In the fall of 2012, King issued Glow, a collection of instrumentals on which she was backed by a string quartet, bagpipes, organic percussion, and individually designed soundscapes for each track. In 2015, King released The Neck Is a Bridge to the Body, a companion piece to her ambitious multi-media performance of the.

King in 2004 Background information Birth name Katherine Elizabeth King Born ( 1979-08-24) August 24, 1979 (age 38), Georgia, U.S. Genres,,,,, Occupation(s) Musician, composer Instruments Guitar,, drums, piano, vocals,, Years active 2001–present Labels,, Website Kaki King (born Katherine Elizabeth King, August 24, 1979) is an American guitarist and composer.

King is known for her percussive and jazz-tinged melodies, energetic live shows, use of multiple tunings on and, and her diverse range in different. In February 2006, released a list of 'The New Guitar Gods', on which King was the sole woman and youngest artist (beating in age by two months as the youngest on the list). In addition to a 10-year career that includes six and two, King has also music for television and film. She worked alongside and contributing music for the soundtrack to 's, for which the trio received nominations for a. Contents • • • • • • • • • • • • • • • Childhood and early life [ ] King was born the first of two daughters. While still a small child, her father noticed her natural musical ability, and encouraged her interest in music.

She was introduced to the guitar at the age of four and played for several years, but after taking up the drums a few years later, they became her primary instruments as an adolescent. Convinced that her break in music would come from drumming, King played in bands in high school with classmate Morgan Jahnig, who would later become the of.

On graduating from in Atlanta in 1998, the two friends attended. While there, King picked up the guitar again, and revisited the finger-style techniques that intrigued her as a child. While at NYU she studied with Bill Rayner, a professor of guitar.

From there, King played a few occasional gigs and in the. Career [ ] Early career [ ] After signing with in 2002, King began recording her debut album,. She incorporated 'fanning,' with both style percussion and techniques, as well as using double, tunings, and traditional (). On April 22, 2003, Everybody Loves You was released to positive reviews and feedback on King's skills as a guitarist in relation to her age. While her later work involves more of a band format, Everybody Loves You is King's only fully acoustic guitar album, with the exception of light singing on the hidden bonus track, 'The Government.' To support the album, King embarked on her first major promotional tour in North America.

After King appeared on, offered her a deal with ' Red Ink label. From there, King headed back into the studio to work on her sophomore effort,. King began to incorporate different instruments and sound effects into her album, such as, light drum work on 'Doing the Wrong Thing', and her first incorporation of with 'My Insect Life.'

Produced by, Legs to Make Us Longer was released on Epic's Red Ink Imprint on October 5, 2004 to strong reviews. In support of the album, King performed as an opening act for during a leg of his 2005 tour, as well as completing her own nationwide and world tour.

Change in musical style and sound [ ]. King, playing a in the At the end of her tour for Legs to Make Us Longer in 2005, King departed from her previous musical direction out of a desire to escape being pigeonholed as a solo instrumental artist. She amicably parted ways with major label Sony/Epic and returned to her original label, Velour, to begin work on her third album. Released August 8, 2006, on, the album features production work by 's. With the prominence of electric guitar and effect boxes on the new record, and the addition of a full band, the music website,, called the sound a '.'

She supported the album by going on tour with from. In early 2007, invited King to appear as a guitarist on the track 'Ballad of the Beaconsfield Miners', a song penned by Grohl for an upcoming studio album by the. King agreed and is credited on the album, entitled, released on September 25, 2007. On November 18, 2007, she joined on stage to perform the track at the in London. Grohl highly praised King's performance: 'There are some guitar players that are good and there are some guitar players that are really fucking good. And then there's Kaki King.' King toured with the Foo Fighters on the Australian leg of the Echoes, Silence, Patience and Grace tour.

While on tour, King finished recording what became the Day Sleeper (Australian tour EP). It was released in late 2007 after King had finished working on, and with and on. Further changes in sound [ ] King recruited to help with her next album,, and in December 2007 wrote about it in her blog: 'I finished the new album. Don't get your panties in a tangle, it won't be released until next year, but it's done. And it's amazing.' Filled with more melodic pop tunes than previous albums, Dreaming of Revenge was released on March 11, 2008 to highly positive reviews.

On March 4, 2008, released a full version of Dreaming of Revenge featuring the bonus track 'I Need A Girl Who Knows A Map'. After filming a video for 'Pull Me Out Alive', she began her tour. In the first half of King's tour, she headlined at and toured with, which led to the exclusive release of Kaki King and The Mountain Goats EP. While touring Australia in 2008, King filmed part of the music video 'Can Anyone Who Has Heard This Music Really Be A Bad Person?' Directed by Michael Ebner, the rest of the video was completed in New York in 2009.

After completing the last leg of her world tour, King decided to tour once again with a strictly acoustic show. Dubbed 'The 'No Bullshit' Tour', King did smaller shows throughout the US and UK that were specifically focused on acoustic works from her first albums along with stripped-down versions of her newer songs. After completing her 'No Bullshit Tour,' King scored work on the independent film, and started to record her next EP, titled. Recruiting her band that she used from Dreaming of Revenge, King cut five new tracks for her new album. Main article: After meeting with to start work on the scoring for the, and completing work on 's (which became ' 'We Belong to the Music'), King began to outline her ideals for her 5th record. King's interest in novels, Russian spies and espionage themes, particularly that of double spies living in a double life, became the basis for her new album, Junior. Ranging lyrically 'from exuberance and anger to heartbreaking melancholy, and sonically from experimental pieces to accessible pop,' Junior showcases her further maturation as a well-rounded artist that continues to defy categorization and expectations.

As with her previous album, 2008's Dreaming of Revenge, Junior was produced by and recorded at his studio in Kingston, New York. But in contrast to that record, which was marked by deep textures and layers as well as unusual instrumentation, Junior was specifically made with only three musicians in mind – in this case King, multi-instrumentalist Dan Brantigan and drummer Jordan Perlson. The result was something more direct.

'Prior to this I would have written a lot in the studio and played all the instruments myself,' King says. 'This time, I really leaned on Dan and Jordan to help shape the songs and help me get the record written.' King toured for five weeks in Europe in support of her LP Junior, on the label. She later appeared as the musical guest on, sitting in with as a part of the, and began a US-based tour.

When asked by what her plans were after completing her tour, King responded 'I've been on the road for four months straight. In another three weeks, we'll be done with this tour. Honestly, that's about as far as I can see.'

Traveling Freak Guitar Show [ ] King returned to her roots as a solo acoustic performer in 2011, going on her first tour without a backing band since 2005. King planned a tour with a collection of seven instruments including a,, a custom 7-string nylon string guitar with fanned fret board, and a hybrid between a guitar and that King made herself. Before beginning the tour, King performed with some of these instruments at the opening of an exhibit of 's guitar paintings at the in New York.

The tour began on February 24 in Mexico City and ended on April 9, 2011 in. Guitar Art Show [ ] In 2009, King conceived of an art show in which twelve different artists would be commissioned to create visual pieces themed after her songs, using the guitar as the primary artistic medium.

As King described it, What I want to do is to meet twelve amazing artists, give them each a blank guitar, and let them go wild creating anything their heart desires. The theme of each piece would be the title of one of my songs.

The final total came to fifteen distinct pieces which were then put on display for a one night exhibition at The Littlefield in Brooklyn. During the exhibit, King provided her own contribution by covering her hands in pink paint and performing her song, 'Playing with Pink Noise', leaving the guitar covered in pink finger prints.

K Balachander Serials Jaya Tv. Everybody Glows: B-sides & Rarities [ ] On November 4, 2014, Kaki released her first B-sides and rarities album entitled, Everybody Glows. The album features a collection of outtakes, demos, covers, live versions and never before heard recordings culled from scratched demo CDs, long forgotten hard drives, and the fuzzier corners of her memory. The collection reveals the evolution of her songwriting while offering a glimpse of a young guitarist doing daring things on her instrument before she grasped the significance of any of it. The album comes with a track-by-track explanation of each song, along with liner notes written by her father. This is the first album Kaki released on her own label, Short Stuff Records. The Neck Is a Bridge to the Body [ ]. The guitar used by King for The Neck Is Bridge to the Body, the projector used to create images on the guitar can be seen at the bottom of the image.

(, February 2015) In 2014, King collaborated with the visual experience company Glowing Pictures to construct a multimedia production in which the guitar is used as a projection screen to tell a story. The hour-long production entitled The Neck Is a Bridge to the Body places the focus on the guitar itself. Projections of a including genesis and death were cast onto a Ovation Adamas 1581-KK Kaki King Signature 6-String Acoustic guitar customized specifically for the production. 'The Guitar is a shape-shifter,' King says, 'something that plays all types of music and really fills all kinds of roles. It's not always the six-string guitar that we all know and love. I've been playing guitar for more than 30 years.

It's who I am and if anything, this project has made me even more familiar with it.' [ ] The Neck Is a Bridge to the Body debuted at Brooklyn's BRIC Theater in New York City in 2014, and was to tour extensively in 2015. An album featuring the music from the show will also be released on March 3, 2015 on King's label, Short Stuff Records. Style, techniques and instruments [ ] As a long-time player, King was invited to design her own custom guitar, the result being the Adamas 1581-KK model. Each guitar is signed by King, and she can be seen playing it often on tour and in The DVD for 's. King's playing combines with techniques, using the guitar for percussive beats, as well as sound layering and. Her playing style has been compared to and, the latter of whom she explicitly cites as an influence.

King uses, particularly the Acoustic Light Guitar Strings on her custom Ovation Adamas guitar, and is a featured artist on the company's website. Personal life [ ] King married her wife Jessica Templin in October 2012, giving Templin her name. The pair honeymooned in Australia, where King played at the. Discography [ ] Studio albums • (2003) • (2004) • (2006) • (2007) • (2008) • (2008) (with ) • (2009) • (2010) • (2012) • (2015) Rarities and B-Sides • (2014) References [ ]. Rate Your Music.

August 24, 1979. Retrieved 2014-06-29.

May 10, 2010. Retrieved December 14, 2013. • ^ Andy Ellis (June 16, 2010).. Gearhead Communications, LLC. Retrieved December 14, 2013.

Retrieved 2014-06-29. The New Yorker. April 11, 2011.

Retrieved May 7, 2011. (December 15, 2007)..

Gilde Magazine. Glide Publishing LLC. Retrieved December 15, 2013.

• September 30, 2007, at the. • Trucks, Rob (March 18, 2008).. The Village Voice.

Village Voice, LLC. Retrieved March 25, 2008. • Review: Everybody Loves You. • Al Music Review and Info on Legs To Make Us Longer; 2004 • Derk Richardson (September 21, 2006).. Hearst Communications, Inc. Retrieved December 14, 2013.

November 18, 2007. • Elizabeth Raftery.. Blast Magazine. B Media Ventures LLC. Retrieved December 14, 2013.

• Leah Greenblatt (March 7, 2008).. Entertainment Weekly. Entertainment Weekly Inc. Retrieved December 14, 2013. • Jonathan Cohen (November 20, 2007).. Retrieved December 14, 2013. • Jane Murnane (January 21, 2009)..

Archived from on September 16, 2012. Retrieved December 14, 2013. BIG HASSLE MEDIA. Archived from on February 11, 2010.

Retrieved December 14, 2013. • Sarah Marie Pittman (February 16, 2010).. Retrieved December 16, 2013. • Jon Friedman (April 15, 2010)..

NBCUniversal Media, LLC. Retrieved December 16, 2013.

• Kaki King (January 26, 2011).. Archived from on December 14, 2013. Retrieved December 14, 2013.

New York Public Radio. February 23, 2011. Retrieved December 14, 2013. The Museum of Moder Art. Retrieved December 14, 2013. January 28, 2011.

Retrieved December 15, 2013. July 16, 2009. Retrieved December 15, 2013.

Ninja vs Penguin. July 21, 2009.

Archived from on April 3, 2012. Retrieved December 14, 2013. Ovation Guitars.

KMC Music, Inc. Archived from on December 16, 2013. Retrieved December 16, 2013.

• Kaki King biography by Marisa Brown, Allmusic • Liane Hansen (November 21, 2004)... Retrieved December 14, 2013. Elixir Strings. Gore & Associates, Inc. Archived from on December 19, 2013. Retrieved December 16, 2013. • Tyler Kane (October 9, 2012)..

Paste Media Group. Retrieved December 13, 2013. Mixdown Online. Furst Media Pty Ltd. Archived from on December 14, 2013. Retrieved December 14, 2013.

External links [ ] Wikimedia Commons has media related to. • • at • NAMM Oral History Library (2017).

Since 2003, exultant critical praise has been a way of life for Kaki King, the devastatingly talented guitar virtuoso who has released eight blindingly brilliant studio albums and EPs. But several years ago, she received the kind of thumbs up from a fellow musician that ranks pretty high for total rock-star coolness. 'There are some guitar players that are good, and there are some guitar players that are really fucking good.

And then there's Kaki King,' head Foo Fighter Dave Grohl told a crowd at London's O2 arena in 2007, following King's opening act performance. 'That was a pretty funny and amazing thing,' says King, recalling the onstage props. 'By that point, I kind of knew Dave, so it was a lovely, fun, typically over-the-top comment from a friend. It wasn't like this rock god deemed me brilliant, but at the same time, it was a sincere compliment from a really nice guy. I was very touched.' The huzzahs and hosannahs are getting louder for King with the recent release of Glow, a transfixing and transporting set of instrumental originals that the guitarist recorded with producer D. James Goodwin.

Augmenting King's dramatic, highly physical and idiosyncratic approach to the guitar is the New York City-based string quartet ETHEL, and the combination is a kinetic one, with songs such as Cargo Cult, The Fire Eater and Kelvinator, Kelvinator bursting with ethereal beauty, spacious melodies and multi-voiced string textures that form luscious beds of sonic enchantment. Although it's a big time for King - a smashing new album, a triumphant new tour, and to top it all off, she's a newlywed (she married girlfriend Jessica Templin on 3 October) - it was only a couple of years ago that the guitarist grappled with self-doubt. 'I had to re-assess my place in life and my commitment to music,' she says. King sat down with MusicRadar to talk about getting music-making mojo back, the joys of alternate tunings and how she puts herself in a 'microphone cage' to achieve the ultimate acoustic sound.

Although your other albums certainly quality, you characterize Glow as being a 'guitar record.' In what ways would you say you pushed yourself as a guitarist on the album? 'I think the main challenge for me was exploring some new tunings. I've always used a lot of open tunings, but it becomes the kind of thing where you get familiar with them. It becomes too easy to improvise with them. But when I started using the open D minor tuning, that immediately opened some new doors for me.' What are some of the tunings that you tend to use a lot?

'For me, the ubiquitous one is C-G-D-G-A-D. I'll sometimes use that as is or I'll go a half-step up or down.

DADGAD's been a solid one. There's been some other ones over the years, but I'd say the C-G-D-G-A-D tuning has been on every record.'

Do you find that you go into the same fingering patterns a lot? Like you said, the tunings become familiar 'Yeah. That can be good because it's easy to improvise. That's why some of those songs are written in the tunings I know - I've spent a lot of time hanging out in there. My ears hear the notes, and my fingers know right where to go. That's great for playing live because you don't have to think; you can just go with the moment and play. But the downside is that you do get too comfortable, and the songs you write can start to sound a little samey.

So, yeah, you have to shake it up.' King goes electric during her Traveling Freak Guitar Show in Rome, July 2011. © Simone Cecchetti/Corbis How did you stumble across open D minor?

'I honestly can't remember. [Laughs] I was probably playing in open E minor. I rarely start in standard tuning, so it's hard to say. I guess I was in the open E minor, and I just turned it down a step. It's easier to play for some reason.

I think the first thing I wrote with it was the beginning of Kelvinator, Kelvinator, the initial statement. Then I wrote Cargo Cult and Streetlight In The Egg - three totally different songs with incredibly different vibes, all with that tuning.' Wasn't D minor the 'saddest of all keys' in Spinal Tap? 'I can't remember. [Laughs] Satirically, yes, I'm sure it is the saddest of all keys.' Let's talk about your approach to guitar playing. The various techniques you use, do they seem to come naturally to you?

I know you've studied, but how much have formal lessons impacted what you do? 'I studied back in the day, when I was a teenager. I had an Alex de Grassi video - I think it was a Happy Traum joint.

Relativistic Quantum Fields Bjorken Pdf Editor there. Remember those things? They were great. You'd get three entire songs completely broken down for you, every single part.

You had the tab, and you had the guy who wrote the song explaining it for you. I did that with Alex de Grassi, Martin Simpson, Al Petteway - I became friendly with him.

They were great videos. 'Then I met Preston Reed, and I went to the Swannanoa Gathering, but I really just kind of hung out and did drugs. [Laughs] I did play guitar, but I was pretty much interested in teenage things. Watching Preston, though, that flipped something in me. I went, 'Wow, this is something that speaks to me. This is what I really want to do.'

I was about 18 then, I think.' It's hard to pick out the references in your playing. You're something of an impressionist on the guitar. 'Hmm, I like that.

[Laughs] Thank you. I mean, I think you do hear Preston Reed in certain songs of mine. Kelvinator, Kelvinator sounds very Brazilian to me.

On Cargo Cult, we kind of tipped our hats to Kate Bush and Running Up That Hill. The rhythm is doing a similar thing. So there are references, but they're not necessarily coming from guitar players. 'I don't know what Bowen Island speaks to, but King Pizel is very Celtic. At first I didn't want to let it be that, but then I just said, 'It is what it is. We don't have to try to make it any cooler.'

[Laughs] That's when we got a bagpipe player.' Before you cut this album, you went through a difficult period, a lot of self-doubt. Were you just disillusioned by the music business?

Were you actually thinking of packing it up? 'I don't think I ever thought I'd pack it up forever, but I did have to examine my life.

We'd spent several years touring Junior, and it was a lot to deal with. The shows were incredible.

I was doing these really big, long rock shows, and I had this amazing drummer and this guy who played unbelievable bass notes on a synthesizer-trumpet. It was epic and super-huge, and the shows were very physical for me. Between a lot of singing and playing a lot of complicated guitar while singing, and then I was jumping all around and diving into the audience - I think I was probably trying to kill myself. It's almost like I wanted to burn out. 'It's funny - I loved every minute of it, but the second it was over, I was done with it.

At that point, it had not yet been a decade, but it was still a very long time that I'd been doing this. Plus, my sister got married, and I was swearing off love - I was going to be a bachelor forever [laughs] I just had all of these stupid ideas about myself. 'I was thinking, Is there anything else I'd like to do? Because it's not easy being a musician; it's not easy being on tour and being away from my wife right now.

After the initial fun and the accolades, there isn't much left. The only thing that's left is the music. I mean, I could win an award or make more money - things could happen, sure - but nothing is more meaningful than what I have as a musician. I had to remind myself of that fact - or be reminded. 'And I had to be reminded that the guitar is infinite. It never stops teaching you, it never stops being difficult; there's an unlimited amount of things to learn, and you'll never master it. It took me a while to be reminded of those wonderful things.'

So it was a gradual process of rededicating yourself. 'Yeah, I didn't freak out or make any statements. I just took a pause for myself personally. I think everyone does that; it's just when I do it, everybody goes, 'Nooo!

We love your music - you can't!' [Laughs] Nobody does that to the guy who works at the post office.' King tracks a guitar in her 'microphone cage' at the Isokon in Woodstock, New York. The album is as close to the pure sound of an acoustic as I've ever heard. How did you and D. James go about miking your guitars? 'We had a few different ways.

Some of the songs were tracked at Mike Einzinger's studio in Malibu. James, we're record the guitars in this little station I sort of built around myself. It's like a microphone cage! [Laughs] We dragged a couch into the middle of the room, but because I'm so short the couch wasn't tall enough for all the mics and the stands and everything, so I had to sit on these big pillows. It was pretty funny.

James was changing mics around a lot. 'But the one thing I've always done, because I like the sound of my guitar from where I sit - meaning not in front of it - so what I do is, I put microphones around my ears. I have them around my head, too. I don't know if it's a superstitious thing, but it's actually how I recorded my first album. Everybody Loves You was recorded with a U-87 positioned directly in front of my face. That was a two-track record.

'The thing that I always tell engineers is, 'Come here. Come listen to what I hear.' Because that's the sound that I'm playing to - I'm not playing to the sound that's two feet in front of me. I think it's a circular relationship between how it sounds to me and how I play.' What was it like working with ETHEL - did they affect the way you wrote and arranged? Great Round Burn wasn't even a song; it was a jam. I wasn't even going to put it on the record.

I think I had the B section, and I thought it was kind of cool. The Fire Eater was completely new, and I wrote it for ETHEL in three parts. Those were both written with the expressed intention of working with ETHEL on them.' Talk to me about the Veillette Gryphon High 12 guitar. How does that affect what you play and how you write? Is it easy to play?

It looks so diminutive. 'Actually, it is easy to play. Joe Veilette, the luthier, lives in Woodstock, which was a happy, happy coincidence. Those guitars sound unbelievable. There's two songs on the record where I play it - Fences and King Pizel. Fences is a slow song, but what's funny is what a fast guitar the Veillette is.

Your fingers just fly on it. It's like you have to get out of the way, you know? But I love it. The sound is marvelous. Dave Matthews uses it a lot, too.' A few of King's Ovation Adamas models waiting for duty in the studio.

And, of course, you have your own signature Ovation Adamas guitar. What were your specifications for the design?

'I had been playing the Deep Bowl Adamas model, and I know they treated the bracing differently because of my, uh enthusiasm. [Laughs] They also tinkered with the preamp and made it very full at the bottom. Before I found the Gryphon and most of my career, I was so addicted to low sounds. I know we messed around with the wood of the bridge, and we ended up with a dyed walnut, which sounded the best. The other changes were cosmetic. The guitars are very busy visually, and I wanted to them clean them up and make them a little more symmetrical and simple.

I'm not a fan of inlays, so we only have one at the twelfth fret. 'I have to say, I do love the Ovation guitars. If I had one guitar to play, it would be that one, and it's got nothing to do with having my name on it.

I absolutely rely on it. My first record was done with an Ovation. The guitar has done for me what no other guitar has been able to do.

They're not for everybody, but for me, they're essential. My Ovation is such a workhorse. I'm very lucky to have a guitar that matches what I want to do sound-wise.'