Po mnoha personálních peripetiích je dnes takřka jediným spojovacím článkem v Kayo Dot skladatel a multinistrumentalista Toby Driver. Už od poloviny 90.let stál se širokým spektrem muzikantů v čele avantgardní metalové kapely maudlin of the Well, z nichž někteří – včetně Tobyho – studovali na Hampshire College pod vedením jazzové ikony Yusef Lateef. Po třech albech, která jsou dodnes ve svém stylu ojedinělá, proběhla transformace na Kayo Dot. Přestože lze vypozorovat jednotící prvky, změna názvu nebyla pouze kosmetická. Kromě snahy o vymanění z příliš svazujících škatulek, kam se MOTW nechtíc zapsali, a ukončení některých konceptů (mj. „automatické“ či podvědomé komponování, odkazující právě na Lateefa, s využitím lucidního snění či astrální projekce) je tu patrnější vyzrálý a nespoutaný projev.
Debut jim vydal John Zorn na svém labelu Tzadik, kde se ještě později objevila i sólová deska Tobyho Drivera; druhé album pak Robotic Empire (vydávající vše od post rocku po nejkrajnější grindcore) a třetí, pojmenované „Blue Lambency Downward“, chystá dnes už velmi populární vydavatelství hydrahead 6.května. Tentokrát extrémnější hlukové polohy ustoupily, rozvíjí se však ještě víc jejich neuchopitelná (dis)harmonická magie. Z mnoha vedlejších aktivit stojí za zmínku též projekt Tartar Lamb na pomezí současné klasické hudby, který tvoří Toby a druhý pilíř Kayo Dot – houslistka Mia Matsumiya.
Hudba Kayo Dot se vymyká jasné kategorizaci. Přes značné množství vlivů (indie rock, metal, jazz, klasika, ambient) tu hrají prim emoce, originalita a především je daleka syndromu pejsko-kočičího dortu. Pokud u nějaké kapely nejsou fráze „nutno slyšet na vlastní uši“ nebo „s každým poslechem lepší“ skutečně jen bezobsažnými klišé, ale holou pravdou, pak je to určitě Kayo Dot.
V tisku bývají přirovnáváni k: King Crimson, Isis, Jeff Buckley, Opeth, Time of Orchids, pozdní Talk Talk.
KAYO DOT vystoupí 5.6. v Chateau Rouge (Praha) od 21:00. Předkapela: The Ruin Of Ruins, což je projekt, kterého se účastní minimalistický písničkář Lobo, lofi-noisové duo Ruinu (jinak členové skupiny kaspar von urbach), používající primitivní elektroniku, polofunkční nástroje a objekty, a hráč na dechové nástroje Pelykán z českobudějovických PFNO (Psychedelický Flákač Na Odstřel).
rezervace na dan[at]chateaurouge[dot]cz ; tickets[at]letmo[dot]net (popř. na baru v Chateau). Předprodej/rezervace končí 4.6.
Kapacita omezená. Nevyzvednuté rezervace propadají ve 21:30.
http://www.myspace.com/letmoproductions
http://www.bluelambencydownward.com (stream alba)
http://www.myspace.com/kayodot
http://www.kayodot.net
http://klangundkrach.net
Na třetím albu se podíleli:
Toby Driver
Mia Matsumiya (hrála mj. s: Gregor Samsa, Daughters)
Charlie Zeleny (hrál mj. s: Behold... the Arctopus)
Skerik (hrál mj. s: Les Claypool, Mad Season, Hella, Ponga, Bobby Previte, Stanton Moore)
Hans Teuber (hrál mj. s: Jovino Santos Neto, Wayne Horvitz)
Dave Abramson (hrál mj. s: Diminished MEn)
B.R.A.D. (hrál mj. s: Asva, Burning Witch, Master Musicians of Bukkake)
Randall Dunn (hrál/produkoval mj. s: Eyvind Kang, Jesse Sykes, Earth, Sunn O))), Boris)
V aktuální sestavě je mj. David Bodie (ex-Time of Orchids) (bicí)
Z tisku (o novince):
„If ever there were a difficult band to pin down, Kayo Dot is it ... (title track): think of Annette Peacock's most elaborate songforms as arranged by Andy Partridge and played by Magma at their most effusive and you realize the rather boundary-disintegrating music we're talking about here - because even that description doesn't capture it. "Clelia Walking" begins with electric guitar power that sounds like the Swans covering Therion tunes, but just as quickly it gives way to Matsumiya's lithe, gauzy violin coming from the softer reaches of Witold Lutoslawski before finally meeting Eastern modalities as sung by Jeff Buckley ... there is only delight, amusement, humor, and sometimes awe. While Kayo Dot is impossible to pigeonhole or put into a single box, they also make avant music you can hum to.“ AllMusicGuide
„At the conclusion of several listens, however, it becomes evident that Kayo Dot has constructed something beautiful, haunting, delicate, and extraordinarily exquisite. Call it a forward-thinking masterwork. Call it ahead of its time. Call it an unclassifiable tour de force. Call it Blue Lambency Downward.“ BlogCritics Magazine
„The melodies on "Choirs" were what one would expect to hear when listening to metal or rock music so tracks spoke in ways that were familiar even they didn't look like it. "Blue Lambency Downward" seems to be paying tribute to the modern compositional movement of the early 20th century with clear indications to its creator's supposed fondness of Erik Satie and other melodically simple yet provoking minimalists. In turn the melodic content on this album is vastly different and superior when compared with the two previous Kayo Dot releases ... It seems that "Blue Lambency Downward" while sonically easier to comprehend has become Kayo Dot's most diversely opinioned album. Moving away from their post-rock style build-ups and instead delving into complete organic pieces like "Dowsing" suggested. Toby Driver and his endless cast of extras have crafted a record that easily aligns itself with the current avant garde scene in New York while still retaining the Kayo Dot touch.“ Sputnik Music
„Multi-instrumentalists Toby Driver and Mia Matsumiya lull you into a dream state with a small cavalcade of instrumentation, plying an almost noir sensibility at once moody and contemplative, bristling and demure. An unclassifiable masterpiece.“ amazon.com
Z tisku (o starších albech):
„Forming from the ashes of prog metal underground heroes Maudlin of the Well, Kayo Dot's music is far removed from the former band's sound as well as from virtually anything else you're likely to hear. With heavy metal instrumentation cascading with layers of sound created by keyboards, flute, clarinet, and saxophone, nearly excruciatingly subtle passages of lulls and distant melodies frequently erupt in a storm of chaos and claustrophobic textures of tension and impending doom ... Choirs of the Eye is easily one of the most evocative and genuinely experimental albums to come out in quite some time, and the small amount of buzz the band has generated recently is beyond inadequate. Soaringly melodic and undeniably evil in the way parents and religious groups could never understand, Choirs of the Eye is as moving as it is hideous and hedonistic.“ Performer Magazine
„The band's combination of chamber instruments, psychedelia and metal gives it an almost delusional appeal, like absinthe chased with Genny Cream Ale, or the sparks you see on your eyelids when someone clocks you in the head ... if you like your violence framed by surreal mumbojumbo, you may find them awe-awakening; the slow sections are suspenseful, and the climaxes will make your hair jump off your head.“ Pitchfork webzine
„Not just transcending the borders of genres, but the music itself, Kayo Dot are truly a definition of a progressive, innovation group of our century. Their music is aimed at fans of new music in general, not just fans of a certain genre.“ progarchives.com
„Choirs of the Eye is mostly a pensive and moving affair that has more in common with the releases of Talk Talk, Cerberus Shoal (with whom the band has recently toured), and The Dirty Three than with any that of any metal band I can think of offhand.“
Satan Stole My Teddybear
„Avant chamber-metal group Kayo Dot has made some of the most memorable “rock” records of the last few years ... Outside of this tradition [brainless crossover], and thankfully much more rooted in the realm of sensible prog-rock, is the musically multilingual Kayo Dot.... Toby Driver 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 ... Driver seems at pains to ensure that his music ebbs and flows subtly in a calculated and gradual fashion, like chamber music.
Had Voivod taken their claims of Van Der Graaf Generator's influence far past the hilt, it may have sounded something like this...
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...
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...“ DustedMagazine.com
„Kayo Dot powerfully integrates elements of modern classical composition with the layers of guitars and vocals more common to rock and metal. With a compositional map that is strict in form yet malleable in execution, Kayo Dot uses a vast array of instrumentation to create an exciting convergence of violence and serenity.“ Tzadik label
„Dowsing Anemone With Copper Tongue is like any great album, at first hard to enjoy. Its complexity is perplexing ... Kayo Dot are past metal, even past being described by a genre, they seem as if they have transgressed into a simple emotional reflection of their members. Whether that be a strong sense of loneliness or a sense of pure bliss, the emotions are covered in full detail and that‘s what in time makes this so accessible to the listener. Like I said before Kayo Dot can attract a non-metal fan and this is the primary reason, their main reliance is on that of pure emotional outlet, not technical prowess, not lyrical finesse. While they possess both of those traits, they aren‘t the foundation of their music and that is what helps them to, in my opinion, but one if not the top fore-runner in today‘s music scene.“ sputnikmusic.com
