The Heavy Spirits/Thun'nzai Ka'ai

The Heavy Spirits were a Kalubian music band founded by Connor Felidow (lead vocals, guitar), Reinder Klaus IV (5-string bass guitar, backing vocals) and Aiza’ak Katzjung (drums, percussion) in 1981 at DP-SEI in Dinotopia, Kalubio. They soon recruited Sabrina Y’Wixwun (lead guitar, background vocals), and began performing at local and campus venues. They were popular in their region’s scene for their high-energy performances and song matter dealing with subjects most of the population had been exposed to, such as war and trauma. The group disbanded in late 1984 following the graduation of its founding members from DP-SEI.

The Spirits’ discography contains two studio albums, a demo album, and a live album. They also managed an impressive 142 shows played in their four years together, making them one of many symbols of the Kalubian counter-culture and “Cultural Upheaval” phenomena.

## History

### Formation (1981)

Originally a trio under the name “X-Orcyzm,” guitarist Connor Felidow, bassist Reinder Klaus and drummer Aiza’ak Katzjung were roommates during their first year of study. Influenced by a mixture of traditional and modern native Kalubian folk songs and hymns, heavier sounds such as the “gothic” scene in Kikikoa and Famaselle, as well as Yeshua'esnéxaes bands such as Judas Priest, KISS, The Ramones and Iron Maiden, available through leaks provided by Kikikan researchers on human culture. Human influence in Colanexian arts and media was exceptionally rare at the time, providing the group with a unique sound.

Seeking early on to progress their sound, Felidow sought out a lead guitarist. He eventually met Sabrina Y’Wixwun, a fellow student at DP-SEI, who became their eventual lead guitarist. With the fourth edition to their group, the band rebranded as “The Heavy Spirits,” or “Thun’nzaı Ka’aı” in Kohl. Felidow was their primary songwriter, lyricist, and arranger, though he took much input from his band members. Lyrically, their content revolved around military life and culture, sex, drug use and depression.

### Early Performances & First Releases (1981-1982)

The band, much like X-Orcyzm, made a name for itself through live performances at campus bars and small antïst venues. It was difficult to do too much performing, since all band members were full-time students as well as the majority of concert-goers. Most of their early material was closer to their sound as X-Orcyzm, with fast-paced riffs and drums, a variety of singing styles, and prominent bass playing (examples include “Young Boys Genocide,” “At the Edge,” and riffs that became included in “Mythos Hybrid”). Much of the same intense energy was carried over, though counteracted by Y'Wixwun's melodic playing and Felidow's diverse vocals.

The first release of the band was a mini-play called “Scars from my Aneurysm,” and included many metal-style covers of traditional Kalu songs and hymns, versions of songs as documented by the Kikikan and Belastrani Ambassadors (that Connor would bootleg), and even some original pieces. Among these were “Taboo,” an early version of “At the Edge,” and “Hell-Child of Herbiv.” Funding was raised by concert admissions, donations, and sometimes smuggling or (allegedly) prostitution. Record labels did not exist in their area of Kalubio, so the band used an empty apartment as an impromptu studio and independently mixed their recordings on bootleg military-grade programs on the campus’ computers.