"Controlled, bold compositional framework driven by mysterious cogs... unlike any other." -The Quietus



"The best experimental rock band around." -HeavyBlog



"A greater vision of how music can evoke feelings both grandiose and devastatingly intimate." -Vice/Noisey



"...its barely effable resonance will linger for the days, weeks, and months to come, like some half-remembered dream we unwittingly act out in our waking lives." -TinyMixTapes



"This is carefully honed mayhem... absolutely nothing to compare it against." -Echoes and Dust



"Blasphemy is one of the best pieces of avant-garde music in recent memory ...and well-deserving of time and attention needed to unravel the labyrinth of its thorns." -TrebleZine



"One of the least cool and most fashion-disinterested bands in the world." -TinyMixTapes





Blasphemy by Kayo Dot

Some high scores for BLASPHEMY:

Metal Injection 9/10 ¬ Metallian France 4.5/5 ¬¬ Ave Noctum 9.5/10 ¬ Metal Trenches 9.3/10 ¬ Metalitalia 8/10 ¬ Hymn Sweden 8/10 ¬ Power Metal Germany 8/10 ¬ Prog Archives 4.96/5 ¬ Prog Sphere Top Albums of The Year ¬ Rocking Greece Editor's Pick ¬

We're proud to announce our new album, Blasphemy, just released on Prophecy Productions.

Check out the gorgeous limited edition packages they have available and place your order at https://prophecy.lnk.to/kayo-dot-blasphemy.

OFFICIAL BIOGRAPHY:

KAYO DOT, the mercurial melancholy collective spearheaded by composer and producer Toby Driver, was formed in 2003 by the members of the legendary aetherial chamber metal band, maudlin of the Well in a giant inspired evolutionary leap. Since then, Kayo Dot's muse has shown its face through slow and massive cascades of guitars and violins, craggy broken jazz rhythms, calm West African seashore waves of saxophones and reverb, Bitches Brew-inspired tripped-out goth fusion, hyper-fast angular and atonal suicidal black metal, Byzantine cathedrals of mechanical synthesizer geometry, and more, like an enormous Final Fantasy overworld map with land beyond land, always more to be discovered. From their beginnings in Boston and shortly after to New York City, Kayo Dot's members and collaborators have come from a huge range of backgrounds, DIY punk kids to the most erudite conservatory-educated New York performing musicians, all in service to the ancient amoebic consciousness that speaks through this band. Toby Driver's experience with his many other collaborations, including Randall Dunn (Sunn0))), Johann Johannsen, Wolves in the Throne Room, Myrkur, Chelsea Wolfe), Secret Chiefs 3 (Trey Spruance of Mr. Bungle), John Zorn (Masada), G. Stuart Dahlquist (Burning Witch, Asva), Vaura (Kevin Hufnagel of Gorguts), Bloodmist (Jeremiah Cymerman and Mario Diaz de Leon), Stern (Chuck Stern of Time of Orchids), The Tanks (Ches Smith of Ceramic Dog and Xiu Xiu), his solo works (with Brian Chase of Yeah Yeah Yeahs, pianist Kelly Moran, Conrad Harris and Pauline Kim), Piggy Black Cross (with Bridget Bellavia) and plenty more, combined with Driver's natural-born leadership quality, has deeply informed and expanded Kayo Dot's range of expressive capability over time into an essentially limitless identity, the band that can do anything it wants, brilliantly colored by its perfectly contemporary and perfectly American mixture of everything, that can flourish but can never be able to escape or ignore the darkness that overhangs it.



Now sixteen years on, Kayo Dot's newest album, Blasphemy, once again based on an allegorical story by Jason Byron and produced by Randall Dunn (who helmed KD's Hubardo, Coyote, and Blue Lambency Downward), is Kayo Dot's most forthright statement ever, directly confronting the world at-hand, foregoing the encouraged escapism found ubiquitously throughout the rest of Kayo Dot's catalogue, and embracing the perspective a band in such a rare position as this can bring.