gun" a new face, En Esch rips a cool new take on "Inane", and Raymond Watts (aka PIG) pounds through "Rules".

Sascha really doesn't do much for "Son of a Gun", but both the En Esch and Raymond Watts remixes put a cooler sound on their respective songs. The serious fan will already have this. I'm not sure if it's worth a big wad of cash or anything, but it satisfies. For now.

A couple novelty songs, a soundtrack piece, and a few remixes. You know most of the songs, but these versions are kinda hard to find.

That is, if they had ever been released before. This is the "b-sides" part of the KMFDM greatest hits package (the "hits" part is reviewed below). Very spotty, honestly, though there are some interesting moments. In any case, it is possible to piece together the creation of what is now the trademark German engineering sound.

Of course, there's also the cover of "Mysterious Ways" from Shut Up, Kitty, a strangely straight version of the song. Easily one of the worst tracks from that compilation. There's also the schlocky track from Hellraiser III, though the notes (put together in a day) help explain that.

For devotees only. The average fan just won't get much from this, with the possible exception of the two tracks from More & Faster. The unreleased stuff is fine, but not, um, Godlike. I had a good time, but that doesn't mean everyone will.

Sometimes people say a band's greatest hits would be best issued as a 7". Or 45, depending on the age of the person making the comment. I know more than one person who would claim that KMFDM could issue a greatest hits on a CD5. Hard to get away from "KMFDM, doing it again..."

Which is too bad. While I wouldn't agree with all of the choices here, the later tracks were the emphasis tracks on recent albums, and the earlier works are representative, if not the best tracks. Personally, my favorite album is still UAIOE, which was the first album to show me that electronic music didn't have to sound like the Cure (talk about personal confusion on my part). I also like the sparser sound.

And what this collection does is point out to folks that KMFDM has evolved. Perhaps the sound is a bit stagnant today (the "hit" songs just aren't as vital or creative as they used to be), but there is a reason KMFDM is legendary.

This disc shows why. Again, these are straight off the album, so devotees have all the stuff (though I'm guessing few of you have What Do You Know, Deutschland? or Don't Blow Your Top). It's about time, really, for this set. Though I do hope it doesn't signal the end of the road.

If you haven't caught up with KMFDM lately, Sascha (and Sascha alone) is at the helm. There are plenty of helpers, but this is one man's vision of the German Engineering sound

And it's a strangely retro one, at that. Think Die Warzau with heavier guitars. Or KMFDM itself back when it was a bit more experimental. Taking a few more chances than I've heard from this brand (and if any band is a brand, this is it), Sascha breathes a bit of life into the ol' industrial standard-bearer.

Um, yeah, it's still a KMFDM album, which means crunchy guitars and growled vocals and an addiction to tight, technical riffage. But there are quite a few bits of modern electronica dancing around the edges, and these songs do sound a bit more loosened up than