Press
from New York Music Daily
Kotorino’s Broken Land – One of This Past Year’s Best Albums
by delarue
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Brooklyn band Kotorino play darkly elegant, trippy, gypsy-flavored “parlor rock” with carnivalesque touches. It’s astonishing that their most recent album Broken Land hasn’t gotten more press than it has: there’s a huge audience out there who will love this record (this blog didn’t yet exist when it came out about a year ago). There are other bands who work the same territory – Oregon gypsy band Fishtank Ensemble, in their quieter moments, or fellow Brooklyn chamber-rock band the Snow – but Kotorino’s sound is unique. Often their lead instrument is Stefan Zeniuk’s clarinet or bass clarinet, other times it’s a singing saw. Frontman Jeff Morris’ guitar gives some of the songs a slinky tango vibe; then he’ll play with a slide, adding a rustic, nocturnal, bluesy edge, or switch to pump organ. Onstage, the band members all switch and play each others’ instruments, adding a level of mystery here as to who’s playing what – drummer Jerome Morris on guitar? Could be. Harmony singer Amy Morris and violinist Molly White add to the lush, low-key ambience, joining voices conspiratorially over accordionist Nicki Pfoutz’s plaintive chords.The album kicks off with a tango vibe enhanced by White’s stark violin accents and a nicely layered horn arrangement. The second track, Little Boat goes for an understated unease which bobs to the surface again and again throughout the album. It’s a metaphorically-loaded escape anthem: “Sitting there with my myserious frown, Mona Lisa turned upside down,” explains Jeff Morris as his craft loses sight of shore, a torchy chromatic harp solo raising the apprehension another notch. Under the Moon sounds like the Snow playing dub reggae; the next track, Hawaii, drenched in dreamy steel guitars, could be El Radio Fantastique covering the Moonlighters. It’s a shipwreck survivor’s tale, with what seems to be an unexpectedly happy ending.
The best song on the album is Sky’s on Fire, an ominous banjo tune with a casually chilling violin solo that underscores its narrator’s madness: “From a butterfly to a hurricane, there’s a sky in my eye, it’s on fire,” Jeff Morris intones quietly. They go back to reggae – and a surreal, woozy carousel interlude – with Paris Underground, then Dangle Tango builds a series of suspenseful crescendos around a would-be suicide’s tale:
Angels are circling my head
Flying sweetly round and round
I feel like old King Kong
As I try to knock them down
The slow, singing saw sway of Oh My God – a metaphorical tale of flying off in a balloon – is irresistibly romantic. They close the album with the title track, a bluesy 6/8 steampunk anthem for a bucolic Brooklyn of the mind in some alternate future. Kotorino choose their gigs wisely: watch this space for upcoming live dates.
from WNYC’s Culture Pages
Kotorino’s song “Sky’s On Fire” begins with the line “Twinkle twinkle little star, you can’t play poker in a house of cards.” From there, twangy Americana banjos morph into something that sounds like a European waltz. Then come eerie child-like voices accompanied by what can only be a musical saw. This is all to say: Kotorino has one of the most unique and unusual sounds of any band, ever. Even in a music scene saturated with “chamber-pop” bands and odd instrumentation, Kotorino stands out with its use of all variety of winds, strings, and other musical gadgetry. The music itself is omnivorous in its source material, quite pretty, and downright haunting.
from Sepiachord
Kotorino’s full length release “Broken Land” is an intriguing travelogue of sound that manages to keep its feet on the ground. Like other parlour pop greats, say Piñataland or Starhead, Kotorino is rooted in americana mixed with tasty pop hooks, but the best moments on “Broken Land” are built on the foundation of the strong (and markedly varied) horn work.
To this mix of americana and horns Jeff Morris and crew mix in samplings of sound from around the globe.
Some of these elements are made manifest in the song’s title: “Hawaii” focuses on South Seas island guitar, “Paris Underground” is not only sung in French but features prominent side-walk cafe accordion, “Double Tango” is, well, a tango.
There are less illustrated influences that season this album nicely.
“Oh My God” is all mild blues versus back-alley jazz, “Under the Moon” has a remarkably mellow reggae beat and tonal inflection that brings to mind the early work of Joe Jackson (if he was moving in slow motion).
The end result is a collection of songs that is characterized by careful composition and a powerful sense of restraint that makes the songs on “Broken Land” quietly compelling.
Very nice.
from Lucid Culture
“It’s like they’re all Sufjahn Stevens,” a seemingly part-time band member (he played guitar and sang on a handful of songs)
remarked. He was joking, of course. Other than the fact that pretty much everybody in Kotorino plays several instruments, they have about as much in
common with Sufjahn Stevens as they do with Miley Cyrus. Alternately playful, haunting, phantasmagorical and carnivalesque, they came across as a cross
between El Radio Fantastique and the badly missed Dimestore Dance Ensemble. In the course of just under an hour, the guitarist moved to harmonium, then banjo,
then acoustic bass guitar, back to banjo and ended up on the harmonium. The violinist doubled on acoustic bass guitar and then acoustic guitar, taking a turn
on lead vocals with a fetchingly ragtime-inflected lament, girl meets boy, girl loses boy and then wonders what to do next. The harmonium player doubled on
accordion, the trumpeter switching to acoustic guitar for a song toward the end. Only the drummer stayed in one place, which was probably a good thing because
somebody had to hold things together.
They started slow, swaying and off-kilter, like Dimestore’s tongue-in-cheek, Satie-esque swing but with more going on. Their bouncy, oldtimey songs have the same
jazzy, saloony vibe as much of Tom Waits but without any of the stereotypical, over-the-top Waitsisms that so many imitators find impossible to resist (or replicate,
for that matter). A jaunty, minor-key number featuring the violinist on bass and a soaring trumpet solo railed against “the way it has to be.” The next song began
with an amusing and absolutely spot-on dub reggae rhythm, building to a dark, central European-inflected ballad that wouldn’t have been out of place in the Melomane
songbook. They wound up the set with a rustic, upbeat yet ominous country banjo song – “There’s a sky in my eye, it’s on fire,” the front-man sang nonchalantly – and
a harmonium tune in French which seemed to be an original. What an unexpectedly fun way to spend a drab Monday night. Kotorino is back at Pete’s for the next two
Mondays, April 20 and 27, winding up their residency there: if you’re in the neighborhood, you could do an awful lot worse.