By Mat Wilkins
The Orange Kyte
Little Cloud Records
Close your eyes for a second and imagine a street performer: the type whose show is able to conjure up a thick cloud of spectators before a single thing has happened. Their acts always seem to follow a particular start-strong-get-stronger pattern, as an astonished crowd — who thought the limit of human potential had been reached in the first stunt — stares on in amazement. The Orange Kyte Says Yes! is an album that has that same special magic, taking listeners on an eclectic psych voyage that pulls out all the stops, even after you thought they’d all been pulled.
The album opens with “More In,” a blissful instrumental that features crunchy, fuzzed-out guitar and distant organs playing in unison. At almost precisely halfway, the song breaks from a languid trot into a proud gallop, with melodicas, wah pedals and saxophones creeping in from the periphery. The sonic stage is set with the first track; through its dramatic mid-song change down to its fade-to-noise outro, “More In” acts as a tantalizing clue for what to expect from the rest of The Orange Kyte’s electrifying sophomore album.
From there vocalist Stevie Moonboot’s vocals make a partial, nearly unintelligible debut, as the verses, masked behind otherworldly filters and effects, hover over the frenetic instrumentals beneath. The rest of the album is peppered with similar surprises, like when “Echolocation” introduces a folksy acoustic guitar for the first time, or when “Looks Like Me to Me” launches into dystopian, lo-fi synths and repetitive vocal mantras.
The Orange Kyte released Grow It Right under entirely different circumstances, Moonboots carrying incomplete songs around the city to be tinkered with by different musicians in disparate studios. With the latest record, however, Stevie Moonboots (vocals, bass, guitars), Dave Mulvaney (drums, percussion), and Mat Durie (organ, percussion, vocals) held up at Invisible Recordings to craft a perfect, considered follow-up that starts on an incredible note– and only goes up from there.