Three Imaginary Girls - Kinski

Tonight's recommended show: Kinski at the Sunset

heather hydra — Fri, 17 Dec 2010 21:59:14 +0000

Simply put, Kinski is a band that never disappoints. Churning out content since the late nineties (and under the roof of SubPop since 2002), every record that they put out is nothing short of absolute rad -- not to mention how they do it live! As regular tourmates of Mission of Burma, Comets on Fire, Oneida, Mono and Acid Mothers Temple, they sure as shit know how to bring the gut-churning rock. Want to see a band that melts your face and makes your insides shake like Jell-O? Take yourself to a Kinski show.

Whether you be a drunkard, hesher, straight-edge, stoner or soccer mom, the wall of sound Kinski produces will swell and hold you in a gentle embrace... just make sure you bring your earplugs along for the ride. Kinski be taking down the walls of the Sunset Tavern tonight {December 17th} with the likes of This Blinding Light and Brain Fruit. Doors are at 9, and there's just a silly little $8 cover.

Don't be late!

Rad bands for a great cause: the NFTN 2010 lineup

imaginary victoria — Fri, 04 Jun 2010 09:48:45 +0000

{photo credit: the lovely Laura Musselman, courtesy of our imaginary flickr pool}

Now that we're all done with Sasquatch, it's time to set our sights on the next raddest lineup to hit the west coast: it's Noise for the Needy, 2010 edition. There's close to seventy-five bands and djs playing a baker's dozen of venues next weekend, when NFTN takes over every corner of Seattle from June 9th (Thursday) through the 13th (Sunday). Among the notables in big font this year are John Vanderslice, Visqueen, Horse Feathers, Delta Spirit, the Maldives, The Album Leaf, Animals at Night, The Portland Cello Project, and The Redwood Plan -- along with enough supporting acts to make your head spin. Tickets are available at Brown Paper Tickets, or you can just buy a la carte at each show / venue -- although there's some sweet all-access wristband deals being offered if you want to rock it like that.

GIVE-ing season arrived this week -- with a 30+ track local artist compilation

imaginary victoria — Thu, 19 Nov 2009 16:58:24 +0000

Fresh off the presses from our inboxes comes this week's launch of GIVE -- 30 downloadable tracks from a variety of Seattle artists, who are donating their songs to benefit Arts Corps and local area foodbanks. The $7.00 (!) compilation, which was produced, curated, and funded by Caffe Vita, will be available online here. Physical compilations can be picked up at all Caffe Vita locations, Easy Street Records, Sonic Boom Records, University Book Store, The Crocodile, EMP, Neumo's, and Sorrento Hotel. The in-hand compilations will include a physical card with a redemption code for the download, and a prettied-up sleeve to make it a ready-to-give present.

Here's the full track listing -- nearly all of which are exclusive to the compilation:

PartMan PartHorse vs. Sky Cries Mary vs. Kinski – Friday promises a great night of local music

Amelia Gydé — Thu, 26 Feb 2009 18:52:37 +0000

very time I turn around, a new option presents itself for Friday night (tomorrow!).

Bumbershoot 2008: Day 1

three imaginary girls — Mon, 01 Sep 2008 20:36:21 +0000

30 Aug 2008

bumbershootday1.jpg

Bumbershoot is a musical extravaganza, spanning the three-day Labor Day weekend with more bands, arts, and elephant ears than anyone can possibly capture. We had a posse of imaginary writers (ChrisB, Chris Estey, imaginary elle, imaginary dana, and Cory), and photographers (Chona, Kyle, Nathan, and Andrew) all over Seattle Center, trying to capture the frenzy and mayhem of Bumbershoot 2008. Below you can see and read about our adventures during the first day, which kicked off with local electronic duo Beehive and ended with superstar Beck, and covered over 20 other bands in-between.

Enjoy!

Beehive, Wells Fargo Stage

Beehive must be one of the most hard-luck bands in Seattle. The local electronic duo had gotten a difficult timeslot - Saturday at noon but tried to make the most of it. They played an energetic rock set that lasted about 35 minutes, simulating a rock band with electronic instruments. To get the crowd on their side early started off with two covers known by everyone in the fairly large crowd - "We Will Rock You" and "Helter Skelter." Overcoming a scratchy microphone, they got a lot of the crowd to stand and even a few danced. They found their groove early and singer/programmer Alethea, or "Butterfly Beats," delighted the crowd with her soulful voice. (ChrisB)

Beehive photos by Andrew Waits.

New Faces, EMP Sky Church

I've seen this band a bajillion times -- I practically stalk them -- and this was a very good show. They had a great dynamic with a pretty big turnout. They owned that huge stage. (Chona Kasinger)

New Faces. Photos by Chona Kasinger.

Throw Me the Statue, Rockstar Stage

An important aspect to booking festivals is kicking things off with a band to set the right mood. Throw Me The Statue was just such a band, with their undemanding pop tinged with elements such as a backing horn section. Their crowd was comfortable enough to stand or sit, a few head bobbers sprinkled here and there. (imaginary elle)

Throw Me the Statue. Photo by Chona Kasinger.

Throw Me the Statue. Photo by Kyle Johnson.

Neko Case, Samsung Mobile Mainstage

It makes sense to put former Washingtonian Neko Case on the mainstage at Bumbershoot because it was the first time I've seen her in a venue big enough to contain her voice. She played for about 75 minutes and was funny and likeable throughout, making note of playing depressing country songs in the middle of the day. "Deep Red Bells" and "That Teenage Feeling," played back to back sounded enormous and expansive - especially with three different guitar parts (Jon Rahouse on petal steel, Paul Rigby on electric guitar and Case herself playing acoustic guitar). She and longtime collaborator Kelly Hogan joked midway through the set that it was too early in the day for them to get wasted. Their humor was hilarious and provided a necessary balance for the emotional content of her set. {see the setlist} (ChrisB)

Neko Case and Kelly Hogan. Photo by Nathan Feder.

Neko crowd. Photo by Kyle Johnson.

Das Vibenbass, Wells Fargo Stage

The aptly titled quartet Das Vibenbass bring the jazz vibe and bass to the 21st Century music listener, bringing the genre to a more accessible level. Hell, as their set progressed, I started to realize I wished we were listening to the local band--an upright bass, saxophone, drums, and vibraphone--in an exclusive, smokey hidden jazz club with a gin, rather than out in the sunshine on fold able chairs. Wait a minute… are they playing a jazz rendition of "Black Hole Sun" not in a cheesy Kenny G covers Top 40 sort of way, but a very slick, enjoyable way? Never mind, they do know how to bring jazz to the modern ear. Their entire set was brilliant, definitely fetching all the praise they have received, such as being nominated in the Seattle Weekly for Best Jazz act. Doesn't hurt that their saxophone player was a good looking, well-dressed fellow as well. (imaginary elle)

Das Vibenbass photos by Kyle Johnson.

Thao and the Get Down Stay Down, KEXP Lounge

Thao and the Get Down Stay Down photos by Andrew Waits.

The Girls, EMP Sky Church

In the dark crowded Sky Church at the Bumbershoot Festival yesterday afternoon there was briefly the flavor of a late 70s small club show, with the one "wavo" band in town that "got it." The transgressive energy of sleazy humor ("Fixing The Chairs"), light-hearted Futurism, clipped robot rhythms, weird stop-starts ("TV Glow"), and shuffle beats from Shannon Brown (vocals), Elie Goral (drums), Derek Mason (keyboards), Vas Kumar (guitar), and (bassist) Griff happily entranced the hometown Seattle mob. The crowd wasn't frenzied but it was very cheerful. Just like the shared similar aesthetic Figurines and Futureheads, The Girls is even better live than their recordings, wishing they would add more of that spontaneity and rawness next time out to their songwriting. It would be great if this city had its next Screamers, and this band maybe could be a contender for that role. (Chris Estey)

The Girls. Photos by Chona Kasinger

Grynch, Fisher Green Stage

Grynch photos by Kyle Johnson.

Mono in VCF, KEXP Lounge

Nada Surf, KEXP Lounge

The KEXP Lounge is such an amazing refuge from the hurried, elephant-eared pace of Bumbershoot. There a few hundred lucky fans can see bands in a intimate dark (air-conditioned) setting. Catching Nada Surf acoustic style was definitely a highlight of my Bumbershoot experience; Matthew and Ira's spot-on harmonies positively sent chills down my spine. Also of note: the bassist for Osma did an admirable job filling in for an injured Daniel Lorca. Watch a video of the band performing "Weightless." (imaginary dana)

Nada Surf photos by Chona Kasinger.

Fall of Troy, Exhibition Hall

Fall of Troy photos by Kyle Johnson.

PWRFL Power, EMP Sky Church

The Walkmen, Rockstar Stage

The Walkmen. Photos by Chona Kasinger.

Estelle, Fisher Green Stage

Estelle, the British R&B/soul star, delivered what will be one of my favorite sets of the weekend. Playing before a huge crowd on the Fisher Green stage, she more than lived up to the buzz surrounding her new <em>Shine</em> album. On stage she reminded me of a cross between Sharon Jones and Lily Allen - two of my absolute favorite performers. Her band was tight and funky - although I wish they would have been funkier; their obvious influences are Parliament/Funkadelic, The Famous Flames and The Dap Kings and only on a few songs ("Pretty Please" and "American Boy") did they seem to break out. "American Boy", the #1 UK single that also features a cameo from Kanye West, closed the set and the enormous crowd sang along and danced - it was one of those great moments where a huge and diverse crowd shares a fantastic performance of a song that is the soundtrack to a whole lot of summers. (ChrisB)

Estelle. Photos by Nathan Feder.

Saul Williams, Fisher Green Stage

Saul Williams. Photos by Kyle Johnson.

Man Man, Rockstar Stage

Man Man. Photos by Chona Kasinger.

Man Man. Photos by Andrew Waits.

Nada Surf, Starbucks Stage

Nada Surf. Photos by Chona Kasinger.

West Indian Girl, EMP Sky Church

West Indian Girl. Photo by Andrew Waits.

West Indian Girl. Photo by Chona Kasinger.

West Indian Girl. Photo by Kyle Johnson.

Kinski, EMP Sky Church

Kinski. Photos by Kyle Johnson.

!!!, KEXP Lounge

I really enjoy !!!, the Sacramento-based, punk/funk/jam band but writing about them gives me fits with MS Word's grammar check; using Google isn't any easier. Still, their 30+ minute set in KEXP's music lounge was great fun. Playing mostly newer songs (singer Nic Offer even said that they would give us "a hit and a half"), they still delivered the same dance punk they are known for. Offer might have forgotten a few times that this performance was being broadcast on the radio because he dropped the f-word a few times. The funniest time was when he said that he thought the room was full because we were all "the fucks who are going to see Beck tonight" (!!! and Beck is the most unfortunate scheduling conflict of the weekend) and threatened to give a crappy performance for the last song. They didn't; in spite of their threats, they still rocked. (ChrisB)

M Ward, Rockstar Stage

M. Ward. Photo by Andrew Waits.

Beck, Samsung Mobile Mainstage

Did you think Beck was watching a legend in action, as Imaginary Kiku did? Or did you think he was, in a word, bullshit, as ChrisB did? Our imaginary coverage has a little something for everyone.

Beck. Photo by Kyle Johnson.

Enjoy!

Sub Pop 20: Kinski

heather b — Sun, 13 Jul 2008 22:54:37 +0000

13 Jul 2008

sp20kinski.jpg

It's funny, but hearing Kinski start their set was actually a relief. After Grand Archives and Blitzen Trapper, we needed a different sound to knock us out of our dusty, heat-induced coma, a little wakeup call if you will. Kinski was in top form as always, good deep bass from Lucy Atkinson and nice screamy overlays from Chris Martin. The whole band showed great presence; it seemed like they were all well-rested and ready to just let us have it. Third song into the set, Kinski was already tearing the place a new one. Overall, when listening to Kinski I always feel like I've been projected into some kind of secret agent spy movie and we're at the big car chase scene on a mountain pass.

As usual, Kinski brought it down just a bit, a little respite before the onslaught and then, <BOOM>: bass, crunch, feedback - it felt so good. They played a few more songs with vocals than I'm used to but I didn't mind so much. They made good use of suspension tactics, pounding drums crashing like waves over us, a little homage to Sonic Youth, of course. That characteristic "wall of sound" was present, with a lot of sustained 2/4 pounding on the drums. At one point, drummer Dave Weeks removed a cymbal from his drum kit and rattled it around the stage, something I haven't seen before, drawing huge response from the sizeable crowd.

The big hit, "The Wives of Artie Shaw" is a staple in Kinski's live shows and it didn't disappoint today either. It's another secret-spy soundtrack song for me; I always enjoy it and today was no exception, with the classic screaming guitar notes. The band pulled out all the stops for this one, Matthew Schwartz even standing on a folding chair to belt out those crazy guitar licks. Of course, then they had to break it down again to that calm before the storm, take-a-deep-breath-it's-coming! formula before hitting us again with that deep, deep vibrating, cover your ears, fist-pumping craziness. The band was enjoying themselves immensely and had drawn a really large crowd at this point.

The rest of the set was more of the same speedy, black metal-infused blitzkreig coupled with that soothing black hole of bass. Above all the madness came that beautiful singular guitarwork that sounded like a voice, telling you a sweet story that everything was going to be all right. The storm was unleashed, and it was only 2:30 in the afternoon. I only wish the sky had opened up and rained fire and brimstone on us, but I guess the 80-degree heat was a good alternative.

When listening to Kinski I always feel like I've been projected into some kind of secret agent spy movie and we're at the big car chase scene on a mountain pass.

Best of 2007: elle's favorite shows

elle — Fri, 04 Jan 2008 16:44:17 +0000

Being a regular contributor on here on TIG takes the show going experience from something you do on the weekends to part of your regular routine. I'll never forget shoving five shows in one week, or running from set to set during Bumbershoot trying to frantically interview all the local bands. Sometimes I still can't believe I'm here.

Very few shows I regret seeing, the vast majority were really good. But there's a distinct ten still stuck in my mind, shows I talk about to this day. The bands who made this list are not just comprised of musicians who stood up there and played -- these were performers who demonstrated how their band is more than a job or hobby, it's their lives. In each case they provided a memorable experience where I left feeling I'd just witnessed the most talented artists making music today.

Burn to Shine: Bright Seattle stars

elle — Wed, 17 Oct 2007 02:50:50 +0000

burntoshine07oct.jpg

Opening with a montage of Seattle, Burn to Shine's forthcoming Emerald City edition is quintessentially us. The film's opening montage pieced together clips of places here and there -- the I-90 bridge, homeless people at a bus stop, downtown hustle and bustle -- all familiar, but not cliched street corners. Resting on the house where the video is set, we're treated to inside views of this charming dwelling as sound crews and camera teams set-up for the footage. The house is probably similar to many others set in outlying residential neighborhoods, its early 1900s construction featuring dark wood trimming and thick rafters, large windows filling the rooms with natural light, and built-in shelving tucked away here and there.

Like the other houses featured in the previous three Burn to Shine installments, this house was destined to be destroyed.

For those not familiar with the concept of Burn to Shine, the production team has these five rules:

Gather bands on one day in a house that will be destroyed.
All bands play one song each, and perform their song twice.
No overdubs.
Film the destruction.
Edit and display in chronological order.

The first three were shot in Washington DC., Chicago, and Portland. As with those, the Seattle edition featured songs by local artists. Curated by Benjamin Gibbard, there was definitely a collection of influential Seattle artists of our time, including some rising stars deserving of being mixed in. Set in the empty cavernous living room of the house, each band played a song, with numerous camera angles mixing in and out.

I was honored to attend a sneak peek event for the forthcoming film on Monday night, October 15, 2007 at Chop Suey. Surrounded by Seattle music luminaries, I compiled the following list of the performances that struck me during the film, how the video was shot, and bits of commentary (Big thanks to Sound on the Sound for the final track list).

Spook the Horse "Another New Year"
Harvey Danger "Little Round Mirrors"
Tiny Vipers "On this Side"
Small Jesy Fortino looked even smaller set far back in the living room, taking up hardly any space in the cavernous room. The camera made up for this fact by focusing primarily through her song on her eyes and mouth. Shots through the window, reflections of other houses masking some of her face, added to the haunting charm that is Tiny Vipers.
Blue Scholars "Morning of America"
This was the only flat piece of the DVD. While it's great a local hip-hop act was included in this local artist round-up, without crowds pumping in energy to the music, the raps just feel half-full.
David Bazan "Cold Beer and Cigarettes"
Benjamin Gibbard "Broken Yoke in Western Sky"
Although like Fortino, just a solo musician with an acoustic guitar, Bazan and Gibbard seemed to be more commanding presences in the barren setting. Laugher broke out from the Gibbard camp, seated over next to the bar, when his set came on, which was a bit intriguing...
Eddie Vedder "Can't Keep"
Definitely one of the finer storytellers of this music generation, I'm glad to see Eddie Vedder included among other highly influential players. It definitely created an interesting visual as he looked awkward haunched over an ukulele, seated in the center of the room.
Minus the Bear "Arctic Knights"
The Cave Singers "Called"
On film, this band was just as enigmatic as they are in-person. As the footage was shot back in January, the Cave Singers demonstrated a strength even from the start.
The Long Winters "Departure"
Perhaps a bit ironic by name, the Long Winters broke the sleepy winter feeling the rest of the film carried, as one of the harder sets.
Kinski "Crybaby Blowout"
The living room seemed a bit too small for the four-piece Kinski, it could hardly contain them.
The Can't See "Bar Fight"
Triumph of Lethargy Skinned Alive to Death
"Big Bed"-With the soaring guitars and howls of the singer, Triumph of Lethargy could have destructed the house themselves. If the DVD had ended on this band, it would have been very appropriate.
Jesse Sykes & the Sweet Hereafter "The Air is Thin"
The film ended, however, on Jesse Sykes, which made for a very bittersweet goodbye to the house.

I won't give anymore away; this is definitely a must-have for anyone who considers themselves a Seattle music lover. The final destination of the house, I believe, is supposed to be kept elusive until the final moments of the film, so I'll keep mum on that event as well.

Visit http://www.trixiedvd.com/ for more information about the previous volumes, and for information on when our hometown edition will be available.

Burn to Shine's forthcoming Emerald City edition is quintessentially us. Like the other houses featured in the previous three Burn to Shine installments, this house was destined to be destroyed... but not before some stunning musical performances by great local performers like Tiny Vipers, Eddie Vedder, and Burn to Shine curator Benjamin Gibbard.

Kinski bring sonic extremes to the Crocodile

elle — Mon, 01 Oct 2007 19:45:19 +0000

27 Sep 2007

kinski07oct.jpg

Wolves in the Throne Room. What imagery a name like that brings. Let's see: a throne room is a regal place of solitude where royalty sit around. Wolves, being natural predators, can create havoc and chaos wherever they feel. They also have very sharp fangs, prominently displaying them whenever they need to threaten. In terms of the band with that moniker, let's dissect. Wolves in the Throne Room came in to the Crocodile with their jarring metal [fangs and claws] and wreaked havoc on our heads and bodies [throne rooms] when they opened for Kinski. That's all I'm going to say about that band.

Between Wolves and Kinski, the audience made a complete 180. For the openers, black clad metalheads filled the showroom. For the prog-rock headliners, normal looking middle-aged people gathered. It was a rather eerie change. Taking the stage, Kinski filled the air with a cacophony. Coming together, they started to play catchy guitar hooks and drumming you could keep up with. Suddenly they'd punch you in the face with heavy noise, calculated not messy. This toss-up went on for the first few songs. Just as you thought you had their song down and were starting to dance, they'd change everything completely.

Music critics like to prod each other for describing a band as "experimental," but what else would encompass what Kinski does? They undoubtedly hypothesize and test an unfathomable amount in order to hone the skills they possess. They use techniques never or barely seen in any other band.

Particularly in notice is the guitar work of Chris Martin. At one point he was squeezing beeps and bloops out of his guitar only previously made by an old computer. You know the cliche about guitarists making love to their guitars? The guitarists of Kinski don't make love to their guitars -- they full-on fuck them. Watching Matthew Reid-Schwartz give his guitar all he has, well enough with the metaphor. What he does make love to is his synthesizer. He romanced the hell out of the thing, and it responded back with sounds that make all other keyboardists and their Korgs look like first time lovers.

Between the boys was bassist Lucy Atkinson, who commanded the stage all her own. If female bassists are one of my favorite type of musicians, watching Atkinson was like witnessing the second coming of Christ. She doesn't just play the bass, it seems to become an extension of herself. Using resin bows to play guitars isn't anything new but her style of the technique makes it seem as if she's playing an entirely different instrument. If there was a PhD in bass playing, she wouldn't just have one, she'd be teaching the courses. The chemistry between Atkinson and her Kinski counterparts was playful and sparking.

As this show was their kickoff for their new Sub Pop release, Down Below It's Chaos, they threw in a couple of the new tracks. One incorporated Martin on vocals and was a bit more mainstream than their previous titles. if the fans are any indication of what Kinski they like best, highly experimental or more subdued, the former definitely drew more cheers from the audience. As white noise build-ups introduced the next song, the crowd could hardly contain themselves, yelling "Do it! Do it!" at Atkinson as she drew rumbles from her bass. At one point drummer Barrett Wilke was away from his kit and pounding on a gong, jumping around the back of the stage.

With albums by Sunn and Earth on his resume, producer Randall Dunn is a great fit for Kinski's third release. My bones were still vibrating from their power well after they exited the stage. How could they leave us without an encore? Within moments from their leave, the set-up for one more song was taking place. Atkinson took the stage alone, looking statuesque upon the stage among all the instruments. She drew an enormous bassline out as the foundation, while Reid-Schwartz followed next, making that aforementioned synthesizer show it's full ability. Martin and then Wilke followed, adding to the layered enormity. Pedals were pushed and loops were produced. Beer cans were tipped over. It was an overwhelming song that lasted well over 10 minutes.

After almost a decade, Kinski are not just four musicians creating music together -- they're a well-oiled machine, a successful laboratory producing extraordinary results with their experimentation.

You know the cliche about guitarists making love to their guitars? The guitarists of Kinski don't make love to their guitars -- they full-on fuck them.

Photo of the moment: last night's Kinski show

imaginary dana — Fri, 28 Sep 2007 18:55:08 +0000

We have a full live show review forthcoming, but when new imaginary photographer Kyle Johnson sent over photos from last night's Kinski show at the Croc, I got so excited I had to share one of 'em here...

Kinski live on KEXP, right now!

imaginary dana — Thu, 27 Sep 2007 22:04:06 +0000

Now THIS might be just what I needed to make it through my Wednesday workday! Tune into 90.3FM in Seattle or www.kexp.org anywhere else to listen.

Three Imaginary Girls Best Northwest Releases of 2005 Readers' Poll Results {50-41}

three imaginary girls — Fri, 06 Jan 2006 08:00:00 +0000

{50-41} * {40-31} * {30-21} * {20-11} * {10-1}
{top 100} * {imaginary picks}

#50 Common Market — "Common Market"
(SCIONtific Records)

{official website} * {buy it}

#49 The Catch — Get Cool
(Made in Mexico)

{official website} * {buy it} * {review}

#48 Degenerate Art Ensemble — The Bastress
(Tellous)

{official website} * {buy it} * {interview}

#47 Boat — Life is a Shipwreck, We Must Remember to Sing in the Lifeboats
(Oh No Disaster)

{official website} * {buy it} * {review}

#46 Tennis Pro — Cassie's Junior Varsity Make-Out Squad
(B-Side)

{official website} * {buy it} * {review}

#45 Key Note Speaker — Fiction
(Self-released)

{official website} * {buy it} * {review}

#44 The Cloves — Waiting for the World to Be
(Self-released)

{official website} * {buy it}

#43 Paris Spleen — The Gentleman's Club EP
(Self-released)

{official website} * {buy it} * {review}

#42 The Valley — The Valley
(Swingline)

{official website} * {buy it} * {review}

#41 Kinski — Alpine Static
(Sub Pop)

{official website} * {buy it} * {review}

See all the winners in the TIG Best Northwest Releases of 2005 Readers' Poll (see winners #50-41 here).

Alpine Static

Chris Estey — Wed, 12 Oct 2005 07:00:00 +0000

6.6

http://www.amazon.com/exec/obidos/ASIN/B0009SOG4E/wwwthreeimagi-20

kinski05oct.jpg

Kinski's latest release, Alpine Static is mostly a heavy, dark, evil instrumental record — perfect for playing my bass loud and deep to when the neighbor upstairs is stomping around. It ends on placid plucking, most often found in spaghetti western scenes.

It's the kind of rock and roll record that was meant to be made — when dudes first went out into their basements or tool-sheds or two-car enclosed patios and played with stringed buzzing electronic equipment (guitars and basses) and someone willing to play drums beneath the din. They stop for awhile, power-chug some beers, light some matches to the threads at the bottom of their jean legs, peel those moist labels off and set the rolled-remains on top of the hot amps, and then start shaking the walls again, having sound-sex with each other through garage-art. Sometimes, like the pretty playing through "All Your Kids Have Turned To Static," or the lovely keyboard noise when "Passed out On Your Lawn" kicks back in for an epilogue. It's like boys kissing gently during a "rough house."

Hold on! There's a chick in the band! And she plays the BASS, which seems to be what most of the music is built around — in spite of Chris Martin and Matthew Reid-Schwartz's oscillating guitar textures and (especially in the mid-section of "The Snowy parts Of Scandinavia") dump truck squall (before that song turns into a Steve Reich as a guitar god stroll on Einstein's beach, sand pounded down by near Klaus Schulze-level drummer Barrett Wilke). The bassist's name is Lucy Atkinson and her very existence shoots Andy Warhol again — or at least crushes his soft pale bones beneath her construction boot-heels.

This is Kinski's sixth record if you're counting their split CD EP with Acid Mothers Temple (who they've toured with, as they have with Comets on Fire, Oneida, and what must have been an amazing line-up pairing, Mission of Burma). You can hear these stylings in more well known groups such as Bardo Pond, but come on. If man is six, Kinski is man alive, man making grace before seven, man creating to exist and existing to create. Faust and Freud haunt this thing like a weekend kept in a crate on hallucinogens at a cops' warehouse party in Prague.

More things like Mellotron and harmonium and they could have another "Who Will Save The World?" though they're still in their "Thank Christ For The Bomb" phase really -- probably on purpose. But citing "the T-man" (Tony McPhee) of the Groundhogs is a good way to get in my good graces, even if sometimes your sound is closer to "Black Train" off of Montrose's "Warner Bros. Presents Montrose" album. Okay, as a smooth mix with Sabbath's "Into The Void." I bet they own "Paper Money" though even if it doesn't show up in the bio.

In Finland they'd be Wigwam; in France they'd be either Zoo or Zao; in Italy, possibly Area. But Seattle has them — and if Timothy Leary were alive he'd be howling lyrics beneath the drones like on "Seven Up." But they oddly keep everything voiceless — making it more sacred (or maybe they've just ingested so much street acid they can't get a word out whilst they're playing). Whatever. It works.

Kinski's latest release, Alpine Static is mostly a heavy, dark, evil instrumental record — perfect for playing my bass loud and deep to when the neighbor upstairs is stomping around.

Kinski CD release show

Mairead Case — Tue, 09 Aug 2005 07:00:00 +0000

3 Jun 2005

kinski05aug.jpg

It can be hard to explain Kinski. Their sound is the sort of weighty thing that demands intense nouns, record-clerk-style: Krautrock. Psychrock. Steve Reich, Ash Ra Tempel, and even the Los Dug Dug's. If you're anything like me, the Importance of these words usually spells "hep beer coaster," i.e. an album owned but unheard, a coolness badge made of plastic. You want to love it, but you remain unhooked.

Imagine the happy surprise, then, when I plugged into Alpine Static, Kinski's second full-length for Sub Pop. It's lovely stuff, chunky and slightly stuttering, full of repetition as crushed by bass, drums, guitar-crunch and a flute. Best, the songs come as they climb and crumble. There's no gristle here, but there is melody and echo, tunneled drone, and some of the greatest song titles this side of seventh-grade garage-bands: "All Your Kids Have Turned to Static," for example, or "Hiding Drugs in the Temple (Part 2)." The star is "The Wives of Artie Shaw," a taut track worthy of kneecap rattle. There are no vocals, and that's just fine.

Onstage, the Kinski quartet is all focus, rarely speaking but unnervous, communicating through eyebrow and intuition. Clearly, they've done this before. Unlike other artists who have recently unveiled new albums in this town — Sleater-Kinney comes to mind — Kinski arevunabashedly brave about their realities. Chris Martin curls as he plays, slowly working himself into a capital 'C;' Lucy Atkinson picks and strums through half a curtain of brown hair. Watching them feels like four dishes in a buffet line, but then you close your eyes and hear the whole.

The crowd was genuine and genuinely excited. Fists were punched; the roadie was rocking out; and Charming Snakes tees were on sale for "$10 or whatever you have." I was happy to see several dewy girlfriends forgetting the beers, slipping from the handholding, and dancing in that visceral, gut-centered Kinski-way. Good for them. Sometimes, avant-garde experimentalism feels more freakout than lovefest; here, such is not the case. You might be alone at Kinski, but you feel warm nonetheless.

Like peanuts and a cherry, the band encored with a fuzzy bear-hat, plus a cover of the Ramones' "I Wanted Everything." Sometimes, you get what you want and need.

I was happy to see several dewy girlfriends forgetting the beers, slipping from the handholding, and dancing in that visceral, gut-centered Kinski-way. Good for them.

Out of the Rain Compilation: Seattle's Musicians for Seattle's Youth

Chris Estey — Fri, 01 Jul 2005 07:00:00 +0000

yes

http://www.youthcare.org/

outoftherain05jul.jpg

A local non-profit organization called YouthCare is releasing Out of the Rain, a compilation album by local musicians to help finance and raise awareness for their Barista Training Program. As a guy who needs a job, that sounds like a great idea to me!

But are you reading this web-page looking for worthy causes to support? You there — in the black — YOU are? Well, here's one then!

Harder question: Do you buy many compilation albums put out for worthy causes? I didn't think so. Because they usually really suck, don't they? Oh yeah! Activists seem to have a LOT of musician friends. Too many, and their hobby has to end up someplace sometime I guess. And that place would be for a quarter at Every Day Music.

So why am I giving this a 7.0 rating? That's pretty high, isn't it? I ain't that noble — I sure wish there was a Barista training program for someone MY age. *Cough cough.* But really, power to the people, fuck Bush, all that, I'm with ya kids.

The reason this eleven-song up-with-yooth sampler should not escape your attention has to do with the musical gems amongst the, um, usual unspiced chorizo.

The second song is "1,000 Fragments" by a group called Infomatik, and it's a mean little anthem about "killing your idols." Okay, that's a wee bit ye olde line ... but it has that splendid Cure bass riff played on guitar, a nice sulky vocal, and drives your wavo girlfriend home after a short stop to Jack in the Box. Good greasy techno-punk.

But then the third track comes up, and it's "Devil in the Details" by the Walkabouts, and yeah, that's why people say those things about them. And it's an exclusive! And the lyrics are brilliant fragments about ennui and every day evil and the mocking universe, like a really good Denis Johnson poem, and the musical tone is like a stark confession from a friend. "The future is a muscle you don't have." It's imagery, a story, and a song to never forget. It's worth the whole cost of the album alone. Well, if you have a lot of money. But really.

But right after it Reggie Watts comes in singing (I mean, really SINGING) a joyful little R&B ditty called "Part of the World," which reminds all the Jonahs out there that Nineveh is just down the road from Nineveh and you never get any farther. His Al Green-style chorus is classic, and while this stuff is hardly my forte, I mean, come on, it's like Al Green, man. "I can't believe this town / it kicks you when you're down / no matter who you are." Ouch! Fucking Seattle. We should just pitch and buy the kids bus tickets to somewhere else then. But really. Poignant, emotional, and melodic — nice stuff.

Then a good Supersuckers song about drinking and fucking up. "I drink too much / I'm broke so let's go dutch." Funny stuff. You can read your collection of HATE comics to it. Peter Bagge made heroin jokes that'd split yer gut before '93. I guess they decided not to offer up the one they wrote about the recent post-structuralist responses to Lacan. Or what it's like to be sodomized by major labels. I'd kinda like to hear a few of those, because their feelings might be strong enough to take what is an exercise in club-soundtrack to the level of verisimilitude, well worn territory regardless.

Critters Buggin advertises all the gear you can buy at Trading Musician (someone steal their gear!), Carrie Akre gives a big old wave out to Joss Stone (tell me what I'm doing here!), some friends squeeze their way in, and Kinski scrape up the barest scrap of minimalist-noodling to lovingly hand over for the cause, but the above fawned-over tracks make this worthy of your donation.

But are you reading this web-page looking for worthy causes to support? You there — in the black — YOU are? Well, here's one then!

Happy Birthday Sub Pop!

three imaginary girls — Wed, 30 Apr 2003 07:00:00 +0000

27 Apr 2003

james10.jpg

More Sub Pop Parts Per Million!

igLiz and igDana celebrate at the 15th Sub Pop anniversary show, which featured...

James Mercer"
{imaginary} girl inform me all my senses warn me"

Hey, it's James Mercer, frontman for the Shins, whose last album Oh - Inverted World stormed the indie-world with pop sensibilities brilliant enough to raise even a Davies' eyebrow.

We loved the Shins at Bumbershoot last year, I rang in an exuberant Graceland New Year with them in 2002, and we were delighted with this stripped down solo performance as it, once again, displayed James' core songwriting skills and his genuine vocal prowess. He offered a too short but fine start for a night chock full 'o {sub}pop-stars.

Rosie Thomas

"A ceiling made of stars"

Rosie Thomas positively charmed the savage crowd with her elegant style, her nearly-unspeakably serene voice, and her zippy wit. Her voice, soothing like a lullaby, purred with a contentment that could lull angry kittens. However — over the pop of the crowd, it was nearly impossible to hear her, what with the roar of the minglers and the clink of the glasses. Sooo... we're going to really write about Rosie when we see her play somewhere that better suits her subtlety.

Sam Beam / Iron and Wine

"Promising light on the sidewalk {imaginary} girls"

Sam Beam — aka Iron and Wine — continued the opening trilogy of sultry-singer-songwriters. He crooned with the incredibly gentle elegance he uniquely posseses; he dazzled, he left the crowd spellbound... and then he covered the Ramones' "I Wanna Be Sedated." Man, that was cool....

The Constantines

"Nighttime, anytime, it's alright"

Up until this point, the evening had consisted of TIG-known talents... but it was the Constantines portion that would offer us a chance to finally hear what all the hubbub was about. We'd heard stories/myths/legends about how much they tear it up live.

With such rumors {and the fact that the Thermals were up after the Constantines}, we secured our front row spot to experience the magic up-close.

By the second song, we were convinced. Just as with the recent wave of Sub Pop bands, they are most appreciated after one sees them perform live (a la the Thermals and Hot Hot Heat)... which, if you're my kind of person, you agree that is just how it's supposed to be.

In their own cutely-unpolished Canadian way, this 5-piece got the crowd all sweaty with their quintessential indie-rock songs and Mary Lou Retton-like dance moves, in addition to being able to entertain us in between songs with banter topics ranging from SARS (they came from Toronto) to the fact that they had to practice being cool enough for this party. For all of this, they get a six-faceted mathematical equation to describe their sound:

Pinback + Rapture x loonies & toonies + gymnastics class / tulip festival + Dismemberment Plan = The Constantines

The positive indie-rock vibe lasted the entire set, hitting its apex with the chorus "Nighttime, anytime, it's alright!" The drummer passed various percussion instruments out to the front row (maracas, tambourines and the sort) while the audience jumped, and bobbed, and sang along to the band that doesn't even have an album released on Sub Pop yet.

The Thermals
"My God, the sin..."

"I'll screw anyone for $20," proclaimed Hutch Harris, frontman for our favorite imaginary band of the past several moments, lo-fi indie rock star and all-around teenage heartthrob.

Now you kids know we've been to Thermals shows and Thermals shows... and Thermals shows.

But you know what we've never seen before? We've never seen the Thermals get naked for money. That's right. LIVE NUDE THERMALS (okay, half nude.... and sorry boys, Kathy remained clothed). But still... zowie. That was something special.

It all started when one of Kathy's bass strings broke. Whilst she was fixing said string, Hutch began to lightly banter with the audience... when out of nowhere, someone in the audience yelled, "Drop Trou!"

Hutch explained that he doesn't take off his shirt for less than $5. 2.78 seconds later, a fiver was passed onto the stage, Hutch's shirt came off and the mesmeric, tantilizing scene unfolded.

Two $1 bills made their way to the stage and the remaining boy Thermals' shirts made their way to the floor. Strange but true. Tonight it only cost $1 each to see both Ben and Jordan sans shirt. I'm sure that as these pictures of the incredible value we got for those $1 bills get around, supply and demand will surely drive their asking price sky high.

Sure, once again, we were knocked speechless by the music, as they tore through the songs on their first {and breathtakingly brilliant} More Parts Per Million. Hutch jumped and flailed while remaining pitch-perfect.

But, thanks to a broken bass string, we also saw Hutch, Jordan and Ben half-naked by the end of the set.

Good music, shirtless Thermals. I knew this night was going to be magical.

Kinski

"The part that goes do-do-do-do-do-do-DUN-DUN-DUN-do"

With no imaginary boy Michael X at the show, we're not sure we even can review Kinski. We're pretty sure he has an imaginary exclusive on covering this densely atmospheric, Mogwai-esque explosion of a band.

I think that's true. If you write another adjective to describe them, you'll have to pay Michael X royalties.

Hmm. That won't do. I believe Michael would be proud if I said they were "incendiary"... and I believe he'd want me to ask everyone that, "if Kinski were to unleash the full force of their loud, we would all be killed instantly, and then who would buy their records?"

And after a night like tonight, what a tragedy that would be...

Sub Pop's 15th birthday party show. Good music, shirtless Thermals. I knew this night was going to be magical.

Kinski, with Comets on Fire and Earth

Michael X — Mon, 24 Feb 2003 08:00:00 +0000

22 Feb 2003

kinski.jpg

If you've ever been to a Kinski show, you know that they strive to expose all of their fans to the kind of music that influences them or otherwise puts a smile on their face. Most of the time the bands that play with them are a bit too esoteric for us normal rock & roll folk, but it is refreshing to have a little variety in the opening acts.

This time around, relative newcomers Comets on Fire performed in the coveted opening slot. Their set started with elevated noise, the two guitarists and blackboxer emitting all of the screeching they could muster, and I patiently waited for a song to emerge. After four or five minutes, I started to suspect that it never would. Right at the end of the first song, a hint of melody started to emerge, but was quickly struck down by the second song which, although completely different, reminded me very much of the first song. After another three minutes of instruments screaming for rescue, I'd had enough, and decided to hit Shorty's for a little Galaga before the next band.

I returned 20 minutes later to a hypnotic groove somehow carved from the very same elements of noise that had earlier driven me away. I had been tricked. Comets on Fire had issued a challenge to their audience — good things come to those who wait — and I, dear reader, failed that challenge. Steeped in shame, I vowed to stand firm to my spot throughout the entire set of the second band, Earth.

According to local legend, Earth has long been famous for irritating live audiences throughout the Pacific Northwest (It's probably a sin, but the only possible explanation I can come up with for their continued popularity is frontman Dylan Carson's now-famous friendship with Kurt Cobain and his subsequent appearance in (and soundtrack for) the documentary Kurt and Courtney). When they started playing, the first thing that came to mind was, "They really are that loud." Currently a two-piece, the band relies on Carson's guitar melodies. This is their first mistake. Playing a simplistic four-note progression through a distortion pedal turned up to eleven, Earth immediately threatened to pierce our very souls with the forthcoming song.

But I had made a promise that I would not be scared away from what could be the Greatest Band I'd Never Heard, so I stood steadfast. After a few minutes, I thought I might have to negotiate a compromise, but was approached by an old friend, providing an excellent excuse to hold tight. After another ten minutes of strained conversation (did I mention how loud it was?), I finally admitted defeat and escaped to the bar for some air and a drink.

When I came back, what seemed like forever (and was confirmed by my watch as 35 minutes) had passed since Earth had started playing, and they were still jamming on THE SAME FOUR NOTES. It was like a bad introduction to a song that never arrived. I'm not sure if it bothered me more that the song was so simplistic that anyone who'd spent five minutes with a guitar could play it, or that Earth actually chose to present such drivel as their contribution to the world of music. This was a set that raised the bar for Suck. No more will I ever hate a band just because I don't like their music. They will have to create something truly horrific to outdo the outright sacrilege that is Earth. Finally, after about 40 minutes, they ended the assault, played another song which made no impression whatsoever and left the stage. Finally, a band we can trust — Kinski.

It should come as no surprise to anyone who has ever read anything I have written that Kinski $#@ RULED!!! There are not enough expletives to capture the intensity of this band, no metaphors to convey the sheer overwhelmance of their live performance. Kinski is often compared to fellow instrumentalists Mogwai, tagged with a succinct 'soft-loud' descriptor, but this explanation neglects to consider what it is that drives the songs that Kinski writes. Sure they may sound soft, but a close listen to the soft parts of the songs will reveal the loud parts fighting to be set free. Kinski only play softly because if they were to unleash the full force of their loud, we would all be killed instantly, and then who would buy their records?

(Speaking of records, did I mention that this was the CD Release Party for Kinski's new one, Airs Above Your Station? This was a very special performance, as it was the first time most of us had seen them since getting our grubby little hands on the album that has already made my Top Five of All Time. It was comforting to finally have all of those songs that had been running around in my head laid down on proverbial paper, to see how they all worked. Conversely, it was invigorating to hear live all of the songs from the new album with an understanding of where they were going and how.)

I've seen nearly every Seattle show that Kinski has played since the release of 2001's Be Gentle with the Warm Turtle, and they have gotten just a little bit better at every single one of them. I advise you to go see them as soon as possible — if you wait too long, they won't be able to contain the loud long enough for you to enjoy it before you are obliterated.

If you've ever been to a Kinski show, you know that they strive to expose all of their fans to the kind of music that influences them or otherwise puts a smile on their face.

Airs Above Your Station

Michael X — Wed, 29 Jan 2003 08:00:00 +0000

Airs Above Your Station? Are you kidding? I mean, Steve's Basement! Semaphore! Rhode Island Freakout! Schedule for Using Pillows & Beanbags! I Think I Blew It! Your Lights Are (out or) Burning Badly! Waves of Second Guessing! I think I blew it (again)! I mean, come on! It's Kinski fer Chrissakes! You remember Kinski, don't you? They made the Gentle Turtle record? The one with layer upon layer of psychedelic guitar washing over itself to carve out the Mt. Rushmore of distortion? The delicate ambience swimming in and out of the Crushing Bigmuff Riff-o-Rama? Well, they have a new record out, and they're way better now than they were then. Go buy it!

airsabove.jpg

Are you kidding? I mean, Steve's Basement! Semaphore! Rhode Island Freakout! Schedule for Using Pillows & Beanbags!

Best of 2003: Top 10 Local/Northwest Imaginary Albums of the Year

three imaginary girls — Fri, 03 Jan 2003 08:00:00 +0000

Since the top five on this list all also appear on our Top 10 overall imaginary albums of the year list, we've added some Honorable Mention local bands!

#1 The Postal Service — Give Up (Sub Pop)
Winning our imaginary best of 2003 by overwhelming majority, the Postal Service gorgeously blend the electronic delicacy of Dntel with the effortless vocal bliss of Ben Gibbard (plus stellar girlie cameos from Jenny Lewis and Jen Wood).
{official website} * {buy it} * {tig review}

#2 The Shins — Chutes Too Narrow (Sub Pop)
The sophomore effort from James Mercer et al lived up to lofty expectations and was well worth the two-year wait for this crystaline, poppy, Kinks-esque songwriting masterpiece.
{official website} * {buy it} * {tig review}

#3 Death Cab for Cutie — Transatlanticism (Barsuk)
Oh that Ben Gibbard; look at him go, with two of the three top spots in our 2003 countdown! Death Cab offers yet another amazing blast of indie-pop perfection.
{official website} * {buy it} * {tig review}

#4 The Long Winters — When I Pretend to Fall (Barsuk)
For the second year in a row, John Roderick has created a darkly hook-and-harmony laden disc of metaphorical, wisely dysfunctional romantics. Just like us.
{official website} * {buy it} * {tig review}

#5 The Decemberists — Her Majesty the Decemberists (Kill Rock Stars)
Their songs are the "Lost Archives of the true beginning of rock & roll." They've created their own brand of songwriting that blends "the storytelling of folk through the rhythm of the sea shanty and regularly incorporating instruments like the upright bass or the accordian."
{official website} * {buy it} * {tig review}

#6 The Divorce — There Will Be Blood Tonight (Fugitive)
Not only can these fellows do killer buttrock karaoke and holiday cover songs, but the Divorce are also mature songsmiths in their own right. This, their debut album, rocks with edgy evolved melodies and catchy lyrical hooks, and their live performances makes us swoon. These guys are destined to be superstars.
{official website} * {buy it} * {tig review}

#7 Visqueen — King Me (Blue Disguise)
Visqueen is an indie-rock braintrust: sassy, infectious Rachel on guitar and vocals. Iconic, superhero Kim Warnick on bass. Sweet, brainy Ben on drums. And together they create a powerpuff of perfect indie-rock that is exactly what the world needs now.
{official website} * {buy it} * {tig review}

#8 The Thermals — More Parts Per Million (Sub Pop)
The Thermals have united the traditionally battling East and West coasts in harmony. Combining the smartest parts of the recent New York retro revolution with the infectious evergreen Berkley punk chronicles, they've taken created an sum that is far greater than its parts.
{official website} * {buy it} * {tig review}

#9 The Dandy Warhols — Welcome To The Monkey House (Capitol)
Ok, ok... it doesn't FEEL like they're a local band, but "the best britpop band from Portland" is well, from Portland. Sure, they're sexy, and wordly... and their most recent album was co-produced by Nick Rhodes from Duran Duran... but I am confident that they spend hours in Powell's Books just like the rest of us.
{official website} * {buy it} * {tig review}

#10 The Lights — Beautiful Bird (Bop Tart)
As one wise imaginary girl once said, "The Lights' raw jangly antagostism broiled my ears, provoked my imagination, and moved my writing pen to metaphor." This grindingly dissonant debut is a modern punk-garage-rock masterpiece.
{official website} * {buy it} * {tig review}

Honorable mentions...

Other amazing local bands who topped your lists...

Wonderful, "God Bless Our Pad"
Damien Jurado, "Where Shall You Take Me?"
Menomena, "I Am the Fun Blame Monster:
Exploding Hearts, "Guitar Romantic"
The Minus Five, "Down with Wilco"
Downpilot, "Leaving Not Arriving"
The Malinks, "Can't Shake Last Night"
United State of Electronica, "Demo EP"
Anna Oxygen, "All Your Faded Things"
The Fitness, "Call Me For Together"
Heather Duby, "Come Across the River"
The Slender Means, "The Slender Means"
The Gossip, "Movement"
Heather Duby, "Come Across the River"
All Girl Summer Fun Band, "2"
Kinski, "Airs Above Your Station"
Amy Blaschke, "Self-Titled"
I Can Lick Any Sonofabitch in The House, "Put Here to Bleed"
Ms. Led, "Afternoon in Central Park"
Blue Sky Mile, "Blue Sky Mile" EP
Dolour, Surburbiac
Slo-Mo Rabbit Kick, "Bass Monster Lives in the Bass Forest"
A-Frames, "2"
The Dead Science, "Submariner"
The Joggers, "Solid Guild"
The Ruby Doe, "Dream Engine Blue"
Sushirobo, "The Light Fingered Feeling of Sushirobo"

Since the top five on this list all also appear on our Top 10 overall imaginary albums of the year list, we've added some Honorable Mention local bands!

Kinski

Michael X — Sat, 24 Aug 2002 07:00:00 +0000

23 Aug 2002

kinski.jpg

Item! A veritable Who's Who of show-goers was on hand at the Crocodile last Friday to watch shoegazing, spacerocking, psychedelic train driving monsters Kinski as they plowed through yet another mind-blowing set of all those songs that we only know as "The one that goes, 'do-do-do -do-do-do -DUN-DUN-DUN-do.'" And they were certainly up to the challenge (and beyond), toting along Kawabato Makoto, guitarist etc. for legendary Japanese experimental noise metal band Acid Mother's Temple, who reminded us all that Kinski doesn't have to be in key to sound good, it's just an added bonus. And was that a Climax Golden Twin I saw hiding behind the red curtain, plucking away at a keyboardesque device? Line forms stage left, eager legends.

Item! Word on the street is that Kinski recently inked a deal with a very major independent label, which comes as no surprise to THIS reviewer, who has been calling the heads of all those would-be-labels telling them that Kinski is THE BAND OF THE FUTURE. And Friday night they laid down for us some of the new sounds we can expect from their MAJOR INDEPENDENT LABEL DEBUT. And let's just say they put a little of the RAW back in RAWK, shall we? Like the old songs, the new songs have explosions of guitars and drums and basses and things, but unlike the old songs, there are no longer any names. This concerns me, and I sincerely hope that one of those flunkies over at the Label catches this before the record goes to press.

Would you listen to me? Rambling on and on — I've completely forgotten to talk about the show! Which, I have it on good authority, was incendiary! The unrivaled bassing of basser Lucy Atkinson kept the tempos temping until the break of 11:25, and as we "listeners" alternated between nodding our heads and tapping our feet, she continuously and effortlessly reminded us that there was a song playing all the while sonic technician/guitarists Chris Martin and Matthew Reid Schwartz did their special thing on the floor (and I think you know what I mean). Ms. Atkinson has been creating quite a bit of buzz around town with her combination of stunning good looks and love of boy music (and she can COUNT, too!). And how about new drummer Barrett Wilke? It seems he keeps time much the same as Lucy, which earns him an A+ in my little black book of good musicians.

What more is there to say about this consistently untouchable freight train of sound? I will tell you what: lighting. Red lighting. Kinski sounds fab in red, and I hope they continue. In the meantime let's hope that fancy label gets them some roadies so we don't have to wait for the poor fellas to retune their guitars between every song (that's sooo jazz).

A veritable Who's Who of show-goers was on hand at the Crocodile last Friday to watch Kinski.