Eterična patnja jedne žene: King Woman - Created in the Image of Suffering (2017)
Helly Cherry
Bend sa nazivom King Woman zasigurno zvuči kao neki nedo*ebani kvazi-feministički projekat, i verovatno bi većina odreagovala zatvaranjem taba. Međutim, i na svu sreću, nije reč o ovoj modernoj pošasti, već bend ispred kog stoji vrsna umetnica, Kristina Esfandiari, sa aurom jedne Thede Bare (izvolite proguglati), a stavom i glasom jedne od prvih i najboljih goth pevačica. Pesme na albumu su fenomenalne, od prve do poslednje. Ukoliko ste ljubitelj onih "mračnijih" osamdesetih, zasigurno ćete uživati u jedinstvenom spoju sporog doom/post-metala i klasičnog goth/post-punk zvuka a la Siouxie and the Banshees ili čak Cocteau Twins (u određenim momentima). Sve upućuje da je pred slušaocem album iz (krajnje eksperimentalnog) metal domena, ali eterični vokal i ambijent koji zvuči 'ukleto' je zapravo ono što me je pridobilo, jer izuzetno "kraljevski", raskošno zvuči, od prilično jednostavnih, ali moćnih harmonijskih i ritmičkih rešenja, do lirike.
Naziv albuma zapravo i secira poneku feminističku misao, ali nikako patetičarski i površno, već dotičući status žena koji je prisutan u bliskoistočnim kulturama i religijama, gde se žene (mal)tretiraju na razne načine, i u većini slučajeva, one pate. Povukao bih i paralelu sa Biblijom, gde je žena svakako osuđena da rađa u bolovima i da u takvoj “slici i prilici” trpi ceo život. Ta bol, nemoć se očituje i u pesmama, i uklapaju sa već pomenutim "sumornim" zvukom, koji svojom dodatnom psihodeličnošću daje suludi smisao se ne zaustavi samo na tome. Tematika pesama seže uglavnom u emocionalne i duhovne prevrate, koji kroz žensku prizmu (i ako obratite pažnju na pevačicin solo projekat) zvuče još ranjivije i tananije, iako se ne dajte lako zavarati. U stvari, harizma koju poseduje pevačica dovoljan razlog da album dobije pristojno mesto u vašoj zvučnoj kolekciji, naročito ako ste ljubitelj već pomenutih žanrova ili ste otvoreni za najluđe kombinacije, kakvu ovaj album pruža. Kao i sve o čemu pišem, uvek preporučujem ceo album za slušanje, uz otkrivanje sopstvenih favorita.
Omiljene stvari: Shame, Hierophant, Manna
Desya Lovorov
Naziv albuma zapravo i secira poneku feminističku misao, ali nikako patetičarski i površno, već dotičući status žena koji je prisutan u bliskoistočnim kulturama i religijama, gde se žene (mal)tretiraju na razne načine, i u većini slučajeva, one pate. Povukao bih i paralelu sa Biblijom, gde je žena svakako osuđena da rađa u bolovima i da u takvoj “slici i prilici” trpi ceo život. Ta bol, nemoć se očituje i u pesmama, i uklapaju sa već pomenutim "sumornim" zvukom, koji svojom dodatnom psihodeličnošću daje suludi smisao se ne zaustavi samo na tome. Tematika pesama seže uglavnom u emocionalne i duhovne prevrate, koji kroz žensku prizmu (i ako obratite pažnju na pevačicin solo projekat) zvuče još ranjivije i tananije, iako se ne dajte lako zavarati. U stvari, harizma koju poseduje pevačica dovoljan razlog da album dobije pristojno mesto u vašoj zvučnoj kolekciji, naročito ako ste ljubitelj već pomenutih žanrova ili ste otvoreni za najluđe kombinacije, kakvu ovaj album pruža. Kao i sve o čemu pišem, uvek preporučujem ceo album za slušanje, uz otkrivanje sopstvenih favorita.
Omiljene stvari: Shame, Hierophant, Manna
Desya Lovorov
Etheric suffering of a woman: King Woman - Created in the Image of Suffering
Prevod: Miloš Gajić
A band named King Woman surely sounds like some half-assed quasi-feminist project, and many would probably react to this title by quickly closing the tab. However, luckily, this is not the case and instead of that we have a band fronted by a one of a kind artist, Kristina Esfandiari, with an aura of one Theda Bare (feel free to google that), and the attitude and the voice of one of the first and best goth vocalists. Songs on this album are phenomenal, from the first to the last. If you liked those "darker" eighties, you would most definitely enjoy the unique fusion of slow doom/post-metal and classic goth/post-punk sound a la Siouxie and the Banshees or even maybe Cocteau Twins (at some points). Everything shows us that the album presented is from (extremely experimental) metal domain, but the etheric vocals and haunting ambient was what won my attention, because the album sounds extremely magnificent and opulent with both simple but powerful harmonic and rhythmic solutions and lyrics.
The title of the album itself actually touches upon some of the feminist topics but not in a pathetic and superficial manner, instead it ponders upon the status of women in middle-eastern cultures and religions, where the women are (mal)treated in various ways, and in most cases, are suffering. I would like to draw a parallel with the Bible where a woman is bound to give birth in pain and suffer such conditions her entire life. Such pain and powerlessness are manifested in these songs and is in coalescence with before mentioned "gloomy" sound which, together with added psychedelic aspect, makes up the absurd sense and the idea of not being done with it. Thematic of the songs reaches mostly into emotional and spiritual tempests which, seen through female prism (and if you pay attention to the vocalist’s solo project), sound even more hurting and damaging. As a matter of fact, the charisma that flows out of the vocalist is a reason enough for album to earn a good spot in your collection, especially if you are a fan of aforementioned genres or are open for the craziest of combinations that this album offers. And just like with everything else I reviewed, I recommend the album in its entirety and picking your favorites after listening.
Recommendations: Shame, Hierophant, Manna
A band named King Woman surely sounds like some half-assed quasi-feminist project, and many would probably react to this title by quickly closing the tab. However, luckily, this is not the case and instead of that we have a band fronted by a one of a kind artist, Kristina Esfandiari, with an aura of one Theda Bare (feel free to google that), and the attitude and the voice of one of the first and best goth vocalists. Songs on this album are phenomenal, from the first to the last. If you liked those "darker" eighties, you would most definitely enjoy the unique fusion of slow doom/post-metal and classic goth/post-punk sound a la Siouxie and the Banshees or even maybe Cocteau Twins (at some points). Everything shows us that the album presented is from (extremely experimental) metal domain, but the etheric vocals and haunting ambient was what won my attention, because the album sounds extremely magnificent and opulent with both simple but powerful harmonic and rhythmic solutions and lyrics.
The title of the album itself actually touches upon some of the feminist topics but not in a pathetic and superficial manner, instead it ponders upon the status of women in middle-eastern cultures and religions, where the women are (mal)treated in various ways, and in most cases, are suffering. I would like to draw a parallel with the Bible where a woman is bound to give birth in pain and suffer such conditions her entire life. Such pain and powerlessness are manifested in these songs and is in coalescence with before mentioned "gloomy" sound which, together with added psychedelic aspect, makes up the absurd sense and the idea of not being done with it. Thematic of the songs reaches mostly into emotional and spiritual tempests which, seen through female prism (and if you pay attention to the vocalist’s solo project), sound even more hurting and damaging. As a matter of fact, the charisma that flows out of the vocalist is a reason enough for album to earn a good spot in your collection, especially if you are a fan of aforementioned genres or are open for the craziest of combinations that this album offers. And just like with everything else I reviewed, I recommend the album in its entirety and picking your favorites after listening.
Recommendations: Shame, Hierophant, Manna