Demon Eye to Release Prophecies and Lies Aug. 11; New Song Streaming

Posted in Whathaveyou on June 19th, 2017 by JJ Koczan

demon eye

Ahead of their appearance this coming weekend at Maryland Doom Fest 2017, North Carolina proto-style heavy rockers Demon Eye announce an Aug. 11 release date for their new album, Prophecies and Lies. Recorded by Mike Dean of Corrosion of Conformity and set for issue through Soulseller Records like the band’s preceding 2015 outing, Tempora Infernalia (review here), and their 2014 debut, Leave the Light (review here), the latest offering gets its first public preview in the opening track “The Waters and the Wild,” which you can stream at the bottom of this post.

I’m glad to say that the band’s knack for memorable songwriting seems to be intact in the new cut, and I mention same only because I’ve listened to it just once and it’s already stuck in my head. That’s kind of how Demon Eye roll.

Album details and audio came down the PR wire. Behold:

demon-eye-prophecies-and-lies

DEMON EYE – New album ‘Prophecies and Lies’ – Details and first track available

DEMON EYE are back with their third offering and another dose of their own blend of Heavy Classic Rock, Proto Metal and Traditional Doom!

“Prophecies and Lies” will be released on 11th August 2017 via Soulseller Records on CD, vinyl and in digital versions.

The new album was recorded by Mike Dean of CORROSION OF CONFORMITY in the band’s hometown of Raleigh, North Carolina, and displays a strong musical progression with mighty riffs, haunting melodies and fist-raising anthems. DEMON EYE are bringing vintage heavy darkness for modern times and current day evils.

Check out the album’s opening track, “The Waters and the Wild”, at this location: https://demoneye.bandcamp.com/track/the-waters-and-the-wild

Tracklist:
1. The Waters and the Wild
2. In the Spider’s Eye
3. The Redeemer
4. Kismet
5. Infinite Regress
6. Dying For It
7. Politic Devine
8. Power of One
9. Vagabond
10. Prophecies and Lies
11. Morning’s Son

Demon Eye live:
Jun 23 Cafe 611 Frederick, MD at Maryland Doom Fest 2017

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

Demon Eye, “The Waters and the Wild”

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Demon Eye and Disenchanter Announce West Coast Tour

Posted in Whathaveyou on March 7th, 2016 by JJ Koczan

Portland, Oregon’s Disenchanter will welcome North Carolinian doom rockers Demon Eye in April for a West Coast run presented by Nanotear Booking. To my knowledge, it marks Demon Eye‘s first trip out west, and for Disenchanter, it follows an EP compilation released on NoSlip Records and the announcement that they’ll take part in Psycho Las Vegas in August.

Demon Eye, meanwhile, will also play Maryland Doom Fest 2016 in June. Their second album, Tempora Infernalia (review here), was issued last year on Soulseller Records and they’ve supported it since playing local shows with the likes of Acid King and Pentagram. Guitarist/vocalist Erik Sugg was also recently announced as having joined Lightning Born, whose lineup features, among others, C.O.C. bassist Mike Dean.

More on that as I hear it. Here are the tour dates and more info:

demon eye disenchanter new poster

Our West Coast tour with Disenchanter will be happening soon! A huge thanks to Nanotear Booking!

Coming up in April: Demon Eye and Disenchanter West Coast tour!

The stars have aligned

Formed in May of 2011, rising from the ashes of the black machine, invoked after many moons, Disenchanter is a heavy rock band riding the currents of doom, casting riffs of rock, and melding the elixirs of metal to bring forth a fantasy of sci-fi wrapped in a stoner groove!

Demon Eye’s heavy grooves and thunder rhythms channel the doom and crush of Black Sabbath and Pentagram, and the fist banging shred of early ‘Maiden. The band has received international recognition for their highly acclaimed songcraft and their stunning live performances. Demon Eye remains hellbent on bringing their hook-laden, dark riffin’ songcraft to fans far and wide.

4/14 Seattle, WA – Highline
4/15 Portland, OR – High Water Mark
4/16 Grant’s Pass, OR – The Haul
4/17 Sacramento, CA – Blue Lamp
4/18 Pacifica, CA – Winter’s Tavern
4/19 San Jose, CA – The Caravan
4/20 Los Angeles, CA – Complex
4/21 San Diego, CA – Kensington Club
4/22 Los Osos, CA – Sweet Springs Saloon
4/23 Oakland, CA – Oakland Metro

https://www.facebook.com/demoneyenc/
https://demoneye.bandcamp.com/
https://www.facebook.com/DisenchanterPDX/
http://disenchanter.bandcamp.com/
https://www.facebook.com/Nanotear/

Demon Eye, Tempora Infernalia (2015)

Disenchanter, Strange Creatures (2015)

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Demon Eye Post New Video for “End of Days”

Posted in Bootleg Theater on September 18th, 2015 by JJ Koczan

demon eye

North Carolina semi-cultish heavy rockers Demon Eye released their second album, Tempora Infernalia (review here), in May through Soulseller Records. It was and is the follow-up to last year’s Leave the Light (review here) in literal and figurative terms, expanding on many similar ideas while also pushing further along the band’s progressive path. And Demon Eye have proved quickly that they have something to offer in their near-garage take on post-Pentagram doom, somewhere between the classic and the modern and nowhere near as unclear about what they want to do as I seem to be about describing it, but more than their stylistic nuance, what really excites about their work thus far is the core of songwriting underneath.

There’s something to be said about the strength of underlying structure in songcraft and the various shapes of material one might build on such a solid foundation, and to me, Demon Eye just prove that. They’re not blindsiding anybody with technicality, and nor are they all-style-over-substance when it comes to their aesthetic choices, but they write memorable songs, and by focusing on that first, allow the rest to fill in naturally. Case in point is “End of Days” from Tempora Infernalia. Guitarist/vocalist Erik Sugg, drummer/vocalist Bill Eagen, bassist Paul Walz and lead guitarist Larry Burlison aren’t exactly subtle in terms of perspective, but the impact of the song is even more about its hook and how goddamn catchy it is. Thus far, I’ve heard nothing from Demon Eye to make me think they won’t continue to grow within this methodology.

And as I say, they have aesthetics to offer as well, as the new video for “End of Days” demonstrates. Demon Eye already shared the stage this week with Mos Generator and The Atomic Bitchwax, and they have shows coming up in the next few weeks with Lo-Pan and Acid King as well. Dates follow the clip.

Enjoy:

Demon Eye, “End of Days” official video

From “Tempora Infernalia,” courtesy of Soulseller Records. Video was compiled, created and edited by Carmen Parks and the Mystery Machine.

NEW OFFICIAL VIDEO for END OF DAYS! A huge thanks to The Mystery Machine. See Demon Eye at the upcoming shows:

9/24 – Spacebar in Columbus, OH w/ BEGGARS & LO-PAN
9/25 – Live Wire in Chicago, IL w/ LADIES OF LEISURE & CROSS HAMMER
9/26 – Detroit, Michigan w/ THE BEGGARS (Detroit)
10/24 – Kings Barcade in Raleigh, NC w/ ACID KING

Demon Eye on Thee Facebooks

Soulseller Records

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Demon Eye, Tempora Infernalia: In the Fire and of It

Posted in Reviews on August 11th, 2015 by JJ Koczan

demon eye tempora infernalia

From Raleigh, North Carolina, the dual-guitar foursome Demon Eye rode out of the gate strong on the songwriting of their first full-length, 2014’s Leave the Light (review here), a straightforward but still atmospherically-minded collection of cultish-themes and prime riffs that was likewise unpretentious and preaching to the genre-converted. The inevitable sophomore outing, also released on Soulseller Records, is Tempora Infernalia, which follows suit from its predecessor in its thematic — though one could argue the cult vibes are less direct here — and overall sonic foundation. There are shades of Pentagram-style doom with Uncle Acid‘s newer-modus swing, though it irons out to an able execution of doom rock either way, and Tempora Infernalia is at very least that.

Its 40 minutes/10 tracks are efficiently constructed and come out clean even as they seem to revel in dirt, guitarists Erik Sugg (also vocals) and Larry Burlison (lead), bassist/vocalist Paul Walz and drummer/vocalist Bill Eagen resounding in their cohesion as the record plays out, Sugg and Burlison leading the charge from opener “End of Days” onward, a ’70s boogie meeting early in uptempo pulse with doomly roll, the vocals furthering the retro vibe that’s balanced throughout with modernity of production. And that’s pretty much the story. Demon Eye are obviously capable songwriters, as they proved their first time out, and they have a clear idea of what they want to do with their sound, which they demonstrate plainly on these tracks in a manner that leaves very little room for argument.

And accordingly, I won’t argue against it. What I will say is that Tempora Infernalia feels like it was released a year after their debut, which of course it is. The actual timeline on when songs were written for both doesn’t really matter, what I’m talking about is more the level of progression between the two albums. Demon Eye started out knowing what they wanted to do, and with Tempora Infernalia, they’re doing it a second time. Cuts like “Listen to the Darkness” and side B’s shuffling “In the World, Not of It” are more than capable executions — the latter especially is a highlight that shifts the tempo slightly from the classic metallurgy of “Poison Garden” before it — but aren’t much more assured of their position than were “Edge of a Knife” or “Fires of Abalam” on the debut.

demon eye

The kicker there is the debut was already plenty assured, but for a band who hit the ground running in paying off the potential shown on their initial 2013 EP (all six songs from which were reused on the first album), one almost went into Tempora Infernalia expecting leaps and bounds from where they were a year ago, whereas the band’s project seems to be more centered around building a catalog of steady growth from one release to the next. Not an issue with the songs here — they even change things up in their approach with the “Solitude”-style penultimate placement of “Please, Father” before closer “Sons of Man” delivers the album’s nastiest hook — so much as with the context through which one enters into hearing them, but as someone who was impressed by the first record, the second stands behind it and affirms its motion rather than blowing it out of the water with the progression from one to the next.

That’s not to say Demon Eye haven’t grown at all in the last year. Leave the Light garnered fervent praise from underground circles, and the band accordingly took on the ’70s ethic of a quick follow-up. Fair enough. The vaguer threat of “I’ll be Creeping” and the speedy swing of “Black Winds” show a broader range for Tempora Infernalia and a willingness to try different ideas across a full-length span, while “See the Signs” reaffirms the craftsmanship that’s been the root of their appeal all along. Across the board, performances are air-tight, Sugg emerging as a frontman presence while not overplaying his hand in that regard, and the production and mixing of Alex Maiolo at Seriously Adequate Studio in NC are crisp in a way that adds to the momentum built as the record plays out.

A less-directly Satanic theme feels like a purposeful drive away from what they were doing on Leave the Light, and on repeat listens its blend of elder metal and newer heavy comes across as even more engaging, so while Demon Eye haven’t reinvented their or anyone else’s wheel with Tempora Infernalia, neither did they need to. Instead, they’ve set themselves on a steady path that mirrors the linear feel of their songwriting to produce a catalog of growth over a longer-term and more records. Whatever their method, all Tempora Infernalia really makes one do after listening to it is hope they keep working, however quickly they might or might not do so from here.

Demon Eye, “I’ll be Creeping”

Demon Eye on Thee Facebooks

Demon Eye on Bandcamp

Soulseller Records

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Quarterly Review: Horsehunter, Church, Corpse Light, Sunder, T-Tops, The Space Merchants, Etiolated, Blown Out, Les Discrets, Beast Modulus

Posted in Reviews on June 30th, 2015 by JJ Koczan

the obelisk summer quarterly review

Day one down and feeling good so far. Day two continues the thread of mixing more known quantities with bands either self-releasing or putting out demos, etc., and I like that. More than last time around — last quarter, if you want to use the business-y sounding language for it — I tried to really get a balance across this batch of reviews, posted yesterday and coming up over the next couple days. We’ll see how it works out when it’s over. It remains a ton of stuff, and I hope you dig it. Day two starts right now.

Quarterly review #11-20:

Horsehunter, Caged in Flesh

horsehunter caged in flesh

Pushing their way to the fore of Melbourne’s heavy surge, double-guitar four-piece Horsehunter proffer oppressive tonal crush on the four tracks of their 2LP Magnetic Eye Records debut, Caged in Flesh. The story goes that, unsatisfied the initial recordings weren’t heavy enough, the band – guitarists Michael Harutyanyan (also vocals) and Dan McDonald, bassist/vocalist Himi Stringer and drummer Nick Cron – went back into the studio and redid the entire thing. Mission accomplished. By the time 16-minute opener and longest track (immediate points) “Stoned to Death” is done, lungs are suitably deflated, spines are cracked, skulls cleaved, and so on. They’re hardly the only ones in the world to conjure formidable tonal heft, but it’s the deft changes in vocals – clean here, shouts there, more abrasive at the start of the title-track – and the sense of atmosphere in the three-minute penultimate interlude that really distinguish Horsehunter, as well as how smoothly that atmosphere integrates with the pummel in the second half of closer “Witchery,” attention to detail and awareness of the need for more than just sonic weight boding well for future progression.

Horsehunter on Thee Facebooks

Magnetic Eye Records on Bandcamp

Church, Unanswered Hymns

church unanswered hymns

A staggeringly heavy debut full-length from Sacramento, CA, five-piece Church, Unanswered Hymns was initially released digitally by the band and quickly picked up for a cassette issue by Transylvanian Tapes and forthcoming LP through Battleground Records. One gets the sense listening to the three extended tracks – 19-minute opener “Dawning” being the longest of the bunch (immediate points) – that those won’t be the last versions to come. Psychedelic doom blends seamlessly with vicious sludge extremity, creating a morass engulfing in its tones, spacious in its breadth and unrepentantly heavy, making it one of 2015’s best debut releases, hands down, and a glorious revelry in bleak tectonics that challenges the listener to match its level of melancholy without giving into an impulse for post-Pallbearer emotive theatrics. As thrilling as they are plodding, expect the echoes of “Dawning,” “Stargazer” and “Offering” to resonate for some time to come, and should Church show any predilection for touring in the next couple years, they have the potential to make a genuine impact on American doom. Yes, I mean it.

Church on Thee Facebooks

Transylvanian Tapes

Battleground Records

Corpse Light, Without Form

corpse light without form

Recorded in a day and released by Grimoire Records, the four-track Without Form is slated as the debut from Baltimore atmospheric doomers Corpse Light, but the band have had tracks come out in drips and drabs since getting their start as Ophidian in mid-2012, even if this is their first proper release. Either way, “The Fool” sets up an immediate and grim ambience, the churning lurch from guitarists Keiran Holmes and Don Selner and bassist Aurora Raiten set to roll by Lawrence Grimes (The Osedax) and given earthy aggression by the vocals of Jim Webb. “Lying in State” fleshes out these morose aggro vibes, but it’s with the drop-everything-and-kill peak of the subsequent “R Complex” that Corpse Light hit their angriest mark. If Without Form was just about that, it would be the highlight, but the album’s 29 minutes have more to offer than pissed off tonally-weighted post-hardcore, as closer “Kenophobia”’s clever turns and deceptive forward momentum demonstrate, though a touch of that kind of thing never hurts either.

Corpse Light on Thee Facebooks

Grimoire Records on Bandcamp

Sunder, Demo

sunder demo

Heavy psych four-piece Sunder will make their debut this summer through Tee Pee and Crusher Records with a 7” for “Cursed Wolf,” so consider this notice of the tracks on their not-for-public-consumption demo a heads up on things to come. Their “Deadly Flower” was streamed here this past April, and the band’s previous incarnation, The Socks, released their self-titled debut (review here) on Small Stone in 2014, but with songs like the key-laced stomper “Bleeding Trees,” the ‘70s rusher “Against the Grain,” and the Uncle Acid-style swinging “Daughter of the Snows,” the Lyon, France, outfit continue to refine a style drawing together different vibes of the psychedelic era. “Deadly Flower” was also distinguished by its key work, and as for “Cursed Wolf” itself, the melody reminds of proto-psych Beatles singles (thinking “Rain” specifically), but the groove still holds firm to a sense of weight that’s thoroughly modern, and by that I mean it sounds like 1972. Keep an eye out.

Sunder on Thee Facebooks

Tee Pee Records

T-Tops, T-Tops

t-tops t-tops

Granted not everyone is going to make this immediate association, but when I first saw the moniker T-Tops, I couldn’t help think of like C-grade generic stonerisms, songs about beer and pretending to be from the South and all that. If you experienced something similar in seeing the name, rest easy. The Pittsburgh trio of guitarist/vocalist Pat Waters (ex-The Fitt, Wormrigg), bassist Jason Orr (Wormrigg) and drummer Jason Jouver (ex-Don Caballero) are down with far more sinister punk and noise on their self-titled, self-released debut full-length, riding, shooting straight and speaking truth on cuts like “Wipe Down” and the catchy “Pretty on a Girl” after the tense sampling of “A Certain Cordial Exhilaration” turns over the power-push to “Cruisin’ for a Bruisin’.” “Ralphie” is probably an inside-joke if not a Christmas Story reference, but point is these guys are way less about-to-sing-about-muscle-cars than the name implies and their tight, crisp rhythmic turns come accompanied by vicious tonal force and an utter lack of bullshit, which is a scenario far preferable to that which one might otherwise expect.

T-Tops on Thee Facebooks

T-Tops on Bandcamp

The Space Merchants, The Space Merchants

the space merchants the space merchants

Issued by Aqulamb in the imprint’s standard 100-page art book/download format, the self-titled debut from fellow Brooklynites The Space Merchants seeks to draw a line between psychedelic rock and country. And not pretend country like people with a Johnny Cash fetish because he covered that Nine Inch Nails song one time – actual, bright, pastoral, classic country. Call the results psychtwang and applaud the effort, which works oddly well in a thoroughly vintage context to come across on “Mainline the Sun” like something from a lost ‘60s variety show. Parts of “One Cut Like the Moon” and the later fuzz of “One Thousand Years of Boredom” give away their modernity, but The Space Merchants’ push toward a stylistic niche suits them well, and the intertwined vocal arrangements from guitarist Michael Guggino, bassist Aileen Brophy and keyboardist Ani MonteleoneCarter Logan drums to round out the four-piece – add to the rich, welcoming feel that remains prevalent even as the eight-minute “Where’s the Rest of Life” slips into wah-soaked noise to finish out.

The Space Merchants on Thee Facebooks

Aqualamb on Bandcamp

Etiolated, Grey Limbs, Grey Skies

etoliated grey limbs grey skies

The undercurrent of black metal coursing beneath the surface of Etiolated’s debut full-length, Grey Limbs, Grey Skies, eventually comes to the surface in 10-minute opener “Internal Abyss” and 16-minute eponymous closer, which bookends, but in part it’s the tension of waiting for those rampaging surges that keeps one hooked to the Armus Productions release. Guttural death growls echo up from dense tonal reaches, and tempo shifts, whether in those longer tracks or three-minute lumbering slice “Futility” are fluid, the North Carolina five-piece executing a slow-grinding chug in centerpiece “Exsanguinate,” which seems like a murk without end until the 1:47 “For Your Hell” kicks into a speedier, more blackened rush, guest vocalist Ryan McCarthy joining guitarist/vocalists James Storelli and Walls, bassist Cody Rogers and drummer Elliot Thompson in furthering the already prevalent sense of extremism before “Etiolated,” after a surprisingly peaceful if brooding midsection, plods the album to a close. To say “not for the faint of heart” would be putting it lightly, but if I had a vest and if Etiolated had patches, the two parties would definitely meet up at some point in the near future.

Etiolated on Thee Facebooks

Armus Productions on Bandcamp

Blown Out, Planetary Engineering

blown out planetary engineering

It has not taken long for the discography of UK psych jammers Blown Out to become a populated murky cosmos of its own. Planetary Engineering is released on Oaken Palace Records and finds the three-piece of guitarist Mike Vest (also Bong, etc.), bassist John-Michael Hedley (also Pigs Pigs Pigs Pigs Pigs Pigs Pigs) and drummer Matt Baty (also the head of Box Records) exploring two mesmeric and sprawling instrumentals – one per side – that bend and flourish and hypnotize in organically-concocted swirl. Side A’s “Transcending Deep Infinity” tops 20 minutes and shifts from its spacey build to a low key groove at about 7:30 in, pulsing forward once more amid head-turning repetition, deep echoes and longform nod, culminating in a two-minute fadeout that brings forward “Thousand Years in the Sunshine,” an immediate bass groove and interstellar swirl no less trance-inducing than its predecessor. Cyclical drum fills morph over time behind the guitar and bass, and Planetary Engineering seems to push continually further out until, of course, it disintegrates, presumably as it crosses the galactic barrier.

Blown Out on Thee Facebooks

Oaken Palace Records on Bandcamp

Les Discrets, Live at Roadburn

les discrets live at roadburn

I was fortunate enough to have been in attendance at Het Patronaat in Tilburg when French post-black metallers Les Discrets took the stage at Roadburn 2013. As such, it’s with some trepidation I approach their Live at Roadburn recording on Prophecy Productions – the impression they made live wasn’t something I’d want potentially spoiled or brought to earth by a document proving it was just another set. With Neige of Alcest on bass with guitarist/vocalist Fursy Teyssier, Les Discrets proved to be something really special to those who, like me, were there to catch them, and the eight-track Live at Roadburn – fortunately – captures both the majestic lushness they brought with them and the underlying weight that seemed to add impact to the material. What might sound like post-production mixing on “L’Echappée” or the wash of “Chanson D’Automne” isn’t – it really was that beautiful and that perfectly balanced coming from the stage. A vastly underrated act and a document that reminds of how stellar they were without sullying the memory in the slightest.

Les Discrets on Thee Facebooks

Prophecy Productions

Beast Modulus, Beast Modulus

beast-modulus-beast-modulus

Brooklynite foursome Beast Modulus seem to care less about meshing with ideas of genre than sticking them in a meatgrinder and seeing what comes out. To wit the riotous chugging of “Cowboy Caligula,” and the blackened thrust of “WaSaBi!” on their self-released, self-titled outing, which leads to dueling growls and screams on the tonally weighted post-hardcore “Fabulous,” and the appropriately mathy turns of the thrashing “Tyranny of Numbers.” Inventive in their stylizations and in where the six songs included on the release actually go – hint: they go to “heavy” – the lineup of vocalist Kurt Applegate, guitarist Owen Burley, bassist Jesse Adelson and drummer Jody Smith have some post-Dillinger Escape Plan vibe in the calculated chaos of “Kalashnikov,” but closer “Killing Champion” is too impatient to even be held by that, the prevailing manic angularity of Beast Modulus ultimately crafting its own identity from the physical assault the music seems intent on perpetrating upon the listener.

Beast Modulus on Thee Facebooks

Beast Modulus on Bandcamp

 

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Demon Eye to Release Tempora Infernalia May 8

Posted in Whathaveyou on February 26th, 2015 by JJ Koczan

demon eye

North Carolinian cult-themed heavy four-piece Demon Eye are gearing up to release their second album, Tempora Infernalia, May 8 on Soulseller Records. The new record follows pretty quickly on the heels of early-2014’s debut, Leave the Light (review here), which was well received for its classic influences and catchy songwriting, cuts like “Fires of Abalam” and “From Beyond” immediately resonant in their riff-led hooks. As much of Leave the Light garnered its material from Demon Eye‘s prior demo/EP, 2013’s Shades of Black, this will mark their first long-player comprised of completely new songs. The debut wanted nothing for flow between its tracks, but it should be interesting to hear what Demon Eye have come up with this time around as they offer a bit of darkness to go with springtime.

Album info follows, as posted on their Thee Facebooks. Thanks to Kathleen Johnson for the tip:

demon eye tempora infernalia

DEMON EYE – New album details revealed!

Dark and groovy, loud and heavy – DEMON EYE are back! North Carolina’s occult hard rockers will release their new full-length entitled “Tempora Infernalia” on May 8th through Soulseller Records. The album was recorded and mixed by Alex Maiolo at Seriously Adequate Studio in Carrboro, NC and mastered by Pete Weiss at Verdant Studio in Southern Vermont.

The band’s sophomore release after last year’s highly acclaimed debut, “Leave the Light”, is a blast of wicked riffery and skilled songcraft that conjures apocalyptic visions of a world on the brink of destruction. The end is near, and we welcome its arrival!

Cover artwork (created by John Hitselberger, Raleigh NC)

Tracklist:
1. End Of Days
2. Listen To The Darkness
3. I’ll Be Creeping
4. See The Signs
5. Poison Garden
6. In The World, Not Of It
7. Black Winds
8. Give Up The Ghost
9. Please, Father
10. Sons Of Man

Line-Up:
Erik Sugg – Vocals, Guitars
Larry Burlison – Guitars
Paul Walz,- Bass
Bill Eagen – Drums, Vocals

https://twitter.com/DemonEyeNC
https://www.facebook.com/demoneyenc
http://demoneye.bandcamp.com/
http://www.soulsellerrecords.com/

Demon Eye, Leave the Light (2014)

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Should’ve Been Sooner: Demon Eye, Leave the Light

Posted in Reviews on August 14th, 2014 by JJ Koczan

“Better late than never,” or so the adage goes. If you’ve ever read more than two sentences on this site, chances are you’ve witnessed me complaining about being perpetually short on time, unable to fit in everything that I want to, etc. That’s been the case for at least the last four years. I’m always working at a deficit, and it’s usually just a question of whether or not I’m able to live with the level of behind that I am. In the case of Demon Eye‘s Leave the Light, I simply can’t take it anymore.

Released back in January on Soulseller Records, the debut long-player from the Raleigh, North Carolina, witch-rocking four-piece has haunted me — daily — as it has sat on the stack waiting to be reviewed, its righteously devilized jewel case cover burned into my consciousness no less than the cowbell-stomped chorus of “Adversary,” just one of the album’s 11 memorable exaltations of the left hand path. Comprised of guitarist/vocalist Erik Sugg, lead guitarist Larry Burlison, bassist/vocalist Paul Walz and drummer/vocalist Bill Eagen, Demon Eye owe much to early Pentagram‘s vaguely Luciferian swing and Sugg‘s touches of Eric Wagner influence go far in “Edge of the Knife” and the brooding “Fires of Abalam,” but they’re distinguished by proto-thrash riffing and ultimately wind up with an energetic, somewhat mystical concoction not entirely dissimilar in concept from Texas’ Venomous Maximus, though the
execution of Leave the Light works with its own blend.

To wit, opener “Hecate”‘s resonant hook and tradeoff of chugging and winding riffs and slower Motörhead spellcasting sets the stage for varied invocations of classic metal, but nowhere on Leave the Light do Demon Eye lose their heavy rock tonality or vibe. “Shades of Black” owes more to Thin Lizzy than Slayer, and the subsequent “Secret Sect” has a natural enough sound to namecheck Kadavar or Graveyard in terms of its ’70s loyalism. Side B branches out but remains catchy, with the shorter “Witch’s Blood” (2:47) setting up a moodier run with “Fires of Abalam” referencing Pentagram‘s “When the Screams Come” and delivering the band’s eponymous line while pulling back on the thrust to make “Devil Knows the Truth” sound even more motion-based, dueling leads just past the halfway point making it all the more a standout en route to “The Banishing,” which turns around the lyrical perspective to give Lucifer himself a chance to speak (anyone remember when Type O Negative did that for Black Sabbath‘s “Black Sabbath?”) and, before its 4:35 are done, earns a bit of sympathy for the devil to go with the classic heavy rock swagger, like Scorpions when they knew what was up.

demon eye leave the lightThe single-mindedness of a 46-minute full-length where just about every song is in one way or another about hellishness and ghouls and Satan and whatnot becomes a factor by the time Demon Eye get down to the closing duo of “From Beyond” and “Silent One” — both choice riffs, the latter locking into a groove every bit worthy to end the record — but what ultimately saves Leave the Light from monotony are the sonic shifts between the songs and the flow that the CD enacts as it plays out. It’s worth noting that, as their first outing, Leave the Light is remarkably consistent in the quality of its songcraft, and as six of these cuts — “Hecate,” “Witch’s Blood,” “Shades of Black,” “Fires of Abalam,” “Devil Knows the Truth” and “Silent One,” in that order — also appeared as Demon Eye‘s 2013 self-released debut EP, Shades of Black (a tape also came out through Sarlacc Productions), the band obviously knows a good thing when they hear it. Reusing one or two tracks from a first EP to first LP isn’t uncommon, but to incorporate all of them — and more importantly, to be right in doing so — shows a confidence in their approach that serves the band well as the other songs work their way between.

It really has been months that Leave the Light has worn on my mind, and though I feel a bit like writing this review is an exorcism, the songwriting here and the cohesiveness of Demon Eye in what’s still their early going (they got together in 2012) stand as testament to the fact that this won’t be the last time we hear from them. Next time around, I’ll be ready.

Demon Eye, Leave the Light (2014)

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Soulseller Records

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Corrosion of Conformity are Recording Their Next Album

Posted in Bootleg Theater on January 14th, 2014 by JJ Koczan

Last year, Corrosion of Conformity‘s Scion A/V-sponsored Megalodon EP continued to win the long-running North Carolina outfit favor in the wake of their 2012 self-titled (review here), their first album as a trio since 1985’s Animosity. As the studio footage of drummer Reed Mullin recording some vocal parts demonstrates, work on a follow-up is underway now.

It’s funny to think of a band who’ve been at it since 1982 — and who are back in their original lineup — as having something to prove, but with the C.O.C. audience contingent who can’t or don’t want to move beyond the fact that guitarist/vocalist Pepper Keenan isn’t in the band at this point and may or may not rejoin them at some future date (he’s in Down if you’re looking for him), the three-piece of bassist/vocalist Mike Dean (also Vista Chino), Mullin and guitarist Woody Weatherman seem to still be pushing against expectations born of their Deliverance era. I’m not going to argue that’s not a great, landmark record, but it was also 20 years ago, and you’re only cheating yourself if you miss out on the quality output from modern C.O.C. — who, again, are also the original C.O.C. — because of Keenan‘s absence.

My two cents. Check out Mullin belting out a new song below, followed by some PR wire info courtesy of the band’s label, Candlight Records and the link to the event page for their upcoming show at The Underworld in London on March 13:

C.O.C., Back in the Studio

Raleigh, North Carolina legends Corrosion Of Conformity are recording their next album, the follow-up to the well-received self-titled record issued via Candlelight Records in late February 2012, the reissue of their “Eye For An Eye” debut, and the released Scion A/V EP “Megalodon”. The forthcoming CD, untitled at this time, will again feature the trio of vocalist/bassist Mike Dean, guitarist Woodroe Weatherman, and drummer Reed Mullin. A new video clip from the studio can be seen below.

The initial work on the new album found the band not long out of the recording studio, having recently completed their “Megalodon” EP. The special EP was included free to all customers to the band’s official webstore. Dean said: “The EP was written, recorded, and released in two months’ time. It really challenged us in a good way.”

Formed in Raleigh 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, the band continues to find new fans via nonstop touring.

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Candlelight Records on Thee Facebooks

C.O.C. at the Underworld event page

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