King Mob
New Music

Experimental sludge blues rock from KING-MOB premiere new track “Saracen”, share top inspirations

4 mins read

Challenging conventional music boundaries by expertly fusing together elements of heavy sludge, intricate drum loops, experimental noise rock fragments, and re-imagined blues patterns, KING-MOB comes an electrifying and intense listening experience that captures listeners with its raw energy and captivating blend of diverse styles.

The band’s innovative approach to music, which combines classic heavy sounds with modern experimental techniques, makes them a must-listen for fans of heavy music who crave something truly original and boundary-pushing, and today we’re stoked to dive deeper into their newest EP offering. through a special playlist of their top inspirations.

Today, we’re thrilled to give you the band’s new song called “Saracen”, marking the second track from their highly anticipated upcoming sophomore EP.

The band members recorded and mixed the song with the assistance of Jeremy Backofen, known for his work with Felice Brothers, at Kirton Farm studios located in Germantown, New York. Interestingly, the track was captured in a single take, showcasing the musicians’ skills in their raw form, and subsequently, the song was finished off in various apartments and practice spaces scattered throughout Brooklyn.

King-Mob is the duo of guitarist / vocalist Aodhan O’Reilly and drummer Gabe Katz who met in 2014 while playing in NYC noise / surf band Black River Manifesto.

King-Mob comprises Irish guitarist and vocalist Aodhan O’Reilly and drummer Gabe Katz, who crossed paths while playing for the NYC-based noise/surf band Black River Manifesto back in 2014. Despite a delayed debut tour due to the pandemic, the duo released their first EP, Dead Roads, in 2022 and quickly established themselves as regular performers on the East Coast DIY touring circuit.

Their latest EP showcases King-Mob’s fully realized sound. Katz’s minimalistic yet thunderous drumming intertwines with heavily processed drum machines and percussion loops, providing a sturdy foundation for O’Reilly’s noise-blues guitar and commanding vocals that recall the likes of Mark Lanegan and Oliver Ackerman of A Place to Bury Strangers.

Drawing inspiration from Junior Kimbrough’s droning, modal approach to blues, early Swans’ bombast, Link Wray’s spirit, and surf guitar reminiscent of The Birthday Party, King-Mob weaves a unique musical tapestry that delivers a cinematic experience. This work caters to fans of an eclectic range of genres, from The Gun Club to Death Grips to Chat Pile, who will all undoubtedly find something to appreciate in their innovative and dynamic sound.

KING-MOB’s inspirations – the playlist

“It’s been a while since I made a playlist.” – says the band. “The temptation is to go down each and every rabbit hole of genre and mood and remembrance. One track or band reminds you of another, or even of an entire period in your life and suddenly you’re researching and listening to a multiplicity of artists whose primary, if not only, connection is really how and when you experienced them.”

“This is, of course, also the joy of curating music for another person. But to avoid this playlist becoming a music library, I’ve restricted myself here to 12 tracks, all of which have been a more or less direct inspiration on my band, King-Mob’s, forthcoming EP. Some influenced certain instrumentations, some I tried to “borrow” production/mixing approaches from. A couple might’ve just been playing in the van as we drove up and down the East Coast of the USA. Our first track from the EP forms part of this article. Thanks for listening.”

Meat Grinder (Four Tet Remix) – Madvillian, Four Tet

MF Doom plus Madlib reimagined by Four Tet. Hard to know what you can say about MF Doom that does him justice, his entire output is full of gems, both lyrically and production wise. Four Tet’s album Rounds kindof opened my eyes to the possibilities of a more organic approach to electronic music when I was younger. This remix manages to add elements and ingredients without losing the heart and the raw pulse of the original track.

An echo from the ghosts that profess infinity – Shabazz Palaces

Taken from probably my favourite SP album, full of hypnosis and momentum. And a great title.

Wild World – The Birthday Party

Pre Bad Seeds Nick Cave. I assume these songs were written more with riffs than solo at the piano but Cave’s narrative, cinematic lyrical style is still apparent. “Up here in your arms tonight”.

Up My Sleeves – Death Grips

I’m always impressed by how Death Grips grab and sample all sorts of sounds and sources and make this unique swirling wall of sound. This one includes a house alarm being set and Bjork.

I’m In Love – Junior Kimbrough

I love Junior Kimbrough. He seems to take everything I love about blues and just distills it, sometimes into one song. Suddenly the V chord seems like corny ostentation. Tracks like this have so much groove and feel but, for me at least, still carry the same intensity of a Swans track.

Eden Prison – Swans

Speaking of Swans…There’s always a lot of bombast and aggression associated with Swans, and while those elements are clearly there, I think it’s the inherent vulnerability contained in the wall of sound that gives the music it’s power and the friction that ignites it. Loud only music is boring. I also hear a lot of blues in Swans music, especially the early stuff. I’d highly recommend the documentary “Where Does a Body End”

Dark Was the Night, Cold Was the Ground – Blind Willie Johnson

This is a magical piece of music. There was a period it seemed every film and TV producer was using this to establish “authenticity” in a certain kind of scene, but thankfully, it retains it’s mystery and hazy beauty. It was also launched into outer space in 1977 as part of the Voyager Golden Record…

Me and the Devil – Gil Scott-Heron

I guess many consider Gil Scott-Heron The Godfather of hip-hop. This is from his later period and his voice has taken on a different quality. Not so much fragility as some one refusing fragility, at least in that moment. The world of blues mixed with electronics is one filled with terrible, instantly dated tracks, but for me this production shows it can work brilliantly.

Jack the Ripper – Link Wray

Link Wray is just cool. You could have 100 bands all play these apparently simple tunes and none of them will sound as cool as Link Wray. Some things cannot be taught and all imitations are not flattering.

Warriors – MIA

The vibrating, global feel of MIA’s lyrics and productions always feels like a shot of colour in the grey. Her records hum with energy and intelligence. You can listen to them on a tiny shitty blue tooth speaker and still somehow know how they’d feel in a club at semi-deafening levels.

I’m So Tried – Fugazi

This is a beautiful and very un-Fugazi Fugazi track. I love touring and most of the things that come with it but there is sometimes a certain kind of fatigue that can set in and this song just captures that for me. I should also say I have no idea what this songs is actually about…

Ich Bin Von Kopf Bis Fuss Auf Liebe Eingestellt – William S. Burroughs

The man himself, serenading. Pretty great end of a night.

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