Punk Cathedral
By – The Kiss That Took A Trip
Released – June 06th 2017
Available On – Spotify | Amazon | BandCamp



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Punk Cathedral

By: The Kiss That Took A Trip
    01. Ambient punk
    02. Kill the pole dancer
    03. Stabbing porcelain
    04. Dry swallowed pill
    05. Crapola
    06. Guitar pick chew
    07. Glorious racket
    08. Cook, Landis & Griffin
    09. Love + algebra
    10. Grounded
    11. Faulty logic can cost lives
    12. Braggadocio
    13. Yard mother
    14. Queen of the night shift
Release Date


Release Type

CD | Digital

Album Credits

  • All songs written by M. D. Trello.
  • All lyrics written by M. D. Trello.
  • Vocals by M. D. Trello.
  • Some guitar by M. D. Trello.
  • Computer by M. D. Trello.
  • Mixed, mastered and produced by M. D. Trello.

  • About Album

    The latest release “Punk Cathedral” by The Kiss That Took A Trip, is a 77-minute of collective tunes and special moments from the past. As most of us will agree, The Kiss That Took A Trip have always brought a unique brand of freshness to its sound. Unlike many other outfit, for a start, T.K.T.T.A.T is a one-man band that sounds and feels like a proper trio outfit. Keeping an open mind, that’s not to say they are any superior or unfavourable than their peers, even those few who have continued to produce for a long time with the same firmness. It’s just that T.K.T.T.A.T also known as M.D. Trello, whose discography reflects mass to its fluctuation, often in varieties, has only become tougher to define with time.

    It’s one of those remarkable solo acts with a superb collective set that incorporates an array of styles, but are nonetheless instantly recognizable and remarkably easy to digest. In simple term, “Punk Cathedral” holds an elemental power and that is predominantly due to the assortment the set has to offer. Digging deeper and deeper to its meaning you’ll notice that the album isn't trying to instruct or sway people with monumental waves and colossal distortion. It's more of an emotional album as opposed to an intellectual one. And the best part about it is that you can feel this from the opening track ‘Ambient Punk’ itself.

    Regardless of what the band has to offer throughout the album, T.K.T.T.A.T have a knack for openings. We’ve all experienced it on other releases such as ‘Happiness In The Presence Of Sadness’ or ‘Electroforest’; the opening movement on those releases are simply a natural doorway that has the tendencies to swallow you as you progressively go with the flow. Similarly, the introduction piece ‘Ambient Punk’ on “Punk Cathedral” brings some effective tuning with melody and passion that, despite the brooding feeling and pace, it fits genuinely alongside with The Kiss That Took A Trip past work. The sense of vastness truly prevails on a higher scale, although I wouldn’t go as far as being on a Biblical proportion but seriously a touch of ‘Mogwai’ influence is rather distinctive on this particular track.

    Over the last decade The Kiss That Took A Trip have released a number of titles, seventeen, to be precise. So you can imagine my initial reaction to the news that the band were releasing a new album or in this particular case a collection of songs. To a certain degree, I was rather benevolent, along the lines of a big, EMM… let’s see what the band has got to offer. In many ways, I can say that I was somehow posh with anticipation, wondering if this latest collection would render itself as enjoyable as T.K.T.T.A.T previous titles. From the nominal opener ‘Ambient Punk’ all the way to the exit movement ‘Queen Of The Night Shift’ we are indeed treated with a series of translucent pieces containing strings and arrangements that elevate to a miniature symphony. But that’s not the point though, in all fairness lots of the stand out tracks feature a stamp signature of The Kiss. For instance, if I am walking around Basingstoke or Reading Mall and they got ‘Glorious Racket’, or ‘Dry Swallow Pill’ playing in the background, I would instantly recognize the tune and goes like, oh that’s T.K.T.T.A.T playing. And to my understanding, in the world of music to have reached a stage where someone instantly recognized your music either by the vocals or by musical arrangement, that alone is major step-up.

    Conclusion: The Kiss That Took A Trip – Punk Cathedral is a SUPERB release. The sound is widely and comfortably tipped with core influences from ‘Mogwai’ to ‘The Church’ and ‘Echo and the Bunnyman’ to ‘The House Of Love’ but also with a specific originality that Howl’s THE KISS THAT TOOK A TRIP. “Punk Cathedral” is a hugely powerful work that most likely stands as the peak of T.K.T.T.A.T musical journey. The experimental inclination of this record makes it alluring and whilst the production and effects-driven guitar art are ceaselessly intriguing, the song writing coupled with spoken lyrics is also top-notch. The album walks a fine line between its catchy edge and its sinister touch of the nineties. This is definitely something you would want to indulge in, so be sure to check this collection out guys.

    About: The Kiss That Took A Trip

    Formed in Madrid in 2006, The Kiss That Took A Trip is the brainchild of M.D. Trello, who stands as the sole member and admitted factotum. A long-in-the-works musical project that finally saw the light of day when Trello, after an extended period of hesitation, decided to embrace public exposition inspired by the DIY ethos of diverse musical figures such as Steve Albini, Trent Reznor and Godspeed You! Black Emperor. A late in the game “band”, the founder of The Kiss quotes his admired Brian Eno to state he’s not a musician at all and therefore he will never tour. The Kiss That Took A Trip builds its music, for the most part, using computers and synthetic sounds, but refusing vehemently to be categorized as electronic music. In fact, the music can be tagged as a mix of styles such as post-rock, ambient, experimental, new age and orchestral pop, most of them instrumental and imbued with a progressive feel. The songs resort to melody, atmosphere and a pinch of drone and dissonance instead of technical proficiency or radio-friendly formats.


    By: Aesthesys
    • 1. Marea crescente 05:17
    • 2. Bassa marea 03:59
    By :  Aesthesys
    Release Date


    Release Type


    Album Credits


  • Nikita Sarukhanov — drums
  • Sasha Coudray — bass guitar
  • Victor Krabovich — electric guitar
  • Eldar Ferzaliev — electric guitar
  • Nik Koniwzski — violin, keys

    Guest musicians:

  • ArsNova Quartet — violins, viola and cello in "Bassa marea"

    Sound Production:

  • Victor Krabovich, Nik Koniwzski

  • Mixed and mastered by Jamie Ward (Maybeshewill)

  • Artwork by Maggie Chiang | Produced by Aesthesys

    Recorded at:

  • DTH Studios (Moscow, Russia) — drums, bass, guitars
  • Magic Mastering Studio (Moscow, Russia) — string quartet
  • JustStudio (Moscow, Russia) — guitars, violin

    Recording sound engineers:

  • Ivan Lubiany (JustStudio),
  • Yuri Bogdanov (Magic Mastering Studio)
  • Andrey Gankin (DTH Studios).

  • About Album

    How many times have you come across a release; which in this particular case is a Single, that lasts just 9 minutes and still feels the obligation to put together a review on. “Marea” is one of those shining moments that makes me feel entirely indebted. It’s more like I owe it to the band, I owe it to myself and above all I owe it to the music. The itchiness and the urge of presenting such and amazing Single is so profound that in many ways, it feels like it is my utter responsibility to share such a euphoric sound.

    Couple of weeks ago we sent out an announcement, so for those who follow Humming Frequencies closely, I assume it’s no surprises to see yet another thoughtful and a wholeheartedly piece from me. But for those who are relatively new to our blog; well this is the kind of music we usually indulge in and as optimistic as it may sound; we are entirely certain you’ll find an immense pleasure walking side by side with us discovering new tunes on a regular basis.

    All said, now back to our Single “Marea”. As much as I want to avoid the obvious, we still have to ask ourselves, what is it that makes “Aesthesys – Marea” so perfect, so beautiful and so heart-felt. Is it the flawlessness that the sound brings in general? We’ve got 1000s of great monikers out there with music that holds an unbelievable perfection. What’s so special about “Marea” then? Can it be the piano section that unveils a certain type of nostalgia but never overreaches or demands any extra attention and just floats in perfect beauty? Or is it the poniarding melodies that the violin has to offer and which somehow holds the power to bring a 30-year man to his knees begging for more? Oh hang on, perhaps it’s the sharp determination of the stunning drumming that swings back and forth and gives you the visual of child having a blast on a ballensoir in an open field. Or maybe, just maybe, it is the compelling guitars which have the strongest tendencies to make you feel like you are on another planet all together.

    In all fairness there has got to be something here that truly connects the dots of such an impossible colossal frame-work. Guys and girls / ladies and gentlemen, in my dictionary music’s of such calibre and such passion never goes unnoticed. While you try to figure out what is it on “Marea” that instantly triggers your emotion and tickles your fancy, allow me to share mine. As difficult as it is, we do have a winner, and that’s the VIOLIN lads. Now you may ask yourself, why the violin section? Let’s face the fact, there had been lots of effort from various bands to incorporate instruments other than guitar, bass, and drums design, into alleged / shadowy rock music. Many outfits have even gone to the extent of experiencing some form of kaleidoscopic stage, including, tabla, strings or some other unpredictable instruments to their sound. With the exception of a handful, many monikers have struggled to deliver and that’s where “Aesthesys” kicks in. On “Marea” the band have excelled in its production. They’ve taken the experiments and analysis of their forerunners and integrated them into a wonderful entirety. Violinist Nik Koniwzski is an amazing performer - the inducing sounds he produces out of his violin scopes from conventional tunes to washed-out commotion. The ebbs and flows together with the distortion effects makes the sound so real that it literally penetrates your soul at different paces through various mixed feelings.

    If I have to cut to the chase, plain and simple “Aesthesys” is a noteworthy outfit. “Marea” is the band latest Single which will most likely lead to an LP towards the end of 2017 and is entirely instrumental, intense and most importantly sincere. I know I’ve emphasized quite a bit on the violin section but if we look at this release as a compact piece, we can proudly say it’s a nine minutes-voyage to unpredictable places that, however, incorporates a melancholic and nostalgic air. The emotional side of the music is of an unimaginable beauty and structure, but with all that in mind we also have to consider the fact that “Aesthesys” is not a relatively young band. They’ve been around for nearly a decade. So, where many other outfits have missed the stamps on both artistry and dedication, “Aesthesys” just nailed it. Check this Single out, and like me, I am absolutely certain you will look forward to the upcoming LP.

    About: Aesthesys

    "Aesthesys is an instrumental outfit hailing from Moscow, Russia. Created in 2007 as a solo project of Nik Koniwzski, it transformed into a band 5 years later. After that Aesthesys released an album with the legendary dunk!records, performed live across many countries of Europe and Asia, including the biggest post-rock festivals of the continent like dunk!festival (Belgium) and Astral (Russia), and shared the stage with such bands as God is an Astronaut, 65daysofstatic, Maybeshewill, Alcest, Toe, And So I Watch You From Afar, Ef, sleepmakeswaves and many others."




    Punk Cathedral By: The Kiss That Took A Trip