Weedeater Touring Next Week; Playing with Orange Goblin & More

Posted in Whathaveyou on August 22nd, 2019 by JJ Koczan

weedeater

Alright, you know the drill. Weedeater are touring — because of course Weedeater are touring — so get yourself ready to see Weedeater. You know, it’s kind of weird, since I feel like I’ve been clamoring for a new Weedeater record for like the last three years, but it’s only been four since they released Goliathan (review here), so whatever. Good Southern cooking takes time, or so I’m told, so maybe they’ve got some riffs sitting out in a Dutch oven, waiting for the meat to fall off the bone. That’d be fair enough. Point is Weedeater are gonna tour. Fine. It hasn’t been egregiously long since their last release, even if, as album cycles go, theirs feels particularly extreme. Hazards of being so reliable in kicking ass, I suppose.

The thought of Weedeater and Orange Goblin sharing a stage, in Chicago or pretty much anywhere, is awesome, and I can’t imagine this is the first time it’s happened in the history of those bands, but that show’s bound to be a highlight, even if the impetus for the run is the stop at Muddy Roots in Tennessee on Aug. 30. Pretty sure Orange Goblin will be there as well — a ton of bands certainly will — but either way, it’s more Weedeater touring, so you go and you see Weedeater and you know you’re going to have a good time and then you do. Simple as that.

Word from the PR wire was likewise straightforward. Shows are presented by Tone Deaf Touring:

weedeater tour

WEEDEATER Announce U.S. Summer Tour Dates!

Cape Fear metal legends WEEDEATER have announced a run of U.S. this summer! The trek will kick off on August 27 in Johnson City, TN and will conclude on September 4 in Athens, GA. The run will also include a festival appearance at Muddy Roots on August 30. The full itinerary is as follows:

WEEDEATER U.S. TOUR DATES:
08/27: Johnson City, TN @ The Hideaway
08/28: Tolono, IL @ Loose Cobra
08/29: Chicago, IL @ Thalia Hall*
08/30: Cookville, TN @ Muddy Roots Fest
09/01: Chattanooga, TN @ Ziggy’s
09/02: Columbia, SC @ New Brookland Tavern
09/03: Savannah, GA @ Jinx
09/04: Athens, GA @ Caledonia
*Supporting ORANGE GOBLIN

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

Weedeater, Goliathan (2015)

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Weedeater Announce Tour Dates with Irata

Posted in Whathaveyou on May 23rd, 2019 by JJ Koczan

Weedeater (Photo by JJ Koczan)

Am I going to begrudge Weedeater doing more touring? No. No, I’m not. Is it time for the Cape Fear, North Carolina, sludge stalwarts to knuckle down and get to work on a new album? Yeah, it probably is. Four years removed from Goliathan (review here) and they’ve hardly gotten off the road at all. I don’t know if they have any new material sitting around or what, but even if they started writing now and took the next year to put it out, you’d have to say they were due. If nothing else, it would give them something else to sell at the merch stand, which I feel like as they come back around to cities time and again, has probably been visited by fans on more than one occasion. The thing though about Weedeater live? They’re pretty incredible. I mean it. Having just seen them a few weeks ago at Desertfest NYC (review here), I was reminded of their overall badassery and enduring wreck-all. They are one of a kind.

They’ll be out with Irata and they have a date with Pallbearer in Philly as well. So sayeth the PR wire:

weedeater irata dates

WEEDEATER Announce New U.S. Tour Dates

Cape Fear metal legends WEEDEATER have announced a new run of U.S. headliner tour dates in which they will be supported by IRATA. The trek will kick off on May 29 in Johnson City, TN and will conclude on June 3 in Charlottesville, VA. The run will also include a co-headliner with PALLBEARER on 5/31 in Philadelphia, PA. The full itinerary is as follows:

WEEDEATER U.S. TOUR DATES:
05/29: Johnson City TN @ The Hideaway
05/31: Philadelphia PA @ Union Transfer*
06/01: Dayton OH @ Turnbuckles and Brews
06/02: Washington DC @ Rock and Roll Hotel
06/03: Charlottesville VA @ The Southern
*With PALLBEARER, No IRATA

All of WEEDEATER’s albums are now available at fine stores nationwide and online at the WEEDEATER Bandcamp page.

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

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

Weedeater, Goliathan (2015)

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Live Review: Desertfest NYC Night Two, 04.27.19

Posted in Reviews on April 28th, 2019 by JJ Koczan

Windhand (Photo by JJ Koczan)

The Well — not to be confused with the Austin, Texas, band of the same name — is around the corner from where The Acheron used to be in Brooklyn and there still stands The Anchored Inn as a congregation point. I was there for not the day’s first cup of coffee before day two of the inaugural Desertfest NYC kicked off back at the venue. It was cloudy and the air was chilled — April in New York — but by the time Electric Citizen were done, the sun was out and would remain so for the bulk of the day. That helped all the more since the main stage was outside.

A large tent was erected on an expansive enclave of a patio space. In back was the merch area, seating at picnic tables and along the other side there was a bar, taco stand, and the raised shipping container up some stairs that had been converted to a backstage lounge, complete with deck. The vibe was immediately relaxed and cool, with another bar inside and the second stage, in a smaller room off to the side of The Well‘s main corridor. My first time in the space, and it seemed ready for the event from its basic structure to the tent outside, though if Desertfest NYC is going to be an annual event, they’ll need a bigger one.

The afternoon kicked off soon enough, but though the venue switched from the Saint Vitus Bar the evening prior, the mood around was much the same. It was something Ron Holzner of The Skull would effectively summarize in saying, “About damn time we had a European festival come to the States. A sign of good things to come.” One hopes he’s correct in the foresight.

It was a packed nine-band day, mostly alternating back and forth between the stages, and it went vaguely like this:

Electric Citizen

Electric Citizen (Photo by JJ Koczan)

It had been a few years since I last caught Ohio heavy rockers Electric Citizen, but their 2018 album, Helltown (review here), was a stripped down and switched on groover that at the same time offered the band’s most developed sense of melody yet, so yes, it was something to look forward to. I don’t think they were helped by the early slot, but with the bill as stacked as it was, there wasn’t really anywhere else to put them. There was, fortunately, a good crowd to start the day off, and that only grew in number as the RidingEasy Records five-piece went on, their sound pulling elements from cult rock, glam, doom and proto-metal in order to create a brew that’s readily familiar and nuanced at the same time. They played as a five-piece, with keys alongside the guitar, bass, drums and vocals, and frontwoman Laura Dolan noted from the stage that this was their sendoff for a European tour. They’ll spend the month of May in the UK and EU, playing Desertfest in London and Berlin as well as other dates before and after. They sounded ready to go, to say the least.

Tower

Tower (Photo by JJ Koczan)

Immediately after Electric Citizen wrapped on the main stage, the second stage launched with the classic metal stylings of Tower, who continue a tradition of gritty NY homage to the NWOBHM and early thrash that goes back pretty much to when that sound was current. There’s always been a place for that stuff in New York, and Tower represented well what Brooklyn has done in the wake of bands like Early Man in the last decade and Natur and others in this one, two guitars blazing to coincide with the first off-stage frontperson of the weekend — presumably not the last, though one never knows — and a riotous stage presence that all the more justified that spillover onto the floor. They were probably the most metal act of the day, but still well accessible to the Desertfest NYC crowd. I’ve made the argument a thousand times at this point that classic metal is the domain of the heavy underground. Tower were another notch in favor of that position, and they effectively captured the spirit of the metal to which they were paying homage via their material. Not unfamiliar, but that’s the point.

Danava

Danava (Photo by JJ Koczan)

Back on the main stage, Portland, Oregon, stalwarts Danava answered such metallurgy with a bit of boogie, a bit of NWOBHM dual-guitar action, and a lot of soul. I’ve been fortunate enough to see Danava a couple times over the years, and though my initial impression of them wasn’t positive, they’ve proven consistent in terms of the high-quality of their work on stage and off — my initial impression, in other words, was wrong. The simple fact that they haven’t put a record out in eight years and continue to get booked on shows like Desertfest NYC and Psycho Las Vegas, where they’ll play the pool party in August, should speak volumes to their continued relevance, and though they had the At Midnight You Die single (review here) out through Tee Pee in 2016, you would have to say they’re due for a record. Overdue. But they killed. Founding guitarist/vocalist Gregory Meleney warned the crowd before they played what was presumably a new song, “Nothing but Nothing,” that they might screw it up, but by all appearances they nailed it, which was basically the case for their entire set.

The Skull

The Skull (Photo by JJ Koczan)

Yeah, I know The Skull is Ron Holzner and Eric Wagner from Trouble, and I know they’ve got Rob Wrong from Witch Mountain on guitar alongside Lothar Keller and they’ve got Brian Dixon from Cathedral on drums. They’ve got all that, and I won’t take away from anyone’s pedigree whatsoever. But you know what else The Skull have? Songs. Songs. Songs. They’ve got songs that are memorable. Songs that stay with you after you put the album down and move onto the next thing. Songs that, when they play them on stage, you go, “Oh shit yeah, this song!” as I did when they launched into “When the Sun Turns Black” from their 2014 debut, For Those Which are Asleep (review here) and the title-track of last year’s follow-up, The Endless Road Tuns Dark (review here). Stage presence is a factor, of course, and if you’re going to call anyone in American doom a supergroup, it’s probably fair to do so for The Skull, but whatever they do, their foundation is there in the songs, and it’s the songs that carry them most of all. They were and are the best example I can think of for a band building something new out of a storied legacy.

Worshipper

Worshipper (Photo by JJ Koczan)

Boston’s Worshipper packed the second stage room beyond capacity — there was a line out the door to get in — and played like a band who are about to release one of the best records of the year, which they are in the form of their second album, Light in the Wire (review here). They opened with “Visions from Beyond” and “Coming Through” from that offering and gave a preview of what they’re soon to take on the road in Europe with their Tee Pee labelmates in The Skull — they too will be at Desertfest‘s London and Berlin editions — as guitarist John Brookhouse and bassist Bob Maloney proffered dead-on vocal harmonies on material new and old, guitarist Alejandro Necochea tore into leads and offered more harmony alongside Brookhouse‘s guitar, and drummer Dave Jarvis pushed the entire thing forward, grounding the psychedelic stretches and keeping momentum on their side, which it was for the duration. They were the band I was most looking forward to in the lineup for the day, particularly in light of their new album, and they very clearly played to the momentousness of the occasion at the first American Desertfest. It was the kind of thing I’ll be glad to have seen.

Weedeater

Weedeater (Photo by JJ Koczan)

Some technical trouble with the bass amp before Weedeater went on, but plenty of shenanigans to fill the time and bassist/vocalist “Dixie” Dave Colins spat out auctioneer’s chatter and lines like “crack rocks” and “wow, wow, mom” in checking the mic. The North Carolinian trio — Collins, guitarist Dave “Shep” Shepherd, drummer Ramsey Ateyeh (I think; someone please correct me if I’m wrong) — are on a forever-tour, their last record, Goliathan (review here), having come out in 2015, but they absolutely packed that tent and people went apeshit for them to the point that, when I went into the photo pit later for Windhand, the barricade had moved up in front of the stage to the point that there was no more access to the other side. Weedeater do nothing but deliver, and I know Dixie is kind of playing to character, but dude is working from the moment he hits stage to the moment he leaves. He’s the James Brown of sludge, and Weedeater‘s legend has grown all the more over their nearly-25-years because of that. They played the songs they always play, they kicked ass like they always do, and they proved once more that there’s only ever been and there only ever will be one Weedeater. Accept no substitutes.

Mirror Queen

Mirror Queen (Photo by JJ Koczan)

Let’s face it: you’re never going to beat Weedeater at their own game. Luckily for all involved, Mirror Queen were on a different wavelength entirely. Their progressive-tinged classic heavy rock is a staple of New York’s underground, and with guitarist/vocalist Kenny Sehgal‘s dual-role as the head of Tee Pee Records, their inclusion was all the more fitting. The four-piece, with Morgan McDaniel on guitar, James Corallo on bass and Jeremy O’Brien on drums, bounced and careened through a set that acquitted them well with the Desertfest crowd — doubly fortunate since they’ll be in Berlin soon enough — and asked nothing by way of indulgence while bringing to bear material of melody and weight that wanted neither in perspective or delivery. Mirror Queen have been around, and have had their share of lineup turnover, but the band as they are now was only engaging, and to those familiar with them and not in the crowd, they were a return to consciousness after the bash over the head that the main stage had just delivered. Heavy rock and roll is always welcome, and Mirror Queen were a fitting reminder why.

Windhand

Windhand (Photo by JJ Koczan)

Like Weedeater before them, like Black Cobra the night prior and like Monolord and Elder to follow the next day, Windhand were not an unknown quantity, but for a festival brand feeling its way out in a hard city, they made perfect sense for the bill, and their doom was absolutely massive in the tent that held the main stage. I had been thinking after The Skull played that there was no doom left for anyone else — and certainly Windhand‘s 2018 album, Eternal Return (review here), had more going on than just that — but the Richmond, Virginia, four-piece managed to scrape enough together in order to feel like they were burying the crowd alive in low end. I will gladly argue for Windhand as being among the most important bands of their generation, particularly for those who’ve come up since and have taken influence from the sense of atmosphere they bring to their material in the studio and on stage, and though they had a hard act to follow on the main stage, they lived up to even the mighty expectations that are placed on them at this point wherever they go. They are a headlining band, full stop. They’ve worked hard to become one, and they deserve every bit of significant acclaim they’ve garnered over the years, while still sounding like they want nothing more than to move forward.

Steak

Steak (Photo by JJ Koczan)

Ambassadors from London’s populous heavy underground, Steak were nothing short of a refreshing way to close out the night. They’ve been a staple act of Desertfest London, which guitarist Reece Tee is also involved in organizing via Desertscene, as he was with Desertfest New York, so like Mirror Queen, they also had a family connection to the proceedings, but even their soundcheck drew a crowd keyed in to the fuzz tone and heavy roll they let loose. They were not halfway through the first song before frontman Chris “Kippa” Haley was standing on the front-of-stage riser, and he’d spend a goodly portion of the set up there, toasting the crowd and personifying the entire band’s really-glad-to-be-here mood, which was infectious. They too packed out the second stage room and held the crowd for the duration, begging a revisit for 2017’s No God to Save (review here) and showing off the development in their dynamic since which is set to manifest on their next record, due out before they play Keep it Low in Munich this October. Seeing them live for the first time in I don’t even want to count how many years only made me look forward to that more, whenever and however it might actually show up, and for the first Desertfest New York, they hit stage like a mission statement of what the festival brand is all about, from top to bottom. It was right on and then some.

It was not a small amount of day. As of now, it’s about two hours until it’s time to get back on the road from New Jersey to Brooklyn for the third and final round with Desertfest New York. The weather thus far seems to be uncooperative, but we’ll see how it all pans out this afternoon. Shower first. Shower first.

That’ll be good.

More pics after the jump. Thanks for reading.

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Desertfest New York 2019 Makes Final Lineup Announcement; Here Lies Man, Fatso Jetson, Black Cobra, Heavy Temple, Steak & More Added

Posted in Whathaveyou on February 13th, 2019 by JJ Koczan

desertfest new york 2019 banner

Desertfest New York 2019, the first one ever, has completed its lineup for this April. Taking place at The Well and Saint Vitus Bar, the three-night event will be headlined by Black CobraWindhand and Elder and will boast newly-announced performances from SteakHigh Tone Son of a BitchHeavy TempleTowerGreen Milk from the Planet OrangeDuelSun VoyagerFatso Jetson and others. It was always going to be a stacked bill, and well, it’s worked out to be a stacked bill. Obviously the Desertfest brand, with history in London, Berlin, Athens and Antwerp, are no strangers to putting on an event, and as Desertscene and Sound of Liberation partner with NY-based Tee Pee Records, there was really no way this was going to be a flop, and it looks like it won’t be.

Calendar’s marked.

Here’s the final lineup:

desertfest new york 2019 poster

THE 1ST DESERTFEST NEW YORK

FULL LINE-UP + DAY SPLITS ANNOUNCED FOR DF NYC – BLACK COBRA, WEEDEATER, HERE LIES MAN, ASG + MORE

Taking place at Saint Vitus Bar on Friday 26th April and The Well on Saturday 27th & Sunday 28th April, please welcome to the bill:

• black cobra
• Weedeater
• Here Lies Man
• ASG
• Ruby the Hatchet
• FATSO JETSON
• Electric Citizen
• HTSOB
• Steak
• Mick’s Jaguar
• DUEL
• Heavy Temple
• TOWER
• Green Milk From The Planet Orange
• Sun Voyager

Unfortunately, we also have to announce that The Atomic Bitchwax can no longer play due to touring conflicts, along with Cali rockers Dommengang. Both band conflicts were out of our control, but we apologise for any inconvenience caused.

2-day weekend passes for ‘The Well’ shows only (Sat + Sun) are still available via www.desertfest.nyc

3-day passes which include access to Saint Vitus on Friday are SOLD OUT

Desertfest NYC will take place at Saint Vitus Bar on Fri 26th April & The Well on Sat 27th April + Sun 28th April

https://www.facebook.com/events/339417893540336/
https://facebook.com/Desertfestnyc/
https://www.instagram.com/desertfest_nyc/
http://www.desertfest.nyc/

Green Milk from the Planet Orange, “Phoenix”

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Weedeater Announce December Tour Dates; Out with C.O.C. & Crowbar in Jan./Feb.

Posted in Whathaveyou on November 20th, 2018 by JJ Koczan

weedeater

You know the drill by now. Weedeater, touring. Isn’t that just kind of the state of things at this point? Already announced as taking part in a significant chunk of Corrosion of Conformity‘s upcoming run alongside Crowbar and Mothership in January and February, the band has newly unveiled a quickie stint in December that one assumes they’re undertaking in order to help with the expense of holiday shopping? They’re not making their way to a fest or anything, but in all seriousness, I think touring is how Weedeater eat (both weed and actual food, which may or may not contain more weed) at this point, so yeah, they’re sneaking in a few more dates before 2018 ends. This year has already seen them in Europe and across the US, found them hit with tragedy at the passing of drummer Carlos Denogean and beheld their apparent unstoppability in the wake of that. Why wouldn’t they hit the road again for a sweep up to Philly? Maybe they’re big Gritty fans. I know I am.

Stop me if you’ve heard this one before — and yes, you have — but here are some Weedeater tour dates from the PR wire:

weedeater dec tour

WEEDEATER announce extensive US tour

Notorious southern metal outfit WEEDEATER have announced an extensive US tour. The trio will undertake a short run of East Coast headline dates in December before joining CORROSION OF CONFORMITY on January 19 to begin a US Tour. A full list of confirmed dates can be found below.

All of WEEDEATER’s albums are now available at fine stores nationwide and online at the WEEDEATER Bandcamp page.

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

WEEDEATER TOUR DATES
Dec. 5 Chesapeake, VA @ Riffhouse
Dec. 6 Lancaster, PA @ Lizard Lounge
Dec. 7 Pittsburgh, PA @ Cattivo
Dec. 8 Baltimore, MD @ Metro Gallery
Dec. 9 Philadelphia, PA @ Kung Fu Necktie

WEEDEATER W/ C.O.C., CROWBAR & MOTHERSHIP:
Jan. 19 San Antonio, TX @ Alamo City Music Hall
Jan. 20 Oklahoma City, OK @ Diamond Ballroom
Jan. 21 Kansas City, MO @ Riot Room
Jan. 22 Denver, CO @ Gothic Theater
Jan. 24 Phoenix, AZ @ Crescent Ballroom
Jan. 25 Las Vegas, NV @ Fremont Country Club
Jan. 26 San Diego, CA @ Brick By Brick
Jan. 27 Los Angeles, CA @Teragram Ballroom
Jan. 29 San Francisco, CA @ Slims
Jan. 31 Portland, OR @ Hawthorne Theater
Feb. 1 Seattle, WA @ Neumos
Feb. 2 Vancouver, BC @ Rickshaw Theater
Feb. 4 Edmonton, AB @ Starlite Room
Feb. 5 Calgary, AB @ Marque
Feb. 7 Winnipeg, MB @ Park Theater
Feb. 8 Minneapolis, MN @ Fine Line
Feb. 9 Chicago, IL @ Bottom Lounge
Feb. 10 Flint, MI @ Machine Shop
Feb. 12 Cleveland, OH @ Beachland Ballroom
Feb. 13 New York City, NY @ Gramercy Theater

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

Weedeater, Goliathan (2015)

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Corrosion of Conformity Announce Tour Dates with Crowbar, Weedeater, The Obsessed & Mothership; Tickets on Sale Today

Posted in Whathaveyou on November 9th, 2018 by JJ Koczan

corrosion of conformity live (Photo by JJ Koczan)

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 ConformityCrowbar 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 crowbar tour

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 w/ Crowbar, Weedeater (1/19 – 2/13), The Obsessed (2/16 – 2/27), Mothership:
1/19/2019 Alamo City Music Hall – San Antonio, TX [tickets]
1/20/2019 Diamond Ballroom – Oklahoma City, OK [tickets]
1/21/2019 The Riot Room – Kansas City, MO [tickets]
1/22/2019 Gothic Theatre – Denver, CO [tickets]
1/24/2019 Crescent Ballroom – Phoenix, AZ [tickets]
1/25/2019 Fremont Country Club – Las Vegas, NV
1/26/2019 Brick By Brick – San Diego, CA [tickets]
1/27/2019 Teragram Ballroom – Los Angeles, CA [tickets]
1/29/2019 Slim’s – San Francisco, CA [tickets]
1/31/2019 Hawthorne Theatre – Portland, OR [tickets]
2/01/2019 Neumos – Seattle, WA [tickets]
2/02/2019 Rickshaw Theatre – Vancouver, BC [tickets]
2/04/2019 Starlite Room – Edmonton, AB [tickets]
2/05/2019 Marquee – Calgary, AB [tickets]
2/07/2019 Park Theatre – Winnipeg, MB
2/08/2019 Fine Line – Minneapolis, MN [tickets]
2/09/2019 Bottom Lounge – Chicago, IL [tickets]
2/10/2019 Machine Shop – Flint, MI [tickets]
2/12/2019 Beachland Ballroom – Cleveland, OH [tickets]
2/13/2019 The Gramercy Theatre – New York, NY
2/16/2019 Brighton Music Hall – Boston, MA [tickets]
2/17/2019 Underground Arts – Philadelphia, PA [tickets]
2/18/2019 Ottobar – Baltimore, MD [tickets]
2/20/2019 Opera House – Toronto, ON [tickets]
2/21/2019 Mr. Smalls Theatre – Pittsburgh, PA [tickets]
2/22/2019 Lincoln Theatre – Raleigh, NC [tickets]
2/23/2019 The Masquerade – Atlanta, GA [tickets]
2/24/2019 Orpheum – Tampa, FL [tickets]
2/26/2019 Vinyl Music Hall – Pensacola, FL
2/27/2019 The Cowan – Nashville, TN

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

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

Corrosion of Conformity, “Wolf Named Crow” official video

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R.I.P. Carlos Denogean of Weedeater

Posted in Whathaveyou on August 27th, 2018 by JJ Koczan

weedeater carlos denogean

North Carolinian sludge stalwarts Weedeater mourn the loss of one of their own with the passing this weekend of drummer Carlos Denogean. The trio toured this past summer starting in June at Maryland Doom Fest 2018 and performed earlier this month at Psycho Las Vegas. At this time, the cause of death has not been made public, but bassist/vocalist “Dixie” Dave Collins and guitarist Dave “Shep” Shepherd posted a statement on social media to note Denogean’s passing and ask for privacy.

Hi everyone,

There is no easy way to say this. Our dear friend and bandmate Carlos Denogean passed away yesterday. It is with a heavy heart and intense sadness that we bring you this unfortunate news. He left this world far too soon and will be missed immensely by all of us. Anyone that knew Carlos was enamored by his kindness and his warm personality. He was an incredibly talented musician and a real joy to be around. He brought something truly special to the band and we all loved working with him. We simply cannot express how devastated we are by this loss. We don’t know any details at this time and we ask that you please leave us to grieve now along with Carlos’ family. Thank you for all of your kind wishes. Cherish what you have while you have it.

– Weedeater

Having been fortunate enough to see Denogean play in Maryland at the start of Weedeater’s June/July tour, he was an energetic performer who brought character and swing to Weedeater’s established material while playing with a sense of personality that fit well with the long-established chemistry of Collins and Shepherd. Condolences on behalf of this site and myself to Denogean’s family, friends and bandmates in this difficult time. Weedeater have not posted any word about their future plans, and neither would one expect them to so close to this loss.

They were in Europe earlier this spring for appearances at Roadburn and Desertfest in London and Berlin, and were slated to appear in October at Slaughter-Que in Atlanta, Georgia.

Weedeater’s latest album, which preceded Denogean’s arrival to the band, was Goliathan, released in 2015 on Season of Mist.

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

Weedeater, Live at Psycho Las Vegas, Aug. 17, 2018

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Live Review: Maryland Doom Fest 2018 Night Three, 06.24.18

Posted in Features, Reviews on June 26th, 2018 by JJ Koczan

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Before I get started on the last night of Maryland Doom Fest 2018, I want to thank JB Matson and Mark Cruikshank for the incredible work they’ve put into making this event something truly special. Think Maryland was ready for a festival to help define and codify its generations-spanning underground scene? Maryland Doom Fest has done so in four years’ time, and not only has it helped give an understanding to what Maryland doom is, but it’s working actively to broaden those horizons as well. And its reach is growing. Not only in bands. Last night the dude standing to my left was there with friends from Portland, Oregon, and to my right was a handful of folks from Albuquerque, New Mexico, all packed right at the front of the stage. It’s growing, and quickly.

But as Maryland Doom Fest enters what might be its Golden Age in presenting shows people will talk about years later — “ah yeah, were you at Doom Fest when Windhand played?”, etc. — the event has also kept its head on its shoulders about the work in progress. It’s a grounded experience, very much of its place, and a thrill to be able to return here and see it, especially after missing last year. I very much hope to be back to Frederick and back to Cafe 611 in 2019.

I don’t mind telling you I rolled into the venue in time to catch the first band feeling like I’d had my ass kicked up and down 6th St. already — because I had, two days running — but the momentum of the final day of Maryland Doom Fest 2018 was as thick as the riffs and it was a pleasure to be shoved along to a riotous finish.

Happened like this:

Gateway to Hell

Gateway to Hell (Photo JJ Koczan)

Baltimore natives Gateway to Hell started a few minutes late, which unless I’m mistaken resulted in a shortening of their set. If so, all the more a bummer, because when they were done, I wanted more. They made their debut last year with the EP, Clovers (review here), and though I had a more metallic impression of them in my mind from that going into their set opening the last day of Maryland Doom Fest 2018, with an orchestra of effects there was an experimentalist psych edge to the guitar work of Alex Briscoe that blended with straight-ahead rhythms from bassist Eric Responsible (who wins the weekend as regards surnames) and drummer Dan Petrucelli, all of which gave frontman Jerrod Bronson ground to belt out lyrics over top. They had intense moments to be sure, but I wondered if their next release might bring more of that weirdo sensibility to bear in their sound. Fingers crossed. It worked really well on stage.

Bedowyn

Bedowyn (Photo JJ Koczan)

Comprised of vocalist/guitarist Alex Traboulsi, guitarist Mark Peters, newcomer bassist Channing Azure and drummer Marc Campbell, Raleigh, North Carolina’s Bedowyn were about as close as Doom Fest got to black metal this year, and well, it was pretty close. Bedowyn, who got their start in 2011 and have an EP and full-length under their collective belt, blend that genre with a handful of others — thrash, classic metal, heavy rock, and so on — to conjure an aggressive but still poised sound, and Traboulsi‘s vocals turned from screams to sort of cleaner shouts while Campbell‘s drums held together all the part changes and stylistic turns. They went on early, so got an extra five minutes to play and made the most of it as a standout coming from someplace different than just about everything on the bill, which, again, was packed the whole way through. Also, if I remember right, I was told Campbell played drums with two broken fingers, thereby earning immeasurable bonus points. So there’s that too.

Saints and Winos

Saints and Winos (Photo JJ Koczan)

I guess everyone was on the 4:15 doombus to Frederick, because all of a sudden I turned around and the room was was pretty full for Saints and Winos from Rochester, New York. Mixing clean and harsh vocals, they tipped hats to more extreme and sludgy sounds, but had their basis in heavy rock and roll and a somewhat classic style, with plenty of low end fuzz and metallic swing very much in the spirit of the weekend in those terms and as regards general ease of pace. Their debut album, the all-caps WE RISE, came out late last year and featured three-part harmonies from guitarist Joe Dellaquila, bassist Amanda Rampe and drummer J.B. Rodgers on songs like “Great Wall,” and there was some of that on stage as well but it didn’t quite come through the house P.A. with the same kind of balance. Hazards of being the third band on the bill with complex arrangements. They were engaging enough to make me dig into the record anyway, and while there’s room to grow in their sound, it was plain to hear that potential during their set.

Book of Wyrms

Book of Wyrms (Photo JJ Koczan)

Look, I don’t want to say classic doom will never die, because let’s face it: everything fucking dies. Someday the ocean is going rise up and eat us all about 30 seconds before the asteroid hits and splits the planet in two, only to be later consumed by the sun, also dying, so yeah. Classic doom will die, but it sure as shit ain’t dead yet. Book of Wyrms made an intriguing opening statement with 2017’s Sci-Fi/Fantasy (review here), which came out via respected tonal specialists Twin Earth Records. The lineup of vocalist/effects-bringer Sarah Moore Lindsey, guitarists Kyle Lewis and Ben Coudriet, bassist Jay Lindsey and drummer Chris DeHaven dug into traditional stoner-doom vibes that were, indeed, a pleasure to witness, and their potential was writ large over their time on stage in much the same fashion as on the record. I don’t know if it’s the balance of samples vs. riffs or doomed aspects and more heavy rock roll and melody in Lindsey‘s vocals, but there’s something waiting to be tapped in their sound that, if they get there, will make all the difference for them. As it was, they carried the room with ease.

Sierra

Sierra (Photo JJ Koczan)

What a way to start a tour. And what a tour to start. Canadian three-piece Sierra obviously enjoyed launching a run of shows as they did last year at Maryland Doom Fest 2017, because they were doing the same thing all over again. This time, they’ll be out supporting fest-headliners Weedeater, and as they’ve been a steady presence on the Tone Deaf Touring circuit the last several years — they’ll also be at de facto sister fest Descendants of Crom in Pittsburgh this September — they’re tight enough in their delivery to have a professional sheen. They’re a tricky band as well, because it’s easy to watch them and say, “Okay, heavy rock, fair enough,” but that’s not it. There’s more just under the surface. To say Rush is a lazy comparison based on the simple fact of their northern origins, but they’re more prog than they let on, and they work smoothly in tipping that balance back and forth between the straightforward and the more complex. Of course, that makes them more exciting to watch, since they’re neither purely clinical nor just another collective bearing riffs, but instead offer something more varied between the two. It was my first time seeing them, and they were better than I knew, making a highlight of “Rainbows End” before finishing out with a cover of Black Sabbath‘s “Into the Void.”

Curse the Son

Curse the Son (Photo JJ Koczan)

However, I knew damn well that Curse the Son were going to be incredible. Perfect band for the setting, great slot, a room that would just bounce their volume off the walls. Yeah, it was gonna work out. And it did. It’s been a little bit — more than I’d prefer, certainly — since I last saw the Hamden, Connecticut, trio, and in that time, they’ve released their third album, Isolator (review here), signed to Ripple Music and brought in drummer Robert Ives alongside bassist/backing vocalist Brandon Keefe and founding guitarist/vocalist Ron Vanacore, so yeah, it’s been reasonably busy. Another band Maryland Doom Fest 2018 is sharing with Descendants of Crom, they also appeared at this Spring’s inaugural New England Stoner and Doom Fest, and as Vanacore announced from the stage, they’re working toward a new album for early 2019. “Huzzah” would be putting it mildly. They were the first band all weekend for whom I removed my earplugs and let go a little bit to headbang and really take in. A lot of Maryland doom resides in a mid-paced groove. Curse the Son play slower and lower, and that nod was exactly what my weary soul needed. With Vanacore‘s tonal morass and vocals cutting through, older cuts like “Spider Stole the Weed” and “Goodbye Henry Anslinger” were familiar and welcome, and though he had some rather significant shoes to fill, the swing and intensity Ives brought to the drums was a dead-on fit. They don’t really tour, but still, theirs was one of my favorite sets of the whole weekend, and if you’re reading this and you ever get the chance to see them live, do it.

Backwoods Payback

Backwoods Payback (Photo JJ Koczan)

Under general circumstances, I’m not one to gush, but I tell you know lie, I went up to each member of Backwoods Payback individually — to guitarist/vocalist Mike Cummings, bassist Jessica Baker and drummer Erik Larson, each separately — and told them how incredible their new album, Future Slum, is. I don’t even know how many times the word “awesome” left my mouth, but needless to say it was an embarrassing number. The thing about it is, they just absolutely nailed it. Same could easily be said of their set at Maryland Doom Fest 2018. Playing new material and old after opening with “You Don’t Move” from their most recent outing, 2016’s Fire Not Reason (review here), they absolutely laid waste to Cafe 611. And it’s for the same reason: everything has clicked. The songs, the lineup, the performance, the presence — it’s all in the same place and they’re experienced enough and smart enough to throw it at the audience in just the right way. And the conviction from all three of them. Plenty of bands this weekend meant what they were doing. To be blunt, nobody was phoning it in. But with Backwoods Payback, it was another level entirely, and when Cummings jumped off the stage toward the end of the set and shared the mic with a couple kids in the crowd who knew the words, it felt like a moment that encapsulated the band’s capacity to hit hard and still translate that their conviction into a meaningful experience. I’ll have more to say about the new record and I’ve already made plans to see them again next month, but this one was a landmark not to be forgotten anytime soon.

Caustic Casanova

Caustic Casanova (Photo JJ Koczan)

I knew Caustic Casanova were underrated, and seeing them for the first time, I guess I was interested to find out if I could find a reason why. Their sound is certainly accessible enough; the Washington, D.C./Frederick trio play a style of heavy rock that in part feels drawn from ’90s college/art rock weirdoism and part drawn from a desire to mash that against sonic pummel and punker drive, but they’re also a thoughtful band. Each part has its purpose, and even in their delivery live, there was a sense of focus that pervaded what they were doing. It was fun to watch, definitely, but there was a strong intent there — nothing felt like an accident, however experimental it may have been in the composition. One knows they’re Melvins fans because they did a cover of “Cow” on their latest 7″, but their style has much more to it than just post-Buzzo riffing and tryhard avant gardeship so often resulting from that influence. And if Caustic Casanova are underrated, the reason is precisely because they’re not easy to pin down. They’re a dynamic, complex trio given to deft rhythmic turns and an indie aspect to complement/contrast their heavier elements, and they don’t fit into any single genre tag necessarily beyond the blanket “progressive heavy rock,” which is a pale descriptor for the actual depth of character in the music they make.

Duel

Duel (Photo JJ Koczan)

The rest of the night would be given to riotousness, and Duel were the start of that. Up from their home in Austin, Texas, this would mark the largest tour they’ve undertaken in the US, but they come into it with multiple European stints on their CV. Recently also announced for Heavy Mash 2018 in October (info here), their latest release is actually a live album called Live at the Electric Church (review here) that Heavy Psych Sounds put out as a complement to their two to-date studio LPs, 2016’s Fears of the Dead (review here) and 2017’s Witchbanger (review here), and from that, I thought I had a pretty decent idea what to expect. What took me by surprise, though, was the energy behind what they were doing. They’re classic heavy rock in their stylistic root, but rather than present it as some staid relic to be showcased like a museum piece under glass, they instead break that glass with their bare hands, smear the blood over their faces and proceed to capture the dangerous spirit that drove the earliest days of riffery in the first place. Actually, they do more than just capture it. They make it their own, so that this sound so often associated with the past becomes something inextricably forward thinking. I dug the records, so wasn’t surprised to be into the live show, but the sheer vitality of it was staggering. They made it a celebration.

The Midnight Ghost Train

The Midnight Ghost Train (Photo JJ Koczan)

Their last show. Heavy rock and roll loses one of its most potent live acts in The Midnight Ghost Train, who made Maryland Doom Fest 2018 the occasion for their final gig. Ever? Maybe. One has learned time and again never to say never in rock and roll, but the band made it known in April they were calling it quits, and this was their version of going out with a bang. Did you ever get to see The Midnight Ghost Train? It’s a question I can see myself asking in conversation for years to come — they are a litmus test for music and performance as a kinetic force, and a comparison point to which few will be able to live up. Founded by guitarist/vocalist Steve Moss and ending with longtime drummer Brandon Burghart (I don’t know what else he’s got going, but I can’t imagine any band not wanting him in its lineup) and relative newcomer bassist Tyler Harper (also of Capra), they were fury incarnate with a bittersweet underpinning. I’ve watched The Midnight Ghost Train shows for a decade, and I tell you with no reservation that they’re among the most powerful heavy rock bands I’ve ever seen. Moss transforms into a shuffle-blues madman, Burghart‘s swing is nigh-unmatchable, and Harper stood toe-to-toe with the guitar, which is saying something. They will be missed. But they went out as they always were — on fire — and I stayed up front the whole time and felt fortunate to be there to see it, as I think did everyone else in the room. They were a big part of what made the day so special. And even if they get back together at some point, years down the line or whatever, the impact of this night, this set, stands as a monument to who they were as a group and Moss‘ realized vision of heavy, funky, bluesy righteousness.

Weedeater

Weedeater (Photo JJ Koczan)

Well, if one band over the course of the three-day event was going to ignite a genuine mosh, it might as well be Weedeater, whose tonal dominance was evident from soundcheck onward despite “Dixie” Dave Collins breaking a string on his bass. Years of near-constant touring have given North Carolina’s Weedeater a reputation that well precedes them, and though it had been years since I last caught them, I knew the lumbering sludge that was about to unfold as soon as they hit into “God Luck and Good Speed” to open their set, with guitarist Dave Shepherd and drummer Carlos Denogean doing no shortage of the heavy lifting when it came to rolling out massive, lumbering nod. I’m too old for that slam-dancing shit, so I hightailed it from the front of the stage on the quick, but Weedeater left no question as to why they were headlining. What the hell else could possibly follow them? They’ve made a career on sounding unhinged, and even down to Denogean wailing away at his kit, they lived up to that, but they’re long since veterans, too, so they’re not just fucking around. They’re professionally fucking around. Good work if you can get it. The crowd knew the set the whole way through, and though Weedeater are coming up on due for a follow-up to 2015’s Goliathan (review here), which they’ve basically been on tour supporting since it came out, their command of the stage wasn’t something that just happened. It was whittled down from the years of grinding on the road they’ve done. Worth it? You’d have to ask them, but watching them play for the first time in a long-enough while, they looked like a band that made themselves headliners the hard way, and who have earned every accolade, every top slot, every laudatory hyperbole they’ve gotten. Like so much of the festival that led up to them, they were the right band, right time.

I saw and met a lot of really wonderful people this weekend who had absurdly nice things to say about this site and whatnot, from the Horseburner guys to hanging out with Mike from Backwoods Payback and Leanne Ridgeway from Riff Relevant, to seeing Paul-forever-to-be-known-as-MadJohnShaft and talking about the various European fests he hits, Dave Benzotti, Erik Larson, Earl Walker Lundy, Ron Vanacore, Deanne Firkin, Billy from Philly and the gents from The Age of Truth, Mark and Pete from ZED, Uncle Fezzy, Darren Waters, Dee Calhoun, Shy Kennedy, Pat Harrington, the dudes from Bailjack, Steve Moss, Melanie Streko, Lisa Hass, Chuck Dukeheart and the Foghound gang, Mat from Castle, Doomstress Alexis, Mark Schaff, Justin from Molasses Barge, Brenna from Lightning Born, on and on and on.

Thank you is my point. People say incredible stuff about this site, and I can’t ever really let myself hear it, but I’m happy if someone feels positively about a thing that happens here. Every now and then I do too. This weekend was one of those times. Thank you for reading and being a part of it.

It was five and a half hours north in the car when I let out of the Super 8 in Frederick to get to Connecticut, which is how this review ended up being later than I’d prefer, but so it goes. Before I end the post, I need to send a special thanks to The Patient Mrs., whose management and running point on The Pecan the last few days made this trip possible in the first place. That’s a hard job, even more for her than for me, and I owe her eternally for her efforts in allowing me to pursue crazy ideas like, “so I’m gonna go to Frederick for a weekend and hit Doom Fest you got the baby okay cool thanks.” It means more to me than I can say.

More pics after the jump. Thanks again all.

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