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Firebreather to Tour Scandinavia with Monolord Next Month

Posted in Whathaveyou on January 9th, 2018 by JJ Koczan

firebreather

Gothenburg-based outfits Monolord and Firebreather will team up for a tour of Scandinavia next month. The run, limited to Norway, Denmark, Sweden and Finland, starts on Feb. 8 with a weekender and picks up on Feb. 15 in Copenhagen for another week of shows with a couple days off in the middle. I’m not sure if those dates will fill in or not, but it’s a cool regional run anyhow and I don’t know about you, but going on tour in Scandinavia sounds pretty fucking rad to me. I’d go. That’s all I’m saying. I’d go.

Firebreather made a galloping debut last year with their self-titled LP (review here) on Suicide Records, while Monolord offered thrills both riffy and expansive in their third full-length for RidingEasy, Rust (review here). Somewhat different vibes between these two, but if you’re looking for common ground beyond their hometown, I think they’d both certainly qualify as “very, very heavy,” and that’s always a good place to start.

Dates follow:

firebreather monolord tour

Scandinavia! We’re starting 2018 in style and will support Monolord on the following dates:

8/2 Porsgrunn, NO: Rockeklubben I Porsgrunn
9/2 Oslo, NO: Revolver
10/2 Sandnes, NO: Tribute
15/2 Copenhagen, DK: Musik Loppen
16/2 Malmö, SE: Plan B – malmö
17/2 Gothenburg, SE: Truckstop Alaska
20/2 Stockholm, SE: Slaktkyrkan
22/2 Tampere, FI: Klubi / Tampere
23/2 Vaasa, FI: Leipätehdas / DOM Munkhaus
24/2 Helsinki, FI: Kuudes Linja

Firebreather emerged from the ashes of doom-metal heavy-weights Galvano when riff extraordinaire and Orange Ambassador Mattias Nööjd decided to start a new band after Galvano being put to rest.

Forming in the spring of 2016 FIREBREATHER have quickly gained attention and notoriety for their distinct heavy sound and songwriting. Since FIREBREATHERs’ beginnings, the band has established a growing grass-roots underground following throughout Europe after only a short tour and taking to the stage with bands such as Zaum (CAN) and finally performing their first hometown show with Boris (JPN) in the late fall of 2016.

Line-up
Mattias Nööjd – Guitar & Vocals
Tommy Hanning – Drums
Kyle Pitcher – Bass

https://www.facebook.com/firebreathergbg/
https://www.instagram.com/firebreathergbg/
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http://www.suiciderecords.se/

Firebreather, Firebreather (2017)

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Besvärjelsen Premiere “Return to No Return” Video; Vallmo out in February

Posted in Bootleg Theater on December 29th, 2017 by JJ Koczan

besvarjelsen

Swedish five-piece Besvärjelsen make their full-length debut in Feb. 2018 with Vallmo on Suicide Records, and it’s an album that weaves its brooding self between heavy rock and doom as fluidly as its lyrics do between English and Swedish. The full-length follows two shorter releases in 2016’s Exil and 2015’s Villfarelser, and while both to some degree offered a look at the band’s stylistic swath — to wit, Exil had two tracks, one more upbeat and one moodier — the blend has become richer and as the first audio to be made public from the record, the new video for “Return to No Return” showcases the fullness of approach that has resulted.

Noteworthy immediately for the rhythm section of former Dozer/Greenleaf membersbesvarjelsen valmo Johan Rockner (bass) and Erik Bäckwall (drums), Besvärjelsen makes their impression no less with melody than with groove on “Return to No Return” and other album cuts like “Mara” and the folkish “Under en Svart Himmel,” vocalist Lea Amling establishing a strong presence backed by guitarists Staffan Winroth and Andreas Baier for a choral effect that, regardless of language, seems to beg for singing along when it comes to the also-plentiful hooks throughout the record. Soul abounds, and with just an undercurrent of danger in its execution, “Return to No Return” captures an important aspect of what ties together the disparate styles Besvärjelsen touch on throughout the LP. The atmosphere here is not to be overlooked.

When it comes to the video itself, I suppose it would be hard ultimately to overlook the atmosphere, since that’s so much of what’s going on. We see Amling in a murky forest, delivering lines to the camera. The rest of the band? Not so much. There are some flashing lights near the finish, so if you’re sensitive to that kind of thing, heads up, but otherwise, it’s worth letting the track sink in and make its statement, which it does clearly and in righteous form.

I’ll hope to have more to come on Vallmo before the release, but for now, please enjoy:

Besvärjelsen, “Return to No Return” official video premiere

In 2014, from the ashes of bands like Afgrund, Dozer, Lastkaj and Greenleaf, Besvärjelsen was formed. By mixing influences from progressive metal, doom, punk, folk and rock n roll the band has created a sound unlike no other band at the moment. The band released their first EP ”Villfarelser” in 2015. The follow up EP ”Exil” was released in 2016. Both EPs were well recieved in Swedish media and the band got many songs played on Swedish national radio.

The band spent 2017 writing songs and recording what was to become their first full length album. The result, ”Vallmo”, is an album that shows many different sides of the band. From heavy doom riffs to catchy lyrics and melodies and, of course, beautiful guitar solos. The songs have previously only been in Swedish, but with ”Vallmo” Besvärjelsen is debuting songs in english as well.

Besvärjelsen is
Andreas Baier – guitar and vocals
Staffan Winroth – guitar and vocals
Lea Amling – vocals
Erik Bäckwall – drums
Johan Rockner – bass

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V to Release Debut Album Pathogenisis Nov. 8; New Video Posted

Posted in Whathaveyou on October 19th, 2017 by JJ Koczan

v

I’m not entirely sure what’s happening in the new video from minimally-monikered Swedish post-sludgers V, but I do know it’s spectacularly creepy in that special way that only stop-motion animation can truly be. Wallace and Gromit? That shit is terrifying to me. I mean it. Haunts my dreams.

V come into “Souls of the Nearly Departed” and their debut album, Pathogenisis, with no small measure of pedigree between guitarist/vocalist/synthesist Andreas Baier‘s history in Afgrund, Besvärjelsen and Oak, bassist Jonas Kindlund‘s tenure in Besvärjelsen and Daniel Liljekvist‘s former membership in Katatonia — the lineup is rounded out by Jonas Gryth on guitar — but if the opener is anything to go by, their sound is already pretty thoroughly their own. It unfurls viciously across the eight minutes of the clip, which you can see at the bottom of this post, and portends further scathing to come in its atmosphere and shouts, following up on the ambient vibe of V‘s VI EP, which was recorded in 2006 and unreleased until late last year.

Would be interested to know what happened there and why that was sat on for a decade, but either way, the full-length will be out next month on Suicide Records, as the PR wire duly confirms:

v pathogenisis

V – Swedish Sludgy Doom Quartet Announce New Album “Pathogenisis”

Premiere Video For “Souls of the Nearly Departed”

Swedish sludgy doom metal quartet V, featuring current and former members of Katatonia, In Mourning, Oak and Afgrund, return with their first full-length “Pathogenisis” nearly a decade following the release of their three-track EP “VI”.

Recorded at Midlake studios in Dalarna – Sweden, mixed by A. Baier at Midlake 2 studios, and mastered by Panu Posti at Mean Seed Lab in Helsinki, the new album is 6 songs and 42 minutes of bleak, dark and sludgy doom metal and is set for release on November 8th via Suicide Records.

“Pathogenisis” track-listing:

1. Souls Of The Nearly Departed
2. At The End Of Your Time
3. Pathogenisis
4. Perfect Predator Pattern
5. Suspended Animation
6. The Order

https://www.facebook.com/vpathogen/
https://www.instagram.com/Vpathogen/
https://vipathogen.bandcamp.com/
http://www.suiciderecords.se
https://www.facebook.com/suiciderds/

V, “Souls of the Nearly Departed” official video

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Review & Full Album Premiere: Firebreather, Firebreather

Posted in audiObelisk, Reviews on October 10th, 2017 by JJ Koczan

firebreather firebreather

[Click play above to stream Firebreather’s self-titled debut in its entirety. Album is out Friday, Oct. 13, via Suicide Records. Tour dates posted here.]

During their decade together, Sweden’s Galvano grew increasingly progressive in their delivery of semi-sludged metal, such that the chugging of their 2015 swansong, Trail of the Serpent, found them more in line with bands like The Ocean than the Black Cobra-style thrust proffered by their prior 2012 debut, Two Titans. Aligned to Candlelight, that two-piece was led by guitarist/vocalist Mattias Nööjd and would seem to have come to an end sometime after touring with Snailking and Zaum in Autumn 2015.

Nööjd resurfaces in Firebreather alongside bassist Kyle Pitcher and drummer Tommy Hanning, and in terms of relating to his past songwriting, it would seem he’s made clear efforts to get back to basics: pummel, tone, and push. Firebreather‘s self-titled debut runs a bone-crunching but totally manageable 33 minutes. Its four songs — “Fire Foretold” (7:09), “Emerald Eyes” (7:42), “The Ice Lord” (6:13) and “Release the Lava” (11:34) — split neatly into two vinyl sides, and the whole affair is somewhat unassuming on the surface. But just as the deep-toned Adam Burke cover art carries such a sense of illumination in darkness — just what fire has been lit in that cave? — so too does Firebreather‘s material soon unveil the breadth of its threat in the push and gallop that takes hold after the wind-swirl and nodding intro to “Fire Foretold,” Pitcher‘s bass leading a charge that, particularly when Hanning‘s steady snare joins and Nööjd adds his guttural vocals to start the first verse, feels almost singularly derived from High on Fire.

But not just any High on Fire, and not just any derivation. Early High on Fire. High on Fire at their most marauding, when the notion of taking filthy sludge tones and making them do things that only Celtic Frost and Slayer might otherwise dare was a novelty. This era — begun with their 1999 self-titled demo and continued onto 2000’s The Art of Self-Defense and 2002’s Surrounded by Thieves — is recognizable in the speedy immediacy of “Fire Foretold” as well as the lurching buildup that begins around the midpoint of “The Ice Lord,” and Nööjd‘s vocals are a big part of it, recalling pre-melody Matt Pike telling tales of monsters and conquests through material material that seems so violent one almost doesn’t notice how catchy it is; hello, “Emerald Eyes.” It’s more than just Nööjd‘s approach to singing though.

firebreather

In the structure of the lyrics and the rhythm of their delivery, one can hear it, and in the guitar and bass tones as well. These latter could be likened to a dull battle axe. That sounds like it’s not a compliment — wouldn’t one want to be sharp? — but if we keep with Firebreather in terms of representing a take on the aesthetic of formative High on Fire, the idea of the blade being dulled is crucial. A sharp blade cuts cleanly. It slices through: one swing. Swoop, done. It’s fresh, crisp. Maybe unused. A dull battle axe, on the other hand, maybe has a chip in one side of its blade from the neckbone of an enemy. It does not cut cleanly. When it cuts, it has to tear into chunks of raw meat its chosen target. The process is bloody, messy, full of gore. And the difference is one could argue High on Fire have become more and more sharpened over time, but in interpreting their influence on this self-titled, Firebreather dig back to the nastier, rounded edges that once so brutally cleaved the skulls of the unsuspecting.

Whether that’s done in the thud-and-churn in which “Emerald Eyes” is resolved or the broader epic-style storytelling that takes place across the fluid tempo shifts of “Release the Lava,” it’s a spirit Firebreather bring to life with marked purpose and a suitably righteous insistence, and despite the clear focus as regards their chief point of inspiration, their songs are not without an identity of their own. Particularly with the closer’s more patient delivery, rolling through its first two and a half minutes before the drums drop out to let the central riff be introduced and the first verse built toward, Nööjd, Pitcher and Hanning begin the process of carving out their niche, which includes some subtle, perhaps nascent use of melody in the still-from-the-gut shouted vocals that on “Fire Foretold” or “Emerald Eyes” hardly seemed to be a consideration despite layering in the hooks.

How Firebreather might continue to develop and distinguish themselves from their chief influence and from Nööjd‘s past efforts in Galvano, their debut presents a clear stylistic vision and intent — which is to say that the material doesn’t at all feel like it just stumbled into this sound. Rather, like a hilltop declaration of war, Firebreather‘s Firebreather sets forth with bludgeonry in mind and benefits from the knowledge of how to make it happen. It is the underlying memorability that comes through in the band’s songwriting, however, that will most let them flourish in the years and releases to come, and one hopes that as they storm the countryside on horseback spattering brain matter in their wake they remember that craft is the handle of the axe they so capably wield here.

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Firebreather Announce Tour Dates with Zaum; New Song Streaming

Posted in Whathaveyou on September 29th, 2017 by JJ Koczan

firebreather

Gothenburg-based three-piece Firebreather are gearing up to gallop off with hearts and minds — also presumably a soul or two — when they issue their self-titled debut EP via Suicide Records on Oct. 13. That same night, the band will head out on tour as support for Canadian ritualists Zaum, which makes sense when you keep in mind that the lineup for Firebreather boasts guitarist/vocalist Mattias Nööjd, who used to be in now-defunct bashers Galvano, with whom Zaum also toured. Maybe more than once, if I recall correctly.

In any case, it’s called continuity, so yeah, Firebreather and Zaum hitting the road together makes sense in part because of it. The other part is just because it makes sense, if you’re wondering.

Firebreather are streaming the new track “Fire Foretold” now, which leads off their EP. You can hear it at the bottom of this post.

The PR wire has more:

firebreather zaum tour poster

FIREBREATHER: EU tour dates with Canadian legends Zaum announced

FIREBREATHER EP is released on 13th October 2017 on Suicide Records

There’s no escaping the fact that Sweden is an incomparable breeding ground for some of the heaviest and most crushing metal bands in the world right now. Amon Amarth, Grand Magus, Candlemass, Vokonis, Monolord… all have crossed the water and duly conquered in recent years. In fact, even those yet to arrive can more often than not be found waiting in the wings, battle horn in hand heralding trepidation, Scandinavian-promise and riffs the size of long ships.

One such band waiting to scorch the earth upon which they land is Gothenburg trio FIREBREATHER who will release their self-titled debut album on Suicide Records this coming October. Relatively new to the fold having formed in the spring of 2016 from the ashes of underground doom heavyweights Galvano, FIREBREATHER is a devastatingly weighty statement of intent. Taking in four tracks that swallow time behind tooth shattering riffs from guitarist/vocalist Mattias Nööjd and crunching rhythms via bassist Kyle Pitcher and Tommy Hanning (newly replaced by drummer Fredrik Käll), FIREBREATHER are a jaw-breaking triptych of sludge and doom rock.

Mastered by Brad Boatright (Sleep, Corrosion of Conformity, Beastmilk, Obituary) at his Audioseige Studio in Portland, OR and featuring artwork by legendary underground artist Adam Burke, FIREBREATHER are out to make 2017 their own.

FIREBREATHER hit the road this October with Canadian legends Zaum for a number of dates across Europe.

FIREBREATHER live w/ ZAUM:
10/13 Kiel DE Alte Meirei
10/14 Hamburg** DE Astra Stube
10/15 Freiburg DE The White Rabbit
10/16 Torino IT Haram’s Graveyard
10/18 St. Feliu de Codines ES Inciviczone
10/19 Zaragoza ES Arrebato
10/20 Madrid ES TBC
10/21 Cascais PT Stairway Club
10/22 Galicia ES TBC
10/25 Zagreb HR Vintage Industrial
10/26 Brno C Bakjazyl
10/27 Szeged HU Grand Cafe
10/28 Carpi IT Ekinda
10/29 Bistrica ob Sotli SI Klub Metulj
10/30 Timisoara RO Club Daos
10/31 Plzen CZ TBC
11/03 Gothenburg SE Truckstop Alaska

FIREBREATHER:
Mattias Nööjd – Guitar, Vocals
Fredrik Käll – Drums
Kyle Pitcher – Bass

https://www.facebook.com/firebreathergbg/
https://www.instagram.com/firebreathergbg/
https://twitter.com/FIREBREATHERGBG
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suiciderecords.se/
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instagram.com/suicide_records

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Firebreather Sign to Suicide Records; Self-Titled Debut Coming Soon

Posted in Whathaveyou on April 10th, 2017 by JJ Koczan

Swedish burl-riffers Firebreather will make their self-titled debut later this year through Suicide Records. I don’t know exactly when, but the label in announcing it had signed the band gave a tentative date of “summer” and as it seems that the record’s already been mastered — by none less than Brad Boatright of Audiosiege himself — so given invariable pressing delays, that sounds about right as a seasonal ballpark. The Göteborg trio, which boasts in its ranks former Galvano guitarist Mattias Nööjd, have a minute-long trailer for the album playing now that you can hear below, and yeah, that sounds about right.

Firebreather have been playing locally in Sweden and done a few dates out, but I wouldn’t be surprised if more touring was to come. You might recall Galvano had at one point hit the road with Zaum and were signed to Candlelight, so it seems entirely likely Nööjd will look to recapture some of that momentum with this new outfit as they move into releasing their first long-player and getting out to support it. When, if and what I hear, I’ll let you know.

Till then, Suicide Records sent over the following:

firebreather

We are extremely psyched to announce that Swedish Sludge/Doom trio Firebreather has signed with us at Suicide Records and that we will be releasing their debut S/T album this summer on Vinyl, Cassette, CD and Digital, exact date TBA.

Firebreather emerged from the ashes of doom-metal heavy-weights Galvano when riff extraordinaire and Orange Ambassador Mattias Nööjd decided to start a new band after Galvano being put to rest.

Forming in the spring of 2016 FIREBREATHER have quickly gained attention and notoriety for their distinct heavy sound and songwriting.

Since FIREBREATHERs’ beginnings, the band has established a growing grass-roots underground following throughout Europe after only a short tour and taking to the stage with bands such as Zaum (CAN) and finally performing their first hometown show with Boris (JPN) in the late fall of 2016.

Line-up
Mattias Nööjd – Guitar & Vocals
Tommy Hanning – Drums
Kyle Pitcher – Bass

https://www.facebook.com/firebreathergbg/
https://www.instagram.com/firebreathergbg/
https://www.facebook.com/suiciderds/
http://www.suiciderecords.se/

Firebreather, Firebreather album teaser

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Cities of Mars Touring Europe in November

Posted in Whathaveyou on September 12th, 2016 by JJ Koczan

cities-of-mars

Swedish riff merchants Cities of Mars are making ready to hit the road this fall. They’ll head out on a tour spanning two weeks mostly in Northern Europe as the three-piece support their second EP, Celestial Mistress (reviewed and streamed here), a three-tracker that followed-up their 2015 debut single, Cyclopean Ritual / The Third Eye (streamed here), and make ready to record their debut full-length, which will reportedly feature six new songs continuing the narrative thread of their work to-date.

They’ll be joined by Basel, Switzerland’s Echolot for the run, which includes dates in not only that country and Sweden, but Germany, the Netherlands, Belgium, France and Denmark, as well as a couple dates still TBA that, you know, if you can help out with, you should, because good bands need good shows and so on and so forth.

Here are all the confirmed dates so far as well as other odds and ends and background culled from the internets, as well as a live video from earlier this year of “Beneath a Burning Sun.” Dig:

cities-of-mars-nov-tour-banner

In 1971, The Soviet Union landed a secret agent on the planet Mars. She discovered an ancient civilisation and a conspiracy from the dawn of time.

A vicious encounter, an undying Lord brought to life. Ancient feuds brooding in the shadows.

Puny humans playing guitar, bass, drums while chanting incoherently.

Time until the November tour will be spent writing songs for the upcoming album. Six new tales of the wicked planet are being crafted as we speak.

CITIES OF MARS Nov. tour w/ Echolot:
04.11 Jonkoping SE Sofiehof with Snailking
05.11 Stockholm SE Copperfields
06.11 TBA
08.11 Potsdam DE Archive
09.11 Amsterdam NL The Cave
10.11 Gorinchem NL PoGo
11.11 Naaldwijk NL Flatertheek
12.11 Antwerp BE Music City
13.11 Freiburg DE White Rabbit
14.11 Basel CH Schwarze Erle
15.11 TBA*
16.11 Le Mans FR Le Lezard with Stone from the Sky*
17.11 TBA*
18.11 Helsingør dk Elvaerket with Emortuo*
*no Echolot

https://www.facebook.com/citiesofmars
citiesofmars.bandcamp.com
https://instagram.com/citiesofmars/
http://www.citiesofmars.se/
www.suiciderecords.se/

Cities of Mars, “Beneath a Burning Sun” live, March 26, 2016

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Cities of Mars, Celestial Mistress: Forging Temples (Plus Full EP Stream)

Posted in audiObelisk, Reviews on April 6th, 2016 by JJ Koczan

cities of mars celestial mistress

[Click play above to stream Cities of Mars’ Celestial Mistress EP in full. It’s out Friday, April 8, via Suicide Records.]

Swedish trio Cities of Mars impressed last year with their debut two-songer, Cyclopean Ritual / The Third Eye (streamed here). That release found them not only basking in plus-sized riffing and thick, rolling grooves, but also introduced the lead character, Nadia, whose story continues on the follow-up three-track EP, Celestial Mistress, issued via Suicide Records with intentions toward a 10″ pressing later in 2016. Together, the two offerings seem geared toward establishing a foundation for a first Cities of Mars full-length still to come, but it’s important to note that while the story picking up with Celestial Mistress opener “Gaze of Leviathan” and continuing through “Beneath a Burning Sun” and the sprawl of the 11-minute closing title-track is in progress already at the start of this release, it doesn’t necessarily require one to have heard the prior single to understand what Cities of Mars are going for in terms of sound or overall theme.

We enter with Nadia on Mars. Or, more accurately, beneath it. As the start-stop nod of “Gaze of Leviathan” takes hold, a current of bass rumble from Danne Palm underlying the guitar of Christoffer Norén and the forward cymbal crash of drummer Johan Küchler, the lyrics set the stage for the sci-fi saga playing out. The inclusion of drones or keys in the second verse gives more of a feel that strange things are playing out, and the story follows through there as well, with Nadia making her way underground toward the ancient lost Martian city Bahb-Elon, where she’ll eventually meet the EP’s titular mistress.

Of course, you can engage these songs on that level or not. Out of context, “Gaze of Leviathan” (8:50) offers massive riffs and an infectious, shouted hook that demonstrates clear progression from Cities of Mars‘ initial single while feeling built outward along similar lines, and the subsequent “Beneath a Burning Sun” follows suit structurally and in its push through to its chorus, repeating the title-line as a distinct moment of arrival within it. These songs and “Celestial Mistress” all work just fine on their own, but the narrative deepens the listening experience. “Beneath a Burning Sun” introduces a secondary character — not sure on the name — who was an ancient Martian fighter pilot shot down, and backs up the fluid motion of “Gaze of Leviathan”‘s verses, chorus, solo, ending with an efficient, relatively straightforward take of its own that still opens wide during its initial verse and builds toward its harmonized-shout hook.

cities of mars

As a centerpiece — only three tracks, but still 27 minutes — it provides a landmark that, especially when positioned next to “Celestial Mistress” bodes well for Cities of Mars‘ full-length debut, since it shows not only an ability to vary songwriting around common ideas, but a sense of relating one track to those around it to create an overarching flow, which is something that even a two-song single can’t really accomplish. In its second half, “Beneath a Burning Sun” kicks into faster riffing without losing its central density of swing, and when they turn it back around for a return to the chorus, the effect is unrepentantly righteous. Doesn’t matter if you relate it to Sabbath, or Sleep, or whoever. Done so well, it still sounds heavy as anything.

And as “Beneath a Burning Sun” — presumably that pilot’s aircraft crashed in a Martian desert — winds down its finish in amp noise, the course of Celestial Mistress feels set. The expectation for the title-track is another big hook, more rolling riffs and big tones. Well, it’s still pretty large, all told, but as Nadia confronts the leader of Martian civilization underground, the vibe shifts significantly, and “Celestial Mistress” is much more about spaciousness than impact. Guitars spread wide over an initial movement as rich basslines and ride cymbal provide a sense of motion, and the full-boar riff that takes hold does so after three minutes of build. Dual-vocals from Palm and Norén round out the first verse — all the more spacious — and a moodier sensibility emerges as a more melodic, almost neo-prog metal break arrives at the halfway point, but the course of “Celestial Mistress” is deceptive in that a build is underway already.

Cities of Mars make their way through a few subdued lines before the consuming wall of fuzz kicks back in before the nine-minute mark, Norén topping it with a final lead that, much to the band’s credit, isn’t layered over a line of rhythm guitar, and then rounding out with a last chorus and instrumental roll to end the track cold in a way that suggests “to be continued…” without actually saying it. Whatever it does for the plotline that has run throughout their two releases to-date, Celestial Mistress broadens the scope of Cities of Mars‘ work overall, and finds them as able to conjure an atmosphere as they are to slam their audience with tonal heft. To be blunt, they use both to excellent effect, and as like the single before it, Celestial Mistress was recorded by Esben Willems (also of Monolord), there’s even more a continuity of sound tying their work together. Writing songs that tell a story over multiple releases can be tricky as a band progresses in their style, but like Nadia deep in an underground Martian tunnel, Cities of Mars seem to have no trouble with navigation.

Cities of Mars on Thee Facebooks

Cities of Mars on Bandcamp

Cities of Mars on Instagram

Cities of Mars website

Suicide Records

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