Comets Ov Cupid playing Devils Night 2017

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Comets will be playing this show hosted by Music of the End Times

https://www.facebook.com/events/130478027558506/?active_tab=about

 

OCT28

Devils Night 2017 !

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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

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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.

Skye Klad Review- Star Tribune October 20th 2002 by Chris Riemenschneider

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Star Tribune October 20th 2002 by Chris Riemenschneider

The Twin Cities are laden with experimental rock bands nowadays, but far too many forget the rock half of the equation. On its second full-length CD, local freak-out specialists Skye Klad incorporate as much from Black Sabbath and the Stooges as they do from arty innovators such as Can or Sonic Youth. The quartet blends droning, fuzzed-out guitars with throbbing, pulsating rhythms in songs like “Sunwheel” and “Little Nemo,” which sound like soundtrack music to a midnight screening of “Apocalypse Now.” Frontman Jason Kesselring’s deep, Nick Cave-like vocals are sinister enough to make a cover of Irving Berlin’s “Blue Skies” seem dark and foreboding. Even when the band takes its psychedelia so far as to title a song “Absynthe Opaline,” the members sound like they’re having fun, with tongues partially planted in cheek. Between bong hits, that is.

Skye Klad review -Broken Face #12

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Broken Face #12

http://brokenface.exitflagger.com/

Skye Klad S/t Mutant Music CD

***1/2

Skye Klad is a Minneapolis space rock unit that seems to be quite content with illustrating what it might be like to cross the celestial equator in a rocket ship instead of signing up for next year’s astronaut program. What we get on this self-titled full-length debut is a vast array of styles, taking cues from Spaceman 3, Hawkwind, Sonic Youth, as well as from heavy psych rock, acid folk, and the finest of Krautrock bands. “Mind’s Eye” is a particularly pleasing rumbling fuzz-drenched space rock song with occasional guitar freak-outs that could be evidence of an interest in stuff like Japanese High Rise and Overhang Party. Since these guys played with the latter on their American tour a couple years ago, I might now be completely off the mark here. The distorted vocals of Adam Backstrom on “Vespers” make this pumping Hawkwind-esque rock song sound almost gothic while the cover of Low’s “Sleep At the Bottom” slows things down to something utterly haunting and even foreboding. This is a song that I think I would have preferred with lighter vocals to fully explore these wind tunnels of swirling guitar and electronic effects. That doesn’t apply for “Debutante” where Backtrom’s dark vocal delivery makes perfect sense, placed right next to metallic guitar lines industrial percussion. Then there’s the shoegazey Martian dust storm of “Ionosphere” and the blend of straight-up rock crunch and crumbling electronic weirdness in “Hummadruz.” “Amber” is another favorite track, leading things to quiet walls of synths with hypnotic over-amplified acoustic guitars, which will be appreciated not only by hardcore skygazers but also people with more folkish tastes. “Visceral Reaction” continues to spew gas, ice and dust particles out into space before the smoking fireball streaks across the sky in the closing “Falling Clear” People interested in any of the bands mentioned above know what to do.

Mats Gustafsson

Skye Klad Review – All Music Guide – 08/24/2001

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by François Couture

Skye Klad – Skye Klad

This eponymous CD is American space rockers Skye Klad¹s first full-length album. The first cut, Mind¹s Eye, had been released as a single in 2000. It¹s psychedelic pop melody will become more and more anachronistic as the gloomy atmosphere of the rest of the album slowly unfolds. The strength of this group resides in its dual guitar approach (Jason Kesselring and Erik Wivinus). The very wicked guitar sounds replace the swarming synthesizers usually associated with the genre. Therefore, during the slow numbers (Amber, Low’s Sleep at the Bottom) the music tends to sound like Syd Barrett¹s solo material, while in the energetic songs one gets the impression of a cross between Can, Hawkwind, and early Tea Party (singer Adam Backstrom also has that Jim Morrison tone). The influence of Can is particularly notable in Visceral Reaction, a song driver by the drums and including spoken bits and lots of echo in the voice. Skye Klad keeps the duration on its songs (at least in the studio) to a concise format: nothing crosses the nine-minute mark. Trippy instrumental sections are condensed and never loose track of the actual song. On the other hand, a repetitiveness factor installs itself after the first five tracks. Still, this first effort shows a lot of potential, even if the group was unable to avoid some clichés, and can be heartily recommended to psychedelic rock fans.

Francois Couture
Writer/journalist specialized in demanding music
Writer for the All-Music Guide
Producer of Delire Actuel, CFLX.
Visit the All-Music Guide at http://www.allmusic.com

Skye Klad review – The Big Takeover – 08/30/2001

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Skye Klad

by Tucker Petertil – The Big Takeover – Fall/Winter

First impressions can be misleading, as this excellent disc of psychedelia opens on a throwaway surf music note, but then proceeds straight to the center of your mind. If you keep buying supposedly Psychedelic music CDs only to be disappointed when you finally get the plastic wrap off and listen to them-then Skye Klad is the music for you. This band delivers the most mind expandingest bit of psyche since Terrastocks roamed the earth. While the band’s name may conjure up images of naked pagans dancing in the woods the actual music is 60s psych filtered through a 2001 sensibility. Skye Klad claims members from both Salamander and Vortex Navigation Co., two of the most melodic psych bands operating today. Listen to Skye Klad and you’ll never hear surf music again.

Tucker Petertil writes a regular music column for the Olympian and also writes for the Big Takeover