Hey, I’m down for a Kirk Windstein record. Why the hell not? After 30-plus years of sludging it out in Crowbar, I’d say the dude has well earned the right to give it a shot. And the title-track for Windstein‘s Dream in Motion is streaming now and it sounds cool a little bit more mellow kind of way than Crowbar has been for the most part over their last couple records, which have veered more toward an aggressive modern metal sound, but what I really want to hear is The Man Himself taking on “Aqualung.” I love that record. And who the hell wouldn’t want to hear Windstein‘s voice telling that story? That’s an anchor for the record right there, but I’m intrigued at the whole thing as well, of course. If the title-track is anything to go by, what started as an impulse to do an acoustic record clearly became something much more complex.

The PR wire brings details and that video:

Crowbar’s Kirk Windstein to Release Debut Solo LP, ‘Dream in Motion’, January 24, 2020

Revered Southern Metal Progenitor Unveils Music Video for Highly-Anticipated LP’s Title Track; Album Art and Track Listing Revealed

Kirk Windstein, the highly respected sludge metal pioneer and unmistakable earthmoving bellow of Crowbar, stomps forward as a solo artist for the very first time. On January 24, 2020, Entertainment One (eOne) will proudly release ‘Dream in Motion’, Windstein’s singular debut and a recording that sees the Dark Lord of the Southern Riff stretch his creative wings and strengthen his indelible legacy.

A first taste of what Kirk’s solo debut holds in store can be experienced now as Windstein drops a video for the record’s title track. Directed by Justin Reich (Black Label Society, Royal Thunder), “Dream in Motion” makes its debut via Consequence of Sound/Heavy Consequence. Watch Kirk Windstein’s “Dream in Motion” video at this location.

Recorded in Windstein’s native Louisiana over a period of two years between tours and over holidays, ‘Dream in Motion’ is a powerfully moving recording that pulls from every corner of the riff king’s three-decade-plus career. The LP owns a lyrical depth, emotional weight, and musical muscle forged from the fires of thousands of worldwide live shows, a well-earned reputation for creating the melancholic melody that has become synonymous with New Orleans heavy metal, and a reflection on a life well-lived. Windstein’s solo foray is a heartfelt throwback to album-oriented-rock supremacy, eschewing the predictable acoustic record route for a more straight-ahead guitars approach, albeit one that’s no less soulful or meditative than Crowbar fans expect. Kirk handled all vocal duties, guitars, and bass on the album, with drums and effects by longtime producing partner and collaborator, Duane Simoneaux (Crowbar, Down, Exhorder).

The idea to record a solo album started out as, ‘I’m going to do an acoustic record,’ but that’s just so cliché, you know?” says Windstein. “Nothing against that, but It’s been done a million times. But I had been thinking about doing something a little more mellow for some time. It’s something I wanted to do, I needed to do. It’s another side of my songwriting, my personality. It’s another side of me. It’s something I did for myself. It’s not even that this isn’t heavy, because there are bits and pieces that are very heavy. But even the heaviest riff on this is something I couldn’t really do in Crowbar. If some Crowbar fans don’t like it, I’ll understand. But I hope people dig it.”

The end result is simply stunning. Single note guitar work, simple power chords, clean tones, thundering five string bass guitar, and standard tuning with nary a “drop” to be heard. “Dream in Motion,” which opens the record, is a barn burning rock n’ roll song with just a taste of aggressive attitude. “Hollow Dying Man” is all vibe, with huge melodies and a hardscrabble blue-collar authenticity. The record closes with a faithful rendition of one of Windstein’s most enduring favorites: “Aqualung,” the title track of Jethro Tull’s 1971 conceptual masterpiece.

Track listing:

1.) Dream In Motion
2.) Hollow Dying Man
3.) Once Again
4.) Enemy In Disguise
5.) The World You Know
6.) Toxic
7.) The Healing
8.) Necropolis
9.) The Ugly Truth
10.) Aqualung (Jethro Tull cover)

Pre-order ‘Dream in Motion’ at this location.

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Kirk Windstein, “Dream in Motion” official video

It seems unlikely to me, but apparently the last time I was at Starland Ballroom in Sayreville, New Jersey, was 2011? Not much has changed. They still have the big screen that comes down between bands to promote upcoming shows — a lot of pop-punk, some bigger metal, and DJ Pauly D will be there in December, just in case you forgot you were in NJ — and they still have the bars liberally strewn about the back and sides of the venue. I feel like I’ve spent significant time in that room in the past, but apparently not in the last eight years. It’s like I lived in a different state for most of that time or something. Huh.

Even the Old Bridge Militia — a name that sounds way more threatening than the reality of being dudes-who’ve-been-going-to-shows-since-probably-before-you-were-born-and-made-shirts-to-prove-it — came out for this one, and fair enough. It was the second to last night of Corrosion of Conformity‘s ‘A Quest to Believe: A Call to the Void’ Tour, an earlier leg of which already saw them on the road with Crowbar. Support this time for the two riffly titans was from Texas four-piece Quaker City Night Hawks and Columbus, Ohio’s own Lo-Pan, who’ve also been doing off-day shows with Crowbar such as that further north in Teaneck, NJ, on July 25 (review here), where they and Crowbar kicked off the tour early with a gig on their own at Debonair Music Hall.

The tour, which C.O.C. and Quaker City Night Hawks joined on July 26 in Poughkeepsie, NY, would wrap up the following evening in Providence, Rhode Island. Starland tapped local progressive rockers Elephant Talk to open, who were young — as in, actually young and no, it’s not just that 30-year-olds are starting to look like kids to me — and tight in kind, with a technical flourish to their play that was well met by the melodies of vocalist Ava Panza. I can’t really say they were my thing, but they held down that stage without question and their bassist’s periodic slaps added a bit of funk to the nuanced proceedings. They also threw in a drum solo, which, for a 20- or 25-minute set felt particularly bold. Kid earned it though, and also nailed it.

I interviewed Lo-Pan drummer Jesse Bartz before the show started (will post probably early next week or later this week; check back, it was a good talk), talking about the tour and a bit of how the different personalities in the band interact in life as well as on stage. I’ll say this, especially for having seen them just a month ago, I can’t remember the last time I caught a band who had their 1,000-yard stare working so hard on stage. Bartz was set up toward the front of the stage in a line with bassist Scott Thompson, vocalist Jeff Martin and guitarist Chris Thompson, and their set too would be short — six songs, all from earlier-2019’s Subtle (review here) — but they were so locked in that the time-to-hit-it feel was automatic.

No warm up, no getting their feet under them, nothing. Not playing, then playing; in that order. They looked and sounded like a band who’d been on the road for four weeks, in that they were doing their set, hell or high water, and that even if the power had gone out, I don’t think that would’ve stopped them. They were their own generators, and their output was as pro-shop as I’ve ever heard them sound in the last decade-plus. The material on Subtle was well suited to such a sharpened execution and it was enough to wonder which came first, the songs being so on point or the on point-ness of the band resulting in the songs.

A couple minutes maybe to breathe, but not much more than that before Quaker City Night Hawks took the Starland stage, playing classic-style Southern blues boogie, not afraid to throw in a little twang or a slow jam here and there amid all the soulful guitar and periodic three-part harmonies. I’d purposefully gone into their set not knowing much of their stuff, but they released the acronymically-titled QCNH in back in March and sounded fluid easing into the sleek groove of “Fox in the Henhouse” from that record, which closed their set and featured a jump-on appearance on stage from C.O.C.‘s Pepper Keenan. It being C.O.C. and Crowbar‘s crowd primarily, some of the more country aspects went over a few heads in the crowd, but I suspect Quaker City Night Hawks made a lot of new friends on this tour, bands and fans alike.

Central Jersey’s special brand of shitkickers was out in full force by the time Crowbar went on, and the mosh that ensued kept up for Corrosion of Conformity as well. Of the New Orleans sludge legends, I’ll note that this was the third time I’ve seen them this year, and if they were coming around again, I’d think long and hard about going. Inimitable frontman Kirk Windstein ignited a couple chants of the band’s name and between familiar inclusions like “Walk with Knowledge Wisely,” “All I Had (I Gave),” “Cemetery Angels” and “Planets Collide,” as well as “To Build a Mountain” — always a highlight — and “To Carry the Load,” the latter taken from 1998’s Odd Fellow’s Rest, which Windstein noted from stage that they rediscovered an affection for as a result of playing the album in full for its 20th anniversary last year.

Crowbar‘s legacy goes without saying, but with Tommy Buckley on drums, Matt Buckley on guitar and Shane Wesley on bass, it was a vital impression the whole band made, not just Windstein. You just can’t, can’t, can’t fuck with seeing Crowbar live. It’s like a natural event. Creature in its habitat and whatnot. Further, when Kirk Windstein, who’s been at the heart of the band for 30 years, tells the crowd he loves them, I believe it. I don’t think he’s selling a line, or just filling dead air. This wasn’t the most thoroughly attended show I’ve ever seen Crowbar play, and neither was Teaneck, but they still absolutely crushed as only they could. Working band, giving the people what they want. The story would be simple as that if it wasn’t so rarely done at their level.

And as was the case earlier this year when I caught them in Boston, you’d be hard-pressed to come up with a better complement to close the night than Corrosion of Conformity playing after Crowbar. Though the long-running North Carolinian outfit are still ostensibly supporting 2018’s No Cross No Crown (review here), it’s worth noting that the set didn’t actually feature any songs from that record. Instead, it was heavy on Deliverance (discussed here) and Wiseblood (discussed here), with dips into America’s Volume Dealer for “13 Angels,” “Diablo Blvd.” and “Who’s Got the Fire” later on. Naturally, “Vote with a Bullet” from 1991’s Blind was aired — a song that, like the Old Bridge Militia, was made in a much, much different time than that in which we currently live — and “Stonebreaker” from 2005’s In the Arms of God got the crowd riled up early for a payoff that seemed to come with “The Door” from Wiseblood further into the set. “Albatross,” Born Again for the Last Time,” “Seven Days,” “King of the Rotten,” “Shake Like You,” “Wiseblood,” “My Grain” — these were the bulk of their time, and I’d like to think that’s because the band knows their regional audience has been with them for those decades. Maybe that’s just the idea for this leg of the tour.

I dug No Cross No Crown a lot, but I would, being a fan. It’s interesting to think they might already be moving past that album in favor of more familiar fare, considering that the more touring they do, the more they move beyond “reunion band” and into “working band” in their four-piece incarnation with Pepper Keenan alongside bassist/vocalist Mike Dean, guitarist/vocalist Woodroe Weatherman and drummer/vocalist John Green holding the spot for Reed Mullin. Still, I’d have to think some of the newer material, even if just a single, would make it into the set over the longer term, but the ‘A Quest to Believe: A Call to the Void’ Tour has newly announced a third leg, so maybe more of the No Cross No Crown stuff will pop back up for that. Could happen.

Somewhere right toward the end of Crowbar, I hit the wall h-a-r-d, and though I caught a second wind with about 10 minutes left, the ride home was far from my most graceful. I’d been up since 4AM, it was coming on midnight. No regrets though. Between seeing Crowbar and Lo-Pan on the front and back ends of the tour, getting to hear Quaker City Night Hawks for the first time and the ever-reliable righteousness of C.O.C., it was my little welcome-back-to-Jersey present to myself. Sure enough, it felt like home.

More pics after the jump if you’re interested. Either way, thanks for reading.

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Last time around, I actually managed to post the playlist for The Obelisk Show before Gimme Radio aired it, and I thought that worked pretty well, letting people know what was going to be on and all that. As it stands, I haven’t even had the chance to record the voice breaks yet for this one, but it’ll get done before airtime. Again, lots of new stuff this episode and a lot of it drawn from recent coverage around here, as well as some stuff that will be upcoming, whether it’s V‘s new single or the 20-minute Comacozer track that ends out.

That song and the We Lost the Sea track before it make up the final 35 minutes of the show. I wanted a couple longer tracks this time out, so between those, V, Monolord, Oblivion Reptilian and Hound the Wolves, I feel like we got there. There’s a couple rockers up front with Bison Machine, Blackwater Holylight and Lightning Born, but from then on pretty much all bets are off. I never know how that kind of thing will be received by the Gimme listenership, but screw it, I haven’t been fired yet, so I’ll take that for what it tells me. Not much, I suppose.

Dug these songs though. The Lightning Born, Sleeping Giant and The Black Wizards cuts were standouts from their respective albums, and the new Goatess single was just premiered elsewhere, but I’ll be covering the album too, so wanted to give that a chance to shine here. And a little bit of Crowbar seemed appropriate as I’ve already seen them once this month and plan to do so again before the month is out. Some bands you just can’t get enough.

Thanks for checking it out if you get the chance.

Here’s the full playlist:

The Obelisk Show – 08.16.19

Bison Machine	The Tower	Seas of Titan*
Blackwater Holylight	Motorcycle	Veils of Winter*
Lightning Born	Salvation	Lightning Born*
BREAK
The Black Wizards	Kaleidoscope Eyes	Reflections*
Sleeping Giant	Serpent	Sleeping Giant*
Oblivion Reptilian	Alien Shit	Fried on Rock*
Hound the Wolves	Godhead	Split with Glasghote*
BREAK
Crowbar	All I Had I Gave	Crowbar (1993)
Monolord	The Bastard Son	No Comfort*
V	Phantasmagoria	Led into Exile*
Goatess	Dunerider	Blood and Wine*
BREAK
We Lost the Sea	Towers	Triumph & Disaster*
Comacozer	Kykeneon Journey	Mydriasis*

The Obelisk Show on Gimme Radio airs every other Friday at 1PM Eastern, with replays every Sunday at 7PM Eastern. Next show is Aug. 30. Thanks for listening if you do.

Gimme Radio website

The Obelisk on Thee Facebooks

Teaneck, huh? On a Thursday? Yeah, alright. I’ll waddle down and check that out. One night ahead of starting their tour with Corrosion of Conformity, New Orleans sludgemasters Crowbar and Ohio fuzzy soul-lifters Lo-Pan made a stop at Debonair Music Hall — the former Mexicali Blues — in the suburb of Teaneck, New Jersey, with local modern sludgers Dutchguts opening. It doesn’t feel like a stretch to me to say heavy shows don’t happen every day in North Jersey. And if you’re not up on geography, that’s because right on the other side of that bridge and/or tunnel is New York City, which is where shows do happen every day and are generally guaranteed to draw more people. Seeing a band like Crowbar — or even Lo-Pan, for whom this was their second Jersey show — without having to cross the Hudson River at rush hour? The very least I could do would be to show up. So I did that.

Incidentally and maybe less surprising given their 30-plus-year history, it wasn’t Crowbar‘s first North Jersey show. They played a place called Obsessions in Randolph circa ’93 that’s long since gone, which I remember not because I was there — I was 12 — but from graffiti on the wall in the tiny room that was their “backstage” area. Whether or not they returned to the area between the two gigs, I couldn’t say.

They’d headline the early night, with Lo-Pan playing the middle of the three slots and Dutchguts kicking off the proceedings at 7:45PM sharp. The Debonair Music Hall at that point could not be accused of being overly populated, but there were several in the crowd who very clearly knew the four-piece, likely from the DIY scene they’ve built up around the Meatlocker basement venue in Montclair — though as I recall, someone in the band was local enough to me to know the bar Hoover’s on Rt. 53 when the subject came up years ago. Their take on sludge is more brash and less metal than Crowbar‘s, and it had clearly been a while since I last saw them. Like the better part of a decade, since I seemed to remember them as kids. Their roots were the same — big Eyehategod influence, some Converge, some other dark hardcore punk, plenty of tonal heft, and so on — but their delivery was 10 years wiser, more experienced and vicious.

Dutchguts will open for Eyehategod in Jersey City in September and that feels about right in terms of fit. Though their most recent outing is a 2017 split with Chained to the Dead (discussed here), they’ve done a fair amount of touring, including last month, and have something of a reputation that precedes them. I thought they were cool. After 10 years though, it might be time to put out an album if you’re ever going to. I’ll admit a 7″-only attitude is pretty punk, but still. A compilation, maybe?

How I found out about this show in the first place was hearing it from the guys in Lo-Pan last month before their set at Maryland Doom Fest 2019 (review here), and frankly, even with Crowbar on top of the bill, I was thinking of it as “the Lo-Pan show” in my head. This site is presenting their upcoming Fall European tour with Steak and Elephant Tree (dates here), and I knew from their Maryland set that they’d be playing mostly if not entirely material from their new album, Subtle (review here), which came out through Aqualamb in May. That indeed was the case, and though there was no “Ten Days” this time, having “Everything Burns,” “Law & the Swarm” and “Khan!” in the setlist gave Subtle its due, along with the near-mandatory “Ascension Day,” “Savage Heart” and “Sage.” I’ll be curious to hear how the set changes when they come back through Jersey (further south) with Crowbar and C.O.C. in just about one month.

About that: this was pretty much a warm-up show for them, as well as for Crowbar. The tour with C.O.C. headlining starts in Poughkeepsie at The Chance, and I guess they had occasion to make the show happen — picking up a bus in the Meadowlands, perhaps? — and it was a way to give them a leg-up on getting into the groove of the next month to come. Hey, I’ll take it however it comes, but the first night of a tour is always a specious time to see a band. They’re getting their feet under them. They’re tired from a long day of travel. They’re looking ahead to the weeks to come. They’ve not yet developed every tour’s inevitable thousand-yard-stare, locked-in, almost-traumatized sense of I-live-23-hours-to-play-for-one that they will have, say, after five or so nights of gigs in a row. Lo-Pan held it down, and so did Crowbar, but mostly that means that when they circle back, they’ll be that much more on fire.

Nonetheless, one appreciates seeing bands like this the way one appreciates the breaking of a humid Jersey heatwave. Pro-shop, get-on-stage-and-go professionalism is a marker of who a band are as players and a unit and Crowbar are unmistakable even besides that. Guitarist/vocalist Kirk Windstein thanked the crowd, including specifically a kid up front who couldn’t have been more than 10 if he was that — thereby, one assumes, making a fan for life — and they tore into their set with all the lumbering ferocity one could expect. This was my second time seeing them after catching the earlier leg of their tour with C.O.C. in Boston (review here), and whether it was that sold-out date or this Thursday night in Teaneck, Crowbar played their show regardless. It was great to see and of course they killed it, opening with “All I Had I Gave” and rolling “Lasting Dose” into “To Build a Mountain” early on.

It was mostly the same set from February, which is fair enough, but with “Conquering” included ahead of “Planets Collide” and “Like Broken Glass,” so I’ll go ahead and mark that a win if you don’t mind. A “pit” broke out of kids having fun during “To Build a Mountain” — that riff’ll do it — and the vibe on the whole was intimate, friendly and l-o-u-d. I wouldn’t have asked for anything more than that, if I’d felt entitled to ask in the first place.

The tour-proper will be a sight to see, with Quaker City Night Hawks and Corrosion of Conformity alongside Crowbar and Lo-Pan. This show, in addition to being my first-not-last time at Debonair Music Hall unless a piano falls on my head between now and the next one, gave me something to look forward to for August, served to remind of the strength of the local NJ underground, and took less than 35 minutes to drive home from when it was over, which was still on the relatively early end. I kind of felt like they were doing me a favor all the way around.

More pics after the jump. Thanks for reading.

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If it ain’t broke, don’t fix it. I can think of fewer tour pairings less broken than Corrosion of Conformity and Crowbar, who were out together co-headlining earlier this year on what turned out to be the first leg of a tour that will continue this July. Of particular note is the addition of Lo-Pan this time around, who’ll be out supporting their new record, Subtle. That record is a beast and they’ll no doubt bring an infusion of energy to the run as they provide support and Quaker City Night Hawks open. Starland Ballroom, you say? That’ll be just about the most Jersey shit ever, methinks. See you there.

Though I wouldn’t mind catching C.O.C. at the Psycho Swim party in Vegas either. Really I’ll take what I can get.

Dates follow from the pr IWRE:

CORROSION OF CONFORMITY Announces North American Summer Headlining Tour With Crowbar + Band To Headline Psycho Las Vegas Pre-Party And More!

CORROSION OF CONFORMITY will kick off the second leg of their North American headlining tour this July. The A Quest To Believe, A Call To The Void II Tour will commence on July 26th in Poughkeepsie, New York and run through August 25th in Providence, Rhode Island. Support will be provided by their comrades in Crowbar as well as Lo-Pan and Quaker City Night Hawks. Tickets go on sale this Friday at all local ticket outlets.

CORROSION OF CONFORMITY will also play a special one-off show with country singer Cody Jinks next month in addition to festival appearances at Rocklahoma, Heavy MTL, KISW’s Pain In The Grass, and a headlining performance at Psycho Swim, Psycho Las Vegas’ annual pool-bound kick-off party where the band will be joined by Lucifer, Danava, ASG, Primitive Man, and more. In October, CORROSION OF CONFORMITY will appear on the inaugural MegaCruise alongside Megadeth, Anthrax, Testament, Overkill, and so many others with more shows to be announced in the months to come. See all confirmed dates below.

No Cross No Crown is available on CD, digital, vinyl, and cassette formats. Various order bundles are available at nuclearblast.com/coc-nocrossnocrown.

CORROSION OF CONFORMITY:
5/09/2019 Coyote Joe’s – Charlotte, NC w/ Cody Jinks
5/24/2019 Rocklahoma – Pryor, OK

w/ Crowbar, Lo-Pan, Quaker City Night Hawks:
7/26/2019 The Chance – Poughkeepsie, NY
7/27/2019 Westcott Theater – Syracuse, NY
7/28/2019 Heavy MTL – Montreal, QC *
7/29/2019 Dallas Nightclub – Kitchener, ON
7/31/2019 Mercury Ballroom – Louisville, KY
8/01/2019 Elevation – Grand Rapids, MI
8/02/2019 The Rave II – Milwaukee, WI
8/03/2019 KISW’s Pain In The Grass @ White River Amphitheatre – Auburn, WA *
8/05/2019 Deluxe @ Old National Centre – Indianapolis, IN
8/06/2019 Pop’s – Sauget, IL
8/07/2019 Slowdown – Omaha, NE
8/10/2019 Fox Theatre – Boulder, CO
8/11/2019 Mesa Theater – Grand Junction, CO
8/13/2019 Knitting Factory Concert House – Boise, ID
8/14/2019 The Complex – Salt Lake City, UT
8/15/2019 Psycho Swim @ Daylight Beach Club – Las Vegas, NV *
8/16/2019 Encore – Tucson, AZ
8/17/2019 Sunshine Theater – Albuquerque, NM
8/19/2019 Come And Take It Live – Austin, TX
8/21/2019 1904 Music Hall – Jacksonville, FL
8/22/2019 The Tarheel – Jacksonville, NC
8/23/2019 Elevation 27 – Virginia Beach, VA
8/24/2019 Starland Ballroom – Sayreville, NJ
8/25/2019 Fete Music Hall – Providence, RI
10/13/2019 MegaCruise 2019 – Los Angeles, CA *
* COC only

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Corrosion of Conformity, “Wolf Named Crow” official video

Can it really be true that Crowbar have never been to Australia? They’ve been a band for nearly 30 years — longer if you count their time as The Slugs circa 1989 — and they’ve toured hard for much of that tenure. Not for Time Heals Nothing or Broken Glass? Damned odd.

But there you have it. The coming July stretch of three shows will reportedly be the New Orleans sludge kingpins’ first on Aussie soil, and having seen them less than a week ago as well as a few months back, I’ll happily note it’s a good time to catch Crowbar live. The band are locked in and the sets run a gamut from new material to old, and whether or not you think of Crowbar as a classic band, I guarantee by the time Kirk Windstein is done singing “Planets Collide,” you’ll be converted. Still pretty astounded they’ve never been there before, but hey, if the PR wire says it, who am I to argue?

Cheers to Your Mate Bookings on making it happen.

Dates follow:

Crowbar – Australia Tour 2019

Your Mate Bookings in conjunction with Get on the Stage and Fuzz Factory Touring proudly present the Pioneers of Sludge Metal, all the way from New Orleans, Louisiana, USA…. CROWBAR.

With a career spanning close to 30 years of astonishing sorrow and heavy riffage, Crowbar will finally make their debut in Australia this coming July 2019.

Releasing 11 studio albums, coupled with singles and music videos on various labels across the globe, Crowbar are inarguably considered in the heavy metal world as the undisputed heavyweight kings of Sludge. Current members of Crowbar include the Beard of Doom himself Kirk Windstein (Ex-DOWN feat Phil Anselmo) on guitar and vocals, Matt Brunson (Ex-Kingdom of Sorrow) on guitar, Tommy Buckley on drums and Shane Wesley on bass.

With only three shows in Brisbane, Sydney and Melbourne at their respective venues this tour is sure to sell out and stand as one of the most monolithic doses of sludge Australia has ever witnessed.

Crowbar Australia 2019:
Thursday July 25th – Crowbar, Brisbane
Friday July 26th – Crowbar, Sydney
Saturday July 27th – Max Watts, Melbourne

Tickets onsale now from www.oztix.com.au

***VIP Tickets available***

Crowbar is:
Kirk Windstein – guitar/vocals
Matt Brunson – guitar
Shane Wesley – bass
Tommy Buckley – drums

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Crowbar, “All I Had I Gave” Live in Oklahoma City, OK, Jan. 20, 2019

Not every venue in the Boston metro area has been turned into yuppie-fuckbox condos as yet, and so it was with what felt like due urgency I crawled out of my hole in the frozen New England ground and headed to town to catch Corrosion of Conformity headlining on a four-band bill shared with Crowbar, The Obsessed and Mothership. That urgency would smash face-first into a hurry-up-and-wait half-hour of driving around the block of the Brighton Music Hall looking for a place to park, but I still made it in time to be there moments after doors opened. It was going to be a good night. The show was sold out, and rightly so.

The C.O.C. crowd is always an interesting mix. Metallers, rockers, stoners, boozers: mostly but not entirely dudes. As I leaned on the barrier waiting for the show to start, a father was telling his son about the bands playing. So one way or another, there were multiple demographics at play. The lineup would serve that well.

I was back and forth while the night played out, but even when I was standing off to the side of the stage in the kind of hallway to back bar, the sound was full and the production, lights, etc., were dead on. The short version is it was a joy to witness and I felt stupid lucky to be there, but of course there was more to it than that. Here’s how it went:

Mothership

Before Dallas trio Mothership went on at 7:30PM to launch the night, I overheard a guy telling his friend he knew nothing about the band. I didn’t look back after the band started to see, but no doubt he like the rest of the place had his ass blown out of the room by the classic rocking three-piece. Kelley Juett is a ’70s-style madman shredder on guitar, and his energy quickly became a catalyst for the crowd. With Kyle Juett holding down primary vocal duties and bass and Judge Smith behind on drums, Mothership were way less an “opening” band and way less of a “support” act than they were a warmup for the rest of the show to come. There was not a head in the room that was not into it by the time they were wrapping up “Angel of Death” from their 2012 self-titled debut (review here), and as it was their second time touring with C.O.C., they were pro-shop all the way through. Though this was my first experience seeing them live — something for which I’ve long been overdue — the impression I’ve gotten from all their work to-date has been they’re a live band, and they brought that to to the stage at the Brighton Music Hall. They’ve put in significant road time over the last half-decade-plus, and it showed. With Kelley and Kyle headbanging away and Smith twirling a drum stick every now and again, they were a reminder that rock and roll doesn’t have to be a joke to be a good time. Short set, but killer set. Killer band. Will see again as they headline the first night of this year’s Maryland Doom Fest.

The Obsessed

Theoretically, The Obsessed are touring behind their 2017 return album, Sacred (review here), which was their first record in more than two decades, but really, it feels like anytime you get to see The Obsessed, it’s less about any single album than the sheer groove that holds sway for however long their set might be. With the inimitable — not for others’ lack of trying — Scott “Wino” Weinrich as the founding principal on vocals and guitar, Brian Constantino on drums and Reid Raley (also Rwake) slow-headbanging on bass, The Obsessed came across way less as a reunion band than a working one. This was their first night of the tour — I’d thought they’d joined earlier, but nope — but if there was rust being shook off or anything like that, it didn’t show. Theirs was a different kind of presence from Mothership to coincide with the doom-infused sound, but songs like “Streetside” and “Neatz Brigade” are nothing short of landmarks and a significant chunk of the foundation of what one generally thinks of as “traditional doom,” so yes, I was glad to be there to bear witness. Standing by Raley‘s side of the stage, the floor shook from the low end, and each pulse of Constantino‘s kickdrum was easy to feel in the chest. Topped off with Wino‘s signature tone and blues-drenched solo style, it was less of an assault of volume than a celebration of it, and The Obsessed‘s legacy — coming up on 40 years since their first demo — remains utterly vital to the landscape of modern doom.

Crowbar

Right down to business with “All I Had I Gave” opening the set, which was enough to get a heartfelt “fucking a” out of me. Founding guitarist/vocalist Kirk Windstein, as ever, introduced them by saying they were Crowbar from New Orleans, Louisiana, and as far as the room was concerned, there was no more explanation necessary. There was barely space to stand but somehow the crowd parted for a mosh, and the four-piece sludge progenitors ate it up, drummer Tommy Buckley making a bid for being the hardest-hitting of the evening through “To Build a Mountain” and “The Cemetery Angels,” which found him, Windstein, guitarist Matt Buckley and bassist Shane Wesley all locked into a massive, build-up-into-slowdown chug that had heads nodding front to back. They played nothing from 2016’s The Serpent Only Lies (review here), going only so far as “Walk with Knowledge Wisely” from 2014’s Symmetry in Black, but with “Planets Collide” and “Like Broken Glass” tucked together as a grand finale, I’m not sure there was anything more I’d have asked of them anyhow. As Crowbar celebrate 30 years, their history remains someplace between metal, sludge and even hardcore, but whatever genre elements one might want to tag, they are an act unto themselves, and with Windstein as the central figure, they pummeled and pounded Boston to a pulp of local sports logos, blown eardrums and sticky dried beer. This was the best I’d seen them in a while, and for being so perennially downtrodden, their spirits seemed awfully high.

Corrosion of Conformity

There wasn’t one act on this bill I wouldn’t call veteran, even if the degree to which that applies might vary. Still, there’s an unmistakable presence when C.O.C. takes the stage. It’s not just Pepper Keenan, either. From Woody Weatherman on one side of the stage to Mike Dean on the other, Corrosion of Conformity were unquestionably the headliners of what had already been a great night. They came on with “Stonebreaker” from 2005’s In the Arms of God and with Eric Hernandez on drums in place of Reed Mullin, they stomped and stormed through “Wiseblood” and the newer “Wolf Named Crow” from last year’s No Cross No Crown (review here) before making highlights of “Diablo Blvd.” from 2000’s undervalued America’s Volume Dealer and “Seven Days” from 1994’s ultra-landmark, Deliverance (discussed here), the 25th anniversary of which they’ll be celebrating later this year at least in Europe and probably also the US — they’ve already been announced for Freak Valley in Germany and one suspects more will come. “Vote with a Bullet,” even for being the first song Keenan fronted the band, seemed a little past its date in light of a culture of mass shootings, but it’s still catchy, and “Seven Days” reined in some of that vibe, while “Paranoid Opioid” reminded of the band’s punk roots and of course the final salvo of “Albatross” and “Clean My Wounds” served as reinforcement of the heavy Southern groove that’s helped make C.O.C. an institution for the last however many decades. After all the righteousness that preceded them, it was their show without question, and they delivered on any level of expectation and then some.

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Special thanks to Liz Ciavarella-Brenner for hooking this one up, and thanks to you for reading. Many more pics after the jump.

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Hey look, I don’t usually post ticket links with tour announcements. Looks shitty — you know I’m all about vanity — makes it harder to read the dates, and if you’re on any form of the internet reading about music you already know how to use said internet to buy tickets. But this isn’t just any tour. Corrosion of Conformity, Crowbar and Mothership teaming up with Weedeater and The Obsessed rotating in and out for stretches. It’s fucking significant. And tickets are on sale today, so yeah, I’m posting the links. Can’t help but notice there are three days off after the New York show. Have to wonder what’s up there… Hmm…

Anyway, I don’t know how else to put it but this tour is pretty astounding, so yeah, just get tickets. Whatever. You know these bands. You know why you need to be there. So mark your calendar and go. Easy as that.

Here’s the info (and links) from the PR wire:

CORROSION OF CONFORMITY Announces 2019 North American Headlining Tour With Support From Crowbar, Weedeater, The Obsessed, And Mothership; Tickets On Sale This Friday

CORROSION OF CONFORMITY will kick off 2019 with a long-anticipated North American headlining tour! Set to commence January 19th in San Antonio, Texas, and run through February 27th in Nashville, Tennessee, the month-long trek will include support from Crowbar and Mothership as well as Weedeater and The Obsessed on select shows. Tickets go on sale this Friday! See all confirmed dates below.

CORROSION OF CONFORMITY released the critically-acclaimed No Cross No Crown full-length earlier this year via Nuclear Blast Entertainment. Captured in North Carolina with longtime producer John Custer, the record marks the first studio recording with vocalist/guitarist Pepper Keenan in over a decade and, earning the #67 spot on the Billboard Top 200 Chart, #12 on the Billboard Top Current Albums Chart, and #3 on the Top Hard Music Albums Chart upon its first week of release, is the highest charting album of the band’s career.

No Cross No Crown is available on CD, digital, vinyl, and cassette formats. Various order bundles are available at nuclearblast.com/coc-nocrossnocrown.

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

http://www.coc.com
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http://www.nuclearblast.com
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Corrosion of Conformity, “Wolf Named Crow” official video