Sadgiqacea Start Summer Tour July 4

Posted in Whathaveyou on June 25th, 2013 by H.P. Taskmaster

Anybody remember that scene in Independence Day when Will Smith suckerpunched that alien in the face and said “Welcome to Erf?” like human beings are all tough and these aliens who just jetted across the galaxy to try and mess with us were chumps? I’ve never seen Philly twosome Sadgiqacea before but I imagine that catching them on the Fourth of July would probably feel something like being punched in the face. Only with volume. Welcome to Erf.

Sadgiqacea (which is pronounced “sadji-whozawhatsits”) are out supporting their Candlelight Records debut, False Prism, and if you ever wanted to know what a long-ass tour looks like, it features two shows in Jersey:

SADGIQACEA: Rigorous U.S. Summer Tour Begins Next Week

With the release of their debut LP False Prism still fresh, Philadelphia-based spiritualistic sludge duo SADGIQACEA will embark on a rigorous tour of the country beginning on the 4th of July, just a week and a half away.

SADGIQACEA draws from a melting pot of influences that together presents a lush yet tension-filled sound. Their unique and intriguing debut full-length, False Prism, was recorded and produced by Chris Grigg (Woe), a forty-minute audio journey bearing four mammoth songs sparring use of overdubs to preserve the authentic recording quality of their live performances. False Prism was released via Candlelight on CD and limited edition vinyl via Anthropic Records in May.

Following sporadic, regional shows supporting the release of the record, SADGIQACEA will take on as much of the country as possible this Summer as their brutal forty-two date trek with brethren Hivelords kicks off on Independence Day. View the full tour itinerary below and watch for additional updates on the band to be posted in the coming days.

SADGIQACEA 2013 Summer Tour w/ Hivelords:
7/04/2013 Sex Dungeon – Lindenwold, NJ
7/05/2013 Meat Locker – Montclair, NJ
7/06/2013 The Acheron – Brooklyn, NY
7/07/2013 Munchouse – Providence, RI
7/08/2013 Charlie’s Kitchen – Boston, MA
7/09/2013 St. John Basement Venue – Portland, ME
7/10/2013 Wilder Zangcraft – Lowell, MA
7/11/2013 Ralph’s Diner – Worcester, MA
7/12/2013 Reg Studio Theater – Jamestown, NY
7/13/2013 Rock Room – Pittsburgh, PA
7/14/2013 Bourbon Street Café – Columbus, OH
7/15/2013 Melody Inn – Indianapolis, IN
7/16/2013 Cobra Lounge – Chicago, IL
7/17/2013 The Wisco – Madison, WI
7/18/2013 The P.I. – Wausau, WI
7/19/2013 Nomad Pub – Minneapolis, MN
7/20/2013 Vaudeville Mewws – Des Moines, IA
7/21/2013 The Hideout – Omaha, NE
7/22/2013 Bad Haus – Kansas City, MO
7/23/2013 Kirby’s Beer Store – Wichita, KS
7/24/2013 Lost Lake – Denver, CO
7/25/2013 Burt’s Tiki Lounge – Salt Lake City, UT
7/26/2013 The Shredder – Boise, ID
7/27/2013 Kraken Bar – Seattle, WA
7/28/2013 The Know – Portland, OR
7/29/2013 Tiny Tavern – Eugene, OR
7/30/2013 Hemlock Tavern – San Francisco, CA
7/31/2013 Alex’s Bar – Long Beach, CA
8/01/2013 The Dive Bar – Las Vegas – CA
8/02/2013 District Tavern – Tucson – AZ
8/03/2013 Train Yard – Las Cruces – NM
8/04/2013 TBA – San Antonio, TX
8/05/2013 Dirty Dog – Austin – TX
8/06/2013 The Big Top – New Orleans, LA
8/07/2013 Atmosphere Bar – Tallahassee, FL
8/08/2013 Epic Problem – Tampa, FL
8/09/2013 The Fountainblueeuuarghh – Miami, FL
8/10/2013 TBA – Orlando, FL
8/11/2013 Shantytown – Jacksonville, FL
8/12/2013 TBA – Columbia, SC
8/13/2013 Courtroom At Getty’s – Rock Hill, SC
8/14/2013 The Milestone – Charlotte, NC
8/15/2013 Roger’s – Chesapeake, VA
8/16/2013 TBA – Richmond, VA
8/17/2013 The Kyber – Philadelphia, PA

Sadgiqacea, “The Spoils of Harvest”

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Corrosion of Conformity are Writing New Material

Posted in Whathaveyou on January 24th, 2013 by H.P. Taskmaster

…And it seems like it’s going to be a permanent situation. No harm there — C.O.C.‘s self-titled (review here) was killer and the subsequent Scion A/V EP, Megalodon, scratched a similar itch, so if the North Carolina stalwarts want to kick out another full-length as a trio on the quick, I’m not going to complain. The PR wire sends along word of the new album, recent touring, and an upcoming appearance at Metal Fest in Chile.

Dig it:

CORROSION OF CONFORMITY Writing New Material

CORROSION OF CONFORMITY has begun writing material for their next album, the follow-up to the well-received self-titled record released via Candlelight Records late February 2012, the reissue of their Eye For An Eye debut, and recently released Scion A/V EP Megalodon. The album, untitled at this time, will again feature the trio of vocalist/bassist Mike Dean, guitarist Woodroe Weatherman, and drummer Reed Mullin.

Last week the band announced their first live performance for the New Year at the annual Metal Fest Chile on April 13th. It will be the first CORROSION OF CONFORMITY appearance ever in Chile. Mike Dean comments, “We have been talking about going to South American forever and with Chile being a big source of so much of our Facebook traffic, I know it’s going to be epic. Another chance for us to do a festival with Down is always a very good thing.”

The festival follows the completion of the band’s recent US tour that concluded in southern California alongside High On Fire. The trio was also a featured participant on Barge From Hell that left Florida shores on December 7. Dean notes, “The cruise was pretty awesome. We had Rick and Jonathan from Torche masquerading as our crew and watching their antics alone was worth the trip. The seas were calm so there was no hurling over the bow.”

CORROSION OF CONFORMITY continues to promote the self-titled album in interviews with media as well spreading word on their recently released Megalodon EP. The EP, sponsored by the amazing folks at Scion A/V, is available for free now via various outlets. Dean says, “The EP was written, recorded, and released in two months time. It really challenged us in a good way. It feels good to get two releases out in one year and I expect that we will continue that level of productivity.” Continuing he shares, “The self-titled album is holding up very well for me. There is a wide variety of material there. It’s all definitely COC but at the same time everything is really a stretch for us. Within the realm of never being totally satisfied, I am very happy with how it came out.”

Formed in Raleigh, North Carolina in 1982, CORROSION OF CONFORMITY quickly transformed heavy music. Politically charged and socially aware, the band has influenced countless others and today remains humble about their accomplishments. With over 1.1 million albums sold in the United States alone, the band continues to find new fans via non-stop touring.

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Orange Goblin: Video for “Red Tide Rising” Unveiled

Posted in Bootleg Theater on February 6th, 2012 by H.P. Taskmaster

Say what you want to about riffs — and Joe Hoare‘s got plenty of them, no doubt about it — for me, this song is all about Martyn Millard‘s bass line. The opening track from Orange Goblin‘s long-awaited A Eulogy for the Damned (review here) has one of the album’s best, and in the video below, it’s complemented by some righteous Lovecraft-based cartoons, some hallway guitar shredding, shaky-cam Ben Ward and the steady hands of drummer Chris Turner. You won’t hear me ask anything more of a music video, probably ever.

Enjoy:

A Eulogy for the Damned is due out Feb. 14 on Candlelight.

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Corrosion of Conformity Interview with Mike Dean: Riding the Current on a River of Stone; Enter Now to Win Free Vinyl!

Posted in Features on January 12th, 2012 by H.P. Taskmaster

You have to understand, even if the forthcoming self-titled Corrosion of Conformity full-length wasn’t their first as a trio — as this trio — since 1985’s Animosity, the record would still be a landmark, just for the fact that it’s C.O.C. The stalwart North Carolinian heavy Southern rockers haven’t had a record since 2005’s In the Arms of God, mostly due to guitarist/vocalist Pepper Keenan‘s ongoing tenure with the supergroup Down, leaving bassist/vocalist Mike Dean, guitarist Woody Weatherman and returned drummer Reed Mullin the task of picking the band back up and moving forward as a three-piece.

But the announcement yesterday that this lineup of C.O.C. will headline Sunday night, April 8, at the London Desertfest is just the latest endorsement it has earned. Dean, Weatherman and Mullin toured twice in 2011 with Clutch, including their New Year’s tour last month, and played the 2011 Maryland DeathFest and Roadburn festivals (among others), supporting the single Your Tomorrow on Southern Lord. The track “Your Tomorrow” would wind up as one of the strongest on the album Corrosion of Conformity as well, but the record does an excellent job meeting and surpassing any aesthetic expectations that could be put on it.

Because, hey, let’s face it, if you’ve got a trio lineup of C.O.C., they’ve got a lot to live up to. Animosity is a crossover classic, and coupled with everything the band was able to accomplish after Keenan joined, then Corrosion of Conformity needs to cover a lot of ground to be a success. The album’s greatest attribute, however, is that it seems to ignore all of that in favor of just rocking out on some killer songs. As a result, cuts like “Rat City” and “Leeches” and “What We Become” hone in on the band’s hardcore past without seeming like a put-on while “Psychic Vampire,” “The Moneychangers” and “Come Not Here” bring in elements of the riffy Sabbathian groove that was always present in their sound, however prevalent it may or may not have been.

If you’re interested, the full album review is here. Just prior to their heading out with Clutch to put 2011 to bed, Dean and I spoke about what brought C.O.C. back together in this form and how it was composing the new album without Keenan, recording it with longtime producer John Custer, his own process for composing lyrics, and much more. Like the music on the self-titled, he was honest and straightforward in his responses, as you can see in the interview that follows here.

–Special thanks to Candlelight Records for letting me give away THREE copies of the new C.O.C. album on vinyl! Enter to win by sending your name and address below. Contest runs until Jan. 20!

[Please note: This contest is now closed. Thanks to all who entered.]

Complete Q&A is after the jump. Please enjoy.

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Corrosion of Conformity, Corrosion of Conformity: Reclaiming Their Tomorrow

Posted in Reviews on January 5th, 2012 by H.P. Taskmaster

From their teenage punker beginnings to being a Grammy-nominated major label darling to influencing a generation of heavy Southern bands, few acts can claim either the enduring relevance or creative scope of Corrosion of Conformity. The North Carolinian band, which passes its 30th year in 2012, and true enough to form, they do so with the beginning of a new age – or at very least, a bold new foray down a familiar path. 2010 saw C.O.C. regroup and tour with what was billed as the Animosity-era lineup, meaning the trio of guitarist Woody Weatherman, bassist/vocalist Mike Dean and drummer Reed Mullin. They released the Your Tomorrow 7” and hit the road to much acclaim from traditionalists who’d been aching for some of C.O.C.’s earlier, crossover-style material. Absent from this mix was guitarist/vocalist Pepper Keenan, who’d joined on guitar for 1991’s Blind and come to take the vocalist position as well, leading the band through their commercial peak on Columbia Records albums Deliverance (1994) and  Wiseblood (1996). His ongoing tenure in the Southern metal supergroup Down seemed to be the stumbling block keeping C.O.C. from getting together to issue a follow-up to 2005’s excellent In the Arms of God (Down released their third album in 2007 and toured extensively to support it), and Dean, Weatherman and Mullin – the latter who didn’t play on the last record but was back in the fold after playing with Dean in his Righteous Fool side-project – eventually decided not to wait any longer. Their new album, Corrosion of Conformity (Candlelight Records), is the band’s first studio LP as a trio since 1985.

This in itself makes C.O.C.’s latest a landmark, but moreover, it’s the defiance of expectation that really sets Corrosion of Conformity apart. One might look at the fact that they chose to make it a self-titled as a kind of statement that this lineup is somehow definitive, maybe a subtle “fuck you” to Keenan, but I don’t think that’s the case. Rather, naming the record after the band feels appropriate for these songs because what these songs do is essentially distill 30 years of natural and genre-transcending progression into a cohesive set of 11 tracks that play out over 43 minutes. In every move they are C.O.C., and that seems to be more the basis of choosing the title rather than showing anyone up. I acknowledge that’s speculation and opinion on my part as a listener and a fan of the band, but I’d gladly offer the forward-looking development of these tracks as supporting argument. Dean, Weatherman and Mullin could easily have slopped together 35-40 minutes of crossover punk, called it Animosity 2 and ridden the coattails of their past glories to reunion-act glory, but they didn’t do that. Instead, with Corrosion of Conformity, they take the band’s past scope and form something cohesive and – most of all – new from it. Whatever else you take away from this review, take that. C.O.C. are not rehashing what they’ve done before. As much as these songs may be carved from a lineup dynamic that existed 27 years ago, the ensuing time has meant that the players are different people than they once were, and the album shows that right from the beginning of opener “Psychic Vampire.”

In a way, the first 40 seconds of Corrosion of Conformity tell the whole story, and even more so when one considers the efficiency and lack of pretense with which the album is executed front to back. It’s perhaps in that spirit that C.O.C. most capture the simplicity of their earliest days, but one can’t deny the grunt at the beginning of “Psychic Vampire” and the riff-led groove that ensues as epitomizing a side of the band, just as does the faster, more propulsive 10 seconds that follow and open into the verse groove. Without warning, Dean, Weatherman and Mullin have established much of the course of the record, which sets its dynamics through pacing changes and balances Southern heavy rock with unabashed punk-born fury. “Psychic Vampire” sets itself out among the strongest cuts on the album in doing so and is based in large part on these two opening riffs, which play out in juxtaposition as Dean takes the frontman/vocalist role for two distinct choruses that he keeps through much of the material, backed capably by Weatherman and Mullin. Where some other tracks, particularly later in the set, need time to sink in, the likes of “Psychic Vampire” and “River of Stone,” which follows, are more immediately memorable. Weatherman’s riffing, as captured by longtime C.O.C. producer John Custer’s excellent recording job, is part of that, keeping a tonal consistency with In the Arms of God while also capitalizing on the added rawness of having one six-stringer versus two.

Mullin distinguishes himself right away on “River of Stone,” which is the longest song on Corrosion of Conformity at 6:12. His double-bass drumming is consistent throughout the first part of the track, but not rushed in terms of pace. The song opens in its chorus, but is mostly head-down forward motion, playing off some of the faster crossover elements that were hinted at with “Psychic Vampire” and are brought to the fore on “Leeches” still to come. Most of the song’s extra length comes from a break at 3:20 wherein Dean’s bass, soaked in wah, leads to a solo from Weatherman that carries the song back to its verse and chorus. Again, they show tempo flexibility and establish a solid flow, and Custer makes his presence felt as a shout rises in the mix to transition back into the verse that leads to the chorus finale. Dean’s vocals surprise in their capability to carry the song, and though it’s not a shock C.O.C. would want to establish this early, he impresses throughout the album in both arrangement and occasionally deceptively melodic execution. Not, however, on “Leeches,” which is two-plus minutes of crossover rawness that goes directly to the Animosity roots. It’s the shortest song on the album, and possibly the rawest, though Weatherman rips several leads worthy of the band’s legacy, and Mullin handles the changes fluidly while the vocals trade off leads and backing shouts. “Rat City,” which arrives just before closer “Time of Trials,” works in a similar vein, but “Leeches” is more outwardly aggressive, making the interlude that comes with “El Lamento de las Cabras” feel well earned.

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Orange Goblin: A Eulogy for the Damned Due in February; Tour Dates Announced

Posted in Whathaveyou on October 26th, 2011 by H.P. Taskmaster

If you missed Orange Goblin frontman Ben Ward‘s weekly studio updates on the creation of the band’s new album, check them out here. Today, the band announced a February 2012 release for A Eulogy for the Damned, which will be their long-awaited Candlelight Records debut. I can’t fucking wait.

Supporting Orange Goblin on their UK run will be Grifter, who are on board for all but the Irish shows.

This comes right off the PR wire:

Orange Goblin will release their brand new studio album, A Eulogy for the Damned, on Monday, Feb. 13, 2012 in the UK/rest of world and Feb. 14, 2012, in the US. This date is the same day as Black Sabbath released their self-titled debut album in 1970!

A Eulogy For The Damned is the band’s seventh studio album but first for new label home, Candlelight Records. The 10-track offering was recorded at The Animal Farm studio in South London, UK, produced and engineered by Jamie Dodd and mastered by two-time Grammy-nominated Pink Floyd engineer Andy Jackson at Tube Mastering. A Eulogy For The Damned will be released on CD and limited edition colored vinyl in gatefold sleeve.

A Eulogy for the Damned Track Listing:
1. Red Tide Rising

2. Stand for Something
3. Acid Trial
4. The Filthy & the Few
5. Save Me From Myself
6. The Fog
7. Return To Mars
8. Death of Aquarius
9. The Bishop’s Wolf
10. A Eulogy for the Damned

To celebrate the release of the new album, Orange Goblin will hit the road in April 2012 for the A Eulogy for the Damned UK & Ireland Tour. Dates for this are as follows:

04/07 Desertfest @ The Underworld London
04/08 The Fleece Bristol
04/09 The Old Bell Derby
04/10 Classic Grand Glasgow
04/11 Sound Control Manchester
04/12 The Garage Swansea
04/13 The White Rabbit Plymouth
04/14 o2 Academy Oxford
04/20 The Pint Dublin
04/21 Spring & Airbrake Belfast

Orange Goblin will also be appearing live at the following locations later this year (with more festivals to be announced soon):

11/13/2011 Candlefest Moho Live, Manchester
12/03/2011 Hard Rock Hell V Prestatyn, North Wales
12/17/2011 The Underworld Camden, London
01/14/2012 Club Zeljeznicar Zagreb, Croatia
6/15–17/2012 Hellfest Clisson, France (Exact date TBA)
8/11/2012 Bloodstock Open Air Fest Derbyshire

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SPECIAL FEATURE: Orange Goblin Studio Diary, Week 6 (The Grand Finale!)

Posted in Features on September 22nd, 2011 by H.P. Taskmaster

The thought occurred to me to make the parenthetical headline for this post, “In Which Ben Ward Recounts and Summarizes Orange Goblin‘s Sundry Misadventures During the Recording Sessions for Their New Album,” but I think “The Grand Finale” works just as well. Given the much-appreciated effort on Mr. Ward‘s side in sending over these updates each week for the last month and a half, “Grand” seems like just the right word.

Sad as I am to see this series end, I’ll take my comfort in knowing we’re that much closer to the next Orange Goblin record. What follows is a summary of the band’s time in the studio. Thanks again to Ward for putting these updates together, and to Candlelight Records for making it happen. This is already one of my most anticipated releases of 2012.

If you want to see the now-complete series in its entirety, click here. Orange Goblin is Ward on vocals, guitarist Joe Hoare, bassist Martyn Millard and drummer Chris Turner.

Thanks for reading:

Orange Goblin – Studio Summary

Well, here we are. Six weeks on from when we first set foot in The Animal Farm recording studio in Bermondsey, London and we have another Orange Goblin long-player in the can. It’s been a very different, almost relaxed affair and the breaks between sessions have been great, allowing us to take the songs away and scrutinise them before going back and adding to them or changing them where we saw fit.

I think we’ll all miss the studio a bit. It became our little haven for those six weeks and a chance to get away from the real world! A place where it became acceptable to drink five beers before lunchtime and eat cold pizza until you felt nauseous! A place where we heard tales of how often Brain Harvey (ex-East 17 numbskull!) farts, how amazing the “Guitarminator” is and how we should never, ever ask the producer for a “laptop mix!” I certainly won’t miss the stress of trying to get the songs finished and writing the lyrics though… That can wait another five years now!!!

I have to take the opportunity to say a massive thank you to Jamie [Dodd], Ville and Mat [Leppanen] at the studio for their understanding and letting us come and go as we have done, without them this album would never have happened. Here are a few of the highs and lows of the last 6 weeks recording the album:

HIGHS:

1 – Getting all the rhythm tracks done within the first five days of recording. Not that this wasn’t expected as Chris has never taken more than a couple of days and Martyn is usually pretty spot on too. We afforded ourselves a bit more time for the drums and bass this time though as writing the songs was only completed on the day before Jamie first hit ‘record.’ Anyway, spurred on by silly amounts of Boddingtons and steak-flavoured crisps (chips to the Americans!) the rhythm section got the job done and to celebrate we all went out for a victory drink in honour!! This meant an all night session in the Crobar, far too may beers and sambucas, a massive dent in all our wallets and an even bigger hangover the day after!!!

2 – Guitars and vocals going as smoothly as they did. What with all the coming and going of various people at various time, Joe and I managed to keep focus and get our parts done in time too. We set up a routine of him doing a track, then me doing one, so neither of us got weighed down with too much and we both got a regular break. Jamie was great in this respect as it meant him having to go back and forth with setting up the guitars and the vocal booth but it worked out in the end. We didn’t do anything in particular to celebrate but had a constant supply of cider, red wine, lager and whiskey, which always helps! I have to give special mention to the afternoon I locked myself away in a different room with the sole intention of completing lyrics for one of the songs. An hour later Joe burst into the room to find me fast asleep with absolutely nothing written!!

3 – The day of the photo-shoot. I can’t remember the exact date but the shoot went really well and it was a nice, sunny day (rare in London during the summer!). What was amazing was the number of screaming, teenage girls that had gathered at the studio gates who we joked must be waiting for us! We later discovered that they were there for a teenage boy band that were rehearsing (miming into their hairbrushes!) next door. As I left the complex in my car that afternoon a couple of young girls asked if I would smuggle them into the studio in the boot (trunk to the Americans!) of my car… I’ll leave you to make your own sick joke up here!! PS – I didn’t!

4 – PIZZA DICE!!! This was an absolute godsend!! It was established in the first couple of days of recording that there were only two local pizza companies that were prepared to deliver to a recording studio on the fourth floor of an industrial complex so we decided to try them both. The first was Tower Pizza, who didn’t make a very good impression by bringing us completely the wrong order, not that we complained as it meant we got more. That was until we opened the box and tasted it!! I’m not exaggerating when I say that it was the worst pizza I have ever had. All four of us were starving but we threw 90 percent of the order away as it was so bad. I’m pretty sure chicken isn’t supposed to be green! Next day we tried Pizza Dice and hey presto, it was fantastic!! The order was right (always a good start!) the pizza tasted fresh and the chicken wings were not green! Plus, they also sent ice cold Coca-Cola, which went perfect with the whiskey!!

LOWS:

1 – Tower Pizza. (see above)

2 – Joe waking me up. (see above)

3 – The crowds of teenage girls NOT being into Orange Goblin. (see above)

4 – The studio being based on the fourth floor and having a no-smoking policy, which meant treks downstairs and outside every time we needed a cigarette! At least it gave us a chance to work off the beer and pizza!

It’s been fun writing these updates for The Obelisk and I’d like to thank JJ for posting them each week. All that remains now is for us to get the final mixes, master the damned thing and get it out there for the world to hear! It will be out by the end of March 2012 and I’m sure it’ll be worth the wait! Thanks for reading!

Ben Ward, 22nd September 2011.

 

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SPECIAL FEATURE: Orange Goblin Studio Diary, Week 5 (Bonus Update From Craig Riggs)

Posted in Features on September 16th, 2011 by H.P. Taskmaster

Earlier this week, Orange Goblin frontman Ben Ward described sending tracks across the Atlantic to Roadsaw singer Craig Riggs so he could record a vocal guest appearance. I took that as a cue to hit up Riggs (who also tour managed Orange Goblin on their recent American tour), to see if he had anything to say about the process. The resulting couple paragraphs comprise what I’m thinking of as a bonus track to this whole series, snuck in just before the conclusion this coming week.

Hope you enjoy. To see all the updates on Orange Goblin‘s recording progress, click here. Thanks to Riggs for taking the time out:

After joking in the public eye (Facebook) with Mr. Ward about having me sing some backups on the new OG record, I was pleased to see an email that contained 10 fresh tracks from the band. Ben gave me few instructions on just what they wanted and which songs to sing on. “Focus on these two,” he said. So I went into Mad Oak Recording Studio (I know the owner) with engineer Joe Slibia. We worked on the two songs, and worked on a few more. I put backups on five songs and sent them back UK way. I let Ben know that I was going to lay down as much as I could in the day and the band could use what they wanted and toss out the rest. They seemed pretty happy with most of the stuff, and went onto mixing. So I will soon find out what made the cut, and what hit the floor. I for one am very excited.

This new OG record is going to kick ass! from what I gathered, it’s like a perfect blend of Iron Maiden, Motörhead, Lynyrd Skynyrd, yet remains completely Orange Goblin. There is some great melodies and a fine mix of tempos. Even the rough mixes I heard sound killer. Everyone hit this shit at the top of their game. I got excited about the latest Lo-Pan record when I first heard it. I feel the same way about this OG record. I can’t wait till everyone can hear the fuckin’ rock that is Orange Goblin.

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