THE K. - Amputate Corporate Art

The K. - Amputate Corporate Art

10 songs
35:12 minutes
***** ***
JauneOrange

Bandpage

Unashamed to quote their Nineties influences, Belgian noise rock trio is back with their third longplayer Amputate Corporate Art, coming five long years after its predecessor. Fond of bands like Sonic Youth, Nirvana and early Foo Fighters, the guys from LiŤge are offering a spicy stew which uses muscular noise rock as a foundation, without ever forgetting to add those melodies that will make the music stick with you.

The album contains ten songs, none of which are very long, so that we get a thirty-five-minute cocktail, which is just the ideal length for this kind of music. The album starts with The Future Is Bright, which after some cranky distortion turns into a powerhouse of noise rock anthem where the three instruments have equal weight. The drums are pounding, the bass guitar lays down a heavy rhythm, while the distorted guitar has this pleasant proto-grunge sound the genre had before it started selling out. The vocals are harsh yet melodic at the same time. The following Shit Day strangely reminds me structurally of L7, meaning no-nonsense instrumentation with authentic snotty in-your-face vocals. On Human After All, the band is flirting with punk influences, which are in this case emphasises by the less ferocious and more nasal vocals. So you can imagine that The K. have a rather eclectic approach towards their music. And itís in this triangle of noise rock, grunge and punk that they are moving around, with a preference for the noisy part, which I can very well live with. The middle of the album even has a mellow track with Everything Hurts, and apart from some weird melodic sequences, this might be a nod to Pearl Jam or even R.E.M., but let me be honest when I write that I prefer their wilder stuff.

The second half of the album fortunately is again more aggressive, especially the two-minute short The Rougher Aspects Of Love with its «a plane pour moi intro, which is a very Belgian thing to do, although The K. definitely sound angrier than Plastic Bertrand. Keep My Nightmares Cold comes again with more melodic moments, while the dynamically charged Swim It Better feels like the look into the mind of a bipolar person.

While Amputate Corporate Art doesnít offer anything groundbreakingly new, The K. still have crafted a varied album where they combine their different influences from the Nineties into something quite delectable. Traces of Soundgarden, Tad and Mudhoney combined with the aforementioned more popular acts give us a record that still feels current in the twenty-first century. Other bands from the present time, like Idles and Pissed Jeans, have chosen a similar direction, but The K. donít have to hide behind them. Fans of gritty music of an early Nineties persuasion will have a truly good time with this album.

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