Killick | bull****

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Derek Bailey Michael Hedges Peter Kowald

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United States - Georgia

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Avant Garde: Avant-Americana Avant Garde: Free Improvisation Moods: Featuring Guitar
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by Killick

Extemporaneous guitaristic paciforms of the balmy stasis when peace supplants war; harp guitar solo, uncut.
Genre: Avant Garde: Avant-Americana
Release Date: 

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  Song Share Time Download
1. Snort Butt Leap Jump
5:22 $0.99
2. You Would, Sting
4:28 $0.99
3. Cork
3:09 $0.99
4. The Flowers
3:31 $0.99
5. Fight Day
2:46 $0.99
6. Lovely Galería
5:02 $0.99
7. Grew
3:23 $0.99
8. Picadores/scared Fierce
3:05 $0.99
9. Just Sat
1:31 $0.99
10. Not (a)lonesome
6:36 $0.99
11. Crying Mad
3:34 $0.99
12. He Is Very Happy
5:58 $0.99
Downloads are available as MP3-320 files.


Album Notes
This album is the first recording with my 38-string harp guitar Big Red, built by my good friend Fred Carlson in Santa Cruz, California. Big Red’s body is constructed primarily of Alirecel, or aliphatic resin cellulose laminate, a fancy way of saying papier-mâché. Antonio de Torres, luthier of legend, once fabricated a six-string guitar via paper and glue. He reasoned the top is what most contributes to the tone of a guitar, so he used for that aspect fine wood; the instrument still exists more than 100 years later, and is said to rival in sonority any conventionally constructed guitar of the period. Following de Torres, Big Red’s top is salvaged redwood, the main neck and sub-bass extension are reinforced maple, and the fingerboard is fretless in the lower regions, with conventional fretting on up from the 7th fret position. The instrument also has a zither-like super-treble section and resonating sympathetic strings in the manner of my H’arpeggione. Big Red is played upright on a spike, though at heart it is a baritone classical guitar with piano on the brain.
I chose to approach this Big Red reveal with the most transparency I could muster. It was recorded at my Hindsight Studios in Athens, Georgia, September 6, 2006, on a sunny day with solar electricity providing the juice. I unadvisedly engineered the session myself and performed the music in one take, with visions of Munro Leaf’s brilliant pacifist tome The Story of Ferdinand dancing through my fingers. Protagonist Ferdinand the bull therein had his beliefs tested and was all the better for it. Written in 1936, and ostensibly a children’s book with beautiful drawings by Robert Lawson, it has numerous parallels with my life and our larger civic engagement. The backdrop of Spain was of consequence for me as the birthplace of the modern classical guitar and as the last home of improvisational guitar pioneer Derek Bailey.
bull**** was recorded at high resolution with no bells or whistles, and masterer Tom Lewis did a brilliant job of translating the dynamic range to CD format. The amazingly talented Elisha Conrad created the original artwork for the packaging which frames perfectly the sounds I pulled to life.

Peace, Killick



to write a review

Eug DeRobertis

I like the movements back and forth between chaotic sounds and hard feelings and
Love the sound on that first track, sounds like static and Velcro and sharks teeth on wood, and planets being crushed.

The Flower sounds like a cross between Pink Floyd and Country/rockabilly, but doused in bleach and various household cleaners.

I like the movements back and forth between chaotic sounds and hard feelings and sweetness....

Mikolaj 'Nicolo' Furmankiewicz

Mr. Killick plays in a defiant way breaking all possible conventiones in music c
Erik Hinds, converted to Iam Killick, on his next freak of nature titled as above plays the 38-string harp guitar "Big Red". It was constructed by Fred Carlson who has followed a luthier - Antonio de Torres' ideas. The album's concept is based on Munro Leaf's "The Story of Ferdinand".
Mr. Killick plays in a defiant way breaking all possible conventiones in music currently in force. At some moments, his music is sinister, resonant and even mephistophelean, haha. Some of you can ask me if knockig, clattering and twanging can be considered a normal music? But who said that its performer is sane, haha? Killick's offer can conjure up an impression of sonic chaos what argues with accessibility typical of pop music, but we mus remember that it isn't light music at all. On the contrary, it is very experimental kind of string music producing the impression of abyss and void. Some people can blame Killick for piss-taking instead of playing the "normal" music, but it is a specifity of avantgarde works. Another group can claim that the album verges on listenability, however it's a matter of hearpoint and personal tastes.
Iam describes his music as "extemporaneous guitaristic paciforms of the palmy". Well, I am not sure whether such a sort of music is palmy at present, but who knows? The truth is that if you aren't practised listeners, aforementioned CD can do you a disservice, haha. What about mental side effects? I only know they can be lasting, haha.