Search - Kayo Dot :: Blue Lambency Downward

Or Toby Driver scores a Hammer Horror film?

Dansa | 05/07/2008

(4 out of 5 stars)

"After the documented troubles composer Toby Driver faced touring "Downing Anemone..." it shouldn't come much of a surprise that "Blue Lambency Downward" is a very minimal low key outing as the primary focus is almost entirely on his foreboding if not outright threatening guitar distortions that can best be described as a drugged out Black Sabbath gone jazz. In a more accenting role, Mia's weeping violin is welcomingly emotional yet incredibly mysterious, offering little warmth to the gloomy experience. With more frequent vocal passages than ever featured on a Kayo Dot release, Driver proves to still be an effective crooner but he is anything but an intimate human voice; sounding more like a half insane wandering ghost moaning and chanting his way through the fog.



Those expecting the lush orchestrations and rich production the outfit has been known for will no doubt be disappointed as there is nothing majestic or traditionally beautiful about this album as the sound is surprisingly swampy, dark, and claustrophobic. So void is the album of studio magic that it might as well be a straight raw live recording with the sparse electronic effects only being used to increase the heavy haze that drowns the album. Despite the album's meager running time of 43 minutes with a staggering amount of songs for a Kayo Dot release, the album is essentially one giant piece: lurching, mumbling, and clawing to its own muddy grave in such a drawn out exhausting manner that it feels long enough.



The first three pieces are almost entirely droney atmospheric "build up" with spooky clarinet and morbid baritone saxophone moans creating the impression of an old foggy graveyard while songs of sorts occasionally take shape; fading in and out of the mist in the guise of dark smooth jazz and lurching doom metal. The big monster finally shows up in the suspenseful two part climax of "The Sow Submits" and "The Awkward Wind Wheel" , with urgent rhythms, horror movie strings, and sudden unexpected changes in direction recalling a mad chase through a haunted house. Driver appears to show mercy on "Symmetrical Arizona", blessing us with a long, lonely, but gorgeous bluesy guitar solo before closing the curtain with more doomy jazz wierdness. Fans of Univers Zero, Toby Driver's solo release, John Zorn, and Miles Davis' darker later work should enjoy. Others should be prepared for a dark abstract journey without any of the redeeming beauty or hard rock energy that highlighted Driver's previous works.

"

Unfortunate, but maybe I'm unrefined

Jason Orszt | nj | 05/26/2008

(3 out of 5 stars)

"I've waited a long, long time for this one. Having loved the cinematic, galvanizing qualities found in Choirs of the Eye (in particular 'the Manifold Curiosity') and the respectable subsequent release, what's name I never bothered to learn to the letter (they make it a job to learn their song and album names), I was very much eager to listen to the new album, which is called what again? Blue-something-or-other.



I think it's interesting to note the misleading split with Bloody Panda. That song sounded like a logical step for Kayo Dot to take their music, but instead they give us this new drone/weather-channel jazz/meandering guitar work that may leave you a little impatient, somewhat annoyed, and addled all at the same time. The first two albums released by Kayo Dot felt like Toby's new child--a child that is precocious in its apprehensions on music, yet started to feed itself goddamn paintchips despite its craft, thereby turning into this retard. Suffice to say, it didn't feel like a natural continuation to me; it felt like a sideproject.



The climactic writing in the previous albums is more or less defunct, but Kayo Dot still has a tendency for creating sullen melodies and haunting atmosphere, which I love. Much of the music on this album is more of a pastiche, flowing like a wild river from brief moments in metal to abrupt folky sounds, some of it effective, some of it frustrating. It works out for "Clelia Walking" and "the Awkward Wind Wheel"--that's all. Funny enough in Clelia's lyrics: "I don't want to be the melody / I prefer the choking sound." Real fricken fitting.



I don't want to say this album is no good because it's great background music for whatever it is you're putting your concentration in. There's no real climax in these songs to play with your imagination like you had throughout Choirs of the Eye and bits of the Second Album. That's a gripe I have: I don't feel like I'm creating something along with the music. That was a wonderful aspect of Choirs of the Eye--the very imagery that you couldn't help but to compose while listening to the climactic bits of every song. This album feels more indolent, kind of like a bumbling drunk who stops into random facilities to throw up in.



One thing I can say is I've lost my eagerness and excitement for the band, but gained a curiosity for the next album. What the hell kinda monkey wrench are they going to put into that one, I wonder."

Am I listening to the same album?

x_bruce | 02/02/2009

(5 out of 5 stars)

""Blue Lambency Downward" is the third album under the Kayo Dot name. I'm not familiar with possible travails that may have gone on in the past or any of the things mentioned by some reviews. I know I have all three Kayo Dot albums and this is my favorite.

But why?...



First off, like the album prior "Blue Lambency Downward" which I like almost equally, the changes here intrigue me.

Like most post-rock albums you deal with lots of soft/loud dynamics. In particular, the title track is a perfect example in many ways. The song, "Blue Lambency Downward" takes its time building, almost tortuously slow, as you wait and wait for the inevitable 'big payoff' which does resolve and move onward to a beautiful segment of dense guitar timbres that change like scenery.

This is quite appropriate as the lyrics are also densely, dark, and poetic.

As mentioned by other reviews, the music is minimalist on this track, and seemingly so on other tracks that follow.



The album changes to a much needed pace with "Clelia Walking". Again, there is a sense of minimalism, however, there are many small musical discussions and wonderfully written horn charts.

The drums have an odd feel, sounding as if (and quite possibly were) recorded after the fact: having an almost improvised feel.

It's hard to tell, and being a musician myself, I tend to get too involved in this kind of issue. It shouldn't matter how a song was recorded and in fact, a lot of people have bestowed themselves the role of producer after the fact. In my reviews I'll pass on such issues.



That said, the sound is dense throughout, which does seem an artistic choice. It is a lovely sound in its own way, especially as the album develops and the musical arrangements reach the level of genius.



There is quite a lot of brilliant playing, both in arrangements/tonal structures but also in ensemble segments.

The post-rock melds with progressive-rock and does so in a way reminiscent of late 60' Miles Davis. Not in terms of funk, but in terms of musical directions taken.



Normally, I don't listen to albums like this repeatedly, but found myself compelled to. Trying to describe Kayo Dot is difficult. In some ways they remind me of Godspeed You! Black Emperor and its many spinoffs with Tim Berne/John Zorn style jazz: which is quite a complement coming from me. There are also aspects of King Crimson and Univers Zero in occasional solo moments and arrangements.



If you are left of center in your tastes this album is a must have and at the very least is a should listen, just in case you find as many pleasures in "Blue Lambency Downward" as I did."