- Mark Weddle
- Albums and Singles

"White Pepper"clocks in at less than 40 minutes with a dozen 2 to 4 minute songs. Themost shocking thing about this one is that it's not shocking at all. Ifyou're looking for "Push the Little Daisies" or "Piss Up a Rope" youcan forget it. The boys have either matured, made a conscious decisionto not be as goofy and experimental or maybe both. This is a singalongpop and power pop album for the most part with a heavy nod toward late60's Beatles. There's a few oddballs here and there: the light and airyCaribbean vibe of "Bananas and Blow" (only Ween would write a song witha chorus "stuck in my cabana, livin' on bananas and blow"), the speedmetal of "Stroker Ace" and the jazz rock ala Steely Dan (except itdoesn't suck) of "Pandy Fackler". The final three songs: "StayForever", "Falling Out" and "She's Your Baby" seem to be completelyirony free love songs, the former two with a country-esque flare."White Pepper" is definitely going to have some people scratching theirheads and likely bitching and moaning. Fuck 'em. This is a good album.Ween are currently on tour throughout the States.
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- Mark Weddle
- Albums and Singles

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- Daniel Barychko
- Albums and Singles

If I had togive "Loopstatic" a theme it would be political intrigue with theshortwave radio as a propaganda tool. From his last couple of releasesand The Wire interview its clear - Kirk seems to be in full assaultmode - using his synths more like machine guns and his samplers aspropaganda tools. A stark contrast to earlier works like DigitalLifeforms where everything is smooth and pleasing with minimalpolitical overtones. Today's stuff is much harsher - like going to ahockey game or a riot! A typical track starts with a strange, loopedshortwave sample, the mechanical, hihats and other bits start clickingaway. Resonant bursts shoot out of his synths like little laser guns asthe rhythm builds, and (only occasionally this time) ethnic percussionfinds itself enslaved to the 4/4 beat of Detroit house music. Beforeyou know it you are enveloped in a full-tilt sensurround house musicexperience. I guess you could call it mean and nasty,take-no-prisoners, subversive house music. I've never heard anythinglike it.
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- Administrator
- Albums and Singles
With "Ampday", the now canyon-sized fissures that were once tiny cracks in Kiln's parched-earth facade show more than mud and stone. Where in the past, Kiln releases provided the smallest bit of info possible, with only artwork and titles to satisfy eager minds - now, no longer must we wonder about our once-faceless Gaian scientists, and what arcane incantations were used in the creation of such wonderful sounds. Messr's Marrison, Rehberg, and Hayes, still playfully obtuse (what sound did the "levitating catslide" make?), seamlessly blend their twisting, ethereal instrumental pop with soundscapes that imitate the sounds of spreading rust or moss.
Thalassa
"Tinsunshine" is acoustic-driven and electrified at the same time, like a drum circle in a thunderstorm, with intermittent breaks of ear-tickling static and strummed guitar harmonics that mimic what must be the sound of angels crying; out of the itchy sound of pencil scratching paper on "Learning To Draw" grows an urgent ambulance siren/dopplered guitar, which gives way to calm meanderings of the trio, conjuring images of Ry Cooder's soundtrack to "Paris, Texas" redone by The Cocteau Twins. The attempts to integrate the group interactions with their penchant for earthy atmospheric wanderings are more apparent on "Ampday" than on previous releases, and it's done a deft touch. With each album, Kiln consistently shatter the Platonic Ideal of beauty and grace in music, only to rebuild it to a height out of reach of anyone but themselves.
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- Mark Weddle
- Albums and Singles
- Mark Weddle
- Albums and Singles

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- Mark Weddle
- Albums and Singles

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- Jason Olariu
- Albums and Singles

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- Mark Weddle
- Albums and Singles
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- Jason Olariu
- Albums and Singles

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- Alan Ezust and Julie Geanakakis
- Albums and Singles

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