Karoshi - Pearl Harbour - 38:57 - 1999
	Karoshi are two guys that make very minimalist industrial/experimental music, with only an Akai S2800 and Cubase. The grooves (if you could call them that) are pretty good, and kind of remind me of early Residents at times, and other bands like Controlled Bleeding. All the tracks are instrumental, and although quite repetitive, they do keep it interesting. I'm not sure what it is, but something just seems to be missing. Maybe it's that the tempos and patterns are very similar, I don't know. I do think they could go on to make some good creepy background music that would fit in perfectly in a video game.

	Keoki - ego-trip - 63:49 - 1997
	The appropriately named "ego-trip", is straight up, text book DJ/club/techno. It is very up-beat, playful, and somewhat tongue and cheek, all of which are detractors to me. It seems like every time he starts to hook me into a good groove, and there are some juicy morsels to be had, he does something stupid like open his mouth, or loop a really stupid sample. I'm pretty much going straight down the middle on this one, you definitely have to pick out the moments. Keoki's kind of like a pimped out Yuggo: sure it's got everything, and it's top of the line, but it's still a Yuggo. Bonus points for packaging.

	Kiss - Destroyer - 34:05 - 1976
	This was my first album ever: as such, how could I put it in perspective? Also, if you weren't around at the time to live through their existence, their phenomenon, than it just isn't the same. Kiss was way larger than life. Just the painting on the cover alone was enough to keep me entertained for hours at a time. Kiss are the ultimate caricature of rock stardom, each equipped with their own dossier, tricks, and personas; all wrapped it an eternal mystery and quest to find out who was behind that makeup. It wouldn't be until many years later that would reveal two of the ugliest mugs you ever did see. What's more, the music rocks!

	Kool Moe Dee - How Ya Like Me Now - 50:07 - 1987
	Kool Moe Dee is so old school, he's almost pre-school. In his day, he was about 6 months ahead of his time, but now, it's a little too corny for me. Typical sucka M.C. and gettin paid fare shows it's age. Mr. Moe Dee was always an advocate for the First Ammendment and was one of the first "crossover" stars of rap. (ok, this review sucks, I will re-write it eventually)

	KoRn - Life is Peachy - 48:14 - 1996
	This CD has the most bizarre beginning I have ever heard. Korn is kind of a Primus meets NIN meets Tool meets Filter meets Quicksand with an edge. They are hard, but keep a balance like Pantera's "This Love". There's an interesting and unexpected cover of one of Ice Cube's best songs "Wicked". Then comes a geeked out version of "Low Rider" with bagpipes! It sounds like these guys did too much acid in band class, but this thing rocks. The more I listen, the more me likes, I'm considering an up grade on the rating. All this and some "free" (fuck you Sony) CD ROM action too.

	KoRn - Follow the Leader - 70:10-11 - 1998
	"Are you ready" for the "heavy, heavy monster sound" of Korn? The best thing about Korn, is that they are Korn, and not one of a thousand knock off bands that have sprung up in their wake. Another thing that defines Korn is their full, Phat, Fat, wicked bass center, that coupled with Jonathan's nervous/angry vocals, sets a dark distressed mood. Follow the Leader finds Korn's sound maturing, (both in production and direction) and slowing down a bit, but what the new style lacks in speed it more than makes up for with it's mercury heavy sound. The first half of this CD is nothing short of phenominal, although the end tends to loose a little focus with cameo's by Ice Cube and Limp Bizkit.

	Kraftwerk - The Man-Machine - 36:17 - 1978
	Kraftwerk is not going to go down in the history books for insightful, thought provoking lyrics, but without a doubt they were a major influence on not only bands, but entire genres as well. This band of German musicians fused together music with technology in a way that was light years into the future. Kraftwerk had the ultimate goal of becoming a completely automated band, whereby their "live" performances would be attended by their robot counterparts who would play improvised programmed music. (sound's like Depeche Mode borrowed some of that idea)

	Kraftwerk - Computer World - 34:36 - 1978
	There are some moments in life you never forget, maybe it's your first kiss, or your first day in school; for me it was the first time I heard the song "Numbers". To say the least, I was blown away. Kraftwerk made sounds with keyboards and electronics that were light years ahead of what anyone was doing. This music is hypnotic ear candy that more than fulfills the synthetic potential. Even 20 years later their unique vision in sound is just as fresh and futuristic as it was at the time. As far as I'm concerned, every sub division of the techno/electronica tree, all grew from these roots.

	Kraftwerk - The Mix - 65:17 - 1991
	The good news is that it's Kraftwerk, the bad news is that it's not so hot. The idea of Kraftwerk remixes is enough to get my mouth watering, but with the exception of one song this CD is pretty much a bust. Basically what they have done, is stripped each song of the primary elements that gave life to them, and it it's place inserted your basic monotonous "bump bump" club beat. Even on songs like "Autobahn" and "Trans Europe Express", that they could have totally remade, very little is done. A good disc, but a major disappointment. "Music Non Stop" is the only one they actually punched up, and has a really great break down in it.

	Kreator - Pleasure to Kill/Flag of Hate - 56:37 - 1996 (86-88)
	Just when I thought people had given up on tring to make CD's pure digital, an unlikely candidate like Kreator comes along with an ADD. Kreator had some pretty kick ass stuff in the 80's and I've always kept them on the burner for a new purchase. After reading an article in S.O.D., they mentioned how Kreator had kind of lost their way over the years, and now with their new release, they have come back to making good music again. Well, boy did I fuck up, despite that voice in my head that said something's not rite with this cover, I saw the ©1996 and figgured, this must be the place. Stupid me, this is just a remastering of some stuff from '86 when they were still blossoming. It was pretty extreem for the time, but not really what I wan't to hear now.

	Kreator - Extreme Aggression - 39:41 - 1989
	For a metal band, at that time, Kreator pretty much had it goin on. I'm not saying they were revolutionary innovators, but they were definitely way more aggressive than most metal bands in their day. Particularly if you consider all the hair metal that proliferated back then. Hate is Kreator's specialty, but their strength is in their guitar work, that could have easily been filled with squealing, squelching, and pointless solos, like most of their contemporaries, however thankfully is not. Fierce and tight, Extreme Aggression still holds it's strength to this day.

	Kreator - Renewal - 38:57 - 1992
	What tha...this is Kreator?! Man did these guys ever change. I had to go back and check my liner notes just to see if it was the same lineup. The biggest surprise is the change by vocalist Melle Petrozza, talk about drastic. I do like the new vocals, although the old style worked well too. Now on to the sound hmmm, its more polished, more commercially viable (don't worry, no power ballads) still hard, but not vicious, all n' all it sounds pretty good, but nothing really stands out to me at this point. Maybe I'll like it a little better after more listening.

	Kris Kross - Totally Krossed Out - 43:21 - 1992
	There is really no legitimate reason why a slightly "hard edged" rap CD by two little kids should be anything other than crap, however, something weird happened, this is a great CD. I suppose most the credit has to go to the impeccable board skills of Jermaine Dupri, and Joe "The Butcher," although I don't totally discard the flow of the pint sized dynamic duo. The reason this CD is so strong is because the music is so tight, and it shows a perfect example of how sampling should be done. Although there are a few absolutely horrible "party" songs, and they tend to suck on Ice Cube's dick a little too much, overall they were able to make a more or less pop-rap CD that was neither sugar coated nor faux gangsta.

	Kris Kross - Da Bomb - 38:41 - 1993
	The sophomore release by the Mac Daddy and Daddy Mac was a little disappointing, but not surprisingly so. The first CD had so much energy and was such a surprise, that even if you didn't take into account the Gary Coleman factor, it would be a tough act to follow. On the other hand, this is not a bad disc, and it does have some pretty descent beats, courtesy Joe "The Butcher" and Jermaine Dupri. There is one outstanding track, but it owes it's credit to the wonderful track it is built around, "Just A Touch of Love" by Slave.

	Kyuss - ...And The Circus Leaves Town - 72:02-30 - 1995
	Kyuss is not your ordinary band, but at the same time, they aren't extraordinary either. They have an odd sound that is kind of muted, and reminiscent of bands like Tool, and for some reason remind me a little of Fudge Tunnel. I didn't care for it much at first, but I like it pretty good now. They have a more mellow sound than I was expecting, but I'm kind of acclimating to it. Also, the majority of the sound exist in the mid-range, which I find unusual. (Sometimes good, sometimes bad, but mostly just different) Time padding included.