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John Milton’s epic poem from 1667 lost paradise holds legendary status in the literary world. It not only revisits the biblical story of man’s fall, but provides additional emphasis to that of Satan – his descent into hell and his rebellion against God. For centuries, lost paradise has been a work studied and reinvented, researchers and artists enamored with its theme of idolatry – a theme that Kris Esfandiari of Woman King explores in his latest album, Heavenly blues (Relapse Records).
King Woman’s first record in 2017, Created in the image of suffering, is a remarkable work of misfortune. Unlike bands like Primitive Man or Candlemass, King Woman’s approach to doom is more ethereal. Forgoing thunderous bass and overwhelming distortion, the band uses the hum – with hints of heavy distortion – to create an atmosphere that is slightly lighter in technical presence, but heavy in terms of emotion. Along with the instrumentation, Esfandiari’s voice plays an important role in setting the atmosphere. Whether it’s the way her voice mingles with the gentle hum or the way her high-pitched screams uplift the magnificence of hammered instrumentals, her voice is a remarkable tool. At Celestial blue, King Woman goes beyond the brilliance of their previous LP, offering a journey where the protagonist is plunged into darkness – only for him to rise in majesty.
The eponymous opening track of the disc begins with these lines: “Heavenly blues / A mile in my shoes / The devil left a bruise / But God left a light on for His rebels … ”Esfandiari softly pronounces these words and the verse to come under the bright and sparse ringing of guitar notes. This twang plays against a space of absolute black; the current level of minimalism – surrounding the net of guitar notes and vocals – establishes that framework of emptiness. The tone of this sequence even exudes a sense of loneliness.
It is a small level of technicality which goes so far as to demonstrate the great theatrical presence that King Woman can create. Once the first verse is finished, the guitar performance is amplified; not in tempo – the song maintaining a consistent drone-like rhythm – but delivering booms of distortion with each strike of the guitar. Against the beating of the bass and the rolling of the drums, Esfandiari’s voice also rises, his previous performance transforming into heightened, haunting calm. However, no track is straightforward in its songwriting flow, as any given song has the means to demonstrate sonic duality.
The gentle flow of guitar notation returns to “Boghz”; yet, there is something more sinister here. Over time, the drums begin to gain momentum, matching the song’s increasingly difficult direction. As the guitar performance begins to transform into something more fierce, Esfandiari’s voice takes on its own change. At the beginning comes a mutated form of sweetness, only to separate the course and dive into a brief passage of muffled and frightening speech. Next comes the ascending roar of vocals and instrumentation, with the performance taking the form of something demonic. Esfandiari’s screams collide with the drum, distortion and bass shocks that build up over this section of the track – the performance pulling more abrasive qualities from the doom.
Guitarist / Bassist Peter Arensdorf and drummer Joseph raygoza are valuable elements of the emotional and sound impact that Heavenly blues present in its runtime. As a genre, doom relies on providing a consistent yet engaging rhythm; one where the performance must sometimes carefully balance between bombastic play and meditative presence. Elements of drone and distortion, along with a technical prowess that keeps the compositions engaging, are key elements Arensdorf and Raygoza use to emphasize the dark tone of Esfandiari’s lyrics and vocals. Arensdorf’s use of melodic rhythms and rock guitar further add a captivating kick to every song.
But the instrumental performances are only a part that serves to make Heavenly blues astonishing. At the heart of this disc is Esfandiari’s narrative journey; to come from an overwhelming Catholic education and to have had a near-death experience as a child. Lyrically, Esfandiari invites the listener to confront their past and create their own path forward. In the lyrics found everywhere Heavenly blues, it offers the duality of tragedy and prosperity – of fall to rise. Esfandiari’s lyrics have an amazing way to creep up on the listener. In cuts like “Golgotha”, his words give off a dark aura of trap; as if they were playing in the genre itself, those words stink of fate. “And it never ends / And it never ends / The snake eats its tail / We come back again / To / This hell / This hell / I will see you again / With the skulls my friend.
The next song, “Coil”, strikes with an equal delivery of instrumental, lyrical and vocal aggressiveness. Out of the gate, the instrumentation is delivered with a faster tempo, the guitar is racing with bursts of distortion against a background of bass. Esfandiari screams over the flow, his words giving off another tinge of feeling this time around. “They want me to go / Well good luck / I have already succeeded / I was raised / They want me to leave / Well good luck / I have already succeeded / I was raised.
The closing track of the disc, appropriately titled “Lost paradise”, leaves things on a dark, but insightful note. Instrumentation here is minimal, slight streaks of guitar notation and drum beats maintain a presence throughout. The lyrics show Esfandiari in a place of defeat – not without hope. “We were kicked out of Eden / I need to find the creator / You’ll blame me / It’s just the saddest story. Along with this mourning and need to find its creator comes a disturbing and haunting thrill – the conviction in Esfandiari’s voice all the more powerful for her. Esfandiari’s words strike them both with serenity and rawness, projecting an enchanting aura that takes listeners deeper into his world.
As King Woman, Esfandiari and the band deliver a record overflowing with extraordinary emotional power. With lyrics that seep into the soul, instrumentals that present captivating soundscapes, Heavenly blues is overwhelming. Taking her struggles and pain, Esfandiari has created a record that shows her willingness to walk through the darkness and become stronger. And in her rebellion, finding her own path, she emerges as a champion.
Heavenly blues released on July 30e. You can pre-order the disc at the link below.
King’s wives music camp
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