ORGAN THING: Fresh Kayo Dot, they’ve done it again, of course they have!


Hang on, stop the big red bus, stop all iconic talk and whatever else we were on about earlier, tiger teeth or something like that. Stop everything, this is instantly recognisable yet rather gloriously unrecognisable (brilliantly so). I do like a band who never make the same record twice, took his distinctive voice to really identify and the way the rather challenging piece slowly builds in to that epic futuristic take on the foundations of Maudlin of the Well feel it has. There really are very few bands who really do seriously challenge themselves and indeed succeed with that challenge every single time.  Some new music from the always rewarding Kayo Dot then, now this is a what progressive rock really should be like, progressive in every sense.

“Magnetism,” is a first taster for from the US band’s forthcoming LP Plastic House on the Base of Sky, They are of course one of the very best bands out there, you knew that already didn’t you? We’ve said it via these fractured Organ pages many times, we only deal in facts, they are one of the very best bands out there. Primary composer, vocalist, and guitarist Toby Driver really has surpassed himself this time, surely by now you might just may be forgiven for expecting a little lapse, a slight dip in form, but no, they really have, on the strength of this early taste, gone and bleedin’ well done it again, they’ve gone and challenged themselves and in doing so, gone and challenged everyone else yet again, a most excellent first taste as I’m sure you’d agree…. (sw)



New LP out June 24 on The Flenser

“a refined, and sensual, post-new wave tour de force” – Echoes & Dust

“…a hypnotic blend of sensuous grooves, ghostly heaviness and knotty melodies …” – Time Out New York

FR68_12 Jacket (3mm Spine) [GDOB-30H3-007]Kayo Dot has never made the same record twice. From chamber music to progressive black metal, from goth to jazz and avant-garde classical, Kayo Dot is undeniably experimental and utterly unclassifiable. Since its inception in 2003, the band has released seven full-length albums, including their debut Choirs of the Eye (2003), the conceptual double-album Hubardo (2013) and most recently Coffins on Io (2014, The Flenser). Kayo Dot have toured the globe numerous times over and have played the stages of Roadburn, SXSW, and many other international music festivals. In 2015, frontman Toby Driver organized and played a 12-concert retrospective at The Stone in NYC. Now, Kayo Dot is gearing up for the release of a new LP: Plastic House on Base of Sky, due out June 24th, 2016 from The Flenser.

On Plastic House on Base of Sky, Kayo Dot fully embraces Coffins on Io‘s electronic allusions, incorporating a variety of synthesizers (many of them vintage analog) to create another work of ambition and magnitude that fuses the explosive musical imagination of a band like Magma with the forward-thinking experimentalism of Conrad Schnitzler or Morton Subotnick. This 40 minute-long, 5-song LP goes beyond the future-noir theme of Coffins on Io and is an innovative and biomechanical work of art. Think seemingly impossible architecture, dead satellites, trashed space stations, wasted old lady heroin addicts hanging out by cheap motel pools, broken people, and a hopeless dead and polluted world transitioning into artifice and mechanism and reacting by being self-destructive, either to the point of utter obliteration or a glorious transhuman condition.

Toby Driver, the primary composer and bandleader of Kayo Dot, has been fiercely productive over the years, and while that usually refers to how many songs or albums an artist has made, with Driver the productivity is in the realm of ideas as much as music itself. In the course of a single Kayo Dot song, the amount of risks and liberties taken with form and convention usually outnumbers what other artists cover in a full album. For as much ground as they cover, it’s always in the service of a carefully curated mood and this is apparent on Plastic House on Base of Sky‘s exploration of our mechanical post-human future-present.

The core of Kayo Dot might be that mood– one that lies at the crossroads of darkness and mystery. In film, music that accompanies mystery is often nocturnal, playing on a primal relation in our brains between the unknown and the night. It’s this intersection that is the essence of Kayo Dot. Driver, who recorded Plastic House on Base of Sky in various locations from August 2014 to December 2015, again collaborates with lyricist Jason Byron. Byron, a lifelong student of the occult, gives the listener a feast of words to unpack that are as elusively satisfying as the labyrinths of sound they travel through. Whether by way of menacing guitars, ethereal woodwinds, or aggressive electronics, there’s always a sense that a new passage could open, that around the next corner could be anything.

Song premieres, pre-orders and more info on Plastic House on Base of Sky coming soon from Kayo Dot and The Flenser.

Plastic House on Base of Sky Track Listing:

1. Amalia’s Theme
2. All The Pain in All the Wide World
3. Magnetism
4. Rings of Earth
5. Brittle Urchin



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