Kevin Kastning - 2026 - Codex I

(44:44; Greydisc)


 


 

 

 

 

 

 



 

 

I consider myself incredibly fortunate to have become aware of Kevin Kastning some years ago and to have reviewed a great many of his albums since then. However, he normally works with other musicians such as Mark Wingfield or Sandor Szabo (who produced both this and ‘Codex II’), and prior to this I had only heard one of his solo albums, and here he is now presenting us with two at the same time. For those who have not heard of Kevin, he is a musician who discovered that normal instruments were not capable of allowing him to play what he could hear in his head so he has invented many different multi-stringed instruments over the years, and on this he provides 30-string Contra-baritone guitar, 30-string Double Contraguitar, 26-string Double Sub-contraguitar, 24-string Double Sub-contraguitar and a normal 6-string guitar.

He is playing these in an unusual manner, with one hand on each neck, which means that he is using these more as a pianist than a guitarist, creating  simultaneous multiple lines and harmonic structures that are not otherwise possible. The album has been recorded so the left neck is located in the left stereo channel, and the right neck is located in the right stereo channel, and while I have personally always played Kevin’s albums on headphones as sonically that makes the most sense, this time around it is essential. He is creating a tapestry of sound like no other, as he is able to choose notes which would not otherwise be accessible, and this never sounds like a single musician but rather two working in close harmony on different instruments and given he always records “live” without overdubs I have no comprehension on how he managed to achieve such a feat.

Kevin and I have had multiple conversations about using the term “live composition” instead of “improvisation” (and is now something I use when reviewing artists such as Markus Reuter), and this complex album really does feel much more like a modern classical piece which has been scored as opposed to being written in real time. The use of space is dynamic and essential, and with just some simple reverb he takes us on a magical journey. There is no doubt in my mind that this is one of my favourite releases of his to date. 

Kev Rowland, March 2026

Links:
https://www.kevinkastning.com/
http://www.greydisc.com/

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