In their hometown of Seattle, Chris Martin, Lucy Atkinson, and Matthew Reid-Schwartz of the lysergic-punk band Kinski often play out incognito. Under the guise Herzog (film buffs should figure all these German names out pretty quickly), the goal is to experiment with mood, sound construction and interplay by channeling their chemistry into an exploration of their "cosmic" side. These entirely improvised sets have yielded some truly heady excursions into the sonic ether. Although they may perform as Herzog, the sum of the parts is still Kinski, and while the intent is to shower the air with slow-raining space dust rather than their trademark heavy-paisley riffs, ambient drone is still very much an aspect of the overall Kinski sound. Don't Climb on and Take the Holy Water is a snapshot of these experiments, "free-ambient" sounds weaved on the spot when the guitarists subliminally dialed into one another and directed their energies into a subtle exploration of drone, texture and atmosphere. Don't look for crushing volume or any psychedelic/punk dynamics here. Culled from various sessions in the studio, at the practice space and live on stage, Don't Climb on and Take the Holy Water documents the intimate "Herzog" experience, placing the spotlight entirely on the soundscape element that otherwise provides décor for the Kinski approach to rock. Using bass, guitar, synthesizers, bells and effects-saturated flute, the players improvise a heady sonic drama which supplants the typical rock instrumentation into realms of cosmic/ambient, electronic, minimalism and film-score imagery. "The Misprint in the Gutenberg Print Shop" is the album highlight, a complete 30 minute live set recorded at the I-Spy in Seattle which displays the fluid organic development of the band's spontaneous sound weaving; "Never Compete with Small Girls" is a minimalist drone meditation borne from the Airs Above Your Station studio sessions. Kinski attenuate their improvisations to focus on color and the subtle aspects of group interplay, and the resulting explorations flow like mellow magma. Don't Climb On and Take the Holy Water is an ethereal concoction, ample with rewards for those with an attentive ear. Brimming with drones, tones and mellow glissandos, Kinski offer a window into their experimental side that only those in the Seattle area have been lucky enough to experience. Similar in approach to the ambient bliss-outs found on the recent collaboration album with Acid Mothers Temple (Sub Pop, 2003) and Chris Martin's Ampbuzz solo project (This is My Ampbuzz, Strange Attractors, 2002), Don't Climb on and Take the Holy Water is an opportunity to hear Kinski set free, exploring inner space.
item # 12379