Kinda Green

by Kinda Green

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"I suppose, by sheer dint of its instrumentation, you’d have to file this under “EAI” – the album’s stately 22-minute closing track “sagebrush drip kyrie” certainly wouldn’t be at all out of place in the Erstwhile catalogue – but it’s a darn sight more sprightly and playful than most of the oh-so-dour stuff that excites the punters over at IHM. Then again, since when did EAI have to be all dreary drizzle? Hands up who remembers Particles and Smears, or Bart? Perkis’s laptop is as agile as eRikm’s kustomized Kaoss pads, whether squiggling and scribbling like your favourite DJ on “go”, or lobbing in sly snatches of Space Age Bachelor Pad pap (“bottle glass window wing”) and discreet field recordings – dig the crickets 15’ into the last track! Meanwhile Djll, in addition to being well-versed in the “extended techniques” that have now become de rigueur for any card-carrying improvising trumpeter – there are plenty of cold breathy blasts à la Dörner, Hautzingerian gurgles and pops, and a fondness for smearing his sound by jamming a sheet of metal across the bell that recalls Greg Kelley – reveals ample evidence of his ability to play real notes on the horn, and the right ones at that. And he’s not averse to blowing a huge raspberry here and there, lest you start taking it all too seriously. Excellent stuff." — Dan Warburton, PARIS TRANSATLANTIC


released June 6, 2006

Tim Perkis: electronics
Tom Djll: trumpet, things, editing
Xopher Davidson: mastering
Recorded in 2006 at Guerilla Studios by Myles Boisen, except track 6 recorded at KZSU Day of Noise 2004

"When people such as Tim Perkis and Tom Djll decide that a recording will work better if a "drone-fart" is used in conjunction with "fucked" Hendrix samples, or simply because fragments of pop music are the ideal prologue to a world of hums and buzzes from outer space radios, then we're in for surprises. "Kinda green" is chock full of these revelatory moments, but also abounds in what's worryingly similar to the stillness of the brain, the listener perceiving only small fractions of sound, intruders in an empire of unconventional sub-telluric movements and sarcastic decorations. The hoi polloi might not understand it but this is a great record, increasingly revealing its importance under amassed layers of unassumingly fascinating microcosms that probably not even their discoverers can give a name to." — Massimo Ricci, TOUCHING EXTREMES



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