The collaborative split album "Fossils" by Sons of Perdition and Jaran Hereid was released today. Regular visitors of the website knows that Sons of Perdition belongs to the household gods, but I haven't come across Jaran Hereid or his band Yuma Sun before, which is quite an achievement since they are from Norway. The background for the collaborative split album is that Jaran Hereid asked Zebulon Whatley to write the lyrics and sing on the song "Save Our Souls" for Yuma Sun's album "Hell" which was released in 2014. They considered it a successful collaboration and the seed for a split album was hereby planted. The title  "Fossils" was chosen, after some difficulties, to express the traces that people leave in their wake. The album cover is very fitting. The photo was taken by either Zebulon Whatley or bassist Simon Broke (it's not clear who held the camera at the time) on a roadtrip through southwest of United States. The press release hit the nail on the head: "Through eleven songs the album relays somber tales of broken people, broken towns and broken limps." Zebulon Whatley and Jaran Hereid contribute to some of each others songs on the album. I have to confess that my interest lies in the question where on the evolution line Sons of Perdition are placed today. I don't really know what to expect after the Dissolution Trilogy was completed (The Kingdom is on Fire, Psalms for the Spiritually Dead and Trinity). After the completion of the trilogy, Sons of Perdition have expanded into a four-piece band and frontfigure Zebulon Whatley has declared that he seeks new challenges in his songwriting. The songs on the album are the first within the new parameters. The press release states that the new Sons of Perdition marks a departure from their previous work both aesthetically and thematically. I also have to confess that I'm sceptical to split albums. In my opinion, they tend to be either unfocused or watered-down to the lowest common denominator. Furthermore, in this case I'm concerned that a collaborative split album will lead to a blurred impression of Sons of Perdition and where they stand today. However, this split album works extremely well and my concerns about discernibility are unfounded. In my opinion, there's three explanations. First, the historical background of the collaboration. Second, a common aim and coherent theme for the album. Third, a clear division of labour. The division of labour is as follows: Sons of Perdition perform on four songs. Zebulon Whatley and Jaran Hereid perform together on four songs. Jaran Hereid perform solo on two songs. Sons of Perdition perform together with Jaran Hereid on the last song. The album "Fossils" is only available digitally. You can buy it in the format of your choice (even lossless) at Bandcamp, just click on the icon (bottom left). It also available digitally anywhere people buy compressed music.

I will now walk you through the whole album. The album starts off with ”Under the Snow” with Jaran Hereid and Zebulon Whatley. The beginning of the song actually makes me think of a Wednesday Addams piano session, but then the song turns into a darker mood with a firm structure. The creative process is innovative. Jaran Hereid wrote the lyrics for the first verse, while Zebulon Whatley wrote the lyrics for the second verse. They share the vocal responsibilities on the song in the same way. The refrain is stunning: "Our halo won't glow won't shine / Our halo won't glow". The song is a splendid introduction to the album and also a good example of how dense and intervowen this collaborative split album is compared to similar albums. The first song is also one of the best songs on the album. The second song is "The Room" with Jaran Hereid (lyrics, vocals and guitar) and Zebulon Whatley (backing vocals). It's a good song with acoustic guitar and lingering choirs. The songs ends with: ”In whispers he says / I will let you live, but no one else”. The third song "Toyah" is performed by Sons of Perdition. The song has a slow tempo and an elevated approach. The song is about Toyah, Texas (an abandoned ghost town in western Texas). Toyah was inhabited as recently as in 2000. Now it's consumed by the desert around it. The imagery is poetic and vivid: "Toyah. Alone in all creation, the colossus’ devastation from being forgot in the desert, left to rot." I'm relieved since the song got all the important and desirable trademarks of Sons of Perdition. The song is one of the highlights on the album. The fourth song "She" is written and performed by Jaran Hereid. This is a good and deeply emotional song. The fifth song "The Silence and the Clover" is performed by Sons of Perdition. The song is dreamy with innovative drumming with a lot of hanging toms and trembling cymbals. The song ends: "The lover lies alone and with time, flesh proffers bone. You’ll find no note from this lover, nor from the absent other. Go elsewhere with your questions. Here you’ll find no facile lessons." The sixth song on the album is "Laurie", written and performed by Jaran Hereid. It's, by any standards, a mellow tune with depressing lyrics with guitar, vocals and and a low-intense muffled background sound.      

The seventh song "My Blood in These Hills" with Sons of Perdition is by far the best song on the album. This is pure quality. The song is overflowing with gifted songwriting and well written lyrics. This song is built up with beautiful harmonium (Lacy Rose), marching snare drum (Alex Hardie) and distinct double bass (Simon Broke). The icing on the cake is the beautiful backing vocals by Lacy Rose. The lyrics are brilliant: "The Wendigo teeth of insatiable sawblades turning forests into ditches. The ghosts of ancestors call from the land." The eight song "Black Wings" with Jaran Hereid (lyrics, vocals, guitars, bass) and Zebulon Whatley (slide guitar) is a very catchy sing-a-long song about two suicides. The self-murderers also happen to be named John and June (if these first names ring any bells). You find yourself singing along cheerfully in "called his Landlord saying, they'll find me on the floor" and in "closed her eyes and floated away into nothingness". The ninth song "Tombstone" is performed by Sons of Perdition. "Tombstone" is the sister song to "Toyah" and based loosely on Tombstone, Arizona. This town was, in contrast to Toyah, protected against decay. Tombstone was artificially embalmed and turned into a tacky tourist trap. The song begins: "A sprawling old corpse all tangled in scrub mummified under the molten gold sun that vomits harsh light, a dime museum display. There isn’t any dignity left in this grave lying in the sun." Zebulon Whatley's intention with the sister songs was to contrasting two of the ways a town is left to die, or rather what happens to a town after its death. The tenth song "Josephine" with Jaran Hereid (lyrics, vocals, guitars, violin, percussion, bass) and Zebulon Whatley (slide guitar). This is the best song by Jaran Hereid on the album. The music and lyrics interact perfectly. The songs begins: "Flee Josephine / They have your prints Josephine / Be my only queen / I`ll keep you safe, oh Josephine". The elventh and last song "The Untouched Stone" is a collaboration between Sons of Perdition and Jaran Hereid (violin). The song not only closes the album, but it also marks the end of this musical collaboration for the time being. I probably (as always) read to much into it and over-interpret the symbolism, but the first song is a split between Jaran Hereid and Zebulon Whatley, while the last song is a split between Jaran Hereid and Sons of Perdition. The soundscape is hazy, dreamy and evasive. Here are the lyrics in its entirity: "In the sands of Arizona lies a grave so all alone. Whether miner or cowboy fey, that blank red stone won’t say. Someone lived and then they died. Their body planted where it now lies. Their blood drank by thirsty soil. Their brittle bones all bleached and boiled. Once their name was said aloud, but they took it with them into their shroud that cradles bones in folds of cotton, like a memory totally forgotten. And one day soon, just like them, time will stop these tired limbs. My name like my body to dust and all that was me will be lost."

And finally, the overall assessment: The press release stated that the new Sons of Perdition marks a departure from their previous work both aesthetically and thematically. In my opinion, this departure doesn't consist of any sharp turn musically. It's just a natural progression from "Trinity”. The change in musical style could be dimly seen already then. The differences are greater when it comes to the lyrical content. Zebulon Whatley is bored with religious topics and also felt he has exhausted the subject. The lyrics are still dark, but not as pitch-black or macabre as before. I asked Zebulon Whatley a year ago about the musical direction, sound, lyrical themes and any forthcoming album. He replied: “It's different. The lyrics are more abstract, the vocals a bit more naturalistic. I think the whole thing sounds looser than the previous albums. The addition of drums is a big change. It took me a bit to get used to drums in the context of my songs, but they’re definitely better for it. And I’m excited to be working with the band. They’re great people and phenomenal musicians. That higher level of musicianship definitely shows up in the recordings. As for the theme, my songs are about the traces that people leave in their absence.” In my opinion, Sons of Perdition has evolved in this direction. My concerns about album splits in general and about discernibility in particular are unfounded. This collaborative split works almost seamlessly. There's a considerable distance between Bergen in Norway and Austin, Texas. But this doesn't seem to have constituted a major obstacle in making the album. In addition, the songs on the album are positioned in a perfect order. A lot of thought seems to have been put into this difficult art. I'm pleasantly surprised by the new Sons of Perdition and the new album. This split album will not disappoint anyone who are the least interested in Sons of Perdition and also provides an interesting introduction to the music of Jaran Hereid (who will not disappoint you either). My only complaint is the album length. "Fossils" is 40 minutes long. "Trinity" was 72 minutes long, which on the other hand is pretty extreme for an album. Anyway, by this I just want to say that I'm looking forward to hear more music from Sons of Perdition. And finally, in my opinion Sons of Perdition is perfectly calibrated and positioned on their evolution line which goes to show that the right direction is always forward. 

If you click on the icons below they will open in a new window, from left to right: Sons of Perdition's Bandcamp page, Sons of Perdition's Facebook page", Sons of Perdition's homepage and press kit for "Fossils".

Exactly one year ago I launched this website. The first blog entry I posted had the laconic title "So it begins...". In this blog entry I discuss the past, present and future for the site.

Past

First of all, this website wouldn’t be up and running if it weren’t for my friend Mikael (self-taught website builder and professional web analysts). He knows everything that there's to know about tags, index, spam referral and Google algorithms among other things. It was fascinating to watch him make the settings, choosing a fitting template and adjusting the site according to my wishes in just a couple of hours. My vision for the website was a black and white site, stripped-down with uniform departments, no banners or pop-ups of any kind and, of course, no commercial what so ever. Another preference was overview and easy navigation. It's a very simple site by any standards. I probably only use one promille of all site functions and possibilities. It was easy to migrate (translate and revise) existing articles from the swedish site cdrunda.se and fill the site with new content. On November 20, 2014 the visitor counter passed 10 000(!). This is more than I could ever hope for. Today, the visitor counter shows 14155 visitors. In my wildest dreams I hoped for 2000 visitors in the first year. I’m obviously not the only one obsessed with this kind of music. We are maybe not many, but we are committed. However, the number of visitors isn’t my primary goal, but of course, the more the merrier. The big boost for the site came when I saw the need and started to contact artists and bands. To write articles you need information. The information that can be found on Internet are often recycled and ruminated (and sometimes even incorrect). Direct access, first-hand information and the possibility to ask questions are big advantages. These direct contacts have also given me a deeper understanding of the genre, insights in the artists creative process and I have also learned a thing or two about the individual/-s behind the music. My attemps to get in contact with artists and bands have almost always been appreciated and well-received. I believe the factor that I live in Sweden and run this weird website has something to do with it. Of course, I run the risk of standing too close to the material, but that's a risk I'm willing to take. In some rare cases I don’t get any response, but that’s all right and understandable since people sometimes are not particularly interested in talking about the past and want to move on in their life. I almost got banned once. I namely stopped receiving The Roe Family Singers newsletter after expressing concerns about their new musical direction (too "family value" oriented) and criticizing their album covers. But, this occurence is an exception.

Present

At the moment there are 46 articles published under the menu "Articles". It's in the nature that the production rate tend to flatten out when the number of articles increases and the most important artists and bands are covered. Actually, since I'm reluctant to lower my quality standards it's nowadays very hard to decide who the next victim shall be. The "Artists" department is a simple table overview with links to the "Albums" department and, where applicable, a link to articles. At the moment the "Artists" section is limited to artists where I have one or several cd albums. The "Albums" department consists of plug-in product (Music Collection). At the moment the "Albums" department is limited to albums I have in my collection. The launching of the "Lists" department has been postponed a couple of times, but premiered today with a list in one of the four undercategories (artists, albums, songs and miscellaneous). The "Miscellaneous" department will be launched in June 2015 provided that nothing unforeseen occur. At the moment there are 51 blog entries. My goal is to write at least one blog entry per week. The "Contact" form works well. I get some recognition and encouragement in some messages, while others include well-informed suggestions of artists and bands to check out. Thank you! I also get some messages from artists and bands to review their music. I'm obviously not a professional reviewer, not even a good amateur reviewer. Some of artists and bands haven't perceived that I run a dedicated "gothic country" site and not a heavy metal website, but that's not really a big problem. From the contact form and otherwise I have concluded that this website fill some form of function when it comes to basic consumer guidance in the "gothic country" genre. A lack of interest, stamina and capacity to contribute with something more extensively written and at the same time a need for overviews, summaries and analysis works to my favour.  

Future

The future is unknown, but my goal is to continue with the construction of the website and from there slowly but surely continue to fill it with new content. I strongly believe in organic growth. The organic growth will consist of both publishing new material and updating existing material. I'm also considering another project which I have discussed with one of the most renowned artists in the article series. I don't want to reveal anything more about it than to say that it will mean that I have to step out of my comfort zone and make a work effort beyond the ordinary which will include a long-term commitment. Perhaps the decision to engage myself in this project will resolve itself. At the moment I hide myself behind “at the appropriate juncture, in due course, in the fullness of time”. However, I believe it's a too good idea to let it go to waste and I'm also considering alternative ways for the project. 

In November 2014 American Sinner released their third studio album "Island of the Dolls". The title refers to "La Isla de las Muñecas" outside Mexico City, where a young girl drowned in a canal. Soon thereafter, the ferryman started hearing her tell him to bring her dolls. The island is now covered in dolls in various states of decay; a devotional monument to loss and the life that may persist after death. I haven't had the opportunity to listen to the new album until now. What can I say more than that I'm flabbergasted. This is, by far, their best album. The new album is nearly one hour long and contains 15 songs. With "Island of the Dolls" they take their music in a new direction. Their quite significant rock influence is somewhat grayed out and the sound has become more country-like, definitely softer and enigmatic. The songs on the album are darker than ever, while the vocals are more restrained compared to previous albums. I have the album in cd format, which is available through their website, click on the icon (bottom second from right). You can also buy the album digitally in the format of your choice at Bandcamp, just click on the icon (bottom left). I will now walk you through the whole album.  

The album starts with ”Goat Castle". The song is based on a true story of an aristocrat (Jennie Surget Merill) and her three wealthy friends in Natchez, Mississippi, who all became reclusive. Jennie was murdered in 1932 (the Goat Castle Murder). Maybe the motive fo the murder began with a dead goat (shot and killed after eating rose bushes). The mansion was filled with books, antiques and animal feces (animals walked around freely). The song is conciously or unconciously inspired by british progressive rock from the 1970s with several tempo shifts. Anyway, ”Goat Castle" is a perfect start of the album. The last verse reads: ”Felt like tasting heaven, when we danced too close to hell / Some seal, some bind was broken. The best I have to quell it are the songs and hanging pans / But things are still slipping by / And I still hear her singing, in the woods on quiet”. The second song ”What You Break” is rock-oriented and more in line with previous albums. The song title have multiple and quite different meanings. However, the song is the weakest on the album. It’s not a bad song, it's just that I'm definitely a country guy. The third song ”Maritana" starts quite tentative before the song begins to spread out. The song is based on the story of Thomas Rowe and Lucinda de Guzman. They met each other in the 1890s but were not allowed to marry. Lucinda died young. On her death bed, she wrote this to Thomas: ”…Time is infinite. I will wait for you by our fountain to share our timeless love, our destiny is time”. Thomas never forgot her and built the Don Cesar hotel (Don Cesar is a reference to when they met). The lobby of the hotel had a replica of the fountain where they used to meet. Of course, the hotel is haunted. The fourth song ”Lila Anne" is one of the best song on the album. The song deals with the anxiety of dying before your spouse and children are sufficiently taken care of. Most of the imagery are from a half-remembered poem about somebody traveling on a train with their deceased parent as cargo. The arrangements are perfect. You find yourself humming: "Remember me to anyone still there / Though I fade with each new year". The fifth song "You'll Need Somebody" cranks up the mood and tempo markedly. It's a good song placed somewhere between their rock ambitions and country expression. The next song is "Copper Queen" which also belongs to the best songs on the album. The beginning of the seventh song makes you rather confused. It sounds like a soundtrack of a touring circus. However, the song grows on you and have cerebral cortex-sticking qualities. The eight song "Hour" makes you think that you have put a Steely Dan-album in the cd tray by mistake. The song has namely all the typical Steely Dan qualities: causal, elaborated and well-produced at the same time. Anyway, its a great song.

The ninth song is "Gold" which begins with violin and banjo-picking. The song is about a friend who used to say “I was just born lucky” and thought he would strike it rich in Las Vegas, but instead he hung himself in a psychiatric ward. The second verse reads: ”But gold is always near / And the big wheels keep on spinning / You’re figuring someone’s got to win”. The next song on the album is "483", which is inspired of hundreds of graves around an old asylum in Athens, Ohio where many of them are marked only with a number. The refrain reads: "People and places with good souls / Must taste better.. to the demon folk / We were in love in the quiet in the dark / With your hands and your eyes you took me apart." The tenth song is "Bloodshed Blues" and is one of the few weaker songs on the album. The best song on the album is without any doubt ”Judgment Day”. The song begins with guitar, choir and firm vocals. The lyrics begin with "You have to be clean / As you stand on judgment day / In robes washed white by torrents of blood / As you stand on judgment day". Of course, this particular song make a favorable impression on me. The lyrics are brilliant. The third verse reads: "So bow down kneel and pray / As you stand on judgment day / There’s a winnowing sound as your body falls away / As you stand on judgment day". The thing that is crowning this song is the drumming. There are a number of ways of arranging the drums on this song. However, I would never have thought of this arrangement. It's highly innovative and works extremely well with its marching and almost scattered rhythm. The last verse reads: "It’s gonna rain blood, it’ll rain fire / As you stand on judgment day / A legion of souls all balanced all weighed / As you stand on judgment day". At the end of the song introspective backup vocals is performed by Kiki Troo. What can I say more than music doesn't get any better than this. The next song is "I'm Haunted By You", which is a little bland compared to other songs on the album. The fourteenth song breaks completely with the rest of the album. The album ends perfectly with a haunting and downscaled version of "Bright Smile" from their first album "Revival". The last song closes the circle. And finally, the overall assessment: This is a very solid album with well-crafted songs, sparse instrumentration, well-balanced vocals and worked-through arrangements. The album is fully coherent from a thematic point of view apart from the next to last song. But, this is a peripheral remark. The new direction for American Sinner is definitely the right direction. 

If you click on the icons below they will open in a new window, from left to right: American Sinner's Bandcamp page, American Sinner's Facebook page", American Sinner's homepage and Lyrics and the background of the songs.

Everyone in Australia doesn't surf or work as a life guard. In fact, some of them play the hardest doom blues you will ever come across. I'm referring to T.K. Bollinger from Melbourne. The music of T.K. Bollinger has an unmistakable gothic streak over it, which makes it eligble for this "gothic country" site. Doom from Down Under, is that conceivable? Of course it's conceivable. “Gothic country” and its genre cousins thrives in all time and climate zones, so also in the Southern Hemisphere. T.K. Bollinger is labeled "sadcore" (a branch of "slowcore"). It's a jumble without precedent anyway. T.K. Bollinger has been an important part of the Melbourne underground scene for over 25 years and the discography is impressing. Some of the albums are available on Bandcamp. On his equally tasteful and informative website you can read about his long and winding road along musical projects, names and constellations. The latest project is T.K. Bollinger & That Sinking Feeling. The band consists (naturally) of T.K. Bollinger (vocals and guitar), R.S. Amor (bass and engineering) and Vis Ortis (drums). A caveat is in place. The music is dark and depressing located in the absolute outskirts of what this website deals with. However, I like it.  

When you're steadily rooted in the doom genre you expose yourself for a considerable risk of mannerism, overplay and theatricality. But the doom and the gloom is here balanced with a considerable proportion of fragility. T.K. Bollinger's latest album "A Catalogue of Woe" took three years to complete and was released in August 2014. It's literally pitch-black. The album cover is in fact so dark that I had to adjust the brightness of the album image (see right) so it would be possible to distinguish the motif. The music is even darker, but not beyond what you can take with a normal emotional setup. The album contains nine songs. The song titles are witty and ironic. You would expect a title that starts with "That which does not kill me..." to be followed by "makes me stronger", but instead it's followed by "gives me cancer". Another example is "Tortured by a Racialised Folk Devil". The best songs on the album are "Betting On Your Dying Day", "Tortured by a Racialised Folk Devil", "Rich Man's Heaven", "That Which Does Not Kill Me Gives Me Cancer", "Wearing Down My Devotion", "Fools Walk Were Logic Fear To Tread" and "Were You There When They Crucified My Love". The album moves between extremes. In some songs they almost goes beserk (where they remind me of Neil Young's band Crazy Horse in their messiest and loudest moments) while other songs have a more delicate and restrained expression. On these latter songs, the vocals of T.K. Bollinger are more heartfelt. The album "A Catalogue of Woe" is (besides digitally) released as a limited edition cd and as a limited edition cd including a book with illustrations. Both editions are very affordable. You can listen to the album and buy it (bottom left).   

If you click on the icons below they will open in a new window, from left to right: T.K. Bollinger's Bandcamp page, T.K. Bollinger's Facebook page, T.K. Bollinger's homepage and T.K. Bollinger's Myspace page.

Quotes, quotes and quotes. Quotes are everywhere and hard to avoid. They even pop up in the electronic invoice system at my workplace. Their purpose seems to be to light up the day with both inspirational and sprightly exclamations and share thoughtful life wisdoms. Unfortunately, they have the opposite effect on me since I tend to get annoyed with sententious drivel. If I can understand them. Sometimes the quotes are completely incomprehensible. Of course, there are quotes and there are quotes. Very few quotes reach the standards of Oscar Wilde (the true master of sardonic one-liners). However, I'm very amused by the quotes within in the "gothic country" genre. They were never meant to be quotes and are just "cut out" as quotes by yours truly. A quote requires some universal insights. The injustices in the "gothic country" genre are numerous, extensive and outrageous so there's no lack of topics to extract quotes from. The "cut out" quotes are often self-ironic and sarcastic and contain a large dose grim humour, but are for some reason never bitter. Soldiering on no matter what. For this, the artists and the bands have my unreserved respect. Here are the top ten quotes. 

1. "Let’s be honest: this type of music is an acquired taste"– Christian Williams (about the limited interest in gothic country from major record labels)

2. "I find it easiest to write what I know about. Religion is king where I grew up... I'm never left without source material." - Zebulon Whatley (about the source of his creative output)

3. “Musicians are generally pretty terrible people” – Slackeye Slim a.k.a Joe Frankland (about the difficulties finding musicians to work with)

4. "Social media ain't country" – American Sinner (about their social media strategies and activities)

5. "A typical Reverend Glasseye show is typical only in that it's fairly atypical" - Reverend Glasseye (about their live performances)

6. ”All of the hiss, noise and defects from the original recordings have been retained for your listening displeasure.” – Lonesome Wyatt (from the liner notes on the triple-cd Moldy Basement Tapes)

7. "I pick the songs and adjust them for my needs, trying to hammer them into a shape where I can sing them without being phony or a wanna be.” - Uncle Sinner (describing his working methods)

8. ”I see that in the scene are some pretenders who are "so daaaark" and others who appear to be very truthful in their expressions.” – Dad Horse Ottn (about the future for artists/bands in the gothic country genre”)

9. "There are two kinds of gigs. Normal gigs and weird gigs, I hate normal gigs.” – Reverend Elvis and the Undead Syncopators (about their live performances)

10. "What’s the difference between a musician and a large pizza? A large pizza can support a family” – Josh T. Pearson (about being a struggling musician)