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RELEASE DATE: MAY 09, 2006

TOE-CD-803

JONATHAN KANE

I LOOKED AT THE SUN

able of the Elements launches its new rock imprint Radium with a bang. Jonathan Kane's rollicking, majestic and

critically-acclaimed debut February set you up with his lustrous, deep-grooved sound; now comes the bare-knuckled
knock-out punch. On the opening track, "BQE," Kane compliments his signature wall of guitars with the high-lonesome
serenade of pedal steel, then puts that pedal to the metal and barrels through the psychedelic badlands of Mississippi Fred

McDowell's classic "I Looked at the Sun." Add the Dixie-fried strut of ZZ Top's Billy Gibbons to Glenn Branca's guitar armies
and you're still only halfway to Kane's mind-blowing reinvention of both minimalism and the blues — it's a blistering day's

drive from anything you've heard before.

"Jonathan Kane delivers with high decibel self-assurance. Marshaling his minimalist riffs to their trance-inducing
limits, he deftly sparks a synaptic link between Neu!-style repetition and the hypnotic electric blues of Junior
Kimbrough. He's stripped away all of the music's inessentials, paring blues-based excursions down to a streamlined,
locomotive core. Building a tenacious momentum through a series of almost imperceptibl

e

directional shifts, soon

the massed overtones of the guitars course against Kane's powerhouse drumming to assemble into a singularly
captivating propulsive drone. Kane adds and removes sonic elements with the single-minded endurance of a wide,
muddy river carving itself a canyon, and with the unwavering confidence of an already-veteran solo performer
secure in his vision."

—

Pitchfork

"Paradise between the back porch, the urban jungle and the heavens above ... Down-home grooves shine with an
orchestral, massed-guitar luster that's often associated with Glenn Branca and Kane's frequent collaborator Rhys
Chatham. Layered electric and acoustic sounds create overtones that trick the listener into hearing nonexistent
organs and harmonicas. In place of the mind-boggling beats for which he's known, Kane underpins these drones
with a deceptively simple, forcefully executed shuffle. His swinging opuses exude bright, earthy euphony instead of
dark, cerebral dissonance. Rarely does the avant-garde rock this hard." —

Time Out New York

"What if the Velvet Underground were blues cowboys from hell? What if Stereolab drove motorcycles and pick-ups
and played shady bars on the Texas border? ...Propulsive urban dirges for modern ghost towns." —

Just for a Day

"ROCKS! Great Southern-fried looped blues rock. Like Steve Reich if all he listened to was Muddy Waters and
Zeppelin."

—

Dusted

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