Magician for different Wellington bands, Brad Gallen comes back with a new playlist to illustrate Keller Kinder’s influences and aestheticism.
- Rammstein – Mein Teil
Rammstein have always arguably been the #1 influence on Keller Kinder – the project originally started as planning to put together a tribute show, but playing original music got in the way. Mein Teil is an example of everything we wish Keller Kinder could be; big, loud, stompy, scary and catchy all at once. I also love the simplicity of most of Rammstein’s material, compositionally speaking; I think it’s part of what enables the music to be as big and bold as it is.
- Type O Negative – Love You To Death
If Rammstein was our original musical goal, then Type O Negative were our original aesthetic goal. Drenched in a strange masculine gothic, with tongues firmly in cheek, they’re the reason we started out writing silly songs about ravens and absinthe and the like. But as the story goes, we eventually ran out of cliches to sing about. The Drab Four never took themselves too seriously though, and that’s something we tried to keep to, even after our music grew more sincere.
- Diary of Dreams – Rumours About Angels
The Dark City sample. The bassline. The drums. The pads. And then the vocals. When Duncan put me on to these guys, with this track, I fell in love, and listened to this album on non-stop repeat for months. It changed my approach to music production – the influence is pretty blatant on some of our balads – but I think it ultimately drove the band into a more electronic direction, as opposed to being a rock-band-that-uses-a-drum-machine, if you know what I mean.
- Psyclon Nine – Parasitic
I’ve heard a lot of stuff about this band and the people/person behind it that makes me dislike them; but I still really dig this track, and it was highly influential in refining Keller Kinder’s sound into something heavier, with more reliance on synths, samples, and dance beats complemented by symphonic hooks. Classic 2006.
- The Cure – A Forest
I’ve always loved this as one of the most atmospheric Cure tracks, and we originally had a few tracks that were in this sort of vein – jangly guitars and 16th note basslines – but they never saw the light of day and for that I’m actually quite thankful because they were likely terrible. There’s a special charm to this music though, and the other ‘goth’ stuff that was being released around this time (whether it was called goth or not), and we like to try and hang on to that charm as a reminder of where we came from. In fact, if you listen to our track ‘Tale of the Widow’, you might find a small easter egg in this regard.
- Our track: House of Glass