New Comets Ov Cupid track “Comet Tales 4”

Comet Tales 4
by Comets Ov Cupid
Guitar and Keyboard: Jason Kesselring
According to Chambers (1909), there are only a handful of comets which may be considered to be “remarkable”. The list, reproduced below, comprises only 32 comets in the past 1000 years, indicating that we might expect an exceptional comet on average only 3 times per century. These remarkable comets are noteworthy for their extended visibility (including daytime visibility), and their exceptional brightness and spectacular features, which included reddish colors, multiple tails, jets and haloes. The figure at the left shows the Great Comet of 1843 as seen from Kent, England (Chambers, 1909). Because these comets appear suddenly and are seen by a multitude of people, nobody can be claimed as the discoverer. One of the most spectacular historical comets was the Great Comet of 1811 (Flaugergues) which was observed for an unprecedented 17 months. When discovered, it was 5th magnitude and over 2 AU from the sun. The maximum tail length was estimated to be 100 million miles. This comet attracted the attention of Napoleon as presaging his invasion of Russia, yet others wondered “what misfortune does it bring?” (Chambers, 1909).

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New Comets Ov Cupid track “Comet Tales 3”

Comet Tales 3
#3 in a 9 part ambient Space music series
Guitar and Keyboard : Jason Kesselring

How bright and beautiful a comet is as it flies past our planet—provided it does fly past it.
— Isaac Asimov

released December 27, 2017

New Comets Ov Cupid CD “Vril Kosmische Urkraft” now for sale!

I’m excited to announce the new Comets Ov Cupid CD “Vril Kosmische Urkraft” is now for sale. CD face features painting by artist/writer/occultist Roger Williamson.
$10 + 2.99 shipping and handling.

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Comets Ov Cupid is a gothic space rock project by Jason Kesselring : cosmic music evoking a sense of eternal twilight with a sonic landscape of distorted voices, cosmic pulse and hazy drones. Guitar based in composition that goes from full blow metalgazer bliss out to melancholy astral folk. “Vril Kosmische Urkraft is the third release featuring 9 faustian tone poems. A descent to the middle of the earth to the outer reaches of infinity. 

“Vril Kosmische Urkraft,” the third full-length effort by Comets Ov Cupid, finds rural futurist Jason Kesselring paradoxically producing his most varied and yet cohesively-focused release to date. All the sounds he has been working with for years are there, but amalgamated and paced in such a way as to make a complete Work, rather than a collection of pieces that each showcase different aspects of Jason’s considerable command of his instruments. The album begins with a heady Branca-esque spaceward-looking introductory piece before diving headfirst into the most metallic pieces of the bunch, which show a somewhat more blackened and blasted side of Kesselring’s metal leanings than previous efforts have done. These two pieces are still very atmospheric and expansive in nature however, and show a virtuosity seldom apparent in straightforward black metal while using its atmospheric nature to achieve a more cosmic end (all the while the lack of vocals on this all-instrumental album keep things from veering into caricature or pastiche of any kind). From there things follow an arc into a true Kosmische sound art form, using sonic extremes both painful and meditative to explore outer and inner spaces alike (or indeed simultaneously). Previous releases have employed the acoustic guitar as a break or interlude, but here we find the instrument used in fuller effect in a couple of longer pieces, and Jason’s Jansch-influenced playing really adds a layer of depth and scope to a part of the record’s arc that could have delved lazily into “drone” territory for too long. The album once again veers into heavier territory toward the end before going out in a haze of “Eternal Ice” at its closing.
It bears mentioning that Jason’s virtuosic command of the guitar is a means to an end and not an end in itself; throughout the record his technique is undeniable, but it is only brought to the fore with speed and volume when necessary to the whole and his playing does not ever veer into mere pyrotechnic display. Very few releases manage to combine such disparate elements as Cosmic Music, black metal, noise and acid-folk while still retaining a cohesive and total vision and purpose. A rare thing indeed. The tundra of North Dakota is indeed a fruitful place.”
– Erik Wivinus (Thunderbolt Pagoda)

Video “Vikings Spacecraft” from Comets Ov Cupid’s CD “Vril Kosmische Urkraft”

Skye Klad review – Vinyl Junkie – 11/01/2002

skye klad
Skye Klad – Skye Klad II

by Jeff Penczak

If I was writing for some smartass ‘mersh rag that limited its critics to pithy 20 word witticisms, this one would go something like: Ever wonder what happened to The Fields of The Nephalim? Well, fret no more. It’s my pleasure to announce they’re alive and well, and have been hiding out in Minneapolis going under the name Skye Klad.

But since we’re above such candyassed comments, we’ll proceed with the insightful vivisection you’ve come to know and hate.

From the opening buzzsaw of the grungy-with-an-attitude “Reign Song,” the Minneapolis quartet let it be known that their debut slugfest was no flash in the pan. The in-your-face vocal snarl of guitarist Jason Kesselring on “Sunwheel” sounds like a shouting match between Trent Reznor and Al Jourgenson, although I do think there’s an Echo & The Bunnymen riff trying to break out, while the descending riffage of “Little Nemo” may be a tip of the dome to the eponymous Black Sabbath track and Kesselring’s how-low-can-you-go utterings will have you reaching for your old Fields of the Nephalim albums to compare whose basso is more profundo.

The gentle (!) stringpluckings of “Meechmit” provide a welcome, albeit short respite from the proceedings and then it’s back to Kesselring’s Industrial Batcave yelpings on the black metalic 80s sheen of heavy metal wannabes The Cult on “Evening Star” – I can swear I hear the riff from “Rain” peeking out from behind the Marshall stacks.

“Skye Boat” floats across the fields of the Nephalim in search of the lost power chord, which they put to good use on “As It Is So Be It” and “Lethe,” which might actually be radio friendly enough to be a hit!!

I used the phrase “gothic death metal” to describe their debut and the term is still applicable here. If you pull out your records by Bauhaus, Joy Division, Love & Rockets, Test Dept. or any of the aforementioned acts and play them back to back with your favorite Nordic deathmetal compilation, you’ll have established the perfect sonic ambience for this firebreathing, flesheating, phonic feast and the fact that Skye Klad was able to condense a dozen records into just one is a testament to their ability to feeze dry the excitement and vicarious thrills of the dark underbelly of rock’s demon seed while avoiding the pratfalls and bottomless pits of this oft-maligned and seldom appreciated sub-sub-sub-cellar of the netherlands of rock and roll.

Note: Jeff is the host of the “No Soap, Radio” show every Monday evening rom 8-11PM (eastern US time) via the live RealAudio internet feed over WNTI-FM, 91.9 in Hackettstown, NJ, USA. Also check out his website.