![The 'Crowman' [Red Harpocrates] by Carl McCoy](art/newzoonbnr.jpg)
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THE NEFILIM CARL McCOY - Voices and Additional Instruments PAUL MILES - Guitar CIAN HUCHIN - Bass, Additional Programming SIMON RIGGIN - Drums |
That by which we fall is also that by which we rise...
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"Opulent
is probably the best word to describe the first coming of
Carl McCoy's new creation. Presented like a film soundtrack, with
atmospheric interludes spliced between full-blown song creations,
ZOON is a trip into the darklands that resounds with an abrasive
power Fields of The Nephilim were never extreme enough to create,
a magical mystery tour of the kind you keep expecting Trent Reznor
to make, but he never does. The surprise here comes with the
gleeful ferocity of the subterranean riffs and the bulldozing mania
of tracks such as 'Xodus' and 'Penetration'. "
Cathi
Unsworth from 'Metallugy 2 - Reasons To Be Fearful' interview
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ZOON - PARTS 1 & 2 (SATURATION)
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"ZOON" review from ThrottleBox.com The Fields Of The Nephilim fragmented in 1991, leaving Carl McCoy free to pursue his own vision. At last, after an agonising silence, the resurrection is complete, in the form of McCoy's first recording as The Nefilim - Zoon. During that four-year silence, McCoy has spent much time evaluating and extending his sound, creating a new, intense fusion of power and emotion which will shock and surprise anyone familiar with his past. McCoy's previous band perfected the dark, moody rock of the 'Gothic' genre, in the process attracting legions of devoted followers. The Fields Of The Nephilim recorded three increasingly successful studio LPs, but even as the band was growing into one of the most significant 'alternative' acts of the late eighties, McCoy was becoming increasingly dissatisfied with the restrictions of their musical formula. Zoon shows just how much further his imagination was capable of reaching, when freed from the chains of a five-piece band. Over the last four years, McCoy has been able to hone his vision into a dense, coherent, and extremely powerful collection of music, woven together by his genuinely haunting vocals. Musically, there are few comparisons - Zoon takes elements from artists as diverse as Joy Division, Ennio Morricone, Sepultura, Wagner, and Ministry, but the alchemy of the recording process has created something unique. Lyrically, McCoy uses Zoon to explore the extremes of human experience, but with a visceral poetry and potent conviction that sets his work far apart from the cheap exploitation often associated with those themes. His words have their own dramatic climate, evoking bruised skies, heavy clouds and sudden tempests. Zoon was created in isolation - there has been no input from commercial studios, name producers, or the record company. As time unfolded, it became increasingly clear that nobody else could connect with Carl on an imaginative level - and the final result is testimony to his ability not only as a vocalist, but as a musician, a composer, and an engineer. The stunning artwork is his work also, and it forms a vital and integral part of the overall meaning. Much time has passed since Carl McCoy withdrew himself from the world, but 1996 finds him reanimated and revitalised. At last, all the elements of his vision have been brought together, and he released Zoon in April. The exorcism is complete.
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