King Modo Album review

King Modo

Angela Macari O’Looney

King Modo are a duo from Newbridge, Co. Kildare. Their Alt/Experimental/Jam style music is laid back, with funky undertones and complex jazz chords. Paul Keogh and Lenny Cahill have a knack for exciting arrangements, which is demonstrated here and are involved in this album at every level, from production down to the album art.

Influences include Led Zeppelin, Steely Dan, Yes, Pink Floyd, Crosby Stills and Nash and Dave Matthews band.

This self titled debut album involves wonderful melody lines, rhythms, chords, discords and fab harmony throughout. Drums/Bass/Electric guitar/Keyboards/Piano/ Organs/Backing vocals are provided by Lenny and Lead Vocals/Acoustic guitars/Backing vocals and electric guitar on Die and Dance are played by Paul Keogh.

All you may say

Choppy jazz chords create a full sound, piano notation is elaborate and dynamic, and Vocals are punchy, backing vocals making a big discord that is superb. The lyrics in this number are profound, addressing the mystery of life and death and offer hope to the mourner.

Die and dance

A dramatic phrase opens up this number, done with electric guitar and organ, ending in two big sustained chords. Drums are explosive in this interesting and artistic piece. It has an unusual time sequence, with a bassy riff framing the entire picture. More of a rhapsody, this number encapsulates unexpected changes of direction with the pace alternating and fantastically complex vocals.
Paul manages to slide his voice up to falsetto notes, demonstrating his range. He has a very charismatic style and reminds me a little of Sir Paul McCartney, with his clear and confidant delivery. The slow down leading into the chorus unfolds a new beginning is very powerful, almost as if the guys are taking a breath before the mind blowing blast of sound ahead.

Reclaim

This trickling slow number has wonderful keyboards and guitars throughout. The tone of the lyrics is an urging to people not to be drawn in by the media and TV propaganda that can become an addiction, feeding you information that ends up controlling you.

I like the line in the chorus ; this is why we sing out from within, the truth is king/ It’s simple, we’re people not sheeple.
The melody line is soothing, but abstract, with vocals excellent and harmony when it comes in for the chorus making complex chords. Drums are soft, with the trickling instrumentals giving a lovely sense of movement.

Up In Arms

I like the chorus in this song, also the jazzy guitars. Like yet another elaborate vocal concerto, it’s a profusion of strange notation and amazing instrumentals from start to finish. There’s a line I find a little funny in all the philosophic, deep thinking lyrics; Do you want to kill the referee, or set him free.
Piano is superb in the memorable chorus, with awe inspiring explosions of harmony adding to the magnetic sound.

A refreshing escape from the complexities of contemporary jazz type numbers, track five We has a rock beat and expresses the band’s need to avoid fitting into specific categories.
It begins with a twin riff done on bass and electric guitars, with a fast explosive drumbeat. Then suddenly you hear things soften as piano comes in and vocals become sweet and harmonic. Going from the blast of electric, distortion packed rock to this harmonic chorus is such a contrast of styles all put into one song!
I like how the schizophrenic mood of the song reflects the intense lyrics;So thank you for listening/ In cages we just don’t fit/ This makes us feel like we are misfits/Stuck in the clutches of conformity/Always wondering what we’re missing/

Of the remaining numbers on this album, Sentimental Nigel would be a favourite for its chorus and in particular the refrain at the end. At the beginning and throughout a startling, but really beautiful instrumental is played, while the verse is spoken.
The lyrics are philosophical as in each song, with astounding vocal harmonics a constant. A delicious contemporary jazz waltz is played just before the refrain; You don’t want to be like Sentimental Nigel.

The entire CD is quite a lot of deep thinking, strange notation and jarring chords and although amazing, very hard to pin down or describe. There’s no denying the fantastic power of each song, but it is a journey involving a lot of bumps and turns, blasting grunge moments, followed by unexpectedly sweet close harmony where it begins to make sense.

Layered vocals are the key feature in the chorus of Only love. I like the acoustic guitar chords in this number and slightly more cheerful sentiment in the lyrics. Piano, guitar and the choral style Ah are bright, like a sunburst, with rays of hope to uplift.

The last song on the album Take it in begins with an acoustic guitar intro, accompanied by electric keyboards. Descriptive lyrics are delightful, piano chords are big and beautiful, with sensational close harmony yet again blasted out for the chorus.
The Artwork and photography like the music, are quite abstract. Created by Lenny Cahill, except for one or two images, each colourful picture in the booklet is interesting. A lot of work has gone into the making of this collection and the musicianship of both Cahill and Keogh is evident throughout the entire album.

I would be keen to hear these weird and wonderful masterpieces live, if King Modo are gigging around the Capital!