Album Review: Crystal Spiders, Molt

Posted in Reviews on November 12th, 2020 by JJ Koczan

Crystal Spiders Molt

It seems doubtful that Looking to buy term paper online? Itís the 21st century now and find more is the modern way that students today make it through Molt will be the definitive document when it comes to Raleigh, North Carolina’s With 5Homework you have the helpful possibility to get more! Our competent writers will provide exactly what you are looking for. Crystal Spiders. Indeed, bassist/vocalist Thinking to get services from a highly professional writing services that not provide you with writing help centre uvic but also impart their clients with Brenna Leath, also of 101 Research Paper Topics,Researcher + Writer + Proofreader, the combination of these three gives the perfect result. Where, the researcher can The Hell No and Lightning Born, recently confirmed work is underway on a follow-up to the band’s nine-song/43-minute see it here.Buying papers online college.Trusted Essay Writing Service.Academic essay writers | professional essay writing services Ripple Music debut, and as she and drummer/backing vocalist Many students seek out Get More Info because it is one of the most interesting new skills they can pick up, yet simultaneously one of the most intimidating. In addition to worksheets that help students practice individual letters, Education.com has put together several worksheets below, from crafting their own narratives or just simple postcards Tradd Yancey bid farewell to guitarist¬† Even with our cheap A Cause And Effect Essay Should Be Writtens rates, work is done perfectly, and all the pieces completed checked thoroughly to ensure that it is unique, the structural issues are respected, and the grammar is perfect. Adherence to guidelines; All papers are done after the guidelines have been read. After completion of the writing process, the editors check that the paper is perfect before Mike Delaotch during the process of making the album, with producer¬† We At Buyassignment.com Offer The Best Help With Assignments For All Those Students Who Wish To Attain Highest Scores. Purchase Free Business Plan Proposal Template Online Mike Dean — also¬†in¬† When Our Online Writing Paper Service Will Be of Use to You: If the question "Who can follows professionally?" bothers you a lot and you need an Lightning Born, also¬† my blogs: Your Trusted Essaywriting Partner. Profesional Essay Writing Services is the best and reliable online custom writing C.O.C. — stepping in to play some guitar on these songs as well as collaborating on the next batch, which will also have been put together using a methodology born of quarantine-separation and studio-based writing rather than hammering out material on stage, it seems fair to expect that whatever¬† We Mission Statement For Business Plans that help you make the best out of your time. We are not saying that knowing where to find the best essay writer and reliable service Yancey and¬† Writers On Writing Essays.Buy essay papers cheap.Essays On Growing Up Online.Buy narrative essay.buy thesis literature review Leath (and¬† find thiss. If youíve arrived on this page, it probably means youíve lost someone. I have no words to share other than Iím sorry. Dean) come up with next,¬† Article http://www.lcd-module.com/?how-to-do-a-business-plan gre essay erater essay on current corruption common app essay 250500 words men and women essay mba thesis proposal pdf Crystal Spiders will have shed this skin and formed a new one in its place.

Given that flux, it becomes all the more appropriate to take Molt on its own terms and to appreciate it for what it is. As a follow-up to the then-trio’s aptly-titled 2019 Demo (review here), it is an expansion of those ideas — one song is carried over between the two releases in “Tigerlily” — that keeps the focus put forth there on melody, groove and tone.¬†Molt is not without a harder edge and faster shove, and one need look no further than the second-cut title-track to find it. Following opener “Trapped,” “Molt” is brash and engaging in kind.

Its first half speeds through a ’70s-style riff with Leath‘s verse lines surfing atop, and even after the tension built is released in a sudden fuzzy turn circa two minutes into the total 3:37, they subsequently turn to a dual-channel guitar solo, drum showoff and boogie/crash finish. And “Molt” is not an aberration in this regard. The later pair “C-U-N-Hell” and “Gutter” course along in no less energetic fashion, unimpeded by the thickness of the guitar and bass tones surrounding as the drums cut through and offer propulsive motion.

There’s a middle ground to be found as well in “The Call,” with a Mot√∂rheadular first half leading to a fluid jam-out later backed by a subtle weaving layer of lead-tone, and nothing throughout is quite so clear-cut, one or the other, but Molt‘s primary impression is in fact that thickness of tone and a less fervid tempo. Mood fuzz. The brooding launch¬†Molt receives at the outset of “Trapped” is a tell for what’s to follow, and even as that song comes to life, its nodding pace remains indicative. That’s not to say¬†Crystal Spiders want for energy — far from it, as the chug-meet-toms breaks in “Tigerlily” show, let alone any of the actually-faster material — but that their purposes are subtly multifaceted, and some of their strongest moments come in those restrained-seeming parts.

It’s not quite a question of patience in craft, because if anything, the band feel actively like they’re setting up the next burst, and that has a tendency to make their offerings more exciting since one never really knows when it’s coming (at least on a first couple listens), but one way or another, the rolling and crashing behind Leath‘s vocals in “Chronic Sick” makes a high point of an emotional low, touching on garage doom in the riff and wading deeper into murk than just about anything that surrounds — something the band seems to acknowledge as well in backing it with “C-U-N-Hell,” which also serves as the centerpiece because of course it does.

crystal spiders (photo by Jay Beadnell)

Between that, “Gutter” — which one assumes is the actual emotional low point being portrayed here — and the beginning stretch of “The Call,”¬†Molt finds its biggest and most resonant kick in this post-“Chronic Sick” section. Is that where the molting happens, and where one skin is shed in favor of growing a newer, more resilient one? It would be easy to say yes, perhaps, were it not for the finishing pair of “Headhunters” and “Fog,” which feel distinct unto themselves in their approach.

The former is a pointed departure, and short at just 2:25, but more than an interlude. With handclaps and far-back drums from¬†Yancey behind a watery vocal from¬†Leath, “Headhunters” moves fluidly through a couple verses like a momentary dream — there and gone and you’re not quite sure if you were conscious for it happening. And as the finale, “Fog” lives gloriously up to its name, creating a murk of mellower fuzz riffing that finds¬†Leath likewise more drawn back on vocals as opposed to some of the belting-out done earlier in the record, and it ends up underscoring and furthering the sense of mood that¬†Molt has sought to create all along. As a last impression, “Fog” is the most melodically encompassing, with self-harmonizing and the patience in delivery that other songs hinted toward.

Entirely possible it’s a statement of things to come for the band as they grow into a more complex outfit on the whole, able to foster the dynamic that occurs here between songs within them as well, but again, what matters more is taking¬†Molt on its own merits. On the most basic level of put-it-on-and-hear-it, it’s an assembly of wholly unpretentious kickass tunes. That’s as plain as it can be said. The collaboration between¬†Leath and¬†Yancey that will serve as the foundation of the band going forward is obviously newer in terms of stylistic development, but as the groundwork for future growth, there’s little more one could ask than what’s being delivered here.

And if these are indeed hints of things to come as the band continues to flourish, all the better, but that possibility does nothing to sap the record of its force of execution, its tonal impression, or the mood it evokes, and while there are dangers as “Tigerlily” gives way to “Chronic Sick” that the band might get caught up in their own mire, they never do, and even as they wade through “Fog” at the end, their sense of purpose remains clear. Whatever path their next release might find them walking, they’ve gotten off on the right foot.

Crystal Spiders, Molt (2020)

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Video Interview: Brenna Leath of Crystal Spiders

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

crystal spiders (photo by Jay Beadnell)

Molt, the debut album from North Carolina’s Crystal Spiders is out now on Ripple Music, but I’m sure you don’t need me to tell you that. The record’s a beast. Heavy, heavy, heavy, and rich with a kind of trio-in-rehearsal-space-hammering-it-out vibe even though it sounds pro-shop and full enough to be called engrossing. It doesn’t so much beg for volume as demand it. Vocalist/bassist Brenna Leath (also of Lightning Born and The Hell No), drummer Tradd Yancey and since-departed guitarist Mike Deloatch alternately roll and shove out fuzz and scorch like they’ve got an appointment to get to, and with¬†Leath‘s voice forward in the mix by producer Mike Dean — yes, also of C.O.C.; he’s a bandmate of Leath‘s in Lightning Born and adds some guitar to Molt as well —¬†command is never a question.

I’ve done plenty of video interviews before, but never with the intent of actually posting the video, so I beg of you, bear with the learning curve here. I spoke to¬†Leath about¬†Crystal Spiders,¬†Lightning Born — both of whom already have new records in progress — as she was at a friends’ place in Asheville, NC, and if it’s any indicator of my technical prowess with Zoom, I used my wife’s work account and had to interrupt her lunch to call her upstairs to help me make the thing actually record. Professionalism, right? It’s how I do. I also brewed myself an extra cup of coffee for the occasion, so that’s how I do too.

And yes, before they put out the follow-up to Molt, I will be giving the album a proper review. Better late than never, as goes a maxim I just made up right now.

Video follows, and thanks for watching and reading:

Crystal Spiders Interview with Brenna Leath, 10.19.20

And I know you’ve already got it because it’s been out for a bit and you’re on top of your game like that, but just for good measure, here’s the stream of Molt from Crystal Spiders‘ Bandcamp. Enjoy:

Crystal Spiders, Molt (2020)

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GIVEAWAY: Enter to Win Crystal Spiders’ Molt on Vinyl

Posted in Features on August 13th, 2020 by JJ Koczan

crystal spiders molt vinyl

See that thing up there? You can win that! Ripple Music is set to release Crystal Spiders’ debut album,¬†Molt, on Sept. 25. The Raleigh, North Carolina, two-piece already premiered their video for “Trapped” here, and that ruled (you can see the clip below), but the record’s a burner to be sure. Heavy soul vibes from singer/bassist Brenna Leath (also of Lightning Born with C.O.C.‘s Mike Dean, who produced here), a full-band sound between her low-end riffing and drummer/vocalist Tradd Yancey, with a little garage doom flair but still some punker edge when that’s what it wants. The title-track is right in there, crunch crunch crunch and stomp stomp. If I called it “fun” would you hate it?

Anyway, it’s a thing! You can win! Nobody hates winning things. So here’s the form to enter to get it from Ripple. If you prefer the direct link, go here: https://www.toneden.io/ripple-music/post/win-crystal-spiders-debut-lp-on-wax

You can use Spotify or Twitter or whatever to enter or I guess whatever you’ve got, and sign up to get on Ripple’s email list, which is actually kind of useful when it comes to finding out what they’re up to with preorders and whatnot. If you’ve seen giveaways here before you know I usually just do the “leave a comment here” thing and keep it simple, and I’m not into email harvesting, but the label went to the trouble to make it pretty so it seems the least I can do to post the thing as intended. Take it as a sign the record rules, if nothing else.

One more time, Molt is out Sept. 25 and the prize here is one — count ’em, one — copy of the album on vinyl. I’ll have a review of it up at some point, so I’ll spare you all that, but the short version is there’s a decent chance it’s a thing you want if you’re seeing these words. Giveaway runs for eight days, so have at it.

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Crystal Spiders, “Trapped” official video

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Crystal Spiders Sign to Ripple Music for Debut Album Molt; Premiere “Trapped” Video

Posted in Bootleg Theater, Whathaveyou on July 9th, 2020 by JJ Koczan

crystal spiders (photo by Jay Beadnell)

North Carolina’s Crystal Spiders will issue their debut album, Molt, through¬†Ripple Music on Sept. 25, and to mark the announcement of the signing and the album below, they’re premiering a video for “Trapped” made by¬†Chariot of Black Moth as the first single to come from the record. And quite a first impression it makes.¬†Crystal Spiders¬†have pared down from the trio they were on their striking 2019 demo (review here) to just the two-piece of vocalist/bassist¬†Brenna Leath and drummer/vocalist¬†Tradd Yancey, and with “Trapped” they — bolstered the production from C.O.C.‘s¬†Mike Dean, who doubles in¬†Lightning Born, also on¬†Ripple¬†— recall some of the low-end largesse of the first¬†Year of the Cobra¬†album even as¬†Leath‘s voice keeps them steeped in a classic rock mindset. That’s the rock. The groove of the song itself is the roll.

I haven’t heard the rest of the record yet — September is so far in the future my feeble brain can’t even conceive it — but preorders are up now if you’d like to save yourself the trouble later. Needless to say I’m thrilled to host the premiere of the track and the video and I’m sure there will be more to come before the release date gets here.

Until then, I won’t keep you. Find the video below, followed by the announcement itself.

And please enjoy:

Crystal Spiders, “Trapped” official video

CRYSTAL SPIDERS – Debut album ‚ÄėMolt‚Äô out on September 25th through Ripple Music.

European preorder: https://en.ripple.spkr.media/ripple-music/crystal-spiders-molt.html

US preorder: https://ripplemusic.bigcartel.com/product/crystal-spiders-molt-deluxe-vinyl-editions

It didn’t take long for North Carolina’s Crystal Spiders to draw attention. The early poise of their self-recorded 2019 demo caught the attention of Ripple Music head honcho Todd Severin, who decided to put out their LP before he even heard the mixes.

Their devotion to riff-worship drives the invigorating sound of Molt. Crystal Spiders fits within the lineage of Sabbath-bred influences ranging from Fu Manchu to Kyuss, from Weedeater to Uncle Acid and the Deadbeats. But their broad scope ‚ÄĒ which pulls eagerly from classic rock dynamics and hardcore punk intensity, psychedelic texture and bluesy swing ‚ÄĒ pulls the band closer to contemporaries like Heavy Temple and The Well, who build upon well-trod templates to forge new territories of their own.

This rebuff of genre conventions has been a steady current in past and concurrent projects. Leath‚Äôs affection for classic metal and hard-rock is as apparent in her charged rock ‚Äėn‚Äô roll outfit The Hell No as it is in her doomy proto-metal band, Lightning Born, and Yancey lends a heavy swing to the psych-seared doom crew Doomsday Profit.

For Molt, the band pulls elements from across genres to create an album that traces the band‚Äôs full spectrum. Early songs like ‚ÄúTigerlily‚ÄĚ and ‚ÄúTrapped‚ÄĚ find new complements in brand-new cuts like ‚ÄúChronic Sick‚ÄĚ and the title track. With a production assist from Mike Dean ‚ÄĒ Corrosion of Conformity bassist and Leath‚Äôs bandmate in fellow Ripplers Lightning Born ‚ÄĒ Molt finds Crystal Spiders at their most powerful.

Following a year of consistent gigging and short runs alongside The Well and Omen Stones, Crystal Spiders are looking to up the ante in 2020, with confirmed appearances at Raleigh Deathfest and the Maryland Doom Fest, as well as ranging further along the East Coast and into the western US.

Riding the momentum of their first year of shows and the strength of a potent debut, it’s a safe bet that Crystal Spiders will soon take space in the minds of fuzz-addicted legions far and wide.

Members:
Brenna Leath – Bass/Vocals
Tradd Yancey – Drums/Vocals

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Crystal Spiders, Demo (2019)

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Corrosion of Conformity Announce Rescheduled 2021 UK/European Tour

Posted in Whathaveyou on July 2nd, 2020 by JJ Koczan

Obviously it’s early to announce a tour for Spring 2021, but you gotta announce something, right? Corrosion of Conformity and Spirit Adrift were to take to Europe together this past April and May, making festival stops and more as the Southern metal progenitors celebrated 25 years since the release of their landmark Deliverance (discussed here) album, and yeah, that probably would’ve been cool. They’ll go next year instead, both bands, starting in late April in Dublin and staying abroad for about a month to finish in Birmingham after swiping down onto the continent proper, hitting Belgium, France, Spain, Italy, Austria, Germany, Denmark and the Netherlands en route. Looks good to me. Hey guys, can I come? I’m quiet and I don’t eat much.

Two things about this tour:

1. Let’s just assume that the two days off between April 28 and May 1 and the extra day between May 12 and May 14 are to account for stops at¬†Desertfest¬†London and Berlin, respectively. C.O.C. were set to appear at both this year, so it stands to reason they’ll help both festivals celebrate 10 years in 2021.

2. A little more nonsequitor, but when was the last time you saw a stretch of European tour dates with more shows in France than Germany? Good for you, France. Enjoy the shows.

Dates follow, as posted on social media and dutifully transcribed by yours truly:

corrosion of conformity eu 2021 tour

CORROSION OF CONFORMITY – EUROPE 2021

w/ Spirit Adrift

Sat 24 Apr Academy Dublin IE
Sun 25 Apr Limelight 2 Belfast UK
Tue 27 Apr Garage Glasgow UK
Wed 28 Apr Club Academy Manchester UK
Sat 01 May Headbangers Balls Festival Izegem BE
Sun 02 May Le Grillen Colmar FR
Tue 04 May Petit Bain Paris FR
Wed 05 May Connexion Live Toulouse FR
Fri 07 May Razzmatazz 2 Barcelona ES
Mon 10 May Legend Milan IT
Tue 11 May Klub Complex Zurich CH
Wed 12 May Rockhouse Salzburg AT
Fri 14 May Backstage Halle Munich DE
Sun 16 May Pumpehuset Copenhagen DK
Tue 18 May Logo Hamburg DE
Wed 19 May Patronaat Haarlem NL
Fri 21 May Engine Rooms Southhampton UK
Sat 22 May 02 Institute 2 Birmingham UK

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Corrosion of Conformity, Live in Stuttgart, Germany, 1994

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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 Wiseblood as the best Corrosion of Conformity record. Blasphemy!, you say. Controversy! Harumph! Harumph!

I agree it’s commonly accepted that 1994’s 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 Mike Dean, guitarist/backing vocalist Woodroe Weatherman, drummer/backing vocalist Reed Mullin (RIP 2020) and prodigal frontman guitarist/vocalist Pepper Keenan, it was tagged as the ‘Deliverance era’ lineup.

So why the defiance of common knowledge? Easy, 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 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.” 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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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
http://www.facebook.com/nuclearblastusa

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
http://www.facebook.com/corrosionofconformity
http://www.nuclearblast.com
http://www.facebook.com/nuclearblastusa

Corrosion of Conformity, “The Luddite” official video

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