Thu June 25, 2015
Subliminal SF presents: Kayo Dot, Kowloon Walled City, Dust Moth
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KAYO DOT
The avant-metal band Kayo Dot has probably never been accused of accessibility. Led by longtime multi-instrumentalist and writer Toby Driver, Kayo Dot has been putting out genre-defying albums since 2003 to varying degrees of acclaim. So it was something of a triumph when the Brooklyn-based band self-released its sixth album, Hubardo, last year to very positive reception. Resembling the work of an auteur, Hubardo was both a return to form for Driver, who before Kayo Dot fronted the weird and (very) heavy act maudlin of the Well (motW), and an assured step in a new direction. Clocking in at 98 minutes and boasting all the instruments and players of a chamber act, the album remains worth every bit of the attention it demands. But accessible it is not. None of which is to say that accessibility is necessarily a good thing. Truth be told, the world could use more bands like Kayo Dot that sulk and swagger to the beat of their own weird drums. The point is, there was nothing in its catalogue to indicate that Kayo Dot’s seventh album, Coffins On Io, was going to be what it’s turned out to be: a refined, and sensual, post-new wave tour de force.
show less
The avant-metal band Kayo Dot has probably never been accused of accessibility. Led by longtime multi-instrumentalist and writer Toby Driver, Kayo Dot has been putting out genre-defying albums since 2003 to varying degrees of acclaim. So it was something of a triumph when the Brooklyn-based band self-released its sixth album, Hubardo, last year to very positive reception. Resembling the work of an auteur, Hubardo was both a return to form for Driver, who before Kayo Dot fronted the weird and (very) heavy act maudlin of the Well (motW), and an assured step in a new direction. Clocking in at 98 minutes and boasting all the instruments and players of a chamber act, the album remains worth every bit of the attention it demands. But accessible it is not. None of which is to say that accessibility is necessarily a good thing. Truth be told, the world could use more bands like Kayo Dot that sulk and swagger to the beat of their own weird drums. The point is, there was nothing in its catalogue to indicate that Kayo Dot’s seventh album, Coffins On Io, was going to be what it’s turned out to be: a refined, and sensual, post-new wave tour de force.
KAYO DOT
The avant-metal band Kayo Dot has probably never been accused of accessibility. Led by longtime multi-instrumentalist and writer Toby Driver, Kayo Dot has been putting out genre-defying albums since 2003 to varying degrees of acclaim. So it was something of a triumph when the Brooklyn-based band self-released its sixth album, Hubardo, last year to very positive reception. Resembling the work of an auteur, Hubardo was both a return to form for Driver, who before Kayo Dot fronted the weird and (very) heavy act maudlin of the Well (motW), and an assured step in a new direction. Clocking in at 98 minutes and boasting all the instruments and players of a chamber act, the album remains worth every bit of the attention it demands. But accessible it is not. None of which is to say that accessibility is necessarily a good thing. Truth be told, the world could use more bands like Kayo Dot that sulk and swagger to the beat of their own weird drums. The point is, there was nothing in its catalogue to indicate that Kayo Dot’s seventh album, Coffins On Io, was going to be what it’s turned out to be: a refined, and sensual, post-new wave tour de force.
read more
The avant-metal band Kayo Dot has probably never been accused of accessibility. Led by longtime multi-instrumentalist and writer Toby Driver, Kayo Dot has been putting out genre-defying albums since 2003 to varying degrees of acclaim. So it was something of a triumph when the Brooklyn-based band self-released its sixth album, Hubardo, last year to very positive reception. Resembling the work of an auteur, Hubardo was both a return to form for Driver, who before Kayo Dot fronted the weird and (very) heavy act maudlin of the Well (motW), and an assured step in a new direction. Clocking in at 98 minutes and boasting all the instruments and players of a chamber act, the album remains worth every bit of the attention it demands. But accessible it is not. None of which is to say that accessibility is necessarily a good thing. Truth be told, the world could use more bands like Kayo Dot that sulk and swagger to the beat of their own weird drums. The point is, there was nothing in its catalogue to indicate that Kayo Dot’s seventh album, Coffins On Io, was going to be what it’s turned out to be: a refined, and sensual, post-new wave tour de force.
show less
Date/Times:
1131 Polk Street, San Francisco, CA 94109
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