Venture into a realm where the ethereal allure of Norwegian Post-Punk entwines with the audacious spirit of Alternative Rock, birthing an opus of unparalleled grandeur. Prepare to immerse yourself in the transcendental depths of 'Satan on the Dancefloor,' the inaugural masterpiece meticulously woven by the enigmatic musical artisans known as King of Skulls. As the sun sets on August 1st, 2023, an extraordinary symphony shall be unleashed, promising a mesmeric odyssey that will leave an indelible mark upon the hearts and souls of all who dare to embark upon this sonic pilgrimage.
Yet, it is within the realm of words that King of Skulls truly unveils their mastery. Evocative and thought-provoking, their lyrical tapestry transcends the ordinary, delving into the depths of self-discovery, challenging societal norms, and unraveling the eternal pas de deux between light and darkness. Each syllable, each verse, carries the weight of introspection, inviting listeners to embark upon a spiritual pilgrimage of their own, where shadows dance and illuminate, intertwining in a graceful battle of dichotomy.
"I Did Not Ask You To Invite Me In," the opening anthem of this album, reverberates with a haunting intensity. Against a backdrop of enigmatic melodies, the lyrics echo a mysterious narrative. The protagonist denies responsibility for their presence, challenging the listener's perception of choice and consequence. With a tinge of melancholy, they confront the repercussions of the door willingly opened. The plea for liberation or release intertwines with a dark allure, beckoning us to question the nature of temptation. It's a captivating introduction to an album that delves deep into the intricacies of human desires and the eternal struggle between liberation and demise.
"Cradle of Satan," the enigmatic offering immerses us in a tale of forbidden encounters and fiery passion. The lyrics paint a vivid picture of a man and woman, drawn together in a concrete room beneath the surface. As sparks ignite, their lustful dance unfolds, a provocative invitation to embrace the darkness. In the throes of the night, they stumble upon a band, their hearts ablaze with both love and fear, setting the world alight. The haunting realization of life's fleeting nature permeates the lyrics, urging us to seize the moment before the lights fade. Amidst the grimness and cruelty, they revel in the wicked allure of the cradle of Satan, challenging conventional notions of sin and salvation. In this vividly evoked realm, the line between sinner and saint blurs, as they find solace in the very place they were destined to be.
"Come on Over," is a tale of shattered promises and longing unfolds. The lyrics delve into the yearning for validation, the desire to be the chosen one, only to confront the harsh reality that some things are meant to end. Amidst the struggle, a glimmer of reassurance emerges, urging both the narrator and the listener that despite the pain, everything will ultimately be alright. As the verses progress, a sense of transformation takes hold, symbolized by a bright and shiny day, beckoning them to take flight. The plea to let go, to leave behind the entanglements of the past, resonates as they embrace the darkness that lingers, a reminder that sometimes closure lies within the shadows.
Within the heartfelt strains of "So It Goes," the enchanting composition is another tale of fleeting love and bittersweet connection unfolds. A chance encounter, symbolized by the opening of a car door, sets the wheels in motion as desires intertwine and accelerate. The wind whispers through her hair, the sun sets as a witness, and the intimacy between them grows, merging their souls in a momentary embrace. Yet, the inevitability of nightfall looms, reminding them of the ephemeral nature of all love stories. Amidst the beauty and vulnerability, an unspoken understanding pervades—a desire to be together, to embrace the role of a devoted partner. As the narrative unfolds, the poignant truth emerges, urging both protagonists and listeners alike to cherish the fleeting moments of love, for even the most poignant tales eventually find their end.
"When all is Gone," paints a haunting portrait of a solitary figure navigating the dark streets. The lyrics delve into the chilling encounter between a vulnerable individual and a lurking presence in the shadows. As the streetlights flicker and tears stream down her cheeks, the demon hidden in the shadows revels in his menacing gaze. With trembling fingers, she succumbs to the needle's touch. The song captures a sense of despair and impending loss as the light in her eyes fades, and the demon's laughter echoes in the darkness. "When all is Gone" is a poignant exploration of vulnerability, loss, and the sinister forces that prey upon us when we are at our weakest.
"King of Skulls," is an unapologetic presence asserting its dominance. The lyrics unveil a truth veiled in fear, as readers of the book profess love while secretly trembling at the thought of being extinguished. Temples erected in homage, not out of genuine affection but driven by dread, are accepted by the self-proclaimed monarch. The power derived from worship, a throne fashioned from bones, solidifies the undeniable authority. As followers kneel, the king thrives, drawing strength from their allegiance and instilling a constant state of trepidation. The proclamation resounds with an unyielding force, reaffirming the presence of the king of skulls, a deity who demands submission, fuels on fear, and basks in the knowledge of their unmatched supremacy.
Before we proceed, lets know more about the band. King of Skulls, comprises two extraordinary talents who breathe life into their sonic tapestry. Bjørn Are Rognlid, a multi-faceted musician, brings his prowess in guitars, drum programming, keyboards, bass, and even the exotic saz to the forefront, while also contributing an air of general weirdness that adds to the band's enigmatic charm. Kjell Ivar Lund, on the other hand, showcases his versatility as a musician, taking on drums, drum programming, guitar, bass, and lending his captivating vocals to the majority of the tracks, save for the haunting growl on "Satan on the Dancefloor" delivered by Bjørn "Narrenschiff" Holter. Additionally, King of Skulls welcomes a host of special guests who lend their instrumental and vocal talents to further enrich the album's sonic landscape. Jarle Lindeland adds his skillful guitar work to "Children of the Grave," while Terje Skarpodde's bass guitar contributions can be heard on "Children of the Grave," "Cradle of Satan," "Come on Over," and "Satan on the Dancefloor." The ethereal choir of Aurora Hansesveen Lund graces "When all is Gone," while Pim lends additional guitar work on "Fuck you O'Lord." Morgan "Morgue" Vikne adds his distinctive touch of guitar on "I did not ask you to invite me in." With this diverse array of musicians and their collective artistry, King of Skulls elevates their sound to mesmerizing heights, creating an immersive musical experience for their listeners.
The sequence continues as the storytelling of this album keeps touching new heights. In the depths of "Satan on the Dancefloor,", a foreboding prophecy takes center stage. As the end draws near, only fools plead for more time, clinging to unfulfilled lives and damned souls. A haunting invitation echoes, promising no joy or laughter in the aftermath. Amidst this bleak landscape, the captivating allure of the beast emerges, offering solace, healing, and freedom from fear. The song's lyrics resonate with a chilling truth—salvation remains elusive, and the question lingers: Who will be turned to and who shall be feared? The beast's embrace becomes an embrace of kings, where only the free-willed shall reign, for the grip of a decaying deity clenches their will. The revelation resounds, piercing the darkness, as laughter fades and the end hastens, leaving only echoes of sorrow in its wake.
"Fuck you O'Lord," expresses a strong and provocative sentiment. The lyrics depict a vehement rebellion against an oppressive entity, symbolized as "O'Lord." The verses highlight the hypocrisy and cruelty committed in the name of religion. References to going down to the river to pray and the dropping of bombs on children serve as powerful critiques of the atrocities carried out in the supposed divine's name. The repetitive chorus passionately expresses a direct defiance and anger towards this oppressive force, proclaiming "Fuck you O'Lord" as a defiant rejection of the hypocrisy and violence associated with religious manipulation.
In the powerful track titled "When the Fat Lady Sings" the lyrics delve into profound reflections on mortality and the acceptance of one's fate. The song begins with a vision of light shining down, signifying a transition and a change from red to green. It speaks of the inevitability of death and the names engraved on every bullet, acknowledging that no one can escape their destiny. The narrator contemplates staring into the abyss, unafraid to face the end, and rejects the notion of wasting life on the fear of death. With a resolute spirit, they embrace the inevitable meeting with the reaper, raising their chin and standing tall. Grateful and unafraid, they face the heavens as the fat lady sings her final song. The lyrics demonstrate a defiance of fear and a celebration of the preciousness of every minute lived, embodying a profound acceptance of mortality and a courageous embrace of the unknown.
"Children of the Grave," is a compelling cover of the original song by Black Sabbath. Written by Frank Iommi, John Osbourne, Terence Butler, and W.T. Ward, the lyrics of this iconic song resonate with themes of revolution, resistance, and the fight against oppression. King of Skulls brings their unique interpretation to this powerful anthem, capturing the spirit of the original while infusing it with their own artistic style. Through their rendition, King of Skulls pays homage to the timeless impact of Black Sabbath's music while adding their own artistic flair and energy to the track.
Surrender to the allure of this auditory masterpiece, for within its haunting melodies and evocative verses, a transformative journey awaits. Released on 1st August 2023.
(Bjørn Are Rognlid)
King of Skulls Records is owned and managed by Bjørn Are Rognlid and Kjell Ivar Lund, King of Skulls is known for its eclectic mix of artists and their dedication to creating unique and inspiring music.
King of Skulls was founded in 2020 by Rognlid and Lund, both of whom had a deep passion for music and a desire to create a record label that would challenge the status quo. They have acommitment to supporting independent musicians and their dedication to promoting music that was innovative and boundary-pushing.
One of the things that sets King of Skulls apart from other record labels is their approach to signing artists. Instead of focusing solely on commercial potential or genre, Rognlid and Lund look for musicians who are doing something truly unique and who are passionate about their craft.
(Kjell Ivar Lund)
One of the things that makes King of Skulls such an exciting label to follow is their commitment to experimentation and pushing boundaries. They're not afraid to take risks and support artists who are doing something truly different, which has helped to create a roster of musicians who are truly unique and inspiring.
In conclusion, King of Skulls is an independent record label that's looking to make a impact in the music industry. Owned and managed by Bjørn Are Rognlid and Kjell Ivar Lund. If you're looking for music that's fresh, inspiring, and boundary-pushing, King of Skulls is definitely a label to watch.
Read more on : kingofskulls.no