Posts Tagged ‘Sharie Neyland’

Album of the Day: The Wounded Kings – Consolamentum

Posted on Sunday, February 16th, 2014

Lovingly pinched from The Obelisk: Consolamentum is the fourth full-length from increasingly progressive UK-based doomers The Wounded Kings and also their debut on Candlelight Records. It’s also their most consistent album-to-album lineup in the band since 2010′s The Shadow over Atlantis followed 2008′s Embrace of the Narrow House debut with just the founding duo of guitarist / keyboardist Steve Mills and bassist  /vocalist George Birch, who was out following The Wounded Kings‘ 2010 split with Cough, An Introduction to the Black Arts, as Mills constructed a more complete lineup of the band that would be able to play live.

The third album, 2011′s In the Chapel of the Black Hand, arrived with a markedly quick turnaround considering that apart from Mills it was entirely new players involved — vocalist Sharie Neyland, drummer Myke Heath, bassist Jim Willumsen and guitarist Alex Kearney – and particularly with Neyland‘s haunting vocal resonance, tapped into dark elements of cult metal to coincide with three extended pieces the doom of which was complete and encompassing.

The Wounded Kings - Consolamentum

On Consolamentum, all parties but Willumsen return, and though it’s somewhat ironic that with largely the same group they’d also have their longest break between records to date (three years), with Al Eliadis on bass and Chris Fielding producing, The Wounded Kings have created an album that feels like their most band-oriented work yet, recorded live and brimming with atmospheric density.

Like In the Chapel of the Black Hand, Consolamentum finds The Wounded Kings working with and around an extended trinity of songs. Opener ‘Gnosis’ is the longest of the bunch (immediate points) at 13:20, and its complemented by the centerpiece title-track at 9:08 and the penultimate ‘The Silence’ at 12:14.

All three work at the hypnotic crawl one might expect from The Wounded Kings‘ past work — though ‘Gnosis’ picks up toward the end and each seems to offer a payoff of its own — but there’s development evident not just in how well the five-piece work together over the course of Consolamentum‘s 47 minutes, but also in where they go.

Continue reading: THE OBELISK REVIEW: The Wounded Kings, Consolamentum
(Courtesy of JJ Koczan / The Obelisk)

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