IV by KTL

And how things have evolved. Long awaited new album by the ongoing duo of Stephen O’Malley and Peter Rehberg.
KTL’s first full length release that is not commissioned work for theatre or film, showcases their approach to composition and structure as a highly active live band. Whereas the ‘Kindertotenlieder’ trilogy of 1, 2 and 3 were blurred washes of fog and noise polished in by ambient shine, IV is a more direct and demanding beast, referencing such diverse projects as; volume era Swans, Mecca period Cabaret Voltaire, phase one Wire, Fushitsusha and This Heat.....
Developed and composed over the spring and summer of 2008, KTL brought the material to Tokyo the following September and worked with Jim O’Rourke at the desk & controls, IV is a stunning new direction and great addition to both artists' already impressive canon.
The opening and shortest track, ‘Paraug’ is a dark shadow of previous KTL sounds, with its blowtorch riffs and sub bass rumbles. This leads the way for the album's monster ‘Paratrooper’. Over 21 minutes of driving bass pulse interwoven with razor sharp guitar from O’Malley & synth and organ blasts from Rehberg. Atsuo, from Japanese top-rockers Boris, glues it together with his arhythmic and punishing drumming. ‘Wicked Way’ is a breezy upbeat number, which if we were that way inclined would be the album's single. ‘Benbbet’ on the other hand is whole different ball game: a distant guitar loop is joined by slamming No Step beats and making way for a guitar riff to straddle all valleys and computer bass rattles. Possibly KTL’s most detailed recording. ‘Eternal Winter’ is an exercise in black frozen resonant harmonics, whereas ‘Natural Trouble’ is a slowly evolving twister of a track which is both spontaneous and focused.

PHYSICAL RELEASE HISTORY:

CD, Editions Mego, Austria (EMEGO 089)
CD, Daymare Recordings, Japan (DYMC-085)
2x12"+7", Inoxia, Japan (IX12-0701/IX07-0701)

KTL is the duo musical collaboration of Peter Rehberg and Stephen O'Malley, initially formed to score and perform in Gisèle Vienne's theatre piece "Kindertotenlieder" in 2006. KTL is a living piece of music, where long, flexible and free evolution is important to the character of the sound, and allowing all potential possibility to remain open in the performances.