Please note: these are a few leftover copies from the second pressing. The plant did not print enough sleeves that's why we're making these final copies available now. What you get is the vinyl in a black padded innersleeve and in a plain white standard outer sleeve. We know this album is not the same beast without the artwork, but this is all what's left and maybe these are the final copies ever.
CHILD is a trio of jam-obsessed first-class musicians, who met in 2012 in the rock underground of Melbourne. Between the three working class Australians Mathias (guitar/vocals), Michael (drums) and Jayden (bass), who can best be described as a blues fanatic with liquid steel as blood, grew as strong a musical band as a group of Musicians can only cultivate and nurture themselves by the unabated urge for intense jamming. It quickly became clear that songs here would not be created simply as architectural objects on the drawing board, but as a result of a deep dialogue between three conspiratorial individuals who have given their instruments speech.
From this dialogue, the self-titled debut resulted in the winter of 2014, which, in addition to the CD, also received a top-notch vinyl copy of the well-known cult label Kozmik Artifactz. On the bandcamp page of the band, this blues-doom hammer has since then entered the hearts of the buyers, which is evidenced by a steadily growing number of supporter reviews.
The enthusiasm for CHILD became so international in a short time that the band escaped the red continent in 2014 and 2015 and also crashed European clubs and festivals with their brutal sound. In these few but very busy years, CHILD have already contested 145 shows, among others. Also a tour of Indonesia. There they appeared in some places as the first internationally active band at all, which led to partly adventurous events.
In the spring of 2016 CHILD's dialogue was resumed, but with a new bassist, Danny Smith, also recruited from the circle of friends. On the self-imposed goal of the band, nothing had changed: the magical intensity of the CHILD-liveshows was to be transferred intimally and unbuilt to the new recordings, and a sluggish, sonorous power that made the good old doom metal pale was a perfect protoplasm, which Mathias was able to inoculate many very lively blues cells with his singing and guitar playing after black swamp blues.
The two-month recording process, a live recording with just enough space for bluestypic improvisations, resulted in a refreshing contrast to the currently booming heavy blues rock, because, irrishingly, "Blueside" creates a very primordial blues full of expressive power even more strongly in the foreground and still to speak also of true doomfans, which the underlying cause of all instruments plays directly into the entrails.