The Reign of Kindo @ Amsterdam Bar and Hall St.Paul, MN 8/27/17

So this could be an extensively long review, per it's been a long time coming, wanting to see them live for many years, and The Reign of Kindo's tours not coming to the Upper Midwest nor Minnesota.

And they have been an earmarked, bucket-list band to see in concert for me pretty soon after I got into their music. Which that in and of itself may warrant some babbling-on about to an extent.


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August 26th, 2008 Rhythm Chord and Melody was released by the way, now I think I own 3? copies on CD and would LOVE it to come out on VINYL.

Per the Traversing Message Board August 2008

Aug 8th, 2008
yeah I saw their name on the Kaddisfly forum a few days ago and like a lot of what I've heard so far. Sort of a mix of modern pop/rock with a jazz element..piano and what not. 

Still waiting on the chance to hear the whole record as my mp3 player is not being nice to me at home (it loaded 5 tracks and then shut down).

some clown in AP magazine gave it 1/5 stars tho..lol

Aug 11, 2008
listening to some of this today..I'm a little unsure how much replay value their style has..it feels so jazz-pop to me..and the cymbals are clipping which often kills music for me. I guess they remind me a bit of One Republic or Aviatic with some jazz elements, but for some reason the vocal melodies aren't as good.

December 17, 2008
ok..I will eat a bit of crow here and admit to REALLY digging these guys now. the drummer is incredible..the cymbal work is really technical and yet accurate as hell.

I'm pretty addicted to this album. I'd love to see them live now.

So that shows how far it goes back. I don't remember all the discussion on the Kaddisfly fans forum (Crimson Solitude), but it would be interesting to read about now However I don't think it's available unless it was from some kind of web archive.

So, 9 years, and finally last night I got to see them, opening for Jason Richardson with Luke Holland.

Just to not forget, there were 2 local openers, The Atlantis Theorem (who played 2nd),and this band named UMI who were REALLY good. All-instrumental, very jazzy with piano, and some acoustic and electric guitar. Very melodic, and a new band I guess but had Flash Drives for free of I forget how many EPs. But I gave them a little cash and gladly took 1 of them. I hope to include more soon if they are as great as they sounded last night.

Stolas was the other opener, who are a band from Las Vegas? And threw me off a bit. At 1st, they sounded very much in the vein of The Mars Volta or even as bombastic as Hella. But by the middle of their set, I was kind of getting a mid-late 2000's Post-Hardcore vibe. I did l like moments from them, including some group or at least multiple-member percussion.

The vocals at times were not easy to makeout, which makes me wonder if hearing some recordings of them could help.

Jason Richardson with Luke Holland, I did like moments from as well, although I concluded the music was very much in the Shred-Metal vein with hints of Djent. Similar to Animals as Leaders, which I did see 1 person with a Periphery t-shirt on, so that might make sense. The Guitar-worship community I'm not sure knew about this show too much, but like Tosin from Animals as Leaders, I would imagine Jason Richardson should appeal to the tastes of Steve Vai, Satriani, etc. But maybe the fans in this town didn't hear about this show?

Luke Holland though, as noted below, is a monster as he sat-in with Kindo just nailed Hold Out, so I can see why both Kindo was asked to come on this tour with him and Jason Richardson, and why Kindo might ask him to sit-in, as I guess he has drum-cam cover videos on YouTube of Kindo tunes.

So on to Kindo themself. The set list I posted below is not 100% complete sadly, as they played at least 2 or 3 tunes I either haven't listened to in quite awhile and didn't remember, or didn't recognize well enough to be certain. But I put a few tunes below as "unsure."

I know they played at least 2 maybe 3 tunes after City of Gods, and I think Feeling in the Night came after.

note, I can't find any set lists on setlist.fm from their current tour.

But the tunes I recognized I of course went apeshit for. Moments in Between gave me goosebumps, both the energy and the nostalgia. Very similar to my experience seeing Bend Sinister a few years ago for the 1st time, or even Mew a few weeks ago. Tears nearly hit me.

Great Blue Sea and Hero/Saint are 2 favorites as well.\

Hold Out was the 1st tune I ever loved, so that also was a highlight.

And 2 of the new tunes of course I have been addicted to this Spring/Summer especially, really worked well live. Especially with the energy they have. Their drummer Steve Pardin brings.

The only thing I think is worth mentioning other than I certainly would love to see an even longer set and some/any of my favorites like "Till We Make Out Ascent," "Out of Sight out of Mind," "Sing When No One's Around," "I Hate Music" among others, is Joey's LEAD VOCAL MICROPHONE and mix at The Amsterdam was probably not ideal.

Now mind you, when Kindo hit the stage, I went to the front (which most shows now I do not do), but per this was the 1st time seeing them live after so many years, I made an exception. Plus the show/crowd size last night, even with Kindo being the 4th band performing, per there was enough space among the crowd to not have to deal with fighting my way that far up, etc.

But Joey's lead vocals from where I was were at times at least audible, to other times barely present. I'm not sure if it was the fact the BASS MIX was really high, or just his mic was also not high enough.

The BASS MIX though was rather high for all the bands it seemed except maybe UMI, so that is why I wonder if it was the venue or the setup/board/levels, etc there last night.

But, minor issue overall.

Seeing them live finally was still an incredible thrill, and happily, getting to chat with Jeff their bassist a fair amount after the show as he was behind the Merch booth. Joey and Steve as well after wards. And I did get to talk to John Baab their lead guitarist, outside. Very cool guy as the rest of the band was.

Among the folks I met/saw, my friend Min Lee with Cities 97 was there, not surprisingly. But nice to catchup with him. Hopefully he will find a way to review their next album when it comes out, on the Cities 97 website like he did back in 2013 with Play With Fire. Which to include a detail or 2 in talking with Jeff.

1st off, there's a new track coming soon to the Patreon (September likely) that he thinks is the best (or Jeff said is his favorite, more than "About Love" which has become my favorite among all great new tunes per the Patreon).

And as far as a release, etc. Jeff just mentioned to me that the album may not actually be released officially until around February of 2018. But he added, that what will be on it, likely may not include some of the Patreon songs. And even the songs that may be on it that were part of the Patreon, may not all be the exact versions on the album, etc.

Now this is just what he told me, etc. Relatively vague, but at least as a fan, I'm not anticipating an official release/new album for a few months, which I totally understand, especially given the Patreon tunes, and so many of them already.

Also one other thing that irked me a bit as I came to learn chatting with Jeff and telling him how long it had been waiting to see Kindo, and what I believed is they had never come to Minnesota,
'
He mentioned coming like 8 years before, which would have been in 2009, at 1 of the theaters. Well so in searching, I failed to find a show/tour with them from 2009 or even 2010 or 2008 in Minnesota.

However, Google with the help of last.fm, found a show they played on October 21st, 2007 at The Varsity Theater with 3 other bands I don't know of, the headliner being a band called Daphne Loves Derby.

So it made sense that I wouldn't have known about or seen that show, since, like Janelle Monae a year or 2 later at The Varsity, and maybe even more significant, the 1 and only Minnesota Oceansize show in 2004 at The 7th Street Entry, I had never heard of The Reign of Kindo in October of 2007, so I can't really regret missing them. Along with the fact 10/21/2007 also happened to be the same exact night Between the Buried and Me headlined on the Colors tour (playing the entire album) at The Triple Rock.

Now had I known Kindo and a Concert jump were possible, I sure as hell would have tried to do both, but it may have been a bit of a tall task, and then being way in the back at The Triple Rock show, etc.

But anyway, all parallel universe realities and not mine.

I also did hear from Min Lee and 1 or 2 of the guys in the band, they are looking to tour the US again next Spring and Summer. Spring 2018 likely won't happen in MN, but more likely Summer of 2018.

Maybe with The Dear Hunter or Headlining or even another band (one I love or may not know yet, I could rattle off a handful of them if I wanted to. But maybe that's for another entry, lol..both REALISTIC and unlikely's like Vennart or say Pepe Deluxe or 22 of course...pipe dreams of course).

Oh and a final note, like Bend Sinister, Godspeed You Black Emperor, Agalloch and some others moderate to big..Kindo and Bend Sinister being very big deals..I look to Imogen Heap I guess as the primary Bucket List artist I have yet to see that I haven't, from at least somewhat of a realistic touring performer, and in the US namely.

A BUCKET LIST I should post/post again/update maybe soon. People like Fjokra, Vennart, Pepe Deluxe, Subterranean Masquerade, Small Leaks Sink Ships...Fish/Andre Matos/John Arch (or Arch Matheos), 22, Major Parkinson, etc. But Heap is the earmarker 1 since like Kindo, I got into her in the previous decade and at least 1 time, she toured the States a decent amount. Now this decade she has not unfortunately per her lack of releases and I recall her having children, but I hope she can and will eventually again and I can see her like I just finally did with The Reign of Kindo.




Partial Set List
The Moments in Between
Needle and Thread
The Hero, the Saint, the Tyrant and the Terrorist
Great Blue Sea
Hold Out (with Luke Holland on drums)
Human Convention
City of Gods
Feeling in the Night

Unsure
Romancing a Stranger
Just Wait
Thrill of the Fall
Battling the Years

edit: if/when I find a more fully accurate set list I'll try and update this. Unlike many shows of late, I didn't see a set list sheet to pickup unfortunately. Maybe next time.

Paul Waggoner's ranking of the BTBAM Catalog

http://noisey.vice.com/blog/rank-your-records-between-the-buried-and-me

7. The Silent Circus
6. Between the Buried and Me
5. Alaska
4. The Great Misdirect
3. Colors
2. The Parallax II: Future Sequence
1. Coma Ecliptic

I don't think my personal rankings are that surprising to be a fair amount different. But just for the sake of comparison, here's mine


1. Colors


2. Alaska


3. The Silent Circus


4. Parallax I: Hypersleep Dialogues


5. Parallax II: Future Sequence



6. Between the Buried and Me


7a. The Great Misdirect


7b. Coma Ecliptic

Between the Buried and Me - Coma Ecliptic (2014-2015)

6/11/15 5:54AM
"Famine Wolf" streaming

Uh, kind of more of the same feeling. Not going crazy over it, but will certainly hope to like it more within the album.


5/14/15 5:35AM

2nd single "The Coma Machine"..the video lends some mystery or to the concept of course per the title and the whole being in a coma idea. Musically? kind of vanilla for them. I mean there's a few nice moments, and on the record per just this long of a video (nearly 9 minutes), I may get more into this.

I guess I'm just paying attention with not incredibly high expectations. Wanting them to shock me or expect something dramatically cool or new, remains in the past.

Some comments mention Queen on this track, I don't exactly hear it. Perhaps in subtle spots I guess.

4/3/15 12:10PM
1st single "Memory Palace"..9 minutes and 56 seconds; not necessarily an excessive length, for these guys, but I guess I do agree overall with some of the comments about this

a) sounding like Dream Theater, maybe a little too much

b) simply, lacking those great moments, and seeming to have some of the prog/prog metal cliches.

Some of the talk about this album in interviews is it's supposed to be a lot different and weird(er) and also  being an Opera or something.

I guess as I've said, I don't have enormous expectations for these guys, and this 1st track/single doesn't really change that all that much.

But, it is only the 1st track at least.



3/17/15 12:06PM



Not a ton to say about this other than I will of course check this out, and it's too bad their upcoming tour isn't coming to Minneapolis (although even if it was, I wonder/worry it would be at Mill City Nights anyway).

Parallax II, from 2012 I liked a lot of, but I still think suffered from some of what The Great Misdirect did in lacking flow and a lot of unnecessary extended sections. But I also recall concluding that is who BTBAM are now and I don't really expect another Colors or Alaska really at this point. But if it happens, I'll be all the happier. I'm still a fan regardless.

More edits and bumps when the details are made public of course.

https://www.facebook.com/BTBAMofficial

"We are excited to announce the Coma Ecliptic tour named after our forthcoming new album! Our tour will feature Animals As Leaders and The Contortionist.  
VIP Packages are on-sale now at: showstubs.com/btbam 
Coma Ecliptic will be released via Metal Blade Records July 7th! 

More about our new album: 
"Once again, the band has returned with an ambitious concept album. This time, the story follows the wanderings of an unidentified man, stuck in a coma, as he journeys through his past lives. Each song is its own episode in a modern day, sort of The Twilight Zone-esque fashion. The unidentified man enters each world and is offered a choice: stay, or move on to the next in search of something better, something more "perfect." Vocalist / keyboardist Tommy Rogers spoke with Revolver Magazine for their upcoming issue, which will be on newsstands everywhere March 31st. Pick up the magazine for an exclusive first look at the album's recording process and concept. New music and pre-orders bundles will be launched on April 3rd, 2015." "

Significant Albums: Between the Buried and Me - Colors (2007)

This record was released in the late Summer/Fall of 2007. And 2007, was probably one-of if not the biggest year for new music for myself. Before hearing Colors, I was totally obsessed with the likes of Kaddisfly's Set Sail the Prairie, The Dear Hunter's Act II, Fair to Midland's Fables from a Mayfly and in truth, a laundry list of others.

But come late August or September I recall, there happened to be a constant amount of obsession about this new album from BTBAM. And I really, had next-to-no interest or thought about even considering it. But I guess it came down to so much hyping on the forums and I gave in.

But to back track a bit, their name I knew about for many years. I recall even seeing a video of theirs on the new Headbanger's Ball when it 1st came back onto MTV2 I think around 2004 or 2005. I specifically remember making a comment about them not being cohesive or growls with humor and thrash was just pointless. I forget. I know I gave 1 or 2 examples of a band who was better, etc.

But, in remembering that, I was being naive, and of course looking back on that, I wish I had been more open to their music, and the stuff I read about them.

For some reason I figured their vocals especially, were just going to ruin anything I might enjoy.

But at that point I really was limited in the Metal I liked. It was going to have to be pretty clean singing prog metal or my odds of liking it were low. I did like Opeth, even though I would laugh half the time at the growling. And Orphaned Land, whose music I enjoyed enough, but admitted the "Orphan Jam" with no growling, was my favorite thing I'd heard from them. And the likes of borderline screaming from Pain of Salvation and even Faith No More. But for the most part, I couldn't handle ANY of it.

But then in just reading more and more about the reactions to this album and their style, history, for probably 10 days or so, I just had to give in and (re)check this band out. And I specifically remember after listening to Colors 3 or 4 times in a few days saying "I'm almost in disbelief about this, but this album will probably be in my top 10 for the year" or something along those lines (mp.com's fall 2007 BTBAM Colors topic would show).

So, I did get won over, nearly 10 or 20 fold, in a totally out of nowhere, unexpected way. A few things to note:

1) the screaming I came to be able to hear, instead of like an annoying or silly throat exercise, but more like a rhythm guitar part. I didn't mind how it sounded, or what the lyrics were being sung.

2) Tommy's clean vocals I totally got into. I recall someone said they loved how he had this "Thom Yorke thing" but I remember saying he sounded a lot more like Josh from Kiss Kiss.

3) the music was not chaotic, or extremely un-cohesive. It actually was extremely well thought-out and the little intervals and things actually were charming and not overdone.

4) the musicianship: I hadn't really noticed it, but I came to really acknowledge the band's chops. Blake Richardson's drumming to Dustie and especially Paul's guitar work, tonally, using syncopation and dynamics really stood out the more I listened to this album.

5) Dream Theater and some others: Namely Dream Theater I came to hear a lot of influence with this band and this album. I think the drum work and a lot of the guitar tones especially. I hear parts of Scenes From a Memory for one in different places on this album. And I remember reading someone say SFAM is or was considered the band's jointly favorite record, or maybe collectively their biggest influence? something along those lines. Which I've heard my share of Dream Theater influenced bands, some good, some copycats and just unoriginal; but I found BTBAM really just showed their Dream Theater influence to the right degree. Not sounding identical, but sharing many of the qualities to songwriting and including extended musical ideas, etc. I.e. using the DT influence to their benefit.

I actually will never forget my friend That Drummer Guy also making a topic "Is BTBAM becoming Dream Theater?" lol. It was and still in some ways a valid question actually.

So, as far as specifics:

"White Walls:" is an amazing closing track filled with almost out-of-body levels of emotion. The way it slowly builds and builds, it's like a locomotive gaining steam and force, almost to the point it seems unstoppable.
The 1st 3 or 4 minutes set the tone, but then the tracking of layering and interplay of guitars and drums. Then it does have a calm-before-the-storm with Tommy's clean chanting in a gorgeous mellow part that leads to a clean picking guitar line with some thick synth layers; which adds a lot of ambience. That section last maybe 2 or three minutes, until the grand finale and probably the band's greatest section.

"get. out. of. this. closed. off. circle"

Tommy screams...and the reprise of Paul Waggoner's intense rhythmic

"this is all we havvvvvvvvvvv...when we dieeeeeeeeeeeeee
it's what's left of us...when we die"

and
"we will be remembered for this"

And then, the song goes into what I think of as a section that I could listen to for 4 or 5 times as long as it is. The guitar solo is just so bloody good. It flows harmonically and melodically. Some may think it's a totally strange comparison, but I remember after seeing a movie theater screening of Led Zeppelin's Song Remains the Same, thinking "Stairway to Heaven" has a very similar feel and flow to it. The way it builds and leads to this great exercise in letting things loose. I'm not sure I can exactly put into words the idea, but there just seems to be a similar ideal in the epic nature of the ending of "White Walls" and Stairway. And I happen to love "Stairway to Heaven" still to this day, so that gave me all the more reason to connect with "White Walls."

And "White Walls," really is one of the greatest pieces of music made in recent years.

However, some of the others parts of this record that stand out:

"Sun of Nothing" starts off intense, almost like a fast jam, but then changes gears enough to keep you interested. The screaming contrasts enough with the ferocious guitar riffs and snare and cymbal work from Blake Richardson, it starts to eventually blend into an incredible combination.

Some of the clean, major key guitar work really adds a lot to it.

-The frequent intervals of lower voice boxes

-The quieter sections are wonderful. The "I'm floating" with the change in guitar tone and thick synths.

I love the guitar variations. Paul and Dustie are masters at switching tempos, moods, textures and tones to fit where the rest of the song goes.

I remember specifically being won over by this song especially how the intense opening leading to those amazing changes in mood and beauty. It somehow found the band sounding like 2 or 3 different bands or styles of music in some ways, but after taking it in a few times, it seemed to totally work on a dynamic level. Sort of like how we have those mood swings sometimes or stories that are really serious, then our mindset changes with humor or a change in subject, and then shifts to something else. BTBAM on a musical level, came to totally know how to swing the mood without coming across as unnatural or forced.

The
"i'm floating towards the sun.....the sun of nothing...floating towards the sun....the sun of nuhhh-theeen. I have become the sun of nothing"

the outro even rocks hard, but almost not in a heavier, Metal way, but just the right amount of amplification.
And then it journeys into that intensity and back and forth between guitars, Tommy's growls and that segue nicely into "Ants of the Sky."

"Ants of the Sky" is maybe a more consistently heavy and busy piece. I think my favorite section being the almost Southern element, which I often hear a band like Kansas. I'm referring to some of the keys with the guitars. It almost sounds like a piece you'd hear at bluegrass night or OK Chorale. I mean this band are from North Carolina, so they are not without some Southern music influences.

The guitar riff on Ants as well as many other sections of this record are just so driving, so much so, I remember just enjoying the ride. Sure, I couldn't understand the lyrics and a lot of it was including more distortion than I was used to. But there was part of my brain that just enjoyed getting through it. Almost to the point, I enjoyed the heavy intense parts as much if not more than the clean melodic parts. Including Tommy's voice. Their sound, sounded more normal or natural with him screaming and those pounding guitar riffs and drum patterns.


"Sleep on. Fly on. In your mind. You can fly
Sleeeeeep on. Flyyyyy on. In you mind. You can fly"

That section again is another example of a perfect segue.

And then it leading to the an actual bluegrass section which sounds like it's from some southern saloon with line dancing or something. Which lasts like a minute, and then the band go back to the distortion with a great clean guitar solo/outro (and even a little bit of trumpet?).

"Prequel to the Sequel" I remember enjoying its upbeat, almost marching style, which goes on for a few minutes and then has the band go back into another intense driving shift and breakdown. Around the 3-and-a-half minute point, they start to do this cool time changing with syncopating. Unusual, but it still goes with the flow of the song. It leads to almost a ritualistic section that even includes some accordion synths with Tommy using his Mike Patton style of background chanting.

It noticed its walking seemed more staggered than normal.
The breeze didn't flow like it used to...
the heart seemed to pound slower and slower...
what caused this? (what caused this?)

building..

It seen was noticed that these three had torn every branch, every single stem...

screamed (but not growled)
torn to its last life...
how hadn't it noticed 
a drastic change in the surroundings...
It didn't think anything could go this wrong.

"Comfort!...Comfort Comfort Comfort!.....Comfort Comfort Comfort!"

I really love the way Tommy changes his voice so fluidly here. And how the screaming is screaming, not growling. It sounds more like how Toby Driver or Daniel Gildenlow screams rather than the tone and style of his 'core voice. And I think somehow that has it come across more powerful and human.

edit: apparently this section is not sung by Tommy but Adam Fisher of the band Fear Before. Something of course I have never seen mentioned and would explain how different sounding the screaming is. It's a great vocal section regardless, and live, I imagine Tommy does perform it (or did when the band has played this track).

"Informal Gluttony" has this cool drum pattern and use which almost comes across sort of middle eastern-sounding. And the guitar melody adds some of that same, but also I am reminded of Dream Theater and SFAM again. "Home" specifically. But again, it's not BTBAM trying to sound exactly or nearly like DT, but more just incorporating a similar idea within a song idea of their own.

I think Tommy sings "when will you learrrn" a few minutes in, which I wonder within the concept of this record if it's a self reflection (I'd lean towards it being one).

After a few minutes of intensity, what is the 1st of many more calming, dreamy parts of Colors. "Feed Me Fear" is repeated and then segued to end with that middle eastern sounding percussion.

-"[b]the Decade of Statues" I think of the interplay with a wah-wah pedal that accents on the offbeat. In fact, it doesn't happen for too long, I could go for that part.

It segues into these chromatic guitar runs that almost sound lower fi.

-"Viridian" really is just an overture or intro to "White Walls." But it's a nice, mellow piece that works well in how the ending of Colors was composed.

So, to summarize, this record is kind of all over the place in a good way. Sort of the culmination of years wanting to fit many parts and ideas into songs, and finally doing it well.

But as for its significance, it seems to be to me for a few reasons.

1) I never could get into Extreme Metal, metal with any kind of screaming

2) it opened the doors for me to enjoy a ton of music/metal, namely technical and progressive still (but not exclusively, like Black Metal and even a little Doom Metal), that I likely never would have been up for, almost entirely based on the inability to hear screaming. Now, in some cases like punk screaming like with The Dillinger Escape Plan or Deftones, I still can't quite get past the vocals. But the % of screaming I can tolerate if not enjoy went up significantly.

3) It became a fine work of 60 or so minutes. Almost like 1 song, really or a suite. And it was a trip to listen to. The dynamics and ability to compose such differing styles of music so naturally, was almost unthink-able. I mean how many bands have ever included Bluegrass with Metal? no matter how short or long? Some say it can come across as blatant and a gimmick. I guess for me, having never even heard or thought of that idea, it was charming and worked on this record.

4) this was the record I enjoyed the most of theirs. "White Walls" being the piece/part/song I enjoy the most in their entire catalog, and it's fair to say the song that won me over single-handed-ly.

And while I do enjoy Alaska, The Silent Circus and some of their others, Colors still wins. And sadly, where they are going, I am not sure if I will ever be won over at this level by them again. Although as I've said many times, I'd love that to happen. But if it doesn't this still remains their masterpiece and peak of sorts. And a highly important record for me and really for progressive rock and Metal kids. fans, musicians around. It and the band have reached a lot of people who normally never would like progressive rock or metal because of this band and this album specifically.  In that sense, I kind of do see BTBAM and Colors as a template or standard for where metal has gone the last 10 years or so. Is it maybe even in some ways like a Metal Dark Side of the Moon? in some ways, on a smaller level, perhaps.

It's like a drug or a marathon of sorts metaphorically, Colors really is a trip or journey (and concept/story..) that somehow the more times you get through it, the more you appreciate it.