KAYO DOT - Coffins on Io

I like pretty much everything Toby has done, but I'm weird. The main one to check out would be last year's double album, Hubardo. It's like a culmination of everything he'd recorded up to that point. Fantastic album, with a real flow to it, hitting the heights of death metal prog fury, to the lows of nighttime doom, and everything in between. If Choirs didn't have such a huge nostalgia factor for me, it would probably be my favorite KD release. Highly, highly recommended.

This one, however, is something totally new.


And I assume you've heard MOTW - Part the Second...
 
Dude, WHAT?!?!?!?

Get on this. Pronto! -----------> http://kayodot.bandcamp.com/album/part-the-second

Sweet, indeed.

The first few minutes had me a little worried as they sounded dangerously like The Arcade Fire or some bullshit hipster post-rock of the sort, but the top-tier orchestrations soon took center stage and the whole scope of MotW’s nondiscriminatory palette could unfold. The last 15 minutes or so are kind of a rush, deep and powerful music.

I understand it’s OOP though?
 
It was never really "in print," as it was a free digital album originally. Since then, there have been a few CD and LP releases, but they have been extremely limited. Back when it came out, there was a minor circlejerk among me and Doomcifer and a few others (a la Vaura). It's a HUGE grower that doesn't truly hit stride until about the sixth or seventh listen. Here's my old review of it, for another site:

Face the album that should not be. When Toby Driver “disbanded” Maudlin Of The Well back in 2002 to commence his newer, more experimental project Kayo Dot, no one thought we’d ever hear this sort of thing again. Driver had gone cosmic, had left planet Earth for the realms empyrean, never to return. That is, until summer 2008, when it was announced that plans were in the works for the first MOTW album in eight years. The endeavor would be entirely fan-funded and released for free on the band’s website (where it’s still available: http://www.maudlinofthewell.net/), with everyone who donated listed as an “executive producer.” Needless to say, $100.00 has never disappeared so quickly from my bank account—unless you count the night of July 29, 2007 at the Gentleman’s Club in Charlotte, NC. You’re welcome, bitches. But even when it was announced that much of the music was left over from compositions dated 1997-2001, I. Did. Not. Lose. It. And remained calm, resting assured that Part The Second would be an epic disappointment. I’m not saying that I didn’t think Driver could pull it off. It just seemed like he wasn’t really into this whole “music” concept anymore (you know, that thing with discernable rhythms and structures and melodies). Worse yet, it felt like a surrender—people had been begging him for so long to start writing songs again that he finally just caved in. “Give the people what they want and move on” seemed to be the sentiment. If anyone reserved the right to release a dud, it was Driver. But that’s not what happened. Oh boy—that’s not what happened. It’s impossible that Part The Second should be this good. Fucking impossible. Abandoning the death metal that had made up a fourth of the original MOTW sound, Part The Second is a homogenous fusion of Floydian dreamscapes, effervescent violins, clean-toned guitars, pianos and the Twin Peaks theme song—all combining to create an ambiance that’s akin to being a ghost riding in the tail of a comet. “Heaven Metal” I guess you could say. But why even call it metal any more? This is about as far from Century Media as one could ever get. And don’t let the song titles fool you into thinking this is some kind of “prog” thing either, nor the pedestrian album title, which I actually believe to be a double entendre: 1) second incarnation of the band, 2) music so enmeshed in the fourth dimension that it literally splits time.
 
Track 1 is so Type O Negative it makes me want to snort rails off a goth girl's pasty ass

(320 version has leaked, btw)