Features &
Interviews

Chocolate Weasel
DJ Cam
DJ Method One
DJ Stratus
DJ 3D
Dwindle
Ed Rush
Electronica
Frank Lloyd Wright's California
Ganger
Gapeseed
Her Space Holiday
Holiday Flyer
ICU
Jungle Defined
Kim Salmon
King Rhythm
Laika
Latin Playboys
Lounge Lizards
Mark Robinson
Mixtapes
Monochrome
Most Secret Method
Music Appreciation 101
Pressure Drop
Terrastock II
Third Eye Foundation

Karl Hendricks Trio Declare Your Weapons CD
Karl Hendricks Trio The Worst Coffee I've Ever Had 7"
Rock songs. Hard rock songs that don't care about politics and politicians. Songs that clothe you and cook you dinner. Guitar songs that make driving for hours bearable. Surging rhythms that shake your hips as you air guitar and lip synch along with Karl. Those that have witnessed the Trio live mimic the stares and grins the band charms newcomers with. As the data smog covers the cities and their inhabitants it is comforting to know that somewhere a bar or club, or garage is showcasing the electricity the Trio elicit. Every honest bit of rock 'n' roll that exists in '98, exists in these songs. (Merge PO Box 1235 Chapel Hill, NC 27514) - Keith York

Karp/Rye Coalition Split CD CD
Collecting together Rye Coalition's first single, their infamous split 12" with indie-metallicists Karp, and a live recording of Karp on KXLU, this CD makes a weird packaged statement of two bands' kinship. While they don't necessarily sound like kindred spirits, both bands wield an equally fierce amount of volume and discontent upon the listener. Having been a fan of Karp's (in both pre-recorded and live domains) for some time, I was astonished that the label forces us to listen to a more unique creative force for the first five songs, thus squashing my interest in hearing Karp (even as a fan) in favor of re-listening to Rye Coalition's contributions (tracks 1-5). Oh well. Chalk it up to a compact listening product regardless of which band possessed you to buy this. (Troubleman Unlimited 16 Willow Street Bayonne, NJ 07002) - Keith York

Kent 3 Peasant Musik CD
Times used to be much simpler than today. As a kid, there were two kinds of music: good and bad. As a teen, there were two kinds of music: punk and new wave. In my twenties, there were two kinds of music: computer-based and guitar-based. Today music is the amalgamation of stories told, lives lived, and all the events (musical and non-musical) that have transpired in our collective lives since toddler-hood. The Kent 3, like 'em or not, tell good stories. They use guitars. They are good. Without getting mired in cognition about their blues-ness ("1 Peter 4:3"), their LA-early-80s-punk-ness ("DJ Knew"), their nods to Devo ("Well Dressed Man"), their garage-ness ("Winter"), their Wire-esque Brit-punk-ness ("Winter"), or their Johnny Cash-ness ("The Bells of Saint Lazaro"), The Kent 3 are simply a joy to listen to. Just as YOU would explain a record YOU like to a friend, I want to simply state this is good. Let's not pick apart why I say this; let's not over-analyze Peasant Musik; let us just accept that its great, and move on. (Super Electro PO Box 20401 Seattle, WA 98102) - Keith York

Kent 3/Leatherboy split-7"
Spit flies from the vocalist's mouth as the lips and gums embrace the microphone in snarling garage mayhem. Guitars and drums crash about the audience writhing to the damaged blues-rock. Both Kent 3 and Leatherboy exorcise the ghosts of 6Ts psych rock while employing modern methods to make your hips shake. Damn fine stuff! (Extra Ball PO Box 40005 Portland, OR 97240) – Keith York

Keoki Inevitable Alien Nation CD
The superstar. The superstar DJ. Superstar DJ Keoki on the decks breakin’ kids spines as the bass bins purr his alien noise. Breakbeat noise. The noise of this stylus exercise showcases recent DJ-case ingredients by DVUS, Junkie XL, Rumpus, Naked Funk, Dimension 23 and a handful more. While spinnin’ these 12”s on his decks, Keoki highlights the cream of the new release crop, hittin’ good ‘n’ hard with the crews from labels like Pussyfoot, Ninja Tune, and ESP-Sun. Keoki, while dressing kinda freaky for my style, freaks his marketable charisma on your living room and car stereo making an acid breakbeat party on (hittin’ the...) PLAY button away. “Useless Man” by Minty hits good with its poetic stylee expletive fest, Coldcut rocks the Jello Biafra politico-hop soapbox, but Junkie XL pushes the Uberzone-ish breakbeat fury to new limits with his cascading synth dives, and big beat breaks. Totally immersible. (Moonshine 8525 Santa Monica Blvd, West Hollywood, CA 90069) - Keith York

Kerosene 454 At Zero CD
Kerosene 454 wield the strength like that embodied by massive steel I-beams held aloft by the diesel motors of cranes. Hard-hat donning men with tools wave the cornerstones of skyscrapers toward the final resting place. With each storm of rivet gunfire, the indominatable structure grows one step closer to its completion. At Zero is that final fitting in place of this band's tenure securing their importance on the vast vistas of independent rock 'n' roll. With terse verbiage as punctuatingly rhythmic as the bass crunch, Kerosene 454 speak a language that resonates with those of us listeners keen on lending an ear. Kerosene 454 have a résumé worthy of your attention. They have likely played in your town. You should pay attention to the controlled fury locked inside this towering inferno. Bring your gear and help 'em build something even stronger, greater, that ties communities together nationwide; a network, or lattice-work of an amplification conservancy-curious citizenry. (Slowdime 2700-B N. Washington Blvd. Arlington, VA 22201) - Keith York

K-Group/Omit Slow Movement 7"
A collaboration between two New Zealand drone soloists, yields a magical new facet to the oft uni-dimensional genre. Depth usually being sacrificed for breadth amongst droners, the three songs on this single add new pictures to the margins of Websters. Comforting, while not allowing for complacency, these Loren Mazzacane Connors-like guitar passages approach a gothic stature: One of uncompromising reverence by followers of the teachings. Thanks again CCFA. (Colorful Clouds for Acoustics 273 Cambridge Road Clifton Heights, PA 19018) - Keith York

Kid Brother Collective Never Trust Yourself CDEP
Rarely can anyone describe all that they are within a 10-minute conversation. Usually taking years of one's life, the intimacy that Flint, Michigan's Kid Brother Collective are able to build across your brief (three songs in total) time with them is unheralded. With bits of Stiff Little Fingers and Sunny Day Real Estate in their belt-loops, the quartet sinches up the thrift-score corduroys and turns up the volume. While this is a cheap gamble (list price is $5.50), if you really don't trust me, or are on a strict budget, check out their split 7" single with Camber (also on Doom Nibbler) and go from there. (Doom Nibbler PMB 186 838 E. High Street Lexington, KY 40502) – Keith York

Kill Me Tomorrow Happy First CD
Expatriate Portland rockers Zack and K8 Wentz moved to San Diego, setting up residencies in The Women (along with K.M.T. guitarist Dan Wise) as well as visual art galleries. Having played the bulk of their early shows at local punk headquarters Scolari’s Office, their brand of post-shoegaze crash-pop set them apart from those they shared stages with. Kill Me Tomorrow’s melodies crushed by high-energy rock bring to mind the Rainer Maria, m.i.j.,Yo La Tengo and Smart Went Crazy, while guitars in line with Spacemen Three and the Telescopes swirl around the ship-anchor heavy basslines akin to Henry’s Dress and My Bloody Valentine. Feverish snarling emotions run high in their audio explosions though… this is no pop band. As the analog key tones blur the lines between space rock, and the undeinably crushing guitar distortion, the band distills so much that is good about forms they embrace. Frenetic, yet mature, Happy First makes the band’s debut only setting stage for touring and more releases (harnessing a departure away from the pure pop of this disc). Easily the best album I’ve heard all year. (Bad Ice Cream badicecream@juno.com) - Keith York

King Black Acid and the Starseed Transmission Loves a Long Song CD
Having left his Hitting Birth aesthetic behind years ago, Daniel Riddle has become King Black Acid. Along with the Starseed Transmission (formerly Wombstar Orchestra), K.B.A. has created an album of delightful psychedelia (think ..drug store.. era Flaming Lips) that wanders melodically through fields of green. Unsure if they will take on the cult status of the Grateful Dead or Phish, this Portland collective is poised for habitual listening parties, deep meditation and air-guitaring childsplay. Loves a Long Song and a wonderful listen. (Cavity Search POB 42246 Portland, OR 97242) – Keith York

King Britt Presents Sylk 130 Re-Members Only CD/LP
Rising 12”/CDEP
While the 80s vibe is evident across both releases, it is likely most explicit on “King Britt’s ‘80s Dub” version of Rising (one of 4 versions on the CDEP). Also on the ‘80s altar is a cover of Nu Shooz’s “I Can’t Wait” with guest vocals by Twyla. The King Britt collective continues to harness the power of varied vocal talent from Alison Moyet’s (Yaz) contribution on “Skipping Stones,” Martin Fry’s (ABC) “One and Only,” Grover Washington singing “For Love,” and De La Soul’s (Pos, Trugoy only) help with “Cobbs Creek.” Lots of 4/4 pop-funk fun for the radio set, the club set, and the home hi-fi. (Six Degress POB 411347 San Francisco, CA 94141) – Keith York

King Britt Presents Sylk 130 When The Funk Hits the Fan CD
Her gate caught stares as she entered the tobacco smoke cloud of the speakeasy. A sequined dress flowed across the carpet as glances became stares edging upward from her heels to the studded earrings hanging from tightly wound lobes. “Gin” she said to Tony, the bartender. He greeted Miss Sarah, a woman of charm, elegance, and mystery that regularly appeared at 11pm each weeknight and midnights on the weekend. Tony was one of a select few she spoke to, even if it were only one word. The heels would take her to a regular table high atop the commoners’ floor where she could perch and stare and smoke cigars herself. The jazz would bounce the ashtray on the table, the dancers bounced drunk atop one another even after the songs ended, caught up in the energy, the alcohol, the drugs, the illegality of the affair. Mr. Sims would approach her table each night with a nod, a few words and as usual would be welcomed with a seat patting motion of her hand and a wink. The ice cubes would tinkle in synch with the piano. The rappers and singers would boost the crowd. The DJ would scratch jazz, funk, and soul records - rare grooves you know, on occasion to get a rise in the crowd. The Philly massive in effect? (Ovum)

Kisswhistle Melvis & the Clownboy 7"
This cup-half-full quartet cut through the rock scene posturing to present four honest, effervescent tales. Their lives are amazingly boiled down to the short bursts of family history, relationship woes, and the high price of just being yourself. Kisswhistle don't lyrically lie, their music explains more than any words melodically matching guitar notes could. Sweetly virtuous. (Savyour 125 Valley Forge Dr. Cranberry, PA 16066) - Keith York

Kisswhistle Steady as She Goes CD
Years ago as northwest love-rock reigned supreme, the nation was much more relaxed. The Yo-Yo compilations, the focus on Olympia, labels like K releasing 7" vinyl on what seemed like a weekly pace, reminded us all of the virtual community bonding like-minded indie kids together across the country. I believe it died a few years ago in the wake of Mp3 files, and college graduation forcing record collecting to take a back seat to bean counting. Kisswhistle's defining moment, their anthem, "Role Model Glue" presented here recorded anew reminds us of the innocence of the days we fell in line to see Tiger Trap, Beat Happening, and Wimp Factor 14. Timeless pop songs for those deconstructing the last six or seven years of your life wondering why everything seems so serious nowadays. Rejoice in Cranberry, Pennsylvania's latest export. (Lil' Red Wagon 195 Denistoun St. #203, Welland, ON L3C 6P1 Canada) – Keith York

Kit Clayton Repetition and Nonsense 12"
In six tracks, San Francisco's Joshua Kit Clayton manages to get your adrenaline pumping with his brand of tweaked minimal tech-house and then breaks apart your synapses with abstract beat sculptures. Tactically, Clayton juggles sparse textures and stripped-bare drum lines that could be readily found in Juan Atkins' or Richie Hawtin's repertoire. Whether you're at the helm spinning this on your 1200s or spread-eagle in the path of a bassbin while this numbs your senses, you have to agree that less-is-more. And that Clayton, like other modernist practitioners, understands how simple space and structure can still confound the smartest of species. (Drop Beat PO Box 99156 Emeryille, CA 94662) – Keith York

Kleenex Girl Wonder Graham Smith is the Coolest Person Alive CD
Kleenex Girl Wonder The Bostonians 7"
As esoteric as KGW records are amongst the big budget, high finance world of the multi-billion dollar global music marketplace, their craft is noteworthy. You may not see them accepting a golden statuette at an industry sponsored gala in '98, but this amalgamation of youthful idealism, healthy experimentation, and wide-eyed indie rock optimism erase the slate, clean. From 60s R&B fueled power pop (Mods!) to standard mantras espoused by the likes of Neutral Milk Hotel, Pavement and Sebadoh, to a seething river of stressed beats, we find the KGW team going manic.

Taking cues from folks like Flowchart, Getaway Cruiser and the 12" record bins at the local record shop, KGW edit out the importance of kitsch-hipness by sticking to some manifesto they are launching. We haven't a clue as to the contents of said manifesto.

Their youth is likely to be their best asset as they approach each new record nearly half the age of members of the Feelies. Kids will be kids: And such over-achievers need to be rewarded. They need a statuette to give them the needed gratification that creating something as dense and, for lack of a better adjective, funky, is relevant in this complex world. If they keep rifling through their parents' and grandparents' record collections they will continue to mutate -- a path that we should enjoy following them along. (MOC 4932 Linscott, Downers Grove, IL 60515) - Keith York

Kleenex Girl Wonder Sexual Harassment CD
Another band I have an issue with regarding their need for more self-editing, Kleenex Girl Wonder produced this 24 song document - not all of which are keepers. The title track in both of its incarnations are wonderful - but some of these tracks are raw song ideas awaiting more inventive thought on polishing the idea into a workable song. Much of the youthful fun this record employs is due to the young age of its band members and their relative neophyte status within the world of rock music. Their naiveté is the blessing that allows them to combine Orange Cake Mix Casio fun with Guided By Voices and Sebadoh inspired guitar rock putting the heart to a test as they approach Holiday’s powerpopp-ier moments. Not sure of the tone of the ‘burb they are from, but Downers Grove sounds like a nice complacent community with lots of nice shade trees, good public schools and a host of families that still play ball in the park, picnic and roller-skate outdoors when weather permits. Three cheers for Kleenex Girl Wonder...hooray...hooray...hurrah! (Full Court Press 4910 Washington, Downers Grove, IL 60515)

Knapsack Day Three of My New Life CD
If I was a news reporter looking for a local angle on this story, one would be easy to find. Drive Like Jehu’s Mark Trombino produced this document of labor and artistry. As one would imagine Day Three of My New Life eclipses the imaginations of a post- generation; post-Dinosaur Jr., post-Pavement, post-Archers of Loaf, post-Superchunk etc. As independent rock/pop grows, producing a flourishing legacy of bands, songs and memories most of us start attaching links between sounds. These links usually lack context and a rich symbolic infrastructure that actually conveys sincere and interpretable descriptions/comparisons. Knapsack’s songs speak a language less of indie-rock references and more of sweaty, loud practice sessions, heartfelt girlfriend-breaking-up-producing-emotions, lengthy tour itineraries, poverty, and the near-rural landscape upon which the band members dwell. Rock songs like these could be slower, they could be faster and certainly they could be less anxious - but the stories they tell would certainly lose much of their flavor. (Alias 2815 W. Olive Ave. Burbank, CA 91505)

Knocked Out Loaded EP7 CD
Watching candle light flicker upon a naked apartment wall thinking of your next step is a lonely feeling. Searching for the sound the flame dances to is a philosophical exercise to which few record shoppers seek an answer. For those of us that are not fans of Sonic Youth, however few we may be, resist the temptation to best understand where bands have grown seedling guitar and bass lines, from whom many like Knocked Out Loaded have learned to write music. The best of the numbing pop exercises by those in a generation behind Thurston Moore have slowly distilled a number of good albums over the past years (prior to shedding their influence for greener pastures). Likely the best of this passion is Blonde Redhead, and Knocked Out Loaded is the latest graduate of the Sister and Daydream Nation schools of thought. They are wonderful, and it makes me wonder aloud why I haven’t spent the last decade devoting myself to the paradigm of indie rock that is still much rooted in bands’ maturation process. Bouncing shadows of light across the wall, the Beatles or Stones is found to not be the only answer for which we seek answers to what rock music really means to us individually. (Elemo 61 Clinton St. #17 NYC 10002) – Keith York

Knox, Chris Beat CD
Aside from the founders of the Flying Nun label, few can claim to be architects of the New Zealand punk and pop innovations in the last two decades. Chris Knox and Alec Bathgate (together as the Tall Dwarfs) are rightfully owed a great deal of respect from bands as varied as The Clean and Look Blue Go Purple, as without them spiritually (and musically) guiding this small band of island dwelling rockers, it’s likely they would all report to the Sydney, NSW rock scene. Today, as he approaches the age of 50, Chris has become quite a multi-media entrepreneur and critic, maintaining his effective pop song writing talents with a series of solo albums over the last 20 years. Still evoking the punky angst of his youth (as a member of The Enemy and Toy Love), Chris is both the Johnny Rotten and Billy Bragg of a music scene now spanning a generation of New Zealanders. Knox’s guitar-strum based songs continue to prove he is the spiritual leader of what has been respectfully noted as the Flying Nun scene, and likely that of all New Zealand pop music. (Thirsty Ear 274 Madison Ave. Suite 804 NYC 10016) – Keith York

Kojak Retrieval of the Lost Unit CS
Aside from showcasing vinyl bought at stores in the southern California area, Kojak spins a hearty selection of his own tracks off dubplates, tests and the three drum ‘n’ bass 12”s he (and partner Tom B.) has released in the last couple of months. Outside of listening to this tape in your own space, one should attend the many house parties this DJ tag-team rocks, including a recent slot at St. Louis’ Jesus was an Alien. In response to his buying and producing hard-edged drum ‘n’ bass, I asked Kojak for the meaning behind the madness, to which he replied “I think mix-tapes are important because they give people a chance to hear the "final product" in any environment. What I mean by the final product is, how all the tracks we're writing are just pieces of the overall puzzle that is a DJ's mix.” This mixer is part of a strategic attack on the US drum ‘n’ bass arena that includes, Cds, 12”s, mixtapes, live gigs, as well as collaborations and remix projects. In asking how the tracks tie together with his mixtapes, Kojak replied, “I named the mix tape Retrieval of the Lost Unit after the track Tom B. and I recently released. The reason for this is that I followed the same overall strategy with the track selections as we did when we wrote the track. The build ups and the break-downs, all lead up the "Retrieval of the Lost Unit" as the last track on the first side.” So in listening to the mixtape we not only get a glimpse into his skilled blending of basslines and snare drills, we also peak into the producer’s connection with the DJ and the crowd that eventually whirls about in a frenzy of quaking bass lines and battling drum breaks. (Grey Communication 2637 Vancouver Ave. San Diego, CA 92104 contact: greyrecords@hotmail.com or (619) 280-0128)

Komeda What Makes It Go? CD
Cool like icicles as clear as glass suspended between an overhang and gravity's pull. Chilling, the female vocalist's pointed glassy words reach your ear like Laetitia's bittersweet emphatic calm. Bachelor pad swing time with motorik rhythms shake that overhang and wobble the deathly sharp ice-sickles in their fragile foundations. The groove beats the 60s sharp dressed set in its post-Style Council murmur while retaining a wild-eyed cynical stare on the foundations of the Jim Ruiz French/Spanish disco thread. All the while you skate along, dancing on the thin sheets of pop fragility awaiting the next crack to splinter and separate like icebergs in a Jacques Cousteau odyssey. Komeda's cold tones, warm hearts, red noses, and pursed lips are the sexiest sounds around. (Minty Fresh PO Box 577400 Chicago IL) - Keith York

Kossabone Red Failure and Departure 7"
Somehow these two songs reminded me of Karl Hendricks Trio, Hurl and Moviola simultaneously. Punk rock, yet intelligent. Messy and 'splayed like a dissected science-class pet, yet retaining the synergy of all organs being functional and whole. Spinning loose and out of control, yet maintaining their path through the songs' changes, Kossabone Red have done well for themselves. (Insurance Scam PO Box 145 Northville, MI 48167) - Keith York

K-Pist Voltage Controlled CD
Oddly disfigured. Strangely arranged. Curiously attacked. Ironically interesting. Vocals reminiscent of Rage Against The Machines' punctuated, angered stuttering raps, 80s vintage-gear equipped synthpop, and sturdy 4/4 percussion. You wouldn't think the ingredients wouldn't work cohesively enough to discuss here. I am not entirely confident what I have just listened to is worth your time ... afterall we have different tastes. (North of No South PO Box 14128 Minneapolis, MN 55414) - Keith York

Krauth, Phil One, Two, Three... CD
Spend an afternoon with a friend. Sage advice from a psychologist. Making a new friend on the other hand is more of a chore than reinforcing an existing relationship with good conversation. After spending a few days with Phil Krauth recently (by way of One, Two, Three...), I think our friendship is going to be much stronger hereforth. His conversation subtly crossed the many dimensions of a fragile ego: anger, joy, sadness, glee, lust, scorn, longing, yearning, confidence, insecurity etc. Phil and I traveled to the shady groves of parks, underneath the awnings of coffee shops, the sandy shores of the ocean’s shoulders, and atop multi-story office complexes watching planes land and ants wander the sidewalks of our busy streets: Just he and I. He has come a long way since he penned the best track on Unrest’s Perfect Teeth. (Teenbeat PO Box 3265 Arlington, VA 22203) - Keith York

Kumo Kaminari CD
As the Japanese idolize western commodity-dependent lifestyles, us white-folk stare at their harmony and history with envious disbelief. The mystique of Japanese culture has grabbed yet another artist by the lapels and shown him (Kumo) the essence of their spiritual and sexual allure. Taking these cues-from-the-orient, Kumo frequently pedestals Japanese sounds within his breakbeat journeys with bell sounds, drum sounds, and plinking atonal string concoctions. Despite ascribing to Liverpudlian drinking game rules, Kumo lives in cyberspace along with some desktop sampling and sequencing software that he probably spends more time with than organic life-forms. The results for us consumers are worthwhile though - eleven delicious servings of drum ‘n’ bass elegance with nary a hint at ambient, intelligent or other crappy pseudonyms. Kumo resides in a sphere of quick-footed breakbeats and entangled noises that creep up on you, tapping your shoulder and whispering ‘boo’. (Airbag 207 Ashland Ave. Santa Monica, CA 90405)

Kyü Voxyca CD
After saddened by the mysterious abduction of Angers, France combo The Drift a couple years back, Kyü mysteriously appeared. In a case of a murder without a corpse, the fruits of the missing link bear witness on the band’s debut album (the self-titled EP being their recorded debut). Without a crime report (liner notes have been absent from both releases), the facts of the case are unclear. One band disappears, another surfaces without an explanation.
On Voxyca the combo led by Fabrice Nau (ex-Drift, also owner of Shoshin Sounds) again proves that pop comes in many forms. As they embrace an approach the Chemical Brothers could appreciate, the band has further removed itself from guitar-driven anthems, now stirring the pot with heady dancefloor rhythms. While not engaging in DJ’d remix or dub production, Kyü present an album easily translated for the stage with guitar, bass, keys and kicks. With an endless supply of energy in 4/4 grooves, the ten-songs become an endless parade as the disc-repeat button is secured with duct-tape and the player’s mouth is taped shut. Numbing. (Shoshin Sounds www.shoshinsounds.com) - Keith York