The Banishing by Kavus Torabi

Release date: May 3, 2024
Label: Believer's Roast

It’s been ten years since I delved into the world of Kavus Torabi’s music thanks to Knifeworld’s second album The Unravelling which I bought with my graduation money from The Laser’s Edge website. There were the psychedelic sounds, the Syd Barrett textures, and the alternative rock approaches for what was shown in Knifeworld’s music.

Whether it’s Cardiacs, Guapo, Gong, Mediæval Bæbes, or his solo work, Torabi is very much a mad scientist when it comes to his experiments going on inside his laboratory. That and his second solo album on the Believer’s Roast label entitled The Banishing, reveals to have those massive sparks in their true form.

It takes a lot of bravery and courage for Kavus to embark on the next journey that awaits him. For example, on the fourth track ‘A Thousand Blazing Chariots’ which has a gloomy approach detailing the mysteries and questions that arose the legacy you’ve left behind. It is also a tribute to Tim Smith, letting him now that his legacy, and his spirit, are flowing throughout Kavus’ arrangements.

I imagine Torabi was listening to Sagittarius’ 1968 album, Present Tense which featured Glen Campbell, Bruce Johnston, and Terry Melcher, for inspiration behind The Banishing to get some ideas on what he wanted to do with his follow-up to his 2020 solo debut Hip to the Jag which was released at the time the pandemic was happening.


Once you get into the heart of meeting ‘The Sweetest Demon’ it starts off with a dooming fanfare before you are greeted to meet the maestro with its psych-pop hand-greeting sunshine orientation. There’s something mysterious behind this track. Kavus is very much a storyteller revealing how the centuries had forgotten about him and how he struck us blind for revealing the massive details for what he’s been doing behind closed doors.

‘Heart The Same’ feels like a track that was recorded during the sessions for Bottled Out of Eden, continuing after the events of ‘High / Aflame’. Not just as a joyous celebration, but in the aftermath where everything has been now calm, cool, and collected by having their energy levels up as the healing process begins to take place with ‘The Horizontal Man’.

After that, we head towards the ‘Mountain of Glass’ where Kavus takes his listeners into a meditated guidance of ambient swarms that resembles at times the midsection of the suite from Yes’ Close to the Edge with ‘I Get Up, I Get Down’. The guitar climbs down the mountain top as they head back home for a job well done to a hallucinogenic swirl to go beyond the mind and beyond your wildest dream.

Throughout all of the accomplishments he’s achieved, Kavus shows no signs of slowing down.

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