King Goat – Conduit

KG_RingMasterReview

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 @ https://kinggoat.bandcamp.com/album/conduit

https://www.facebook.com/kinggoatbri

Pete Ringmaster 29/03/2016

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King Goat – Self Titled EP

     King Goat Online Promo Picture

     King Goat is an intimidating provocation, heavy in intent and in weight, and as evidenced by their new self-titled EP, mightily compelling. Consisting of three immensely imposing tracks stretched by tempestuous riffs and impossibly alluring grooves, the release pushes King Goat into a new intensive spotlight. Its riveting weave of stoner and doom metal with psychedelic and progressive flames is a raw and thorough captivation of ears and imagination, a proposition sure to arouse a wealth of new allegiances.

Hailing from Brighton, King Goat emerged at the start of 2012 and was soon stirring up attention locally. Their debut EP, Atom was released early 2013 to good responses but soon followed by a change of frontmen. Once back into its stride the quintet began working on their second release and unleashing again their powerful live performances across London and the South coast to stronger responses whilst garnering an ever increasing legion of fans. The new EP is the next potent step in the rise of a band which you sense has the potential to eventually impact intensively on European psychedelically fuelled doom metal.

The EP starts with an epic track in length and presence. The Final Decline is a towering and thoroughly absorbing journey for senses and King Goat Cover Artworkimagination which breeds from an opening suggestive ambience. It is a stark and chilled atmosphere which initially caresses ears, a portentous breath in climate with a lone emotive guitar coaxing which stands engagingly within the cold wind and barren landscape unfolding around it. The song slowly emerges with dark weighty tones of the bass and resonating beats prowling the senses matched by the equally shadowed vocal calls. It is an intensive proposition but lit by enthralling guitar design which without being flashy or dramatically startling simply seduces the imagination with its eastern temptation and repetitive virulence. The song gradually increases into a stroll, all the time brewing and accelerating its rapacious energy and rhythmic enticement until from a moment of catching breath it erupts into a primal swagger with equally bestial growls before an excellent melodic roar of vocals soar across the incendiary scenic maelstrom now smothering the senses. It is an exhaustive and alluring encounter which only enhances its bewitching grip with every taking of its dramatic journey.

The following Cult Obscene is swifter in its emergence but like its predecessor is bred by a provocative and imagination sparking scenery soaked in a sinister ambience. It is not long though before hypnotic rhythms enslave attention, soon sharing that entrapment with scorching melodic flames of adventure from the guitars and again a bass tone which simply resounds within ears and the narrative of the track. The track shows a mix of Cathedral and Ten Foot Wizard to its enveloping shadows and blazing melody defined drama whilst the caging sinews and rabidity of the rhythms has a certain Mastodon predation to their intent. As its predecessor, the song simply consumes the body, feet and senses wrapped up in the riff driven stomp of the track and imagination through to passions enslaved by the sonic invention of guitars and grooves.

Already the release has a hungry appetite alive and greedy for itself which is only driven to stronger urgency by final track Melian’s Trance. The closer is inescapable, every aspect of its sculpting working like an epidemic on the listener. It is a blazing tempest of adventure and metallic devilry employed by dark ravenous emotions and deeply rooted shadows lying in the heart of the songwriting and unrelenting imaginative sounds of the band. With riffs, rhythms, and grooves an overwhelming horde of insatiable predators submission is inevitable, the song a thunderous end to an equally massive release.

With Sabbath essences permeating the whole EP as rigorously as those already mentioned, King Goat has announced themselves to the whole country with a metallic bellow which is hard to ignore or resist.

The self-released King Goat EP is available from Monday 28th April @ http://kinggoat.bandcamp.com/

www.facebook.com/kinggoatbri

8.5/10

RingMaster 27/04/2014

Copyright RingMaster: MyFreeCopyright

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KING GOAT uncages new EP on Monday 28th April‏

King Goat Online Promo Picture

NEW EP UNVEILED AND TOURING TO BE ANNOUNCED BY KING GOAT!

 

Brighton noise chiefs release their sophomore self-titled EP on Monday 28th April and plan a widespread assault on the UK!

Crafting together the more engaging key elements of psychedelic and doom, along with carefully measured Eastern influences, ‘King Goat’ hammer out gargantuan grooves, producing a sound that is hypnotic, dynamic, progressive and ultimately alluring.

Hailing from Brighton, King Goat were born at the start of 2012 and swiftly released their debut EP ‘Atom’, which garnered praise from many stems of the underground. Soon after its release, the band changed frontmen and the newly rejuvenated quintet quickly solidified, commencing work on their next EP. A plethora of shows followed as the band laid siege on London and throughout the South coast. With a growing reputation for delivering memorable performances packed with earnest energy and genuine presence, it’s no wonder that the Brighton bruisers soon amassed an army of followers.

Towards the end of 2013, the band hit the studio to work on their new self-titled EP, and they’ve absolutely nailed the songs to the wall. Culminating in an epic journey, the record features three killer tracks that masterfully claim their own identities and plot their very own courses. The EP starts off with the psychedelic-doom infused texturing of ‘The Final Decline’, which sways and flows from hypnotic eastern-influenced early passages to a climatic conclusion complete with weighty riffage and impressive vocal work. ‘Cult Obscene’ is next up and it’s a gut-punching musical stampede stocked with changing patterns and intricate structures. ‘Melian’s Trance’ closes the record as it unleashes a barrage of cutting riffs that ever so slightly nod in the direction of Sabbath; aided by pounding drums and punchy bass, the track is a stunning piece of doom metal, and clearly highlights the five-some’s songwriting craft. Now armed with an explosive EP, the band plan to hit every sweatbox throughout the UK. Dates are imminent, so stay tuned to their Facebook page for more.

BAND MEMBERS: Trim (Vocals); Petros (Lead Guitar); Reza (Bass); Joe (Rhythm Guitar); Jon (Drums).

FOR FANS OF: Bison B.C.; Black Sabbath; Mastodon.

King Goat Cover Artwork

www.facebook.com/kinggoatbri