The Unique Sounds of Kayo Dot Fill The Cave in Toronto with Atmosphere and Mood

jaybroderick
Jan 15
5 min read

By: Jay Broderick

Toronto, Canada - There are hidden rooms in Toronto’s music scene, and then there’s The Cave. Well, ok, maybe it's not "hidden", but I certainly had never been aware of the upstairs venue at Lee’s Palace. How it has eluded me all these years, I cannot say. How I’ve been going to shows in this city for 4 decades without knowing this grungy little sanctum existed is beyond me. But stepping inside, with its dim glow, rough‑edged charm, and pentagram‑adorned floor that literally shifts underfoot as people move, it felt like discovering a secret level in a video game, just when you thought you'd mastered it.

The atmosphere was perfect for a night built on mood, experimentation, and the kind of sonic weirdness only a bill featuring Kayo Dot, and 2 local acts could deliver.

Take the Potion

Toronto’s own Take the Potion opened the night. They are a side project of local musicians Rasiqra Revulva and Wrrrtika featuring vocalist Alia Synesthesia. They are so new, there are no social media accounts, and in fact it's the very first time the quartet is playing together live. You wouldn’t have known it from the cohesion of their set however. The four-piece emerged in robes, immediately setting a ritualistic tone. Synthesizers and grooveboxes began to breathe out eerie, atmospheric textures while the drummer added a slow, doom‑laden pulse from the back.

Vocally, the two singers didn’t so much sing as haunt the room, humming, moaning, and weaving their voices through layers of effects that made them sound like they were gurgling underwater or communicating from another dimension. It was deeply theatrical, unapologetically gothic, and honestly very cool.

Each track bled seamlessly into the next, creating one long, shadowy soundscape. No banter. No breaks. No acknowledgment of the crowd. And that silence (intentional or not) amplified the eeriness. When the final notes dissolved, the audience applauded with genuine appreciation, as if waking from a collective trance.

A Flock Named Murder

Then came A Flock Named Murder, another Toronto act, and they wasted zero time shifting the energy into pure death‑metal territory. Their opening was a slab of weighty, punishing gold that melded into a cacophony of heaviness, and guttural growls unleashed by bassist/vocalist Mike Wandy.

As the band continued through their assault, a long, acoustic‑sounding, deceptive calm engulfed us before detonating into full heaviness yet again. This earned a burst of applause and an enthusiastic “YEAH!” rang out from somewhere in the crowd.

A Flock's styles change throughout their set, even throwing in sitar‑like motifs, extended instrumental pieces that built tension before erupting into applause once again. The band had the room fully locked in, a brooding start that escalated until Wandy and touring guitarist James Moore were headbanging in perfect unison. The crowd joined in, myself included.

Like the openers, A Flock Named Murder kept things seamless. No wasted verbiage from frontman Ryan Mueller, no breaks, just straight up black metal delivered with relentless force. When they finally bowed at the end, the room roared. Mueller (the band's frontman, not drummer brother Cam) attempted to say something (his first words of the night), but the mic cut out. Honestly, it didn’t matter. Their music had already said everything. And somehow, this monstrous set was apparently only two songs. Two very long, universe‑ripping songs. These guys are as heavy as a black hole’s gravitational pull.

Kayo Dot

As A Flock Named Murder cleared their gear and Kayo Dot began setting up, I found myself wondering whether bands ever get tired of this part. The teardown, the setup, the constant resetting of the stage. But soon enough, the show was under way... let the oddities begin.

The drums were positioned stage left, Sam Gutterman facing inward toward the 5-piece band instead of out toward the crowd. The room had filled in nicely with fans by this point, as I noticed violinist Timba Harris at the back of the stage. It was a hint of what was to come from the Boston, Mass. "avant-garde" metal band that I am admittedly unfamiliar with.

Kayo Dot opened their set with their track "And He Built Him a Boat" from their 2013 album Hubarto followed by 2014's "The Assassination of Adam". After the band's opening tracks, we finally get some crowd interaction as founder, and frontman Toby Driver greets “Alright Toronto! Nice to be here. We’re going to play some new songs for you.”

Toby Driver performs live at The Cave. Photo By: Jay Broderick

And then keyboardist Terra Olson pulled out a clarinet. A CLARINET! At a metal show!! Let's not forget Timba in the back making his fiddle sing. There is one thing for certain... Kayo Dot has a distinctly eclectic sound. There is an air of psychedelia here, and I suddenly was getting Pink Floyd vibes, albeit on a heavier side. I was imagining how wild this might sound in an altered state, not that I’m endorsing that, but the thought crossed my mind. Unfortunately, so did the chatter of the crowd. Loud, constant, intrusive chatter. It was painfully audible during the quieter passages, and it was not cool.

For "Oracle by Severed Head", Olson introduced a saxophone. Unreal! Then later, during a brief moment of banter, the band mentioned they hadn’t been to Canada in almost a decade. Cheers erupted. They promised some more older songs, and the violinist promptly switched to trumpet. At this point, I started wondering what don’t they have in their arsenal.

But again, the crowd noise persisted. This wasn’t ear‑shattering metal. It was dynamic, atmospheric, often delicate, and the talking cut through it like static. Still, those who were actually there to listen made themselves known with well‑timed applause and enthusiastic “Woooo!”s between songs.

Track List

And He Built Him a Boat

The Assassination of Adam

Blind Creature of Slime

Oracle by Severed Head

Whisper Ineffable

Blue Lambency Downward

Amaranth the Peddler

Passing the River

It was a night built on atmosphere... dark synth rituals, death‑metal gravity, and Kayo Dot’s genre‑defying soundscapes. But it was also a night partially marred by a handful of fans who seemed more interested in chatting than listening to the music. Look, you paid your money, but so did everyone else. And most of us want to experience the music. And perhaps more importantly, the band wants you to experience the music.

For those who were locked in, who applauded, who cheered, who respected the quieter moments, you made the night better. And for the bands, especially Kayo Dot, who delivered something genuinely unique, Toronto owes you a louder, more attentive room next time.

Concert Photo Gallery (all photos by: Jay Broderick)