October 12, 2013


Posted in Albums, Maribel at 2:12 am by Matt

After a much longer production time than anticipated, the ninth Potmos Hetoimos album is finally released. I couldn’t be more excited about the finished product.

Musically, “Maribel” advances the progressive and psychedelic doom explored on “Agatha” and “Evelyn” while infusing strings and woodwinds throughout, dark jazz textures, ambient drone, and other experimental nuances. Lyrically, the album ties together the storylines of the trilogy, revealing how the title characters are interrelated and bringing a certain solace after the tumultuous and draining experience of the protagonist.

I am thrilled to have collaborated with a number of excellent people, friends old and new, on this album. My wife, Rochelle, performed all the flute parts on each track. Unlike me on clarinet, Rochelle actually knows how to play her instrument, so credit her for the winds actually sounding good. My friend Anna knocked out all the violin parts in one excellent recording session. And my good friend Raleigh, who records and performs noise under the monikers Usti Waya and Quidditas, added a few vocal parts, some saxophone, and a drone passage to the album.

James Dorton from the exceptional progressive metal bands Black Crown Initiate and Nightfire, whom I have known and wanted to work with for several years, laid down a killer vocal line on “Recurrence”. Mike Armine, frontman of post-metal paragon Rosetta, contributed not only vocals but ambient electronic expertise to “Assimilation” – double thanks to him for the amazing sonic textures! Gastrix Grimshaw, former member of psychedelic black metal troupe A Forest of Stars and current purveyor of atmospheric blackness as Courtsleet, bestowed his deep growl for “Genealogy”. And Chris Grigg, leader of awesome american black metal band Woe, offered several vocal styles to lead off the album’s closer, “Curator”. I am humbled and honored that all of these individuals were willing to work with an artist like me and promote it to their far broader fanbases. If you’ve discovered PH because of one of them, thank them on my behalf.

“Maribel” closes the trilogy, and is also likely to close the book on this particular musical style for me. I want to get back to developing a more sludgy post-metal sound a la “The Greater Gospel”, which is where I was headed before I distracted myself with “Agatha” and then got sidetracked making it a trilogy. Certainly elements of the style I’ve developed will persist, but I anticipate some more up-tempo and diverse work on subsequent full lengths, with incorporation of influences that haven’t really had a place in these doom albums. And hopefully I’ll be able to work with some more wonderful guests!

Oh, and don’t expect to wait two years between albums ever again. Sorry about that.


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