NewsKARYN CRISIS: Solo Album To Include Appearances By IMMOLATION, INTRONAUT Members

KARYN CRISIS: Solo Album To Include Appearances By IMMOLATION, INTRONAUT Members

Former CRISIS/current EUPHEL DUATH frontwoman Karyn Crisis has launched a Kickstarter campaign to support the recording of her solo album project, Gospel Of The Witches. Joining forces with her in studio are Davide Tiso, who’s responsible for all compositions, guitars ad and bass; Ross Dolan of IMMOLATION on backing vocals; and Danny Walker of INTRONAUT on drums. Recording, mixing and mastering is booked with Jamie King (BETWEEN THE BURIED AND ME) for early June at The Basement Recording in in Winston-Salem, North Carolina.

Crisis and Tiso have filmed a short movie that explains the recording project and gives two pre-production song clips to express the atmosphere for the coming album.

Karyn decided to work directly with her fans to get the album recorded and into their hands because, as she says to her fans in her promo film, “It took the record industry 10 years to decide what it thought about CRISIS and Karyn Crisis, but you, you knew in a heartbeat.” So the campaign focuses on the decades-long bond Karyn has with fans of her music and art, and carefully chosen musicians to bring her musical vision into sonic reality.

Often mistaken for a duet of a man and a woman, and described as both “angelic and demonic”, Karyn challenged the idea of what a female voice could sound like. She was the first female singer in heavy music to boast a voice strong enough to compete in the male-dominated music scene, and the only woman fronting a heavy band touring the U.S. Her unique style was that of a primal scream: borne of a need to express her rage, despair, and inner fire.

Combined with her powerfully physical, dynamic, stage performances, she also challenged the male-dominated metal and hardcore scenes to “think again” about the gender stereotypes of women being the “weaker” sex. And in the early ’90s, before Internet and “Headbangers Ball” supported underground metal, bands had to prove themselves and pay their dues show by show, the grassroots way: winning people over in sweaty, often violent, clubs and mosh pits. No managers to book you into huge clubs with security fences; in those days, you had to hold your own and even break a nose or two.

Karyn’s primary focus with music is the journey within: facing demons, releasing light, and overcoming the fleshy prison of the earthly body. The live stage has been home for Karyn, where her performances earned her the nickname “Exorsister” as well as a reputation for being emotionally raw, supernaturally powerful, interactive, and intensely physical.

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