“cdog: Minneapolis has a vibrant psychedelic/space-rock/shoegaze scene that is yet to be uncovered. Bands in the scene include Flavor Crystals, Magic Castles, Panther Ray, Another Heaven, Ghostmouth, Brilliant Beast, Chatham Rise, DIIE, The Chambermaids, Good Doom, American Cream, Old Moon, Basement Apartment, Seafarer, Comets Ov Cupid, Dead Gurus, Paris 1919, Transcendental Strangers and many more.”
The new Comets Ov Cupid Album “Eko Eko Aradia” is not set for release until Jan 6 2015.
But it is available for preorder on Bandcamp now!
Eko Eko Aradia” is the 4th full length effort by Comets Ov Cupid. Inspired by the German Kosmische Music (Ash Ra Tempel, Klaus Schulze, Cluster) tradition of the seventies as well as the Maximal/Minimalists (Fripp/Eno, Glenn Branca, Earth and Sunn 0))) , the music is intended for those inclined towards space and the infinite. Recorded in rural North Dakota both outside and inside as to reflect the secluded ambience of the surroundings. This recording is unique in that it 4 pieces played in one take with little to no overdubs. Acoustic and Electric guitars are the main instruments as well as theremin and a Micro Korg on the beginning track. The cover photo is of a futuristic ruin found in his home state. Known in Fortean Folklore as the “North Dakota Illuminati Pyramid” it is a relic from the height of the cold war though many conspiracies still abound as to its real function.
releases 06 January 2015
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)