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Review from Blood Ties WebZine

Overall Rating: B
Composition: B
Sounds: B+
Production Quality: B+
Concept: B
Packaging: C-

Koff Kirk is a collaboration featuring Roger Smith of Chefkirk and Jan-m. Iverson of Koff Koff, the latter of which I am unfamiliar with, the former, I am probably overly familiar with. I think it could be said that if you are a general fan of Chefkirk's work you will enjoy this, it's harsh as hell digital-styled noise washed jeans that fit quite comfortably. Actually this is such a bed of noise that I most enjoy listening to it at a medium-to-low volume. The truth is, it works well as background music which is a loaded compliment of course. Each track is untitled and the first one starts off with a moving wall of harsh noise, it's strange because the sounds here somehow come off to be as colorless as the cover artwork but in a way it also works because it has a sense of cohesiveness that is appealing rather then tiring. The track also evolves smoothly into a chunky rhythm of explosive harmony towards the end. The second track here takes up the bulk of the disc at 21 minutes and for the first part is a bit more meandering, closer to Chefkirk's older style. The track changes up about 7 Ĺ minutes in with some interesting very digital drones but they break the tweaked out noise is an effective way before leading into some computerized experimental sounds and eventually degrading back into horrid abrasive chunky noise (I mean this as positively as I can). If this is all digital it's surprising the thickness of the sound that Koff Kirk has achieved, if not it's surprising how cold and cutting it all sounds. But they keep things interesting with a lot of changes and even throw some sampled loops in from time to time which adds a nice variety of sound but can sometimes come off as being a bit wanky. The third track begins with a churning wall of razorblades simply assaulting me at all angles, I enjoy the quality of the sounds, they're quite unique and have a tone to them that I find quite appealing, more like an orgy of sounds rather then a bed of distortion, but it can't be denied that distortion is a major player here. The sound generally reminds me of the better digital Merzbow work but with less of a psychedelic style and more of a scatterbrained experimental aesthetic. You'll also find a lot of very harsh resonating bell tones here that Koff Kirk makes effective use of, probably the most significant showing up about 4 minutes into the track. Overall one of the more successful outings of Roger Smith and a good introduction to the work of Koff Koff as well, I assume. If you're into experimental noise, digital noise, or digital-era Merzbow this is probably right up your alley.


Review from Noisear

Koff Kirk is Roger Smith (of ChefKirk) and Jan-Morten Iversen (who does most noise under the title Iversen) and is an ongoing collaboration. The fact that these two are working together on a release was enough to want me to review it. This release is noted as a .wav file collaborative project thats heavy on the digital manipulations. All tracks are untitled and it comes packaged in a DVD slimcase with no inserts. The front cover is a black & white picture of a close up of a cloud I believe. No art on the CDr either. Simple. Track 1, just under 6 minutes, starts out with crunching thatís about as textured as you can get. Itís then quickly switches to some high pitches squeals with loud scrapping tones. Near the 3 minute mark a great loop comes in that sounds like an eastern guitar. Very nice and it truly works well with the track and it distortion of high notes and tones. Track 2, the longest one at over 21 minutes, sounds very much like one long live take. Like Iím sitting in a concert and watching these two perform in front of me, even though I don't think it was. It begins with a lot of metal scrapping patterns and some distortion that hisses lightly in the background. Some feedback occurs as well, which adds to an extra layer of noise. Near 4 minutes it goes into a vibrating low bass tone that switches pitches here and there. There are some great looping patterns that immerge soon after. Then comes in some digital delay rips with a yelling loop added in. Good switching between textures and noise levels in this track for sure. Gets really interesting at 8 minutes and I canít begin what theyíre using to make these sounds I hear. Lots of high and low ends in this track and that helps you get through the 20+ minutes very quickly. An excellent listen overall. It ends with an uber low bass riff that I think is the best part of the track. Track 3, at 7:25, sounds very "spacey" at the start and soon goes in to a computer sounding rumble tumble with heavy distortion and "computer click" sounds in the background. Hard to describe but Iíve not heard anything like this before. It is however very Iversen sounding from what Iíve heard. My personal favorite track on this disc. If your use to the cut up style of noise like some Sissy Spacek and Jake Vida then this track fits right in. Track ends with a massive high-pitched note that I couldnít even finishÖhurt the fucking ears. Track 4, at 2:07, finishes the disc off nicely with a low bass digital glitch that repeats at 300bpm. Half way through it pulls out and gets into a different pattern with some minor distortion layered overtop and ends like the previous track, a high tone that just drove my cats crazy. Separately Iíve heard these two and I think theyíre noise is some of the best Iíve heard. This disc is the first time Iíve heard them together and although Iíd rather hear their solo works hearing the two of them was a treat and I wasnít disappointed at all. Noise I truly never heard before.


Review from Wjiik

This is some of the most surprising records I've heard over the last year. After listening to a lot of Iversen's solo work as well as what he's done with Sindre Bjerga, I've got used to the ambient side of Iversen. This record shows that he can do a lot more, and this time real noise with Chefkirk. Haven't heard that much from Chefkirk before, but this record makes me really want to get more from him as well. This is a harch record, and it's both variated and concrete, and that makes the record exciting all the way from the beginning to the end. Hard to say what this record could remind you of, but the first association I got when I listened to this was something like Merzbow's noise-level with a little more ambient-structure. But it may feel different for you. One thing is for sure, and that is that this record is a good purchase for all noise-freaks!


Koff Kirk previously released a 3x3"cdr on TIBProd.