live Eagles 34-Comets Ov Cupid Sept 16




live Eagles 34-Comets Ov Cupid Sept 16





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.

Ptolemaic Terrascope Review of Comets Ov Cupid Vril Kosmische Urkraft (Feb 2014)


This is the third full course release, then, from Jason Kesselring in his Comets ov Cupid guise and who serves up an often mesmerising not to mention exhausting mix of drone/metal and cosmic noodling. Opener “Mysterium Cosmographicum” supplies the drone while “Sleipner” which follows supplies the manic shredding that screams “speed metal” at full voice. We’re two numbers in (from nine) and I’m not sure I’m going to be able to take the pace. Respite comes in the spectral form of “Viking Spacecraft” but only for the first couple of minutes before rolling drums and more fret mangling hurls us Valhalla bound once more. Actually I’m not sure if the title is a reference to Norse explorers/pillagers of yore or NASA space-exploration or both. I suppose it matter not.

The more subtle, restrained moments come from the likes of “The Hollow Earth”, featuring muted vocals although still with an intensity which offers little let-up but does hint at Kesselring as being more than just a noise monster. Such notions take further shape with “Ultima Thule”, which supplements the artist’s metal leanings and shows him more than capable of some capable cosmic dark-folk while “Volknut” sees Kesselring swapping megavolts for an acoustic workout that might surprise the Blackshaw/Basho fraternity out there. “Ginnungagap” (oh my poor spell checker) drones over some native American chanting and is, blow for blow, one of the real album highlights and which segues into “Jormungand” another jolly romp showcasing Jason’s searing axe work. It might have all ended rather noisily at that point but sensibly the coda comes courtesy of “Eternal Ice”, a highly atmospheric slice of ethereal, Arctic Circle chill-out which melds the Comets drone and Nordic folk trademark signatures most effectively and, I might add, gratifyingly.

(Ian Fraser)