Posted in Whathaveyou on March 15th, 2024 by JJ Koczan
With an atmospheric immersion bolstered through its structural movement and heft of tone, with groove enough to stand up to its melodic reach, Terra Black‘s June 2023 debut, All Descend (review here), will see physical release this year on Bonebag Records. The Swedish imprint founded by Max Malmer, also of deep-cavern doomers Cavern Deep (see what I did there?), offered its first not-by-that-band release in early February’s Cataclysm by Troy the Band, and seems to be building gradually around projects it’s passionate about, which is the ideal. If you want to take a listen to All Descend on the player below — shades of Brume in “Ashes and Dust” and the nodding-huge “Spawn of Lyssa,” and so on — I wouldn’t hesitate unless you’re trying to save money by not ordering the LP. Which you can’t do yet anyway, so you’re safe.
No reason not to dive in, then. No word yet on a release date or preorders or all that stuff, but it’ll come. The PR wire brought the signing announcement to start the process:
Gothenburg Occult Rockers Terra Black Sign with Bonebag Records for Physical Release of Debut Album
Swedish label Bonebag Records is thrilled to announce the signing of rising Gothenburg rockers Terra Black for the official release of their 2023 debut, All Descend.
Invoking dark atmospheres and Dante-esque soundscapes upon its digital release last year, All Descend roused many a sleeping stoner from their slumber with lyrics and themes focused on the Devil, demons, Wicca lore, and celestial destiny. Coupled with cosmic vocals, sullen yet melodious choruses and heavy doom drenched passages, the band’s sound and self-confidence has grown immeasurably since their formation in 2020.
Featuring singer/guitarist Ezgi, drummer Sophie, bassist Denice and guitarist Isak, Terra Black are also something of a coup for the self-proclaimed “murky label from Northern Sweden”, having been huge followers of the band since the release of their early singles ‘Triple Goddess’ (2021) and ‘Capra’ (2022).
“We finally got to see them live at House of Metal in Umeå and were immensely impressed by their sound and stage presence,” explains Bonebag Records owner, Max Malmer. “We’re excited to be able to give their debut album an official physical release and can’t wait to work closely with them on their follow-up, which they’re recording later this year.”
Details about the physical release of Terra Black’s All Descend (including pre-order) will be confirmed in due course by Bonebag Records but in the meantime, you can stream the album in full now atterrablackband.bandcamp.com.
As they’ve now established their own label in Bonebag Records and overseen the release of last year’s sophomore LP, Part II – Breach (review here), as well as an outing from Troy the Band and one impending from Terra Black — the news of which I haven’t even had a second to post here yet — it likely won’t be super-duper long before Swedish conceptualist epic doomers Cavern Deep start the gears grinding to issue their next album. Since their 2021 self-titled debut (review here), they have shown a creative urgency well-suited to the increasingly DIY ethos with which they operate.
Nonetheless, whatever shape their next record takes — and the reason I’m even talking about such a thing is because they finished recording it a month ago — in continuing the creepy, dark and engrossing narrative, there’s a decent chance it could be out before the end of 2024. You wouldn’t hear me complain. Likely recorded during those same recent album-three sessions, “The Peeler” arrives as a standalone single with an accompanying stop-motion animated video by Bob in Dope — might be like a stoner-doom Flat Stanley, if you have any idea what that is? — and is duly unsettling in its vibe. Stately in the manner of traditional doom, Cavern Deep‘s sound resonates an exploratory feel all the more as the band introduces Johannes Behndig (Sarcophagus Now) as their now-full-time synthesist.
You can certainly hear Behndig adding to the drama as “The Peeler” culminates, finding new breadth in the grim surroundings of the atmosphere cast around it, pushing deeper into the subsurface-horror narrative that has threaded through Cavern Deep‘s work to-date (a couple of covers notwithstanding). Behndig played on Part II – Breach as well, but it seems reasonable to expect him to become more of a presence in the songs by virtue of, you know, he’s actually in the band now rather than doing a guest spot. Being in the room when the song is written makes a difference.
I wouldn’t call myself early on posting it by any stretch, but if you haven’t seen it out there yet on the big wide internet, enjoy the “The Peeler” clip below. PR wire info follows after:
Cavern Deep, “The Peeler” official video
Swedish Doomsters CAVERN DEEP Hunt Monsters on Gripping New Single ‘THE PEELER’
Hailing from Umeå in Northern Sweden, the trio have carved out a name for themselves in recent years with hulking doom that has got the underground listening… ‘The Peeler’, the brand-new single from Cavern Deep is out now via Bonebag Records
Founded in 2019 by Max Malmer and former members of Swedish death metallers, Zonaria, and retro rockers, Gudars Skymning; Sweden’s Cavern Deep has established itself as one of the Scandinavia’s finest new doom metal bands.
Having released their first album in 2021 on the Polish label Interstellar Smoke Records, the band has since formed and issued music under their own Bonebag Records imprint, most recently releasing their latest record, Part II – Breach, to critical acclaim across Europe.
Returning this month for a one-off release, new single ‘The Peeler’ was originally intended to be a bonus track on the band’s forthcoming album. But while all good things come to those who wait, some things are too awesome to not share immediately. For those impatient souls itching for new material from the Umeå trio, this sleeping giant of a track focuses its attention on a lost mythical monster who resides in the deep cavernous realms of a long-lost civilisation. A hideous beast that hypnotises and oozes slime from its jaws, peeling skin from its still-stirring victims, and feeding off them piece by piece.
Towering guitars and drums soundtrack the ensuing chaos and seek to capture the creature using stark riffs and crushing strokes of colossal doom metal. Coupled with fantastic stop motion footage – assembled, and animated by artist, “Bob” – for the single’s visualiser video, ‘The Peeler’ is out now via Bonebag Records –bonebagrecords.com
Cavern Deep is: Kenny-Oswald Duvfenberg – Guitars and Vocals Max Malmer – Bass and Vocals Dennis Sjödin – Drums, Backup Vocals and Keys Johannes Behndig – Synth
Posted in Whathaveyou on February 9th, 2024 by JJ Koczan
And when I say hint above, they’re kind of smacking you in the face with it. Fair enough that the Swedish conceptual doom storytellers would bring a full-time keyboardist into their lineup. Atmosphere and mood-setting has been a big piece of what they’ve done across their two-thus-far long-players, 2023’s Part II – Breach (review here) and the prior 2021 self-titled debut (review here), and no doubt they’ll put those keys and expensive looking whatnots in the picture they posted to their socials to foreboding use on the upcoming collection, which will be out… well…
Pardon me if I don’t hazard a guess, but it was more than a year from me posting about the recording being done to the actual release date. A big difference between 2024 and 2021 in that regard is that now the band have their own label in the form of Bonebag Records — they released their own second record and just put out Troy the Band‘s Cataclysm (review here) like a week ago — and pandemic-era vinyl pressing times have returned to something approaching normalcy. So I’m not being coy. It might be six months, it might be tomorrow or the next Bandcamp Friday and it might be never. I’m just a caveman, as Phil Hartman occasionally said in the ’90s.
But progress is progress and I feel pretty safe trusting Cavern Deep‘s next full-length will continue their forward creative push and progression, and whenever it shows up is fine so long as it does.
A quick blurb from the social media:
Part III is done and recorded! It is the most ambitious album we’ve done so far.
We also might have a new member in the band. Any ideas about what instrument he might be playing?
Friday, Feb. 2, marks the awaited release for Troy the Band‘s first album, Cataclysm, through Swedish imprint Bonebag Records. The six-song/41-minute offering follows behind 2022’s debut EP, The Blissful Unknown (review here), and is weighted and spacious in kind, the London-based four-piece immersed in a sound that’s part heavygaze, but fuzz-grunge and almost universally molten. Opening with its title-track, Cataclysmlumbers with large-snail-creature presence but isn’t so unipolar in its approach as the overarching wash might make it seem, whether it’s the boogie in the second half of “Cataclysm” itself or the crash-laden shove of “IHOD,” on which vocalist Craig Newman is at his most reminiscent of Facelift-era Layne Staley, or “Only Violence” just before which seems to be working under the influence of earlier Mars Red Sky or the Sabbath-via-Sleep stonerized Declaration of Riff in “Flesh Wound,” bolstered by the production of Wayne Adams at Bear Bites Horse, who you probably already know because he also helmed your album. Or at least mixed it.
Most of the record though resides in the spaces between Dead Meadow‘s languid ethereality and the more grounded ends of modern riff worship. That is to say it’s a current sound but not ready to settle into being one thing or the other and, particularly on this first long-player, that much stronger for the flashes of doom that show up amid the hot pinks and psychedelic yellows in the wah-drenched reaches of “Flesh Wound,” which is also the longest song at 8:53 and a roller that seems to lose none of its impact for all the float surrounding, perhaps best encapsulating the meld of styles Troy the Band are crafting, if not necessarily telling the entire story on its own either in their melodic penchant, the post-punk goth dance party at the start of “The Void” or closer “Fauna” casting its urban-concrete bass tone against a ranging vocal and an outbound final push speaking one way or another to an escapist sensibility maybe also behind the title. They go, have gone, are gone, and when they decide it’s time to vibe on some Earth-y drone repetition, they’re dug no less into that than they are into the expanse in the hook of “Cataclysm” that teaches the listener so much about the album that follows.
And repetition is part of the methodology here, but again, not necessary all of it, as a big part of what ultimately makes Troy the Band an exciting listen — this was true of the EP as well, but is more fleshed out on the longer release, as well as the band being more sonically developed generally — is that the songs are coherent and purposeful but don’t draw from any single source so much as to be readily placed in this or that niche. Yeah, I’ve namedropped a few bands in the course of this review, and I stand by those comparisons — none of them feels outlandish; that riff in “Only Violence” really does sound like second-LP Mars Red Sky, even if it’s been buried in other effects — but that’s just it: Troy the Band have a sound that seems aware of its influences but unwilling to be limited by them. This is something that, inherently, can’t be confirmed by one full-length alone since it’s a measure of a band’s progression over time, but in coming across more like themselves than anyone else in the genre, Troy the Band seem to have a leg up on their own growth. Or maybe I’m just spaced out on that jam halfway through “Flesh Wound.” I don’t know, but it all feels very consuming and light — not like bright colors but like light itself; the mixed wavelengths of raw sunlight — right now, and I think that means it’s working.
The big question is how much Troy the Band will do in a live setting to support it. In 2023, they played both Masters of the Riff II and Desertfest London, and certainly those are by no means the only festivals in the UK, but they’re two good ones to have in your pocket as a band putting out your first LP. But if I mention touring for an act who haven’t been out for months at a time up to this point in their still-perhaps-nascent tenure, it’s not to point out something they haven’t done up to now so much to to highlight their sound as being strong enough in its identity to stand up to the task if they wanted to take it on the road. Plenty of time for such things, though. For now, the spaces conjured and conquered throughout Cataclysm stand as testament to the efforts put in by Troy the Band performance-wise and in terms of composition, but also that potential for what they might accomplish moving on from here.
Cataclysmstreams in full below, followed by more info from the PR wire.
Please enjoy:
Cataclysm, the debut full-length album from London-based Doom-gaze four-piece Troy The Band, will be released on Sweden’s Bonebag Records on February 2nd 2024. Since the release of their debut EP, The Blissful Unknown, Troy The Band have become mainstays in the London heavy music scene, with a list of accolades in 2023 that includes appearances at Desertfest London, Masters of the Riff, and Stoomfest, as well as a craft beer collaboration with East London’s Old Street Brewery.
With Cataclysm the band have taken the most unique elements of their debut EP and forged them into an album that blends elements of Stoner-Doom, Post Rock, Shoegaze and Heavy Psych. Cataclysm is dark, heavy, and identifiably their own.
For this album the band went back to work with Wayne Adams at Bear Bites Horse studio in East London. From the band’s point of view, this was a no-brainer: “We knew we wanted to work with Wayne again on this album. He’s great to work with and he had an important hand in shaping the sound of our EP. We knew he would get what we were trying to do with this album, and we really couldn’t be happier with how it has turned out.”
Each track is built from a sturdy foundation of Sean Durbin’s bass riffs which are then overlaid with Sean Burn’s distinctive guitar playing and Craig Newman’s unique and ethereal vocal style, adding layers of harmonic complexity and tension that is a defining feature of their sound.
The album title is derived from the name the band gave the initial demo of the title track, driven by its musically jarring feel rather than its lyrical content. It was then self-consciously adopted as the album title to reflect their aim of causing a musical upheaval in the heavy music scene. We believe it will.
Posted in Whathaveyou on October 26th, 2023 by JJ Koczan
No public audio yet to share around still more than three months ahead of the Feb. 2 release, but heads up on Troy the Band‘s psych-stoner-doom roll on Cataclysm. The London four-piece made their presence known with 2022’s The Blissful Unknown EP (review here), and answer the promise of that short release with six new tracks of dense aural foam, a sound that’s as must post-now as back-when, a psychedelia that’s able to be loaded with weighted grit or float with a Dead Meadowy lightness, but wherever they go, they’re headed farther out. I’m just listening for the first time, but for the first external band signed by Bonebag Records, the Swedish imprint run by members of Cavern Deep, they seem to have hit on a gem.
Lumbering, drifting, shoving in “IHOD” which stands for who knows what and expansive in its approach throughout, Cataclysm will no doubt have preorders and all that as we get closer to its arrival. I’m not sure if I can personally consider a record ‘most anticipated’ when I’ve heard it, but I’ve started my albums-to-look-forward-to-in-2024 list, and Troy the Band‘s first LP is on it either way. So again, heads up.
The PR wire brought word:
Troy The Band – “Cataclysm” out February 2nd
Cataclysm, the debut full-length album from London-based Doom-gaze four-piece Troy The Band, will be released on Sweden’s Bonebag Records on February 2nd 2024. Since the release of their debut EP, The Blissful Unknown, Troy The Band have become mainstays in the London heavy music scene, with a list of accolades in 2023 that includes appearances at Desertfest London, Masters of the Riff, and Stoomfest, as well as a craft beer collaboration with East London’s Old Street Brewery.
With Cataclysm the band have taken the most unique elements of their debut EP and forged them into an album that blends elements of Stoner-Doom, Post Rock, Shoegaze and Heavy Psych. Cataclysm is dark, heavy, and identifiably their own.
For this album the band went back to work with Wayne Adams at Bear Bites Horse studio in East London. From the band’s point of view, this was a no-brainer: “We knew we wanted to work with Wayne again on this album. He’s great to work with and he had an important hand in shaping the sound of our EP. We knew he would get what we were trying to do with this album, and we really couldn’t be happier with how it has turned out.”
Each track is built from a sturdy foundation of Sean Durbin’s bass riffs which are then overlaid with Sean Burn’s distinctive guitar playing and Craig Newman’s unique and ethereal vocal style, adding layers of harmonic complexity and tension that is a defining feature of their sound.
The album title is derived from the name the band gave the initial demo of the title track, driven by its musically jarring feel rather than its lyrical content. It was then self-consciously adopted as the album title to reflect their aim of causing a musical upheaval in the heavy music scene. We believe it will.
Posted in Whathaveyou on September 20th, 2023 by JJ Koczan
When the storytellers behind Swedish conceptualist doomers Cavern Deep launched their own label, Bonebag Records — whose first release was the band’s own Part II – Breach (review here) this summer — they made known their intention to develop the imprint as something more than a DIY outlet, and the first act to be signed other than themselves is UK crunch riffers Troy the Band.
The band (Troy) released their debut EP, The Blissful Unknown (review here), in 2022, and if you didn’t catch wind of its swinging, grungy psych, it’s streaming below. It’s cool to think of the band moving forward with their first long-player, them and the label growing together.
Announcement came down the PR wire. I’ll hope to have more on the record closer to the release:
BONEBAG RECORDS SIGNS TROY THE BAND
Cavern Deep’s Bonebag Records signs its first artist. Troy The Band is a London-based four piece boasting a distinctive sonic identity that seamlessly weaves together elements of Stoner-doom, post rock, heavy psych, and shoegaze.
Beginning with their first live shows in early 2022, TTB have established themselves as a mainstay of the UK heavy music scene. In April 2022 they self-released their debut EP, The Blissful Unknown, to critical acclaim. One review dubbed it “a surreal release that captivates from start to finish” and hailed it as “one of the most compelling debut releases to emerge from the UK Doom/Stoner Metal scene in recent memory.”
Bolstered by the resonance of their EP, Troy The Band maintained a regular gigging schedule, sharing stages with heavyweights such as King Buffalo, Unida, and Hippie Death Cult during their 2022 UK tours.
In Spring 2023 the band re-entered the studio with Wayne Adams at Bear Bites Horse Studios in London to record their debut full-length album.
Continuing their forward momentum as a band, throughout 2023 they have played festivals within their genre, including Desertfest London, Masters of the Riff II, and Stoomfest.
In August 2023 Troy The Band signed a record deal with Sweden’s Bonebag Records who will release their full length debut in December 2023.
Quote from Bonebag Records:
“After hearing Troy The Band for the first time when they promoted their EP, which captivated us with its unique sound, we were absolutely delighted when they submitted their debut album to our label. Troy The Band excels at blending a distinctive sound with classic doom riffs, which our label is thrilled to support. With such an impressive lineup of songs on their forthcoming album, we firmly believe they are poised to take the Heavy Underground by storm.”
Swedish narrative doomers Cavern Deep — whose narrative, yes, is at least in part about a deep cavern — released their second full-length, Part II – Breach (review here) on July 14, and have accordingly been making their way through the album in a series of lyric videos. They did similar with their 2021 self-titled debut (review here), producing a series of lyric and live performance videos. Working under the banner of their own imprint, Bonebag Records, they can pretty much roll out whatever they want on their own schedule. So here we are.
“The Pulse” closes Part II – Breach, and brings the second guest vocal spot from Susie McMullan, best known for her work in Brume. She appears earlier on the album in “Primordial Basin” and her return for the closer gives a symmetry that corresponds to the fluidity of the storyline. It is a course of depressive, downer doom, an ending even if the story will go on. There’s an orb, flesh is obliterated, you know the deal. It doesn’t work out well. They call it their favorite track on the record, and while it would be exactly my kind of humor for a band to put out videos for every song on their album and call each one of them, individually, their favorite, I believe it about “The Pulse.” That atmosphere is so dense you feel like you can swim through it.
Even if this is the last track on the record, it’s probably not the last lyric video they’ll do, so keep an eye out. I’m not usually one for pushing such things, but subscribing on YouTube might be handy. They give kind of a vague summary of where the story is at by the time the album heads toward its ending, but if you want to dig further (pun not initially intended, but definitely left in on purpose), hit up the review linked in the first sentence of this post, which has the full album stream (also below if you’re feeling lazy) and all the track descriptions from the band. As much as you want to put in, effort-wise, Cavern Deep are ready to meet you on that level.
Here’s the clip. Bring your own oxygen:
Cavern Deep, “The Pulse” (feat. Susie McMullan) lyric video
This is the last song on our latest record Part II – Breach, it is slow and features the haunting vocals of Susie McMullan of Brume. It might be the most odd track on the album, but it is our favourite.
The Synopsis is as follows: This is it. The release. The soothing of the inner ache. The organic matter is peeled off layer by layer as the being passes the rift. The glowing orb withers away and sinks into the sea. The pulsating passage lays bare. It is liquid. Lethal. Bodiless. It is ready. They are doomed.
The concept album “Part II – Breach” is out now.
Cavern Deep is: Kenny-Oswald Duvfenberg – Guitars and Vocals Max Malmer – Bass and Vocals Dennis Sjödin – Drums, Backup Vocals and Keys
This Friday, Swedish conceptualist doomers Cavern Deep will release their second full-length, Part II – Breach, through their own Bonebag Records imprint. Beginning with its title-track, the follow-up to the band’s 2021 Interstellar Smoke-released self-titled debut (review here) offers epic doom with Candlemassian fluidity and grace of riff and a marked attention to atmosphere that splays out across the 46 minutes of the album-proper, a total runtime that’s brought to 58:49 when the bonus track “The Attuning” (premiered here) is considered.
The Umeå-based DIY-recording three-piece of guitarist/vocalist Kenny-Oswald Duvfenberg, bassist/vocalist Max Malmer and drummer/keyboardist/backing vocalist Dennis Sjödin recorded Part II – Breach in 2021, reporting that it was finished even as they were still making videos for the debut. In addition to the multimedia presentation of that initial LP — two video series were made; one of the band performing the songs live and a set of lyric clips to focus on the narrative aspect of the work — Cavern Deep offered covers of Captain Beefheart and Frank Zappa (posted here) and Philip Glass (premiered here), and showed a readiness to reach beyond themselves and to build on what the first record established as their sound. They do exactly that, bolstered by guest appearances from Susie McMullan of San Francisco’s Brume, guitarist Johannes Behndig of Umeå prog instrumentalists Sarcophagus Now, and Monolord‘s Thomas V. Jäger on the aforementioned “The Attuning.”
A certain rough stateliness suits “Breach” and the album that follows it. The story — detailed by the band below — ends at the beginning with “The Attuning” bringing the character of ‘the archaeologist’ to an unceremonious conclusion before “Primordial Basin” picks up from the opener’s slowed-down-the-already-slow-nod ending and brings McMullan‘s contribution on vocals. Slow-rolling and churning, down, down, down goes “Primordial Basin” until it quiets for the verse, sparse noise from even deeper in the mix than the whole song seems to be around the two-minute mark. McMullan‘s echoing delivery, swaying and sad at first and growing more forceful as the song shifts back to its weightier riff and oozes through a midsection that’s a whole-album highlight. The burner of a guitar solo that leads into the duet crescendo returns after and Cavern Deep make their way through the feedback and into the ambient start of “A World Bereaved,” which feels even more lurching.
Multi-tracked vocals at the outset — I think it’s Duvfenberg and Malmer both in the initial verse, then the latter over the quieter stretch — are placed well after “Primordial Basin,” and “A World Bereaved” is even more patient in its unfurling. The full-volume lumber comes back as they move through the song’s middle, but their willingness to dwell in that minimal space for as long as they do underscores the growth they show in craft, even as they recorded concurrent to the first release. Suitably morose, “A World Bereaved” seems to collapse shortly before hitting six minutes into its total 8:42, with the guitar, bass and drums working into a dark-blue psychedelia, an organ solo presumably from Sjödin distinguishing the piece soon answered by howling guitar. There’s no comedown as they stop cold, but some residual feedback cuts off as the energy-kick chug of “Skeletal Wastes” starts, the silence there used to give it all the more of a bursting feel.
“Skeletal Wastes” is also the assumed start of the vinyl’s side B, and the faster tempo helps build momentum as the trio plunge deeper into the storyline. Behndig has his appearance in the song’s second half, playing an effects-laced lead over steady bass and drums that grow more insistent as keyboard is added and a rhythm that reminds of King Buffalo‘s “The Knocks” subtly enters beneath the swath of effects and/or synth floating around the ceiling of the mix. Some pointed thuds cap, as they will, and “Sea of Rust” indeed begins with wave samples ahead of jumping into its lead-topped intro, which returns to the classic doom feel of “Breach” itself. As with the opener, “Primordial Basin” and “A World Bereaved,” “Sea of Rust” has a break in its first half, but also as with the others, it is distinct sonically — that is, even when following a similar structure, Cavern Deep are mindful in shifting sounds — and it grows especially grim as it turns into its chanting-esque middle, the subsequent solo and key melody fading out long and churning, viscous, mournful.
That aura hopelessness mirrors where the story is at that point — a dead world — and sets up the resonant melody that tops the drawn-out doom of “The Pulse” as McMullan returns for a corresponding vocal spot on side B. It’s the shortest inclusion on Part II – Breach at 6:23, but feels like an arrival nonetheless, and while the lyrics aren’t necessarily narrating the action taking place in the material — that is, there’s no “the engineer goes here and does this or sees this dead thing”; the presentation is more obscure, impressionistic — the endpoint of the journey is enhanced by synth over a procession of sorrowful guitar, bass and drums, a definitely doomed but not entirely lightless void carried through the last March. Shades of later Type O Negative in the guitar tone give over to a sustained synth note that concludes. And “The Attuning” is pure slog, a riff righteously slow covered with a screaming solo setting the stage for Jäger‘s vocals later and bringing Part II – Breach down like the tape ran out just as they wrapped up, which for all I know is how it went.
After an ambitious first record, an ambitious second. Cavern Deep very obviously came out of Cavern Deep with a clear idea of what they thought worked and what they wanted to try to expand on, and Part II – Breach does that, while branching off in terms of narrative in such a way as to let it stand apart from its predecessor, so one doesn’t necessarily need to have heard the self-titled to understand where they’re coming from now. Or two years ago, anyway, since that’s when it was recorded. Foremost, Part II – Breach finds Cavern Deep digging — pun absolutely intended — further into their take, and emerging with an all-the-more individual sound for it. I don’t know where the story is headed from here, or if it’s done or what, but for the band itself, they still seem to be just getting started realizing their potential.
Part II –Breachstreams in full, followed by a track-by-track explanation of where the songs bring the narrative. Note, these are not the lyrics, which you can find in the image above if you zoom in and squint hard.
Please enjoy:
Cavern Deep’s new record “Part II – Breach” is out July 14 on all platforms. CD and Vinyl are distributed by Bonebag Records.
Breach is Cavern Deep’s second album. It is, just as the first album a concept album which follows the story of the first.
The synopsis is as follows:
1. Breach The archaeologist is no more. Engulfed. As the ungodly withering sentinel feasts on his flesh and mind, something is opening. Picked up by a violent current, the bare essence of the man is plunged through the strange spaces in between worlds. It is reshaped. Traveling in its primal form with the monstrous being as a conduit. Its heart is blank. Mind is void.
2. Primordial Basin She is watching patiently. The engineer. The last of its kind. The theft of this essence from the otherworldy refuge was the final attempt. Embedded in the being below her is the code. Her design. Her revenge. Deep down in the basin, the putrid water stirs as the being breaks free from its membranous nursery. The engineer watches in silent triumph from afar as the being destroys everything in its path in blind newborn rage. Wading through the festering amniotic fluid it is pulled by an inner voice to the east.
3. A World Bereaved No more memories of its earlier existence than glitching, flickering images. Like waking up from distant clouded nightmares. Skin is thin, sore, still growing as it lumbers through desolate landscapes. No signs of life to be seen. The ground is torn by sickly pulsating spirals, shooting up in the thick clouds above. Passing former displays of architectural grandeur; now caved in like hollow skulls. A sense of purpose is shaping inside as it finds its paths through the wasteland.
4. Skeletal Wastes Before it, an ancient war ground. It is vast and dreadful to behold. The last big battle of a dying civilization. The last gasping breath. The being makes its way through labyrinths of giant dead abominations and remnants of war machines since long put to sleep. Picking up pace. Slowly burning from inside with an ever-growing sense of meaning. It is the final solution. The retaliation of many. The faint glow in its veins extends to a cord. The hovering placenta is feeding it in a steady rhythm, preparing the being for its passing.
5. Sea of Rust The Sea. Dead. Acidic. This is ground zero. It knows all. It was here above the greatest of cities they broke through. Drawn by the greed of kings and queens and their ever-growing thirst for the primal energy beyond their realm. It was they who forced the few remaining to take refuge in a distant cold world, destined to wither away in subterranean darkness. Everything is lost. Sunken. All but rust. The engineer gives up a sigh as she from afar witnesses the being floating above the red watery mass towards the pulsating rift at the horizon. It is starting to shed.
6. The Pulse This is it. The release. The soothing of the inner ache. The organic matter is peeled off layer by layer as the being passes the rift. The glowing orb withers away and sinks into the sea. The pulsating passage lays bare. It is liquid. Lethal. Bodiless. It is ready. They are doomed.
7. The Attuning (bonus track)
At the end of his cavernous quest the archaeologist forfeit his life and slowly becomes one with the ungodly usurper. His mind is suddenly touched from afar. A distant wave snags him from the void currently closing around him, throwing the leftovers of his scattered essence into turmoil. Into the stream. Becoming something else.
Cavern Deep is: Kenny-Oswald Duvfenberg – Guitars and Vocals Max Malmer – Bass and Vocals Dennis Sjödin – Drums, Backup Vocals and Keys
