Constructed between Autumn 1997 and Spring 1999, Ampday (released in 2000) was an experiment using naturalist recording techniques and nascent digital workstation methods to build an easily accessible collection of immersive \'performance based\' KILN-structures. Done in tandem with work that would become Holo (1998— re-imagined+re-released in 2007 as Holo [re/lux]), Ampday was intended to be a kit propelled joyride through a rem-state halo of electrified strings—offering something \"for sound-hounds and pop-junkies alike.\" ...sound sculptures of panoramic depth and kaleidoscopic radiance...” -All Music Guide “...joyously human instrumental drone-pop, with plenty of acoustic guitars, fuzzy electric guitars, and limber rhythm beds… Grand seismically torn desertscapes, fragile pop melodies dripping with gloss and grit, an exceptional foray for the experimental set.” -Parasol “With each album, Kiln consistently shatter the Platonic Ideal of beauty and grace in music, only to rebuild it to a height out of reach of anyone but themselves. ” -Brainwashed “Soundfiles both opulent and caustic congeal into spectral forms that bypass the ear and stick like an Elysian splinter somewhere between your nervous system and higher spiritual self, while agitated molecules of percussion twitch to tranquil rhythms.” -Alternative Press “…supple, ambient music that’s so good, and in this case, sounds so good, that it should be playing from many stereos across the land, making a spectacular and immediate broadcast connection for the pleasure of a massive all.” -Avant Garde Praise for Twinewheel [Lost-Sides and Dusty-Gems 1993–2005]: \"(Kiln) alchemize electro-acoustic elements of post-rock, shoegaze, and ambient into atmospheres of textural opulence.\" -Textura \"Kiln’s music, made by a trio of multi-instrumentalists working with digital and tangible tools, is new to me, but it doesn’t feel that way: it supercedes labels like “post-rock” or “Tortoise-esque” or “bespectacled” by virtue of how much ground these tracks cover, genre-wise and within the listener’s imagination.\" -Dusted Praise for Dusker (2007): \"The term ‘meticulous\' finds its most perfect application in describing the music of Kiln. Every element and moment of the group\'s full-length Ghostly debut, Dusker, is painstakingly considered, resulting in one of the most purely satisfying listening experiences in recent memory.\" -Textura \"Nodding to multiple genres without bowing to any, Kiln marry digital and meatworld sounds so adroitly on Dusker that identifying sources is both irresistible and impossible.\" -PaperThinWalls \"...one of the few bands that makes textured, experimental instrumentation exciting.\" -XLR8R \"Dusker is an experience worth sharing, each moment echoing and crumbling with grace and hesitation, no matter which track is played first.\" -Orlando Weekly \"It\'s an audiophile\'s genre, and Kiln\'s magic lies in creating a sonic wash and overlaying it with galaxies of sculpted, pearly sounds, many from guitars or keyboards, synthetically generated tones, or samples from sources hard to identify.\" -LansingStateJournal \"The chilled-out, cloistered mood of Dusker makes the world melt away, lulling the listener into relaxing, meditative expanses.\" -Alarm “...fizzling with warm electronic beauty, sparse sinuous beats and innovation.” -Wallpaper “