Killers by Trade
The Real Bio 2004-2009
KBT is a one-man Gothic Rock/Metal project from Texas. Most often compared with Rammstein and Motörhead, the amped-up bluesy vocals of mastermind Clint Love are sometimes compared to Glenn Danzig. The industrial continuum of rhythm on KBT tracks are also often likened to the old Goth bands like the Sisters of Mercy.
In May of 2004, Clint concocted this crazy idea to start a working band to play around the I-35 corridor. The big idea was to play about 2-3 hours worth of music, mostly covers but some originals in a unique. This style was a dark, grungy sound that transformed the cover songs into something unique. There were plenty of places to play on a regular basis that paid decent. They just needed a band that could cover the time slot. The idea was to become a sort of demented jukebox, a Goth-edged bar rock band.
As new originals entered the picture, the plan was throw out the covers and eventually become a well-established, all-original band. Clint would play the guitar and sing, His brother, Clayton would do the drums and KBT would hire on some new guns on bass and lead guitar. Clint pulled a list of covers that Clayton and he wanted to play and wrote out five songs. These later became Steel, Loup Garou, Tears of Broken Glass, West, and Solstice. It would be perfect. All they had to do was learn the music, show up to the shows, take the money and go home.
Everyone hated it. Most of the people wanted to get involved with the writing, which Clint opposed. He just wanted hired guns. Co-op bands are too much of a legal cluster and he did not want to have to rely on a bunch of people collaborating to make decisions. He wanted people who could learn music and play for money. Some of the guys who were good players either did not like playing covers or did not understand the concept of tweaking the songs into something in a different style. The remainder of the people Clint talked to could not deal with playing in a band where the focus was making money, not smoking dope and partying. Not that there’s anything wrong with that, he just learned from playing that you need as few liabilities as possible.
“We were slapped on the hoods of cop cars a few times back then and had any of us been carrying drugs, I would be writing this from the Pen right now.” -Clint
Clint was ready to sack the whole thing. One day Clayton and he were hanging out and he decided to play the tapes of the originals. Clayton remarked that he should just release what he had recorded on the 4-track and see what happened.
Clint called his old friend Steve Rosas down at DRS and he said sure, he could make a CD of my 4-track stuff. He just had to bring the recorder to the studio because all his stuff was digital and he had no way to play the tapes. All you young punks who never had to record on tape consider yourselves VERY lucky!
The result was a 4-song demo called “Kill Punk Dead”. Clint thought it was lousy and the only distribution it got was on hand-scrawled CDRs. He still was not confident that anyone would like it. On the contrary, people really got into Loups and Steel. The other two, West and Banishing (Tears of Broken Glass) were over people’s heads content-wise. Why people did not want to hear the Lesser Banishing Ritual of the Pentagram set to metal music was a mystery. Either way, it went back in the bag.
In January 2005, HE released Loups and Steel on a demo. Shortly thereafter came two singles, Two behind the Ear and Pub Wolves of London, which contained a cover of Warren Zevon’s Werewolves of London done KBT style. This song is exemplary of the style of messing with cover songs and giving them a new interpretation.
“I hunted down some old compatriots, Mike from Ma-Kahru, who was just recovering from having his house torched by a midget and Anders from Nocturnal Horde Webzine, who was still holding down the fort in Denmark. Both were allies from the Finsternis days and both remembered me and were glad to hear some new material.”-Clint
In late 2005, He released Ancient Rider, a wild EP of some new and re-recorded songs with a much slicker, more coherent production. The song “Solstice” continues to be one of the most popular, right along side the Werewolves cover. Ancient Rider carried KBT through 2006.
In Secrecy, Silence was released in 2007. As a retrospective on the three main degrees of Freemasonry, ISS&D was a guaranteed center of controversy from the time it was released. The CD was widely accepted by the public though some suspicion existed about the album’s content among the Masons.
The most notable track on ISS&D is “A Rough and Rugged Road”, which was often compared to Rammstein and Motörhead (a comparison Clint was used to hearing by this time). Spawning a cover by Swedish thrasher “the Porridgeface”, ARARR, as it is commonly abbreviated, Became the signature KBT song.