K. Leimer’s original scoring for Land of Look Behind not only enhances the film’s visual imagery but imbues it, fulfills it, and renders it sublime. In the annals of nonfiction filmmaking there are very few such instances of an original sound- track being so perfectly wedded to its purpose.”

– Alan Greenberg, Director, Land of Look Behind

It’s ironic that the modern recording studio, with its gleaming banks of high-tech devices, is the birthplace of a radically new kind of music whose most salient characteristic is a kind of murky organic flavor that is distinctly non-technological. K. Leimer takes a similar aesthetic stance in Land of Look Behind, with sustained synthesizer chords that float in and out of view, decorated with a mysterious jungle of half-heard voices and electronic effects and much more percussion, creating strong, primitive rhythms that carry the music forward. Leimer has faced up to the challenge of creating exotic sonorities that are not only novel, but meaningful, and this makes his albums well worth hearing.

– Jim Aikin, Keyboard

K. Leimer’s second LP, Land of Look Behind, is an interesting attempt to use Jamaican voices and rhythms to create something totally outside of the original sources, yet evocative of them. It is not a reggae album. Some of it is the soundtrack to Alan Greenberg’s film of the same name. Greenberg filmed the ceremonies of the Nya Binghi, rural Rastafarians, who according to Leimer, “essentially get very loaded and play hand percussion for days on end. It’s very trancelike.” Inspired by the tapes from the film and actually using some of them in reprocessed ways, Land of Look Behind is a haunting, dreamlike blend of drum rhythms and sustained droning chords that makes for very pleasant listening.

– Robert Legault