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Khanate: Clean Hands Go Foul
So after years of smashing the shit out of everything, Khanate broke up in 2006. They ruled and they were very different from bands that were around when they were, and they really came correct with the dark plague of sounds that defined them as the unpredictable doom supergroup that they were. These dudes for real are the lords of creepy sound [I reviewed them last year with their self-titled LP] and without question they really came through on this one with some different shit. The whole thing is that a bit before they split in 2006, they recorded this record. I feel like it deafens whatever anticipation has surrounded it an appropriate way. It is cool 'lost record,' it wraps up their chronology in a way that adds to their story. This album goes lots of places and completely satisfies Khatates whole aesthetic- it is frustrated, it is tense, and it is wicked, but this time what it does not do is rip. It does not melt your head off and flood your apartment with black ooze or whatever like their previous records. Instead the anti-climatic way that the four songs on here toss and turn through their restless, ambient creepy shadow sounds leave me with a tired and confused aftertaste, which I can appreciate. Because they totally wrecked through the records that came out while they were still a band and thus created the whole allure of their whole experience and shit, this new joint spurred a quality dialogue at home base during the listening ceremony that raised some interesting points about these dudes."- read the rest on The Articles

Kayo Dot: Blue Lambency Downward

"Kayo Dot’s Blue Lambency Downward isn’t really a collection of songs insomuch as it is a single composition. Sure, the music is divided into tracks (I prefer to suggest they’ve divided the music into movements), but the overall sense of this 2008 recording from the masters of experimental psychedelic metal is that it demands to be heard as one inclusive work.

To say that Kayo Dot bridges the gaps between genres is quite accurate, as defining one tangible sound to slip the Boston band into is a awkward proposition at best and a fruitless operation at least. Hell, when their 2003 debut record is released on John Zorn’s label, you know there’s going to be trouble at the henhouse when it comes to traditional genre placements."- read the rest from Blog Critics