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Kayo Dot - Moss Grew on the Swords and Plowshares Alike CD (album) cover

MOSS GREW ON THE SWORDS AND PLOWSHARES ALIKE

Kayo Dot

RIO/Avant-Prog


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BrufordFreak
COLLABORATOR
Honorary Collaborator
4 stars Reuniting some of the cast from previous Maudlin of The Well albums, Toby has stepped back into relativity with this, at times, stunning album.

1. "The Knight Errant" (8:21) a fascinating ride: high energy, yet, on cruise control the whole way--and narrated by an angry man with something to say. Could have used a little more variation in tempo and themes. (17.5/20)

2. "Brethren of the Cross" (8:20) engaging both musically and lyrically, the key and tempo changes are fresh and unpredictable--which makes me want to come back to it more. The instrumental seventh and eight minutes are awesome as the music slowly deconstructs. (18.5/20)

3. "Void in Virgo (The Nature of Sacrifice)" (9:10) definitely has a moTW feel to it despite its more modern/recent Depeche Mode-like synth wash treatments. The lead guitar work is my favorite element but the chord and key changes are also awesome. From the opening with Simon Raymonde (Cocteau Twins)-like rolling bass play and the guitar's melodic foundational chord progression, I am into this one. The sensitively sung lyrics and interjection of 80s synth sounds are wonderful. As a matter of fact, it's an extraordinary vocal performance--one of my favorites by Toby Driver in a long time. Great lead guitar play by Greg Massi--even as the walls of sound thicken. Awesome song! Great ending! (19.5/20)

4. "Spectrum of One Colour" (4:57) uptempo and fast-moving, this one sounds like a Billy Idol song. Interesting how Toby's dominant bass and the guitar's chord play weave around each other. I'm thankful to be able to understand the scream vocals, however, since I have trouble (or an innate lack of interest in) hearing words, the deep impact of the song is lost upon me. Love the oscillating synth work in the final section. (8.5/10)

5. "Get Out of the Tower" (7:06) that murky, echo bass of recent KD albums anchors a more moTW music structure-- even more emphasized by Toby's screaming vocals. (I think he's actually angry, folks!) The "angry" Robin Guthrie guitar play is another great aspect. While I like this song, I'm not as enamored of Toby's fairly untreated vocal--it's too thin and weak (except when he gets into the growling in the second half)--this despite the fact that I can appreciate the target of his anger. The full soundscape of the second half is much better than the spacious opening three minutes. (13.25/15)

6. "The Necklace" (8:10) a song based over the field-filling drumming! Floating, droning synth-guitar wall-scapes and screamed vocals help give it its other shape and identity--with great, slow-transitioning sustained chords--but the real attention-grabber here is the drumming--especially in the first half. Cool song! (14.25/15)

7. "Epipsychidion" (13:13) the walls of cacophony--despite the use of Edge Evans' guitar tone from the early 1980s-- coupled with the scream vocals throughout the first half of this song irritate me to no end. The song improves in the sixth minute as the walls of noise are taken down and Toby sings in a human voice (sounding drained and exhausted--a reflection of the planet and it's homo sapiens?) The second half, with it's experimental sound explorations, is highly entertaining and even enjoyable. Still, I simply can't reward those first five minutes too highly. (25.5/30)

Total Time 59:17

I don't know how Toby & Company manage to release album after album in which they challenge the existing norms of what is practiced--of what is acceptable--in progressive rock music, but they do--and here, with Moss Grew on the Swords and Plowshares Alike, they've done it as well as they ever have. Definitely the most stunning display of the combination of frustrated aggression, instrumental virtuosity, and melody I've heard in 2021. In spite of this praise and recognition, I feel as if, once again, I'm faced with rating an album from this year whose song output ranges quite drastically from extremes of "pleasing" to "irritating." Were it not for the weak aspects (the growl/scream vocals and occasional lack of change or development), this might be one of my favorite albums of the year--and certainly the best experimental/post metal album. As it is, I can only go with the metrics. B/four stars; a very interesting and polarizing album to listen to (for me). I do not, however, hesitate to urge you to try it for yourselves.

Report this review (#2630197)
Posted Wednesday, November 3, 2021 | Review Permalink
5 stars 5.0 Stars. maudlin of the Well + Kayo Dot = Astral Hubardo

Kayo Dot have been on a strong run for a while now. Ever since their landmark Hubardo album back in 2013 they have been delivering a diverse but consistent string of albums for the rest of the decade. They had tuned down the pure Avant chaos of their earlier work but in exchange had made their albums more direct and engaging, while still being far away from commercial or selling out.

Moss Grew on the Swords and Plowshares Alike sees a shifting back to the older, more experimental style of Kayo Dot, partially due to the deliberate homage to former band maudlin of the Well and Greg Massi joining the band once again. As with the older Kayo Dot albums Moss is very uncompromising, with their being lots of extreme metal, grows and screams. They have even managed to do some Avant drone metal and expansive sound scaping, which I have not heard from them since their earlier 2 albums and never thought I would again from them.

Their is a lot of familiar ground between this album and Hubardo in terms of aggression and song writing. However the key difference is the Mauldlin influence in Moss, which causes the songs to be more abstract and experimental. While most of this album is dark and heavy, ambient and new-age sounds permeate though to add a more otherworldliness feel.

The album was created during the Covid pandemic, when the world was turned upside down and people were full of fear and dread. The nightmare of 2020 has been perfectly reflected on Moss, which tells stories of cruelty and pain, with their being no hope on the horizon. The darkness intensifies as the album continues, with it reaching a climax at the start of Epipsychidion ( probably the most chaotic and destructive song Kayo Dot have ever created), before everything crumbles away into Avant Garde sound scaping.

Moss Grew on the Swords and Plowshares Alike may well be the most challenging album Toby Driver has ever written (which is impressive if you look at his back catalogue!), as it contains a level of darkness and intensity that surpasses the likes of Hubardo, Coyote or Library Loft. The extreme metal and psychic darkness will make this album hard to listen to, even for most Prog listeners. Yet despite this there are some of the best music I have ever heard to be found here. I would rank this album as highly as their debut Choirs, which is one of my favourite albums of all time.

Report this review (#2636053)
Posted Monday, November 22, 2021 | Review Permalink
siLLy puPPy
SPECIAL COLLABORATOR
PSIKE, JRF/Canterbury, P Metal, Eclectic
4 stars In the on again / off again world of KAYO DOT in regards to being an avant-garde metal band, Toby Driver has shifted gears once again away from the Gothic rock / electronica menageries of his post "Hubardo" period and once again jumped back into the heavier realms of music complete with death growls. While some may call KAYO DOT's tenth studio album MOSS GREW ON THE SWORDS AND PLOWSHARES ALIKE a return to form, it would be more accurate to call this album an interesting album length compendium of everything Driver has conjured up in his past works and thrown onto the work table for the ultimate mix of all the previous styles in one listening experience.

One thing is for sure and that is that KAYO DOT remains in its own little world, utterly unclassifiable although the list of ingredients that include avant-garde metal, gothic rock, doom metal and progressive rock do give a hint of what to expect. With some rather bloated projects in the past with huge rosters of guest musicians, MOSS GREW is basically the Toby Driver show where he plays all the instruments with the only exception being guitar solos performed by Greg Massi. Jason Byron, the long term collaborator continues to provide the lyrics for Driver's unique atmospheric knotty prog to latch onto.

Clocking in at close to an hour, MOSS GREW ON THE SWORDS AND PLOWSHARES ALIKE displays a triumphant return to those missed metal accoutrements that decorate Driver's musical palette like no other. "The Knight Errant" unapologetically breaks down the door announcing that the series of non-metal albums has ceased and a new chapter of the KAYO DOT experience has begun. With dramatic synth stabs, howling atmospheric keyboard fuzz and off-kilter percussive outbursts, Driver re-introduces his growly metal vocal angst yet without the aqcompanienmt of heavy guitar distortion but rather jagged angular keyboard runs, jazzy drumming dopamine inducers and crazy roller coaster ride time signature changes and proggy workouts. Some heavier guitars do make their appearance but always play second fiddle to the untamed and oft unhinged synth madness.

It becomes quite clear with the second track "Brethren Of The Cross" that Driver did not completely abandon his avant-goth leanings of the previous albums but in fact has melded them with his prior avant-metal and Maudlin of the Well sensibilities. The juxtaposition of elements provides a turbulent stormy ride like chartering a sailboat over the Drake's passage to Antarctica. This atmospheric jungle mixed with the more aggressive metal leanings is exactly what the doctor ordered and offerings the much needed contrast that has been missing on Driver's non-metal offerings. The result is an abstract soundscape in the vein of MotW's "Bath" and "Leaving Your Body Map" as well as the earliest KAYO DOT offerings all kept in the more accessible realms of Driver's more recent jaunts into the easier on the ears soundscapes of Goth electronic mood enhancers.

The diversity factor has been turned up on MOSS GREW and that is what makes it such a welcome return to past glories! While recent albums sorta got stuck in a one-trick pony groove, this one really isn't afraid to let each track drift to wherever feels right. "The Necklace" is a particular standout as erratic percussive drive accompanies a chilled out synth soaring sequence with Driver screaming from beneath the mix. Another standout is the closing 13-minute plus "Epipsychidion" which delivers what one could only deem as atmospheric death metal. Thick ambient cloud covers suffocate heavy drumming and growly vocals with weirder than weird meandering compositional fortitude that reminds as to why Toby Driver is considered one of the most inventive artists in today's prog and metal realms.

MOSS GREW ON THE SWORDS AND PLOWSHARES ALIKE comes as an unexpected surprise as the previous album "Blasphemy" really made me think that Driver had peaked and was destined to no longer compose music that i can't really resonate with. If anything this album reminds me that Driver is always on the lookout for something new to latch onto but also has his pulse on the whims of the fanbase and returned to a more familiar comfort zone in the nick of time for those on the fence. Overall, MOSS GREW is not only a dramatic and welcome return to his metal roots but really does capture the essence of everything Driver has tackled up to this point. It's sort of a recap in musical form of all those "leaving your body map" musical projections. What really makes this one work is the abstract fuzziness of it all, as if it is the soundtrack to a dream. Just enough melodic progressions to latch onto yet one of the most surreal KAYO DOT experiences to behold in a very long time.

Report this review (#2636830)
Posted Thursday, November 25, 2021 | Review Permalink
4 stars Kayo Dot are back with their tenth full-length release two years after the totally-okay Blasphemy. That album continued the band's recent trend away from metal and toward Gothic rock with some experimental leanings. Kayo Dot has always been difficult to nail down with precise genre descriptors, frequently operating in nebulous grey areas between assorted experimental rock and metal subgenres.

Bandleader Toby Driver has often worked with a rotating crew of musicians for Kayo Dot, but for Moss Grew on the Swords and Plowshares Alike, he recorded with the original lineup of his previous band, the critically-beloved maudlin of the Well. The musicianship is expectedly top-notch, and the fusion of experimental metal with subtler influences is sublime. This might just be my new favorite Kayo Dot record.

Moss Grew opens with "The Knight Errant". A trilled guitar line soars icily as gothic synth tones pound out an odd beat alongside the rhythm section. The combination of snarled vocals over this minimal instrumental backing is striking and powerfully sinister. A warbling synth line eventually takes the lead for a brief interlude as the song continues its march forward. The second half is focused more on instrumental excursions and features some dark, haunting guitar passages. It all culminates in the final verse, which builds to an apex like one would expect from one of the greats of atmospheric black metal.

"Brethren of the Cross" kicks off with a wonky, goth-y guitar line that staggers forward in a stupor. The verses continue this uneven feeling as they lurch forward toward more stable passages underpinned by black metal and post-punk. This track's climax is also praiseworthy. The main riff of the last two minutes is a crushing, metallic assault with an inscrutable pulse. The riff here feels drunk, but this metrical theatricality is fascinating.

Next is one of the most accessible songs Kayo Dot have ever written, "Void in Virgo". The verses are airy, light, and clean. I never thought "sweet" would be a word I could apply to this band's music, but it works here. It's not off-putting, though. In fact, it's quite a nice contrast. Right when it felt as if this song was about to start feeling a little long, a heavier passage comes crashing in to keep things interesting.

"Spectrum of One Colour" is the shortest song on the album, clocking in at a bit under five minutes. This track opens with an energetic, complex riff evocative of math rock. Big walls of bruising distortion are brought in during the song's slower moments, and Driver's shrieked vocals add to the overwhelming atmosphere. The song's second half features lush synthesizers and a mellower pace, though the aggression remains.

"Get Out of the Tower" starts with an echoing bassline and deft drumming, but it's soon joined by a twisting, flashy guitar solo. This track has an intensity which hasn't been present on their last few albums, and it's a much appreciated inclusion. Even during less-distorted instrumental passages, the vocals are impassioned, and that makes the eventual return of the fury that much more satisfying.

A high-energy drumbeat and willowy synth pads introduce "The Necklace". This moody, anxious piece features distant, strained vocals, as well as claustrophobic synths. This composition stays minimalistic through most of its runtime, but it never feels half-baked or drawn-out.

Moss Grows closes on its longest song, "Epipsychidion". This piece is more classic Kayo Dot, with a maelstrom of gothic-tinged black metal. The guitars are abstract, and the drumming is masterful and dizzying. The first half is one of the best songs I've heard all year, and I really wish Kayo Dot would have stopped at nine or ten minutes. The track closes after about five minutes of drone. Even a minute or two would have been a good ending here, but it just drags on a bit too long.

This final, minor hiccup aside, Moss Grew on the Swords and Plowshares Alike is a fantastic album. It has the raw intensity and experimental spirit of Kayo Dot's early work while also incorporating gentler influences they've picked up along the way.

Review originally posted here: theeliteextremophile.com/2021/11/15/album-review-kayo-dot-moss-grew-on-the-swords-and-plowshares-alike/

Report this review (#2904533)
Posted Tuesday, April 4, 2023 | Review Permalink

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