Decibel Magazine is currently streaming Lux, the stunning new full-length from Denver-based doom bringers IN THE COMPANY OF SERPENTS. The premiere comes in advance of the record’s official unveiling tomorrow, May 15th.
Writes Decibel, “Lux is a riff-driven affair, something IN THE COMPANY OF SERPENTS make very obvious from the first second of mammoth opener ‘The Fool’s Journey’ to the dark spaghetti western sounds so present on ‘The Chasm At The Mouth Of All’ and album closer ‘Prima Materia.’ The combination of influences gives IN THE COMPANY OF SERPENTS a unique sound; the droning sludge trio have riffs for days, but it’s the thoughtful inclusion of spaghetti western music that elevates Lux to a new level.”
Stream Lux, alongside a track-by-track breakdown of the record as relayed by founding guitarist/vocalist Grant Netzorg, exclusively at Decibel Magazine, at THIS LOCATION.
Lux will be released digitally and in several limited physical formats including deluxe vinyl, standard vinyl, deluxe cassette, and digipak CD. For preorders, visit the IN THE COMPANY OF SERPENTS Bandcamp Page at THIS LOCATION.
Marking IN THE COMPANY OF SERPENTS‘ first release as a trio featuring Netzorg with Ben Pitts (Nightwraith, False Cathedrals) on bass and lap steel guitar and JP Damron (Vermin Womb, Bleakheart, Clinging To The Trees Of A Forest Fire) on drums, Lux was produced, mixed, and mastered by Dave Otero (Cattle Decapitation, Khemmis, Primitive Man) at Flatline Audio with additional engineering by Charlie Abend. Lux includes guest appearances by Colorado Chamber Players violist Paul Primus, Primitive Man guitarist/vocalist Ethan Lee McCarthy, and Khemmis guitarist/vocalist Ben Hutcherson.
The eight track offering focuses on the notion of a Prima Materia, or a fundamental root-essence, behind everything in the manifest universe. Illustrated by Christina Hunt with layout by Jake Harnett, the alluring cover is an artistic re-imagining of The Sun arcana from Tarot. “This ties into the broader solar and light themes at play in the album,” notes Netzorg, “but the title, cover, and broader theme is also uniquely personal to me. Lux is the etymology of my daughter’s name, Lucia. So, while this album functions as a form of esoteric prayer on one hand, it also serves as a message to my two-year-old, who, as they say in the cliché, is the light of my life.”
Founded in 2011, IN THE COMPANY OF SERPENTS traffics in sonic catharsis. Their music inhabits the strange fringes between sludge metal and sprawling spaghetti western scores, constantly striving for visceral power and raw intensity, contrasted with eerie, spare instrumental passages.
“…tectonic slabs of thunderous doom and spacey drone…” — Revolver
“IN THE COMPANY OF SERPENTS embodies luminous transcendence with its steadfast heaviness and engrossing atmosphere. Without getting too progressive or too ambient, these songs run the gamut of sludge metal both as a musical style and a spiritual guide. Taking a deeper look into the endurance-testing trial-by-riffs illuminates some deep truths about the nature of being.” — Metal Injection
“This album is like a play in three acts, with interludes to direct where the story is going, and at times it reminds me of a Clint Eastwood style spaghetti western; it’s moody, and atmospheric, and I felt like I was being led by the protagonist of the piece through the musical storyline, as it unfolded.” — The Sleeping Shaman
“Lux is shrouded in the past but with optimism for the future, and it’s difficult not to be hypnotized by it.” — The Moshville Times
“Lux takes the tenets of doom and sludge metal to show us the light within and all around.” — Everything Is Noise
“Lux is a grim and often nihilistic sounding album that harnesses chilling atmosphere to great effect. Throw in guest appearances from Colorado Chamber Players violist Paul Primus, Primitive Man guitarist/vocalist Ethan Lee McCarthy, and Khemmis guitarist/vocalist Ben Hutcherson, and IN THE COMPANY OF SERPENTS are sure to make some waves in these bleak times.” — Metal Trenches
“Songs like the epic opener, ‘The Fool’s Journey,’ feature colossal riffing and pounding beats alongside ethereal passages. The riffs, while heavy as can be, offer up a certain lilt of lightness, utilizing much more of the guitar’s fretboard than generally found in bands of the like. ‘The Chasm At The Mouth Of The All’ features calming southern drawled speak singing and a hearty dose of western influenced musical passages. Lux, as an album, works with that idea frequently, feeling equally comfortable utilizing black metal style picking alongside old school psych work to create a surreal experience for the listener….” — Antichrist Magazine