Customer Reviews

Until We Felt Red

5 star:		(14)
4 star:		(7)
3 star:		(2)
2 star:		(1)
1 star:		(4)

 

 

Volume I, issue XIX

The multi-talented guitarist Kaki King is back with a new album that is completely different from anything she has ever done in the past. If you know Kaki, you probably know her best for her fret-tapping guitar styles, and unique style of acoustic-based song writing. But this album is really a complete change of sound and style for her. Edgy, diverse and dynamic, Until We Felt Red could very well be her best endeavor to date. In fact, as her previous albums were mainly solo instrumental projects, she now seemingly has a full band, and has moved beyond songs that are entirely guitar-centric. There are vocals--and lots of them; very good I might add--and many other instruments that make for a splendid show of Kaki's compositional skill and innovation. This album ranges in style from loungy jazz to haphazard (in a good way) post-rock.

"Yellowcake" starts the album out beautifully: Kaki, as it turns out, has a very pleasant, ethereal voice, and she harmonizes so elegantly it's a wonder that she never sang (much) on her previous albums. The title track brings back instrumentation, but it is at this point where you realize that things are a bit different: slide guitar accompanied by slow, heavy, fuzzy, electric guitars. When first listening to this album, and this track in particular, it became apparent that King was making an attempted reach into the realm of post-rock, whether she knew it or not. And it turns out, her attempt is rather successful. "You Don't Have To Be Afraid" features more pristine vocals, and a full array of amazing instrumentalization from organs to chimes all overlain over an acoustic guitar passage in an amazingly delicate sunshower of musical beauty. Later in the song (which clocks in over eight minutes, as opposed to the other songs on the album most of which are under five), the rest of the band starts in with drums, fuzz bass, and even a flugelhorn! Things just keep getting more and more interesting. "Goby" has a more jazz vibe to it, as does "I Never Said I Love You." "Jessica" is another vocal triumph for Kaki, with a background of multi-layered music. "First Brain" is a very organic instrumental piece featuring a trio of guitar, flute and flugelhorn blended to make a wonderful mystical soundscape. "Ahuvati" starts as a trademark King guitar work, but then is invaded by a string section--a welcome intruder that starts off as an abrasive hum and progresses to an ambient companion melody. The album just continues to progress. You almost forget that the songs are so short (relatively), because each one is truly a unique entity that paints a different picture when you hear it, and though each one is summed up perfectly in the time allotted, you can't help but wish it would go on longer. One thing becomes clear throughout the album though: Kaki's voice is an instrument, and she plays it well. Truly a colorful orchestra is displayed on this album.

Barring some edits, I wrote this review upon my first listen of the album, because I just had to describe the virginal experience, so I apologize if it is a bit helter skelter...and long. But this album came as a total surprise to me, and is really a pleasant and welcome change for Kaki King. Not that I don't like her previous material (I do), but this is such an interesting alteration of style, and an indication that King has no intention of stagnating herself by sticking to just one style of music. There really is no all-encompassing "label" for the style of music on this album, but more than anything, I get a experimental/post-rock vibe from it, at times almost reminiscent of Explosions in the Sky with vocals. It is a triumphant success to say the least, and I hope she continues on in this wise now that we know of what she is truly capable. I highly recommend this album.

Kaki King has shown herself to be a very eclectic artist. From her first release, to her most recent."Until We Felt Red"
Such artistry,such creative energy....Every cut is rich with imagination, and heart and soul...
From someone so young...it's truely amazing the rare and special gift this recording offers, to the listener who dares to open up and let the music take them to nirvana...
Don't pass up this beautiful music...Kaki King is the REAL THING.

I came across Kaki King quite randomly as I was browsing reviews on emusic. A longtime fan of "alternative" music in its myriad forms, I had never heard of her before. Thankfully, I know her now after being blown away by this album. The production by John McEntire is outstanding--and, yes, I do happen to love Tortoise and The Sea and Cake--but King's sound is uniquely hers. The album is mostly instrumental punctuated by delicate vocals, masterful guitar work, and lush soundscapes. As other reviewers have noted, each song creates its own, singular world and yet manages to fit seamlessly into the whole. Listening to this album from beginning to end is a rare treat--the songs are complete and they flow beautifully. If you have not heard of Kaki King before, do yourself a favor and discover her now!

Please, oh please, Kaki, can't you just keep repeating the "sound" of your first two records over and over and over? GIVE ME A BREAK. ...and she did just that! Don't buy this record if you're going to be disappointed when you find out it is almost completely removed from the soundscapes of her first two records. Buy this record because you enjoy progressive art, you like Sufjan Stevens, you like Sleater-Kinney, you like CHANGE! Kaki is one hell of a guitar player, but she's more importantly and less well-known as one hell of a MUSICIAN! She can pick up just about any instrument and learn to play it almost immediately. I watched her first pick up the lap steel when she was on tour with Robert Randolph, and two years later, she has made it a major staple on her latest record. Same with the baritone electric guitar.
This record has a great flow from beginning to end, and I can't say there is a single track that I have been skipping, even after a dozen listens now.
The first review below is excellent at summing up this latest record from Kaki King. I agree that this record will be praised across the musical board, from jazz critics to indie critics, to acoustic guitar critics. She's not just a flash in the pan; she is one of the most important new original artists to emerge in the last 20 years, and will continue garnering critical acclaim as time passes. Just watch...and just buy this record. If you don't like it, you might consider getting into movies or theater.

Unfortunately, it's painfully obvious that most of the (negative) reviewers on this page are falling into the time tested art of ridiculing an artist for expanding their art form and trying something new. Like Elliott Smith and Bob Dylan, Kaki King is being subjected to judgment for moving from a stripped down, solo acoustic singer songwriter format, into a more fully fleshed out (and ultimately better) art form. It never ceases to amaze me how certain fans will turn against the artist they admire for trying doing something different instead of repeatedly releasing the same style of material.

This is the first record where Kaki King has had vocals over more than one track. For me, this is a very welcome change. Her previous records are wonderful in their own right, but tend to become background music after a few tracks of instrumental acoustic guitars.

Until We Felt Red is much more attention grabbing.
Songs are punctuated with interesting, experimental instrumentals. Kaki's vocals are beautiful, delicately sung, almost whispered. From "Jessica" - a touching track about Kaki's sister's relationships to "First Brain", Until We Felt Red maintains a wonderful quirky narrative, one that is unafraid to be unique. Her technical live track looping is absolutely incredible. I highly recommend any aspiring guitar player go see her play!

I have to address some of the complaints made about this record:
To say that it is not catchy is to state the obvious.
THIS IS NOT A POP RECORD. Its melodies are structured with a bluesy, jazzy progression. However, If you are looking for a delicate opera- rife with emotive, intricate guitar playing- please tune in. You will not regret it.

I was happy with everything about this record. I saw Kaki on tour in 2006, shortly before Until We Felt Red was released- and I must say that her reputation for "doing for the acoustic guitar what Hendrix did for the electric" is well deserved. She is an extremely talented musician, and I believe this is her peak record to date.

I cannot wait to see where she goes next.

No doubt this album will cause a lot of disturbance among Kaki King fans. It IS NOT her two previous albums. But it is a great album taken on its own merit. It is low key and IME great for late-night moods. I won't argue that Kaki King is a great singer, but her tone suits the songs. The album is a bit experimental in feel, but for me anyway it's good to see Kaki venture off to explore her own territory. It's 80's sounding, jazzy, moody, laid back, intense, a moment of Stevie Ray Vaughn. This to me is what is missing from so much of today's music - the edge, the risk taking, the music for music's sake. Whereas before Kaki was primarily a technical prodigy, now she has become a true musician and I look to watching/hearing where Kaki goes in the future. My guess she has the technical side down and now she wants to explore the music. And does not want to be pinned against the wall.

Kudos to this determined, brave girl! Stick to it and do it your own way.

Picked this CD up on a sale and I can't say I regret it, but I am not as pleased with this as I am Ms. King's earlier more guitar-based work. This CD has a strong New Age jazz feel, which will appeal to some people, but was not what I was looking for. Ms. King has an interesting breathy ethereal sounding voice which is pleasant and a nice break.

My suggestion is to listen to the selections offered on this CD closely to see if they're what you're interested in. If you want a New Age-eclectic feel, then you will stand a good chance of liking this CD. If you are interested in more instrumental guitar, pick up one of Ms. King's previous CDs.

Rebecca Kyle, May 2008

I pre-ordered this cd when i first heard I could. I had already purchased her other 2 cd's, and I've seen her live twice. On first listening, I loved it; the singing, the new instruments, everything. Her sound has really evolved, and it's not like she totally stopped doing what she was doing. She still put her style into it.

I've read some of the other reviews, and I recall one stating that is was crap, and her electric guitar playing was lame. Well, I find it funny because that guy praises her previous albums and her "acoustic" works. But, on her 2nd album "Legs to Make us Longer", the song "Doing the Wrong Thing" was done on an electric guitar,(Hence the title). Hm.... Now, granted, she does play that song acoustic when doing it live. It doesnt matter. Apparently that guy doesnt believe in progessing into new creative ideas.

Anyway... I love everything that Kaki has done. Her early works are amazing, and this CD is just as great.

... Not to mention changing the strokes and using different kinds of paint on a totally new canvas.

When I was sixteen I loved Kaki King because I had just begun playing guitar and was amazed by her "innovative" technical prowess.
I had to warm up to her second CD a bit but once I did, I realized her compositions had really matured -- she could no longer fall back on the fact that "It's just one person on a six string guitar!! Can you believe it??"

When i heard some rumors of what this album was going to be like, I pretty much decided it'd be awesome.

I went into it more or less expecting to be blown away.

This album is like a wall-sized Salvador Dali painting (visit the Dali museum if you ever get a chance -- those things are HUGE). Okay, maybe it's not quite as out-there as Dali. Still, it's like a landscape. A symphony.

This album is a masterpiece.

You pop in the CD, wait a few seconds for the player to realize it's just been given a gift, and lean back. Then, quickly, before you even noticed it, you're off. "Yellowcake", a beautiful song filled with Kaki King's delicate (the only word to describe it) voice and the quite hum of her guitar. Well. That's a pretty good start.

"Until We Felt Red" is different from her previous albums. Whereas in her debut "Everybody Loves You" and that second album (which I have yet to hear...) King focuses on the solo acoustic guitar, here there's a wide variety of music. First, we're introduced to the quiet sound of King's voice. It's a nice touch to these songs, never overbearing and often just another instrument in the background. That's another new point to this album - it's filled with different sounds, ranging from the electric guitar, to bells, to weird percussion. It's a wholly new sound, but one that fits, overall.

Some songs here, though, disappoint. The album ends weakly (like most albums), even as it shines elsewhere. Songs like "Yellowcake", "First Brain", "Second Brain", "Ahuvati", and "You Don't Have to be Afraid" are all beautiful, each in their own way. Others songs impress less. "Gay Sons of Lesbian Mothers" and "The Footsteps Die Out Forever" are fairly forgettable songs that usually get cut off when I listen to the entire album. The rest are okay songs - not horrible, but I often end up skipping over them to reach the other, better songs.

On the whole, Kaki King's third album is a nice listen. It's got a number of great songs (those mentioned earlier) that are well worth it, and a couple of songs that just aren't to my personal taste. Could they be to yours? Maybe. But I doubt it. Coming from "Everybody Loves You" to this is a bit of a jump, but it's an interesting progression and a welcome change. There's a fresh sense of diversity to "Until We Felt Red" (album), one that certainly makes it an album worth recommending. Not a solid 5, but a warm recommendation and a 4.6 rating.