Usually, when one thinks of ridiculously intricate songwriting, his or her first thoughts are of jam, prog or metal bands. It’s dead guys, Dead Heads or Evil Eddie. But Atlanta, Ga. native and New York City transplant Kaki King has found a way to go musically deep without fitting into any three labels. Over the course of three albums, King has found new ways to grow as a musician while using one of the most conventional of modern day instruments: the guitar.
On her 2003 debut, Everybody Loves You, King revealed some of her skill. Over the course of 10 tracks, she unleashed song after song of intense, vibrant acoustic guitar tunes. Her most difficult album, Everybody Loves You, incorporated almost every guitar technique there is, without the use of an actual pick — bass slapping, fret tapping and percussive rapping combined in free form displays of dexterity.
King’s follow-up, Legs to Make Us Longer (2004), expanded on the promise of Everybody Loves You. This time adding a backing band, King aspired for more than displays of power, aiming for subdued ditties over more technically-intricate ones. That does not mean she dumbed herself down as she tried out new styles to avoid the label of “the girl who plays weird stuff on an acoustic guitar.”
Over the summer, King released her latest album, …Until We Felt Red. It continues in a style similar to Legs to Make Us Longer. Backed mostly by multi-talented percussionist John McEntire, King fluctuates between pretty ambiance and teetering dissonance. This dichotomy is revealed within the first two songs, “Yellowcake” and “…Until We Felt Red.”
“Yellowcake” opens with King’s near-trademark acoustic guitar work, but then introduces something new to her fans: vocals. Soft and gentle, King’s voice mixes well with acoustic and lap steel guitars, creating a mellow, pleasing vibe. “Yellowcake” is a glass of warm milk in song form.
But while her voice is certainly pleasing, she’s by no means a rocker like Janis Joplin. Well aware of this, King keeps her more rocking tunes instrumental, like on track two, “…Until We Felt Red.” Though it starts off with the same smooth sound as “Yellowcake,” it quickly crescendos into an explosion of cymbals and dirty, distorted electric guitar. Like a pendulum, the title track swings between these two styles, and they work surprisingly well together.
The third track, “You Don’t Have to Be Afraid,” finds a balance between the styles of “Yellowcake” and “…Until We Felt Red.” Soft but energetic, the slightly-over-eight-minute song is powerful and anthemic, especially when King gets to her hopeful chorus of “You don’t have to be afraid of the pain inside you.” King herself plays most of the instruments on this track, with support offered by McEntire and horn player Dan Brantigan. Brantigan’s flugelhorn, in addition to being fun to say (go on! try it!), adds an extra layer of pleasing sound.
The rest of …Until We Felt Red continues along the same style. Bells, drums, flugelhorn (such a great word) and King’s seasoned guitar make the album an alternately soothing and rocking listen. Mostly instrumental, …Until We Felt Red should prove to be good studying music for those gearing up for midterms.
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