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| REVIEWS: KINIT HER - GLYMS OR BEAM OF RADICALL TRUTHES | ||
| • www.musiquemachine.com, May 2009 • Legacy, May 2009 • www.chaindlk.com, May 2009 • Trust, April/May 2009 • Ritual, April 2009 • www.goddeau.com, 27 April 2009 • Octopus, April 2009 • Skug, April 2009 • Blow Up, April 2009 • Ox Fanzine, April/May 2009 • www.theantiphon.com, March 2009 • www.terz.org, March 2009 • www.audiodrome.it, 26 March, 2009 • www.earlabs.org, 24 March 2009 • Orkus, Thomas Sonder, 19 March 2009 • www.losingtoday.com, March 2009 • Sonic Seducer, March 2009 • www.theshadowscommence.com, March 2009 • www.nonpop.de, February 2009 • www.kindamusik.net, February 2009 • The Sound Projector, February 2009 • Playlists |
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| www.musiquemachine.com, Roger Batty, May 2009 | ||
Musically Kinit Her sit in place somewhere between mid-pace 90's Scandinavian black metal, dark horror metal, darkly hued folk rock, blackly sounding Russian and Jewish sounding string pluck and bow, along with hints of ritual elements and a damned theatrical air. And if all that wasn't an interesting enough concoction just wait until you hear the vocals.
The vocals are best described as warbling, high pitched and theatrical cat like; it's very difficult to put into words quite what they sound like but they are very distinctive, one-off and for the most part work great with-in the strange yet compelling mixture of sounds on offer here. The main vocals are often backed by deeper theatrical type male vocals which work as a nice counterbalance to the higher pitch lead vocals. But beneath the quirky and distinctive edge of the vocals there is some great muilt-genre song writing going on that managers to be atmospheric, often highly memorable, darkly quirky and above all very creative and originally.
This is the band's first album proper after a few ltd cdr releases and have to say it's a highly distinctive, curious, atmospheric and theatrical debut album which I can highly recommend to anyone who digs off-kilter post Black metal, horror based metallic matter or strange off centre yet filmatic folk rock music.
4/5 |
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| Legacy, RK, May 2009 | ||
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| www.chaindlk.com, Andrea Ferraris, May 2009 | ||
Funny, when I first got the package from Dense, knowing it was on Hinterzimmer I was almost sure it would have been something dealing with "experimental-music-concrete-electronic-and-the-hell-knows-what-else", it was dark, I was driving home from work and I put it in the player for the "dangerous" first listening and surprise surprise: the cd had nothing to do with the aforementioned categories. To say it all this release is quite weird, above all if you add this band comes from the States, this' a elegant and sick mix of weird folk (really Current 93 alike) and norwegian black metalŠok, nothing surprising here, there're so many bands crossing this black area lately but Kinit Her sounds both honest an quite personal. The atmosphere sometimes is dark and scary, sometimes brings you in a weird middle aged dimension, the vocals have been probably treated in some bizarre way so it ends up resulting as the main vocals have been sung by a bunch of devil-possessed children. The recording and the production are brilliant and while giving this odd-darkened impression it also results quite warm above all in its folk components, in the same song they work with stop and go and at the same time alternate different sounds to reach the climax, the global impression I got is this cd has been well pondered. Despite the fact here and there they've this heavy guitar riffs and some "darkness will prevail" episodes the majority of the release is quite melodic, listenable and recreates atmospheres not so far from Dead Can Dance during their Aion-era, stylistically they've nothing to share with Perry-Gerald but I wish you will get what I mean. Ancient arias/arrangements, odd-folk, some old-acid-rock passages, black metal, a spruce of ambient and these strange voices are coming and going for the whole length of a cd that appears as a real narrative plotŠI'm still waiting from some dwarves and witches to come and bring me back in the past like in Raimi's "Army of darkness". "Lucifer over London"?Šha, haŠwe're living in such a dark age that I see Lucifer is over the whole globe. 3.5/5 |
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| Trust, April/May 2009 | ||
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| Ritual, April 2009 | ||
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| www.goddeau.com, Jurgen Boel, 27 April 2009 | ||
Het gebeurt niet vaak, omzeggens nooit, dat er een groep debuteert waarover, enerzijds, werkelijk niemand iets zinnigs weet te zeggen, maar waarover anderzijds eenieder wel enthousiast is. Kinit Her valt die eer meer dan terecht te beurt. Het trio uit Wisconsin kreeg al diverse maar steevast lovende kritieken op de cassettes en cd-rs die het verspreidde, en het lijkt er sterk op dat het voor zijn debuut Glyms Or Beame Of Radicall Truthes eenzelfde weg opgaat. Niet slecht voor een groep die zulke uiteenlopende vergelijkingen als Swans, Current 93, Burzum en black metal bij uitbreiding, The Incredible String Band en Ween oproept, vaak nog in eenzelfde zin bovendien. Middeleeuwse folk met een snuifje black metal en de nodige dosissen zelfspot en waanzin vormen met andere woorden de ingrediënten waarmee dit debuut gebrouwen is. Kinit Her lijkt van alle markten thuis te zijn maar speelt in de eerste plaats graag met verwachtingen. Dat de groep ondanks alle bizarre uitstappen nooit gratuit, goedkoop of zelfs maar als outsider music klinkt, bevestigt in de eerste plaats dat de band perfect weet waar hij mee bezig is, ook al is hij dan de enige. Kinit Her blijft bij elke beluistering als een uit de hand gelopen grap klinken, ware het niet dat de songs ondanks al hun zotternijen enorm doordacht zijn en uitstekend opgebouwd. Hoe hard de groep ook tracht de eigen nummers te ondergraven door bijvoorbeeld helium- en operastemmetjes te koppelen aan parodiërende middeleeuwse gothic klanken (zoals in "Crypt Cathedral Shrine"), hij kan niet verbergen dat hier enkele uitmuntende songschrijvers aan het werk zijn. Het is zelfs zonder meer opmerkelijk te noemen dat de groep in "Rabbitdom" duisternis en onheil weet op te roepen middels een middeleeuwse folk annex black metal-song zonder zijn eigenheid (en dus ook de kenmerkende smurfenstem) te verloochenen. Ook "salling Aeroliths" begeeft zich in hetzelfde vaarwater, alleen klinkt deze donkere poel nog verontrustender. Kinit Her heeft geen nood aan donderende drums of ijselijk gegil om een unheimliche sfeer op te roepen. De waanzin van een kind volstaat. De onmogelijkheid om de songs te omschrijven, is evenals de uitgekiende constructie van de nummers een van de weinige rode draden die doorheen het album te trekken zijn. "The Fifth Refract" bijvoorbeeld schakelt van middeleeuwse folk over naar up-tempo gitaren, kiest daarna voor een avant-gardistisch kinderrijmpje en eindigt in meditatieve Oosterse klankschalen binnen de tijdsspanne van drieënhalve minuut. Twaalf songs lang weet de band dergelijke huzarenstukjes te brengen zonder in herhaling te vallen. Uiteraard zijn er enkele terugkerende elementen zoals de middeleeuwse folk en de hoge stemmetjes maar vooralsnog is het geen sinecure om "Hierophant Pentadrome" naast "Shy Taxes" te leggen en vlotjes te concluderen dat het hier om twee gelijkaardige songs gaat. Conventionele standaarden zijn niet de ijkpunten waaraan het debuut van Kinit Her beantwoordt. Dit alles betekent uiteraard niet dat Glyms Or Beame Of Radicall Truthes volledig los zou staan van welke muzikale traditie dan ook, noch dat Kinit Her een unicum binnen de muziekwereld zou zijn. De avant-gardistische invloeden zijn net zo goed als de metal- en de acid folk-elementen duidelijk aanwezig. Kinit Hers kracht ligt hierin dat de groep er een heel individueel parcours mee weet af te leggen en zo een plaat aflevert die niet alleen eigenzinnig klinkt maar ook aangenaam luisteren is. |
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| Octopus, Laurent Catala, April 2009 | ||
S'étant déjà signalé sur Plop par un album sybillin (The World On Higher Downs), les Américains de Kinit Her lui donnent une suite à tendance mystique avec cet étrange Glyms Or Beame Of Radicall Truthes, mélange d'harmonies vocales bigarrées d'inspiration médiévales/folk ("Hierophant pentadrome"), de mélodies à cordes évoquant autant les ambiances post-industrielles désenchantées des Swans dernière période ("Crypt cathedral shrines") que celles plus ambivalentes des Residents ("The arc of acuity"), sans omettre un ésotérisme d'ensemble digne des Hafler Trio et des incantations black-metal disséminées dans les interstices ("Quadriga", "Falling Aeroliths"). Une surexpression stylistique parfois indigeste - vocalement notamment -, mais qui donne un côté décalé certain à ce disque à la fois sombre et éthéré, sorte de cauchemar onirique et sonore éveillé, sans remettre pour autant en cause la cohérence de sa musicalité d'ensemble. |
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| Skug, Heinrich Deisl, april 2009 | ||
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| Blow Up, Valerio Mattioli, April 2009 | ||
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| Ox Fanzine, André Bonensack, April/May 2009 | ||
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| www.theantiphon.com, Pedro Serôdio, March 2009 | ||
A few weeks after having received and first listened to "Glyms Or Beame of Radicall Truthes", I found myself going back to H. P. Lovecraft's omnibuses and reading the remaining few of his bizarre tales I had not yet felt the urge to explore. At first it seemed entirely natural to suddenly have been reminded of the unread third omnibus on the shelf, but as I put on Kinit Her's oddly titled album for the umpteenth time and prepared to be told of the horrors of Dunwich, something felt a bit odd. It seemed as though the music didn't 'fit' the atmosphere of the story, even though I could now clearly see an association between the author and the band in my mind. A brief incursion into some of his other work and it soon became quite clear: the album is perhaps as perfect a soundtrack to Randolph Carter's adventures through the Dreamlands as anyone could have conceived. Thinking about it a bit more carefully, all the elements seem to be there. An odd choice of vocal delivery inevitably places the intriguing cats of Ulthar as the narrators in this tale, while the dreamy and picturesque atmosphere conjured throughout the album has all the elements captured by the stories. As far as I can tell, however, the band's intents could not be further from anything related to the author or any of his literary contributions. Citing Taoism, the Western esoteric tradition or "modern day conspiracy theories" as sources of "magical-philosophical inspiration" while drawing liberally from the British 80's experimental scene (whoever it may be comprised of), folk music (quite evidently) and Scandinavian black metal. While some of these influences are quite dubious (there isn't much here that Burzum, Mayhem or Darkthrone would recognise, in all fairness; and it is not clear whether Coil would give the band their blessing), the album is as definitive a statement of neofolk as one could hope to encounter is the dying years of the first decade of the new millennium. Critically, however, the band retains a firm grip on their idiosyncratic elements to be justified in forcefully arguing their originality. While the vocal stylings are certainly an acquired taste (picturing the cats of Ulthar in a well ordered choir telling of pentadromes of hierophants, serpents' televisions or the topaz of a dead giant is both embarrassing and very, very enjoyable), the same cannot be said of the impressive atmospheres created by the band's instrumentalists. While most neofolk has a slightly bitter industrial aftertaste, Kinit Her escape that trap altogether and instead indulge in almost impossibly naïve dreamscapism (of the sort that would make Jan Zahradnik, a quirky Czech artiste whose gallery on the infamous Petrin hills is sure to leave a few visitors baffled, quite proud). Although any Lovecraft connections I might have conjured up do not hold up to the slightest scrutiny, it remains a compelling musical enterprise, combining diverse elements in a bizarre strand of neofolk that is more concerned with experimentation and dreaminess than folk authenticity. It performs marvellously in that respect, but is perhaps a bit too tongue-in-cheek for its own good at times, especially because it does not seem to be able to completely eradicate an initial impression of silliness. Adding to that the frankly unsettling tone of the vocal performances, it is very much an album that has the potential to be hated by the many and loved only by a knowing few. |
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| www.terz.org, March 2009 | ||
Nochmals ein Blick ins Schweizer Hinterzimmer, in dessen hinterster Ecke ein Tape unglaublichster Hexenmusik dieses Trios aus Wisconsin gelegen haben muss. Incredible Weird String Folk, dazu ein Industrial-Dämonen-Chor, spätmittelalterliche Stanzas, Black Metal Doom, Parapsycho-Musique-Concrete und ein Countertenor-Pasolini als Gastsänger … ganz stranges Ding, fast schon esoterisch, wäre nicht die klare Bodenhaftung, die um die klare Weirdness von Historie und Realität weiß. Und dann noch scheißedreist auf das Cover schreibt: "Fuck you to the Federal Reserve, IMF and World Bank". Sagen wir doch. |
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| www.audiodroem.it, Fabrizio Garau, 26 March 2009 | ||
I Kinit Her sono un gruppo di tre elementi originario del Wisconsin, all'esordio sulla lunga distanza per la Hinterzimmer Records, un'etichetta svizzera dedita alla musica sperimentale: Vince Wachowiak si occupa delle chitarre e presta la sua voce baritonale ad alcune tracce, Troy Schafer è il polistrumentista la cui voce da folletto spiazzerà il 99% degli ascoltatori, infine Nate Ritter è una sorta di producer che si occupa dell'effettistica e di varie parti campionate. Queste sono le certezze, il resto rappresenta una sfida all'ascolto. I Kinit Her suonano una specie di musica folk stralunata e lisergica, in apparenza debitrice della follia di Coil e Current 93, coi quali li accomuna anche la scelta di un immaginario esoterico, come testimoniato dall'eccellente artwork di Glyms (sul quale è difficile davvero pronunciarsi, con in più la sgradevole sensazione di perdersi una chiave interpretativa non di poco conto). Su questa base folk il gruppo innesta - come pensabile - frammenti di musica "medievale" e classica, ma talvolta anche riff di matrice doom metal, come nell'iniziale "Quadriga" e nella finale "Falling Aeroliths". Quando non si riesce a descrivere qualcosa affermando, non resta che andare per esclusione: i Kinit Her non fanno folk e basta, non sono nemmeno doom metal con influenze folk, anche si sente che ascoltano metal, non sembrano appartenere al filone post-industrial, nonostante si capisca che sanno chi è David Tibet, né sono epigoni dei Dead Can Dance, pur possedendo la capacità di gettarci nelle atmosfere dei Secoli Bui. Sono forse un po' di tutto questo e di sicuro un'esperienza straniante, anche in virtù di quella voce assurda, all'inizio assolutamente fastidiosa, ma poi vera e propria guida in un mondo grottesco e irreale, divertente e allo stesso tempo inquietante, dove tutte queste influenze danzano assieme e il fatto finisce per sembrare scontato. Avvertenze: possono dare una forma perversa di dipendenza. |
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| www.earlabs.org,Sietse van Erve, 24 March 2009 | ||
| How would it sound if you combine folk, metal and drone music all in one and let Sméagol (from Lord of the Rings) sing over it? Kinit Her can tell you more about this on their debut album Glyms or Beame of Radicall Thruthes. Kinit Her is a trio from Wisconsin, USA who, if you we should believe the write up, brings us something completely new. Something that has never been done before. As skeptical as I always am when someone claims something like that I start listening to the album Glyms or Beame of Radicall Thruthes. What we are confronted with on this album with the peculiar name is indeed quite something. Not sure if I would call it something new, but interesting it is. At the first listen I couldn't really get through the vocals. On the album we hear two singers; one mediocre baritone voice and one that sounds like Sméagol from Lord of the Rings when having a sore throat. After a few more plays I seem to get used to this weird combination. But the really interesting part in the album lies in the music itself. Kinit Her tries to combine several different genres in the twelve songs on the album. We hear folk music, we hear metal, we hear classical elements, and we hear drone music. Some references that come to mind are Current 93, Mortiis (the really old albums in the good old Coldmeat times, before it became a band and turned into poppy EBM), Burzum and Sunn O))). Listening to this made me dig deep in my memory and old cassette tapes to bring up the album Nordavind by Norwegian band Storm. This band was a collaborative project between some of the biggest figures in Black Metal at that moment, but instead of bringing us that, they played a Heavy Metal Tribute to old Scandinavian Folk songs. What Kinit Her does fits in quite well with this old cassette of mine. The concept is quite similar, though with their own touch to the music. More folk than metal in this case. But as always with trying out new combinations, it's not that what really matters. What does matter is the outcome. And I can't really say that Glyms or Beame of Radicall Thruthes pleases me at all fronts on this one. The instruments are too often out of tune. The music misses something; maybe they should get a drummer or work on some deeper layers. And eventually Sméagol becomes annoying again. The idea is really nice and could be promising, but for now these guys should really work more on other elements than the concept. Because of the quality it doesn't really grab by the throat and stick there. RATED: 5,5 / 10 |
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| Orkus, Thomas Sonder, 19 March 2009 | ||
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| www.losingtoday.com, Roberto Mandolini, March 2009 | ||
I Kinit Her vengono dal Wisconsin e suonano come se David Tibet si fosse improvvisamente infatuato del black metal scandinavo. Le due anime dei Kinit Her convivono piuttosto bene: quella esoterico-pagana cara alla scena underground inglese degli anni '80 (NWW, Current93, Coil, etc); e quella estrema tipica delle formazioni del metal post-Burzum del nord Europa. Violini, flauti e chitarre acustiche tenuti continuamente in ostaggio da chitarre elettriche sibilanti, improvvise esplosioni di elettricità e, soprattutto, da una voce indemoniata (in falsetto, nasale o gutturale che sia) che sembra intonare delle filastrocche antiche come il Tempo. Dodici le tracce in scaletta, tutte decisamente ben suonate. C'è anche lo spazio per una trionfale ballata spettrale alla DIJ, "Topaz Of The Dead Giant". |
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| Sonic Seducer, Sascha Bertoncini, March 2009 | ||
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| www.theshadowscommence.com, March 2009 | ||
To make your own ”Glyms or Beame of Radicall Truthes”, mix together a great dose of SWANS and CURRENT 93. Crack a couple of freezing, Nordic black metal-eggs and stir. Insert equal parts electric and acoustic guitar, violins, gongs, bells and electronics. Two or three magic mushrooms will spice things up, and don’t forget to add the doom atmospheres! You will also eventually need tons of occult references to improve your result. With every ingredient mixed into the bowl, it’s time to heat the oven. Meanwhile, form 12 cupcakes of different size and shape. Bake them for about one hour and serve while smoking. You will also have to garnish with a handful of tasty, blue... Smurfs before eating. Serve from a carton box, with illustrations of men and women posing with their skin torn and their guts exposed. Bon apetit! This album is actually as weird as it may seem. Totally original and extremely fertile in ideas. Drawing their influences from the psychedelic, dark folk and the Nordic black metal scenes, KINIT HER has put out a product without any competition. Don’t just expect it to sound like any of those so called folk metal bands in existence. This if far from fat men in sark, blowing flutes and bagpipes together with their equally fat brother Erkgrim playing medieval inspired metal riffs over a galloping drum. Far from. The black metal in KINIT HER’s work works more like a spice to thicken their dark and cold atmospheres. And their folk is far from folk-folk, more like experimental, psychedelic, dreamy, nightmarish. From the 12 tracks, I’ve collected a handful of favorites. The opener is essential, giving you a preview of that to expect; we get some black metal, some doom, the unique vocals and some twisted moods. Fine. If you like this one, you have nothing to worry about and you could proceed. Take a listen to ”The Fifth Refract” along the way, to hear the band play folk music and damn fine folk music indeed. Lots of acoustic guitars and Spanish influences in this one. Also something that sounds like my old cell-phone. And Smurfs. ”Glyms or Beame of Radicall Truthes” is probably one of the most eccentric albums this season and we’ll see if I will mention it again when it’s time to summarize the years releases. I really like this, and recommend it to fans of CURRENT 93, doom and ELLI RIEHL. |
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| www.nonpop.de, Michael We, February 2009 | ||
Göttliches Theater Meine Güte, was ist das für eine Höllenmischung? Dieser Gedanke begleitet die ersten Takte von "Glyms Or Beame Of Radicall Truthes". Erst schwebt ein spaciges Ambient-Keyboard in der Luft, dann dröhnt eine scheppernde Black-Metal-Gitarre, dass die Wände wackeln. Dem Sänger quillt ein zwergenhaftes Geknödel aus der Kehle, und zum Schluss (immer noch des ersten Titels "Quadriga", wohlgemerkt) werde nSaiteninstrumente gezupft wie im besten Balkan-Folksong. Kurzum: Dieses Album verspricht auf Anhieb eine Menge Spaß. KINIT HER ist eine jungfräuliche Band, über die noch kaum berichtet wurde. Sie besteht aus TROY SCHAFER, NATHANIEL RITTER und VINCENT WACHOWIAK, drei jungen Musikern aus Madison im US-Bundesstaat Wisconsin. Sie haben bis dato einige Kassetten in Kleinstauflage (zum Teil nur 20 Stück) veröffentlicht, alle Songs auf dem vorliegenden Debüt sind neu - und das war es auch schon mit Informationen über KINIT HER. Etwas bekannter - und auch musikalisch eingängiger - ist das Schwesterprojekt THE WORLD ON HIGHER DOWNS, ein Quartett, an dem alle drei KINIT-Mitglieder beteiligt sind. (Nummer vier ist ERIC BRAY, zuständig für die Elektronik und sicher einigen geläufig als ARCTIC HOSPITAL.) Mit "Land Patterns" erschien 2007 (auf PLOP) das bislang einzige Album von THE WORLD..., eine Mischung aus elektronischen Spielereien und warmen, akustischen Instrumenten. Damit haben KINIT HER nun wirklich überhaupt nichts zu tun. Ihre 'Einflüsse' auf myspace lesen sich wie ein NONPOP-Who-Is-Who: COIL, BRIAN ENO, CURRENT 93, BURZUM, NICO, TINY TIM.... TINY TIM?!? Ja, hier wird Falsett gesungen, was das Zeug hält. Aber eben auf eine besonders quengelige Art, oben schon liebevoll 'Geknödel' genannt. Als ob KERMIT DER FROSCH einen riesigen Heliumballon verschluckt hätte. Das nervt beim Ersthören nach ein paar Songs, fällt aber im zweiten oder dritten Durchlauf nicht mehr auf, so dass sich die spektakuläre Musik voll entfalten kann. KINIT HER verwursten tatsächlich irgendwie viele unserer Lieblingsbands, sind dabei aber so intelligent, dass sie zwischen Kinderlied, INCREDIBLE STRING BAND, dem Gesang eines halskranken DAVID TIBET und Doom Metal-Wänden eine völlig eigene Magie schaffen. "Hierophant Pentadroms" zum Beispiel ist ein unschuldiges, folkloristisch und esoterisch anmutendes Lied, bei dem das Gremlin-Stimmchen sogar gedoppelt wird. Im Hintergrund wettschluchzt eine Balalaika mit einer akustischen Gitarre, und zwischen psychedelischen Violinen pirscht sich in einer Art Dialog eine zweite, 'normale' männliche Gesangsstimme an, die im weiteren Verlauf des Albums häufiger auftaucht und zu den stärksten Momenten von "Glyms..." gehört. "Serpent's Television" ist dagegen einer der Hybriden, bei denen alles zusammenkommt: Klassischer Auftakt mit Geige und Cembalo, grunzende Monstervocals mit Halleffekt, ein gezupftes halbes Streichorchester, Duettgesang und im letzten Drittel noch eine kreischende E-Gitarre, die in feierliche Blas- und Orgelmusik übergeht. Manche Titel sind, ganz unbefleckt von manischen Störfeuern, einfach nur schön, etwa "Topaz Of The Dead Giant": Beginnend und endend mit einer wabernden E-Gitarre fahren Zwerg und Hüne im Duett dazwischen Karussell, ein wunderbarer, um sich selbst kreisender Sangeskanon, teilweise mit lateinischen Sprachfetzen durchsetzt. "Rabbitdom" klingt phasenweise wie ein alter CURRENT-Titel, vorgetragen mit hoher, rezitativer Stimme, dazu akustische Instrumentierung und eine sakral-feierliche Atmosphäre. Donnernde Gitarrendrones und fiepender Noise in "Falling Aeroliths" beenden den Reigen. So wie die Musik mit einer Melange aus osteuropäischer Folklore, Black Metal und anderen Einflüssen aus dem Vollen schöpft, strotzen auch die Texte vor Anspielungen auf diverse religiöse und philosophische Lehren. (Viele Passagen sind allerdings aufgrund des Gesangs kaum zu verstehen.) Einige Zitate stammen wohl aus dem Taoismus, ebenso spielen moderne Esoterik und Alchemie eine Rolle. Die erwähnten "Aeroliths" sind zum Beispiel Stücke von Meteoriten, ein in der Alchemie überaus wertvoller Rohstoff. Darüber hinaus schmücken magische Symbole und seltsame anatomische Zeichnungen die schlichte CD-Hülle aus Recycling-Karton. Dass KINIT HER sich bei dieser Querfeldein-Jagd nie allzu ernst nehmen, macht die Band umso sympathischer. Die Innenseite des spartanischen Booklets etwa besteht ausschließlich aus alten deutschsprachigen Werbetexten wie für die Entfernung eines Damenbartes. Das kleine Schweizer Label HINTERZIMMER-RECORDS hat mit diesem Debüt ein Album veröffentlicht, das wie ein von großen Händen geschaffenes, überirdisches Theaterstück leuchtet. Zügellos haben sich die Pranken in allen Töpfen des Universums bedient und ein buntes, schrilles, opulentes und geheimnisvolles Epos gebacken, das mit seiner zauberhaften Atmosphäre 46 Minuten lang fasziniert und zum Immer-Weiter-Stöbern gemacht ist. Mal sehen, ob KINIT HER diesen außergewöhnlichen Stil beibehalten oder bis zum nächsten Album etwas ganz anderes erfinden. |
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| www.kindamusik.net, Hans van der Linden, February 2009 | ||
Folk, metal of theatrale pop, voor Kinit Her is niets vreemd genoeg. Het piepjonge trio uit Wisconsin zwalpt op haar debuut van het ene naar het andere uiterste en toch slaagt het er wonderwel in om alle verschillende invloeden organisch te integreren. Daarbij is de schrijfwijze van Glyms or Beame of Radicall Truthes al bijna even raar als de bandnaam. Wellicht zou de plaat enkele jaren geleden, bij het begin van de opkomst van free folk, samen met verwante geesten Joanna Newsom en Faun Fables in de kijker gesprongen zijn. Maar die boot hebben ze gemist. Kinit Her vertoont ook gemeenschappelijke kenmerken met Our Brother the Native. Vooral op het gebied van theatraliteit en vreemde stemmen, en de bizarre mix van folk en metal doet evenzeer wat aan het onlangs verschenen The Die Is Cast van Menace Ruin denken.
Maar geen enkele vergelijking kan Kinit Her vatten. Het is werkelijk uniek dat een band schijnbaar zonder enige moeite in een mum van tijd van folk in de lijn van The Incredible String Band en zelfs Espers naar zware metalgitaren kan evolueren, en even later weer een heel andere weg inslaat. En dat doet dan weer heel erg denken aan de muzikale aanpak van Ween, alleen doet Kinit Her het op een heel andere manier. Glyms or Beame of Radicall Truthes is merkwaardig en je aandacht waard.
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| The Sound Projector, Ed Pinsent, February 2009 | ||
Kinit Her are a trio from Wisconsin, arriving with an uncategorisable disc called Glyms or Beams of Radicall Truthes (HINTERZIMMER HINT 06) - bizarre songs and deconstructed heavy rock instrumentals, performed with heavily disguised nasal singing voices, impossibly adept guitar lines, and utterly alien production treatments. With titles such as 'Serpent's Television' and 'Topaz of The Dead Giant', one has the impression that these three wacksters are reaching for unknowable philosophical paradoxes in their lyrical content as much as their extreme music, which veers freely from pompous anthemic melodies to unfettered guitar noise. A puzzler indeedŠsleeve is decorated with old anatomical engravings and alchemical symbols, a visual trick which is getting a little familiar these days, but this curious record may repay further delves. |
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| Playlist CFLX 95.5 FM in Sherbrooke (Quebec, Canada). DÉLIRE ACTUEL, March 2009 1. EMERALDS - Alive in the Sea of Information (No Fun Productions)
2. NORTHERN VALENTINE - Escaping Light (Silber Records) 3. MALE - Used to Be a Guy (Other Electricities)
4. MY CAT IS AN ALIEN - Everything Waves Like Cosmic Debris (A Silent Place) 5. KINIT HER - Rabbitdom (Hinterzimmer)
6. SVARTE GREINER - Candle Light Dinner Actress (Type)
7. POWERTRIO - Ouverture (Creative Sources)
8. MAGDA MAYAS & TONY BUCK - Golden (Creative Sources)
9. MAGDA MAYAS, K. NUTTERS, M. J. OLSEN & C. G. TARANCHER - Pitch III (Creative Sources)
10. PAURA - Fear 1: Pulsion (Creative Sources) 11. JEAN-LUC GUIONNET, E. RODRIGUES, G. RODRIGUES & S. MURAYAMA - Story-Board (Creative Sources) |
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Playlist FM4, Die Graue Lagune (mit Fritz Ostermayer), 1.3.2009, 23:00 Kinit Her: "Glyms Or Beame Of Radicall Truthes" |
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Playlist Bayerischer Rundfunk, Bayern 2 Nachtsession: Erhabenheit und Ironie (GER), 06.02.2009 |
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| Playlist Südwestrundfunk,
SWR 2 Radiophon (GER), 19.02.2009 1. Fire Pure 0:38 (Pure) Crónica 038 CD: Ification 2. Duncan Terrace Piano Raphael Montanez Ortiz 0:29 Destruction Concert intermedium rec. 038 (LC: 10859) (Raphael Montanez Ortiz) CD: Ortiz Piano Destruction - Loopspool Remix 3. Fragment Dane Zajc 0:40 (Dane Zajc) Glitterhouse GRCD 688 (LC: 8323) CD: The Last Side Of The Mountain 4. Aix 3 Giuseppe Ielasi 1:20 (Giuseppe Ielasi) 12k 1051 CD: Aix 5. Beschleunigter Verfall Loopspool 1:34 (Andreas Gerth) intermedium rec. 038 (LC: 10859) CD: Ortiz Piano Destruction - Loopspool Remix 6. Looking Northward M. Templeton & Aa. Munson 1:19 (M. Templeton & Aa. Munson) Anticipate 009 CD: Acre Loss 7. Boltzmann Patterns Carl F. Oesterheld 1:11 (Carl F. Oesterheld) intermedium rec. 036 (LC: 10859) CD: Tribute To Gustav Metzger 8. Frequencies Anne James Chaton & Andy Moor 3:34 (Anne James Chaton, Andy Moor) Unsounds 16U CD: Le Journaliste 9. 3. Juni Rudi Moser 2:23 (Rudi Moser) Potomac / Indigo 919852 (LC: 7149) CD: Moser 10. Elle Vient John Zorn 2:05 (John Zorn) Tzadik TZ 7370 CD: Belle de Nature 11. An Accident Act Alexandr Vatagin 0:54 (Alexandr Vatagin) Valeot CD 003 CD: Shards 12. Wellen und Felder II Atom TM 1:19 (Uwe Schmidt) Raster-Norton r-n 99 CD: Liedgut 13 Xerrox Tek 1 Alva Noto 2:39 (Carsten Nicolai) Raster-Norton r-n 103 CD: Xerrox Vol. 2 14. The Workers Hector Zazou 2:22 (Hector Zazou, Karl Marx) Santeria SAN 035 CD: L'Absence 15. Cavaquin Bela Emerson 2:32 (Bela Emerson) Blip-Hop BLEEP 38 CD: Hespera 16. Courir Felicia Atkinson 1:52 (Felicia Atkinson) Anticipate 009 CD: La La La 17. Fragments pour Artaud Pierre Henry 1:00 (Pierre Henry) Philips 472201 (LC: 00305) CD: Mix Pierre Henry 04.0 18. Cinematic Naples Symbiosis Orchestra 1:07 (Warren, Gabriele, Tedesco, Spekk KK018 Garrelfs) CD: Live Journeys 19. Double Jeu Hector Zazou 2:23 (Hector Zazou, Jean-Luc Godard) Santeria SAN 035 CD: L'Absence 20. Fade To Green Alex Cline 1:32 (Alex Cline) Cryptogramophone CG140 CD: Continuation 21. The Arc of Acuity Kinit Her 1:01 (T. Schafer, N. Ritter, Hinterzimmer Records Hint06 V. Wachowiak) CD: Glyms Or Beame Of Radicall Truthes 22. Fragments pour Artaud Pierre Henry 1:22 (Pierre Henry) Philips 472201 (LC: 00305) CD: Mix Pierre Henry 04.0 23. Cinematic Naples Symbiosis Orchestra 1:07 (Warren, Gabriele, Tedesco, Spekk KK018 Garrelfs) CD: Live Journeys 24. Too Small M. Templeton & Aa. Munson 0:51 (M. Templeton & Aa. Munson) Anticipate 009 CD: Acre Loss 25. Xerrox Tek 1 Alva Noto 1:52 (Carsten Nicolai) Raster-Norton r-n 103 CD: Xerrox Vol. 2 26. Aix 8 Giuseppe Ielasi 1:27 (Giuseppe Ielasi) CD: Aix 27. Fragments pour Artaud Pierre Henry 1:02 (Pierre Henry) Philips 472201 (LC: 00305) CD: Mix Pierre Henry 04.0 28. Scoop Anne James Chaton & Andy Moor 1:13 (Anne James Chaton, Andy Moor) Unsounds 16U CD: Le Journaliste 29. Thurston County Nels Cline 3:46 (Nels Cline) Cryptogramophone CG141 CD: Coward 30. Serpent's Television Kinit Her 2:50 (T. Schafer, N. Ritter, Hinterzimmer Records Hint06 V. Wachowiak) CD: Glyms Or Beame Of Radicall Truthes 31. Vom Erbe das wir mit den Ted Gaier, Mensee Reents 1:43 Fäusten ausschlagen wollten intermedium rec. 036 (LC: 10859) (Ted Gaier, Mensee Reents) CD: Tribute To Gustav Metzger 32. Fragments pour Artaud Pierre Henry 0:49 (Pierre Henry) Philips 472201 (LC: 00305) CD: Mix Pierre Henry 04.0 33. Habanera Kamikaze Ground Crew 2:06 (Kamikaze Ground Crew) Busmeat Records (ohne Nr.) CD: Postcards From The Highwire 34. Joseph Steven Bernstein 5:10 (Steven Bernstein) Tzadik TZ 8122 CD: Diaspora Suite 35. Poor People In Church Amplifier Machine 1:05 (Rees, Dixon, Jarvis) 12k 1049 CD: Her Mouth Is An Outlaw 36. Orties Cuisantes John Zorn 4:31 (John Zorn) Tzadik TZ 7370 CD: Belle de Nature 37. Poor People In Church Amplifier Machine 1:05 (Rees, Dixon, Jarvis) 12k 1049 CD: Her Mouth Is An Outlaw 38. Fragments pour Artaud Pierre Henry 3:50 (Pierre Henry) Philips 472201 (LC: 00305) CD: Mix Pierre Henry 04.0 39. Turnpike Low Frequency In Stereo 3:38 (Low Frequency In Stereo) Rune Grammofon RCD 2082 CD: Futuro Moderation 40. Sheperd's Delight The Hyphens 2:36 (The Clash) 00:02:59 Time 0004 CD: The Sandinista Project |
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