First Metal-Archives review of the new album...

People are constantly giving everyone on this board shit for resenting certain bad reviews, but when the reviews are as unsubstantial and meaningless as this one, it's not hard to see why.
 
If you reissue Dowsing Anemone I'd suggest a couple of emendations:

Tracknames should probably combine words associated with weather and melancholy.

Instruments should be replaced with tape loops. If you're going to make a Merzbow tribute album get the bloody instruments right.
 
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Finally got ahold of the album. After only a couple of listens I dig it greatly. Those crazy sounds during Immortel blew my mind... The production of the album really gets me too... really dynamic.

I dont see how this is any less accessable than COTE but whateva. Good job fellas... Now to find the LLLLLLLLibrary thingy.
 
Also the album received an "8" in Decibel.

There is also a sound-off section where they play songs for other artists and only tell them the title of the song. They played Gemini Becoming the Tripod for ... Derrkick Green (who?) from Sepultura... some quotes

"Imagine being able to play your entire iPod Mmusic collection all at the same time"

"I guess you could have fun listening to this if you drank an entire 40 oz. of cough medicine by yourself in a cold dark room."

That last one is poetry.
 
said Decibal review:

"You could tell from the earliest stirrings of Maudlin of the Well that there was a lot more going on in chief composer Toby Driver’s head than a proggish take on doom-metal heaviness. In Kayo Dot, his subsequent project, Driver has delved ever further into formally composed and arranged pieces that ebb and flow as inexorably as the tides.

That’s not to suggest that there’s no heaviness on Dowsing Anemone With Copper Tongue. But that density is just as likely to come from thickly clotted chords on violin and trumpet as from walls of distorted guitar. Opening track “Gemini Becoming the Tripod” has it both ways, alternating between stately chamber-music textures and funereal plod. Disorienting and claustrophobic, the track is a tortured fever dream; Driver’s vocal sounds like Billy Corgan being slowly strangled.

Opening in misty drift, “Immortelle and Paper Caravelle” sighs into a sweetly sung ballad, Driver’s fey vocal caressed by Forbes Graham’s warm trumpet and Mia Matsumiya’s purring violin. The stop-start opening of “Aura on an Asylum Wall” transitions through a gently swinging jazz interlude to a driving 5/8 climax worthy of Van der Graaf Generator. The epic “___ on Limpid Form” ranges from blissful Floydian reverie to caustic Khanate dirge before exploding like an iron foundry detonated by Einstürzende Neubauten. Creeping with catlike tread, closing track “Amaranth the Peddler” surrounds Driver’s cryptic lyrics with a pervasive unease more genuinely rattling than any conventional metal release you might care to name."

—Steve Smith

(via ilx)
 
I like how suggesting that college kids listen to band "x" is made out to be a MASSIVE insult, trumping the suggestion that drunken rednecks listen to band "x" ...

For instance, drunken rednecks listen to Slayer, so Slayer is FUCKIN' RAWK!
But college liberal art students listen to Isis, so Isis frou frou bullshit!