Customer Reviews

K.K.K.K.K.

5 star:		(3)
4 star:		(0)
3 star:		(2)
2 star:		(0)
1 star:		(0)

 

 

I got this album, because i liked the artwork of the cover, listened to it in the store and immediately fell in love with kahimie karie. her voice is like a japanese stina nordenstam, and the music, collaborations with momus and stereo total. this grows on you every minute you listen to it. trust me. allô? allô? merde ils ont coupé.

UPDATE: 3 YEARS LATER (click on "comments" for my "PREVIOUS REVIEW")

I would give this 2 1/2 STARS if I could because there's not enough great stuff here to tip the scale; but I really dig K.K. so I'll go with 3 over 2.

OK, PARTs of this CD have stood the test of time. It's grown on me. It took at least a year for it to cycle back into my more regular "playlist" though. In my experience, this is often the case for . . . the better half of Karie's music and the majority of this CD; it's an acquired taste . . . and you have to love music and art enough to keep an open mind/ear and to be sufficiently patient. But it's worth it. Her artistry enriches your life in a unique way you'd never know otherwise.

I see now the reason I was so disappointed in this CD at first. I had been introduced to Karie through the GREAT compilation, "Kahimi Karie". They did a Spectacular job choosing her most fun, fresh, and just instantly gratifying songs; and arranging them perfectly! But it sort of spoils you and doesn't reveal some of the more edgy or extreme facets of her music & expression. Like only eating the center of the baguette or the Cali-Roll . . . the crust & seaweed can be a little hard, bitter, and difficult to swallow . . . but it can also be the best part, or open the door to a great new experience.

That said, I still feel that the arrangement of "K.K.K.K.K." was poor (haphazard) as was some of the mixing. And there are still some songs that just have an uninspired vibe (such as "The Harder They Come"). And others such as "Qu'est-ce que tu veux?" and "Orly-Narita" that had potential but ended up feeling vacant; they beat you with repetition like kids in the back seat saying, "Are we there yet?". The only redeeming quality of those two is the fun it is to hear her sing in French. But they're so disappointing after having enjoyed the French Language tracks on "Kahimi Karie" (Those are Tres Magnifique!) And unfortunately at least 2 of the 4 re-mixes remind me of kids playing on a synth. The other 2 ("What Are You Wearing" and "One Thousand . . . Chairs") aren't bad and could be fun in a Euro-"Disco".

On the other hand, there's a fair share of Karie's unique brands of playful fun, shocking subject matter, and this strange yet inspiring combination of sweet compassion and fringe or perverse social situations that most people would vigorously condemn without having an honest look; the very qualities that I expect fascinate, intrigue, and impress her fans so. "Clip Clap" and "Kahimi au Telephone" are both fun, girly, and cute in ways that no one else does better. "Harmony Korine" and "The Symphonies of Beethoven" are both sort of shocking (not so much for seasoned fans) and yet are great tunes . . . so you find yourself singing, swaying, and dancing along in spite of any sick feelings you likely have inside (similar to laughing at a scene from "South Park" - can't believe you are, but you can't help it). Then there's "What Are You Wearing". It sort of leaves the story up for interpretation, but the most obvious take is an adult phone service operator taking a call from someone with an electronic voice-box. At first, you may be "creeped-out" by the thought. Then you think how sick it is to sensationalize such a thing. But, after hearing various songs of hers that deal with fringe society (and having read a few interviews of hers), I'm convinced that she has a sincere compassion for all such people, and I admire her for that. As for the song, again, you'll find yourself singing and swaying along once you sort of digest it; it's a very good song actually and it adds to the intrigue.

I'm moving my original review into the "Comments" section since others will likely take that same path through her affordable/available works and that way can have an idea what to expect before their perspective changes as mine has (if they let it).

There is definitely something about Kahimi Karie that you won't find in many other artists. For one thing, she sings all her songs in a babyish, almost breathless whisper. You really have to hear it to understand what I'm saying.

Give her points for uniqueness, certainly. But I can't help but think Kahimi's one-of-a-kind voice belongs elsewhere. Before I listened to it, I read over the lyrics to the creepily-titled CD, K.K.K.K.K., and some of the songs really intrigued me. Strange but effective (and sometimes hard-hitting) lyrics pop up everywhere. What went wrong was when I *listened* to these songs - Kahimi's voice is simply not suited to sing lines such as those in her cover of "The Harder They Come" or the strange track "The Symphonies Of Beethoven". These songs need a forceful voice to propel statements like 'I'm gonna get my share now, what's mine'. Kahimi whispers it like she's in a trance.

Now, I have nothing against her voice in itself. Indeed, four of the songs on the album are in French, and although admittedly I don't speak the language, in these songs - which are of a more rolling, easy temperament - Miss Karie's voice seems to fit.

The album is further divided by the addition of four remixes, which range from decent to not-so-decent, and so at the end of 15 tracks, a little over 61 minutes playing time, I am left with a bit of confusion. I think Kahimi definitely has potential as an artist - supposedly she is already huge in her native Japan. I would advise her, though, to stick to the songs she's good at - this is where your talent lies, Kahimi. Get someone else to exact your revenge for you.

This evening I was out trying to get some facts about Momus (producer of this recording) and his relationship with Kahimi Karie. (I think they are actually married, or were, or something.)

In the course of this research, I found several reviews of Karie's recordings, and all of them are ruined by the reviewers thinking too much; mostly thinking about sex.

None of this is necessary, as you do not get to have sex with Kahimi Karie simply by purchasing the cd. I don't know if there is some means by which you can accomplish this. I don't particularly care. These songs are just songs, the result of the collaboration between Momus and Ms. Karie ("Karie-san") and whatever roducers and musicians are involved.

You want these songs to say something other than what they say? Perhaps you should become a songwriter.

The people who mutter and sputter over this record...I think they have a problem that has not yet fully emerged. They should stay away from schoolyards.

The question that is more important is, how do you feel about Hello Kitty? There is a scale that goes from deep abiding hatred to indifference to sardonic amusement to interest and, ultimately, stretches (in rare cases) into the area of sexual arousal. If your feelings regarding Hello Kitty are sardonic amusement or better, this record is for you.

If you are, in fact, sexually aroused by Hello Kitty, this record is also for you, along with a check-in at your local mental health facility.

I don't know anything about this CD, but it's selling for the used price of 1.99 at Odyssey Records in Las Vegas. I will probably take a road trip there to get it. Is anybody interested?