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This past Saturday night we had dinner and drinks with the usual suspects at 609 and afterwards caught King Thief at The Pageant. Do you remember that one concert you went to that one time? You know, it was THE concert to which you measure all other concert experiences against? The stars align and everything in the universe pauses, only the music continues: a sonic nirvana. Fireflies or fairies flit about the air, it’s that magical. One of those concerts where the band is established and their performance validates that frillion-figure advance they pocketed for the album they’re currently promoting – or it’s even better: it’s one of those shows where you witness the birth of something. You watch as a ragtag group of kids completely transform while onstage; where they come into their own. They are completely unaware of it; they’re playing and singing their souls out to over a thousand screaming fans. They’re bent over their instruments; the sweat dripping from their brows betrays the somber, formal suits they donned for the show. Everyone in the room is united in appreciation.
The people at the bar, the ones who planned on drinking through this group’s set, hold their glasses, jaws agape, eyes cemented to the stage. The bouncers, cynical, hardened, critical of everyone who is not Rush, forget their attitudes and watch. The minors stop throwing baleful glances towards the bar. Everyone watches the stage. Consciousness is lost, reflexes assume control, everyone does the little too-cool-for-dancing head bob in rhythm. Your skin prickles, your arm hair raises.
Some people are lucky enough to see a few shows like that in a lifetime. I saw one like that Saturday night. I count it as one of the best five concerts I’ve ever attended, and I’ve attended more concerts and seen more live music than Donald Trump has money. - www.mamalogues.com
King Thief | The Inferno (Shock City)
Call it alternative rock, call it emo, call it glam-tinged, but however you categorize it, the new release from local pop-punkers King Thief (formerly known as Ultra Blue) is practically a masterpiece. Strings and pianos lend a classic credibility to the rock-fueled tunes, and the boys truly put their best foot forward and leave listeners impressed.
"New England Hellcat" is deliciously catchy and single-ready; the song is richly vibrant, textured and toe-tapping. Soaring vocals and a group chorus quickly pull you into "Mahogany"; on "Red Light Reflex," frontman Brooks suggestively invites, "Give me love in a black dress/ just how low can you go?" Louis Wall's drums really stand out on this track, as does a pointed guitar line from Sam Hill. "XO" is, of course, the band's best known track, and here it's even sexier, a black ode to killing for love. The slow-burning "Exodus" is yet another example of each of the band members' strengths coming together in a gloriously spooky whole. Vocal effects play heavily throughout the disc, and are extra effective to kick off "Serpentine," yet another twisted tale of love gone wrong.
Kudos to the tight production on this disc, too; all the sounds are sharp, distinct, and beautifully meshed. This one's a real treat on headphones; aw, hell, it's a real treat, period. A
RIYL: Panic! At the Disco, My Chemical Romance - Playback StL
Discography
King Thief - The Inferno (2007)
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Bio
Their songs are a requiem for discerning music lovers. King Thief (formerly known as Ultra Blue), the unassuming quintet from the streets of St. Louis, is the harbinger of a burgeoning new sound: Punk-pop cabaret. Fusing together bits of new wave, punk, rock, pop, classical, and wrapping it with a thespians flair, King Thief is poised to expand their success on a national level.
The group has created a roar for themselves in their oft-overlooked hometown. A thousand people showed up to the release of their previous
album, Maya(2004), which sold just as many copies. Radio spins from across the country, a growing European and collegiate fan base; playing any shit town they can and putting time into opening shows for groups such as Breaking Benjamin, Finger Eleven, Story of the Year, Mourningside, and Polkadot Cadaver, to name a few, all contribute to King Thief's momentum.
Their newest offering (The Inferno-2007) offers a glimpse of King Thief's theatrical dramatics and dark story telling-most of the songs' stories include a characters demise.
While on stage, King Thief shows incredible presence. Crowds seem to be constantly singing along with Brooks Bracken and crew (they all seem to sing). A self taught pianist and jack-of-all-trades musician, Bracken writes the group's lyrics. He left his place at the keys to interact with the group's audience; longtime pal Nevada Alpine Kent (truly his name) assumed the job; "Bert" has also incorporates organ and lush vocal harmonies with plenty of drama. Louis Wall, King Thief's classically trained percussionist did stints in a youth orchestra and Drum and Bugle Corps. Together he and bassist Jon Hill create a very fit rhythm section. Guitarist Sam Hill completes the group with his innovative playing style; equally pooling from both traditional seventies guitar heroics and 1990's atmospherics
King Thief's music is a dramatic play upon rock, less pretentious than
the 70s operas, less formulaic than their pop compatriots. If ever
there was a group to merit hype, they are it.
Check out a short interview of King Thief with live footage: -------------> http://www.youtube.com/watch?v=rmOaePFOUJo
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