Dowsing Anemone With Copper Tongue review

Even this is not a review here are some thoughts on the album after a first listen:

If I can address some of the earlier comments first, I can understand the repetition concerns although I don't understand them, to me there are specific moods that are created by those repetition and they sure add to the experience. Of course any straightforward rock-metal fans is gonna hate it and I understand that. Second, this is significantly heavier record than Choir, in my opinion anyway. There are some interesting noise textures that add to the heaviness of the whole but mainly it comes from the drums and the guitars. Simply put, I think that Sam was definitly more of a "feel" drummer while Tom has a much colder/technical aspect to his drumming that gives an, overall, much different feel to the album. The album is at the same time, significantly more melodic than Choir, there is melodic aspects everywhere in there, while on Choir it seemed to be sprinkled very light over the whole record. In some place I even thought thought it was a little bit pop, no offense. Part of that is the increasing presence of Mia and Forbes in the foreground of the songs, the guitars being brought back as a support and rhythmic tool more often than in the past. The solos-type otuburst are almost exclusively taken by Mia and Forbes while Greg used to use his guitar deity profile a lot more up front.

One important comment I have to make is that this one is evidently a follow up to Choir, hence the surprise being a lot less important this time around. What I mean is that Choir was quite a bit removed from Bath and LYBM so it was a whole new experience, enhanced by the fac that the band changed names and shuffled lineup. But the fact is that I was not surprised by the sound of this, while I certainly was with Choir. That, in and of itself, is a significant part of people's dispointment I think.

In conclusion, this will take a few more listens to fully sink in and fully appreciate but from the initial contact this seems very, very good. Hopefully it will stay that way.

Note1: I am slightly inebriated
Note2: I haven't listened to Choir in ages.
 
From the pasted review, I really don't see how he can say Kayo Dot are always trying to move closer to 'perfection'. Regardless of how intuitive the prime inspiration for the composition is, or how structured and intentful the composition itself is, somehow I believe the criteria of what makes a Kayo Dot piece work have nothing to do with absurd platonic idealistic notions of perfection.
 
yeah, simon nailed it. and brought up a point i think no one else is making, this new album is heavier. the mood is much more malevolent, and that seems to stem from the direction toby took with the solo album.

i would never blame anyone for not liking it, it's not for everyone, but i do think most people are taking their dislike for it to a personal level... why, i'm not sure.
 
mindspell said:
But the fact is that I was not surprised by the sound of this, while I certainly was with Choir.

agreed. need more listenings of course.

metalheads should be somehow prepared for this album. like, imagine a collision of in the woods' and sigur ros' wildest dreams or something.
or gemini becoming the tripod - thom yorke singing over khanate playing.

i liked LLLL better, simply im in that kind of mood right now. the third track is beautiful with that subtle drumming and yelling and that huge wave of drone all over.
 
discouraged1 said:
metalheads should be somehow prepared for this album. like, imagine a collision of in the woods' and sigur ros' wildest dreams or something.
or gemini becoming the tripod - thom yorke singing over khanate playing.

For me, kd's big difference is the music's structure; rarely hear any verse/chorus or large scale repetitions, and its rhythmic diversity - strictly in tempo (the 7/8 bit at the end of 03), no defined tempo (the slow chords in 04?), and everehthing in between. Brief moments sound to me like other music (a couple of chords in the trippy stuff at the end of Marathon remind me of some Vangelis piece in Blade Runner o_O), but most of the time I find it impossible to draw any musical comparisons, because the overall feel is so different. I think the best advice to a metal fan would be to try not draw comparisons, especially w/ post rock bands, as many seem inclined to believe kd pay homage to - tubas, oboes, saxophones, recorders, harps, merzbows you name it, gotta be post rock!
 
"Oh yeah, that's Kayo Dot, they used to date Metal."

"Really? Crazy Metal? Like cutting her wrists and ODing on tylenol Metal?"

"Yeah dude, I heard he changed his name just to get away from her."
 
Yeah so I finally wrapped my head around this here new album and I've been listening to it a whole lot for about a week now. I can finally hear the elusive jazz element in some places, and while I don't think I'll enjoy it quite as much as Choirs of the Eye, it's a pretty damn fine album that is quite different than that one, so I'm happy. Anyhow here's my review:

Yeah so I finally wrapped my head around this here new album and I've been listening to it a whole lot for about a week now. I can finally hear the elusive jazz element in some places, and while I don't think I'll enjoy it quite as much as Choirs of the Eye, it's a pretty damn fine album that is quite different than that one, so I'm happy.
 
Dusted:
http://www.dustedmagazine.com/reviews/2741

The era of the genre-hopping metal band is behind us, and this is a good thing.


We're not going to name names here, but surely you know the style. Mr. Bungle were originators- and innovators-apparent (themselves having borrowed an idea or three from the jump-cut style of composer John Zorn's Naked City). Then other, less-tasteful dudes took note, and clamored to blend all varieties of funk, jazz, blues, reggae, or ska with a metal base, the net result of which often smacked of low novelty. This was to continue to the tune of dwindling accolade from critics who'd "heard it all before,” and fewer and fewer points for originality until the the trend degenerated into the last refuge of the joke band.


Outside of this tradition, and thankfully much more rooted in the realm of sensible prog-rock, is the musically multilingual Kayo Dot. Evidently the main vehicle of Toby Driver, the leader and quite capable composer/guitarist/vocalist, the eightsome draws from a wide lexicon of influences - incorporating not all of them within the same song, and not necessarily using metal as their sole compositional springboard.


Which is not to say that the tunes remain rooted, aesthetically, where they start. But the stylistic changes that do occur throughout the five songs on Dowsing Anemone with Copper Tongue are not of that Zornian quick-change variety. Rather, Driver seems at pains to ensure that his music ebbs and flows subtly in a calculated and gradual fashion, like chamber music.


Dousing Anemone with Copper Tongue is the band's second album under the name Kayo Dot (before their Tzadik debut, they were known as Maudlin of the Well) and their first for the Robotic Empire label, best known for its current roster of metalcore, grindcore and late-’90s proto-screamo bands. True to that legacy of heaviosity, the first track lays on the downer bombast thick. Sustained winds, strings and subdued, serpentine lines of guitar, bass and piano lend a nearly amorphous, ambient backdrop to Driver's progressively desperate vocals before it all crescendos into a series of pounding, atonal non-riffs (in the sense that a "riff" suggests some discernably repeated figure, which this does not). Had Voivod taken their claims of Van Der Graaf Generator's influence far past the hilt, it may have sounded something like this. The follow-up track, "Immortelle and Paper Caravelle,” gives the listener a chance to decompress. Here, Driver tones the vocal terror down to a more expressive Jeff Buckley or (VDGG's) Peter Hammill level. Leading into the song's interlude and subsequent denouement is one curious surprise that sets Kayo Dot apart from the rest of the orchestral/chamber rock pack: A tranquil, chiming guitar melody, prickly pizzicato strings and grumbling bass vile that recall Olivier Messaien's liturgically influenced compositions. The metal surfaces once again near the end of the album, closing out the 13-minute "_____ On Limpid Form.” This time, it's in the form of a rhythmically-lopsided crash-and-drone guitar riff that sounds like it was recorded in a galvanized wind tunnel, while the rest of the band pounded the sides of said tunnel, Neubauten-style.


Kayo Dot's lyrics, incidentally, read like Baudelaire as interpreted by a Society for Creative Anachronism-type. Lines like "I feel strong, this day will never wither! / In sorcery is my most ancient thought / and I thought sorcery was right" and "I feel weak, this night will never bloom! / I am I / Now you're mine, my cunting child" suggest some kind of greater, arcane narrative at work, but they've got this reviewer stumped.


With all of the band's strengths, their polyglotism doesn't always go off without a hitch. Take the bop-ish trumpet solo in "Aura on an Asylum Wall,” which sounds strangely incongruent with the rest of the band's too-stiff-for-jazz comping. Of course, maybe keeping the listener in a sustained squirm is exactly their point. If you like your prog dark and your subject matter obtuse, Kayo Dot’s your band.



By Adam MacGregor