Be Gentle With the Warm Turtle
The second album from Seattle's Kinski sees the band further
refining and developing their stretched out and visual soundscapes tosomething that's simply beyond reality. The only way to approach thisset of ineffable, crawling instrumentals is to describe it as a dream,beautifully haunting dream that is. "Spacelab for Frenchie" opens on aglacially slow and icily detached note with a gracefulness that evokesa cluster of soap bubbles slowly dropping to the ground. When youleast expect anything to happen that's when the gently droning tonesgrow into a free-psych blast that before too long dissolves back toits initial state. I don't know how they pull off making the passageinto the thick layers of Bardo Pond-esque distortion of "New India"sound like the most natural thing in the world, but I can't say that Icare very much sincethe whole thing is bursting round and round in psychedelic orbits ofmesmerizing sonic fuzz. "Newport" is the only track with vocals and isgenerating an intriguing blend of chaos and melody recalling a bit ofwhat makes Yo la Tengo so special. "One Ear in the Sun" shows apredilection for the finest of krautrock, starting out as aCluster-like oceanic motif before unloading a heavy thunderhead ofslithering, spiraling guitars. The same kind of heavy guitar squallsare used successfully in the aptly titled "Daydream Intonation" while"That Helmut Poe Kid's Weird" is a more hypnotic and challenging foraythrough visceral sonic abstraction. The forlorn beauty of the closing"Montgomery" offers crystal clear layers and loops of intertwiningguitars that sail between your headphones for almost seven minutesbefore it abruptly sinks to the depths. This has to be one of the besthead phones moments of 2001.
Author: Mats Gustafsson
The Broken Face Issue #11