Kill Kurt Reifler
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Kill Kurt Reifler

New York City, New York, United States | INDIE

New York City, New York, United States | INDIE
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"Kill Kurt Reifler"

The guys from Kill Kurt Reifler came on 1700 on Tuesday
…to promote their gig at Cherry Bar on Saturday night. They were great guests, a lot of fun for Mia & Daniel to chat to – so check them out! - Brittpop


"Kurt Reifler"

Kurt Reifler (born May 17, 1982 in Fort Lauderdale, FL) is an American singer, songwriter and musician.

Musical style

Originally a drummer, Kurt Reifler's solo career has been as a rhythm guitarist and singer, though he does plays drums on his recordings. He has listed Jack White, PJ Harvey, and Jeff Buckley as his musical influences.[1]
[edit] Recordings

Releasing his first solo recording in March 2007, his music was met with critical acclaim, including Allmusic’s assessment of the album as a "promising debut."[2] Kurt Reifler co-founded Red Glare Records and releases his music on the label.
[edit] Touring

Since the release of his debut album, Kurt Reifler has been on tour consistently, most recently embarking on the "48 in 08" tour, which featured his live shows in every continental state in 2008.[3]
[edit] Discography
[edit] Albums

* Kurt Reifler – Red Glare Records – (2007)
- Wikipedia


"Kurt Reifler Debut Album"

Kurt Reifler’s self-titled CD will be released by Red Glare Records on March 20. For more information about Kurt Reifler, contact deanwalker1 at gmail dot com or visit his website at www.kurtreifler.com, or www.myspace.com/kurtreifler.

Troubled musicians are often too self-absorbed to articulate their agony in an accessible manner. That’s not the case with Kurt Reifler, who let’s us peek at his personal demons while fashioning a musically mature debut effort. At times Reifler sounds like he might need a session or two on the psychiatrist’s couch. But his music appeals to that paranoid or frightened parsec in our mind that we struggle to keep suppressed.

Reifler’s bio describes him as being an “unconventional singer-songwriter, a daring vocalist with a raw delivery that is totally unapologetic”. A well-traveled singer-songwriter, he ditched his college studies for the dicey lifestyle of an itinerant musician, traveling through the United Kingdom, Eastern Europe and Italy. The self-doubt, fear, and me-against-the-world attitude such a solitary odyssey can inspire is reflected in his angst-laden compositions.

“Every Town” is not the way a new artist should start his career. It erupts from the speakers in a cacophony of thrashing guitars and unsettling, herky-jerky rhythms that will make you reach for the eject button. An angry Reifler sings in a voice that will remind
you of David Bowie during his “Aladdin Sane” period, mainly because “Every Town” seems to owe a bit to Bowie’s “Gene Genie”. This is music with an attitude, 21st century punk. It’s also not the most off-putting song on the album.

“A.M.” takes away the punk and brings on the funk. It’s short, to the point, with a scatting do-do-do-oh-oh chorus that’s catchy and cool without being commercial. There’s a bit of Lenny Kravitiz’s swagger in Reifler’s vocal and the choppy, cutting guitar riffs are an added plus. Reifler hasn’t forsaken his demons for happiness though: “If I got the will to live, I got the will to die”, he sings against the diddy boppin’ beat.

“Smile” puts the music back on a more challenging level with more unpredictable drumming and Kravitz-like singing, but Reifler handles his guitar like a wild mustang and now the bass is noticeable in the mix. This is sophisticated rock, especially the dirty Mick Ronson-like guitar solo. Although he’s no cookie cutter vocalist, “Smile” may leave you wondering what the heck Reifler’s singing about. The music shows a lot of promise, but “Smile” also underscores that Reifler’s voice and lyrics are best served in a quieter setting.

Despite its title, “Arrogance” is Reifler’s most subdued song yet. You can hear Jeff Buckley’s influence in Reifler’s vocal phrasing, but he has something the late Gen-x crooner had but didn’t exercise -- control. Unlike the first three tunes, “Arrogance” relies as much on Reifler’s vocal power as the music, and that’s huge plus. “Arrogance” also has lyrics that are dark, disturbing and thought provoking: "I haven’t communicated with another human being since the age of 14, when I could see something wasn’t right.”

“Dreams” owes more to Tim Buckley than his son Jeff, mirroring Buckley’s experimental, less accessible period. This has more of the multi-layered guitar attack found in “Every Town” but the drumming is more on target, which helps to convey Reifler’s anguish: ‘I used to be afraid of the darkness, but now I only fear the light”. It’s the type of bad acid trip that may improve with time, so give it a few listens.

There’s nothing graceful about “Graceful Exit” -- it’s a full-out sensory attack. The bass takes a predominant role in the mix, bubbling in and out of the off-kilter, dizzying arrangement. The line “And as death travels up my sleeve” gets repeated a lot. It’s an interesting metaphor, but sorry Kurt, there’s nothing up your sleeve with this one.

“Never Be Free” is one of the CD’s standout tracks with Reifler haunting your mind like a wailing ghost. There’s no forced showiness here, and Reifler uses the silence between the notes to his advantage. “Never Be Free” is mystical, frightening, and worth listening to again.

“The Horse’s Mouth” starts off calmly, then turns into a war. Reifler’s fondness for epileptic rhythms gets the better of him here. While the bass runs are attention-grabbing and Reifler creates spooky guitar soundscapes that rival Spirit’s Randy California, the smashing cymbals and reckless abandon arrangement run the song to ground. Better include a lyric sheet with this one because it suffers the same problem as Reifler’s other raw material – it’s too hard to hear his voice beneath all the strum and drang. As a result, he sounds like he’s rambling rather than singing. Too bad -- despite the muffled anguish, there’s something interesting here.

Sometimes titles really do reflect the atmosphere of a song. “More Sad Than Strange” is another standout track. It’s atmospheric, like “Never Be Free”, with wraithlike wails and hushed accompaniment. “More Sad Than Strange” is spiritual and spacey, a musical blend of Mahogany Rush and Jeff Buckley. It’s is a well produced piece that plays off of Reifler’s strengths, particularly the hurt in his psyche.

“Wake Up Dead” will probably slip a few people’s discs in the mosh pit. The drums go out as they came in (as in “Every Town”) powerful, thrashing and angry. This is schizophrenia in high gear. Take a singer, toss him in a washing machine and set it on high and this is what you’ll get. A lot of noise and you’ll still feel very dirty. Not a great song to exit on, but there are enough memorable tracks before this to excuse Reifler’s urge to go out with a shocking bang.

Reifler’s on to something when he emotes in a quieter mode. The chaotic kitchen-sink approach on the uptempo songs tends to send the music careening out of control, and the lack of cohesion buries his voice in the mix. There’s an unrelenting demon hanging over Reifler’s shoulder that can either inspire him to great heights (“Never Be Free” and “More Sad Than Strange”) or make him sound like a pissed of punk (“The Horses Mouth” and “Wake Up Dead”). You’ll be as much frightened for Kurt Reifler as you will for yourself when you listen to him. But I can guarantee you’ll listen to him again.

Kurt Reifler’s self-titled CD will be released by Red Glare Records on March 20.
For more information about Kurt Reifler, contact deanwalker1@gmail.com or visit his website at www.kurtreifler.com, or www.myspace.com/kurtreifler.

Posted by Annie on Saturday, February 3, 2007 - Coffeerooms


"Kurt Reifler"

If I had a C-note for every goofball honky with a stack of Chili Peppers’ and/or John Mayer CDs and a self-professed ability to “funk out” that I’d been forced to listen to since taking this position a half-decade ago, I’d almost have enough money to pay back my student loans. And yet, every once in a while, a cat comes across my desk that simply oozes “real deal.” Kurt Reifler is one such exception to the rule. A self-taught drummer, guitarist and vocalist with a predilection towards both old-school soul of the Curtis Mayfield/Sly Stone/Stevie Wonder variety as well as newer vintage R & B a la D’angelo and Jamiroquai, plus some truly oddball influences like PJ Harvey and (for a blessed change) Tim Buckley, Reifler has cut and released a fairly stupendous indie album, and he’s touring intimate venues like coffeehouses and record shops in every state in the Continental U.S. in hopes of winning over converts the old fashioned way.

Though his album presents him as a double-badd soul brother (think a half as crass Lenny Kravitz hunkered down with John Fruscianté for some serious one-on-one time) with full electric backing, this gig will likely find him alone with an acoustic guitar — which is how he worked out that record’s material on an extended pre-production busking tour of Europe. - Connect Savannah


"Music Review: Kurt Reifler"

Why isn’t this guy signed to a major label?

I have to admit that two songs into the indy-released CD by Kurt Reifler I was just blown away and that question kept running through my mind. When I finished listening to the CD, I had to double check to make sure I wasn’t mistaken. Nope, no major label. How is that possible?

Reifler brings a fresh, hearty voice, smooth guitar playing, and a confidence that you don’t find in some established artists, forget new artists. One of the bibles of music, Billboard magazine, has deemed the 10-track disc “a promising debut.”

With all due respect, talk about an understatement.

Consider — “Smile,” has a powerful alt-rock sound accentuated by luscious, mature guitars and a steady, but not overdone, percussion. The lyrics are stunningly simple yet convey a powerful story (“When I see you smile, It tells me irony has taken a hold of me, When I see you smile, It tells me death has come to translate my thoughts tonight”).

But Reifler is no one trick pony. Take the equally lush “Arrogance,” that slows the pace a bit and mixes in a definite R&B/soul sound with the rock (“Your arrogance, That you pervade, It offends me, Your arrogance, That you convey, It offends me).

According to his official bio, Reifler developed his skills in a funk/rock band, as a session musician who played original material during open mics in New York for a year. His influences are, not surprisingly, all over the board. But listening to his music, one gets the impression this is a man who thinks about his experiences – and shares them best through his songs. Listening to his songs is almost like seeing the experiences he’s had – in the U.S., Eastern Europe, the U.K., and elsewhere – through his eyes. Or talking to a very close friend.

Consider the lyrics to “Wake up Dead” – “Don't know how to be afraid, Can't help but to feel no shame, Wake up dead each day to see, the World wouldn’t wait for me.”
The world wouldn't wait for me.

What a find.


Read more: http://blogcritics.org/music/article/music-review-kurt-reifler1/#ixzz11SLAPWjZ - Blogcritics


"Music Review: Kurt Reifler"

When terms like "indie," "singer/songwriter," and "open mic" are flung around, a (perhaps unfair) stereotype can build in the prospective listener's mind. What happens to me, particularly with the "indie" thing, is that I sit around and ponder on the meaning of the word. Is this a category, meaning that the artist is 'independent' of the mainstream? Or is this actually a musical genre?

Well, since there are no good answers to these questions (Not entirely accurate, since we all know that the real answers are: "It means nothing," "What, are you, like, 50 or something?!", and "Dude, just listen to some Pavement."), I don't let the indie thing bother me. Well sure, I do have a general idea of what folks are getting at, it's just that I really hate to let a label cloud my judgement.

Kurt Reifler's background contains the singer/songwriter thing as well as a bit of indie rock, both of which can be heard on this debut album. You can hear open mic sensitivity as well as echoes of the gnarly, nonlinear grind and sway of Reifler's funk rock group Sexred.

Indie rock? Ah, who cares! What I like are the jagged shifts in rhythms. Right from the start "Every Town" (an ode to travel, sort of) moves from some open chord strumming to the strutting main theme to the tense start & stop of the bridge. One of my big complaints against "modern rock" remains that guitar solos were removed and replaced with...nothing. So you'd end up with songs that had no real partitioning. Oh sure, there was the loud part, the soft part, and then maybe a reprise of the loud. To my ears, only bands like The Pixies and Nirvana were successful taking that approach. The uptempo songs on Reifler's album further are illustrations of how to spark interest by avoiding the ordinary.

"Graceful Exit" is a perfect example. An extra chord is added to the opening riff to move things away from a straight 4/4 feel. Maybe not for everybody. Maybe even uncomfortably "proggy" for some. For me, it opens a door back into the era of more edgy rock from groups like Pere Ubu and Television.

The funk? Yes, it's on full display on tunes like "Smile," "The Horses Mouth," and "A.M." The latter song? You will turn this up. You will have no choice.

Of course, the singer/songwriter inner excursions are here as well. While they might be rendered as full band arrangements, "Arrogance," "Never Be Free," and "More Sad Than Strange" show Reifler's introspective side. I particularly like the ringing guitar arpeggios on "More Sad..." There's a little Chris Isaak in there, minus the Tiki torches.

"Wake Up Dead" is a raveup rocker that closes out the disc. Given the "sub-genres" present on this album, it's difficult to pin down where Reifler's true musical heart lies. Is that important? With music as interesting as this, I honestly don't care if that question is ever answered.

By the way, my replies to the "implied quiz" at the start of this article are: a) "Of course it means nothing...and everything". b) "I am not 50. Yet," and c) "I don't own any Pavement records."



- Blogcritics


"Kurt Reifler"

I’m certain that the dreams of rock and roll freedom will never die. Even in a world, where we’re convinced that celebrity trumps all, it’s actually talent that tends to muscle it’s way out of the crowd. Kurt Reifler’s self-titled debut album tells us a few things we’ve heard before, and a few things we haven’t. The sound plays like a tribute to Jeff Buckley, but with substantially less vocal wailing, and layers of blues guitar that ride the pedal. Reifler, who spent considerable time in bands, decided to strike out on his own, creating the lyrics, rhythm guitar and drums, as well as laying down the vocals on the album. With a background ranging from jazz and soul to classic rock, Reifler has contributed a promising debut, with a growling sound of self-discovery. - Feminist Review


"Kurt Reifler Review"

The solo debut from this well-traveled singer/songwriter (who prepared to record it by touring around Europe with an acoustic guitar and a duffel bag before settling in New York) shows a young man with plenty of passion and a perhaps healthy unwillingness to be tied down to any one narrow style. "Every Town" has a messy, punky edge; "A.M." flirts with funk; "Smile" is straight-up guitar rock; "Graceful Exit" plays subtly but effectively with interesting rhythmic dislocations. The album sounds self-produced, which isn't entirely a compliment, but the slightly claustrophobic ambience and rudimentary drum sound does seem to work well with the fraught tone of his lyrics. Reifler is a fine singer, if not an especially distinctive one, but you get the impression that if he hooked up with the right producer he might be able to tease out more of a unique and personal sound. The producer might also convince him to leave behind such unfocused experiments as "Wake Up Dead" and the so-so ballad "Never Be Free". Overall, though, this is a promising debut. - All Music


"Q & A with Kill Kurt Reifler"

My name is: Kurt Reifler

I play in: Kill Kurt Reifler

We sound like: Robert Johnson with a lightning bolt up his ass.

Inspired by:Black American Music created no later than 1980.

We reside in: Melbourne currently, New York generally, Florida during the holidays, and we tour enough to legitimately claim homelessness. We will be touring the USA starting to January behind our new release, Sure as the Swing of a Pendulum.

Our local music scene is: Wherever the hell we are. New York is where we felt the most comfortable and came together as a band. We get pretty neatly categorized into the “rock” category and people are generally pretty disappointed that we don’t have visible tattoos, stud belts, and exclusively black T-shirts.

Our best gig to date was: In some ways it would be the first Melbourne show we played at this dive bar in Fitzroy this past May. It meant so much to us just to be playing again after a pretty long hiatus. It was like losing your virginity…again. And perhaps the second cherry popping is all pleasure and no pain.

The song that gets me dancing is: Son of a Preacher had me bopping the other day in the coffee shop. “The only man who could ever teach me…”

First album I bought: Dad gave me the Red Hot Chili Pepper’s Blood Sugar Sex Magic for Hannukah in 1992. I’m a half Jew so I always got Christmas presents and Hannukah presents. What a deal! Anyway, that album changed my life in a lot of ways, but not for almost a decade later. In fact, I got rid of it at a local CD exchange (remember CDs!) and then had to re-buy it when I was in high school. Flea is Jesus Christ, in bass form.

Do you play Fifa? No – I suck at video games, and I like to pretend to be good at things…so I avoid the things I suck at. That keeps me looking cool.

Favourite Restaurant: Taco Bell! If you are on tour, only have a dollar in your pocket, need a meal, and are open to the idea of pooping your pants, Taco Bell is THE place to be.

The thing I hate most about bloggers is: This is a trap, but I am going to walk into it. Blogging and Facebook, and Myspace (back in the dark ages of 2004, 2005) have given everyone a goddamn say in everything. Who cares what anyone thinks? I don’t even care what I think.

My Musical Guilty Pleasure is: The Neptunes. Every time Pharrell and company make a beat, no matter which crappy pop star it’s for, I always can feel it in some way.

The sporting team I follow is: The New York Knicks. I’m a huge basketball fan. I had to go Crown Casino SEVEN mornings in June to watch Los Angeles win the NBA Finals in Melbourne this year. I got in a screaming match with a Boston “fan” at the 6th game. The best part about arguing with Australians about basketball is that they don’t even know the rules. That would be like me trying to talk AFL with a lifelong footy fan. I’d look like an American asshole - which, coincidentally - is exactly what I am.

If I weren't a musician I would be: A prostitute. If I couldn’t give aural, I’d at least want to give oral.

- White Boy Dance Floor


Discography

2007 - Kurt Reifler

2011 - Kill Kurt Reifler, Sure as the Swing of a Pendulum

Photos

Bio

Kill Kurt Reifler is an American two-piece rock and roll band comprised of Justin Kill Stoddard on drums and Kurt Reifler on vocals and guitar.

The band officially formed in Thailand as the two American friends teamed up during their independent global travels. Combining their names to form the band’s identity, Kill Kurt Reifler promptly settled in Australia to record their debut album Sure as the Swing of a Pendulum. The album was recorded analogue, to tape, in just three days.

Preceding the band’s conception, Kill and Kurt had been roaming the globe for nearly a year independently of each other; Kill throughout Europe and Nepal, and Kurt throughout Europe and India. They’d played together several years ago in a few different projects, most recently touring behind Kurt’s solo album release in 2007. This time around music didn’t enter into the equation for the first few months of their rendezvous. Rather, they trekked through portions of Cambodia and embarked on a motorcycle adventure up the coast of Vietnam together before ultimately landing in Melbourne, Australia.

Kill Kurt Reifler will be on tour in Australia starting in October, 2010 and in the USA starting in January, 2011.