This is the second Sub Pop album from Seattle's monsters of instrumental post-psychedelic rock. Since their last offering, Kinski had the chance to tour with everyone from Acid Mothers Temple to Mission Of Burma to Comets On Fire, and we'll be damned if that doesn't make sense. The new album is a logical, and thrilling step forward. 2005.
Where Kinski once mined the explorations of detuned 80s guitar pioneers such as Glenn Branca
, Live Skull
and the Dead C
, these days they set their controls for the heart of the 1970s. The cosmic 70s that is; this album shows a full affinity with the explorations of heads like Popol Vuh
and Terry Riley
, though it's definitely heavy in a Sabbath
vein as well. It's not Kinski's best album, however; the pop sensibility that held their jams together has floated away. The jammy explorations that remain instead are very interesting and often gorgeous but they lack the compositional rigor of Riley and Vuh's Florian Fricke. This is likely a transitional album for these Seattle-based explorers. These mostly instrumental songs ebb and flow and change shapes yet stay together, like a school of brightly colored tropical fish. Mike McGonigal