King Goat – Conduit


Two years ago, UK progressive doomsters King Goat more than impressed with a self-titled EP; a release awakening a new horde of eager ears and appetites to their dark and invasively invigorating metal exploits. Now two years on, give or take a week or two, the Brighton quintet unleash its successor in the compelling shape of Conduit. The five track album is an imposing pyre of atmospheric drama and psychedelic intrigue for ears and imagination, a dark mystery wrapped in a thickly immersive doom bred challenge and seduction which quickly leaves its impressive predecessor deep in the shade.

Formed in 2012, the band first made their mark beyond a swiftly eager local scene with the Atom EP in 2013. Its success was followed by a slight change in personnel and eclipsed by the band’s aforementioned eponymous EP. The time between old and new release has only seen King Goat build a stronger and broader reputation as they successfully went on to play festivals such as Bloodstock Open Air, Mammothfest, and Doom Over London over the past couple of years and shared stages with the likes of Enslaved, Grand Magus, Witchsorrow, Alunah and many others.

As suggested, Conduit is King Goat at a new plateau of songwriting, imagination, and raw captivation of ears with Flight of the Deviants opening up the swiftly impressing collection of tales breeding unseen spirits, enslaved worlds, and death and rebirth. A spoken sample lays the seeds to the quickly engaging and provocative embrace of the first song, its immediate captivating bait led by the impressive tones of vocalist Trim. Almost like a carnival barker he shares the track’s dark narrative and mysterious nature, his tones a great blend of clean and grizzled textures within an emerging sonic web of melodic suggestiveness cast by guitarists Petros Sklias and Joe Parson. Increasingly sultry and macabre bordering on occultist lit, the track rumbles and infests ears and imagination with increasing potency and success. It is not hard to offer Candlemass and Ghost as clues to the heavily shadowed and thrilling track, and indeed across the album, though the individuality of King Goat dominates as found here; originality only being replicated song by song.

Artwork_RingMasterReviewThe outstanding start leads to the just as gripping and enthralling Feral King where almost toxic grooves bind the passions as chimes deal a portentous air around them. If the bass of Reza G was predatory within the first, it is almost gloriously primal in the second song while the rapier swings of drummer Jon Wingrove leave a lingering mark and persuasion to match the again immense vocal presence of Trim. The track’s dark story winds around the listener as masterfully as the sounds colouring it; King Goat showing them as alluring lyrically as they are in conjuring adventurous doom spawned incitements.

The album’s title track comes next and quickly sets about eclipsing its predecessors with ultimate success if by small margins such the impressive and dramatic might of all. Again Trim is as impressing in his clean cut enticing as his squalls of raw throated ferocity whilst the bestial predation of bass and riffs provide a stalking of the senses which only adds greater intensity and resourcefulness to the perpetually evolving drama and progressive ingenuity of the track.

Through the epic and climactic landscape of Revenants and the beguiling intimidation of Sanguine Path, the release comes to an absorbing and memorable close to match all before with unique ventures of their own. There is a touch of KingBathmat to the first of the pair, a track sculpting a host of crescendos and intensity soaked pinnacles within another persistently changing canvas of suggestiveness and absorbing enterprise, whilst the closer is simply as salaciously ravenous in invention as it is apocalyptically bewitching in temptation.

As much as it mightily impresses initially, Conduit just gets bigger, more striking, and inspirational with every listen. The King Goat craft and songwriting has come of age with Conduit, and in turn so has their sound though it still suggests we have yet to get below the first few layers of the band’s creative depths. That potential can surely only mean even bolder creative times to come, though whatever comes next will have to go some to eclipse this gem of an encounter.

The self-released Conduit is out now @

Pete Ringmaster 29/03/2016

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Moghul: Dead Empires

Moghul 01

    Dead Empires, the new EP from UK metallers Moghul, reveals what it would be like to be enclosed within through the iron jaws of a leviathan, sucked down its oppressive throat, and digested within a cavernous expanse of depths with a tar thick consumption of unrelenting energy and sonic acid. It is a monster of a release, not only in weight and length but in emotive resonance and exhausting intensity.

The quartet from Birmingham since forming last year, has built a sizeable name for themselves through their live performances which has seen them alongside the likes of as Conan, Black Magician, Slab and Alunah. Their demo track Blood & Ceremony of last August also marked the band as ones to watch soon followed by the digital release of Dead Empires. Now with additional availability on a limited edition vinyl edition through Devizes Record, the EP is getting another deserved push. Consisting of just two massive tracks, the release easily explains why the quartet of vocalists/guitarists James Neuenhaus and Joseph Barber, bassist Adam Wiseman, and vocalist/drummer Tom Woods, are becoming the talk of UK rock, their fusing of doom, sludge, stoner, and classic heavy rock an epic and very persuasive mixture. Each song on the EP is a journey, an overwhelming testing sonic odyssey but one offering nothing less than the richest rewards.

First track Dead Empires is immediately gnawing slowly on the ear, its lumbering breath and ravenous heart from the first second MOGHUL Coverunleashing ten minutes of unrelenting consumption, an erosive wrap of intensive doom and somber melodic sonics. It is a bleak and sapping trudge from start to finish but equipped with a seductive swagger and slow infectious persistent groove. With leaden riffs from the prowling bass and equally intensive riffs from the guitars, the song breathes and bleeds morose dark fervency whilst the beats and rhythms just bruise until submission is inevitable but continuing with the same menace thereafter to confirm capitulation. Such its might it is impossible not to be willingly overwhelmed by the viscid tempest of sound and invention and revel in its gruelling and inspiring sludge tsunami.

The thirteen minute second track Hidden Hand, whilst remaining an intensive and melancholic wrap delves into a lighter sonic endeavour bringing a psychedelic shimmering to its caustic melodic grandeur. Do not be mistaken, the song is still a juggernaut of challenging laboured riffs and demanding rhythms but with a different acidic compulsion to its deeply expressive sullenness. Like the first, the atmosphere of the song is as contagious as the senses fretting sounds but together they explore a different diversity of shadows and emotional darkness. The bass again stands out as the prime predator but every aspect of the track is as intimidating and challenging as they are sonically seductive and irresistible.

Dead Empires is an impressive introduction to the power and imaginative craft of Moghul and the declaration of one of the best infiltrators and manipulators of the senses in quite a while. Watch out for the name and sounds of this emerging talent.

RingMaster 28/01/2013

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