The Wounded Kings, Visions in Bone: Closing Arguments

Posted in Reviews on August 30th, 2016 by H.P. Taskmaster

the wounded kings visions in bone

The Wounded Kings began their career in 2004. They ended it in 2016. By the time they got around to releasing their first album, 2008’s Embrace of the Narrow House, their lineup consisted of guitarist Steve Mills and vocalist George Birch. The UK outfit’s fifth and last long-player, Visions in Bone (released by Candlelight/Spinefarm), was recorded in part by Chris Fielding at Skyhammer Studio and also features those two founders, but to call the route they took to get to that point circuitous would probably be underselling it. They’d appear together again on 2010’s The Shadow over Atlantis (review here), but by the time the band got around to releasing their split with Cough, An Introduction to the Black Arts (review here), that same year, the lineup had begun to shift from a duo to a four-piece, and the changes would continue for the next half-decade-plus.

By the time 2011’s In the Chapel of the Black Hand (review here) arrived, Birch was out and Mills had already revamped the rhythm section, as he’d continue to do for the next several years. Vocalist Sharie Neyland took the reins and worked fluidly enough with the band’s cultish themes that 2014’s Consolamentum (review here) found them swapping labels from I Hate to Candlelight, taking advantage of wider distribution despite continued lineup shifts. They were a double-guitar five-piece at that point, but Visions in Bone brings their number back down to four, with Mills and Birch joined by drummer Mike Heath (on board since 2011) and bassist Alex Kearney (who also joined in 2011, but on guitar).

In some ways, it feels like a miracle The Wounded Kings pushed ahead as long as they did, and I’d call it a miracle but for all of the obvious hard human effort put into their songwriting and presentation, which have always provided stability despite whatever tumult surrounded. The Wounded Kings never had a “down” album. Well, unless you count in mood, in which case they’re all pretty “down,” but whoever happened to be in the band at any given time, they never failed to deliver quality output and as they wrap their tenure after a respectable 12-year run with these five tracks, they remain a forward-thinking, progressive outfit working in defiance of expectation for what one might commonly think of as “traditional doom,” turning convention on its head with a sound it nonetheless seems fair to think of as classic in its roots.

Birch‘s vibrato makes itself welcome almost immediately as he takes command of 14-minute opener and longest track (immediate points) “Beast,” and while his reunion with Mills — whose guitar, as ever, conjures the kind of darkened swirl that worshipers of Electric Wizard would envy if they knew what was good for them — is a bit part of the narrative of Visions in Bone, as is the ending of the band, neither should be considered without due thought to the level of execution across the album’s 48 minutes, “Beast” webbing its way into a creeper solo section around the halfway mark and building to a Candlemass-worthy crescendo before Birch returns and a final slowdown brings on “Vultures.”

the wounded kings

Visions in Bone‘s structure is such that it works from longest to shortest in terms of track runtimes, but on two different wavelengths. Three longer tracks — “Beast” (14:03), “Kingdom” (11:14) and “Vanishing Sea” (10:12) — appear as the opener, centerpiece and closer, while two shorter ones — “Vultures” (8:40) and “Bleeding Sky” (4:21) — split them. Probably still fair to call “Vultures” extended, but particularly coming right after “Beast,” it feels like a marked shift in approach, is speedier and more raucous in its crash early on and the hypnotic wash of bleak psychedelia in its second half, to which Birch adds far-back chants even as Mills‘ last solo rounds out, bringing on the big-rock opening of “Kingdom,” soon giving way to a more swinging doom boogie that the band have rarely embraced.

It swings in the first half, but the song essentially breaks in two, a long sample setting up the foundation for another dark-psych build to start, but Heath‘s drums signal a change and a slower rumble begins as the vocals return and the band rides out the slower groove for the remaining two minutes, fading on feedback as the penultimate “Bleeding Sky” takes hold with a simple hi-hat march soon joined by guitar, bass and vocals.

One might expect “Bleeding Sky” to be more straightforward with its relatively abbreviated runtime, and that’s more or less how it works out, though The Wounded Kings never really depart from the dreary lurching mood regardless of tempo or structure. They end with “Vanishing Sea,” which announces the arrival of its first verse with a quick sample and a righteous roll, Birch once more obscure in the mix but unmistakably present. Layers of guitar surround, the bass and drums provide effective anchor and movement, and the band once more follow the construction of breaking around halfway through to set up a larger build, this time going deeper and closer to absolute silence before working their way back to that pivotal explosive moment of resurgence.

The last two-plus minutes of Visions in Bone are dedicated to an instrumental apex of multi-tiered soloing, rolling crash and rumbling low end. It’s as fitting an end to The Wounded Kings‘ swansong — if it is (never say never in rock and roll) — as anything one might script, since it underlines just how much they went from “project” to “band” during their time together and what a force they ultimately were by the end. In a crowded UK market for doom and other forms of underground heavy, The Wounded Kings never failed to distinguish themselves in their atmospherics, their tone and their craftsmanship, and it’s easy to imagine their records will continue to be discovered for years to come.

As a final edition to their catalog, Visions in Bone answers their earlier work in summarizing some of what’s always been best in their sound, but even more appropriately, it represents the band’s ethic never ceasing to progress from one release to another. 12 years seems like too few.

The Wounded Kings, “Beast”

The Wounded Kings on Thee Facebooks

The Wounded Kings on Twitter

Candlelight Records

Spinefarm Records

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Chubby Thunderous Bad Kush Masters Announce Nov. Tour Dates

Posted in Whathaveyou on August 30th, 2016 by H.P. Taskmaster

chubby thunderous bad kush masters
Chicanery-prone tye-dye aficionados Chubby Thunderous Bad Kush Masters — just rolls right off the tongue, doesn’t it? — were last heard from this Spring when they posted the bonus track from the vinyl version of their debut release, Earth Hog (review here). That LP was released by Stone Stallion Rex and that song was the seven-minute “Bongwater Blues,” which was posted for streaming. It lives up to its title on both fronts — the bongwater and the blues — moving from early swing into driving and almost punkish heavy rock by the end. Even when these guys sound like they’re doing absolute tossoffs, they make it memorable. I’m gonna have “Yes my baby, got the bongwater blues” stuck in my head for the rest of the day and I don’t even smoke.

Chubby Thunderous Bad Kush Masters, however, very likely do. They’re heading out on tour in November alongside UK countrymen Ten Foot Wizard from Manchester, and they’ll hit cities across the Channel in Belgium and the Netherlands — they have one last date open if you happen to be in that part of the world and have a space they can play on Nov. 7 — before returning to England so Chubby Thunderous can play at the Buried in Smoke All-Dayer in Oxford on Nov. 12.

If you feel like you can dig it, then dig it:

chubby thunderous bad kush masters tour

Chubby Thunderous Bad Kush Masters – TOUR ANNOUNCEMENT

We are joining our hallucinogenic feline brothers Ten Foot Wizard on tour this November and need help filling the last date.

Can anybody help us in filling our last date on Monday 7th November in either Northern France, Western Germany or The Netherlands?

Chubby Thunderous Bad Kush Masters and Ten Foot Wizard
3/11 Rock Cafe Jinx Zaandam NL
4/11 De Loft Herent BE
5/11 Kinky Star Ghent BE
6/11 Music City Antwerp BE
7/11 Need Help! BE FR NL
12/11 Buried in Smoke All-Dayer Oxford UK*
*Chubs only

http://chubbythunderousbadkushmasters.bigcartel.com/
https://chubbythunderousbadkushmasters.bandcamp.com/
https://www.facebook.com/chubbythunderousbadkushmasters/
http://stone-stallion-rex.de/

Chubby Thunderous Bad Kush Masters, “Bongwater Blues”

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Nomad and Mower Announce UK Tour Dates

Posted in Whathaveyou on August 25th, 2016 by H.P. Taskmaster

With five dates, it’s more than a weekender — one even tends to think of a long-weekender as three or four shows — but still under the full-week tour, but Nomad and Mower will head out together either way from their home-base in Manchester, England, playing in London, Nottingham, Coventry and Sheffield as well as finishing with a gig in their native city. Both go supporting EP releases — Nomad‘s latest having come out last year and Mower‘s debut earlier in 2016 — and both promise one thing for which the UK scene is becoming increasingly known: Riffs. It’s a pretty riffy time over there. Bands gots riffs. Only fair to spread that love around a bit.

Also, this is the press release that taught me the word “Mancunian,” which apparently means “of or related to the city of Manchester, England.” I’ve had plenty of conversations about Manchester — Lee from The Sleeping Shaman comes from there — and never heard that word before. Thanks, the PR wire. I learned something today.

Dig it:

nomad-mower-tour-poster

Sludgers Nomad announce UK tour with fellow Mancunians Mower

Mancunian underground heroes Nomad have announced a UK tour for this September and are taking relative newcomers Mower with them. Since forming in 2012, Mancunian sludge four-piece Nomad have shared stages with the likes of EyeHateGod, Conan and Bongripper. Metalheads in the north west of England are under no illusions as to the ferocity of their live shows.

Frontman Drian Nash is known for tempering his confrontational performances with a self-deprecating Manc sense of humour, firmly establishing Nomad at the heart of Manchester’s burgeoning stoner/doom scene. This tour will be an opportunity for rifflovers from across the UK to see how Nomad have achieved their unrivalled reputation within such a competitive scene in England’s north west.

Their debut EP (released in 2014 by renowned underground label When Planets Collide) was followed by a split EP with Wort released by Red Valley Records the following year. Nomad frontman Drian: “It’s always a blast playing with the Mower guys so this tour should have enough planet-sized riffs and carnage to be lasting us. We are sharing the stage with some of our favourite bands along the way? Elephant tree, Iron Swan and Kurokuma. Also Stoked to get to finish it all off with a huge party in our hometown. That’s if we don’t crash into a mountain in a big ball of fire blasting Toto and sipping cocktails.”

Relative newcomers Mower are a doom/noise trio from nearby Wigan whose debut EP “Meathead”, released at the start of this year, is already turning heads. As a live presence they’ll be known by attendees of MammothFest, Tombstones all-dayer and RiffFest as a band not to miss on what will be their first gigs in a number of cities outside of Manchester.

Vocalist Jay says of the tour: “This will be our first tour, and what a way to pop the cherry, making this fine pilgrimage around the U.K, with Nomad! We’re all buzzin’ to go make some Mower-flavoured noise in other parts of the country. We also get to play some new venues with some other amazing bands, a proper privilege indeed. We shall be providing the White Russians and obscene sexual favours as thanks. Riffs await.”

With such a strong stoner/doom scene in Manchester, this tour will be an opportunity for rifflovers from across the UK to see how this scene’s stalwarts have achieved their unrivalled reputation alongside with one of the area’s most exciting new prospects.

14th September The Unicorn London
15th September The Chameleon Arts Cafe Nottingham
16th September The Phoenix Coventry
17th September Mulberry Underground Sheffield
18th September Rebellion Manchester

https://www.facebook.com/Nomaddoom
https://www.facebook.com/mowerdoom
https://nomaddoom.bandcamp.com
https://mower13.bandcamp.com/

Nomad & Mower tour promo video

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Admiral Sir Cloudesley Shovell to Release Keep it Greasy Oct. 14

Posted in Whathaveyou on August 22nd, 2016 by H.P. Taskmaster

admiral-sir-cloudesley-shovell

As if the Admiral Sir Cloudesley Shovell would keep it any other way. The brash-n-boozy UK trio will issue their new album, Keep it Greasy, through Rise Above Records, and I don’t usually pull-quote press releases, but “Their songs haven’t washed in weeks” is just about the best description I’ve ever heard of what these guys do. Their latest full-length, Check ‘Em Before You Wreck ‘Em, came out in 2014, and one sincerely doubts their capacity for shenanigans has diminished in the interim. Keep it Greasy will be out Oct. 14, and not a moment too soon for a universe that continues to take itself way too fucking seriously.

Have at you from the PR wire:

admiral-sir-cloudesley-shovell-keep-it-greasy

ADMIRAL SIR CLOUDESLEY SHOVELL To Release Keep it Greasy! October 14th via Rise Above Records

There seems to be an endless horde of fresh-faced bands that proclaim to be resurrecting the spirit of rock n’ roll these days. They see themselves to grabbing the genre by the scruff of its neck and dragging it back to its supposed glory years. Yet, few bands can say they’ve lived the lifestyle quite like ADMIRAL SIR CLOUDESLEY SHOVELL. These working class grease rock bastards, fuelled by speed, cheap lager and roadside fry-ups, have the scars to prove their worth.

The thing is, The Shovell has never claimed to be the biggest or the best around and frankly they don’t care who is. There is no brash egotism at play here, just a rough-and-ready honesty which permeates in what these three guys do. Their songs haven’t washed in weeks, far too busy spinning crackling Budgie vinyls, knackered Motörhead live albums played at a sluggish RPM and snorting self-inflammatories to do anything hygienic. If you want your music dressed up to the nines like an American prom queen, look elsewhere.

Here’s a band proud to be the soundtrack to your weed smokin’, beer swiggin’ escapes from 2016’s dystopian shitstorm reality; one feverishly decorated with unrelenting commercialism, villainous politicians and godforsaken auto-tune. There may be thousands of musicians who can play their instruments better, write more intelligent and thought provoking music, but when you listen to rugged and guttural ‘tune in, drop out’ vibes of Keep It Greasy, none of that seems to matter.

Their approach to sound and texture makes this record feel like an undiscovered gem from 1971, time worn, warts n’ all. Its beauty is defined, rather than hindered by, its unkempt primalism. As a record too, it displays an improved sense of how to get your heart battering your rib cage – think rattling Geezer Butler bass, gravel-toned vocals and the freewheeling madness of Keith Moon. These new songs are using the tried and tested Shovell formula to find new ways of getting under your skin.

From the jolting opening sex-pest boogie of U Got Wot I Need to the sandpaper smooth, Zeppelin stomp of Tired N’ Wired – its lyrics straight from Lemmy’s freight train of thought – they make the last three decades crumble away. Longer tracks like Hairy Brain Part 2, Paid In Full and album closer Wrong are peppered with many of rock’s cornerstones – twisting harmonies, driving shuffle rhythms and whirling feedback – but never sound impressionistic. They simply absorb you, swallow you whole.
But this is no mere pastiche that cashes in on society’s occasional backwards-glancing, nostalgic tendencies. This is down-to-earth and real. Keep It Greasy documents the trials and tribulations these sleezeballs have been through while on the road and beyond.

It doesn’t parade itself as anything immaculate or ground-breaking – and we all know how tiresome such hyperbole infested press releases can be – but it is hellish fun. Stick it on at a neighbour-unfriendly volume and enjoy it for the sordid, fucked up time warp that it is and see for yourself.

Keep It Greasy! Track List:
1. U Got Wot I Need
2. Hairy Brain Part 2
3. Hawkline Monkster
4. Paid In Full
5. I’m Movin’
6. Potato Boy
7. Tired’N’Wired
8. Wrong

https://www.facebook.com/theshovell/
https://www.facebook.com/riseaboverecords
http://www.riseaboverecords.com/

Admiral Sir Cloudesley Shovell, Live at the Black Heart

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Hark Announce UK Dates with Black Tusk

Posted in Whathaveyou on August 18th, 2016 by H.P. Taskmaster

hark-700

HARK will head out for a round of dates alongside Black Tusk in the UK starting Nov. 3. The Welsh progressive heavy rock four-piece issued their debut album, Crystalline (review here) in 2014 via Season of Mist, and they’ve been steadily supporting it ever since. They’ve got a slew of shows this month as well, including tomorrow night in Leeds, and they just recently took part in both the Red Sun and Bloodstock festivals, continuing to build their reputation in the UK.

At Bloodstock, they apparently loaned their guitars to no less than Corrosion of Conformity, whose gear was lost in transit, so pretty cool to be able to say, “Yeah, Pepper Keenan and/or Woody Weatherman handled this instrument.” I’ve certainly heard way lamer claims to fame.

The PR wire had this:

hark tour poster

HARK announce live dates in the UK

Welsh power HARK have announced a UK tour with BLACK TUSK in November. The trek begins on November 3rd, and follows the band’s ongoing Summer tour. These new dates in London, Norwich, Glasgow, and Bristol. A full list of confirmed tour dates can be found below.

HARK are touring in support of their debut album, ‘Crystalline’. Since the release of their debut, the Welsh heavy rock power-trio have toured the UK and Europe extensively, while the record has received global critical acclaim. Appearing on countless end of year lists, the album has been regarded as a game changer in the heavy/stoner/progressive genre.

HARK Tour dates:
Aug. 19 Leeds, UK @ Assembly House Studios
Aug. 20 Edinburgh, UK @ Bannermans
Aug. 21 Glasgow, UK @ King Tut’s
Aug. 26 Bristol,UK @ The Exchange
Aug. 27 London, UK @ Boston Music Rooms
Nov. 3 London, UK Boston Music Room w/ BLACK TUSK
Nov. 4 Norwich, UK The Owl Sanctuary w/ BLACK TUSK
Nov. 6 Glasgow, UK Audio w/ BLACK TUSK
Nov. 7 Bristol, UK Exchange w/ BLACK TUSK

Jimbob Isaac – Vocals/Guitar
Simon Bonwick – Drums
Joe Harvatt – Guitar
Tom Shortt – Bass

https://www.facebook.com/Harkband
http://season-of-mist.com/

Hark, Crystalline (2014)

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The Wounded Kings Call it Quits

Posted in Whathaveyou on August 15th, 2016 by H.P. Taskmaster

the wounded kings-700

I’ll admit to being somewhat taken aback by this one, not the least because it seemed reasonable to think that if something was going to kill The Wounded Kings, it would’ve happened by now. The UK progressive doom outfit led by founding guitarist Steve Mills has been through multiple lineups at this point, so I can’t help but wonder just what the hell happened this time that was so different. They’re just weeks from the release of their fifth album, Visions in Bone, so even the timing on their disbanding feels odd. Needless to say, they’ll be missed.

During their time together, from the release of their 2008 debut, Embrace of the Narrow HouseThe Wounded Kings were a persistently, relentlessly creative force in doom. They toyed with cult rock convention and post-Electric Wizard psychedelic swirl, but always brought their influences into an individualized context. In that and in the atmospheric breadth of their records, they were thoroughly underappreciated. Each of their outings offered something distinct from the others — part of that is because of the lineup changes around Mills at the core — but while there were personnel shifts, there was never any dip in quality, and that extends to Visions in Bone as well, which will apparently be the capstone on their tenure.

Have to wonder what the future holds for Mills, vocalist George Birch, bassist Alex Kearney and drummer Myke Heath. When/if I hear of anything, I’ll let you know. Until then, here’s the announcement from the band:

the wounded kings rip

R.I.P The Wounded Kings 2004 – 2016

By now you will have seen the earlier posts and in response to one comment sorry buddy…. no this is not a publicity stunt!

12 years is a pretty good innings for a band these days and there has been well documented instances when the journey could well have ended years ago. Sadly that day has finally arrived. We’ve had a wild ride with some truly amazing shows and met many awesome people along the way. Many of you have become great friends. For that we are truly grateful!

I’m sure many of you are thinking this is all rather sudden but to be honest it’s probably been 6 months in the making. We’ve tried to cling onto the sinking ship for as long as possible…too long if truth be told!. Little did we know that when we recorded ‘Visions in Bone’ a year ago (yes that fuckin’ long!!) it would end up being our Swan Song!

A massive thank you to everyone who has supported us, came to the shows, bought our merch, shared beers, gave us a place to sleep, made us food, did our posters…the list is endless. Most of all thank you to those who believed in us…without you none of this would ever have been possible.

Steve, Alex, Myke and George

https://www.facebook.com/thewoundedkings
https://twitter.com/TheWoundedKings
https://woundedkings.bandcamp.com/

The Wounded Kings, Live in London, March 27, 2016

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Review & Track Premiere: Church of the Cosmic Skull, Is Satan Real?

Posted in audiObelisk, Reviews on August 4th, 2016 by H.P. Taskmaster

church of the cosmic skull is satan real

Embed for Watch it Grow

[Click play above to stream the premiere of ‘Watch it Grow’ from Church of the Cosmic Skull’s Is Satan Real?, out Sept. 16 on Bilocation Records.]

I don’t know how many people it takes to constitute a “church” by UK standards, but Nottingham’s Church of the Cosmic Skull most likely hit that standard. The newcomer band brings together seven players from different groups — guitarist/lead vocalist Bill Fisher was in Mammothwing, others come from Pilgrim Fathers, Hellset Orchestra, Iron Swan, Polymath, Club AC30, and so on — and together they take the band beyond clear aesthetic vision into a near-conceptual level of execution. That is, their mission is so firmly in their grasp, their control held so definitively throughout the seven songs/38 minutes of their Bilocation Records debut, Is Satan Real?, that it becomes easy to imagine the band took shape as an idea before anyone actually came on board.

Fisher is joined by vocalists Caroline Cawley and Jo Joyce, electric cellist/vocalist Amy Nicholson, bassist/vocalist Sam Lloyd, Hammond organist/vocalist Michael Wetherburn and drummer Loz Stone, and as one might expect, the album makes its primary impression in lush sounds. Deeply indebted to classic prog rock, it is immediately distinguished by its multi-part vocal harmonies and overall melodic flourish, working with an unabashed poppiness that some will no doubt attribute to Ghost, especially with the underlying Satanic theme of the title, but Church of the Cosmic Skull‘s heavy psychedelic clarity almost can’t help but be distinct, from the opening bounce of “Mountain Heart” through nine-minute progstravaganza closer “Evil in Your Eye.”

And if you’re thinking this might just be another British band with a cumbersome or otherwise silly name, I’d say each work in Church of the Cosmic Skull‘s moniker earns its place. “Cosmic” for the swirling psychedelic aspects of a cut like “Movements in the Sky,” “skull” for the darker aspects in “Black Slug,” minimalist centerpiece “Answers in Your Soul” and the almost Opethian prog (or, more likely, Magma) of the title-track, and “church” for the sense of reverence that emerges from the lush arrangements of vocals, keys and/or cello throughout “Mountain Heart,” album highlight “Watch it Grow” and the aforementioned closer, for how crisp the songs sound and how each manages to establish its own personality while also adding to the overall breadth of the whole work. Is Satan Real?, as a title, also evokes late-’60s cult interest, like Anton Lavey on the cover of Look magazine.

church of the cosmic skull

This all feeds into a comprehensive aesthetic ideal to which the band ascribes, “Mountain Heart” and “Black Slug” setting up a play back and forth between lighter and darker sounds while maintaining a steady thread through them of complexity and textured prog rock, the rolling riff of “Black Slug” coming about as close as they ever do to a doomed vibe. That threat does a lot of work in the subsequent tracks, as “Movements in the Sky” picks up with quiet guitar and organ and brings an underlying chug to a brief but effective three-and-a-half-minute linear build, the vibe has clearly switched back toward brighter fare, but the context has shifted, expanded, and that’s something Church of the Cosmic Skull continue to toy with as the album proceeds forward. After the lustrous finish of “Movements in the Sky,” “Answers in Your Soul” picks up with subdued acoustic guitar and Fisher‘s voice alone — a stark contrast to the rest of the record before and after, but obviously intended to be just that. The relative minimalism and still-on-point melody only further highlight just how broad the spectrum at play in Church of the Cosmic Skull‘s sound can be and can continue to become.

I suppose their potential going forward is a major appeal of this first outing, and for a first outing, that’s fair — it’s easy to be excited about a band starting what seems like it could be a fruitful creative progression — however, in the case of Is Satan Real?, that excitement shouldn’t be taken as a knock on the current accomplishment. As “Is Satan Real” serpentines through a winding prog structure, largely instrumental for the first three-plus of its total four minutes save for some whispers, then dives at 3:31 into organ-laced gospel verse, the sense of realization the band brings to their work already is palpable, and in its engagement and confidence, their material soars when it wants to soar, broods when it wants to brood, and in “Watch it Grow,” kind of engages all sides with a max-efficiency hook, gorgeous arrangement, heavy thud and fluid build. With a foundation of bass and drums, the band construct a landmark chorus and continue to add depth to it as they move forward, dedicating the second half of the song to pure revelry that provides an absolute standout moment leading into “Evil in Your Eye,” which answers back with the most complex structure on hand, keys emphasizing urgency early but the vocal chorus taking hold with next to no backing before the push resumes.

Near the halfway point, they shift into a more subdued psychedelic jam and loosen some of the structural reins for what feels like genuine exploration. Naturally, they bring it back to the chorus for a final build before they’re done, but it’s a welcome moment of play and speaks to the possibility of structural changes being as fluid as mood and vibe are all across the record. A quiet hidden track finds Fisher accompanied by piano — perhaps in answer to “Answers in Your Soul” — and once more underscores just how wide open Church of the Cosmic Skull have thrown the doors with this debut full-length. The fact that their range comes with a corresponding cohesion of sound and purpose makes Is Satan Real? even more impressive. Its shining moments blind and its darker moments pull downward, but it’s in being able to pull off both and craft such seamlessness between the two sides that the band truly begin to make their mark.

Church of the Cosmic Skull on Thee Facebooks

Church of the Cosmic Skull website

Church of the Cosmic Skull on Bandcamp

Church of the Cosmic Skull on Instagram

Church of the Cosmic Skull on Twitter

Bilocation Records webstore

Bilocation Records/Kozmik Artifactz on Thee Facebooks

 

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GIVEAWAY: Win Opeth and Paradise Lost Vinyl from Music for Nations

Posted in Features on July 27th, 2016 by H.P. Taskmaster

[TO ENTER GIVEAWAY: Leave a comment on this post with your email address in the form. You’ll be contacted at that address if you win.]

Get yourself some free vinyl now by entering to win Music for Nations reissues of Opeth‘s Lamentations and Paradise Lost‘s Shades of God. Both releases came out through the reborn imprint on July 22 and are available now to purchase, but if you leave a comment on this post, you can get them both for free. No personal information will be kept, and you sign up for nothing by entering.

I’m going to guess if you’re reading this you’re already familiar with both bands, but here’s more info on these releases from the PR wire:

opeth lamentations

Opeth, Lamentations

Lamentations features a live performance of Opeth’s Damnation album in full, interspersed with songs from the band’s masterpieces Blackwater Park and Deliverance. Conceived and recorded alongside Deliverence, Damnation marked a radical shift in style and tone. The band took the opportunity to move away from their earlier death metal sound and towards a style reminiscent of 1970s progressive rock, taking inspiration from their Blackwater Park collaborator and producer Steven Wilson (Porcupine Tree).

Lamentations was recorded live at the prestigious Shepherd’s Bush Empire venue, shortly after both albums were released.

paradise lost shades of god

Paradise Lost, Shades of God

The album, a follow up to 1990’s Gothic album, is seen as the moment where Paradise Lost moved towards a more doom-centric sound, while still encompassing a wide range of other musical genres, showing off the band’s creativity and inventiveness in forging their own distinct take on doom metal, a style that would be continued on 1993’s Icon.

The album also saw the band’s initial transition away from using traditional death metal growls by blending them in with clean vocals, and quieter passages at times throughout the record.

Special thanks to Music for Nations and Atom Splitter PR for letting me host the giveaway. Winners will be chosen one week from today.

[TO ENTER GIVEAWAY: Leave a comment on this post with your email address in the form. You’ll be contacted at that address if you win.]

Opeth on Thee Facebooks

Paradise Lost on Thee Facebooks

Music for Nations

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