Skip to main content

Kiama: Sign Of IV

Rob Reed and band go back to the 70s for a tour de force.

In theory, it should be easy to see what’s expected here. Kiama are a modern supergroup, associated with Magenta, Frost*, Maschine and Shadow Of The Sun.

But their debut record Sign Of IV is a surprise package, especially to anyone expecting lots of earnest self-indulgence. Instead, here are four musicians locked together in an attempt to represent the best aspects of the mid-70s, when epic rock performances were almost de rigueur and taken for granted.

You can hear the ambition on the opening track, Cold Black Heart. A sophisticated timbre is immediately set up, nestling a funk motif against a more grainy rhythm, as Dylan Thompson’s vocals meld comfortably into a punchy guitar stride from Luke Machin. Tears, meanwhile, gives Rob Reed the opportunity to lead a more sedate process on keyboards, while Muzzled brings to mind The Beatles’ psychedelic hustle on Lucy In The Sky With Diamonds.

A modern supergroup representing the best of the mid-70s.

As each song offers a fresh angle on the talents involved (the line-up’s completed by drummer Andy Edwards), you get immersed in a joyous reclamation of the depth that quality prog and rock music gave to everyone 40 years
ago. But this is never a nostalgic rehash of past glories. You might hear the occasional shuffle that’s reminiscent of
Led Zeppelin, as on the warmly intimate I Will Make It Up To You. Then there’s Slime’s building soliloquy that nods towards The Moody Blues and, on To The Edge, even a strut that could be construed as somewhere between The Who
and Genesis.

But these are merely devices used to construct tracks that have genuine, ever-deepening layers. For instance, you might think you know where Beautiful World is heading from its sensitive opening, but it still has a few twists in store that give it the semblance of a Yes presentation, even allowing Reed to flex his muscles on bass.

Throughout, there’s an intense respect for the power of melody. On Slip Away, the musical variations around a core theme are all predicated on the fact that the basic tunefulness of the song is never buried under the weight of virtuosity. Much of this is down to the fact that Kiama already sound like a cohesive unit, one where each of the four members instinctively knows how to blend in with the others. This is the sort of approach you might only expect from a band seasoned by years of playing together, not one at such a formative stage of their development.

Moreover, all the songs sound like they’ve been created for live performance. Let’s hope Kiama are already planning to show their mettle onstage.

Malcolm Dome had an illustrious and celebrated career which stretched back to working for Record Mirror magazine in the late 70s and Metal Fury in the early 80s before joining Kerrang! at its launch in 1981. His first book, Encyclopedia Metallica (opens in new tab), published in 1981, may have been the inspiration for the name of a certain band formed that same year. Dome is also credited with inventing the term "thrash metal" while writing about the Anthrax song Metal Thrashing Mad in 1984. He would later become a founding member of RAW rock magazine in 1988.

In the early 90s, Malcolm Dome was the Editor of Metal Forces magazine, and also involved in the horror film magazine Terror, before returning to Kerrang! for a spell. With the launch of Classic Rock magazine in 1998 he became involved with that title, sister magazine Metal Hammer, and was a contributor to Prog magazine since its inception in 2009. He was actively involved in Total Rock Radio (opens in new tab), which launched as Rock Radio Network in 1997, changing its name to Total Rock in 2000. In 2014 he joined the TeamRock online team as Archive Editor, uploading stories from all of our print titles and helping lay the foundation for what became Louder.

Dome was the author of many books on a host of bands from AC/DC to Led Zeppelin and Metallica, some of which he co-wrote with Prog Editor Jerry Ewing.