Tracklisting:
1. Shroud (Exordium) 5:45
2. Straight to the Light 6:24
3. New Gold Dawn 7:58
4. Requiem XIII-33 (Le veilleur silencieux) 7:21
5. Xiberia (Seasons in the ice cage) 7:33
6. She 9:26
7. Mourning sun 10:33

For the music of Fields Of The Nephilim, one should take sufficient time. Their albums are not a corpus of songs thrown together accidentally, but rather altogether fascinating works of art that their comprehensive complexity cannot be discerned until the total connection is made. The brand-new work "Mourning Sun" is also one of these entraining sound trips that lead into an unexplored world of full mysteries and secrets, and has been the trademark of the mastermind Carl McCoy for twenty years. "Mourning Sun" connects rounded sound-images with driving rhythms and tells stories of a yet undetected future. "The texts of "Mourning Sun" are the words of the present, that gives one the vague premonition of tomorrow," explains McCoy and turns to finish with, "everything therefore to a view forward, instead of to the past."

To be able to concentrate fully on this ambitious work McCoy went into total isolation and wrote the new album in a comparatively short time. On the basis of the typical Nephilim sounds, he worked on the evolution of its proven styles and reached new artistic horizons. "'Mourning Sun' is a further development of earlier Nephilim albums, of 'Dawnrazor' to 'Elizium' to 'Zoon,'" he says. "It gives no direct comparisons only progress," and that presents itself altogether in seven epic pieces, that live in breathtaking density and mesmerizing atmospheres. Songs like "Shroud (Exordium)," "Requiem XIII-33 (Le Veilleur Silencieux)" or the more than ten minute title-track, "Mourning Sun" which are to be sure altogether single hits, lend themselves at the same time however to a complex unit. Therefore McCoy advises: "each song should be heard in the context of the total album."

No doubt: "Mourning Sun" is already today a composer's milestone and was produced by McCoy at various places with his mobile recording studio, "The Ice Cage." There are no guest musicians - only "ghost musicians" as McCoy puts it. No more is told, for here, it is about the music and not about persons. Also regarding the current line-up of the band, the Brit retains the mantle of secrecy. This group functions only in the deed without a firm line-up and establishes itself more then ever on the artistic visions of McCoy. "Individuals are in this context unimportant as long as the aura and passion are sensed and human achievement has been captured in an authentic manner," is McCoy's plan.

The same applies also to the impending live-shows, that will place Fields Of Nephilim once again in the spotlight. "Of course we will give concerts," promises McCoy. "I'm looking forward to be on-stage again. Further details will be given as soon as they are known, when the concert dates are finalized." Until then McCoy asks of his fans in the sense of Mourning Sun-rise: "Let us witness the reincarnation of the sun. Together we will meet in the Field of the Light."

Fields Of The Nephilim came together in the year 1983 in the centrally located town of Stevenage, England. Their first release "Burning The Fields" was one EP limited first of all to 500 copies, but had to be re-printed because of the immediate gigantic demand. After a first concert-tour, the sound of the group developed quickly in a full-blown rock direction. In 1986 the British record label Beggar's Banquet published the first of both Nephilim singles "Power" and "Preacher Man" which were both gigantic successes. "Preacher Man" even made it high on the Charts. With the subsequent debut the album "Dawnrazor," the Fields Of The Nephilim established itself promptly in the Gothic rock-scene. The press praised it, saying that it was "distorted guitars like chain-saws grinding in the ears" and provided that the album made it high into the English Charts.

With 1988 came the publishing of "The Nephilim" - a strong success, with reader surveys in many music magazines putting the band in lead positions. The end of the '80's advanced the band to one of the most important powers of Gothic-rock, with sold out concerts and contributions to such other things as the US tv series "Miami Vice." The studio work "Elizium," a somewhat quieter album, on which Pink Floyds touring keyboard player Jon Carin had large influence as a guest musician, appeared 1990. 1991's live-disk "Earth Inferno" with concerts from the autumn of the preceding year showed the band to be "in full bloom" (Music Express) and was named after the work of the same name by the author Austin Osman Spare. After that it remained quiet around McCoy & Co. for almost five years. A new concert-tour and musical direction came in 1996 with "Zoon," yet another imposing and ambitious Nephilim-opus.

From Gehenna To Here appeared 2001, exclusively with old numbers, that were from the EP "Returning To Gehenna" out of the band's early days and no longer in circulation. Under some shady conditions the work "Fallen" was published 2002. The record company called it the official work of the reunited band, however, the songs were in reality demos that were unpublished to that time. The long awaited "Mourning Sun" finally appears - McCoy's new and authorized studio album, that will bring Fields Of The Nephilim back to the stage.