Members: Keith Lee (2), Donna Smith, Mitchell Foy, Fletcher Liegerot

Combining disorienting visuals, conspiracy mumbo-jumbo, and tautly-wound electric/eccentric rock, King-Kill/33* was absolutely one of the most exciting and intriguing groups of the Atlanta indie rock scene peak of the early '90s. Forming in the summer of 1990 in the "King-Kill house", (the band) took it's name from a James Shelby Downard essay published by Adam Parfrey in his book Apocalypse Culture. "The essay is about the Kennedy assassination" bassist Donna Smith explained in an interview with Mouth magazine shortly after the group's formation. "It has a lot of numerological and Masonic symbolism. King-Kill/33* was a plot to kill the divine king, which was seen as the only Catholic and non-Mason President in some time," to which vocalist Mitch Foy, who suggested the name added, "The essays are fascinating, there's plenty of mind food in it, but it's not something we promote. We're not anti-Mason, we're not pro-Mason. It's a starting point to play around with."

King-Kill/33* released a handful of singles and compilation appearances in their three years, but they truthfully had to be experienced live to be fully appreciated. More effectively than any other local group at the time, and usually more effectively than any visual-oriented group anywhere, King-Kill utilized an armory of films, slides, strobes, transparencies, and other sorts of visual overload, projected against and behind them as they played. Add to this Foy's affinity for provoking performance art and costumes (his most memorable outfit involved crude stilts made from "blocks of wood two feet high, with some old sneakers bolted into the top of 'em", on which he would teeter above the crowd and his band mates), and King-Kill/33* was an act not soon forgotten.

-Jeff Clark (Stomp and Stammer)