KAITO
BAND RED (SPINART)

Greil Marcus wrote of Liliput, "[they] took basic bits of sound, varied them with tones of voice, tempo, rhythm, and...had a whole new language. [They] picked out words for their sounds and then tried to string them together with a semblance of logic, meanings would be lost and meanings would emerge out of the mess." The same could be said for kaito's songwriting philosophy. Nikki Colk (main vox, guitar) begins with sounds and noises, from which words (and meaning) later materialize. A menagerie of sounds, many of which emanate from Dave Lake's guitar effects, create a web of noise worthy of comparison to the finest Sonic Youth noisescapes; combined with their post-punk (circa 1979-80) spirit and candy-covered pop energy, kaito construct a brand new experience with no pretense. In this over-derivative era of regurgitated tunes from the past, kaito is one of the few bands truly experimenting with and deconstructing musical genres in order to make something new and meaningful, yet playful and exciting. Imagine that. (Don Simpson)

Kasabian
s/t (RCA/Sony/BMG)

Kasabian's rise has been meteoric in the UK as they have earned both critical and popular notice, as well as being chosen as the opening act for Oasis' fall US tour. Their self-titled debut record harkens back to the early 90's days before electronic music took over the dance floors and echoes of Primal Scream can be heard in their fusion of rock and dance grooves. The opening track and first single, "Club Foot," is an explosive, powerful song with a sing-along chorus and a bruising bass line. Not surprisingly, the best tracks on Kasabian are also the singles ("Reason Is Treason," "Processed Beats," "L.S.F.") and there is a drop-off in the quality of song composition as the end of the record nears, although "Cutt Off" manages to stand out with its rapped chorus. (Andy Smith)

JORMA KAUKONEN
BLUE COUNTRY HEART (COLUMBIA)

Jorma Kaukonen's foray into country-blues standards shouldn't be too much of a surprise for those who have followed his work with Hot Tuna. Several of their albums leaned in that direction, though never as decidedly as he does here. Gathering a group of bluegrass superstars such as Sam Bush, Jerry Douglas, and Bela Fleck (along with bassist Byron House), Kaukonen embellishes their accompaniment with his ragged voice and some solid guitar playing--a bakers' dozen of classic tunes (by the likes of Jimmie Rodgers and Bessie Smith) that bridge the gap between blues and country, and remind us that the roots of the two were once pretty close. This music sounds so honest and pure when placed in the context of how far both of these musical genres have strayed, a nice little pocket of fresh air from our distant past. While I'm more of a fan of Kaukonen's electric work with mid-70s Tuna, it's great to hear him in a context he sounds so comfortable with--especially when you consider the disposition of his former Jefferson Airplane bandmates (e.g., has-beens on the 60s nostalgia circuit or retired altogether). (d.n.l)

KEBNEKAJSE
RESA MOT OKÄNT MÅL (SILENCE RECORDS)

This is a reissue of Kebnekajse's psychedelic boogie rock album that originally came out in 1971. It was the first album from the group and the title translates as "A Journey to Destination Unknown." Indeed, the group did not yet know their eventual destination, which had more to do with Swedish folk melodies than the post-hippie hard rock that inspired them here. Here the group reveals the inspiration of Cream and Mountain. In this, though, they rely less on a power blues approach than a more trebly sound that points toward a more traditional path. Rather than the brash guitar sound of English and American rock groups of the time, Kebnekajse approaches their arrangements more holistically, so that the guitar is just another piece of the sonic mosaic, rather than the lead instrument. Rather than perform blues-based experimental rock as if they were an English or American group, they approach with the notion, "What if psychedelic hard rock were born anew Swedish?" (TTS)

Robert Earl Keen
What I Really Mean (Koch)

Robert Earl Keen (a.k.a., REK) sings to the converted: fans of Texas music as well as sharp Libertarian hillbillies, for lack of a meaningfully clever stereotype that REK could conjure up in his sleep. Because of slyly humorous winks in his stories, folks outside the Lone Star State still don’t appreciate what a keen writer REK is, but he is able to pen detail like the prized short story writer Richard Ford. Take “The Great Hank.” All the great Hank Williams tributes may have been writ, but here REK comes up with the next best thing, an ode to a Hank impersonator (in drag, no less) which sets the scene for his own long night in Philadelphia. Insightful writer that he is, REK’s voice will never be much more than an agreeable monodrawl, even though he gamely stretches on the ballad “The Dark Side Of The World.” While the playing is top notch, particularly Rich Brotherton’s acoustic and electric guitars, What I Really Mean belongs in that pile of easy-on-the-ears music for a weekend morning. Ex-Bad Liver Danny Barnes’ assured banjo brings real joy to the hypnotically-soaring opener “For Love” and touches like Northumbrian smallpipes help bring British drama to “The Traveling Storm” (a natural for Joe Ely to cover). Produced by longtime associate Brotherton, the album has a true band feel (except for the slick title track obviously aimed at radio) similar to much of REK’s recent work, but even the guest appearance of country icon Ray Price cannot redeem “A Border Tragedy,” as the cut comes off as a caricature of REK’s best songs; the Mexican horns accentuate the tale of a spring break gone awry in the strangest way, but it’s a shame there’s no real payoff. While the converted should be pleased as ever, those who wish to understand the genuine REK fuss are referred to No Kinda Dancer or A Bigger Piece Of Sky, or even the artfully-bizarre Picnic from 1997.–David Pyndus

PAULA KELLEY
The Trouble with Success of How You Fit into the World (KIMCHEE)

On only her second full-length release, Paula Kelley has already arrived in the rarified air of pop songwriters. Here, going well past the fairly conventional indie pop of her debut, she employs some 40-odd musicians in the creation of an album equal parts orchestral bombast and baroque charm. Halfway between Beulah and Burt Bacharach, this is pop spelled in bold letters, a bit clichéd at times but overwhelmingly winsome, loaded with lush, multi-part harmonies and perfect minor chord changes. Her slight, child-like croon might not command much respect, but it ultimately becomes the perfect vehicle for these tracks, as a more conventional vocalist would render the songs too indistinctive. Intricately and elegantly layered, with strings and horns turning up on nearly every track, Kelley is a tunesmith of the highest order, filling her songs to the brim with delicious piano pop and gliding sonic grace. Whether riding on charmingly prancing harpsichord in “Where Do You Go” or sinking deep in layers of billowing schmaltz in “I’d Fall in Love with Anyone,” her mature pop acumen is never in question. In short, Kelley has firmly placed herself on the shortlist of pop’s best songwriters. (Matt Fink)

KELLY KESSLER
THE SALT OF YOUR SKIN (MELUNGEON RECORDS)

As part of the Texas Rubies, singer/songwriter Kelly Kessler was in on the ground floor of Chicago's initial, insurgent alt-country wave. Subsequently, she recorded for Bloodshot, but the early 90s demise of the Rubies put her career on hold for too long. The Salt of Your Skin marks her long-awaited return to the studios, and it's a fine, unassuming set of songs steeped in country and folk influences of all stripes. With luminaries such as Robbie Fulks and Lonesome Bob on board, Kessler reaches much further back into the pantheon of traditional music than the current rage for 60s Nashville, forging a back-porch, song-swapping vibe. Kessler's twangy voice is more Appalachia than honky-tonk, and cuts like the mournful "Can't Go Home" and a sad, plaintive cover of the Rev. Jimmie Davis' "You Are My Sunshine" shine. The raucous, funny, endearing "Your Darling Ain't Done Shit Today," with Lonesome Bob chiming in perfectly on backing vocals, is a must for your next mix tape. But really, the entirety of this album is a low-key gem. Best track: the gospel soul of "One True Way." (Luke Torn)

MIKE KENEALLY
WOODEN SMOKE (EXOWAX)

Mike Keneally learned a valuable lesson from his years with Frank Zappa, and it had nothing to do with emulating his boss. When Keneally joined Zappa in 1987, he had already mastered Zappa's complex sonic fingerprint and had little trouble in meshing with his master's musical voice. The greatest lesson Keneally took away from his apprenticeship with Frank was the concept of creating music without compromise or catering to any expectations other than your own. Keneally could have made a comfortable living churning out faux Zappa squonk, but he wisely chose to explore his own unique muse. On Wooden Smoke, his ninth album, Keneally concentrates on acoustic guitar and piano, while maintaining the intricate polyrhythmic arrangements of his earlier works, resulting in an album of quiet beauty and graceful elegance. Rather than revisit his admittedly satisfying guitar histrionics, Keneally works a vibe that is more reminiscent of Leo Kottke, Pat Martino, and Pat Metheny, with folky charm and jazzy expertise. Although Keneally has made his name on his earlier solo and Beer For Dolphins projects, Wooden Smoke is clearly a labor of subdued love. (Brian Baker)

Kid Dakota
The West Is the Future (Chair Kickers Music)

Kid Dakota is the brainchild of Darren Jackson, a South Dakota native who has spent time in the Twin Cities music scene. On The West Is the Future, he explores the broad open landscapes of the Upper Midwest. The sound is a sort of high plains gothic: harsh, cold, and more than a bit desolate, much like the seemingly endless days of winter in those parts. In lyrical territory that summons the spirit of Bob Dylan's "Ballad of Hollis Brown," Jackson spins tales of empty farms ("Homesteader"), desperate Indian reservations ("Pine Ridge"), and ice-covered land as far as the eye can see. Images of failure and death abound on this dark and disquieting sound, but it is not without moments of great majesty and beauty (the acoustic-based "Ten Thousand Lakes"). Still, if you listen to this in the dead of February when the temperature hasn't been out of the single digits in a couple of weeks, you might keep the liquor bottle and shotgun locked away. (Andy Smith)

KILLOWATTHOURS / THE RUM DIARY
SPLIT (SPRINGMAN/SUBSTANDARD)

The split release trend is not a new thing, even before the Konkurrent Fishtank series that began several years ago. It's always been a way for like-minded bands to share audiences. On the best split releases, the two bands blend together into something special for a song or two. When this works, as it did for Low and the Dirty Three, it can be a wonderful thing, but when it doesn't it can be a train-wreck. The split release from Brooklyn's Killowatthours and the Bay area's Rum Diary falls somewhere in between. There is some common ground, for sure, but there is also a noticeable chasm as well. The Rum Diary is a bit more polished with well composed and often melodic songs, while Killowatthours are a bit more powerful and scruffy. "{Ex} Change" is the song both bands composed, and it ties them together in a way that makes sense and highlights commonalities. It stands out as the best track on the record. Elsewhere, both bands have four songs apiece, and by the end, their differences seem to make more sense. So does the concept work here? Mostly, yes, but when it doesn't it's never a major failing and seems to work as a learning experience for both bands. (d.n.l)

WILL KIMBROUGH
HOME AWAY (WAXY SILVER)

Will Kimbrough is probably best-known for his late 80s/early 90s pop group Will and the Bushmen, but he's been a very prolific and influential session man in recent years on CDs by Amy Rigby, Tommy Womack, Kim Richey, Steve Forbert, Garrison Starr, Neilson Hubbard, Josh Rouse, Matthew Ryan, and Billy Joe Shaver, among many others. This second solo album features 11 original compositions, with Kimbrough playing most instruments (with some help from Craig Kampf, Womack, and Richey), and it's a minor masterpiece, deserving of heavy rotation on AAA and Americana stations around the country. It's a great shame nobody's buying airplay for this one, because it's a far better record than many more like-minded but established artists. Kimbrough is an accomplished multi-instrumentalist, but his record never feels like a one-man-band job, and the vocals, particularly, are very warm and affecting. Try the self-deprecating opener "Piece of Work," then jump down and check out "Crackup," with Richey adding harmonies and John Deadrick contributing some lovely synth work for an example of a really great song. Next up is "Letdown," a road song that adds a new, freshly human touch to a very tired subject -- a masterful melding of touching lyrics broad enough to be universal to an uplifting sing-along chorus. It's one of my favorite songs of the year. Best of all, there aren't any duff tracks -- this is a terrific, self-assured album. If you dig artists like Tom Petty, Bill Lloyd, Radney Foster, Lucinda Williams, or Matthew Ryan, this might be right down your alley. Not that Kimbrough sounds like any of them, nor does he fit easily into any category like rock or folk or certainly not alt/country. Home Away is just great American music that might make essential listening around your house, too. (Kent H. Benjamin)

WILL KIMBROUGH
Americanitis
Daphne Records
Ex-Will & the Bushmen and roots guitarist extraordinaire Will Kimbrough doesn’t release many solo albums these days, but when he does, they’re doozies. Americanitis is his first in four years, and is one of the better politico-protest records you’ll hear (might file it next to James McMurtry’s latest). While it’s clear a little bit of Rodney Crowell’s sly style (he toured with Crowell in ’06) has rubbed off on him—see “Pride” a kind of talking blues that also recalls similar tropes by T-Bone Burnett (e.g., The Sixties”)—other cuts like the no-less-politically-barbed “Less Polite” (“The president’s a fool, I don’t want to get up early, and I wish I had a good stiff drink,” he sings) slide effortlessly into gleaming power pop territory while laying out the liberal dilemma in a few deft lines. Expansive, eloquent, thought-provoking, Americanitis is a snake in the grass.    –Luke Torn  

Kingsley
s/t (Blood Orange Records)
Kingsley is a Seattle-based project led by Harris Thurmond, formerly of Hammerbox, who were one of the grunge-era Seattle bands who never quite made it out of Seattle. Not surprisingly, Kingsley has a thick, grungy guitar sound mixed with some vintage synths. There are some good songs, such as "Stammer and Stutter," but unfortunately the whole record is pretty undistinguished. It's not bad at all and is certainly musically competent, but it lacks variety and versatility beyond its basic sound. (Andy Smith

KIND OF LIKE SPITTING
BRIDGES WORTH BURNING (BARSUK)

Kind of Like Spitting is primarily the work of one Ben Barnett, one of the modern breed who was apparently born without an internal edit button. Bridges Worth Burning is his seventh (!) album released since the beginning of 2000. To be fair, I haven't heard all the others, so I shouldn't really speak of his overall quality control abilities, but from what evidence I have here I think he could benefit by trimming some musical fat. Complicating matters for me is the fact that Barnett has the type of melodramatic emo-kid voice that makes me question whether or not to welcome him into my home. I'll date myself here: I can't stop mentally comparing him to the doofus who used to sing for the Dead Milkmen, not exactly a ringing endorsement. But through my infinite patience (ha!) and several bottles of Leinenkugel's I've been able to get past my initial trepidation and I can now report that there is some good stuff here. "I Want Out" turns the heat down to simmer and builds things from the ground up methodically in a way that many guitar acts should envy. Likewise "Tyco Racing Set and a Christmas Story Fifteen Times" is the type of overloaded guitar piece that Built to Spill have persuaded countless bands to attempt but few to actually achieve. And some of Barnett's wordy, acoustic numbers like "Canaries" have grown on me too, if only because they tend to sound as if Barnett is generating them spontaneously as the tape runs. In general I've always favored that fly-by-the-seat-of-the-pants technique over a more crafted studious approach. Now if Barnett could just get a partner with a good set of ears and extensive veto authority, Kind of Like Spitting could get to the point where the albums are appreciated more for their quality than their quantity. (Matt Murphy)

KING CRIMSON
EARTHBOUND
USA
THRAK (all CAROLINE)

This is the last batch in the miniature album jacket reissues from the King Crimson catalog. These titles fill in the gaps with two live albums from the original era (1969-74) and the band's second comeback in 1994-5. Earthbound represents the 1971-72 edition of the band, which had recorded the studio album Islands. King Crimson was essentially going to break up before the US tour even started, but did fulfill their obligations. This release sees the first US release of an album that has often been the object of scorn and ridicule from both critics and fans. It was even rejected by Atlantic for domestic release. Soundwise, I can understand the criticism, but from the intensity and quality of the performances this album is a blast! They rip through "Schizoid Man" with the sonic intensity of the Stooges playing in a burning theater. The three members of the band that weren't Robert Fripp soon pulled a mutiny, though, and turned King Crimson into an oddly funky affair, before leaving him altogether for Alexis Korner at tour's end. Bassist/vocalist Boz Burrell was so negatively affected by his time in that band that he refuses to even talk about that period of his life (he went on to become a member of Bad Company). Fripp went back to England and formed what was, to many, the best version of the band ever. With the core of Fripp, John Wetton, and Bill Bruford, this band recorded three studio albums and the live recordings that would become USA after Fripp split the band up yet again in 1974. Finally, this reissue amends the original album to its full length, adding a few more long pieces to what was previously an anemic six tracks. Thrak (from 1995) is much too new still to put into historical perspective. It was the studio output of the double trio lineup, featuring the entire four-man lineup of the 1981-84 version of the band (featuring Adrian Belew, Tony Levin, and Bruford) along with two younger American players that Fripp hijacked from his project with David Sylvian. It's a monster of an album, one which pushed them in every direction at once (including forward), eventually resulting in the departure of the more jazz-inclined Bill Bruford and Tony Levin in favor of the young Americans. For all the years and lineups Crimson has been through, the only constant has been Robert Fripp, but I'm sure Fripp would disagree and say the only constant has actually been change, and he would be right! (d.n.l.)

KING CRIMSON
HAPPY WITH WHAT YOU HAVE TO BE HAPPY WITH (SANCTUARY)

As a teaser for the upcoming Crimson album, The Power to Believe, this 10-song, 33-minute EP is a taste of what makes this newest edition of Crimson the best one since the 72-74 version (which featured Bill Bruford and John Wetton). The group is now mostly made up of Americans and finds Adrian Belew (who is now second only to Fripp in years of service to the band) fitting in nicely in the leadership role. Surprising isn't even the word for how amazing it is to hear them sound so contemporary, even ahead of the curve. So highly regarded are they now that Tool invited them as opening act on their 2001 summer tour, and Crimson responded by calling that summer's EP of new work Nuovo Metal. The title track here is a perfect example of the power the current lineup is capable of, and it's made all the more evident when juxtaposed with some of the quieter tunes, such as "Eyes Wide Open" and "Clouds." The real prize here, however, is the fourth installment in the "Larks Tongues In Aspic" series that has been going since the 1972 album with that title. Pick this up as an inexpensive way of seeing where Crimson are now and if it intrigues you enough, the full album should be out by the time you read this. (d.n.l)

KINGS OF LEON
Youth & Young Manhood (RCA)

If Tom Petty's early band Mudcrutch had never relocated to the City of Angels to catch the brass ring, instead banging out a living playing swampy Florida dives every night, they would sound like the Kings Of Leon. The band, composed of three brothers named Followill (Caleb, Jared, and Nathan) and a cousin named Followill (Matthew), play guitar-driven no-frills rock, and you can't help but love the Southern scruffians. For better or worse, this Nashville aggregation isn't half as pretty as The Strokes, and even if some of the bass-happy songs sound just like those NYC poster boys for the garage rock revival, you get the feeling that the Kings of Leon would sound the same whatever trend was in fashion. Then again, the ringing guitars and Caleb's world weary vocals on "Joe's Head" bring us back to Petty, whom the song could almost be a tribute to, so maybe the Kings of Leon are seeking a broader spectrum than the current wave of garage rockers. Thematically, the concerns on Youth & Young Manhood (manhood, eh?) are predictable--the same as any young rock band surging with testosterone, but it's the pure spirit here that shines. (David Pyndus)

KEVN KINNEY
BROKEN HEARTS AND AUTO PARTS (EVIL TEEN)

Broken Hearts and Auto Parts, erstwhile drivin' n' cryin' leader Kevn Kinney's fourth album of electrified folk music, is his strongest solo release since his 1990 debut MacDougal Blues. Part of this is due to a reversion to the formula on that record: on most of the tracks, Kinney is backed by the current version of his band. There's nothing like playing with musicians who know your every move. The main reason, though, is due to this album containing a strong batch of songs. Folkie tunes like "Time" and "A Good Country Mile" stand proudly next to gnarly rockers like "Yes That's Me" (which is a drivin' n' cryin' tune in all but name). But this record's specialty is the kind of mid- tempo roots rock that allows for Kinney's ever-improving storytelling skills to take the fore. "Why Does It Feel So Hard to Say," "Back Roads and Rainy Days," and Tom Clark's "Lights On" each take full advantage of Kinney's sure touch with melody and his nicotine-induced rasp. While it's not drivin' n' cryin', Broken Hearts and Auto Parts is the next best thing. (Michael Toland)

KNOCKOUT DROPS
KILLED BY THE LIGHTS (CIRCUS CLONE)

The plugged-in Knockout Drops are firmly in the Springsteen/Bon Jovi/U2 huge-gesture camp, though they guitar-jangle more openly. When they break out the acoustics, and you can hear what they're singing about--waking up on the "wrong side of love" and such--a Neil Diamond reference somehow seems more fitting. Such are the difficulties of earnest rock in the 21st century. Sometimes the harder you work for it, the more ridiculous you become, like even the Boss himself. Plodding white-bread ballads like "Say Something" and "Always Claire" ("Claire, I don't care, about your little problems, we can solve 'em dear"...just strap your hands 'cross my engines...) manage to get some lift from the solid rhythm section and wall-of-guitars thrown up by axe-slingers Campion and Tom Licameli, but the all-acoustic "Head Full Of Worry" suffers without such camouflage. There are some nice moments, though, like the Revolver-ish, tremeloed guitar crunch of the up-and-down rocker "Caught In The Headlights" and the midtempo "Hellride," which has a convincing melody and some bitchin' backwards guitar. But this stuff isn't for everyone. If you use the word "heartland" unironically and miss John Cougar, sign up. (Jeff Calvin)

The Konks
s/t (Bomp!)

The Konks crank out a snarling primitive garage stomp that perfectly captures the truly freaky cover photo of some cretinous youths in the 40's or 50's dressed in animal skins. The Boston-based trio strips everything down to the primal elements of guitar, bass, and simple drums and then piles on the crazed adrenaline rush and animal shouts. Overall, it all sounds a bit uniform, although individual songs like "King Kong" and "Out of My Mind" are a total blast. Their cover of the old Joe Perry Project tune (also done by Aerosmith) "Let the Music Do the Talking" absolutely slaughters the original. This is the perfect soundtrack for your next debauched, dress-like-a-Neanderthal party. (Andy Smith)

THE KOOKS
Inside In/Inside Out
Astralwerks
The Kooks are one of the first UK bands to make a splash with a loose, herky-jerky rock sound that seemed to be directly modeled on that of the Libertines. These four fresh-faced and terribly young (late teens) lads from the coastal city of Brighton have been a hot band on the British festival circuit leading to the usual breathless coverage in the NME. As for the Kooks' debut Inside In/Inside Out, it certainly will appeal to fans of the Barat/Doherty school of rock, although without so much of the sleazy, drug-addled dramatic baggage, but also without any of the Libertines moments of delirious grandeur. In truth, the record is a bit of a mixed bag with some great songs and a number of throwaways. Unfortunately, the advanced UK hype will once again obscure the fact that this is record by a bunch of teenaged musicians who have only begun to discover their creative muses. Here's hoping that The Kooks get a chance to mature instead of burning out in a year or two and becoming has-beens at 22. --Andy Smith

KOUFAX
SOCIAL LIFE (VAGRANT)

This is a band that made me think. It was like, "Why are you doing this again? It's been done, and it was boring the first time. What is the purpose of this?" Koufax is very slick, well produced, with Elvis Costello or Eddie Money-like vocals, and a proudly "turn of the Reagan era" sound, according to the promo sheet. I thought of Todd Rundgren and Ian Hunter in the early 80s. The music sounds tired, like it's coming to the end of the time of LPs and overproduction. Good job, though. "We're going to pretend it's 1981 and we live in St. Louis." Perhaps these guys have a future in period music for film. One dude on the back photo looks a lot like Beck. Maybe he'll bring in the babes. (Tiina Lombard)

KRAFTWERK
Tour De France Soundtracks ( ASTRALWERKS)

Looked at in terms of having waited 17 years for a new Kraftwerk album (not counting their 1991 remix album), you can either see this as a letdown or as something you'd given up on getting to hear anyway. Based in part on the 1983 EP Tour De France, this album elaborates on the concept of the famous bicycle race. Considering that core member Ralf Hutter had a serious bicycle accident while training with his team in the mid-80s, it's surprising the band would return to that theme. This record doesn't sound like something that has been labored over for nearly 20 years, but it does sound uniquely Kraftwerk, and surprisingly modern. Having lost both Karl Batos and Wolfgang Flur (who's excellent book I Was A Robot gave such insight into the secretive world of Kraftwerk that founding members Florian Schneider and Hutter sued him over it) during long periods of inactivity, the core duo took on the task of completing the album. It is a thing of beauty, especially during its dreamier moments, but it's the concept that carries the album, and how well it conveys the notion of travel by bike. It's easily the best thing they've done in the last 20 years (I was never thrilled with 'Computer Café'), and I'm sure the year 2020 will see us graced with another fine Kling Klang produktion, but until then this will have to do! (d.n.l)

KUNEK
Flight Of The Flynns
playtime
Hailing from Stillwater, Oklahoma, means this band will probably be name-dropped with that OTHER band from Oklahoma (yeah, I’m talking about the Chainsaw Kittens, who else?). Even their bio mentions them (the Lips), almost by obligation, but they share almost nothing in common musically. In fact, geographically, they sound nothing like anything one might expect to be from Oklahoma and, even better, nothing like the musical Oklahoma! With six musicians in the band, the songs are eloquently composed, with cello, keyboards and the usual guitar/bass/drums thing, over which Jesse Tabish sings in a rather demure voice--quiet, bookish, perhaps a less shrill Keane-esque sound. Sometimes based around acoustic instruments, most of the tracks evolve into rather interesting compositions that at times suggest post-rock movie soundtracks or more tasteful progressive rock (a sort of Early Day Miners meets Focus, if you will). Their origins as an instrumental band--they started out as a trio--provides some of the organic nature of this band: they’ve now doubled in size and sprouted a vocalist. For a debut album I’m struck by how mature they sound, even if they’ve been around for three years. The basics may all be the same, but they’ve put them all together into something fairly unique and beautiful.   --d.n.l

Doug Kwartler
Silver Meteor (Hollow Body Records)

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