Son of Cain deliver COC grooves and style mixed with the intensity and vocal approach of prime era Danzig, the end result is a mixture of dark and dangerous rock n roll
“Closer To The Edge” CD//DD//LP track listing:
1). Hit the Road
2). Born to Fail
3). Beyond
4). Like Stone
5). Old Man
6). Reach The End
7). Dead Corner
8). Human Prey
9). Boiled
10). Outro
The Review:
Son of Cain deliver COCgrooves and style mixed with the intensity and vocal approach of prime era Danzig. Sounds like your kind of thing? It will be, if you like those two bands. In particular, Danzig is writ large through the very core of this release. It's dark and hard rocking at the same time, it's as if the Evil Elvis upped sticks and move to... Portugal?!
Yep, this band is European and not from the USor even South America. Their geographical location doesn't matter to me at all- this is quality stuff and the two piece line up (drums/vocals and guitars/bass, unusually) handles the material well.
There is nothing you have not heard before, but so what?! Most bands are STILL copying Sabbathriffs, so a respectful nod to Mr Danzig is fine by me. From the opener “Born to Fall”, to the “Outro”, the influences are stamped on the bands sleeves (leather/denim/studded gauntlet- I assume). There is more to this than pure pastiche, though. “Beyond”is a rough rocker of a track and “Like Stone” is as hard and heavy as the title suggests.
The two band members nail the grooves admirably and the sound is rough and raw- Rick Rubin is not needed here as the energy crackles out of the speakers. “Old Man” really is like Prime Danzigcirca “Lucifuge” or thereabouts. The latter half of the album (you get ten tracks in total- without 99 bonus tracks!) is just as strong, with “Reach The End” rushing out fast and keeping a punk-ish energy in its frantic delivery- which contrasts well with a more laid back vocal.
“Dead Corner”utilises dialogue from what is surely one of the best films of all time and sets the tone for a low down and dirty song. The final trio of “Human Prey”- which showcases excellent melodies and use of variety/dymanics, “Boiled Up” and “Outro” keep the energy levels up and the vibe cranked to maximum darkness. This is dark and dangerous rock n roll- very enjoyable.
Dissipated is the more prevalent punk and thrash of "IX" in favor of the sound that made CoC its name, but done in a contemporary way. As such, this is Corrosion of Conformity's finest work in many years. "No Cross No Crown is something Corrosion of Conformity fans can rejoice in.
"No Cross No Crown"CD//DD//LP track listing
1. Novus Deus
2. The Luddite
3. Cast The First Stone
4. No Cross
5. Wolf Named Crow
6. Little Man
7. Matre's Diem
8. Forgive Me
9. Nothing Left To Say
10. Sacred Isolation
11. Old Disaster
12. E.L.M.
13. No Cross No Crown
14. A Quest To Believe (A Call To The Void)
15. Son And Daughter
The Review:
Runs as long and lovely as Corrosion of Conformitysadly do not come often. While there are a few collectives that manage to stay together for extensive stretches, maintaining their levels is tough. Since 1984's "Eye for an Eye,"few bands have navigated being musically innovative, commercially successful and faithful to their roots as the boys from North Carolina. Although there have been some rocky spots, the results for CoC have largely been positive. The band has undergone some changes in its style over the decades (see its punk ethos of the 1980s and thrash/punk/crossover in the late 2000s), as well as among its lineup (most importantly the departure of frontman Pepper Keenan in 2005, after leading CoC to its biggest hits and largest arenas). Yet Corrosion of Conformity has survived it all and managed to stay a popular touring – albeit less on the sales front – performer.
When Keenan departed CoC in 2005 to lead Down, the group continued on, but never attained the heights previously touched. A break was punctuated with 2012’s self titled album, 2014's solid "IX" album and EP "Megalodon," and occasional appearances with Keenan. However, the remaining members were coy about a reunion for quite awhile. Yet the lineup's chemistry with Keenan was undeniable, and CoC headed to the studio in 2015, with Keenan back at the mic. "No Cross No Crown" is the product of those sessions.
CoC's history has been marked with many long recording pauses – keep in mind, they've had only five albums since 2000 – and lots of touring. The layoff between the harder edged "IX" and the latest is noticeable, in a positive way – not only because of the stylistic change, but because of the renewed vigor you catch early on "No Cross No Crown." Such fresh energy is irrefutably due to Keenan's rejoining the group. He and the rest of the band have an old spark back. And still, Keenan's vocal is not only enduringly compelling, but comes anew from the heavy blues cloth from which classic metal oftentimes takes cues. Dissipated is the more prevalent punk and thrash of "IX" in favor of the sound that made CoC its name, but done in a contemporary way. As such, this is Corrosion of Conformity's finest work in many years.
If you got turned on to CoC during its "Deliverance" period, a lot of that power and swagger is back. Opener "Novus Deus" slinks through your earbuds and careens right into "The Luddite," with mammoth riffs and Keenan's wicked generalship. What makes Corrosion of Conformity so fascinating in its run is how it has managed to rise above what you think about the music it does. Meaning, CoC is probably most clearly associated with hard rock and metal, but can attract fans among those who like alternative rock, stoner and heavy blues. A song like "Little Man" could easily find a home on mainstream rock radio, for instance. There are a few bands in our contemporary cadence that have managed to do a decent crossover in a fashion that flouts their genre – think System of A Down, Slipknot and a few others – which Corrosion of Conformity enters the conversation with. Obviously, that isn't a musical comparison insofar as CoC has turned their music into something that attracts attention from music fans who might vibe with their particular charisma and originality as much as the songs on "No Cross No Crown." Breathe easy for no Ed Sheeran-esque rapping or elements that detract from its brand; CoC accentuates what it does best instead, while highlighting other influences beguilingly well.
There are lots of durable metal moments on the latest recording that are sure to get longtime CoC fans hyped. "Forgive Me" is a hard rock romp with a roadhouse chaser. "Old Disaster" and "Wolf Named Crow" are vintage CoC, harkening back to its "Clean My Wounds" glory days. Lyrically, Keenan remains poignant as ever, spinning tales with many meanings and conveying messages that avoid being heavy handed, like "Cast the First Stone" ("Back in time before they crossed the line, and the truth was made of gold/Cross of paths that was based on the past, or so the story goes/Strike fear and the end draws near, and the peasants wore a blindfold"). You get the feeling, hearing something as inescapably catchy and aggressive as "E.L.M.," that there's simply a particular pleasure the foursome gets in playing together. Familiarity is part of it. So must knowing they've captured a special bolt of lightning, such as with album closer "A Quest to Believe." However that enthusiasm is distilled, its result is something Corrosion of Conformity fans can rejoice in. Now, bring on the tour.
DEMON EYEare back with their third offering and another dose of their own blend of Heavy Classic Rock, Proto Metal and Traditional Doom!
The new album "Prophecies and Lies" was recorded by Mike Dean of CORROSION OF CONFORMITYin the band's hometown of Raleigh, North Carolina, and displays a strong musical progression with mighty riffs, haunting melodies and fist-raising anthems. DEMON EYE are bringing vintage heavy darkness for modern times and current day evils, giving their listeners dynamic songs to empower them against all adversaries. With the release date of 11 August 2017 just over a week away, today were serving another sonic brew from the album entitled “Dying For It”, a hard charger with a bit of Voivod dissonance meets classic Dio. You can check it out in full below. Preorders are available here
Louisiana-based stoner metal band Vermilion Whiskey will return with their new album “Spirit of Tradition” on February 17 2017. The band's blend of metal with southern and classic rock is refreshing in a sea of groove/Pantera clones. “Spirit of Tradition” was mixed by Kent Stump of Wo Fatand mastered by Tony Reed of Mos Generator.
Hailing from South Louisiana, Vermilion Whiskey is a working man's band, steeped in whiskey fueled Rock-N-Roll tradition. Their musical roots run deep like river veins stretched across their beloved home state & beyond. VW live and dedicate themselves to the thrill of the stage, no matter the crowd size, you will find 101 proof Vermilion Whiskey. Where the good times roll, they can be found, sharing their own brand of hard-nosed rhythms with any and all who live to have a good time! Long live the riff!Taking cues from Corrosion of Conformity, Down, Lynyrd Skynyrd, Deep Purple, will undoubtedly create quite the stir upon its release and today, you can get your first taste of this superb album with the premiere of “The Past is Dead” which you can check out below.Preorder are available now via their bandcamp page.
The idea of Decades Apart is pretty simple. This year is 2016, so I’ll choose 5 different albums from 5 different decades, 1976, 1986, 1996, 2006 through to the present day.Whilst these albums may not all be considered classics, they’re certainly amazing records.I’ll share a little information about them and hopefully you’ll check them out if you haven’t already.So let’s get started.
Rainbow – “Rising” (1976)
“Rising” is the second studio album by the British hard rock band Rainbow, released in 1976 the album has been hailed in some quarters as the greatest heavy metal album of all time.With only their second album, “Rising”, Ritchie Blackmore’s post Deep Purpleband created one of rock music's defining records.Despite playing a prominent role in the development and introduction of heavy metal with Deep Purple, by the mid point of the 70’s Blackmore had quit and began to explore new possibilities in heavy music with, Rainbow.
Unlike their debut, which was performed by Blackmore, Dio and his previous band Elf“Rising” would feature a new band consisting of bassist Jimmy Bain, keyboardist Tony Carey and drummer Cozy Powell. This was viewed as the definitive line up and they would go on to record “Rising” with Deep Purpleproducer Martin Birch
“Tarot Woman” the opening track of the album set the tone of the album’s ambitious nature and the organic aesthetic carries throughout the tracks of side one with, “Run With the Wolf,” “Do You Close Your Eyes,” and “Lady Starstruck,” The album is perhaps known best for the albums dual eight-minute epics, which dominated side two, namely “Stargazer,” which is viewed by many as Rainbow’s signature creation, thanks to Dio’sevocative supernatural lyrics and the rhythm and a central riff that originated on a cello. The second epic track is “A Light in the Black,” which many considered the obvious sequel to the “Stargazer” story, concluding the album after mere 33 minutes.Unsurprisingly then, “Rising” was a critical and commercial success and voted the number one heavy metal album of all time by the readers of British magazine Kerrang!
Ozzy Osbourne – “The Ultimate Sin” (1986)
“The Ultimate Sin” is the fourth solo studio album by Ozzy Osbourne. As the saying goes, there was no rest for wicked, and that was perhaps no more apparent than the recording of this record, which was recorded shortly after Ozzy check out of rehab.Fortunately for Osbourne his bassist/right hand man Bob Daisley (credited with writing much of his back catalogue) and guitarist Jake E. Lee had been hard at work on a new set of songs while he was in rehab, and these track would indeed form the basis of his fourth solo effort, 1986’s “The Ultimate Sin”.
Being in the Osbourne camp was not without it’s problems, indeed the recording of this album was no different. Lee, who for me is arguably the best guitarist that has ever been in his band, had demanded a revised contract before agreeing to contribute, after feeling cheated out of writing credit for 1983 album “Bark At The Moon” (Ozzy is credited as writing the whole album) and Daisley would leave the band during the sessions, with Phil Soussan hired to play his parts.
Despite Osbourne’s dissatisfaction with the record, I personally feel the album is graced by some of Jake E. Lee’s best work, indeed it is considered by many including myself that it was him that subsequent guitarists would model themselves, with Lee including pinched harmonics for the first time, which would later become his successor’s trademark, namely Zakk Wylde.Lee was unceremoniously sacked the following year after the “Ultimate Sin” tour ended, and Soussan — who had his own disagreement over songwriting credits with Osbourne — also exited, only for Daisley to return and the introduction of new guitarist Zakk Wylde.
Corrosion of Conformity – “Wiseblood” (1996)
“Wiseblood” is the fifth album by Corrosion of Conformity and the second album to featurePepper Keenan on vocals, released in 1996; it would see the band on the verge of breaking into the big leagues of Rock and Metal stardom.Indeed the band would get picked up for a coveted support slot with Metallica.Released two years after their classic 1994 album “Deliverance”,the tone of “Wiseblood” was set instantly with the crushing riff of “King of the Rotten”, but features a succession of superb tracks including the Grammy nominated track ‘Man Or Ash,’ which featured a guest appearance from Metallica’sJames Hetfield (uncredited).Released at the peak of the band’s popularity, the mega-stardom that the album so richly deserved never materialized
With Pepper Keenan on vocals and guitar, Woody Weatherman on lead guitar, Mike Dean on bass and founding member Reed Mullin on the drums, “Wiseblood was the second of three records they wrote and recorded together, with long time producer John Custer in the chair once again.Following up “Deliverance” was no mean feat, but the record is strong from beginning to end, opening with the catchy ‘King Of The Rotten,’ and ending with the musically complex seven minute closer ‘Bottom Feeder (El Que Come Abajo)’ which completes itself with pig samples and jazzy sections alongside its powerful Black Sabbath inspired stoner riffs.
Stylistically, the album follows the tone of their “Blind” album with minimal trace of their hardcore roots, featuring straight up southern tinged stoner rock tracks with smatterings of variety now and again to break it up, such as the powerful semi-ballad ‘Redemption City,’ and the break neck powerhouse that is ‘Fuel,’ as well as the aforementioned instrumental track ‘Bottom Feeder (El Que Come Abajo)’
For me “Wisblood” is certainly one of the band’s best ever albums and arguably by extension one of the best rock and metal albums of the 1990s. If you like the band then you need this album, if you like Down, and don’t know COC I pity you.Cue much excitement for the new album next year.
Mastodon – “BloodMountain” (2006)
“BloodMountain “is the third full-length studio album and major label debut by Mastodon.
I guess it should come as no surprise to dudes or dudettes reading this that Mastodon are pretty much unequalled in terms of output over the last 16 years, with at least 3 classic albums to their name.Rewind 10 years and it is safe to say there may have been a few nervous fans with the release of their third album, “Blood Mountain”, perhaps in no small part to the fact it was their first for Warner Bros Records. Rest assured, true to form with two monumental records behind them “BloodMountain” delivered in spades.Queer; odd; unusual; monstrous are just some of the adjectives you could use for this album, indeed coupled with their dynamic riffs and strikingly experimental approach, the band truly are at the peak of their powers.
“BloodMountain”shoots as quick as a drawn gun with the first riff of “The Wolf Is Loose” and ends 50 minutes with “Pendulous Skin”, feeling like you have been engulfed by a tumultuous cinematic experience.“BloodMountain”captures the band as a free flowing symbiotic unit, a colossal swaggering beast, weaving distinct, pervasive and expressive music, virtuosic in its instrumentation, aided by a power house production job from Matt Bayles, who truly captures the unorthodox but magnificent tones from this hulking beast, augmented by a crushing mix from Rich Costey.“BloodMountain”is the standard of excellenceon which many have attempted to duplicate, but few will equal.Mastodonare truly architects of their own language, who like few others, care only about what they want to write for themselves and refrain from conform to peddling out run of the mill crap for the sake of making a buck. There’s an aura around this band and at the height of their powers, no one can touch them, as this album demonstrates.
Slomatics – “Future Echo Returns” (2016)
It seems as though 2016 is the year when the UK kicks the ass of the rest of the world in terms of heavy, sludgy, doomy musical output. Slomatics make no exception on 'Future Echo Returns' their 5th album and part 3 of their spacey trilogy that began with 'A Hocht' is my album of the year!
Even without a bassist, Slomatics manage to hammer out riffs with the weight and impact of a fleet of anvils dropped from the empire state building; 'Estronomicon' gives us a brief glimpse while 'Electric Breath' smashes the point home. Vocals from vocalist/drummer Marty Harvey are exceptional here; as they are on 'In The Grip Of Fausto'. More melodic and powerful than some of Slomatics earlier work, demonstrating how much he's come on in recent years. Things get much more mellow and ambient on 'Ritual Beginnings' with slow building guitar arpeggios that transform into drawn out single notes, chords (and even what sounds like a xylophone).
‘Rat Chariot'has the classic Slomatics feel to it. It could be the freshly bathed, more alluring but nonetheless heavyweight younger sibling of 'BeyondAcidCanyon'from 2012's 'A Hocht' album. Ex- Conan bassist/vocalist Phil Coumbe weighs in with some serious growls towards the songs lumbering conclusion. When a band's guitarist has their own signature fuzz pedal, it's a safe bet that they can cut through solid rock with their riffs; when both guitarists have an alternate version of the same pedal (you have to check out Dunwich Amplification) then prepare your eardrums for some serious, rock crushing heaviosity. This speaks volumes on penultimate track 'Supernothing' with its gigantic riffs slicing through solar systems. More superb melodies come from Harvey's epic vocals and make this one of seven standout tracks. Yes, I know what I just said.
Finally, we get somewhat of a reprise of 'Ritual Beginnings' on final track 'Into The Eternal', the slightly overdriven choral vocals and what sounds like synths prepare the scene for some killer heavy music. Have you ever heard a sludge doom band use 'whoa whoa's and 'yeah yeah's’and thought "nah, that ain't right."? Well on this, it fucking works! The majesty of the scene Slomatics have conveyed over the 6 previous tracks (and 2 previous albums) means that actual lyrics would do the song a disservice. I mean, what would you say if you were floating through the vast emptiness of outer space? This is why it makes sense. Some satellite bleeps and spacey sounds travel through the soundscapes as well as some lead guitar work which adds an extra dimension to the whole make up of the song and makes for a glorious conclusion, not only to this album, but to the trilogy.
Slomatics riffs and Chris Fielding's epic production are a marriage made in doom heaven. The towering heaviness of the riffs and the images of the infinite, shimmering darkness of space is executed and captured perfectly. An amazing album worthy of any and all praise it will undoubtedly receive
I don’t know about you but when you’re searching for new music, often there are key words you’re looking for, “riffs, sabbath, crushing” come to mind. Moreover when a band is sold as sounding like this or that band, much like today’s featured band King Hiss, who were recommended for fans of Corrosion of Conformity, Clutch, Alice In Chains & Down, immediately your interests piques.
King Hiss have a mission “to write earth shaking songs with attitude and a desire to conquer the world” and since their formation in 2011 and with two solid releases under their belts which were met with overwhelming positive reviews, these Belgian stoner rockers hope to make quite stir and make their dream a reality with the release of their sophomore long-player titled “Mastosaurus”, a concept album portraying the epic adventures of a doomed antihero.
Recorded at Oceanside Studio by producer/drummer Ace Zec (Death Before Disco, Customs& Nailpin), mixed in Austin (USA) by Machine (Clutch, Crobot, Fall Out Boy, Lamb Of God) and mastered by Paul Logus (Anthrax, Clutch, Steel Panther), “Mastosaurus” is schedule for release on October 31st. Today you can judge for yourselves whether those tags are appropriate, as we stream a brilliant new track entitled “Killer Hand” which you can stream below
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