Spring Break
Kaki King sees the beauty in vocals
Kaki King's move towards vocalizations in her latest album prove to be surprisingly mesmerizing.
by Andrea Fineman
Managing Editor
Arts | 3/11/08
Posted online at 1:42 AM EST on 3/11/08
When an instrumental artist ventures into the realm of vocalization, the vocalization usually does not overtake the artist's instrumental works. Perhaps this statement belies a personal preference for vocal music over instrumental guitar music. Perhaps it came to mind because the first song off Kaki King's latest album, Dreaming of Revenge, was not what I expected from such a compelling guitarist.
King, a 28-year-old American guitarist, is best known for her particular brand of solo, instrumental work that's nothing like the kind of post-rock or jam-band music that the words "instrumental guitar music" connote. Her style incorporates elements of slap-bass and percussive use of the wooden parts of the guitar as well as its strings. It's hard to describe what makes King's instrumental style so compelling. The visual aspect is certainly one element; in videos, King placidly gazes around as her hands fly back and forth across the instrument, striking unconventional poses.
That said, the instrumental album-opener "Bone Chaos in the Castle" lacks the fire of previous works, like "Carmine Street" off 2003's Everybody Loves You. Later instrumental tracks have interesting sounds and melodies to offer, but "Bone Chaos in the Castle," despite an arcane title, is thoroughly indistinctive. Though "Montreal," an instrumental track halfway through the album, is captivating with mesmerizing, rocking guitar figures, like shallow waves in a pond, overlaid with percussive guitar sounds as well as smooth, melodic passages, Dreaming of Revenge reaches its highest points on the songs where King sings.
After a battle with her former label, Sony Records, King began incorporating vocals into her music, beginning with the 2006 album Until We Felt Red, as well as collaborating with high-profile musicians such as Tegan and Sara and the Foo Fighters. King played on the song "Ballad of the Beaconsfield Miners" on the Foo Fighters's 2007 album Echoes, Silence, Patience & Grace and also contributed to the soundtrack for August Rush.
King, a 28-year-old American guitarist, is best known for her particular brand of solo, instrumental work that's nothing like the kind of post-rock or jam-band music that the words "instrumental guitar music" connote. Her style incorporates elements of slap-bass and percussive use of the wooden parts of the guitar as well as its strings. It's hard to describe what makes King's instrumental style so compelling. The visual aspect is certainly one element; in videos, King placidly gazes around as her hands fly back and forth across the instrument, striking unconventional poses.
That said, the instrumental album-opener "Bone Chaos in the Castle" lacks the fire of previous works, like "Carmine Street" off 2003's Everybody Loves You. Later instrumental tracks have interesting sounds and melodies to offer, but "Bone Chaos in the Castle," despite an arcane title, is thoroughly indistinctive. Though "Montreal," an instrumental track halfway through the album, is captivating with mesmerizing, rocking guitar figures, like shallow waves in a pond, overlaid with percussive guitar sounds as well as smooth, melodic passages, Dreaming of Revenge reaches its highest points on the songs where King sings.
After a battle with her former label, Sony Records, King began incorporating vocals into her music, beginning with the 2006 album Until We Felt Red, as well as collaborating with high-profile musicians such as Tegan and Sara and the Foo Fighters. King played on the song "Ballad of the Beaconsfield Miners" on the Foo Fighters's 2007 album Echoes, Silence, Patience & Grace and also contributed to the soundtrack for August Rush.
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