Over the course of their career, the band has released five studio albums - "Love is Hell" (1989), "Strange Free World" (1991), "The Death of Cool" (1992), "Cowboys and Aliens" (1994), and "Folly" (2013).
Dan Goodwin (drums) met Julian Swales (guitar) at college in 1980, and Swales met Patrick Fitzgerald (vocals/bass guitar) at a party in 1985.The trio began rehearsing together that same year, taking their name from a company of the same name that specialised in home decor and kitchen and plumbing fixtures after Swales spotted one of their advertisements on the side of a bus while riding his bike. The Kitchens' first single, "The Last Gasp Death Shuffle" (which featured Swales on lead vocals and bass, as well as guitar) was recorded in just one day on an eight-track in a Kennington basement, and was released in December 1987 on the band's own Gold Rush Records. It was named a single of the week in the NME, and led to the band signing with the British indie label One Little Indian Records; it was around this time that Fitzgerald, a medical doctor, put his career on hold to devote himself fully to the band. Their first singles for One Little Indian, 1988's "Prize" and 1989's "The 3rd Time We Opened the Capsule", made it onto the "NME Writers' 100 Best Indie Singles Ever" list, published 25 July 1992.
Their first full-length album, Love Is Hell, was released in April 1989. Fitzgerald's impassioned, wordy, often bluntly personal vocals careened over what sounded like a mass of swirling guitars, though the band only had one guitarist. Swales' chiming, effects-laden style of playing drew him comparisons to the guitarists of The Chameleons, Cocteau Twins, and A.R. Kane. KOD's melodic yet abstract sound was a precursor to the shoegazing scene of the late 1980s/early 1990s.
Despite the promising start, the band faced a subdued reception from the mainstream music industry, generally due to their lyrical content. For instance, "Margaret's Injection", on the 1989 Elephantine EP, was a fantasy about killing then-Prime Minister Margaret Thatcher. Also, Fitzgerald was openly gay, and his lyrics were unapologetic, especially on tracks like "Prize" and "Within the Daze of Passion". Even the more indie-focused television programs like Snub TV and Rapido failed to give them much coverage, although Snub TV played the video for their 1991 single "Drive That Fast". Likewise, they were not offered a John Peel radio session, although they eventually did get one after asking Peel personally, following a Glastonbury performance which he appreciated.
Kitchens of Distinction sometimes performed "secret" gigs under the alter ego Toilets of Destruction.[2][6] An example was at The Bull & Gate in Kentish Town on 6 August 1990, where the band appeared in drag and played ABBA, David Bowie, and Bauhaus covers.
In 1990, they signed with A&M Records in the US, and went into the studio with producer Hugh Jones (Simple Minds, Echo & the Bunnymen, The Undertones). Their second album, Strange Free World, was released in February 1991, and spawned some moderately successful singles in "Drive That Fast" and "Quick as Rainbows", both of which were very well received by college radio in the US. The band went back into the studio in 1992, again with Jones at the helm, and their third album The Death of Cool came out in August that year; it was named in honour of the passing of Miles Davis, who had released an influential album titled The Birth of the Cool in 1950. A&M balked at the band's choice of "Breathing Fear" for the first single, due to its touchy subject matter (gay bashing), so "Smiling" became the album's initial single in the US. The band toured extensively, including a high-profile slot opening for their US labelmate Suzanne Vega, whose album 99.9F° came out within a few weeks of theirs.
Later in 1993, KOD began work on their fourth album, co-producing it themselves with engineer Pete Bartlett. One Little Indian rejected the album twice, and eventually, both label and band agreed to bring in up-and-coming producer Pascal Gabriel to work on a couple of tracks. One of the label's complaints about the album as the band originally submitted it was that they felt it lacked a potential hit single, so Gabriel produced a new song ("Come on Now") that the band had written after the rest of the album had already been recorded; Gabriel also remixed two of the album's other tracks (the opener "Sand on Fire" and first single "Now It's Time to Say Goodbye"). The resulting album, Cowboys and Aliens, was released in the UK in October 1994, and although the band admitted that they enjoyed working with Gabriel, the changes did nothing to help the album's dismal sales. When the album saw its US release in early 1995, it was largely ignored by the same alternative rock radio and media that had championed them just a few years before. By the end of 1995, both A&M and OLI had dropped the band.
Shortening their name to Kitchens O.D. and signing to the London-based indie label Fierce Panda Records, they issued a single, "Feel My Genie" in May 1996, which was named "Single of the Week" by Melody Maker, but they officially disbanded that summer after a farewell gig at London's Kings Cross.
In September 2012, Fitzgerald announced that he and Swales had recorded and were in the process of editing ten new songs. The reunited trio of Fitzgerald, Swales, and Goodwin released their fifth studio album Folly, their first new album in 19 years, on 30 September 2013
Shiver
Kitchens of Distinction Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Wets in trickles of sunshine orange skin
Slowly come the gong of her voice
Flopping belly seallike onto my aching back
She'll make you shiver make my fleshiver
Waiting's over she's singing.
I am the moose I'll howl at the flakiest moon
She'll make you shiver make my fleshiver
She guides a weight into my spine
Melts the darkest day thaws a man out of my back
Licks and quivers until
I'm spineless
Lures me into her ocean skin
The first verse paints a vivid image of a woman slowly thawing out in the warmth of the sun. The mention of her "orange skin" suggests a sense of vitality and warmth, while her voice is compared to the slow gong of a bell. The second half of the verse introduces a more intimate and physical element, with the woman's "flopping belly" pressing against the singer's back. The repetition of the phrase "she'll make you shiver make my fleshiver" adds to the sensual, almost erotic tone of the song.
The second verse continues with an emphasis on sensory experiences, as the woman's voice "surfs" through the singer's mouth and he feels like a "moose" howling at the moon. There is a sense of surrender and abandonment as the singer is lured into the woman's "ocean skin." The final line, "lures me into her ocean skin," again echoes the theme of thawing and melting, as if the woman's warmth is enough to soften the singer's defenses and create a sense of vulnerability.
Overall, the lyrics of "Shiver" are highly poetic and abstract, with a focus on sensory experiences and impressions rather than concrete narrative or description. There is a sense of intimacy and surrender, as well as a celebration of the power of warmth and touch to break down barriers and make us feel alive.
Line by Line Meaning
Wait and watch she's defrosting
Be patient as she prepares to open up and reveal herself
Wets in trickles of sunshine orange skin
Her warmth and beauty shine through as she emerges from her shell
Slowly come the gong of her voice
Her words have a powerful impact and resonate deeply
Flopping belly seallike onto my aching back
Her weight and presence provide comfort and relief
She'll make you shiver make my fleshiver
Her effect on others is intense and physical, affecting both them and the artist
Waiting's over she's singing.
The moment has arrived, and she's expressing herself vocally
Surfs the shaking roof of my mouth
Her voice echoes and reverberates within the singer's mind
I am the moose I'll howl at the flakiest moon
The artist is overwhelmed with emotion and expresses it in an animalistic way
She guides a weight into my spine
Her presence and touch have a grounding effect on the artist
Melts the darkest day thaws a man out of my back
Her influence and affection has a transformative effect on the artist
Licks and quivers until the perfect groan
Her touch and actions elicit a physical and emotional response in the singer
A tidal wave carrying me to the shore of ecstasy
The artist is overwhelmed with pleasure and swept away by the intensity of the experience
Lyrics © BMG Rights Management
Written by: Daniel Goodwin, Julian Swales, Patrick Fitzgerald
Lyrics Licensed & Provided by LyricFind