Premiere: Crafteon – Cosmic Reawakening


How does a Lovecraft-inspired band stand out in a post-Cthulhu metal landscape? By writing great songs, it turns out! Today I’m pleased as hell to unveil the debut album of melodic black metal band Crafteon! Get in here to hear some soaring choruses and pelagic riffs in worship of both killer heavy metal and The Great Old Ones.

Just a little over a year ago, I declared that we had reached peak Cthulhu. Once the terrifying embodiment of fear of the unknown, the mighty alien god has been reduced in our culture of rabid commercialization to a trite goth mascot. The proliferation of Cthulhu across video games, television, and even our beloved metal has all but robbed Lovecraftian authors of the splendor and mystery of the great stories they told. Well no more, says Lord Mordiggian, literature teacher and creative force behind Crafteon. No more will we bow to neutered, stone idols! We must return to the depths of R’lyeh and behold once more the frightening majesty of greater consciousnesses than ours! What’s Mordiggian’s grand plan? More churning, dissonant, atonal metal to stun the senses?

No. As fate would have it, all Crafteon needed to offer to the Great Old Ones was solid melodic black metal. Across the eight tracks of debut album Cosmic Reawakening, you’ll hear very little murk or noise; the album is more Borknagar than Portal, composed of tight, independent songs with eminently singable choruses and headbanging riffs. Inspired as much by classic metal like Iron Maiden (just listen to that bass work in “The Temple”) and Cradle of Filth (there’s a wonderful bombast to songs like “The Colour Out of Space”) as it is the riveting works of Lumley and Long, Cosmic Reawakening is an expansive, multifaceted love letter to the imaginative spirit and adventurous eye for detail that made those classic works of literature and metal that informed it so engaging.

But don’t take my word for it! Press play below and give yourself over to Crafteon’s bold take on Lovecraftian metal. From the seafaring harmonies of “The White Ship” to the eerie melancholy of “From Beyond,” Cosmic Reawakening has the riffs and spirit to please fans of mythic metal from Bal-Sagoth to Keep of Kalessin. And at a tight 44 minutes, the record’s engrossing narrative is more than enough to lose yourself in.

Soon enough you’ll be falling in love with the Black Goat of a Thousand Young all over again.

Crafteon’s Cosmic Reawakening comes out August 25th. Get it on Bandcamp here and check out the band on Facebook here.

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  • How appropriate that their name is Crafteon since their lyrics are, well, Lovecraftian.

    Also, these guys aren’t not on Metal Archives. Weird.

    • Freedom Jew

      They’re brand new.

  • Joaquin Stick

    I’m curious as to if Lovecraft is pretty much just a staple in metal, of it there are like a ton of indie/alt-rock bands that do Cthulhu songs as well.

    Sounds pretty decent though!

  • Jeff Manteiga

    What do you all think of Lovecraft, his awful racism (that I’m pretty sure bled right into his stories), his literary creations and music *about* his creations? Is this easier to separate art from artist than with these neo-Nazi bands like Arghoslent and Grand Belial’s Key? Does Cthulhu metal get a pass because it’s about a cool cosmic creature? Or because the author who created the mythos died almost a century ago?

    For the record, I liked the preview tracks from this album, and I’m conflicted af about separating art from artist in general!

    • Dubby Fresh

      That’s a fair question, and one we’ve tackled here before. Lovecraft himself seems to have apologized for his racist views later on in life, but I think it’s important to consider the fact that though Lovecraft himself was racist, most “Lovecraftian” writers are not. It would be comparable to, say, an artist being influence by a guy like Varg and the music of Burzum without replicating the racist views Varg espouses.

      • Jeff Manteiga

        Oh yeah, that’s a good point, I certainly don’t think the writers that continue his mythos are stained by his personal views in any way. It just sort of sucks that there has to be any connection at all in the back of the mind. Like once I found out Lovecraft’s world-view, it inevitably started springing up when I think of Cthulhu.

    • The thing about modern racist artists is that there is literally an internet full of people screaming at them to cut the shit. And yet still, they do not cut the shit. I’d like to think that if such a community existed in Lovecraft’s day–pupils or fans telling him to reconsider his worldview–he might have taken heed. He certainly wasn’t some shock-artist pandering to a niche audience of troglodytes for his own sick amusement.

      • Jeff Manteiga

        This is why humanity needs to figure out the secrets of necromancy, cuz I want to know if a community would change him.

    • BigTasty

      At least Cthulhu was mostly spawned from his fear of the ocean, but that isn’t to say he wasn’t disparaging in his description of Cthulhu cultists from other parts of the world in Call of Cthulhu. I’m not sure what to make of it, other than to be informed and aware of his analogies.

    • FrankWhiteKingOfNY

      Personally, I have zero difficulties in separating the art from the artist. I seem to be a bit in the minority on this, but that’s each to their own. Nobody should tell anybody else what he should or should not listen to and buy.
      I’ve read quite some Lovecraft throughout the years, and yes, his bigoted world views at times do kinda come through in his work – though, at least in his work, it doesn’t really come across as abrasively offensive. Aside from that, the mythos he created was a work of imaginative genius. Credit must be given when it’s due.

      As a sidenote, I don’t think Arghoslent and GBK are “neo nazi”. GBK, most of the time, shit on Christianity and Judaism and try to be as edgy as possible while their at it, but I don’t feel they cross over in straight-up “nazism”. Arghoslent on the other hand, write their lyrics from an 18th-century-white-man’s-viewpoint. While their approach is most certainly bigoted, it isn’t really outright “nazist” either – and they somewhat try to mask their racist buffoonery under a layer of “historical poeticism”. Assholes? For sure. Nazis? Not so sure about that.

      • Jake Ist Krieg

        GBK have explicitly identified as neo-fascist and have lyrics about how disgusting the Jewish culture supposedly is. Saying they’re not Nazis is splitting hairs imo.

        • Freedom Jew

          We’re pretty horrible.

        • FrankWhiteKingOfNY

          They definitely are sketchy, but they’ve made it clear they’re not a political band. To be considered “nazi”, there has to be some kind of political connection imo. They’re definitely assholes, they’re definitely bigots – but “nazis”? I’m not too sure.

          And to be clear here; I definitely don’t agree nor identify with their antisemitic tendencies. I just think their music is pretty good from a compositionally point of view.

          • Jake Ist Krieg

            I don’t disagree that they can write a damn good metal riff, but I mean, bigotry IS political. They don’t get to just say “we’re not political” and wipe away the effects of writing explicitly anti-Semitic, neofascist metal, especially during a surge in neofascism.

            And I totally hear you saying you don’t endorse their views, and I believe you, I’m not accusing *you* of being a Nazi–I hope that’s clear. I just think GBK are way over the “edgy” line.

          • FrankWhiteKingOfNY

            That’s very fair. I can definitely understand your viewpoint. Maybe I don’t feel as taken aback by sketchy subject matter, because the effects of neofascism don’t really hit as close to home to me as it does to many Americans. Over here we do get some white trash zealots from time to time, but they’re rather easy to ignore.

    • Jake Ist Krieg

      I’m all for separating art from artist, but that’s more complicated when what’s awful about the artist makes its way explicitly into the art, which happens all over Lovecraft’s work. I love his style, though, and his central conception of the horror of human irrelevance–even if that may just have been a metaphor for his fear of the white man’s irrelevance. I dunno, I haven’t quite figured out a critical take on why the stories still work for me. I will say that with the recent rise of of visible white supremacist action I’m getting a lot less comfortable with a lot of my “problematic faves,” as it were.

    • Jake Ist Krieg

      I’ll also add that it’s easier to be comfortable with Lovecraft, who is dead and whose work is in the public domain, than it is with, say, Hellhammer, who gets money when you support Mayhem.

      • Jeff Manteiga


    • This is going pretty far down the purity rabbit hole. Where does it end ? If Lovecraft’s gay lover’s cousin 3rd removed was racist, should we burn all the old idols in the name of righteous signaling ? The inverse of this is some site like stormfront, where they don’t listen to Cannibal Corpse because Paul might be Jewish. If you recognize the absurdity of that, equivalent left wing dementia should be dismissed out of hand.

      Aside from this, all this whipped up fury is just serving the interests of the elites, who want the populace distracted by topics that are irrelevant to their ever expanding grip on power ( and keep the people divided against themselves ).


      • Jeff Manteiga


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    • Hans


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