Kytes – THE ORANGE KYTE: Say Yes! (Little Cloud Records, 2018)

The Orange Kyte

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The Orange Kyte acaban de publicar su segundo trabajo, este Say Yes! (Little Cloud Records, 2018). En él la banda se afianza dentro de la escena neopsicodélica, con cierta voz propia, si bien su proyección es más que minoritaria, y su distribución muy menor. Lo cierto es que su sonido es más que aceptable y deleitable. Se mueven a gusto en esa Psicodelia en la que han asimilado las influencias más oscuras del sonido en los años ochenta, presentándose como una banda algo oscura pero aparentemente muy independiente y de sonidos auténticos.
Este Say Yes! supone el primer disco grabado de forma unitaria como tal, pues su debut (Grow it Right, 2017) era más bien una colección de singles y canciones que la banda grabó de foma más aislada. 

“This is a very unique album and The Orange Kyte have a very unique sound. The band consists of Stevie Moonboots [vox, bass, guitars] and Dave Mulvaney [drums, percussion], and Mat Durie [organ, percussion, vox]. The Orange Kyte Says Yes! is their second studio album. Their debut album, Grow It Right, was released in 2017, following a year when the band issued a single a month in 2016. Quite an accomplishment, but here we have The Orange Kyte Says Yes! And this is one incredible album. 
The music is psychedelic by way of the 1980s. The Orange Kyte has roots in the 1960s, but it is via Echo and The Bunnymen, or Kissing The Pink, or The Church. This is not a bad thing, because although these bands are their roots, they manage to make the music their own, in their own distinct style. They blend aspects, and in the end one is left with The Orange Kyte sound. 
The Orange Kyte makes excellent use of a variety of sounds throughout (listen for the sax subtly mixed in in the song “Goats”), and this is where the band excels. When you think you know where they are going with the song, they make a sharp left turn. At times the effect is brilliant.
The playing on the album is top notch. Moonboots et al like to use noise, but they do so effectively. It may sound incredible, but they create some very fine melodies throughout with noise. Again, it is trippy, flowing music but it all works. The last track, “PTR” is pure beauty in a song. Well arranged and brilliantly produced, it brings the album to  a stunning conclusion. This song features some brilliant guitar work and the ending of the song is perfect.
There are some special guests on the album. “Goats” features Peter Holmstrom of The Dandy Warhols, and Bryan Nichols of Dead Ghosts makes an appearance on the beautiful and appropriately titled “Blue Ghosts”.
This is a great album, a great sophomore effort, and an album that should be noticed by a larger community. They have their fan base, but this might be the one to get them the exposure they deserve” (Spill Magazine)

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