Kayo Dot - Coffins On Io

[100423]

Checking Kayo Dot's new release out as I order the CD.
It's, uh, definitely a different direction for them...

https://theflenser.bandcamp.com/album/coffins-on-io

From Brooklyn Vegan a few weeks ago:

Kayo Dot warned that Coffins on Io, their new album to be released on October 16 via The Flenser Records, was going to be different. In the PR-cast baited hook that accompanied the original announcement, leader Toby Driver said as much: "Basically the vibe that we're going for here is inspired by 80s retro-future noir-- Blade Runner. I wanted to make a good record to put on while you drive across the desert at night under a toxic, post-apocalyptic atmosphere." Then, there were the touchstones. To describe a track, Driver said, "The sound is kind of like a sexy combination of Type O Negative, Peter Gabriel, Sisters of Mercy." Huh. You didn't want to doubt him because Kayo Dot has show themselves to be adept at anything -- blasted-to-pieces chamber music, heartfelt doom, ultra-dark proggy jazz; whatever you got. But gothy new wave Vangelisms? For real?
For real.
"Library Subterranean" alleviates doubts. Beginning with an atmospheric overture recalling Killing Jokes' Brighter Than a Thousand Suns, the song then drops into a section of floaty synth-driven art pop, complete with Driver's airy, yet limber singing. At this stage, "Library Subterranean" can barely be contained, almost the listening equivalent of sliding around linoleum in socks. The track careens from style to style, sound design to sound design, and the thrills and spills are bracing. However, Kayo Dot will soon lock in. At 2:55, they start aligning and recalibrating the instruments, first with a pulsating thrum that's Meshuggah if played by Ashra, and then with a biting/corrosive guitar-led chase that's straight Voivod. For its finale, "Library Subterranean" transitions into King Crimson in a volume duel with Urban Sax. Welcome to your what?/whoa! moment.
Now, I know how that reads, but it works. And that's the thing: while it's playing, "Library Subterranean" flows perfectly. It's just that when you're thinking about it afterwards, you can't even fathom how they put this together. In fact, you sound like a crazy person even trying to recount it. But, hey, that's how Kayo Dot have always been and will be, no matter the genre they're trying to climb. They're a band of a thousand sounds and all of them somehow end up equaling the real Kayo Dot.

[battema]

I will get this...but I'm not quite rushing to get it either. Will wait til (hopefully) Steve adds a few to Chez Wayside

[Steve F.]

Will wait til (hopefully) Steve adds a few to Chez Wayside

hopefully end of week.

[Scrotum Scissor]

I'll invest in a unit.

[100423]

Let's go out on a very distant limb here: If Mr. Mister's atmospheric 1985 ballad "Broken Wings" had been written for a proggy space opera, it might sound something like Kayo Dot's "The Mortality Of Doves." It's not just because of birds, either. Toby Driver has always been an extremely fluid composer in the realms of avant-metal and prog-rock, but this 12-minute lead track from Coffins On Io is a surprise.

From http://www.npr.org/blogs/allsongs/20...ality-of-doves

I thought more Tears For Fears...

[Scrotum Scissor]

This isn't really all that surprising, to be honest; Driver has always sported nods to the ideals of Americana etc. He truly isn't that far off from a Crosby to Mark Kozelek's Young.

I'm looking even more forward to hearing this now.

[battema]

SS - what did you finally think of Hubardo once it was in your hands?

[Haruspex Carnage]

Going to go through this soon...my impressions from the stream were sort of "jammy" with really muddy bass synths...but we'll see.

[Scrotum Scissor]

SS - what did you finally think of Hubardo once it was in your hands?

This is what I wrote in the previous KD thread:

Well, what to say? Like many others have stated, this thing somehow marks a return to Driver's (somewhat) pre-Dot aesthetic with motW, only that the Hubardo concept draws on experiences and revelations that logically followed from thereon. Thus, this isn't as much a "return" as an accumulative evolution of sorts, blending practically all aspects of Driver's artistic wealth with that of a highly individualist ensemble - no matter how much of a paradox that may sound. You can hear snippets of everything the whole Driver-and-friends collective has ever done in here, yet it sounds strangely coherent and together, consequently neither appearing too stressed or excessive spite the massive dimension of it. I was surprised at how relatively easy (well, for the trained ear, I suppose) each half flows, and I've actually been able to sit through the whole thing on a handful occasions now, with ever more enlightening result. Is it essentially metal? Not really. I'd say they are to "avantgarde post-metal" what Henry Cow were to experimental progressive on their Western Culture in '78, and begging the same obvious dilemma; where on earth (or above/below) to go next - if at all?

[Lieto]

Just got this in the mail today, can't wait to spin it. I missed every album after Choirs of the Eye though. I will get the rest!

[Haruspex Carnage]

Just got this in the mail today, can't wait to spin it. I missed every album after Choirs of the Eye though. I will get the rest!

That's some work to do...

[Scrotum Scissor]

That's some work to do...

Quite the sheer odyssey, I'd say. :dgtest

[Kavus Torabi]

Looking forward to this immensely. While I have enjoyed pretty much everything, for me Hubardo was the album where it all truly came together.
Hell of a fucking band.

[Udi Koomran]

For me it was Coyote still haven't heard Hubardo ...
They are might prolific

[chalkpie]

Haven't heard the whole thing yet, but loving this thing. Textures baby!

[battema]

This is what I wrote in the previous KD thread:

Well, what to say? Like many others have stated, this thing somehow marks a return to Driver's (somewhat) pre-Dot aesthetic with motW, only that the Hubardo concept draws on experiences and revelations that logically followed from thereon. Thus, this isn't as much a "return" as an accumulative evolution of sorts, blending practically all aspects of Driver's artistic wealth with that of a highly individualist ensemble - no matter how much of a paradox that may sound. You can hear snippets of everything the whole Driver-and-friends collective has ever done in here, yet it sounds strangely coherent and together, consequently neither appearing too stressed or excessive spite the massive dimension of it. I was surprised at how relatively easy (well, for the trained ear, I suppose) each half flows, and I've actually been able to sit through the whole thing on a handful occasions now, with ever more enlightening result. Is it essentially metal? Not really. I'd say they are to "avantgarde post-metal" what Henry Cow were to experimental progressive on their Western Culture in '78, and begging the same obvious dilemma; where on earth (or above/below) to go next - if at all?

Thanks for reposting...I must have missed your reply in the other thread. Mea culpa.

Yeah...Hubardo felt like a culmination to me, of everything that had come before and then some.

My only criticism...although I personally don't mind growls at all, I found them less convincing on Hubardo than on the prior maudlin releases.

I'm definitely curious about Coffins, and will toss a few of my hard-earned coins over the fence to WaySteve as soon as he has 'em (sounds like I won't be waiting long!).

[Scrotum Scissor]

My only criticism...although I personally don't mind growls at all, I found them less convincing on Hubardo than on the prior maudlin releases.

There's a most distinct impression that Hubardo indeed represented the very last farewell to the growl in KD; the feeling was almost sentimental with them reappearing after 10 years. I personally think outright shouting is usually way more effective, as in that opening track on Copper Tongue or on Driver's solo album for Tzadik. My only regret is that I still haven't had the occasion to see them perform any of this majestic and monumental music live, but I suppose there's something grand about keeping gems for future experience.

[100423]

Haven't heard the whole thing yet, but loving this thing. Textures baby!

It's definitely a beast of a different color than most of their previous offerings. The 4th and 5th tracks sound more like older
tracks, but the first 3 especially I wouldn't have guessed were Kayo Dot on first listening.

[battema]

There's a most distinct impression that Hubardo indeed represented the very last farewell to the growl in KD; the feeling was almost sentimental with them reappearing after 10 years. I personally think outright shouting is usually way more effective, as in that opening track on Copper Tongue or on Driver's solo album for Tzadik. My only regret is that I still haven't had the occasion to see them perform any of this majestic and monumental music live, but I suppose there's something grand about keeping gems for future experience.

I'm not gonna rub it in (much), but yeah...I've seen them maybe 4 or 5 times. For my money, the Dowsing tour was their finest moment, with several original players still present in the lineup (especially Greg Massi, who almost acted as the onstage director as Toby was more inwardly-focused). The final song gradually morphing into all the players playing rhythms on oil drums was incredibly powerful IMHO. It was metal in name only, but good god was it visceral and intense.

Hubardo was an interesting tour, as it was very stripped down; the smallest lineup I'd seen. Given the cinematic scope of Hubardo, I had expected a larger ensemble. But they absolutely did the material justice. Toby semi-emulated Byron's growls reasonably well.

[Haruspex Carnage]

IMO the opening track of Hubardo is laughably bad, "the eye...of Leviathan"...then it gets cooler once that bizarre speeding-up spiraling riff comes in...the rest no complaints really.

[Hobo Chang Ba]

Average overall. But I suspect this release wasn't targeted at me.

[mnprogger]

80's New Wave prog?..not motW certainly, but more appealing than most Kayo Dot's other work.

[Lieto]

I like it, needs more listens to digest but really cool atmosphere