New Comets Ov Cupid track “The Star Is In The Cup”

 

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Comets Ov Cupid review Reviler.org

Very kind words for the new Comets Ov Cupid track “Scorpius! “By my friend Adam Johnson at Reviler.org . Check it out! Review

6. Comets ov Cupid – “Scorpius” (July, 2017)

2017

In preparation of a long-awaited physical release, North Dakota transplant Jason Kesselring offers up another single self-produced six-string divination.

I have to admit outright that Jason is probably my favorite active guitarist in the Twin Cities at moment, and that fact is going to color my opinion, inside, outside, and inbetween all the lines. Nobody else around towns takes the guitar into the territories he does, not quite; and when he’s not slinging celestial lightning bolts with Thunderbolt Pagoda, Kesselring builds and destroys worlds with his main solo gig as Comets ov Cupid.

Fed by King Crimson, Neu!, and the Hubble Telescope, “Scorpius” rides a slide guitar glides through a spacial swara of feedback, never quite beginning or ending. Kesselring has a pronounced talent for building atmosphere, and his latest blueprint is already looking strong and sultry. I’m to understand a full-band release is quietly under construction at moment. So until you and I can get our grubby earthen paws on that piece of stardust, “Scorpius” and its seven-month-separated sibling “Unicursal Hexagram” will have to do for now.

http://bandcamp.com/EmbeddedPlayer/v=2/track=683244268/size=small/bgcol=ffffff/linkcol=0687f5/

 

Heathen Harvest reviews Comets Ov Cupid’s “Vril Kosmische Urkraft”

Comets Ov Cupid – Vril Kosmische Urkraft
On his Bandcamp page, Comets Ov Cupid mastermind Jason Kesselring describes the project as “gothic space rock.” It’s a concise description, and not wholly inaccurate, but Vril Kosmische Urkraft encompasses quite a bit more in terms of genre. The Minneapolis-based project’s third full-length is a wild chariot ride through buzzing hollow-earth drones, meandering krautrock riffage, black metal influence, and fuzz—fuzz everywhere. Though the album’s title and thematic inspiration might lead the uninitiated to expect something in the neofolk vein, it’s an entirely different interpretation of Norse mythology and the work of Edward Bulwer-Lytton. And that’s not to say that it doesn’t occasionally delve into folk territory as well. Sure, you could slap the album with the “space rock” label and be mostly correct, but it would also be a massive understatement and a great disservice to the artist.

Vril Kosmische Urkraft is a lot to absorb, to say the least. Kesselring has an interesting method of layering textures that can be imperfectly compared to building a harsh noise wall. Although the project is primarily guitar based, there are all kinds of good things buried underneath the thundering riffs: drum patterns and vocal samples, more riffs, and a muted guitar solo. All of it coalesces, more often than not, into a seething barricade of fuzz. While tracks like “Sleipnir,” with its frenetic fretwork and breakneck drum loops, carry a strong metal influence, the album’s finest moments come when the artist dives headlong into psychedelia. The uneasy bad-trip drones of “Ultima Thule” segue perfectly into the finger-picked intro, haunting and resonant, of “Valknut.” Though clearly adept at experimentation and pushing the boundaries of sound and genre, Kesselring’s talents are most evident when he incorporates traditional elements into the mix.

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Purists of any stripe won’t be thrilled with the release, but being a purist isn’t very much fun. There are elements of Hawkwind and Can in there, but also some nods back to the English prog-folk that inspired Kesselring’s earlier project, Skye Klad. In some ways, Vril Kosmische Urkraft draws comparison with the frantic genre-hopping of Yussuf Jerusalem; in other ways, there’s little to compare it to. Despite drawing from a large pool of often disparate influences, one is never left with the impression that these are employed for novelty’s sake, or as devices meant to distract the listener from one flaw or another. Vril Kosmische Urkraft has its share of flaws like any other album, but a lack of cohesion isn’t one of them. The album has a clear sonic purpose, and it fulfills that by incorporating the right amount of experimentation at exactly the right times.

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Track List:
01) Mysterium Cosmographicum
02) Sleipner
03) Viking Spacecraft
04) The Hollow Earth
05) Ultima Thule
06) Valknut
07) Ginnungagap
08) Jormungand
09) Eternal Ice

Written by: Rebecca C. Brooks
Label: Independent (United States) / None / CD, Digital
Space Rock / Kosmische / Drone Ambient

Comets Ov Cupid – Vril Kosmische Urkraft

 

Comets Ov Cupid “Medusa Of The Skies” Live Aug 28, 2015

Comets Ov Cupid
Guitar: Jason Kesselring
Bass: Erik Wivinus
Drums: Matt Entsminger

Live at Eagles Club
Minneapolis Mn
Aug 28, 2015. The Medusa of the Skies
Clark Ashton Smith
Like a worm-fretted visage from the tomb,
The moon unswathes her hollow, shrunken head,
Launching such light as foulders on the dead
From pallid skies more death-like than the gloom.
Under her beams the breasted lands assume
Dead hues, and charnel shapes unceremented;
And shadows that towering sepulchers might shed
Move livid as the shadows on dials of doom.

On hills like tumuli, and waters mute,
A whiteness steals as of a world made still
When reptant Death at last rears absolute—
An earth now frozen by malefice of eyes
Aeonian dooms and realm-deep rigors fill—
The gaze of that Medusa of the skies.

New Review of “Eko Eko Aradia” from the folks over at Ptolmaic Terrascope!

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A nice review from Ptolmaic Terrascope (http://www.terrascope.co.uk/Reviews/Rumbles_July_15.htm)

check it out!

“Eko Eko Aradia” by Comets Ov Cupid is a terrific set of four Kosmische drone/synth/effects-laden-guitars pieces, all of which build up a suitably spacey atmosphere. Jason Kesselring is the man behind the project, playing all the instruments, with the album set to reflect the wide-open space and Cold War mystery of his native North Dakota. Opener ‘Sein Und Zeit’ matches phased drones and pads with a deeply reverberated guitar (though it sounds like a santoor or dulcimer). The title track adds more mysterious voices to the sound world, while ‘Fly By The Comet’ is a patchwork of harmonics, sound effects and gliss guitar. Album closer ‘The Infernal Star’ pits an oscillating guitar arpeggio with more spacey effects. Fans of the the music of Quiet World who like a bit of added cosmic mystery would enjoy this. It doesn’t vary too much, but it builds up an effective set of atmospheres if you stick with it.

(www.cometsovcupid.com)