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.
Comets ov Cupid – “Eko Eko Aradia” (self-released 2015, CD/DL)
I’ve been following guitarist Jason Kesselring’s work since the early Aural Innovation days, starting with the late great Minneapolis based Space/Psych/Kraut Rock band Skye Klad (who I also got to see live at the 2000 Strange Daze Space Rock Festival). Kesselring went solo with Satyrswitch, a vehicle to explore his interest in Jansch/Graham/Basho guitar styles and other acoustic music. Now based in North Dakota, Kesselring’s solo project of recent years has been Comets ov Cupid, which across his first three albums covered textural Ambient/Drone explorations and blistering Space Rock for the alchemically inclined.
Eko Eko Aradia is the fourth Comets Ov Cupid album and draws inspiration from the 70s German Kosmische pioneers like Ash Ra Tempel, Klaus Schulze and Cluster, as well as ambient/minimalists like Fripp/Eno, Glenn Branca, Earth and Sunn 0))).
The album consists of 4 tracks in just under 40 minutes. All the pieces were 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 opening track, Sein Und Zeit, which starts off with expansive yet minimal soundscapes and spartan guitar patterns. Multiple guitar parts are gradually introduced until it sounds like a cosmic symphony of repetitive chordal arrangements and spaced out solos which brought to mind a Cluster enhanced duet between Manual Gottsching and Robert Fripp. This bleeds into the 15 minute title track, which begins with a dark, lightly symphonic drone and strange voice samples that repeat “Eko Eko Aradia”, which I learned from good ‘ol Wikipedia is the opening phrase to a Wiccan chant. The guitar adds to the drifting, cosmically orchestral feel, creating a doomy impression and lacing the atmosphere with swirling and soaring waves of caustically Psychedelic strikes and screeching runs of what sound like an acid damaged violin. The music soon settles into a sweeping yet disorienting minimalist orchestral exploration that straddles the line between intense acid-noise and cloud floating, atmospheric drone. As the finale seeps into Fly By The Comet, we sail along with lightly jamming acoustic guitar and hovering efx’d guitar that’s like a soundscape generating, gliss-like banshee violin, which becomes darkly intense and even a little rhythmic rocking as it morphs into The Infernal Star. And sure enough, the multiple guitar parts start to rock out like some kind of avant-Psychedelic Branca guitar symphony. The intensity increases to apocalyptic levels, with smoldering stoner doom surges and a sense of sheer cosmic corrosion. Yet despite the high intensity skirmish, the music never loses a general perception of meditative drift.
As an artisan/constructor of aural landscapes, Kesselring nimbly blends his classic Kosmiche and ambient/minimalist influences to create a journey into the furthest reaches of Psychedelic color and texture. And he does so without always so heavily drenching his guitar with effects that it’s beyond recognition.
The cover photo is worth a mention as it aroused my interest. It’s a futuristic ruin known in Fortean Folklore as the “North Dakota Illuminati Pyramid”. It’s a relic from the height of the Cold War though many conspiracies still abound as to its real function. When I questioned Jason about it he pointed me to a web site which explained that it was situated on a missile site radar complex used to locate missiles fired from foreign powers at the USA so that they could be destroyed. The base was armed with 30 Spartan anti-ballistic missiles with thermonuclear warheads and sixteen short-range Sprint missiles. How fortunate for the North Dakotans to play host to all that Cold War fun.
Reviewed by Jerry Kranitz
COMETS OV CUPID “EKO EKO ARADIA”.
Fecha de publicación: Enero 2015
Sello discográfico: AUTOEDITADO
Tracklist: 1- Sein Und Zeit // 2- Eko Eko Aradia // 3- Fly By The Comet // 4- The Infernal Star
Artistas: Jason Kesselring
Trabajo musical: Escrito por Jason Kesselring
Datos técnicos: Grabado en Vinland Studios de la ciudad estadounidense de Kindred (Dakota del Norte)
Composiciones musicales que escucharás mil veces: 1- Sein Und Zeit // 3- Fly By The Comet
ENLACE / LINK: COMETS OV CUPID BANDCAMP
Artículo Nº: 1.929
“Next January 6 will be officially unveiled the new album Comets Ov Cupid “Eko Eko Aradia” published in a lavish digipak CD desktop publishing. The first thing that will appeal to music lovers Lux Athena Webzine readers acquire this extraordinary musical work are its striking front and back, based on the photographic image of the US military facility abandoned born during the Cold War, and whose ultramodern design looks more out of a futuristic architectural test of reality itself. The truth is that the images of these facilities is nothing more impressive to see them, and his election as an album cover has been most successful. In “Eko Eko Aradia” the great American artist Jason Kesselring, alma mater of Comets Ov Cupid, presents his fourth album marked by this fusion of melodic guitar sound, whether classical or electric, with instrumental technology applied to electronics, and under the influence of conceptual and artistic foundations that gave life and meaning to the German electronic music forefront of seventies music. Vertebrate four magnificent compositions, each of these topics drunk, plunge you into another world and another dimension with such ease that disconnect from everyday reality during his audition unconsciously becomes smooth and pleasant. A musical hearing will begin with surround sound that characterizes the theme “Sein Und Zeit” while his melodic waves emanating from the electronic spectrum are giving form to this beautiful musical amalgam next to the vibrant musical spirit of the guitar. A conceptual evolution of Gothic court that will be transformed into a sound continuum of eclectic conceptual roots in the composition of the title of this album, “Eko Eko Aradia” takes on a much more expansive and artistic defined body, reconfiguring a lyrical cycle repetitive while everything becomes evanescent, light and bright. Then, time will slow down “Fly By The Comet“, ranging melodic body to go slowly stretching their sound evolution increasingly languid and dilated cadences open mental doors of imagination and fantasy in expansive plane of universal emotions, leaving the track “The Infernal Star” and more radiant and intense musical closure until a final collapse sound calm spirit. “Eko Eko Aradia” eclectic musical vanguard conceptual roots deep underground.Enjoy it !!!“
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 – “Vril Kosmische Urkraft” (self-released 2013)
Comets Ov Cupid returns with its third release, following Metalgazer (2007) andWestern Lands (2010). Vril Kosmische Urkraft finds the former Skye Klad and Satyrswitch frontman Jason Kesselring expanding on the territory he plumbed inWestern Lands, a mix of noisy drones, quaking metal, and cosmic folk. This time out, the mostly instrumental album explores the depths and chasms of Germanic and Norse mythology and mysticism, taking the listener on a journey deep into the realms of the hollow earth and beyond.
Vril was the ancient cosmic power harnessed by the advanced beings that dwelled in the hollow of the earth in The Coming Race, the 1871 novel by British writer Edward Bulwer-Lytton (and indeed, kosmische meaning ‘cosmic’ and urkraft meaning ‘ancient power’ fall in line with this). It certainly does seem that Kesselring is tapping into some kind of power as he unleashes the shivering drone attack of Mysterium Cosmographicum, the opening track on the album. It’s a brief piece, less than two minutes, before we’re flung full force into the throbbing intensity of Sleipner, featuring Kesselring’s trademark sound: a roar of hazy noise; enormous, fuzzed out bass; drum loops buried deep, deep in the mix, and relentlessly creative guitar soloing. It’s a thundering anthem for Odin’s steed. Viking Spacecraft, both a nod, one would presume, to ancient Norse explorers, and the unmanned vessels that landed on Mars in the 1970′s, takes a similar direction, but this time replaces the galloping rhythm with more of a zoned out interplanetary vibe. It’s pure spacerock for the cosmically inclined, perhaps one last glimpse of the outer cosmos before Kesselring turns the listeners attention inward with the brooding soundscape of The Hollow Earth.
It’s as if he’s provided us with a map (Mysterium Cosmographicum) and the transportation of both ancient myth and the space age, then set us on a course into the unknown (something he did well on Western Lands too). Here, besides the aforementioned The Hollow Earth, the unknown manifests in the hauntingly melodicUltima Thule; the weird, psychedelic folk of Valknut; and the eerie dronescape and restless chants of Ginnungagap (the name that the ancient Norse gave to the vast, primordial void that existed before the universe was created). The album concludes with the rollicking heavy metal stomp of Jormungand and the desolate, empty landscapes evoked by The Eternal Ice (a reference perhaps to the Norse end of the world?). And although that may leave the listener a bit chilled, it’s a good chill, the kind of chill that sends shivers up one’s spine, say, after having witnessed a manifestation of the unexplained, touched the cosmic or dreamed the endless dream.
Kesselring takes a very unique and intriguing approach to mixing his music, like an alchemist experimenting, often inverting the typical mix, burying drums and muting melodies in favour of textural explorations. It serves his music well. One always gets a sense that there is something hidden beneath, some ancient secret or lost wisdom swirling under the surface. It makes the listener want to dig deeper, to find what lies within. But there’s the magic of Comets Ov Cupid: one can never quite find it. It remains elusive and mysterious, as all great cosmic secrets should remain.
For more info, visit: http://cometsovcupid.bandcamp.com
Reviewed by Jeff Fitzgerald