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Until We Felt Red
Released: Aug 8, 2006
Label: N\A

Having established herself on her debut as an important new acoustic guitar voice, and having expanded the sonic palette on her second to include other instrumentation, {$Kaki King} once again... Continue[+]

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Having established herself on her debut as an important new acoustic guitar voice, and having expanded the sonic palette on her second to include other instrumentation, {$Kaki King} once again rethinks her approach from the ground up on number three. While there is still deft fingerstyle guitar to spare, more of {$King}'s picking is set inside of a greater context -- percussion and light orchestration provide new universes for her to explore, and she revels in the experimental possibilities. Much of {^Until We Felt Red} retains the lighter-than-air feel of the first two albums, {^Everybody Loves You} and {^Legs to Make Us Longer}, but {$King} takes greater care here to fill the spaces with often unanticipated sounds and textures. Both electric guitars and electronics in general, and {$King}'s whispery sweet vocal -- itself used more for coloring than to make important lyrical statements -- also take a front-row seat here. But this is neither a {\singer/songwriter} album nor an attempt to use technology for its own sake. Everything {$King} brings to {^Until We Felt Red}, produced by {$John McEntire}, is in service of the composition, and if that means verging on improvisational {\jazz}, or washing a melody in the quasi-{\baroque}, as she does on {&"You Don't Have to Be Afraid,"} then so be it. The set-closing {&"Gay Sons of Lesbian Mothers,"} with its thumped bass and slide guitar, veers toward {\funk} with a touch of Nashville tossed in. But those seeking the imaginative, intricate acoustic playing that characterized {$King}'s earlier work need not, well, fret. Every track -- notably {&"Ahuvati,"} {&"First Brain,"} {&"Second Brain,"} and the title track -- is rich with gleaming guitaristry. What's different is that {$King}, whose first notices came when she entertained New York subway riders, can no longer be described simply as a guitarist. From here on, she'll be watched as a complete artist. ~ Jeff Tamarkin, All Music Guide

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Legs to Make Us Longer
Released: Oct 5, 2004
Label: N\A

{^Legs to Make Us Longer} is extraordinary guitarist {$Kaki King}'s second album, and her first for {@Epic}'s {@Red Ink} imprint. As such, it reflects its major-label status in higher production... Continue[+]

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{^Legs to Make Us Longer} is extraordinary guitarist {$Kaki King}'s second album, and her first for {@Epic}'s {@Red Ink} imprint. As such, it reflects its major-label status in higher production values from cover art to exquisite sound. Produced by guitarist {$David Torn}, the album also marks a step from {$King}'s solo guitar debut. The stunning yet soulful technique {$King} delivered on {^Everybody Loves You} is everywhere present, from her thumb-over-the-top basslines and tapping harmonics to extended, two-handed melodies. But some other things are here as well -- an upright bass here, a drum kit here, strings in various places -- adding more dimension and texture to {$King}'s trademark songwriting for solo guitar. The employment of drums and upright bass on {&"Ingots"} is startling at first, but hardly distracting, as {$Torn}'s nuance and tasteful production are never intrusive. The tune is one of the most lyrical in her repertoire and literally sings with its midrange harmonics and colorful chording. On {&"Doing the Wrong Thing,"} skittering snares shimmer across the backdrop before engaging in a full-on counterpoint with {$King} in a speedy yet wispy dance through motion and space, before cellist {$Erik Friedlander} and violinist/violist {$Joyce Hammann} slip into the mix at four minutes to take the tune out into the ether. {$King} plays an electric guitar on {&"Can the Gwot Save Us?,"} in a loping, pastoral {\country} manner that for all its slowness and elegance is more mysterious than anything else here. The album's final track, {&"My Insect Life,"} also showcases her in the company of bass, cello, and drums, and has her singing in a small, twee voice that is all but covered by her overdubbed acoustic and electric guitar playing. But it is very effective as an instrument, faltering its way through the skeletal tune and sending the disc off in a near whisper to excellent effect after a coda following an extended space. Ultimately, this is a step forward. While {^Legs to Make Us Longer} doesn't contain the raw, dynamic immediacy of {^Everybody Loves You}, it substitutes a wealth of diversity, warmth, and textural dimension to more than compensate. {$King} is a major talent, an iconoclastic figure who is this era's only new voice on the acoustic guitar, even as she explores other compelling sonic and musical avenues. ~ Thom Jurek, All Music Guide

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Everybody Loves You
Released: Apr 22, 2003
Label: N\A

Simply put, {$Kaki King} possesses the most original voice on the acoustic guitar in a generation. Her sound, full of gorgeous tapped melodies and popping basslines, is as deeply emotional as... Continue[+]

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Simply put, {$Kaki King} possesses the most original voice on the acoustic guitar in a generation. Her sound, full of gorgeous tapped melodies and popping basslines, is as deeply emotional as {$John Fahey}'s, as technically savvy as {$Preston Reed}'s, and as energetic as {$Leo Kottke}'s (� la {^6- and 12-String Guitar}, {^Greenhouse}, and {^Mudlark}). Citing these legendary players is not for the sake of comparison in style or approach, but in metaphor only for she sounds only like herself. {$King}'s thumb over the neck and simultaneous double-handed melody line playing is a muscular approach to the instrument to be sure, but in her melodies. harmonic runs and basslines become checkpoints to the musical cosmos; they are complex, indescribable emotional pathways to the heart as well as the mind. There is no "math" in her playing. She goes too far inside the musical labyrinth for that and speaks like a guitarist whose virtuosity lies not only in her technique -- which is truly and literally stunning -- but in her "singing" voice on the instrument. {$King} is a songwriter for the guitar -- and not like {$Michael Hedges} either. This is the music of luminous motion, where trains, planets, and constellations meet at some interstitial point; where earth and sky kiss lustily. For every workout like {&"Close Your Eyes & You'll Burst Into Flames,"} where time signatures blur under percussive roils and thumping subharmonies, there are nearly pastoral vistas like {&"Joi."} The manner of counterpoint used in the title track would make most {\flamenco} guitarists jealous for the way it continually moves further into itself and adds body and dimension to the ground of its assertion. The intimate masterwork here is the closer, {&"Fortuna,"} where shape-shifting genres and guitar styles weave through and around one another to offer a meditation on love, grace, and the willingness to speak instrumentally and vocally of deeper unspecified truths, secret histories, forceful desires, and chimerical states of being before slipping out the back door with intimate, tender, smart-assed humor. If this seems like an unspecific way to tell about this song, it is; here is music so heartbroken, so gloriously individual and fathomless, one can only venture how knotted the heartworm highways of its origin are. {^Everybody Loves You} is the most auspicious, tender, and tough instrumental debut by any guitarist in a decade at least. It is singular in approach and peerless in execution; and in its poetic, raggedly graceful manner, it is simply a treasure of individuality and idiosyncratic virtuosity, visceral truth, and verve. ~ Thom Jurek, All Music Guide

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Dreaming of Revenge
Released: Mar 11, 2008
Label: Velour Music Group

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Kaki King

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