For Scott, it took some cutting of skin, nerves and a good chunk of bed rest. The surgery went well, the ruptured disc in his back is now healing and he's on the road to rehab. A couple of days a week he visits the Nice Rehab People (as he calls them) and learns how strengthen the body parts he's been prevented from using. What might seem as extremely easy stretching exercises to most of us are a bit of a challenge to a person whose only exercise for four months was the long and tedious limp from the couch to the bathroom. Luckily, that trip isn't difficult anymore, but the knee bend, one hand against a table, push against the spine stretch maneuver is another story. Like the doctor said: “You're good as new, but you've got to re teach those muscles and tendons how to work again and get the energy back in the right place.” Scott says the exercises are painful, but a good kind of painful.

So even before his surgery was planned, and Monte, Mark and I were slouching about, wondering what to do with ourselves, we started scribbling out a new album. Seems completely natural, that kind of thing. Thus far, four songs have been written. This made us, and Scott feel a little better about the necessary delay.

But better still, still before Scott's surgery, Monte, Mark and I secretly planned to remodel the studio. A covert operation, yes, but not too terribly difficult given the fact that the gimpy Scott couldn't climb the stairs up to our studio anyway. But we proceeded with secrecy nonetheless so that when he was on the mend, he'd have not only a new back, but a new studio environment to get back to.

We cut a wall out, snipped quite a few wires and removed a false ceiling (why it's called a false ceiling is a bit beyond me- shouldn't it be called a “second” ceiling?). We then painted the “correct” ceiling a lovely baby blue, (following Mark's brilliant choice of the “slipstream” color scheme), the walls were smeared with a yellowish, greenish and brownish hue, and then we cleaned it all up. Then the exercise began by lifting the gear back into the room, setting up the projection equipment and plugging all those dratted wires in again.

A day or so after the completion of the studio we held a little “welcome Back” party for Scott (have a look at the little movie of the event).

So now were on the road to rehab again, struggling to make our bodies stretch to play the songs “correctly.” And the studio and Scott are getting along famously, and recovering from the remodel.

mbk-- December 2007

I was recently able to ask most of KITE a few questions about their ten-year history together and grill them a bit about recording the follow up to 2006’s incredible Sleeping in Thunder album, which they’ve promised to drop at some point this spring.

1. Discuss some of your all time-favorite records that inspired you to do what it is you do.

Mike: When my older brother put the needle down on Rush’s 2112 back when I was eleven years old, something rattled my view of the future. Of the thousands of records that have inspired me, that one in particular seemed to embody something magical. What I thought of as magical at the time quickly developed into an understanding of the ingredients of musical magic: good writing, focused performance and creativity. The album’s theme was based on a novel by Ayn Rand—a futuristic, sci-fi tale of the individual against the collective, and those ideas mingled with the hard rock approach in the telling of that tale, to this day, still suspends me.

The record also proves to me that the medium of rock music is indeed a valuable art form—not to mention exhibiting just what an artist can “get away with” in terms of creative approach. Getting into 2112 was the first time I recall wanting to create magic by making records that can entertain an audience on many different levels.

Other records of mention: The Pink Floyd’s Dark Side of the Moon and The Wall The Beatles: Sgt. Pepper’s Lonely Hearts Club Band And of course, a thousand others. If only there was time.

Mark: Rush's Moving Pictures, the album that was played constantly by my best friend Clay's older brother when I was 8-ish. Kind of set the path, I think. I grew up in a house where my dad's record collection included the Beatles, Led Zeppelin, Cream, Jimi Hendrix, ELP, Spencer Davis Group, and so much more, so don't think I could have avoided it.

Radiohead‘s OK Computer was a musical revelation for me. It showed me there was so much more that could be done with "rock" than I'd ever imagined. These guys amaze me still. (Get In Rainbows!)

Scott: Dark Side of the Moon by Pink Floyd. First off, the writing is amazing. They created a feeling throughout the album and never forgot it. It’s a wonderful theme album. Also, OK Computer by Radiohead; the arrangement and instrumentation is what turned me on. The music totally compliments the lyrics and vocals. The guitar work is moody and melodic.

2. Describe some of the absolutely greatest and perhaps regretfully disastrous KITE gigs that stand out in your memory.

Mike: We’ve been quite lucky in regard to performances (is there some wood to rap upon near by?), and I can’t necessarily point to a “disaster.” We’ve played a few venues that may not have suited our particular slant of music, but I think we have always been able to win an audience’s appreciation because of our focus and intent on performing our very best every time we play. Obviously we’ve had shows that didn’t pan out as we’d like. We have off nights (probably more than we’d like to admit), and we’re pretty hard on ourselves as players-- so I suppose our disasters happen when we, for whatever reason, can’t seem to measure up to the standards we’ve set for ourselves as performers.

One particularly “fantastic” show took place on the night that Mark Rakes joined the band. It was KITE’s first time in front of an audience in two years, and it was a joy to know that we could only get better from that moment on. Half way through the show we gave Mark his own key to our studio—I guess that meant were going to “go steady.”

Mark: The Gravity 10th Anniversary Party was a blast. So many people came out to the show, and so many people expressed to the boys how much their material has meant for the past 10 years. I was just glad to be able to help make it happen (I'm still the new guy...only been in the band now for 18 months or so...). We might regret doing an outdoor show in early February, but I hope not.

Scott: There are good days, and there are great days. If I have a bad gig, I try to learn from it and make it better the next time. We always have a wonderful audience. Making new friends and fans, that’s a fantastic gig. Every show is memorable for me.

3. How did you entertain yourselves during your break when Scott was recovering from back surgery?

Mike: Scott’s back surgery was both bad and good. Bad because Scott was hurting and was confined to little or no movement for a few months. Good because the surgery would once and for all eliminate the back problems he’d had for several years prior to the rupturing of the disc. Mark, Monte and myself resolved not to lose a bit of ground during that time—so while Scott was aching, playing video games and hallucinating from the prescribed pain killers, the three of us began writing the new album, we remodeled our recording studio and then planned a “Welcome Back” surprise party for Scott. By the way, we were able to remodel the studio without him knowing, so when he arrived for what he thought was to be his first time back at rehearsal, he walked in to an entirely new and colorful working environment—complete with thirty or so of his closest friends. He was very surprised— more than elated to get back to work.

Mark: I did a side project band called Sky Like Static with a guy from Scotland, Andi Watson, along with Ron Greene, Jae Choi, and Jim Bruce (from Black Happy, now playing with Ron Greene). We did a major remodel of our studio/rehearsal space. Most importantly, my wife and I had a beautiful little girl.

Scott: A lot of lying on my back… and not in a good way (wink, wink, nudge, nudge). Rehab, X-Box (thanks T), thinking about getting BACK in the studio.

4. Talk a bit about the new album you’re currently in the process of creating. Is KITE heading in any wild new directions? Should we expect some Swedish electronic death-rap, perhaps?

Mike: All of KITE’s records to date have been themed in some way, and our latest effort seems to be no exception. Something that I’ve been loosely discussing with Monte, Scott and Mark has been this idea of living in the present moment, living in the now. Somehow, when it comes time to write, an overarching theme seems to rear its head and it becomes a bit of an obsession. This “Now” concept has been lacing itself within the lyrics so far, but I hesitate to actually mutter a potential title yet.

We are hoping to release the record in the spring of 2008 and we also hope to tour through the summer. Much of the projected timeline depends upon the time and money equation. An equation I’m still hoping someone will solve.

Mark: Hopefully we'll be done in late spring. We've got two songs mostly done: "The Proposal" and "The Old In", and are currently working a third called "Leaves on Stones". I know there are finished lyrics floating around for at least 2 more songs, which I hope we'll be arranging very soon, and then recording as well. Lather, rinse, repeat.

It's been great fun. Perhaps a little bit of a departure from previous records, but in a good way, and still Kite. It's not a conscious direction change, more of an evolutionary process, and very much based on where everybody is right now lyrically and musically. That said, we're only about half done, so who knows where the "now’s” will take us.

It's a fun process to come into the studio after some drum tracks are put down, or a rhythm guitar part, and realize that the whole song has taken a left turn from where you thought it was going, and that the left turn leads somewhere WAAAAY better than what you had in mind. A true collaborative effort and a great experience.

Scott: The new album is going to be great. We are always pushing ourselves to explore. We are working for a spring release, with touring to support it. Starting regionally, and spreading out from there.

5. Share some thoughts about the local music scene. What other local artists are worth checking out?

Mike: Cristopher Lucas, Ron Greene, the Half Racks, Lucid, The Johnny Forest. I think the local music scene is better than it has been in years. More and more people are coming out to shows and putting that electrical feel back into live music.

Mark: Cris Lucas, our wonderful friend and a man with many musical talents. He does so many styles so well. Ron Greene, whose new CD "Sketches" is out now, and available at the Long Ear and Hastings. Glenn Case is a great songwriter in the Jonathan Coulton style that I can't believe isn't an internet celebrity. The Johnny Forest, a great, fun, inventive band from Spokane. We've been friends with Gator for years, and his new band, 33, sounds great. I'm sure I'm forgetting a bunch.

Scott: The “scene” is always there; it just changes a bit from day to day. There’s a lot of good music out there, and it’s up to the music listeners to keep a “scene” going. More people in the clubs supporting original music, means more quality music in the clubs. There are tons of talented musicians out playing. Cris Lucas is inspiring, Ron Greene is doing some great music, Gator and 33 are awesome. The list goes on and on.

6. What are your thoughts on being content as a North Idaho band versus leaving to seek potential fame and fortune in a more booming metropolis like so many local bands often end up doing?

Mike: Certainly, KITE seeks fame and fortune—or maybe just fortune, we could do with out the fame, really. But ultimately we want to create well crafted records and entertaining performances before all else. That probably sounds a bit cliché, but that has truly been the focus of our endeavor for the last eleven years (by the way, we’re not yet rich and famous yet). We believe that our work ethic and our creativity will attract our fortune. And by fortune I mean people who enjoy what we do, and are willing to support our next creative effort. That is the real fortune.

We believe in this day and age it doesn’t matter where you live—and we grew up here in North Idaho. This is our home and we attribute much our inspiration to this place.

Mark: Fame and fortune are funny things: in the end they're nothing like you dreamed they would be when you were 16, in a garage band. We've had several friends that have "made it"—been signed to major-label contracts, and in the end all that meant is they gave up control of their art to marketing departments and accountants for a few years, and in the end get disillusioned and leave "the biz". If we can do our thing, on our terms, and get to live here, then there's no reason to move anywhere. Our families are here. Our houses are here. Our inspiration is here. All living in Seattle gets you is a HUGE mortgage/rent payment, and traffic. We'll still play concerts over in Seattle and Portland this year, we just get to come home when the shows are over :)

Plus, the internet is a powerful thing. We have fans all over the planet. We've sold CD's to folks in England, Brazil, Italy, all over. We've been on radio shows in Poland, Canada, and who knows where. Our MySpace friend list spans the country and the globe. I guess success, fame, and fortune can be defined a lot of ways.

Scott: In the words of a wise man, “If I can find it here, I can find it anywhere”.

7. What's your favorite local eating establishment and why? Do a mini-review.

Mark: Hard to list one...I'll split into categories :)

Fine: Syringa. Viljo is brilliant. His passion for food and his creativity just blow me away (and I don't even like fish! :). It's still hard to believe he turned our humble (shared) beginnings at Denny's into this well-deserved success. I'm proud of him.

Casual: Moon Time. They have something for everybody, something good, inventive combinations, great prices, genius kids menu.

Fast: Mexican Food Factory - Danny and co. treat you right. Good food, spicy salsa, nice people, and 3 blocks from my house! :)

Scott: Syringa. Best Sushi you can get. Viljo has created a very hip atmosphere. The staff is cool and they keep the Sake flowing. The fish is always fresh; I’ve never had a bad experience. Make reservations, it fills up fast.

8. Name a couple of your favorite all time KITE songs and why.

Mark: Wow, this kind of changes from day to day, but since we've been working up our current live show, these are some that I'm excited about playing. "The Right Regret" - live, this song is kind of taking on a life of its own, and from show to show, we don't really know where it'll lead. That can be a lot of fun. "The Proposal” its fun to go out and play a new, amazing song that nobody's heard before. I can't wait to share it with people.

Scott: “Skywater” is kind of our song to each other. I love playing “The Right Regret”. It has a lot of energy. I can feel it from the crowd.

9. Other than your obvious musical roles within the band, describe the roles of each of your co-band members in terms of general personality. (For example the Beatles - John was the "smart, writing Beatle", Paul was the "cute Beatle" etc.)

Mark: Scott - the strong, silent (and funny) type Monte - tall, dark, and handsome Mike - Renaissance man

Scott: We’re all the Walrus.

Coeur d'Alene Press

Wow, we've been busy. So busy that none of us have had a moment to sit and tap the happenings down into this here window. We were aware that we were behind schedule, but goodness, we didn't want to let things go for this long. Ironically, our busyness is directly related to you-we've been working on more music, playing shows and researching better ways to reach out-and in the process we got sidetracked in the act of “reaching” and left quiet the “telling” of it all. As friend's four-year old would say, “no duh.” Herein I will do my best to report why that's transpired.

In the past year we've attracted a few investors. For us, this is certainly a great boon. These investors have watched our progress, listened to our records and attended shows, and they've decided that our vision and work is a worthy investment (even in this day and age of a strained music industry). Needless to say, we feel blessed to have these people in our lives, and their belief in us adds to our work ethic, enabling us to reach out and share what we do with you. And that, I'm learning, is business. And I thought I just had to hold the sticks and hit things. . . So much to learn.

Now, don't mistake me. I've always been aware that connecting our music to our audience is one of the many reasons of why we do what we do. But just how to do that is a bit trickier than one might expect. On the one hand we have the crafting of our music, our performances, and our show-and on the other hand we have the crafting of advertisement, promotion and basic visibility. How do we become more visible? If only it was similar to what the other hand was doing, I'd just wave a stick in the air and say, “Hey, over here! You'll like this. . . have a listen.”

The exciting part is ultimately this: our investor's contributions are allowing us the ability to get our music out to more folks. I suppose that's always been the way of business: if you've got something worthwhile, put some money into telling people about it and you'll reach them. At least that was what some incredibly smart person did in the seventies when he/she put money into something called a Pet Rock (if you remember). And I guess there was some worth to even that- I remember smiling, and smiling is worth something.

Also exciting are the comments we've been receiving. From people in our home town to U.S. cities we've never visited to Europe to a recent review in Poland about the release of Sleeping In Thunder (published in Poland's Metal Hammer Magazine-the text of which I can't understand a lick of. We were able to get the gist of the review however by using one of those handy, online translation sites. There were a lot of good and nice words so we think the review was favorable). Our on-line efforts have been spreading the word, and you reading right now, you're playing a part in that reaching out and telling people bit. One nice comment from last week that appeared in my Myspace messages ended with: “I'm so glad that a friend of mine turned me on to your music. It made my day.” That message made mine.

So in short, we've been so wrapped up in the business of how to reach you that we haven't had the time to actually do it. Duh. Well, now we are on it- thanks to our investors and their contributions. And that's the news about why there's not been news, in a round about way.

So thank you for hanging in there with us and sharing us with your friends while we've been working on all of this “business” stuff.

And there's even more to report- but I'll save those things for the next installment- which will be soon. I've got some interesting news about Scott's guitar, my drums, a whole bunch of text on Mr. Mark Rakes and of course, some new Monte updates-- not to mention that production has begun on re recording Lost All Age. Lots of production notes. And did I mention our new Action figure/ doll movie? How about our search for a management company? Well stay in touch with this little window. Until then, reach out and tell people- and do it all at once, at the same time-- duh.

mbk, March, 2007

So someone's voice sang out the words "Dig it. Let's have games n' stuff." When our crew was gathered for brainstorming sessions concerning the upcoming release parties, several of us scribbled ideas down in our notebooks-- and there were a lot ideas. But when "Let's have games n' stuff" chimed over the group, the brainstorm cleared for a moment.

Scott said it again, only this time with some added details: "A carnival," he said, "with midway games, freak shows, boat races, the hammer- bell thingy, and then we can play."

Silence.

Long silence.

We've grown accustomed to this silence when we are creating together. I think it is safe to say that each of us has learned to let our minds click through the troubleshooting process before responding. For example, when an idea is presented the mind struggles to weigh things like: time to prepare, cost, materials, costumes, friends to help, venue, food, etc.

The silence was broken by Mark muttering thoughtfully, "Games n' stuff huh? Sounds fun. I like games. Dig it." Monte nodded, I nodded and the crew smiled. So we did just that.

How is a carnival built inside a 2000 square foot space? Well, with cardboard, fabric and paint of course. And how are games designed and made? Well, you let Scott loose in a wood shop and stand back. And food? you ask. That's the easy part-- hot dogs, popcorn, cheesy pretzels and cotton candy. And oh yes, then we get to perform the album.

As the brainstorm gathered strength we began studying the Sleeping In Thunder artwork that our friend Mark Brown had put together for us. Within his paintings we found everything we would need to create the aesthetic.

Two long weeks later the room was prepared, the instruments were tuned and the doors were ready to be opened up.

To our great surprise-- we got to meet nearly every character on the album cover. I recall our invitations suggesting the dress code: colorfully freaky, but these folks pulled out the stops. The Lily, the Priest, the Broken Man, the Brick Layer, the Mason, the Grey-eyed Girl, The Angel, the Devil Girl, the Potato Bug-- and on and on. . . Then-- watching the host play carnival games and laugh and dance was a cause for the kind of long-lasting grin that make one's cheeks sore. For us, the sight was extremely gratifying, but for Mark Brown, it was nearly too much. After the performance he and I stepped into the back of the room. His glance was flitting from one animated character to another-- the Potato Bug was drinking beer with the Lily, the Grey-eyed Girl was buying a CD, the Priest was sneaking a pull from his flask-- he said, "This is-- this is really, really amazing and. . ."

Silence.

Long silence.

He finally nodded at me and added, "Dig it. I so dig it."

mbk, December, 2006

First of all, thank you for visiting our new website. Our close friend Gabe Burdett (web-wizard, drummer extraordinaire and pro pizza guru) and I began collaborating last February on what is now drifting through your browser. From a design perspective we felt that the site should reflect where a great many of our songs have been written: at the foot of a tree. A romantic image, sure, but it’s true nonetheless (and it is where KITE started, so why not let everyone visit our roots). Gabe was very patient with me as I waved my arms around and talked about a fading sky, ringing wind chimes, tree trunk books, bird houses, scrolls and bird nests with eggs cracking and baby bird voices. It was when he replied with “Yes. I like it. But you need water, music, lyrics, starry, starry skies—” and so on, that I knew Gabe’s and my working relationship was going to be very gratifying, complete with laughs, pizza and talk of music, drumming and old times.

So click about and explore. We hope that you enjoy your stay.

Currently KITE has begun rehearsals and is preparing for release.
Be sure to check back soon for updates.

HOW TO FLY A KITE
August, 2006

The last show Kite played was in August of 2005 at the Seattle Hempfest-- and as I stood off stage out of the blinding sunlight I absently bobbed my head to the groovy rhythms of another delightfully talented jam band. They were all dressed in yellow, orange and purple tie dyed t-shirts, torn cut-off shorts and exotic tattoos, and the music seemed to mimic their dress in the waning summer air. I had listened to several similar bands during the day (all of which caused my behind to shake and my lips to curve into a surreal smile), but as I adjusted my neck tie knowing that I would soon take the stage to play a different kind of music (something perhaps a little more serious in nature [maybe sometimes too serious]), I felt butterflies begin to flutter their wings in my stomach. I’m always nervous before a show, but this time I felt as if our particular medium might resemble a large rain cloud moving quickly over a lovely picnic in which everyone had looked forward to for a long while. My neck tie felt tight. Looking down at it I was comforted to see it had yellowish-purple paisleys. Same colors, different fashion. It’ll be okay, I thought.

When the band smashed into their final train-wreck and the audience let out howls and whistles of satisfaction I again felt the butterflies flapping. The first song on our set list was called “The Grid,” a song about a graveyard. A hopeful and uplifting, albeit sullen and melancholy song about death. Dear me. I scanned the sky for that
purple-grey cloud.

The guitar player shuffled toward me, stopped and flitted his heavy lids at my tie and then to my face. “Kite,” he said. “I dig you guys. I’m looking forward to it.”

“Tough act to follow,” I replied, “you guys were great.”

“Thanks man,” he said. “Break a leg.”

I’ve always loved that famous superstition that wishing "good luck" to entertainers is a jinx—so we offer a painful opposite. I remember thinking that if my butterflies took flight, sent me airborne and dropped me, I just might break a leg, or both. “Thanks,” I joined, “great show.” He smiled a stony smile and lurched down the side stage stairs.

The audience had thinned out as we moved our gear on stage, and while I made the final adjustments to my kit I raised my eyes back to the sky hoping the sunlight would somehow compliment the sonic mood we were about to attempt. But Old Sol was stubborn that day and he would in no way allow a change of face. So, I imitated that willful manner. Monte grinned deviously as I began the moody rhythm, “Let’s go below the circling crows,” he encouraged. I closed my eyes and forgot where I was.

When the first song was nearly over I looked out to the audience. We had gathered them all back, and they swayed and watched. They had become the cloud. A cloud with butterfly wings. Their applause was sudden and musical (to me), and heartened I felt Scott’s guitar launch into the next song with angst. I again followed, feeling the bones in my legs crack (superstitiously of course).

After we pulled our gear down the stage ramp I met that guitar player again along with his wife and sister. They said some very nice things and wanted to buy our Sleeping In Thunder CD. Monte and Scott both shrugged at the request. “We’ve not recorded it yet,” I said, “but we’re gonna record it, I think.” Then I shrugged too.

It took us a whole year from that day to get here: just a few weeks from releasing Sleeping In Thunder. The reasons why it took so long are complex. I’ll get to all of that in the coming installments— but now I’m feeling those butterflies again— and I’m happy for it. I’ve missed them.

--mbk, August 2006