Kayo Dot - Blasphemy

Led by composer and multi-instrumentalist Toby Driver, Kayo Dot has always been embraced by the metal community. Not only due to the band’s earlier Maudlin of the Well roots and debut underground classic Choirs of the Eye, but because through nine albums, they have always had a dark aesthetic about them. Coyote, their fourth album from 2010 was released on Hydra Head Records, and the conceptual framework for the album was written by a terminally ill friend of the band.

Kayo Dot are a band that are difficult to sum up; and that is because you can not sum them up. You can’t even say that Kayo Dot are ‘one of those bands’ that are difficult to categorise, because they are unique and evolve, not only from album to album, but within the band itself.

Kayo Dot’s Blasphemy was released in 2019 through Prophecy Productions and produced by Randall Dunn who also worked with the band on Hubardo, Coyote, and Blue Lambency Downward. Much like 2013’s sprawling Hubardo, Blasphemy is a concept album with its narrative written by Jason Byron. The story is set in a planet of toxic clouds, with structures appearing from beneath (see cover art). The only way to get from country to country is by sailing through the clouds. The characters within the story search for treasures exposing greed and power. It is meant to be metaphorical. With plans to publish the story, an excerpt of Byron’s novel is included in the box set version of Blasphemy.

Unlike the synth pop stylings of Coffins on Io, or the sci-fi anime inspired Plastic House on Base of Sky, Blasphemy is an album that is traditionally rock based in sound and structure - it is without orchestral elements. A trumpet does however appear on Turbine Hook and Haul.

With its cold mid pace tempo: guitars and drums open the album through Ocean Cumulonimbus, setting the scene for the concept. It is four minutes of circular guitar patterns has Toby soaring above; he adds various textures that get heavier as synths are appear. The synths are never front and centre like they have been on the bands recent releases. On Blasphemy they add an ethereal quality, while contributing towards the albums mood as well as its depth.

The protagonist of Blasphemy is a sleeping girl named Blasphemy. She is an evil little bitch that pulls the strings. It is rare to feel attached to a story or concept within music, but Blasphemy (written by Jason Byron) is engaging and interesting as a metaphor or just as an interesting piece of fiction. At times I felt deep anger towards the sleeping girl, with a soul so black. But she is unconscious, asleep - her eyes are closed. And isn’t that typical of our current political landscape.

The cantor type vocal on Lost Souls On Lonesome's Way push aside a post punk twist. The song has a sinister edge to it, the drums sit back a bit sit back a bit here, as you feel a build towards something. Then Toby speaks of brothels, pirates and gold and it invites you to enter the album’s world as opposed to a being passive listener.  The drama is tangible.

Vanishing Act In Blinding Gray opens with a delicate and soulful Toby that is not a million miles away from Jeff Buckley. In structure, Blasphemy is more traditional in song structure, with circular movements and returning riffs. However, Vanishing Act is one of the more linear songs on the album. It moves through this progressive landscape and builds and into one of the most exciting and mesmerising climaxes I have heard not only from Kayo or Toby, but ever. It grips you by the arm and drags you into a passage where you can literally visualise a sea of fists raised - before the anchor drops.

Closing track Blasphemy: A Prophecy includes a hook that is easily the most infectious thing Kayo Dot have ever attempted. While Blasphemy is a more accessible Kayo Dot, there is still a lot going on, you can get quite lost in its layers. The album is packed with twists and turns, surprises and climaxes. The Something Opal has this brilliant whisper/spoken word part; and An Eye for a Lie has a vocal effect not unlike something that Kanye West would conjure up - it’s a very confident vocal performance throughout.

The push and pull on Blasphemy is so very unique in this day and age. It’s equally beautifully and ugly, horrifying and pleasing, real and abstract accessible and challenging, it is a more stripped back, band based release; however is still complex, deep and rich. Kayo Dot are not just evolving with Blasphemy, they are improving. And after 15 years it is a rare thing to say that a band’s ninth album may be their masterpiece.

Kayo Dot has just announced that they will release their 11th album in August, titled Every Rock, Every Half-Truth Under Reason, and has reunited their original lineup from the classic, Choirs of the Eye.

New album can be pre-ordered here, and follow the scent for an exciting back catalogue of work.