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  • Dowsing Anemone With Copper Tongue [Vinyl]
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Dowsing Anemone With Copper Tongue [Vinyl]

14 customer reviews

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Vinyl, January 10, 2006
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Editorial Reviews

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1. Gemini Becoming the Tripod
2. Immortelle and Paper Caravelle
3. Aura on an Asylum Wall
4. __ on Limpid Form
5. Amaranth the Peddler

Product Details

  • Vinyl (January 10, 2006)
  • Number of Discs: 2
  • Label: Robotic Empire
  • Average Customer Review: 4.3 out of 5 stars  See all reviews (14 customer reviews)
  • Amazon Best Sellers Rank: #1,952,287 in Music (See Top 100 in Music)

Customer Reviews

Most Helpful Customer Reviews

4 of 4 people found the following review helpful By Reverend_Maynard on July 12, 2006
Format: Audio CD
Impossibly, Kayo dot combine disonnance, delectable melody, heavy metal flourishes, avant-garde excursions and post rock dynamics into a whole which is never sprawling-it seems focused, tuned, intended and overwhelmingly, and most importantly, it feels _right_ and _good_.

The first track for instance, starts off much as Marathon from _Choirs_, but twists and turns in an almost imperceptible way into a somehow perfect, extended break which sees Toby Driver emitting some bizzare, unsettling screams and practically wordless vocals....yet when the full force of the instruments, his vision and the chord structure collapses on top of his anguished 'Gemiminiiiiiii' everything is dragged, impossibly, right into place. '_On Limpid Form' is a nightmarish journey, descending into SunnO)))-ish repeated chords driven home with the force and inevitability of continental drift-yet when this shift is juxtaposed and infiltrated by scattering, schizophrenic percussion, the near 10 minute wait to reach this point takes on new meaning. The point of this journey is not to arrive. So violins, guitars, trumpets, and, importantly, Drivers frighteningly versatile voice may seem to be battling it out for primacy in a messy and baffling blend of insanity, but KD works like Tool-everything is positioned and nothing is wasted.

Ok, this review is pretentious and not entirely coherent, but the point I wanted to get across most-that this album is odd and difficult, unique, yet impossibly, overwhelmingly, it feels _right_, is what I would like you to take from it. Driver never ceases to amaze me. With this record, he doesnt just push the envelope, he stamps on it, sets it on fire and shoots it out a big cannon into The Sun. Pretty much the future of music, or at least the music I want to listen to. Buy buy buy!
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4 of 4 people found the following review helpful By Aquarius Records on February 4, 2006
Format: Audio CD
Hot on the heels of the excellent "solo" album from Kayo Dot frontman Toby Driver we reviewed earlier, comes this new opus from Kayo Dot proper. They've moved from Tzadik to metalcore label Robotic Empire, but Dowsing Anemone With Copper Tongue is no less avant-garde than previous KD output, that's for sure (you ought to be able to tell that just by the title, eh?).

A confusing, crushing blend of Godspeed, Neurosis, John Zorn, Amber Asylum, Oxbow... Kayo Dot's apparent points of reference make for a mysterious listen. It's chamber-prog rock, it's metal, it's melodic and mysterious, with cryptic lyrics softly intoned amidst the creepy, ambient beauty, marred (not really) by violent outbursts of claustophobic heaviness, when and if the track builds to such a climax... Or marred by jazzy saxophone solos, there's that too. You can tell why John Zorn likes 'em! Actually, sax only surfaces significantly on "Aura On An Asylum Wall" which also has some of the album's most brutal blasting passages to make up for all that jazziness. There's also rumbling percussion and droning strings and sensitive singing and long stretches of ominous, dark, weighty quietude -- track lengths reach up to 18 minutes and are often more soundscapey than anything "song-structured". It's about as experimental as you can get and still appear on a nominally "metal" label.
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9 of 11 people found the following review helpful By Lord Chimp on May 14, 2006
Format: Audio CD
This is a very special band with a lot to share. In hindsight it is obvious from the first Kayo Dot that the band's past "astral metal" incarnation, maudlin of the Well, was not meant to be any point of reference.* The curiously titled _Dowsing Anemone with Copper Tongue_ a fortiori severs the connection to that lovable, obscure band. For one thing, although the instrumental lineup has not changed significantly (guitars, piano/keys, violin, trumpet, drums & percussion, with electronics), the music is virtually bereft of anything I would call metal or prog-rock (or whatever exactly motW was). The vocals turned farther away from the screaming and roaring and more towards schizophrenic and dreamy. The music is much more texturally and melodically based than riff-based, and the music is highly composed. If I may have the liberty of comparison, it sounds a little like an obsessed mutant child of Neurosis, GYBE, and a drugged-up Jeff Buckley, still informed by rock, jazz, classical, and ambient. All the while its structural approach reveals less favor for the Western convention of contrasting sections -- the songs of _Dowsing Anemone..._, most of which being 10 to 15 minutes-plus in length, are slowly-evolving, organic constructions. One must hear it to understand how unique and special this music is.

It begins rather like the first album. "Gemini Becoming Tripod", the first track, sets the album up with its lengthy, spacious arrangements, more 'natural' sound, and otherworldly intimations. It starts with a repetitive, harmonically static guitar being strummed with a more fluid violin accompaniment.
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1 of 1 people found the following review helpful By Dansa on June 26, 2006
Format: Audio CD
Dropping the multi-track collages and electronic effects of their ghostly debut in favor of more live performance minded arrangements, Kayo Dot step out of the haze only to prove to be just as enigmatic as they were in the shadows. As with "Choirs of the Eye", Driver divides the album into five, long, moody pieces that draw from jazz, rock, and classical influences. The slow evolving opener,"..Gemini " teases the listener with the wintery landscapes and blustery metal that opened "Choirs of the Eye" before a lone foreboding guitar emerges from the droning calm left in it's wake. Appearing from thin air like some sort of Lovecraftian terror ripping into our reality, Driver's vocals swell and contort as the music becomes harsher and more demented until the song closes in an eruption of all out metal menace.

Offering a much needed break from the horror of the opener, the jazzy lullaby "Immortelle..." sparkles into clarity like a shimmering dream coming into focus before your eyes. The centerpiece of the song is a brief but gorgeous vocal passage delivered in Driver's haunting falsetto. But as quickly as the song develops, it withers away in cryptic quiets, sweeping strings, and rain drop like melodies. Dropping the outfit's slow evolving approach, "...Asylum Wall" begins with a dark almost bluesy start-stop rock groove in full fruitation with Driver dropping the dreamy falseto in favor of a low, full voice only to puncutate the verses with high shrieks that are seemingly dueling with Mia's violin. Eventually the song shifts into a twisted trumpet kissed waltz before closing with a boiling eruption of distorted percussion and screams.

The album reaches it's nightmarish climax with the near 20 minute "on Limpid form " .
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