Boomkat Product Review:
"Whether congregating in dimly lit halls or in forests, and whether mediated by e-mailed audiofiles or infiltrating darker realms of
consciousness, mysterious forces are being channelled by a shifting collective intent on psychic communion by any means necessary.
Bonnacons of Doom’s identities may be shrouded and hidden in the live arena, yet the force of their vibrations - as captured on the
unearthly vibrations and unholy revelations of their self-titled Rocket Recordings debut - is gloriously manifest.
“From the beginning, we’ve been really interested in the transformative possibilities of music” explains Rob, one such Bonnacon. “How it has the power to make us and the audience at that particular moment into something else. In particular, we’ve tried to work with repetition, volume and texture rather than traditional song structures. Anything that produces a stasis that people can get lost in rather than following something in a linear or obvious way” Whilst the line-up of Bonnacons of Doom has been known to morph with each undertaking, the prime movers in the principally Liverpoolbased collective endeavour have included members of Mugstar, Jarvis Cocker’s band and Youthmovies, donning robes and masks to sculpt altered states and subsume themselves to the ritual. Recording mostly in single-takes and in the band’s trademark improvisational method at Suburban Home studios by its owner and Hookworms frontman MJ, this recorded incarnation of Bonnacons’ arcane conjury operates stubbornly free of genre, sashaying alongside psych-rock, repetitive drone and electronic experimentation whilst consumed by a devotional intensity that’s multiplied by the transcendental echoing of vocalist Kate. “I guess our environment is another key influence” reckons Rob.
“We’re almost all from Lancashire and Yorkshire, and the landscape and mythology of the north is part of who we are. It’s darkness and beauty, the weirdness of its folk traditions, the independence of mind of its culture and the melancholy of its post-industrial grain. I think ultimately what we’re trying to achieve is a kind of Trans-Pennine hypnotic music.”