Last updated: 7 hours ago
An anti-commercialism, community-minded collective of musicians, King Cobb Steelie play alternative rock that is a jumble of sampling, scratching, world music instruments and studio sorcery, showing a flair for seamless ecclecticism. Far from being a band that grafts diverse influences onto a Western rock sound, these musicians compose organic, holistic pieces that also create spaces for rich improvistional digressions during live shows. Their first CD, S/T (1993, Raw Energy Records/ A&M), which includes some scratching and samples, introduced KCS as a punk band with knee-deep grooves- a kind of superfreak <a href="spotify:artist:62sC6lUEWRjbFqXpMmOk4G">Fugazi</a>. KCS's next effort was Project Twinkle (1994, Lunamoth), a spacier, bassier dub-jazz groove shower that demonstrated a <a href="spotify:artist:5RISqKCcrhGITX2TQAPGPL">Bill Laswell</a> musical influence on the band (<a href="spotify:artist:5RISqKCcrhGITX2TQAPGPL">Laswell</a> also produced the CD). This work has an emphasis on instrumental/ electronic sounds over vocals and jangly guitars. Exploring more electronic sounds than ever, KCS experimented with beats on Junior Relaxor (1997, EMI Canada). Martina Topley-Bird (<a href="spotify:artist:6hhA8TKRNryM8FNzqCqdDO">Tricky</a>'s singing partner) - influenced vocals and Trip-Hop stylings indicated yet another stage of evolution for the band, recapturing the edge of their live performances but keeping a low-key groove. King Cobb Steelie, with their expert use of Dub, Trip-Hop, Punk, Rock and Funk, are one of the few groups who can meld and interplay such influences with simple grace. Mayday followed in early 2001. ~ Lisa Schwartzman, Rovi
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