This has to be the weirdest, most confusing album I own.
And where to start?
Extremely experimental meets post-rock meets classical meets jazz meets metal. None of those things should go together. But somehow, Kayo Dot have managed to do it. Whether that leaves you with something listenable is debatable. Personally, it leaves me dumbfounded that it has been done so well.
I got Choirs of the Eye because I’m such a huge fan of maudlin of the Well. I was expecting much of the same. While there are some similarities, Kayo Dot takes it to a whole new level of experimentation and challenge.
I’ve owned this music two and a half years. To this day, I haven’t wrapped my mind around it. The music is an explosion of every instrument imaginable, from trombone to flute to heavily distorted guitars to strings to drums. It’s violence cuts, its numbness subdues, its ethereal beauty entrances. Like other maudlin of the Well music, the lyrics are sheer poetry, when you can understand what Driver is saying. He croons like Jeff Buckley and Thom Yorke (though is not as talented as either).
But it isn’t for the singing that you listen to Kayo Dot. It’s the fact that it’s insane, not only for its extreme intensity, but also for its laid back moments where it almost grooves, lulling you into false sense of security before it blows up on you again.
Choirs of the Eye, at least for me, is a musical challenge unlike any other. What it accomplishes has likely never been done before. Sure, there is avant-garde music. Maybe there’s even avant-garde music that’s been blended with metal, jazz, and classical. But I doubt that it’s been done with as much success as Kayo Dot did with Choirs of the Eye.
Before listening to Choirs of the Eye, I never would have believed music like this could exist. For at least this one thing I can consider Kayo Dot’s Choirs of the Eye a success.