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The best kept secret in music


"Kilroy-"The Violent Jolt of The Capitol""

Before jokesters like Toby Keith got ahold of the imagery, there was something to be said about being a uniquely American band. And really, there still is. There’s a subtext and beauty to so much of the best American music and Athens four-piece Kilroy fits in this tradition alongside the likes of Neil Young, the Feelies, the Dream Syndicate, the Scud Mountain Boys and Tom Petty. Hell, the band is named after the distinctive brand of graffiti left by U.S. troops throughout Europe during World War One - it’s hard to get more American than that.

“Tenderfoot” follows the pathways of the aforementioned Young with its fuzzy, grand intro and minor-key chord progression. “Blue Star on a Gray Field” slowly drifts along with a guitar melody straight out of the Galaxie 500 songbook, albeit with a thousand times more punch. When a pretty guitar interlude occurs around four minutes in, it serves the actual song rather than merely showcasing a particular performer’s ego, and this is something that Kilroy does very well. The band uses as much studio action as it needs to get the songs across, but the focus is conveying the songs; and as a result, the group shines.

Kilroy is lyrically strong as well, with one line in particular resonating throughout the album. On “Old Money,” “Well, oh, well / put me under the jail / Lord knows I was the hammer and the nail” is the lyrical touchstone of an album that deals heavily with loss, regret, soft melancholy and tenderness.

The sole misstep on this record is the crawling psychedelia of the intro to “The Mayan.” But there’s just so much to love about this album that to call it perfect would risk having people dismiss it as easily. And that would be a shame because, even though nothing may be perfect, The Violent Jolt of the Capitol comes pretty damn close.
- Gordon Lamb (January 30, 2006)

Live Reviews - Flagpole Magazine

"Club Notes"

I've always admired Kilroy for its logo, which looks like a cross between a dragon and a chicken, and now after seeing the name crop up again and again, I finally get to hear how these lads shape up. For anyone who saw Bluebottle Kiss at the Caledonia Lounge about eight months ago, there is some direct correlation between that group's atmospheric sound loaded with ringing guitars, and the bluesy rock currently cascading up the bar, especially in the warm vocals of Mike Perkins and Kevin Gilbert. When Gilbert sings solo, though, there is a hint of the Dylan-meets-Richards sound championed by a frequent visitor to our stages, the Berlin-based Nikki Sudden. When the bandmembers all strike up together, there is also a hint of unfathomable depth that should appeal to fans of the Magnolia Electric Co.
- Ben Gerrard (December 18th, 2005) - Flagpole Magazine


October 2005- "The Free EP"

January 2006- "The Violent Jolt of the Capitol"


Feeling a bit camera shy


In January 2006, Athens Flagpole Magazine published a review of Kilroy's "The Violent Jolt of the Capitol," hailing it as a "near perfect" success. This past january, a full year after the initial studio sessions, and a full decade since the bands birth, marked an unfathamoble leap in the right direction for Kilroy.
Now heading out on the road, selling tee shirts and CDs, they are leaving their make-shift living room reheasal spaces for good, and and are ready to see the world through their tour van windows.
Though the world and musical climate has changed immensley since the mid-nineties, Kilroy's commitment to their art has not. The ten years of anonymity has only allowed Kilroy to flourish musically, gaining comparisons to Tom Petty, Galaxie 500, and The Magnolia Electric Company, as well as an avid south eastern fanbase.