Deep Space Doomby Lize Kay / 05.10.2009
Six months ago, KIDOFDOOM visited us here in the Cape. Thereafter they locked themselves in the highest room of the tallest tower of a castle somewhere far far away to write some music, and they were quiet for some time. But they are back, launching their new album, ‘My Faith In War’, and though we missed them it was worth the wait…
Pulling off an all-instrumental band in a country with a fairly confused, messy music industry is quite an accomplishment, but where they lack lyrics they boast music that is unlike anything to have come out of South Africa before. With a sound they have dubbed ‘deep space champion pop’, the doomers have taken things to a whole new level with this album. With Sassquatch and Haezer joining the line-up, there really was nothing left to ask for. But I did note, more than ever, that Pretoria people and Cape Town people are not the same. Sassquatch has a crowd going mental up north. Trust me, I’ve been a victim of his rowdy followers. But the focialites in the mother city seemed wary of enjoying his music too much. A subtle tap of the feet should not suffice! The same thing seemed to happen when Haezer took to the stage after KIDOFDOOM’s set, and we concluded that perhaps it was all a bit too much. Too much of a good thing might just have literally blown your mind in this case.
The set was coupled with visuals that matched the music to perfection. Everything from psychedelic patterns to the somewhat disturbing and totally bizarre album photography and images of the end of the world. It added something new and beautiful, without distracting us from the music itself. On stage, these guys are simply themselves. Pretoria is as Pretoria does. The passion is palpable, and not only by keyboardist Richard Brokensha’s flagrant enthusiasm. There is a sense of total immersion in their music, and a sense of gratification in their attitude towards what they have produced. They are humbly proud of what they have created, and they have every right to be so.
The new album is torrential without being gloomy, heavy without weighing you down. There are brief moments of light that will bring you back down to earth, though mostly it is multi-layered and staggering. Some tracks have a fairly old-school sound to them that will take you back to the eighties, then forward to nineties Nintendo marathons, and then into the electric cosmos of the year 4000. The electronic sound is often quite ominous, but it is intercepted by unexpected moments of blues and dramatic build-ups that will transport you to a classic lightsaber battle in outer space, and you will win every time. There were moments where nobody knew what to do with it, and so mouths simply hung open in wonderment. Hearts burst and minds exploded, but while it may sound as though it were all too much, it was not. It was simply perfect, and the human mind seems to struggle with the idea of absolutes.