Greed tacitly refuses to be pigeonholed as a dance music artist per se, but still flirts with the genre, cherry-picking and flipping the script when he can. "Bridges Over Babylon" has a grinding tempo and skeletal percussion that coalesces nicely around Kemo's vocal. "Love Is Not A Trickcandle" and "Waiting In Line" are tracks that the shoegazers amongst us can instantly relate to. "Die Scwarze Witwe Liebe" and "Unbemannt" could be seen as making up the numbers, but they serve their purpose as mood setters. "Down There" is a blank, percussive stomp spruced up by off-key bells, while "Morning Gloria" reinforces the general melancholic tone that pervades this collection, as does "Shiver," and "Waiting in Line." Tracks like these sound like they may have been more at home on a label like Infine than FAT.
From the photorealistic photograph that makes up the cover art through to the general tone and balance of the album, however, the vibe is more Kompakt than anything else. KRL is an album of electronic pop that is at turns delicate, and ever so slightly pretentious, but all the more interesting for it. There will always be a group that regards such ventures skeptically. The idea of someone who has previously made house and techno branching out for their album is a tale as old as time. But Greed's effort is nothing if not interesting and, coming from him, not a great surprise at all.