Kayo Dot – Plastic House on Base of Sky

There are albums out there that make you doubt the veracity of your sonic equipment. You always feel as if you’re missing something, as if there’s something more on the edge of the music you’re hearing. Is it your ears or your earphones that are robbing you of that edge? Or is it simply that the album in question seems to endlessly unfold, holding more and more as you listen? Whichever the case, Kayo Dot has always been able to produce albums that invoke this sensation. From their immense debut works, through all the countless changes they have undertaken, one constant has remained true, an inescapable sense of impossible lushness. Their music encompasses all but leaves plenty of the imagination, a pocked soundscape for your mind to fill in.

Plastic House on Base of Sky is no different. Fueled by Toby Driver’s penchant for the sounds of Susumu Hirasawa, the album is a lush, thousand-times folded sojourn in a neo-futuristic hive city. Whether from the aesthetics of Paprika or the decisively forward-thinking science fiction of Frank Herbert (think of Jodorowsky’s foiled renditions rather than Lynch’s), Kayo Dot have drawn forward a convulsing, neon tinged maze of experimental rock/pop.

Starter Kit: (Harsh) Noise

Starting sometime in the late 70’s, early 80’s a new genre of futurist music arose. It sought to push the boundaries of music, warping the very concept of what music could be. It was harsh, dissonant, and altogether uncomfortable, yet somehow drew legions of devoted fans. The lack of boundaries,…

Hey! Listen to Hyperion!

Each subgenre of black metal has its particular foibles, but perhaps none bears the same level of trademark idiosyncrasy as melodic black metal: popularized by Deception and Sacramentum, instead of stripping down or changing the black metal formula of straightforward aggression and storming fury, it ups the ante, using the genre’s sound as…