Today Cvlt Nation is hosting an exclusive stream of “The Captain’s Daughter,” from Portland atmospheric sound exhibitionists EIGHT BELLS. The premiere comes in anticipation of the band’s forthcoming full-length of the same name, set for release on February 19, 2013 via Seventh Rule Recordings.
Engineered by sound mastermind Billy Anderson, The Captain’s Daughter features four organic soundscapes that oscillate seamlessly between tranquil and terrifying. Details SteelForBrains in an early review of the offering: “Perhaps the most tremendous achievement of The Captain’s Daughter is its ability to evoke atmospheric qualities of a multitude of genres without succumbing to the confines of any of them.… EIGHT BELLSseem intent on giving the listener a broad canvas of sound to work with without seeming grandiose or tedious, and with The Captain’s Daughter they succeed on every level of that presumed intention. Utilizing the negative space of sound in a way that many other bands would do well to pay heed to, EIGHT BELLS has created a masterwork with The Captain’s Daughter – easily placing themselves in a realm of music that will rarely be matched this year.” Metal Psalter calls the record, “a journey into the far reaches of one’s mind through sound that acts as its own wordsmith,” Sentire Magazine notes, “The Captains Daughter is a black metal and drone tinged journey through psychedelic doom. Featuring fore tracks over about 30 minutes, each song takes it time exploring various themes,” while Unhallowed Nation gushes, “EIGHT BELLS’ debut album is one the most interesting, well-performed records I have heard in a while.”
Stream “The Captains Daughter” at THIS LOCATION.
EIGHT BELLS features within its ranks SubArachnoid Space alumni Melynda Jackson and Christopher Van Huffel. A native of rural Texas now based in Portland, Oregon, Jackson’s EIGHT BELLS continues in SAS’ tradition of heavy guitar exploration, adding a blackened dissonance to the mix and minimalist vocals. Jackson is accompanied by classically trained six-string bassist Haley Westeiner who created the centerpiece vocals on “Fate and Technology” and also provides harmonic counterpoint to Jackson’s newly discovered vocalizations. Van Huffel resumes the throne he occupied for ten years, bringing his thunderous, nuanced double kick playing with him. With this power trio, Jackson has found a group that brings focus and support to her unapologetically expressionistic experimental metal music.