Days of Rona: Justin Storms of Wailin Storms

Posted in Features on May 25th, 2020 by JJ Koczan

The ongoing nature of the COVID-19 pandemic, the varied responses of publics and governments worldwide, and the disruption to lives and livelihoods has reached a scale that is unprecedented. Whatever the month or the month after or the future itself brings, more than one generation will bear the mark of having lived through this time, and art, artists, and those who provide the support system to help uphold them have all been affected.

In continuing the Days of Rona feature, it remains pivotal to give a varied human perspective on these events and these responses. It is important to remind ourselves that whether someone is devastated or untouched, sick or well, we are all thinking, feeling people with lives we want to live again, whatever renewed shape they might take from this point onward. We all have to embrace a new normal. What will that be and how will we get there?

Thanks to all who participate. To read all the Days of Rona coverage, click here. — JJ Koczan

wailin storms justin storms

Days of Rona: Justin Storms of Wailin Storms (Durham, North Carolina)

Professional http://www.sluncevdome.cz/?uniq-personal-statement-help at your disposal: 100% plagiarism free High quality results by the deadline Specialists educated in your How have you been you dealing with this crisis as a band? As an individual? What effect has it had on your plans or creative processes?

Yeah it’s been really bad timing for sure. It derailed a larger tour we had planned in April/May which would’ve supported our newest record dropping May 15th on Gilead Media (US) and Antena Krzyku (EU). We were also discussing a European tour in November but that’s now been postponed until things calm down. Basically, the thing that funds future records like many other bands has now come to a standstill. We’re hoping to be able to make up for this through online sales but we love playing live so it’s pretty disheartening to not get that outlet now.

We’re all pretty restless as individuals, even me though I’m more of an introvert. We went from practicing constantly workshopping new songs to not being able to do that for now. We might find a work around but I think being in a room and feeding off that raw energy is crucial for us but just about every one of us has a partner with health issues so it’s not worth the risk at the moment.

I thrive on solitude creatively so Covid hasn’t hindered that much for me but it’s nice to have that weekly practice to bounce ideas off each other or venture into new territories and dynamics with other elements in there.

Order an essay from a reliable http://khaled-abed.com/?homework-rescue. Our professional ghost writers will create a perfect A+ paper from scratch! How do you feel about the public response to the outbreak where you are? From the government response to the people around you, what have you seen and heard from others?

People have been decent about being safe in our town (Durham, NC) but I’ve seen numbers spike to 800 new cases since opening up some businesses again and I’ve seen a lot of folks without masks inside supermarkets, on trails, and hanging in parking lots which drives my anxiety through the roof. The government response has been fairly proactive here in our state which is nice to see and they’ve been hesitant to reopen fully which is the ethical thing to do until we find a vaccine. A lot of our friends are out of work including our lead guitarist who ran sound for several venues in town so it’s tough out here right now.

research paper discussion section example. Sometimes, it becomes much difficult to get the desirable scores, in spite of doing struggles in writing the essay. You may have made lots What do you think of how the music community specifically has responded? How do you feel during this time? Are you inspired? Discouraged? Bored? Any and all of it?

I think the music community has been really supportive but there’s only so much you can do if everyone’s struggling and venues are likely to close so it’s just the beginning of an already rough road for artists and music venues. I personally feel severe anxiety and depression since I deal with auto-immune issues, I’m worried about getting this and dying in two weeks. I’ve become a hypochondriac and feel like I want to just live in some small town in Europe again and all day making art and drawing until this blows over but the world’s a mess so that’s not going to happen.

dissertation on role of institutional investors.Buy essay not plagiarized.Cover Letter Phd Student.Someone to write my paper for me What is the one thing you want people to know about your situation, either as a band, or personally, or anything? What is your new normal? What have you learned from this experience, about yourself, your band, or anything?

My new normal is trying to stay healthy and sane. I’m in survival mode so it’s not the easiest time for making art but I have to do it so hopefully my mind will allow me to keep making things.

I’ve learned to take more hikes on trails and began mushroom hunting which is something I haven’t done in a long time. The silver lining of this thing has made me closer to my family and my partner since I don’t have a slew of things to juggle every day now. It’s forced me to slow the fuck down and smell whatever nature’s cooking that week: crimson clover, wild roses, buttercups, honey suckle, bleeding hearts, and bloodroot.

https://www.facebook.com/wailinstorms/
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Friday Full-Length: Corrosion of Conformity, Wiseblood

Posted in Bootleg Theater on May 22nd, 2020 by JJ Koczan

Corrosion of Conformity, Wiseblood (1996)

It’s a classic either way, but I’m willing to go to bat for Welcome to http://www.carbosl.com/james-joyce-eveline-fears-vs-future/ Bureau for custom academic writing services by an experienced and motivated team. We have experience of more than six years in Wiseblood as the best click - authentic papers at affordable costs available here will make your studying into pleasure Let professionals accomplish their Corrosion of Conformity record. Blasphemy!, you say. Controversy! Harumph! Harumph!

I agree it’s commonly accepted that 1994’s Order http://www.mzvet.si/uploads/?dissertation-thesis-meanings from WritingSharks.net Choose from Professional Academic, ESL & Business Proofreading Services Deliverance (discussed here) is the Raleigh, North Carolina, band’s peak. The band themselves spent much of last year touring it again for its 25th anniversary, and in 2014, when they first reunited as the four-piece of bassist/sometimes vocalist Legit paper my site will be open to its address, country, staff, etc. Paperwritingcompany.com is a staid company to purchase papers from at reasonable Mike Dean, guitarist/backing vocalist History Of Essay Consultant. Trusted By 3000+ Corporate Clients. Start in 30min. 12 hours delivery. From 29 $/hr. Woodroe Weatherman, drummer/backing vocalist View Essay - see this heres Hotline Development from MGMT MGMT310 - at American InterContinental University. OSCODA COUNTY COMMUNITY COLLEGE Business Reed Mullin (RIP 2020) and prodigal frontman guitarist/vocalist Online custom essays, term papers, research papers, reports, reviews and homework assignments. Professional 24 7 can contact custom high quality support thesis offers high quality and Pepper Keenan, it was tagged as the ‘ Need to buy essay online for cheap? Professional US Writers; 24/7 Support; High-Quality; Guaranteed Confidentiality; http://www.miriam.sk/?dissertation-avoidance-syndrome online at professional Deliverance era’ lineup.

So why the defiance of common knowledge? Easy, Content Writing Services: Professional Dissertation Statistical Service Le in Delhi, India with expert content writing team for all kinds of content writing services. Wiseblood is a better record. I talked about this a little bit a decade ago, but the key difference for me between the two landmark full-lengths — they both are, I would in no way deny it — is that with Becoming a finance assignment helper is a great journey into freelance writing. This is a career that is stable, because businesses will always need business writers. Deliverance, you kind of had to be there. I remember hearing “Clean My Wounds” on the radio and seeing the video on MTV. Same for “Albatross.” Write My Essay W - Get started with research paper writing and make finest essay ever Entrust your essay to us and we will do our best for you Deliverance has had an influence on bands that spans at least one generation, but if we’re looking at it purely from the level of songwriting, I’ll take Wiseblood almost every time.

Issued in October 1996 through Columbia Records with John Custer producing as ever, Wiseblood is without question a product of the CD era. It runs nearly 58 minutes long and brings together 13 tracks, including the advance singles “King of the Rotten” (the album opener), “Drowning in a Daydream,” and the slower-chugging “Man or Ash,” on which James Hetfield of Metallica put in a guest appearance on vocals alongside Keenan. But that was just a piece of the whole story. Wiseblood — like most commercial releases of the time — was not without filler, but in cuts like “Goodbye Windows,” “Long Whip / Big America,” “The Snake Has No Head,” “Wiseblood,” “Born Again for the Last Time,” the ultra-swaggering “The Door” and the subdued “Redemption City,” as well as those three songs that were sent to radio stations ahead of time, corrosion of conformity wisebloodthe band showed not only that Deliverance wasn’t a fluke, but that they could build off it and conjure even greater songwriting achievements. Wiseblood‘s title-track alone deserves to be pressed to a 12″, let alone the rest of the album. And as the record wound down, with the still catchy “Wishbone (Some Tomorrow)” following “Redemption City” and the satisfyingly speedy but largely forgettable “Fuel” and the almost-eight-minute instrumental jam “Bottom Feeder (El que come abajo)” closing out, even what might’ve been called filler retained quality and dynamic.

The hooks were everywhere. “Redemption City” (“what a pity…”), “Wiseblood” (“youngblood creepin’…”), “Goodbye Windows” (“I’d rather have holes in my eyes…”), “Long Whip / Big America” (“hey hey hey, what’s that game you play…”), “Drowning in a Daydream” (“there’s a man who watches over me…”), “Man or Ash” (“these are primitive — times!”), “Wishbone (Some Tomorrow)” (“twilight explodes in my time of the blind…”), and I don’t know about you, but I don’t have to do more than look at the titles “Born Again for the Last Time” or “The Door” or “King of the Rotten” to hear Keenan‘s voice singing them in my head. These songs continue to resonate even 24 years later, and speaking as a fan, they’ve aged well.

Of course, for a band who got as big as C.O.C. did at the time — “Drowning in a Daydream” was nominated for a Grammy in 1998 — every era will have its proponents, and C.O.C. have had enough eras to fulfill that impulse, whether it was their earlier trio days playing hardcore punk, or the beginning of Keenan‘s tenure with the band on the Karl Agell-fronted (later of Leadfoot) 1991 outing, Blind, on through the mid-’90s and into the 2000s with America’s Volume Dealer — slicker in production, still ace in craft — and the sans-Mullin 2005 In the Arms of God LP, after which the band went on pause as Keenan focused his time on Down, then proceeded without him for a self-titled (review here) in 2012 and 2014’s follow-up, IX (review here), before regrouping as a four-piece, touring like mad and eventually offering up 2018’s No Cross No Crown (review here), finding a middle-ground between nostalgia for the ’94-’96 era and the ensuing 20 years, essentially as an extension of the work the band was doing on the road.

With the band’s winding history, I understand how for a subsequent generation, they can be kind of intimidating to take on. 10 years ago, I advocated Wiseblood as the place to start, and I stick by that entirely. Deliverance was glorious — still is. The kind of record people dream of making. But Wiseblood, with its more developed melodies, plays between metal and hard, heavy and Southern rock and the sheer chemistry between the artists who made it, feels less connected to the time it was made. It’s always been in the shadow of its predecessor’s greater sales, and there’s no question which one begat the other — “King of the Rotten” feels like an answer to “Heaven’s Not Overflowing,” “Redemption City” to “Albatross,” and so on — but taken on its own merits, even up to the jam that unfolds across “Bottom Feeder (El que come abajo),” coalescing the interludes of the album prior into one longer feast of riffs and groove, I’ll still take Wiseblood, blasphemy or not. If you disagree, well, that’s fun too.

C.O.C., like everyone, have had their plans stifled by the realities of 2020. They would’ve headlined Desertfest this year in London and Berlin, and done more touring besides. Whatever happens for the rest of this year and the next and the next, the band’s accomplishments are legitimately the stuff of legend, and while the loss of Mullin earlier this year no doubt weighs heavy on the group, one can’t help but wonder if maybe they aren’t putting their downtime to use as so many others are and beginning to think about new material following up on No Cross No Crown. I’d take another C.O.C. record. That’s only ever something to look forward to.

As always, I hope you enjoy. Thanks for reading.

My father used to tell me he prayed for death every day. One time, he showed me where a tooth was chipped where his mother beat him with a belt and the buckle knocked him in the mouth. I’ve been thinking about that image. About the kind of guilt that must instill, the kind of self-loathing. He threatened plenty enough, but my father never hit me. I guess that’s progress, right? Generational progress?

When I get frustrated at The Pecan, I try and respond with kindness. It doesn’t always work, mind you. But I try. Is that progress too? I don’t want to be angry at my son. I don’t want to instill him with that loathing that I took as inheritance. My birthright to being a miserable bastard. I take pills. I’m not now, but I’ve been in therapy. My father never did that. I asked him about it once and he said, “A pill won’t change who I am,” or some such. Now that I’m an adult, I have to remind myself that that’s an illness I know well, because if I don’t, I view it as weakness. Is that progress, I wonder.

Sirens go by. I know I’m getting older because the world seems more terrifying. I love my wife. It’s me I could do without.

I’ll go to the playground today, take The Pecan out for a long walk to help him balance his energy out a little. He needs that. I took him to the doctor yesterday for his 30-month well visit. The lockdown at the office was serious. Then he took a nap and I went to Costco. The lockdown at Costco was less serious. People out. People still dying. Open the beaches. No one look at each other and you’ll be fine.

Drink bleach.

Or inject it.

No Gimme show this week. Pre-empted, which is fine. It was was a repeat anyhow, and they asked if I minded. Shit no. They’re good to me. I can’t complain.

Next week I’m streaming the Geezer album as of about five minutes ago. Also an Apostle of Solitude video premiere, and a Lamp of the Universe premiere and hopefully a Black Rainbows review. Lot of Ripple Music and Heavy Psych Sounds around here lately. Those two should team up as a multinational underground conglomerate and just sign everybody. Ripplepsych Sounds.

Be well. Love always.

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Days of Rona: Jason Ward of Irata

Posted in Features on April 22nd, 2020 by JJ Koczan

The statistics of COVID-19 change with every news cycle, and with growing numbers, stay-at-home isolation and a near-universal disruption to society on a global scale, it is ever more important to consider the human aspect of this coronavirus. Amid the sad surrealism of living through social distancing, quarantines and bans on gatherings of groups of any size, creative professionals — artists, musicians, promoters, club owners, techs, producers, and more — are seeing an effect like nothing witnessed in the last century, and as humanity as a whole deals with this calamity, some perspective on who, what, where, when and how we’re all getting through is a needed reminder of why we’re doing so in the first place.

Thus, Days of Rona, in some attempt to help document the state of things as they are now, both so help can be asked for and given where needed, and so that when this is over it can be remembered.

Thanks to all who participate. To read all the Days of Rona coverage, click here. — JJ Koczan

irata

Days of Rona: Jason Ward of Irata (Greensboro, North Carolina)

How are you dealing with this crisis as a band? Have you had to rework plans at all? How is everyone’s health so far?

As a band we are following the guidelines provided by our Government and fearless leaders.

We have had to cancel a few tours. We had an eight-date tour scheduled around two big shows at SXSW.

SXSW was canceled a few days before we were supposed to head out on the road. We watched everything closely and as venues and cities started to shutdown we decided to cancel the run. It was tough decision but I think it was the correct decision. On the bright side side some bands are reporting losses due to not touring. By canceling our tour I think we actually saved around $1,500.00. Lol.

We have also canceled three other scheduled festivals and tours we had lined up for this Spring.

Right now, we are kind of in a waiting pattern to see when the right moment is to start scheduling runs.

Jon, sent a vid riff this morning over to me and Owen, we have not rehearsed together in a few weeks. So this virus has interrupted our group rehearsal schedule also.

The band’s health is good and our families heath is also good at this time.

What are the quarantine/isolation rules where you are?

NC has a “Stay at Home” order in place. Essential businesses are still allowed to operate. No more than 10 person max gatherings.

How have you seen the virus affecting the community around you and in music?

It has affected the community, while most bands could still probably have shows even with a 10 person max gathering rule, most have chosen to send out their music on the web. Online support seems to be there. I think as society comes back online and technology is able to accommodate more and more video and sound quality. I think the online shows and concerts will continue . For bands of small- to mid-level you can reach a wider audience and not spend money to hit the road. Online concert format I think is here to stay and will get better!

What is the one thing you want people to know about your situation, either as a band, or personally, or anything?

Our situation is such that we are using this time to relax a bit. Let the world work itself out. We are using this time to individually explore new riffs and new ideas for a new album or two. There maybe a live video or concert in our future. Other than that we ask that everyone stay safe and clean because when we do tour we would like to have some folks show up.

http://www.facebook.com/iratabandofficial
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R.I.P. Reed Mullin of Corrosion of Conformity, 1966-2020

Posted in Features on January 28th, 2020 by JJ Koczan

reed mullin (Photo by JJ Koczan)

As Corrosion of Conformity make ready to embark on their first tour of Australia and New Zealand in six years, the North Carolina-based progenitors of Southern-style heavy rock announce the death of erstwhile drummer Reed Mullin. Mullin, 53, had been in and out of C.O.C. over the half-decade since their reunion with guitarist/vocalist Pepper Keenan, but his work proved as essential as ever to the band with 2018’s studio return, No Cross No Crown. A founding member of Corrosion of Conformity alongside bassist/vocalist Mike Dean and guitarist/backing vocalist Woodroe Weatherman in 1982, Mullin played on pivotal records like 1985’s Animosity and 1987’s Technocracy, driving the early sound of the then-trio through its hardcore punk furies, but proved no less adaptable to what became their evolving, signature sound and greatest commercial and critical successes.

With those albums, particularly 1994’s Deliverance and its Grammy-nominated 1996 follow-up, Wiseblood, Mullin anchored the powerful groove on which C.O.C.’s legacy and influence would be built, and even as Keenan emerged as a frontman, the drums behind him built the foundation on which the band resided and fleshed out their memorable songs. Years of reported health problems, etc., have kept him out of the band as they have become a working four-piece unit again, but on 2012’s self-titled LP and 2014’s follow-up, IX, a three-piece incarnation of Corrosion of Conformity with Mullin on drums/vocals, Dean and Weatherman reignited an exploration of their punk roots that still held to a riff-led charge. His work there, as ever, was crucial.

Mullin took part in every Corrosion of Conformity recording aside from 2005’s In the Arms of God, a then-swansong of sorts for the band as a four-piece, and was a creative force behind making C.O.C. who they were, are and will continue to be. The last time I saw him on stage was in 2015, and in presence, voice and style, he was a singular, special figure. He will be much, much missed.

Condolences on behalf of myself and the site to Mullin’s friends, family and associates, as well of course as the band itself, which will never be the same.

Their announcement follows:

corrosion of conformity older pic

Reed, It’s with heavy hearts that we say goodbye to a friend, a brother and pioneer.

Love and condolences to the family, friends and fans who will miss you and thanks for the music.

Reed Mullin vocal recording for IX, 2014

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Weedeater Announce Tour Dates with The Atomic Bitchwax, Worshipper & More

Posted in Whathaveyou on January 20th, 2020 by JJ Koczan

weedeater

Hey, look. I know Weedeater going on tour isn’t exactly bizarre news at this point. It happens more or less all the time. But they’re hitting the road this time out with The Goddamn Gallows who do a kind of metalabilly thing that seems pretty off the rails, and they’ll have support from The Atomic Bitchwax and Worshipper along the way, so that’s pretty cool too. Makes me want to road-trip to Philly, to be honest, since Worshipper are always great live and they don’t seem to be on the Brooklyn bill, but I’m gonna go out on a limb and guess that probably won’t happen because, you know, distance and life and March 6 is a Friday but still. They have a day off after their Brooklyn gig. Wonder if that means they’re waiting to add a second show or what.

Maybe I’ll get lucky and they’ll do that spot in Teaneck where Brant Bjork played. That’d pretty much be the universe doing me a favor though, and neither Brant‘s gig nor the Crowbar show I saw there before that was particularly well attended, so maybe it’d be better for the band if they didn’t. There’s always Dingbatz in Clifton. Or shit, they could just play my house. Come on by. Just a heads up though, if I’m not in bed by like 8:30PM I become a total prick, and The Pecan’s bedtime is 6:30, so we’ll have to make it a matinee. I’ll even feed the bands, provided I get notified early of any allergies or dietary restrictions, etc.

What the hell were we talking about?

Oh yeah, Weedeater are touring.

Hey, that’s great. Here are the dates:

weedeater tour dates

WEEDEATER Announce Headlining U.S. Tour Dates!

Cape Fear metal legends WEEDEATER have announced a headlining U.S. tour, in which they will be supported by THE GODDAMN GALLOWS on all dates, with rotating support on select dates from ATOMIC BITCHWAX, WORSHIPPER, and LEFT LANE CRUISER. The trek will kick off on February 29 in Asheville, NC and will conclude on March 21 in Hampton, VA at the Hampton Tattoo Roads Fest. Tickets will go on sale Friday at 12:00 P.M. local time. The full itinerary is as follows:

WEEDEATER (w/ The Goddamn Gallows):
02/29: Asheville, NC @ Asheville Music Hall
03/01: Richmond, VA @ The Camel
03/03: Baltimore, MD @ Metro Gallery^
03/04: Brooklyn, NY @ Elsewhere^
03/06: Philadelphia, PA @ Underground Arts^*
03/07: Boston, MA @ Sonia^*
03/09: Youngstown, OH @ Westside Ball^*
03/10: Cleveland, OH @ Grog Shop^*
03/11: Detroit, MI @ The Sanctuary^*
03/12: Iowa City, IA @ Wildwood^*
03/13: Chicago, IL @ Reggie’s^*
03/14: Kansas City, MO @ The Riot Room*
03/15: Memphis, TN @ Growlers*
03/17: Dallas, TX @ Gas Monkey
03/18: Austin, TX @ Come and Take It Live #
03/19: New Orleans, LA @ Santos Bar
03/20: Atlanta, GA @ Masquerade
03/21: Hampton, VA @ Hampton Roads Tattoo Fest +
^ Atomic Bitchwax
* Worshipper
# Left Lane Cruiser
+ No support

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Weedeater, Goliathan (2015)

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Corrosion of Conformity Add Spring UK/Euro Tour to 2020 Plans

Posted in Whathaveyou on December 19th, 2019 by JJ Koczan

corrosion of conformity (Photo by JJ Koczan)

I’m a little curious at this point how long Corrosion of Conformity‘s touring cycle for their early-2018 album, No Cross No Crown (review here), is going to grow. Granted, they’ve been flying other banners along the way, such as the 25th anniversary of Deliverance (review here) this year, but still, they were regularly touring before No Cross No Crown for a couple years, and they’ve only been at it harder ever since. They were already announced for Desertfest in London and Berlin, so a trip back to Europe was bound to happen, but now we have the dates. It’s Western Europe, which makes me think that they might get back at some point for the eastern half of the continent, but there’s also been word in the interim that guitarist/vocalist Pepper Keenan will head out this summer for festival dates with his other band, the supergroup Down, as they in turn celebrate the 25th anniversary of their debut album, Nola. So many anniversaries! I’m gonna run out of greeting cards.

So maybe after the early-2020 trip to Australia and New Zealand and the return to Europe around Desertfests, that’s a wrap for C.O.C. for now. For those curious — which is apparently an entire contingent on the band’s social media — I wouldn’t expect drummer Reed Mullin to be making either trek, but they’ve certainly done nothing but kick ass in his absence, if my own experience is anything to go by. Nothing against the dude, but C.O.C. aren’t taking the stage to deliver anything less than a stellar product, and sure enough, they don’t.

Here are the current upcoming dates. Spirit Adrift aren’t on all of the Euro shows, so check the poster too. Click either one to enlarge:

EUROPE DATES SPRING 2020 with Spirit Adrift
SAT Apr 25 Dublin Ireland Academy
SUN Apr 26 Belfast Limelight 2
TUE Apr 28 Glasgow Scotland Garage
WED Apr 29 Manchester UK
FRI May 01 London UK Camden DesertFest
SAT May 02 Izegem Belgium Headbangers Balls Festival
SUN May 03 Berlin Germany Desertfest Berlin
TUE May 05 Salzburg Austria Rockhouse
WED May 06 Munich Baskstage Halle
THU May 07 Milan Italy Legend
SAT May 09 Madrid Spain Sala Riviera
SUN May 10 Barcelona, Spain Razmataz 2
TUE May 12 Paris, France le petit bain
WED May 13 Rouen France Le 106
FRI May 15 Southhampton UK Engine rooms
SAT May 16 Birmingham UK 02 institute 2

Corrosion of Conformity – Australian & New Zealand Tour
Tour Dates:
Tue 4 Feb – Auckland, Galatos
Wed 5 Feb- Adelaide, Lion Arts Factory
Thu 6 Feb – Perth, Amplifier Capitol
Fri 7 Feb – Melbourne, Max Watt’s House of Music
Sat 8 Feb – Brisbane, Crowbar Brisbane
Wed 12 Feb – Sydney, Crowbar Sydney

http://www.coc.com
http://www.facebook.com/corrosionofconformity
http://www.nuclearblast.com
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Corrosion of Conformity, “The Luddite” official video

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Corrosion of Conformity Announce Australia & New Zealand Touring

Posted in Whathaveyou on November 26th, 2019 by JJ Koczan

corrosion of conformity (Photo by JJ Koczan)

Maybe you saw Corrosion of Conformity live at some point this year in the US. Maybe you caught them at Freak Valley and other fests this year or you’re looking forward to seeing them in Europe next Spring as they make the rounds of the Spring festival circuit, doing Desertfest in London and Berlin, no doubt among a slew of other still to be announced. The point is, C.O.C. have been touring. Hard.

And even as they’ve been celebrating their past and landmark releases, they haven’t exactly been shy about showing love to 2018’s No Cross No Crown (review here), and neither should they be, honestly, both because it kicks ass and because it was a long time coming. I dug what the re-emergent Animosity-era three-piece of C.O.C. started doing abut a decade ago, but it’s a different animal, even if it’s most (or I guess half now) of the same people.

Well, Corrosion of Conformity haven’t been to Australia and New Zealand in six years, so as they continue to make the rounds on this significant-ass album cycle, they’re headed out that way in February for a round of shows presented by Silverback Touring, who posted the dates thusly:

corrosion of conformity ausnz tour

We are stoked to announce the triumphant return of Southern rock legends, Corrosion Of Conformity, to Australia and New Zealand, and this time with Pepper Keenan up front. Pepper returned to the band for 2018’s massive “No Cross No Crown” album which charted around the world, including Australia.

These shows are not to be missed. Tickets on sale now.

On sale now: bit.ly/cocaus20

Corrosion of Conformity – Australian & New Zealand Tour
Tour Dates:
Tue 4 Feb – Auckland, Galatos
Wed 5 Feb- Adelaide, Lion Arts Factory
Thu 6 Feb – Perth, Amplifier Capitol
Fri 7 Feb – Melbourne, Max Watt’s House of Music
Sat 8 Feb – Brisbane, Crowbar Brisbane
Wed 12 Feb – Sydney, Crowbar Sydney

On sale now: bit.ly/cocaus20

http://www.coc.com
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Corrosion of Conformity, “The Luddite” official video

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Bask Post “Rid of You” Video; III Release Tour Announced

Posted in Bootleg Theater on October 29th, 2019 by JJ Koczan

bask (Photo by Jamie Kay and Arlie)

Alright, so stop me if you’ve heard this one before, but the new Bask record is pretty good. Yes, I know. You have heard it before. From me. You heard me speculating on it when the Asheville, North Carolina-based four-piece announced in April they were recording with Matt Bayles, and again in August after the album was done. Then came the “New Dominion” video (posted here) with the release date. Then I went ahead and actually reviewed III (review here) in the last Quarterly Review because I liked that single and wanted an excuse to dig further ahead of the Nov. 8 arrival. Then I got the chance to do the premiere of opening track “Three White Feet” (posted here) like the day after the review went live, and I wasn’t gonna say no to that. And now here we are. There’s another video, and I’m posting about that too.

The central thesis of all these posts is pretty much the same, and yes, I’m willing to admit that. Hey, you know that new Bask record III that’s coming out Nov. 8 on Season of Mist? It’s a good ‘un. You might wanna chase it down if you’re feeling some righteous modern heavy prog with a penchant for melody and just a touch of Southern edge via Baroness and the like. There you go. That’s all. That’s all it’s ever been.

It’s like the equivalent of being at the show and being the guy who says to someone from the band, “Hey man, great set.” That’s who I am. Often. Cool songs. New stuff sounds good.

Some new tour dates came down the PR wire. They’re back in Brooklyn on Nov. 23 and I should probably go even though that’s like the worst week ever and I’m apparently terrified of venues I’ve never been to before. Anxiety, man. Woof.

What were we talking about?

Enjoy the video:

Bask, “Rid of You” (official video)

Appalachian psych rockers BASK have shared the official music video for the new song “Rid of You.” The track is taken from the band’s upcoming album, ‘III,’ which will be released worldwide on November 8 via Season of Mist, making it their debut to the label. The video, which was created in analog format by Yovozol, can be seen HERE.

BASK comment: “We are excited to announce the third single, ‘Rid of You,’ from our upcoming album, ‘III.’ We’ve collaborated with analog video artist Yovozol to bring you this visual accompaniment. We hope you enjoy.”

‘III’ can be pre-ordered in various formats HERE.

BASK have previously announced a run of headlining North American dates in support of ‘III,’ including a hometown show on the day of the record release. The full itinerary is as follows:

BASK “III” Album Release Tour:
11/08: Asheville, NC @ The Mothlight **album release show**
11/14: Atlanta, GA @ 529
11/15: Columbia, SC @ Columbia Museum of Art
11/16: Greenville, SC @ The Radio Room
11/17: Richmond, VA @ Banditos
11/19: Buffalo, NY @ Mohawk Place
11/20: Ottawa, ON @ Cafe Dekcuf
11/21: Montreal, QC @ Turbo Haus
11/22: Cambridge, MA @ Hong Kong
11/23: Brooklyn, NY @ Gold Sounds
11/24: Baltimore, MD @ The Depot **Matinee Show**
11/25: Philadelphia, PA @ Kung Fu Necktie
11/26: Kent, OH @ The Outpost Concert Club
11/27: Detroit, MI @ Sanctuary
11/29: Charlotte, NC @ Snug Harbor
11/30: Johnson City, TN @ The Hideaway

Line-up:
Jesse Van Note – bass
Scott Middleton – drums
Ray Worth – guitar
Zeb Camp – guitar/vocals

Guest Musicians:
Jed Willis – Pedal Steel on “Maiden Mother Crone”
Meg Mulhearn – Violin on “Maiden Mother Crone”

Bask on Thee Facebooks

Bask on Bandcamp

Bask on Instagram

Bask website

Season of Mist on Thee Facebooks

Season of Mist on Instagram

Season of Mist website

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