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METAL RIOT’s Top 25 Albums Of 2021.

Posted by Morgan Y Evans - Walking Bombs on Wednesday, November 24, 2021 at 6:21 PM (PST)

King Woman at Saint Vitus Bar- Oct. 16th, 2021

Ok, friends. Here we are again… 2021 has been a serious slog while also being full of some amazing blessings.I was very happy to get to share another year of Metal Riot with you all and ride the vortex waves.I usually don’t post a lot for the month of December and we tend to be the second or third site to publish our list (after DECIBEL, generally).I am gonna spend a lot of December working, reflecting and being grateful for two years of sobriety and also contemplating The Wheel Of Time saga, etc.

THANK YOU to all the bands who made killer music this year and amazing people I was able to speak with or befriend, etc. YOU are the scene. XO.

I also deserve a break after having to deal with many unwanted trolls for simply pointing out to Mastodon that Brent shouldn’t be calling stuff “gay” as a pejorative.

Numerous people decided they needed to contact me and call me queerphobic names afterwards.A nd I am sure I have done way more for metal and punk than all of those shit trolls combined. The LGBTQAI artists in metal made some of the most amazing work in the scene this year and don’t deserve to be alienated by lazy and inconsiderate speech. I seriously had one moron named like Jarhead666 or something tell me I was butthurt and metal isn’t the place for my ‘CrItICal Sjw theory’ or some shit, because I introduced this goon to the concept of heteronormative centering, or some such.

But seriously, while I genuinely appreciated Brann talking to me and meant it when I told him I have loved those dudes as a band a long time (ever since being stuck near the Lincoln Tunnel years ago with a friend and finding that blasting Remission actually CAN move complete gridlocked traffic).

I’d just like to add that now as a result of that “bad day” -as David Draiman of Disturbed and the Mastodon camp are graciously calling Brent’s shitty moment- even more hateful speech has butterfly effected all over social media and caused emotional distress to many good folx just trying to find a place in metal. The seeds we sew matter.

A bad day is not being on the Jasta podcast. A bad day is Matthew Shepard.

That said, one love to you all.If anyone wants to blacklist me, well…I only write about what I want anyway.

And so…Here are METAL RIOT’s top 25 of the year for 2021. I expanded it from 12 this year because there was a true wealth of killer albums and because I am happy to be alive, celebrating music and able to flex my opinions on it…whether you think I am an ignorant SJW who doesn’t know anything or not.

(drumroll…) Album Of The YearKING WOMAN‘s soul scorching noir doom record Celestial Blues is hands down our album of 2021 for exemplifying so much that is awesome about heavy music’s potential in 2021, from cadences to symbolism to the transformative power of art. And of course bad ass riffs! It also makes Kris and co.the only band in the site’s history to win AOTY twice!I guess it was fitting that two of my favorite records this year would reference Paradise Lost (the other being this excellent groover fest from my friend Taraka, also highly recommended).

From the opening plaintive narration of the album title over spare, jazzy and sorrowful notes to the impossible, mournful but playful shuffle of “Golgotha” to the anguish and hypnosis of “Psychic Wound” and the crowd sing-a-long of the year “Morning Star”, Celestial Blues feels like stepping into a smoky, mythological theater, a personal passion play full of highs and lows brighter than sunlight or darker than a grim Gotham alleyway. King Woman remain a group who understand suspense, tension build and payoff more than many and here they have also crafted some of their most sophisticated arrangements yet paired with arguably the most anthemic vocal and lyrical work Kris has delivered to date.

KW live shots by MYE

Seed pic by Omari Spears @o.shoots

2. SEED‘s Dun Pageant is a likewise challenging, thrilling and rewarding plunge through the soul and psyche by another band with almost 100% their own sound, well deserving of our second place spot for 2021.This Anti-fascist, queer centric force from Boston is creating an incredible sonic refuge for outsiders who need a found family in the scene. And most importantly, their music is fucking incredible. Practically any song on this record can crack you wide open and move you to a flood tears or strengthen your resolve. There is a deep sense of poetic yearning and desire to belong embedded within these melodic, indie flirting doom songs which nonetheless offer an unyielding stance in the face of a cruel world. Fans of everything from the most dramatic PJ Harvey material to Across Tundras to slower, weird ass Jesus Lizard songs could find a home here amidst some of the most existentialist yet determined music I may have ever heard in my life.

3. Succumb‘s overdue return on XXI was worth the wait and then some.Mixed and mastered by Jack Shirley at the Atomic Garden with compelling artwork by Stefan Thanneur (my favorite cover art of the year), the record retained the band’s edgy death metal sound and upped the ante on the philosophical subtexts. Read all my further thoughts about it HERE in an interview with the band!

4. Underdark ‘s Abi told the Hellbent for Metal crew recently, if I accurately recall, that ‘folk music in England is traditionally lefty and BM is folk music’. Our Bodies Burned Bright On Re-Entry melds left wing class consciousness spirit with Slint/Enablers spoken word vibes at times and of course the fire in the veins black metal this UK group is a standard bearer of. Believing in the power of change and doing things their way, the band have managed to really get solid footing under their feet during a turbulent time in the music world. I can’t possibly do justice in a short plug to the vibrancy and life that is in every note and utterance on this record, but it is amazing. Also, they always make me want to play Forgotten Realms.

5. Violet Cold‘s Empire Of Love is a landmark release championing inclusivity and borderless genres, a masterstroke from an already prolific and trend setting act. Read my 5 star review HERE.

6. Gojira is the “biggest band” represented on our list this year. Gojira remain ambassadors for our planet and sanity in a world sorely lacking it , musical geniuses and dudes who are deeply respectful of the environment we get to call home.From refusing to be gaslit about Tibet to standing up for the Amazon to of course musing about the meaning of life in our Universe and creating some super headfucky yet face ripping arrangements, they remain pound for pound unfuckwithable on mighty Fortitude. And they 100% ought to win the Grammy the most out of those nominated, fyi.

7. Withered outdid even their impressive past work on the trudging and oppressive Verloren . That “Dissolve” guitar sound is to literally die for and you can never pin them down. It’s a mood. Once you take the time to really get inside this record it is completely addictive and really ought to come with a warning label because of how easy it is for this blackened sludge fest to completely remove any semblance of a remaining fuck given.Well done, lads. Carcass, The Lurking Fear and plenty of others made some dastardly records this year but this takes the cake for me in that category.

8. Filth Is Eternal‘s Love Is A Lie, Filth Is Eternal is a glorious and gritty punk record with the most attitude you likely heard this year.The non-stop energy and adrenaline was a constant go to for me when I needed a bucket of cold water thrown on me to snap me out of the morose of this miserable year. I fucking love this band with all my soul and you  readers should listen to this 20 times before we meet again if you want to stay friends.

Brian of Filth Is Eternal pic by Joshua Simons @groteskanimal

9. Wharflurch did the near impossible and stood out amidst a year positively drunk on top rate death metal releases.If you haven’t experienced this highly enjoyable bad trip yet for the first time you are in for a fucking treat.Very original and batshit act creating some brain melting yet skull crushing sounds simultaneously, if that makes sense.And seriously, who has a better album title than Psychedelic Realms ov Hell? I mean, come on!”Phantasmagorical Fumes”, indeed.

Tower NYC…lookin’
tougher than shit

10. Tower‘s Shock to the System has a classic trad metal looking cover that calls to mind epic releases of yesteryear from Scorpions or early Anthrax while pulling listeners in to one of the best modern bands influenced by the classics around. Along with Pounder’s Breaking The World or Haunt’s recent plethora of powerful pleasers, Tower demonstrate true heavy metal will never die (and this time with a little more Never Say Die era Sabbath influence mixed in, from the sound of things).The musical chemistry between Sarabeth and James remains one of the best in rock and the recording line-up brought this sophomore effort to new heights worthy of Linden’s falcon crye.The true shock to the system is how much enjoyment you can get from one album.

11. Krallice‘s lofi black metal on Demonic Wealth somehow marries the original bleakness of the genre with the loneliness of NYC and wet cardboard, broken dreams, rain dripping off a fire escape vibes amidst the death throes of capitalism.One of the best album titles in metal history? Yep. This is a run down worker unable to afford Christmas gifts type shit.Cold and atmospheric and unique with callbacks to 2nd wave and weirdo ambient stuff. Drums recorded on a phone!?Smash the uber rich after repurposing their built to break detritus. This album is the perfect Krallice response for a pandemic full of people just hoping to get through in one piece.

12. Nadja‘s Luminous Rot is an out of body experience more than a musical one, imo.I had a deep dive interview with the band that you can read HERE and remain incredibly impressed with this specific statement in (and out) of the timestream.

13. Catalyst Crime made the greatest symphonic metal release of 2021 by a considerable margin. If “Condemn Me To Chaos” doesn’t get lodged in your head for weeks at a time, I don’t know what the heck is wrong with you. Just listen to it.

14. Obsolete‘s Animate / Isolate blew me away with the Revocation worthy skill, young again hyper fast speed enthusiasm and melodic thrash aptitude on display.This record goes against the trends and is better for it, just a charming and bad ass chops fest that also remembers to induce headbanging amidst the whiz kid shit.Really, this band should be way bigger.

15. Crypta‘s Echoes Of The Soul is the funnest death/thrash hybrid of the year, a monster fuck you to naysayers and another notch in the belt for Brazil’s long and storied metal legacy.T he ladies in Crypta truly feel like a “band”, each member bringing a lot of personality and individualism to the table to add to the whole yet in a way where you couldn’t imagine the group with other members. The chops, the style and attitude paired with the consistent vibe that they breathe, eat and shit metal truly makes this one of the most exciting releases of the year, an energy that translates to the terrific and tyrannical material.

16. Finland’s REVULSION delivered a ferocious self titled debut via Transcending Obscurity way back in February.The intensity here will turn the head of pretty much any self respecting death metal fan yet is not just an endurance test. It even gives the new Cannibal material a run for the money in the punishment department. Bad ass af.

17. Pupil Slicer‘s Mirrors was explosive, mathy and meaningful in the best of ways.I am pretty sure no band went harder than they did in 2021 during their “Collective Unconscious” track. From the 1:47 mark-through to the end of the song, a riff reminiscent of the Moby cover of “New Dawn Fades” meets Coalesce at their meatiest twists and turns through tortured post-core-black-churning anguish and back through to the light.They didn’t really need to cover Converge when they are making originals this powerful already.

18. Gridfailure feat. Mac Gollehon‘s demented mad hatter excursions into noise jazz horror on Dismemberment Cabaret take the 18th spot.I am certainly biased here because Brenner from Gridfailure is a good friend and has collaborated with me often on my Walking Bombs releases over the years, but if you can’t hear the sheer fucksanity brilliance of these end times soundscape spasms featuring a very cool cat who played with everyone from Bowie to Billy Ocean, well…I feel bad for you. I certainly listened to this a hell of a lot more times than I did albums by much bigger legacy acts this year.

19. Book Of Wyrms are one of my favorite recent finds and I listened to this one a LOT. Serious chemistry and freedom allure here paired with incredible vintage vibes and the desire to roam. You can feel the band loving what they do with every passage and each frontier crossed.It feels like each song was from the result of true blue jamming, the old fashioned way. Sorely need more records like Occult New Age to usher in a real Aquarian doom metal/”new” classic rock age in hella style!”Colossal Yield” is pretty much a perfect song (except my computer says the track length is 4:21?).

20. Eremit‘s Bearer Of Many Names honestly got me more stoked than the Bell Witch record everyone was gushing about a number of years back, each passage here really momentous and worthy of the awesome, sci-fi Jurassic tomb fuckery artwork.You need to make TIME for this bad boy, but the rewards are many. Seriously gargantuan and impressive crater charred doom from Germany.

21. ABIOTIC have more emotional connection than your average tech death and made sure their return post-break up record was a memorable one. Truly sick leads. Many brilliant passages. Hard to turn off.

22. The recent JESS AND THE ANCIENT ONES Vertigo album is our second record of this year end list to feature really bad weather (along with Revulsion)!Make of that what you will.Unlike that Finnish death metal diamond in the rough, JATAO traffic in slinky and smart psych and doom.The continuation of sorts to the psyche shifting path they tread on The Horse And Other Weird Tales, the Vertigo release is well worth the ride.

23. Cultum Draculesti are lofi queer vampire BM perfection and their S/T record even outdid the excellent Antigone The Martyr. I adore how down the rabbit hole of their own vision they go, while also being capable of really eerie but musical moments like “Dhampir” that you can play around casual classic horror movie fans whilst laughing to yourself how unaware they are of how even more extra you are.

24. Cerebral Rot made the hands down FUGLIEST death metal this year, just so gnarly, evil and pitch perfect. The utter just disdain for humanity felt in every sickening and crude riff is off the charts. So fucking heavy. Excretion of Mortality is the loathing for the human condition that we all felt at some point this year.

25. Employed To Serve‘s Conquering is the essential metalcore experience of the year, a level up from a band who already are firmly focused on being long haul contenders, from every indicator. Unlike numerous contemporaries who got detrimentally more commercial in a manner that hinders their quality regardless of any tent expansion in fandom, EoS have perfectly shown how you can grow while not alienating your core fans who got you going.Conquering is not stagnant, but rather ENHANCED. It kicks down doors and has a level of conviction and attack that will leave you truly impressed.I’d love to see a bigger band like DevilDriver , Killswitch or Trivium do a full US tour in the next few years with these up and comers.

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While brains reel from the moronic false equivalency that rappers are “bullied by the Gay community” (according to T.I.), let me just ask if I imagined “No Vaseline” being critically acclaimed for years despite how problematic it always was? Or Army Of The Pharaohs being basically unlistenable to me due to how many times the songs say F++got. If you want to use a genre that is inherently supposed to be anti-bigotry to spew insecure, weak projected cis het toxic masculinity, see a fucking therapist. It’s 2021, enough bullshit.

Underdark finally have released their Our Bodies Burned Bright On Re-Entry opus, which felt at times like it would never arrive! Five sturdy tunes from the anti-fascist black metal collective full of atmosphere, dark grace and hope for a better world! What’s not to love? The distortion will knock you backwards and the compositions are very well arranged with never a drop of feeling sacrificed. And they aren’t narcissistic draconian conservative edgelord bootlickers misdirected into thinking they are rebels! Always a plus in black metal! And that cover art is stunning.

By the time you get through the numerous explosive, heart rending moments to the climactic dirge of “Skeleton Queen” your jaw will be on the floor.

For Vinyl/CS/ Digital Downloads, Please visit:

Surviving Sounds (UK): survivingsounds.bandcamp.com

Through Love Records (Euro): shop.throughloverec.com

Tridroid Records US/CAN): tridroid.bandcamp.com

Kris Esfandiari has some of the most inventive vocal patterns in modern music, soothing, terrifying, jazzy and commanding from one measure to the next.

Also out today of course is the essential new King Woman album Celestial Blues, which I couldn’t possibly gush about more. It is truly a divine day for groundbreaking and imaginative, soul-stirring heavy releases. You can read my review of Celestial Blues right here, five out of five stars. Fucking Hell, I’d give it more if our site module was designed that way, lol. Kris and company deserve all the props in the world for how real they go into places many fear to tread, genuine shadow work shit. The way out is through. Fucking unreal levels of awesome. “Golgotha” and “Morning Star” ALONE as a two song 7″ would already be two of the most memorable songs of any year, compelling vocal layering paired with sophisticated musical choices creating massive results.

These two records are two of my absolutely most stoked for releases for 2021 and I am thrilled they have arrived to make life more bearable, especially after a week where we had so much loss in the metal and rock world. Forward, march.

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Album Review: King Woman – ‘Celestial Blues’

Posted by Morgan Y Evans - Walking Bombs on Wednesday, July 14, 2021 at 6:23 PM (PST)

King Woman
Celestial Blues
Relapse

5/5

Some of the best art comes from outgrowing that which does not serve us, self-empowerment through (not strictly Biblical) transfiguration. Doing the hard work of allowing change. Everyone has light and dark sides and, not always, but in many cases that depends on your vantage point. But sometimes we have to risk it all to grow and thrive.

As far as an example that relates to the new King Woman album, what came to mind first was Margarita (influenced by Faust’s Gretchen) from one of my favorite books. Yes, I mean Bulgakov’s The Master and Margarita (I have a large rib tat of the evil sarcastic drunken Satanic black cat Behemoth pointing his pistol towards my crotch, hahaha). Anyway, not only did this classic book serve as the impetus for “Sympathy For The Devil” but it featured a skewering of false and vain people, an examination of Christ and Judas as almost co-dependant in how they expose one another’s weak spots, a woman escaping an unhealthy situation and demanding art be deified and a sort of culmination of apotheosis via a Walpurgis Night wild ceremony. While King Woman’s new completely cathartic doom and bloom (over strictly gloom) sophomore album draws more from Paradise Lost influences- the classic of literature, not the metal band- there are some similar touchstones here. Albeit with smoky, jazz alluding shadowy atmosphere paired with heavy metal and brilliant vocal layering.

Created in the Image of Suffering was our album of the year when it came out and I kind of think this one is even better already. Damn, yo.

The title track captivates from the start with a plaintively almost hesitant Kristina Esfandiari speaking the album name over sparse and atmospheric, frail notes. It almost sounds like a statement of intent…celestial blues. To feel the vast cosmos in all sadness and beauty, contradiction and pain. All of the band’s music has felt like both a refuge and semi-addictive but also totally overwhelming at times, and things start right off that way this time as well. Something about the initial energy reminded me fleetingly of PJ Harvey’s “Catherine”, maybe the saddest song and my favorite from the Is This Desire? era and the “I damn to Hell every second you breathe” sparse bluesy vibe.

King Woman (and Jack Shirley) have created a masterful event here. Esfandiari channels characters and bares bones over intense and well composed doomgaze. I have been thinking how it feels more streamlined, but not in a watered down sense. It is like the band have managed to not lose their avant-garde edge while really refining and focusing the material more than ever. There is a hypnotic pull and spellbinding tension to doom songs that other less talented bands would plod on worshipping the riff into bong induced monotony until the horse is beaten dead. While that can be cool sometimes, there is also something powerful in respecting then crescendo and emotional peaks that come with pairing such material with pretty much the best vocalist in several genres at the moment (I have been telling people that about Kris for a few years now and stand by it).

“Psychic Wound” is like a tormented lullaby with the most intense screams yet attached to this project and the catchiest melody and riffing as well to date. It is both sensual and also terrifying, like the paint is gonna peel off the walls and gush blood like Evil Dead 2 at any minute (which the video sort of reflects, haha). It has become one of my top three favorite songs from the group (along with “Deny” and “King Of Swords”, if you were wondering). “Morning Star” is completely amazing with the most intimidating and bad ass video of the year paired with chanting at the end that is pure falling from the heavens payoff and will light the fire in any heavy music fan like a ritual torch. Like the new Amenra record De Doorn, you are experiencing total respect and immersion into the artistic process. A little patience will be rewarded aplenty, such as when the six minute plus “Golgotha” showcases this group’s ability to raptly weave dynamics, storytelling and rhythmic shifts into unconventional storytelling that is like a doorway to another land. “Coil” is another standout track, stacatto percussive hits and hyperventilating ushering in a sort of tribal beat and riff that is almost like King Woman channeling Dead Kennedys and anarcho (post) punk. It is big and droning and exciting.

There is really just no one doing it this good right now and KW continue to top themselves. But isn’t that the point of flying closer to the sun, to dare to dream of bigger possibility? This is the kind of shit that people are going to be able to revisit for years and ultimately that will change (and can even save) lives.

KING WOMAN releases “Psychic Wound” video

Posted by Morgan Y Evans - Walking Bombs on Wednesday, June 30, 2021 at 4:18 PM (PST)

Photo credit: Nedda Afsari

KING WOMAN have released the video for “Psychic Wound”, the latest music from the group which continues to be both harrowing and comforting in equal measure. Some intense screams on this one from Kris and the band (drummer Joseph Raygoza and guitar player Peter Arensdorf) again provide a perfect framework of dissonance and sonic subversion. Celestial Blues comes out July 30th via Relapse.

This and Donald Rumsfeld dying are a little bit of cosmic justice on an otherwise fucking horrible news day.

“‘Psychic Wound’ is about paying the price for eating forbidden fruit,” explains Kris Esfandiari of the riveting track and its visual companion. “When desire turns into obsession it can keep you longer than you intended to stay and nearly destroy your sanity.”

Album pre-orders, including limited-edition vinyl and merch, are available now. Physical pre-orders are available via Relapse’s webstore (bit.ly/kingwomancb), while digital downloads and streaming links can be found here: (orcd.co/kingwomancb). Celestial Blues was recorded in Oakland, California by GRAMMY-nominated engineer Jack Shirley (Deafheaven, Amenra, Oathbreaker).

July 30 Los Angeles, CA Lodge Room

July 31 Los Angeles, CA Lodge Room

October 15 Brooklyn, NY Saint Vitus

October 16 Brooklyn, NY Saint Vitus

October 29 Oakland, CA Starline

October 30 Oakland, CA Starline

October 31 Oakland, CA Starline (covers show)

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Photo by Nedda Afsari

Kris Esfandiari seems able to swoop in randomly from another dimension and effortlessly remind the music world, regardless of genre, they are playing with fire if they get overly cocky. Esfandiari just operates on another level where even the concept of artistic growth feels like trite shorthand for the fucking massive elemental forces unleased everytime Kris sings. King Woman (the doomgaze outfit Esfandiari fronts) will return with Celestial Blues this July 30th and continue to demolish all takers, if the jaw dropping power of their first video from the album is any indicator.

The lead single “Morning Star” was apparently a one-take performance, only strengthening my whole theory about the band basically conjuring their sound from a vortex. Fucking VIBES, dude! This tune is intense, like a lullaby from Dormammu’s Dark Dimension. If this were “Sympathy for the Devil” no one would have to “please allow…” a Mephistopheles-esque hat tipping introduction because you’d already know what fucking time it is. And if you don’t know, now you know.

“Creating this album has brought me great peace and closure,” says Esfandiari of Celestial Blues. “Grateful to finally share it with all of you.”

Celestial Blues was recorded in Oakland, California by GRAMMY-nominated engineer Jack Shirley (Deafheaven, Amenra, Oathbreaker). The band is rounded out by drummer Joseph Raygoza and guitar player Peter Arensdorf. Visual collaborations featured in the album packaging were created by Nedda Afsari, Collin Fletcher, and Jamie Parkhurst.

Album pre-orders, including limited-edition vinyl and merch, are available now. Physical pre-orders are available via Relapse’s webstore (bit.ly/kingwomancb), while digital downloads and streaming links can be found here: (orcd.co/kingwomancb).

Created In The Image Of Suffering was our album of the year when it came out, so to say we are stoked on this new development is an understatement.

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King Woman has confirmed a series of performances in support of the new album. Tickets and VIP Fan Club passes are on-sale this Friday, June 4 at 10 am pacific.

July 30 Los Angeles, CA Lodge Room

July 31 Los Angeles, CA Lodge Room

October 15 Brooklyn, NY TBA

October 16 Brooklyn, NY TBA

October 17 Brooklyn, NY TBA

October 29 Oakland, CA Starline

October 30 Oakland, CA Starline

October 31 Oakland, CA Starline (covers show)

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King Woman to tour with Russian Circles

Posted by Metal Riot on Monday, January 29, 2018 at 12:54 PM (PST)

KING WOMAN have announced a Spring 2018 North American tour with Russian Circles. The tour begins March 27th in Los Angeles, travels through 18 cities and ends April 22nd in Chicago, IL. A full list of confirmed tour dates is available below.

Additionally, KING WOMAN has recently shared a cover of “I Wanna Be Adored” by The Stone Roses. Listen and order the powerful cover on all digital services HERE.

KING WOMAN’s latest album Created in the Image of Suffering received high end of 2017 praise charting on notable album of the year lists such as Loudwire (#16), here at Metal Riot as our top album of the year (#1), Treble (#9), and Revolver (Best Music Video – Manna #15) among numerous others.

Created in the Image of Suffering is out now worldwide on CD/LP/Digital via Relapse Records. Physical packages are available on Relapse.com HERE and digital downloads on Bandcamp HERE.

Created in the Image of Suffering was recorded with engineer Jack Shirley (Deafheaven, Wreck & Reference, Oathbreaker) at the Atomic Garden in Palo Alto, CA.  Each song evokes rich, gloomy imagery with crumbling washes of blurred, billowing distortion densely layered atop hazy, psychedelic atmospheres that call to mind a surrealistic Black Sabbath fronted by Mazzy Star. Complete with deeply personal, introspective lyrics that serve as a catharsis for years of religious and mental torment, KING WOMAN truly suffer to create their art.

A full collection of KING WOMAN’s music videos is available HERE.

Additionally, KING WOMAN are happy to announce they have now joined the management roster at Sargent House (Chelsea Wolfe, Deafheaven, Russian Circles, Earth, Mutoid Man, etc) and have just launched their new website which will be at kingwoman.band.

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