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Carnival in Coal

The French duo of singer Arno Strobl (aka Alan Thursday Morning hours) and multi-instrumentalist Axel Wursthorn (aka Karl Zengerls) play an unlikely mix of extreme metal and disco/dance pop. Pressing the limitations of conventional great flavor, both musically and lyrically, in addition they screen a twisted, partly submerged love of life reminiscent of Beliefs No Even more/Mr. Bungle/Fantomas vocalist Mike Patton. Actually, the duo cites Patton/Mr. Bungle mainly because an influence, alongside fellow classification-skirting experimentalists Frank Zappa and John Zorn’s Nude City, spirit/pop celebrities Rick James, Globe, Wind & Open fire, and Michael Jackson, and metallic rings including Carcass, Morbid Angel, and Cradle of Filth. But since there is certainly a amount of humor within their music, the duo tensions which they sincerely appreciate (and so are not really out to mock) the many musicians and designs they research, something borne out from the immaculate care and attention and fine detail that switches into their studio-intensive productions; quite simply, they are not only some comedy take action. Carnival in Coal in the beginning created in 1995, though their 1st full-length recording, Vivalavida (or “Long EXIST”), didn’t surface area until 1999. The very first release on the tiny French label Battle on Majors, it consisted exclusively of originals and was performed nearly completely by Strobl and Wursthorn, using a drum machine and some guest music artists. French Cancan adopted later exactly the same 12 months, this time within the Kodiak label (distributed world-wide by Time of year of Mist), and included two even more originals, alongside bizarre addresses of Ozzy Osbourne, Pantera, Morbid Angel, Genesis, adult modern vocalist Gerry Rafferty, along with a track from the favorite Flashdance soundtrack from the first ’80s. French Cancan helped to relatively improve the duo’s profile within the U.S. and fulfilled with acclaim (or at least extreme reactions) from those that heard it, nonetheless it was still a lot more broadly heard in European countries — specifically France, Germany, and Austria. Still purely a studio task by 2001, Carnival in Coal released their third recording, Fear Not really Carnival in Coal, in Apr of that 12 months.

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