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When a musician finds out that they can make interesting noises, it still isn't quite a band. Baltimore's Dope Body found a sound of windy, blithering guitar tones. If they had used them for solos instead of their songs' main ingredient, we would have a different band. But, that isn't Kunk. It plays in their favour that Dope Body write from a new perspective, but the path they take leads into directionless territory far too often.

First off is 'Casual', which has an exciting feedback rhythm that pushes things off in a snarl. It hints at a cathartic end that we could expect from the similar sounding Liars or Thee Oh Sees, but really just ends up getting tangled in the exact same drum beat at the end as where it began. The swampy bass sounds great, and makes a return on 'Dad'. But, once again, what's interesting sounding is not necessarily coherent, and it's easily the weakest track here, dodging status as a "song" more than any of the other nine tracks. Since Kunk is so short, it's odd that the next transitional track is only two away from 'Dad': 'Muddy Dune' features thick synths, lazy ride drumbeats, and bedroom guitar noodling that somehow ended up getting recorded.

'Old Grey' acts as a saving grace that creates consistently rhythmic structures while still maintaining the chaotic base that the previous four tracks offer. "Tell me how to feel/I'm living in a trash can!" screams Andrew Laumann at the choruses over something that sounds like a cartoon ferret popping out of the speakers. Here, it matters much more that there's an unfamiliar sound since it's grounded in a song that has an intentional arrangement. If Kunk's other idealistic tracks that merely fade away after two minutes had this quality as well, you'd have no way of knowing it.

A lack of catchiness is not necessarily a record's downfall. However, Dope Body are further anchored by their inability to create dynamic tension. When 'Goon Line' begins in the middle of a guitar solo, there's plenty of room for it to break itself down into something palatable. Even after a few listens, it's clear this never happens. It sizzles off at the end with every instrument playing at the same range and with the same disorganized pastiche. Each piece of the song barks along with punchy grime, but remains two-dimensional and afraid to make a statement in the mix. Even when 'Down' comes around and Laumann sings a few tangible verses, Dope Body shrugged their shoulders and faded it out just like the rest of the tracks here.

Closer 'Void' is the best song. It begins as another experiment, but ends up sprawling into a story with varied, moving parts. Sadly, it was mixed to suffer the same fate as the rest of the album, with each component compressed to sound like I was holding the volume knob - choking back the real evocative moments. Dope Body have all the cool gear and genre-blend they need to make a great noise record, but it's clear that they didn't take their time on Kunk. The laziness of lyrical passages, directionless structures, odd lyric rip-offs ('Goon Line' and 'Void' are culprits), and poor mixing works together with the band to hold this record down much lower than its potential.

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