Weedeater Announce Tour Playing God Luck and Good Speed in Full

Posted in Whathaveyou on February 5th, 2018 by JJ Koczan

weedeater

Am I wrong, or is it time to start thinking of Weedeater as a straight-up blues band? I know they’re heavy and sludgy as hell, but in terms of their ethic of just getting on the road and apparently being there forever, proffering tunes with the ultimate lack of pretense, and doing their thing regardless of in whatever direction the world around them might be spinning — not to mention all that downtrodden whathaveyou — more and more they just seem like blues to me. Already confirmed for Roadburn 2018, Desertfest London 2018, Desertfest Berlin 2018 and Maryland Doom Fest 2018, the North Carolina trio hit the road next month playing 2007’s God Luck and Good Speed in full.

Why that record? Well, it was kind of a breakthrough for them when Southern Lord put it out in 2007, it’s got a catchy title, and hell, maybe after three solid years they just got bored of continuing to push 2015’s Season of Mist debut Goliathan (review here). Look, sometimes you need to change things up. It helps fight the blues.

From the PR wire:

weedeater god luck good speed tour poster

WEEDEATER announce ‘God Luck an Good Speed’ US tour

Notorious southern metal outfit WEEDEATER have announced a ‘God Luck and Good Speed” US tour that will kick off on Mar. 15. WEEDEATER will perform their classic album ‘God Luck and Good Speed’ in its entirety for the first time. A full list of confirmed tour dates can be found below:

‘God Luck and Good Speed’ was the first full-length WEEDEATER recorded with long-time engineer Steve Albini (NIRVANA, HIGH ON FIRE, PJ HARVEY) and was originally released on July 31, 2007.

WEEDEATER was formed by front-man/bassist “Dixie” Dave Collins. Following the release of their 2001 debut ‘…And Justice For Y’All’, WEEDEATER immediately established themselves as a force in the U.S. tour circuit and quickly gained notoriety in the American metal scene. In the time since, the band have released three critically-acclaimed albums: ‘Sixteen Tons’ (2002), ‘God Luck And Good Speed’ (2007), and ‘Jason… The Dragon’ (2011), and toured around the world with the likes of DOWN, SAINT VITUS, HIGH ON FIRE, and THE MELVINS, HANK III, EARTH, SUNN O))) and more. The band has played prestigious festivals such as Maryland Deathfest, Hopscotch Festival, Stoned From The Underground, Asymmetry Festival, Roadburn Festival, Hellfest, and many more.

WEEDEATER TOUR DATES
All dates w/ HYBORIAN and BASK
Mar. 15 Atlanta, GA @ Basement
Mar. 16 Chapel Hill, NC @ Local 506
Mar. 17 Richmond, VA @ Strange Matter
Mar. 18 Philadelphia, PA @ Kung Fu Necktie
Mar. 19 Brooklyn, NY @ Saint Vitus
Mar. 21 Cambridge, MA @ Middle East
Mar. 22 Syracuse, NY @ Lost Horizon
Mar. 23 Pittsburgh, PA @ Cattivo
Mar. 24 Lansing, MI @ Mac’s Bar
Mar. 25 Cleveland, OH @ Grog Shop
Mar. 27 Lexington, KY @ Cosmic Charlies
Mar. 28 Chicago, IL @ Empty Bottle
Mar. 29 St. Louis, MO @ Fubar
Mar. 30 Memphis, TN @ Hi-Tone
Mar. 31 Little Rock, AR @ Whitewater
Apr. 1 New Orleans, LA @ Santos Bar
Apr. 2 Jacksonville FL @ Jack Rabbits
Apr. 3 Spartanburg, SC @ Ground Zero

https://www.facebook.com/weedmetal/
https://weedeater.bandcamp.com/album/goliathan
https://www.twitter.com/seasonofmist
https://www.facebook.com/seasonofmistofficial
http://www.season-of-mist.com/

Weedeater, God Luck and Good Speed (2007)

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Corrosion of Conformity Post “The Luddite” Video; US Tour on Now

Posted in Bootleg Theater on January 17th, 2018 by JJ Koczan

corrosion of conformity dean karr

So not that I’m awash in extra minutes-per-day or anything like that, but among the various ideas for writing projects kicking around my head lately has been a side-blog that theoretically would be called ‘Doomestic Living,’ which would basically serve as a chronicle for my adventures in my still-new position as a stay-at-home dad, a dude who likes music, and someone with assorted mental health issues. Sounds pretty indulgent, right? Don’t worry, I’m sure self-critique would be a huge factor. To wit, C.O.C. have a new video for “The Luddite” from their new record, No Cross No Crown (review here), and here’s how I might feature it as a post in said context:

The Patient Mrs. was out at physical therapy the other night, still recovering more than two months after her emergency C-section, learning which of her muscles medical professionals fucked up and how best to make them work again, etc. Pretty much every time she leaves the house these days and I’m home alone with The Pecan, I take it as a preview of what life will be like when she goes back to work. This was no exception.

He was fussy; had missed a nap. There was a bottle on the counter, but he’s still not taking a bottle from me, so basically when he gets hungry it’s a fight. Every time. He doesn’t want it. Apparently The Patient Mrs. has magic boobs (something I’ve always suspected) that require no effort on The Pecan’s part to extract milk from, so when he actually has to engage a sucking action on the nipple of a bottle, he gets pissed about it. I get it. The “There’s an easier way to do this and I prefer that” instinct. Very human.

I was waiting for PBS Newshour to come on and dicking around through YouTube on the tv in the living room. He was in his chair, sort of proto-kvetching. Grunting. He grunts a lot; some in distress, some in conversation. Grunty Pecan. I’d gotten the press release about the new Corrosion of Conformity video for “The Luddite” from Nuclear Blast earlier in the day, but as it came up in my recommendations, I decided to check it out. Good track as I knew from hearing the album, so what the hell.

The video’s pretty standard fare: mostly classic heavy rock fire and fury updated with digital presentation. Mike Dean looks badass as ever holding down the business of groove on bass while Pepper Keenan handles frontman duties, Woody Weatherman and Reed Mullin presences unto themselves in their righteousness. The kind of thing that, if there were a Headbanger’s Ball and they let me host it, you’d most definitely see on Headbanger’s Ball. Nowadays, the internet. Fair enough. Good showcase for the track, at very least.

The Pecan was fucking mesmerized. In his two-plus months of life, I don’t think I’ve seen his attention so utterly and singularly wrapt by anything. Not even eating or pooping, and to-date, those have been his primary activities. And it wasn’t his first exposure either to television or to music videos either. C.O.C. held that baby’s gaze like nothing has yet.

I wound up watching him watching the video as much as I watched the video itself — overcome by a strange mixture of worry about screen-time exposure (the latest science says it’s okay, but science is malleable) and pride at the thought that this baby might have such killer taste innate to his being as to really dig a track like “The Luddite,” which is among the closest points C.O.C. hit on their new record to their classic mid-’90s sound.

Afterwards, I put on Sabbath doing “Children of the Grave” at Cali Jam 1974 and he dug that too. For a couple minutes there, things were looking up in terms of parenting potential. Fortunately, The Patient Mrs. got back before he got too hungry.

Yeah, something like that. C.O.C.‘s No Cross No Crown is out now on Nuclear Blast. Please find the video for “The Luddite” below, followed by the band’s current/ongoing tour dates, courtesy of the PR wire, and enjoy:

Corrosion of Conformity, “The Luddite” official video

CORROSION OF CONFORMITY is currently in the midst of a massive North American live takeover supporting Black Label Society. The tour kicked off in Denver, Colorado December 27th and will wind its way through nearly four dozen cities upon its conclusion on February 27th. Additional support is being provided by Eyehategod and Red Fang on select shows. See all confirmed dates below.

CORROSION OF CONFORMITY w/ Black Label Society, Eyehategod (12/29 – 1/20; 2/11 – 2/27), Red Fang (1/26 – 2/09):
1/17/2018 House Of Blues – New Orleans, LA ^
1/18/2018 Marathon Music Works – Nashville, TN ^
1/19/2018 Bogart’s – Cincinnati, OH ^
1/20/2018 Center Stage – Atlanta, GA ^
1/26/2018 Jannus Live – St. Petersburg, FL *
1/27/2018 House Of Blues – Myrtle Beach, SC *
1/28/2018 The Ritz – Raleigh, NC *
1/29/2018 The Fillmore Silver Spring – Silver Spring, MD *
1/31/2018 PlayStation Theater – New York, NY *
2/01/2018 The Palladium – Worcester, MA *
2/02/2018 Aura – Portland, ME *
2/03/2018 Electric Factory – Philadelphia, PA *
2/05/2018 Town Ballroom – Buffalo, NY *
2/06/2018 The Goodyear Theater at East End – Akron, OH *
2/07/2018 Stage AE – Pittsburgh, PA *
2/08/2018 Eagles Ballroom Club Stage – Milwaukee, WI *
2/09/2018 Myth Live – St. Paul, MN *
2/11/2018 O’Brians Event Centre – Saskatoon, SK ^
2/12/2018 The Ranch Roadhouse – Edmonton, AB ^
2/14/2018 Commodore Ballroom – Vancouver, BC ^
2/16/2018 Bowes Event Center at Revolution Place – Grande Prairie, AB ^
2/17/2018 MacEwan Hall – Calgary, AB ^
2/19/2018 Showbox SoDo – Seattle, W ^
2/20/2018 Roseland Theater – Portland, OR ^
2/21/2018 Ace Of Spades – Sacramento, CA ^
2/23/2018 House of Blues – Las Vegas, NV ^
2/24/2018 The Marquee – Tempe, AZ ^
2/25/2018 Sunshine Theater – Albuquerque, NM ^
2/27/2018 The Fonda Theatre – Los Angeles, CA ^
^ w/ Eyehategod
* w/ Red Fang

CORROSION OF CONFORMITY is:
Pepper Keenan – vocals, guitar
Woodroe Weatherman – guitar
Mike Dean – bass, vocals
Reed Mullin – drums, vocals

Corrosion of Conformity website

Corrosion of Conformity on Thee Facebooks

Corrosion of Conformity on Twitter

Nuclear Blast website

Nuclear Blast on Thee Facebooks

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Corrosion of Conformity, No Cross No Crown: Casting Stones

Posted in Reviews on January 3rd, 2018 by JJ Koczan

corrosion of conformity no cross no crown

More than 35 years on from their beginning, Raleigh, North Carolina’s Corrosion of Conformity are a band like none other. Affectionately abbreviated as C.O.C., in their long career, they’ve moved from East Coast hardcore punk and thrash to becoming widely influential innovators of Southern metal and heavy rock, releasing generation-defining albums like 1994’s Deliverance (discussed here) and 1996’s Wiseblood (discussed here) after having already made a mark early on with rawer offerings like 1984’s Eye for an Eye debut and the next year’s Animosity.

Since his arrival in the band alongside founders Mike Dean (bass/vocals), Woody Weatherman (guitar/backing vocals) and Reed Mullin (drums/backing vocals) for 1991’s transitional outlier Blind, Pepper Keenan has become a key presence in C.O.C.. He played guitar on Blind and handled vocal duties for the first time on the track “Vote with a Bullet,” but would take the reins as frontman by the time Deliverance came out and see the band through their defining commercial statement and ascent to a point of influence for a generation of heavy rock. Keenan‘s tenure as guitarist/vocalist continued through Wiseblood, the underrated 2000 outing America’s Volume Dealer — often maligned as a cash-grab for its smooth production, but actually some of the tightest songwriting the band has ever done — and 2005’s In the Arms of God before his duties as a member of the Southern heavy supergroup Down took priority.

Dean, Weatherman and Mullin — the last of whom did not play on In the Arms of God — eventually grew restless and pressed on, issuing a self-titled (review here) in 2012 and an also-underrated follow-up, IX (review here), as a three-piece that both found them freer to touch on their punk roots and resulted in a fascinating summation of the band’s tenure as a whole. As Down dwindled, Keenan returned to the fold circa 2014, and the once-again-foursome signed to Nuclear Blast for the release of No Cross No Crown, their first album in this incarnation in some 18 years and a work that many likely doubted would ever come to fruition.

Frankly, that it exists is enough to make it one of 2018’s most pivotal full-lengths. No Cross No Crown is the album for which many C.O.C. fans have clamored for years, written in the studio by the band with longtime producer John Custer at the helm and very, very much aware of what its listenership wants in terms of speaking directly in sound and style to the Deliverance/Wiseblood era of post-Sabbath groovemaking and harsher, Southern-stylized edge. C.O.C. pioneered this aesthetic, and after stepping away from it for more than a decade, songs like “Cast the First Stone,” “Forgive Me,” “Wolf Named Crow” and the six-minute chug-nodder “A Quest to Believe (A Call to the Void)” find it still fits them easily and smoothly.

With a few runthroughs, “The Luddite,” “Cast the First Stone,” the more patiently bluesy “Nothing Left to Say” and the signature boogie “Little Man” feel less like they’re playing to form than rediscovering it, and though No Cross No Crown unquestionably hearkens to the CD era with a bordering-on-unmanageable 15-track/57-minute runtime, a series of interludes in the intro “Novus Deus,” “No Cross,” “Maitre’s Diem,” “Sacred Isolation” and, arguably, the atmospherically-minded four-minute title-track that separates “E.L.M.” and “A Quest to Believe (A Call to the Void)” ensure that the band’s persistent hooks and unflinching craftsmanship boasts due attention-holding variety as well.

corrosion of conformity dean karr

Again, it’s very much a record that knows the stakes and knows the audience to which it is communicating. That comes through in the balance of the production as much as the songwriting, and while in part as a result of the style in which it’s working it doesn’t have the same sense of urgency driving it as did the IX or Corrosion of Conformity LPs issued by the Keenan-less trio version of the band, there’s no question that in performance and chemistry, this group stands apart in their level of execution in a way that makes it extraordinarily difficult to hold knowing what they want to do and who they want to be as a band against them.

No doubt that any outfit with the sheer reach of audience C.O.C. can claim — global, generation-spanning, etc. — will have their backers and their detractors, and certainly much more than when America’s Volume Dealer surfaced, the scope of how the conversation between them has changed. As someone who’s been a fan of the band since Blind, I’ll say the truth of No Cross No Crown ultimately seems to lie somewhere in between.

It is a reunion album. It’s their, “okay, now we’re back together and we need a record” record. By the time they get down to the final movement of “No Cross No Crown,” “A Quest to Believe (A Call to the Void)” and “Son and Daughter,” the pervasive feeling is that statement has been made and they’ve reestablished their footing on the ground that was there waiting for them all these years, but their return to it is still unquestionably one of the most welcome underground heavy events of the decade, and their delivery is simply undeniable.

From “Novus Deus” and “The Luddite” onward, No Cross No Crown is pro-shop through and through, and one can see that even in the structure of the tracklisting, which presents the material in batches of an interlude, two tracks, an interlude, two tracks, interlude, two tracks, etc. throughout. Each section proves that Corrosion of Conformity, even if they’re in the process of shaking the rust off working together creatively, have more to say than one could have reasonably asked or expected, and the album succeeds in its goal of manifesting the spirit and drive of Deliverance and Wiseblood without simply aping a sound more than 20 years gone, as the energy and thrust of “Cast the First Stone” and the swaggering catchiness of “Old Disaster” alike prove.

The prospect of a new C.O.C. record with the KeenanDeanWeatherman and Mullin lineup has been hanging over the head of their many followers since they first got back together to play live several years ago — and truthfully, much longer than that — and if No Cross No Crown did have anything to prove at all, it was that this band could still do this thing. The simple answer is they can, and where 35-plus years from getting started, most artists still active have long since slid into a mediocrity of form in playing to what’s expected of them, C.O.C. here sound reinvigorated and offer a reminder to all willing to hear it of a big part of what made them who they are in the first place. It might need repeat listens to sink in for some, but earns them readily and grows into a richer experience each time through in such a way that to call it anything less than triumphant would be unfair.

Now, will there be another?

Corrosion of Conformity, “Wolf Named Crow” official video

Corrosion of Conformity, “Cast the First Stone”

Corrosion of Conformity website

Corrosion of Conformity on Thee Facebooks

Corrosion of Conformity on Twitter

Nuclear Blast website

Nuclear Blast on Thee Facebooks

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Toke: Orange LP Preorders Start Dec. 9

Posted in Whathaveyou on November 20th, 2017 by JJ Koczan

toke

If you go to the STB Records Bandcamp merch page to check out the different editions of the forthcoming Orange release from Southern sludge upstarts Toke, you’ll notice it says they’re all sold out. In truth, the preorders haven’t started yet — they begin Dec. 9 — for the STB version of the Wilmington, North Carolina, trio’s second full-length, but you can pretty much take that “sold out” to the bank since that’s invariably how the limited-numbers platters will end up when all is said and done. Orange was originally issued on Jan. 1 by the band and by Emetic Records and this year has done nothing at all to slow the three-piece’s significant momentum, having found them on the road a couple times over bringing their inheritance of Weedeater‘s energy and Sourvein‘s grit to stages along the Eastern Seaboard and well beyond.

The new version of Orange comes with bonus covers of Cream and Motörhead, so all the better. Here’s a pretty picture of the Die Hard edition and the details from the PR wire:

toke orange

STB Records Presents!! TOKE “Orange”

Pre-Order Starts 12noon Dec 9th EST
STBrecords.bandcamp.com. .
Vinyl Release Info:

STB 28 – TOKE “Orange” – Repress comes with 2 new VINYL ONLY TRACKS
Sunshine of Your Love – Originally by Cream
Limb from Limb – Originally by Motorhead
Rick Contes from “Young And In The Way” did guest solos on limb from limb!

Test Pressing – 15 units – Comes hand numbered with a SUPER exclusive laser etched WOOD cover.

Die Hard -75 units – 180g vinyl – Half Transparent Orange / Half Clear – with black splatter in a heavy weight euro version jacket with two diff color foil stamping.. Comes with an exclusive TOKE “Orange” cast ring, a 4ft x 4ft TOKE “Orange” silk banner, and a TOKE “Orange” Back patch for your battle vest!

OBI Edition: – 100 units- Clear with a black center and orange splatter. Printed OBI Strip – Made to look like “Toke Brand” rolling papers. hand numbered. Jacket with – spot UV

Standard Edition – 125 units- Clear with black and orange splatter Jacket with – spot UV

Save your alarms and mark your calendars. These will go FAST!

Tracklisting:
1. Within The Sinister Void 03:58
2. Weight Of The World 03:43
3. Blackened 03:41
4. Weak Life (Feat. T-Roy of Sourvein) 03:17
5. Legalize Sin 03:53
6. Four Hours For Hours 05:05

Toke is:
Bass/Vocals – Bronco
Drums – Jeremy
Guitars – Tim

https://www.facebook.com/TokeDoom/
https://tokenc.bandcamp.com/
http://tokedoom.bigcartel.com/product/orange-cassettes
https://stbrecords.bandcamp.com/merch
http://www.stbrecords.bigcartel.com/
http://www.facebook.com/pages/STB-Records/471228012921184?

Toke, Orange (2017)

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Corrosion of Conformity Announce No Cross No Crown Due Jan. 12; First Single Streaming

Posted in Whathaveyou on November 10th, 2017 by JJ Koczan

Well, here’s your most anticipated album for 2018. North Carolinian heavy rock legends Corrosion of Conformity will release their first record to feature guitarist/vocalist Pepper Keenan since 2005’s In the Arms of God on Jan. 12. Titled No Cross No Crown, it will be their first offering for Nuclear Blast Records. Preorders are available now. You don’t need me to tell you place one.

C.O.C. have been keeping fans regularly up to date on the studio progress for their new full-length for a while now. Recorded by John Custer, whose tenure helming their outings goes back decades at this point, No Cross No Crown brings together Keenan, bassist/vocalist Mike Dean, guitarist Woodroe Weatherman and drummer Reed Mullin for the first time since 2000’s America’s Volume Dealer, and though Dean, Weatherman and Mullin had two LPs out as a trio in 2014’s IX (review here) and a 2012 self-titled (review here), their reunion with Keenan and subsequent touring and fest appearances has only stoked the fire of hope for a new four-piece album over the last couple years.

Looks like we’ll finally get there. Can’t wait. First single is streaming now. It’s called “Cast the First Stone.” It’s at the bottom of the post. Listen to it.

Just off the PR wire:

corrosion of conformity no cross no crown

CORROSION OF CONFORMITY To Release No Cross No Crown Full-Length January 12th, 2018 Via Nuclear Blast Entertainment

Album Marks First Recording With Vocalist/Guitarist Pepper Keenan In Over A Decade; Preorder Bundles Available

Preorder No Cross No Crown at THIS LOCATION

Whenever CORROSION OF CONFORMITY releases a new album, folks take notice. But their latest is a true event. It’s been a dozen years since CORROSION OF CONFORMITY recorded new material with vocalist/guitarist Pepper Keenan at the helm. In that time, there have been rumors, whispers, and outright allegations that the legendary Southern rock outfit would reunite to blow the doors off the whole damn scene again. In 2014, after nearly a straight decade traversing the globe as a guitarist with New Orleans supergroup Down, Keenan reconnected with the core CORROSION OF CONFORMITY trio of Woody Weatherman, Mike Dean, and Reed Mullin to hit the road hard. “Reed called me and mentioned maybe playing a couple shows,” Keenan recalls. “I said, ‘Let’s just go to Europe and see if it works.’ So we went to Europe and then ended up going back four times in one year… We toured for a year and then started tracking about ten or eleven months ago.”

And now, the long wait is over. CORROSION OF CONFORMITY returns with No Cross No Crown — an album that somehow sounds as though no time has passed between 2005’s In The Arms Of God and today.

Recording in North Carolina with longtime producer John Custer, CORROSION OF CONFORMITY cut No Cross No Crown in about forty days over the course of a year. “We took our time and didn’t put any pressure on ourselves,” Keenan says. “I’d go up from New Orleans and we’d do four or five days at a time, just hacking away at it. It was fun because we did it like a demo, but in a studio. We were writing and putting it on tape at the same time. We took what parts we thought were great from the old days and weren’t scared to go backwards. It kinda wrote itself that way.”

Some of these new jams sound like could’ve easily been on Wiseblood or Deliverance, two of CORROSION OF CONFORMITY’s most revered records. On No Cross No Crown, beefy Southern stompers like “The Luddite,” “Little Man,” and “Forgive Me” are interspersed with melancholy guitar interludes like “No Cross,” “Matre’s Diem,” and “Sacred Isolation” — just like Sabbath used to do in the ’70s. “We started doing that on Deliverance,” Keenan points out. “My theory on that is that if you’re trying to make a record flow, you need to break it up a little. When you need a breather, write an interlude. I like writing those mellow pieces just to space things out and make the next thing come in heavier.”

The album’s iconic title comes from a recent tour stop in England. “We were playing this old church from like the 1500s that had been turned into a performing arts center,” Keenan recalls. “The dressing room had stained glass windows and one of them showed this poor fella being persecuted. Underneath it said, ‘no cross no crown.’ So I just took that idea. We’re not trying to be on a soapbox, but we used it as a catalyst to write songs around.”

Which is to say that No Cross No Crown has a lot less to do with politics or religion than its title implies. “I think everyone needs to get away from that mindset in general,” Keenan offers. “It just seems to be a mess out there nowadays. We need to get back to being humans and taking care of each other and simple things like that. For us, the terminology ‘no cross no crown’ is a theme. It’s mentioned in like three songs throughout the album. We just weaved it through as we went.”

No Cross No Crown stands as irrefutable proof of CORROSION OF CONFORMITY’s ability to overcome. “CORROSION OF CONFORMITY and the prior records I’ve done with them didn’t just go away,” Keenan observes. “It’s an honor to be back out there and have an opportunity to do it again in a real way and not some washed-up reunion thing. Even before we wrote the record, we were out there for a year seeing there was a demand for it and that there was a void that we could fill. That’s been CORROSION OF CONFORMITY’s deal from day one. We’re not chasing anybody around. We’re not gonna worry about what the new trends are. CORROSION OF CONFORMITY is CORROSION OF CONFORMITY.”

No Cross No Crown will be released via Nuclear Blast Entertainment worldwide on January 12th, 2018 on CD, digital, vinyl, and cassette formats. Various preorder bundles are currently available at THIS LOCATION.

No Cross No Crown Track Listing:
1. Novus Deus
2. The Luddite
3. Cast The First Stone
4. No Cross
5. Wolf Named Crow
6. Little Man
7. Matre’s Diem
8. Forgive Me
9. Nothing Left To Say
10. Sacred Isolation
11. Old Disaster
12. E.L.M.
13. No Cross No Crown
14. A Quest To Believe (A Call To The Void)
15. Son And Daughter

In advance of the release of No Cross No Crown, CORROSION OF CONFORMITY will join Black Label Society for a mammoth North American live takeover. The tour begins December 27th, 2017 in Denver, Colorado and will wind its way through nearly four dozen cities, the journey coming to a close February 27th, 2018. Additional support will be provided by Eyehategod and Red Fang on select shows. See all confirmed dates below.

CORROSION OF CONFORMITY w/ Black Label Society, Eyehategod (12/29 – 1/20; 2/11 – 2/27), Red Fang (1/26 – 2/9):
12/27/2017 Ogden Theatre – Denver, CO
12/29/2017 Anthem at Hard Rock Hotel & Casino – Sioux City, IA ^
12/30/2017 Uptown Theater – Kansas City, MO ^
12/31/2017 Pop’s Nightclub – Sauget, IL^
1/02/2018 Sokol Auditorium – Omaha, NE^
1/03/2018 House Of Blues – Chicago, IL ^
1/04/2018 Egyptian Room at Old National Centre – Indianapolis, IN ^
1/05/2018 The Fillmore Detroit – Detroit, MI ^
1/07/2018 Upstate Concert Hall – Clifton Park, NY ^
1/08/2018 M Telus – Montreal, QC ^
1/09/2018 Rebel – Toronto, ON ^
1/10/2018 20 Monroe Live – Grand Rapids, MI ^
1/12/2018 Diamond Ballroom – Oklahoma City, OK ^
1/13/2018 Bomb Factory – Dallas, TX ^
1/14/2018 Emo’s – Austin, TX ^
1/15/2018 House Of Blues – Houston, TX ^
1/17/2018 House Of Blues – New Orleans, LA ^
1/18/2018 Marathon Music Works – Nashville, TN ^
1/19/2018 Bogart’s – Cincinnati, OH ^
1/20/2018 Center Stage – Atlanta, GA ^
1/26/2018 Jannus Live – St. Petersburg, FL *
1/27/2018 House Of Blues – Myrtle Beach, SC *
1/28/2018 The Ritz – Raleigh, NC *
1/29/2018 The Fillmore Silver Spring – Silver Spring, MD *
1/31/2018 PlayStation Theater – New York, NY *
2/01/2018 The Palladium – Worcester, MA *
2/02/2018 Aura – Portland, ME *
2/03/2018 Electric Factory – Philadelphia, PA *
2/05/2018 Town Ballroom – Buffalo, NY *
2/06/2018 The Goodyear Theater at East End – Akron, OH *
2/07/2018 Stage AE – Pittsburgh, PA *
2/08/2018 Eagles Ballroom Club Stage – Milwaukee, WI *
2/09/2018 Myth Live – St. Paul, MN *
2/11/2018 O’Brians Event Centre – Saskatoon, SK ^
2/12/2018 The Ranch Roadhouse – Edmonton, AB ^
2/14/2018 Commodore Ballroom – Vancouver, BC ^
2/16/2018 Bowes Event Center at Revolution Place – Grande Prairie, AB ^
2/17/2018 MacEwan Hall – Calgary, AB ^
2/19/2018 Showbox SoDo – Seattle, W ^
2/20/2018 Roseland Theater – Portland, OR ^
2/21/2018 Ace Of Spades – Sacramento, CA ^
2/23/2018 House of Blues – Las Vegas, NV ^
2/24/2018 The Marquee – Tempe, AZ ^
2/25/2018 Sunshine Theater – Albuquerque, NM ^
2/27/2018 The Fonda Theatre – Los Angeles, CA ^
^ Dates With Eyehategod
* Dates with Red Fang

CORROSION OF CONFORMITY is:
Pepper Keenan – vocals, guitar
Woodroe Weatherman – guitar
Mike Dean – bass, vocals
Reed Mullin – drums, vocals

http://www.coc.com
http://www.facebook.com/corrosionofconformity
http://www.twitter.com/coccabal
http://www.nuclearblast.com
http://www.facebook.com/nuclearblastusa

Corrosion of Conformity, “Cast the First Stone”

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Quarterly Review: The Necromancers, The Asound & Intercourse, Bohr, Strobe, Astrosaur, Sun Q, Holy Mount, Sum of R, IIVII, Faces of the Bog

Posted in Reviews on September 25th, 2017 by JJ Koczan

the obelisk quarterly review

The season is changing here in the Northeastern part of the US. Leaves have just barely started to change, and the summertime haze that settles over the region for for the better parts of June, July and August has largely dissipated. It’s getting to be hoodie weather after the sun goes down. This past weekend was the equinox. All of this can only mean it’s time for another Quarterly Review — this one spanning a full Monday-to-Monday week’s worth of writeups. That’s right. 60 albums between now and a week from today. It’s going to be a genuine challenge to get through it all, but I’m (reasonably) confident we’ll get there and that when we’re on the other side, it will have been completely worth the lengthy trip to get there. Hell, you know the drill by now. Let’s not waste any time and get to it, shall we?

Quarterly Review #1-10:

The Necromancers, Servants of the Salem Girl

the-necromancers-servants-of-the-salem-girl

A noteworthy debut from the Poitier, France-based four-piece The Necromancers, whose coming has been much heralded owing in no small part to a release through Ripple Music, the six-track/41-minute Servants of the Salem Girl lumbers through doom and cultish heavy rock with likewise ease, shifting itself fluidly between the two sides on extended early cuts like opener “Salem Girl Part I” and the nine-minute “Lucifer’s Kin,” which gets especially Sabbathian in its roll later on. The album’s midsection, with the shorter cuts “Black Marble House” (video premiere here) and “Necromancers,” continues the flow with a general uptick of pace and ties together with the opening salvo via the burly vocals of guitarist Tom, the solo work of Rob on lead guitar, and the adaptable groove from bassist Simon and drummer Ben, and as the penultimate “Grand Orbiter” engages moody spaciousness, it does so with a refusal to commit to one side or the other that makes it a highlight of the album as a whole. The Necromancers finish contrasting rhythmic tension and payoff nod on “Salem Girl Part II,” having long since thoroughly earned their hype through songwriting and immediately distinct sonic persona. There’s growth to do in melodicism, but for being “servants,” The Necromancers show an awful lot of command in structure and style.

The Necromancers on Thee Facebooks

Ripple Music website

 

The Asound & Intercourse, Split 7″

the asound intercourse split

Noise is the order of things on the Tsuguri Records split 7” between New Haven, Connecticut’s good-luck-Googling aggressives Intercourse and North Carolinian sludge rockers The Asound. Each band offers a two-song showcase of their wares, with Intercourse blasting short jabs of post-hardcore/noise rock angularity on “Too Fucked to Yiff” and “Corricidin is a Helluva Drug” and The Asound bringing a more melodic heavy rock swing to “Slave to the Saints” while saving a more galloping charge for “Human for Human.” It’s a quick sampling, of course, and “Slave to the Saints” is the relative epic inclusion as the only one over three minutes long – it goes to 4:20, naturally – but boasts a surprisingly professional production from The Asound and an unhinged vibe from Intercourse that meets them head on in a way both competitive and complementary to the aggression of “Human for Human.” Fodder for the bands’ merch tables in its limited-to-300, one-time-only pressing, but there’s hardly anything wrong with that. All the more worth grabbing it if you can, while you can.

The Asound on Thee Facebooks

Intercourse on Thee Facebooks

Tsuguri Records on Thee Facebooks

 

Bohr, Bohr

bohr bohr

Officially called Self-Title, this two-song outing released by Tandang Records and BTNKcllctv serves as the first release from Malaysia’s Bohr, and with shouts and growls duking it out over massive plodding tones on opener “Voyager,” they seem to take position right away in the post-Conan verve of megadoom. Peppered-in lead work showcases some welcome nuance of personality, but it’s the second track “Suria” that trips into more surprising terrain, with a faster tempo and something of a letup in thickness, allowing for a more rocking feel, still met with shouted vocals but hinting at more of a melodic reach nonetheless. The shift might be awkward in the context of a full-length, but on a debut single/EP, it works just fine to demonstrate what may or may not be a nascent breadth in Bohr’s approach. They finish “Suria” with hints of more to come in a plotted guitar lead and are done in about 10 minutes, having piqued interest with two disparate tracks that leave one to wonder what other tricks might be up their collective sleeve.

Bohr on Thee Facebooks

Tandang Records on Bandcamp

BTNKcllctv on Bandcamp

 

Strobe, Bunker Sessions

strobe bunker sessions

It’s worth noting outright that Strobe’s Bunker Sessions was recorded in 1994. Not because it sounds dated, but just the opposite. The Sulatron Records release from the under-exposed UK psychedelic rockers finds them jamming out in live-in-studio fashion, and if you’d told me with no other context that the resultant six-track/40-minute long-player was put to tape two months ago, I’d absolutely have believed it. This would’ve been the era of their 1994 third album, The Circle Never Ends, and while some can hear some relation between that and Bunker Sessions in the shimmering lead and warm underscoring basslines of 10-minute opener and longest track (immediate points) “Sun Birth,” the drift in “Chameleon Earth,” synth-laden space rock meandering of “Opium Dreams” and cymbal-wash-into-distortion-wash of closer “Sun Death” are on a wavelength of their own. It’s something of a curio release – a “lost album” – but it’s also bound to turn some heads onto how ahead of their time Stobe were in the ‘90s, and maybe we’ll get lucky and Sulatron will use it to kick off a full series of convenient LP reissues.

Sulatron Records on Thee Facebooks

Sulatron Records webstore

 

Astrosaur, Fade In / Space Out

astrosaur-fade-in-space-out

While their moniker brings to mind pure stoner idolatry, Oslo instrumentalists Astrosaur acquit themselves toward more progressive fare with Fade In // Space Out, their Bad Vibes Records debut album, finding open spaces in bookending extended opener “Necronauts” and the dramatic shift between droning experimentalism and weighted lumber of the closing title-track even as middle cuts “Space Mountain,” “Yugen” and “Fishing for Kraken” balance with fits of driving progressive metallurgy. Comprised of Eirik Kråkenes, Steinar Glas and Jonatan Eikum, Astrosaur do get fuzzy for a bit on “Yugen,” but by the time they’re there, they’ve already space-doom-jazzed their way through such a vast aesthetic swath that it becomes one more stylistic element in fair-enough play. Open in its structure and building to an affecting cacophony in its ending, Fade In // Space Out is defined in no small part by its stylistic ambition, but whether it’s in the head-spinning initial turns of “Fishing for Kraken” or the stretch of peaceful, wistful guitar after the seven-minute mark in “Necronauts,” that ambition is admirable multifaceted and wide-reaching.

Astrosaur on Thee Facebooks

Bad Vibes Records website

 

Sun Q, Charms

sun q charms

There’s an encouraging and decidedly pro-shop fullness of sound being proffered on Sun Q’s debut full-length, Charms, to match an immediate sense of songcraft and stylization that puts them somewhere between heavy psych and more driving fuzz rock. Vocalist Elena Tiron takes a forward position in opener “Petals and Thorns” over the briskly-captured tones from guitarist Ivan Shalimov and bassist Denis Baranov while drummer Pavel Poseluev pushes the proceedings along, and whether they’re bringing in Seva Timofeev’s Hammond for the subsequent bluesy vibing of “After This,” toying with pop playfulness on “Plankton,” giving Andrey Tanzu percussive room on “Dancing Souls” or going full-expanse on keyboard-laden centerpiece and aptly-titled longest cut “Space,” there’s purpose behind the variety on offer and Sun Q never seem to lose their sense of poise throughout. There are moments where the bite of the production hits a little deep – looking at you, “Plankton” – but especially as their debut, Charms lives up to the name it’s been given and establishes these Moscow natives as a presence with which to be reckoned as they move forward.

Sun Q on Thee Facebooks

Sun Q on Bandcamp

 

Holy Mount, The Drought

holy mount the drought

White Dwarf Records picked up what by my count is Holy Mount’s fourth full-length, The Drought, for a vinyl issue following the Toronto foursome’s self-release last year, and with the immersive, dense heavy psych nod of “Division,” it’s little wonder why. The seven-cut LP is the second to feature the lineup of Danijel Losic, Brandon McKenzie, Troy Legree and Clayton Churcher behind 2014’s VOL, and its moments of nuance like the synth at the outset of “Blackened Log” or the blend of tense riffing and post-The Heads shoegaze-style vocal chants on the markedly insistent highlight cut “Basalt” only further the reasoning. The penultimate “Blood Cove” returns some to of the ritual sense of “Division,” and The Drought’s titular finale pierces its own wash with a lead that makes its apex all the more resonant and dynamic. Not nearly as frenetic as its cover art would have you believe, the already-sold-out vinyl brims with a vibe of creative expansiveness, and Holy Mount feel right at home in its depths.

Holy Mount on Thee Facebooks

White Dwarf Records webstore

 

Sum of R, Orga

sum of r orga

Over the course of its near-hour runtime, Orga, the Czar of Crickets-issued third full-length from Bern, Switzerland, ambient outfit Sum of R deep-dives into droning atmospheric wash while effectively producing headphone-worthy depths and avoiding the trap of redundant minimalism. Chimes in a song like “Desmonema Annasethe” and ringing bells in “We Have to Mark this Entrance” give a feeling of lushness instead that serves the release well overall, and these details, nuances, take the place of what otherwise might be human voices coursing through the bleak mire of Orga’s progression. One might look to closing duo “Let us Begin with What We Do Not Want to Be” and “One After the Other” for some sense of hopefulness, and whether or not it’s actually there, it’s possible to read it into the overarching drone of the former and the percussive movement of the latter, but by then Sum of R have well set the mood in an abiding darkness, and that remains the prevailing vibe. Not quite dramatic or brooding in a human/emotional sense, Orga casts its drear in soundscapes of distant nighttime horizon.

Sum of R website

Czar of Crickets Productions website

 

IIVII, Invasion

iivii invasion

Noted graphic artist and post-metal songwriter Josh Graham – formerly visuals for Neurosis, but also art for Soundgarden and many others, as well as being known for his work with A Storm of Light and the woefully, vastly underrated Battle of Mice – makes his second ambient solo release in the form of IIVII’s Invasion on Belgian imprint Consouling Sounds. A soundtrack-ready feel pervades the nine tracks/44 minutes almost instantly and holds sway with opener “We Came Here from a Dying World (I)” finding complement in the centerpiece “Tomorrow You’ll be One of Us (II)” and a thematic capstone in closer “Sanctuary,” only furthering the sense of a narrative unfolding throughout. There are elements drawn in “Unclouded by Conscience” from the atmospheric and score work of Trent Reznor and/or Junkie XL, but Graham doesn’t necessarily part with the post-metallic sense of brooding that has defined much of his work even as the pairing of “We Live” and “You Die” late in the record loops its way to and through its dramatic apex. Obviously not going to be for everyone, but it does make a solid argument for Graham as a composer whose breadth is still revealing itself even after a career filled with landmarks across multiple media.

IIVII on Thee Facebooks

Consouling Sounds website

 

Faces of the Bog, Ego Death

faces-of-the-bog-ego-death

In some of their shifts between atmospheric patience and churning intensity – not to mention in the production of Sanford ParkerFaces of the Bog remind a bit of fellow Windy City residents Minsk on their DHU Records debut album, Ego Death, but prove ultimately more aggressive in the thrust of “Drifter in the Abyss” and the later stretch of “The Serpent and the Dagger,” on which the guitars of Mark Stephen Gizewski and Trey Wedgeworth (both also vocals) delve into Mastodonic leads near the finish to set up the transition into the 10:33 title-track, which begins with a wash of static noise before Paul Bradfield’s bass sets up the slow nod that holds sway and only grows bigger as it presses forward. That cut is one of two over the 10-minute mark, and the other, closer “Blue Lotus,” unfolds even more gradually and ventures into cleaner vocals presaged on “The Weaver” and elsewhere as it makes its way toward an album-payoff crescendo marked by drummer Danny Garcia’s thudding toms and a low end rumble that’s as much a presence unto itself as a harbinger of progression to come.

Faces of the Bog on Thee Facebooks

DHU Records webstore

 

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Demon Eye Announce Fall Shows

Posted in Whathaveyou on August 29th, 2017 by JJ Koczan

You can hear it now in its entirety, but Demon Eye‘s Prophecies and Lies (review here) is still more than a week off from its actual US release date of Sept. 8. Does that mean you’re getting away with something hearing it early? Yeah, probably not, but whatever. The North Carolinian heavy/garage/proto/doom/and-so-on specialists always deliver in terms of songwriting and the new record’s no exception. I’m glad to see they’ll be getting out a bit and supporting the record in the coming months. It’s not a five-week, nonstop, in-the-van-on-the-road tour or anything like that, but some choice shows throughout the South and Midwest coming up between now and December, and every little bit counts.

I feel like you don’t need me to tell you things like “go see good bands,” but yeah, go see good bands. The following brief update from the PR wire tells you where this one will be available for just that purpose:

demon eye

DEMON EYE: North Carolina Occult Metal Collective Announces Fall Live Dates; Soulseller-Bound Prophecies And Lies Full-Length To See North American Release Next Month

Occult metal collective DEMON EYE will embark on a bout of live performances through Virginia, Pennsylvania, Michigan, Indiana, and their home state of North Carolina this fall. The band’s latest run of dates come in conjunction with the release of their newest full-length, Prophecies And Lies.

Out now in Europe, Prophecies And Lies was captured by Corrosion Of Conformity’s Mike Dean and finds DEMON EYE’s fiery fusion of heavy classic rock, proto metal, and traditional doom at its most intense to date. A monolithic display of mighty riffs, haunting melodies, and fist-raising anthems, DEMON EYE conjures vintage, heavy darkness for modern day evils.

Prophecies And Lies will be released in North America on September 8th. For US CD preorders go to THIS LOCATION. For US LP preorders go to THIS LOCATION. For orders outside of the US, go HERE.

DEMON EYE:
9/29/2017 Strange Matter – Richmond, VA
9/30/2017 The Taphouse – Norfolk, VA w/ The Norfolk Nightmares
10/04/2017 Neptune’s – Raleigh, NC w/ Man Forever
11/15/2017 The Garage – Winston Salem, NC w/ Lords Of Mace
11/16/2017 Howlers – Pittsburgh, PA w/ Horehound
11/17/2017 Small’s – Detroit, MI
11/18/2017 Taps Live – Indianapolis, IN w/ Karma To Burn
12/01/2017 Snug Harbor – Charlotte, NC

http://www.facebook.com/demoneyenc
http://www.demoneye.bandcamp.com
http://www.demoneyeofficial.com
http://www.soulsellerrecords.com

Demon Eye, Prophecies and Lies (2017)

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Six Dumb Questions with Demon Eye

Posted in Six Dumb Questions on August 8th, 2017 by JJ Koczan

demon-eye-photo-ken-trousdell

Over the course of three albums, North Carolinian four-piece Demon Eye have evolved a notably crisp, efficient and standout method of constructing memorable songs, and as it should, their latest offering marks the pinnacle of their achievement in this to-date. Out Aug. 11 via Soulseller Records, the 11-track Prophecies and Lies (review here) is the proverbial lean and mean execution of classic-influenced heavy rock given a modern aesthetic update. Marked out by the stylized dynamic between vocalist/guitarist Erik Sugg, lead guitarist Larry Burlison and the driving forward rhythm section of bassist/vocalist Paul Walz and drummer/vocalist Bill Eagen, Demon Eye‘s work stems from a core master plan dedicated to building an individualized sound around familiar structures, which is something neither easy to do nor often done as naturally as the Raleigh natives make it seem they’re doing it.

Veterans twice over of the Maryland Doom Fest and having earned a reputation for a particularly energetic delivery there and on just about every other stage they’ve taken, Demon Eye hit the studio this time around with founding Corrosion of Conformity bassist/vocalist Mike Dean at the helm. Dean‘s recordings often carry a distinct tonal sharpness, an edge that pervades the sound, and this suits the finished product of Prophecies and Lies in style and substance alike. Tempo shifts in cuts like “In the Spider’s Eye” and the engaging swing of “The Redeemer” are brought forth with underlying structural purpose as well as atmospheric breadth stemming not from self-indulgent meandering but from the tones, melodies and hooks that have become so much the staples of Demon Eye‘s approach.

Ahead of the release later this week, Sugg was kind enough to take some time out to discuss the band’s writing modus, their time in the studio with Dean, how Demon Eye feel about what they’ve accomplished three records into their ongoing tenure and more. Their release show for Prophecies and Lies takes place in Raleigh, NC, on Aug. 18 with Captain Beyond. More info on that can be found on the Thee Facebooks event page.

Please enjoy the following Six Dumb Questions:

demon eye prophecies and lies

When did the writing process start for Prophecies and Lies? Tell me about how the songs came together. Was there anything in particular you were looking to accomplish coming off of Leave the Light?

Generally most of our riffing is done individually. The classic, “dudes playing guitar alone in their bedrooms”-deal. But for the process with this album, one standout memory was when we were driving up to New England for a fest performance. Along the way we stayed in a Super 8 somewhere in Maryland and wrote a lot of ideas right there in the hotel room. Most of what was written that night ended up being what you hear on the record. Somewhere I still have the complimentary Super 8 notepad with all of the ideas written out. They have hilarious working titles, like “Erik’s Spidery Riff in D,” “Uncle Larry’s Acid in E,” “Voivod in G,” etc.

In terms of trying new things from the previous records, we wanted to try different dynamics with the music, like changing things rhythmically and structurally, while also making sure it still sounded like a Demon Eye record. We didn’t want people to listen to the new album and go, “Oh, this is their prog record.” For the first album there were a lot of occult/witchcraft themes. As the main songwriter for the band, that’s something I wanted to steer from. I enjoy that sort of thing and probably always will, but I didn’t want to pigeonhole us as being just another band who does that sort of thing.

Songwriting is always the element of Demon Eye’s work that strikes me the most. Do you have a specific approach to putting pieces together to make songs, or a general guiding philosophy for structure? Demon Eye sound like a modern band, but would you agree your songwriting might be the most classic element of what you do?

I would agree, yes. With our songs we basically just try to keep it simple and let things flow naturally. Most of our songs end up being the traditional verse/chorus/verse format. I tend to follow the philosophy of, “Why fix it if it ain’t broke?” Most of my favorite rock bands and heavy metal bands growing up did it like that. Songs like “Paranoid” and “The Prisoner” were more or less pop songs, simply by sticking to that format. Heavy pop songs, sure, but they had great hooks, powerful riffs, and well-crafted music that stayed with you and made you want to listen to them over and over again.

On the flipside of that philosophy I also love bands who write 10-20 minute epics. YOB, Sleep, and Electric Wizard are three of my favorite bands. I love their music dearly, but writing music in that style is not something I could do well. If Demon Eye ever tried to release a song like “Marrow” or “Holy Mountain” it would probably come off sounding forced and inauthentic. Maybe not, but it’s definitely not my particular comfort zone. I think it’s important to know your strengths. I believe our strengths are in the riffs, the melodies, and the basic song structures.

How was your time in the studio with Mike Dean? What is he like to work with as a producer, and what was behind your decision to have him work on the record? How long were you in the studio and what was the recording process like? What was the vibe as the album came together?

It was a total blast recording with Mike. He’s a hilarious guy with lots of energy and he works like a mad scientist. He’ll run around feeling completely inspired by one thing, then stop and shout, “Wait! Don’t do that! Forget that! Let’s try something else!” Mike’s a good friend so the vibe was very laid back. Just friends having a good time making music together. I think the overall timeline for the record, including mixing and mastering, was September of 2016 through January of 2017. Because Mike is very busy, and everyone in Demon Eye has so many different “life” obligations, we took our time and scheduled sessions pretty sporadically.

Prophecies and Lies is the third Demon Eye album. How do you feel about everything the band has been able to accomplish up to this point in your career? How do you feel about the audience you’ve been able to build and the response you’ve gotten live and to the three records?

Not to sound like a Pollyanna, but I am immensely grateful for all that we have. Our fanbase, the positive reviews, the opportunities we’ve been granted, the incredible people and bands we’ve had the chance to meet, etc. All of it. The thing with Demon Eye is that, in the beginning, we had zero intentions of doing anything outside of writing a few tunes and playing locally on occasion in front of like 20 of our friends. That was all we envisioned.

When our initial demo was recorded and put online, and then all the Internet activity and positive response came about (not to mention the record deal offer), we barely had time to process all of it. We were like, “Huh? This is really happening?!” It was very humbling. Sure, there’s more we’d like to do (like playing overseas and playing bigger fests), but we’re not the kind of guys who get bummed over what’s not happening. We are happy and grateful for what we do have, and it’s actually quite a lot. I look forward to doing more of what we’re doing now. More records, more performances, and meeting more amazing people.

Let’s talk lyrics. As a lyricist, do you see yourself more as telling a story or describing a theme? How much of Demon Eye’s lyrics are metaphors for real-world issues? You’ve delved into some pretty dark territory over the course of the albums. What has this allowed you to express, and how important do you feel the lyrics are to Demon Eye’s overall aesthetic?

It’s funny, because when I listen to my favorite bands the lyrics are typically the last thing I pay attention to. But with Demon Eye, I do take the lyrics seriously and feel they are important. For the last few records I have found myself focusing more on real-world issues.

If you play in a band that prefers darker song content, there is no shortage of material in the world today. Some days I’ll simply read the news and see what sort of madness is happening politically in this country. Sometimes I’ll find myself opening my perspective and seeing the evils that innocent people across the globe are forced to endure.

I used to work with children, and it was pretty sobering meeting a young mother who recently fled Syria with her two young daughters, only to arrive in America in time for a proposed ban on immigration. Those types of situations really make me think about the darker side of human nature and how it affects people who don’t deserve it.

Also, I don’t really talk about it much in interviews, but I’ve also dealt with a lot of mental illness and substance abuse issues in my life. After putting a lot of care into my health throughout the past decade (sobriety, lifestyle changes, etc.), it’s granted me the opportunity to explore things with a fresher perspective, and naturally, songwriting provides you with the chance to express yourself.

One thing I always try to do, though, is to make Demon Eye’s song content as universal as I possibly can. I try to think, “Now what would someone want to raise their fist and shout along to?” It may not always come out as intended, but it is something I strive for.

Demon Eye toured the West Coast in 2016 and has played Maryand Doom Fest two years in a row now Any plans, shows coming up or other closing words you want to mention?

Our record release show for Prophecies and Lies will be on Aug. 18 at the Pour House Music Hall in Raleigh, NC, with Captain Beyond. We are honored to celebrate the release of this album with such a legendary band. During the latter part of the year we are planning on heading throughout the Midwest again, and we also want to hit the Northeast and make our way south throughout Texas. We sincerely appreciate everyone’s support and hope that we have the chance to meet all of you in person!

Demon Eye, Prophecies and Lies (2017)

Demon Eye on Thee Facebooks

Demon Eye on Bandcamp

Demon Eye website

Soulseller Records website

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