The Wounded Kings to Release Consolamentum on Feb. 25

Posted in Whathaveyou on December 11th, 2013 by H.P. Taskmaster

That each album by UK doomers The Wounded Kings would sound different from the one before it makes sense — for the most part it’s been a different lineup on all of them. But it goes deeper than that. Founding guitarist Steve Mills has always brought a fervently progressive mentality to his songwriting, since the band’s 2008 debut, Embrace of the Narrow House, and it extended right up to 2011’s In the Chapel of the Black Hand (review here), which was the first LP from the band to feature frontwoman Sharie Neyland. Consolamentum will be the second, and with live-recorded production from Chris Fielding and Candlelight Records behind it, I can’t wait to hear how it’s turned out.

Here’s the release announcement, courtesy of the PR wire:

THE WOUNDED KINGS Deliver The Goods With Consolamentum

Candlelight Records today confirms February 25th as the North American release date of Consolamentum, the label debut from English doom metallers, THE WOUNDED KINGS. Produced by Chris Fielding (Electric Wizard), the album will be available for preorders via iTunes and other digital platforms beginning January 14th.

Discussing the album earlier this year, guitarist and band founder Steve Mills revealed, “this album will be our most expansive and heaviest.” Indeed it is. Consolamentum’s opening song, “Gnosis,” clocks in at a mammoth thirteen minutes. From there it latches on to your soul as it travels a dark and desolate sonic terrain. “The entire album was recorded and mixed in six days during the hottest week of the year in a studio miles from anything in the Cornish countryside,” shares producer Chris Fielding. “Recorded completely live, it captures the natural feel of the band. I find it to be a real step forward musically and very rewarding.”

Overcoming numerous lineup shifts since their formation in 2005, Mills and the KINGS have amazed audiences with their powerful stage personae. To date the Dartmoor-based five piece has released three full-length studio albums and a well-received split album with Richmond, Virginia’s Cough. The band has been finding a growing American audience since the release of their 2011 album, In The Chapel Of The Black Hand. It is the first to feature Neyland.

Consolamentum Track Listing:
1. Gnosis
2. Lost Bride
3. Elige Magistrum
4. Consolamentum
5. Space Conqueror
6. The Silence
7. Sacrifice

THE WOUNDED KINGS is guitarist/keyboardist Steve Mills, vocalist Sharie Neyland, guitarist Alex Kearney, bassist Al Eliadis, and drummer Myke Heath.

https://www.facebook.com/thewoundedkings
http://www.candlelightrecordsusa.com

The Wounded Kings, Live at Roadburn 2012

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Top 20 of 2010 #15: The Wounded Kings, The Shadow Over Atlantis

Posted in Features on December 8th, 2010 by H.P. Taskmaster

I’m going to be honest with you: I really, really like this album. I’ve gone back to it time and again since hearing it early this year, and doing so has brought me nothing but satisfaction. The Wounded Kings are a bright spot on the UK‘s hope for the doomed future. I felt that way with 2008’s Embrace of the Narrow House, and I feel that way with their I Hate Records debut, The Shadow Over Atlantis.

Not only is the record cohesive sonically and ideologically, but multi-instrumentalist Steve Mills and guitarist/bassist/vocalist George Birch inflict an atmosphere so dense that it affects your mood for the rest of the day. There’s plenty of doom out there that’s dreary, but The Wounded Kings go beyond the melancholic, plunging the depths of Lovecraftian terror and arising therefrom with a hellacious beauty in tow. “The Swirling Mist” and “The Sons of Belial” are more rituals than songs.

The Shadow Over Atlantis also marks the end of an era for The Wounded Kings, as they’ve since gone on to include a full-time bassist and drummer in Luke Taylor and Nick Collings (respectively). Already this new lineup has shown its prowess on the An Introduction to the Black Arts split LP with Cough, and with their increased ability to play live now that they’re a complete band, The Wounded Kings feel like they’re just getting started. Let’s hope that’s the case.

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Cough and The Wounded Kings: The Black Rituals of Atlantis

Posted in Reviews on November 16th, 2010 by H.P. Taskmaster

Culled together on the aptly titled Forcefield Records split release, An Introduction to the Black Arts, two of next-gen occult doom’s brightest (bleakest?) team up for more than 34 minutes of torturous musical sprawl. Dartmoor’s The Wounded Kings and Richmond, Virginia’s Cough reportedly got in touch with each other before any label got involved; drawn, no doubt, by their mutual predilection for riff-led worship and affection for the genre’s forebears. If the UK and US outfits have anything in common other than riffs, feedback and plod, it’s probably an affection for Electric Wizard, though that comes out more on Cough’s 18:36 “The Gates of Madness” than The Wounded Kings’ 15:03 “Curse of Chains,” which takes a less blatantly Oborn-ian approach and shares more in concept than strict execution with the band’s Dorset countrymen and adds more traditional doom to the mix.

“The Gates of Madness” was recorded by Sanford Parker at the same time Cough put to tape their recently-released Relapse Records debut, Ritual Abuse. They showed their love of Electric Wizard there, and follow suit on this extended cut, blending in screamed vocals as well to add notes of aggressive individuality, more in line with their 2008 Forcefield debut, Sigillum Luciferi. The difference, though, isn’t so great that anyone who heard and/or dug Ritual Abuse is going to be particularly surprised by “The Gates of Madness,” and rather, I’d argue that Cough’s Side A contribution to An Introduction to the Black Arts is an opportunity for those who couldn’t get enough of their sound on the sophomore outing to once more sample their heavier, more abrasive side. With droning, ultra-low tones and lumber sufficient enough to build a house, Cough easily justify the buzz they’ve been getting lately.

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