The world has many things to thank Denmark for over the years, not least its incomparable sense of style and Copenhagenis home to some of the world’s most sought-after designer brands and classic products. My kids would say the piece de resistance is Lego, however they probably haven't stepped on it with no socks on, if they had I am sure they’d change their tune haha.Have you done it?Hurts like fuck doesn’t it
When I was a kid the most famous Dane I was aware of other than Lurpak butter was Jan Molby, then when I got into metal, Lars Ulrich was obviously a name associated with Denmark and is arguably one of the countries most recognisable faces, reviled and loved in equal measure, when you trace the roots of Danish heavy metal he is probably top of the tree.
Hailing from Denmark, you’d be mad(s)(Mikkelson) to overlook the band DISRULE., because they are a diamond (King), a doom/stoner heads wet dream, because these guys can groove and rock out with the best of 'em. Clutch, Down, Fu Manchuand the mighty Black Sabbath all come to mind upon listening to their second record “Sleep In Your Honour”and in keeping with the spirit of legendary bands such as Sabbath, it was recorded live at Dead Rat Studio in just two days.
Streaming in full today exclusively, ensure you turn this one up loud(drup) with a bier (Susanne) in hand.“Sleep In Your Honour”is released this FridayviaSeeing Red Recordsand is available HERE
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.
Each album is demonstrably different while maintaining a common thread so no record is out of place within the discography. Stylistically, I would say that this is closer to “Symmetry...” than “Lifesblood”, and perhaps is a little closer to the band's earliest material, but at the end of the day: it's Crowbar. Where this album sits in the band's discography will only be fully revealed over time, but I can say that it has got better and better with each listen. What a band. Appreciate them while they are here.
“The Serpent Only Lies” CD//DD//LP track listing:
01. Falling While Rising 02. Plasmic And Pure 03. I Am The Storm 04. Surviving The Abyss 05. The Serpent Only Lies 06. The Enemy Beside You 07. Embrace The Light 08. On Holy Ground 09. Song Of The Dunes 10. As I Heal
The Review:
Crowbar are 100% reliable. They have never made a bad album. They have never gone commercial, gone thrash, gone death, gone hardcore or deviated in any way from their uniquely satisfying sound.
Generally regarded as sludge, and New Orleans sludge at that, the band have been operating at the highest level of quality for a quarter of a century now. Kirk is still at the helm and now Todd Strange is back on bass (Kirk plays on the album) after a career in something non-metal related. The album, as per, mixes riffs of the heaviest weight (“Falling While Rising”) with faster bursts of hardcore pace (“I am The Storm”). Most people familiar with the band have a favourite Crowbaralbum (some go with “Odd Fellows Rest”, some the self titled, or “Broken Glass”etc. etc.) but I can reliably inform you that this one could be a contender on anyone's top spot.
The last record, “Symmetry In Black”, was a tour de force: this is just as good. They really haven't put a foot wrong on this release. The doomy and spacey vibe of “Surviving The Abyss” is a welcome shift in dynamics and recalls “When Planets Collide” (and other tracks) from the bands formidable canon.
Operating, as they do, in a field of one brings its own challenges. The band have to find ways of making things interesting; the line up has always been in flux, but whether this is by design or default I don't know. Each album is demonstrably different while maintaining a common thread so no record is out of place within the discography. Stylistically, I would say that this is closer to “Symmetry...” than “Lifesblood”, and perhaps is a little closer to the band's earliest material, but at the end of the day: it's Crowbar. The title track is as vicious and melancholic as their best work, with Windstein's voice still a unique selling point.
The album is another focused and concise release; ten tracks of similar length gives the right playing time for enjoyment and immersibility (running out of actual words, so making them up!) and each track goes by at a fair clip. “The Enemy Beside You” is another hardcore/sludge hybrid which spits some serious bile. Kirk is in his 50's now, but isn't showing any sign of mellowing. Since leaving Down, he seems to have re-focused on Crowbarand brings some huge riffs and vocals to tracks such as “On Holy Ground” down the back stretch of the record. “Song of the Dunes” is even more impressive, with a rather creepy atmosphere added to the mix.
By the time of “As I heal”, the record had absolutely won me over as yet another sterling piece of work from Crowbar. Where this album sits in the band's discography will only be fully revealed over time, but I can say that it has got better and better with each listen. What a band. Appreciate them while they are 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.
This is gnarly and nasty music made by a figure that is both revered and reviled. Through all the controversy, one thing keeps me coming back to listen to Anselmo: the quality of the music. And the music is as potent as ever. A storming return.
“Caught up in the Gears of Application” CD//DD//LP track listing:
01. Today and Tomorrow 02. Burning the Blanket 03. Ruin You 04. Caught Up In The Gears Of The Application 05. Sociopathic Herd Delusion 06. Circling the Drain 07. Clickbait 08. Asshole 09. Mutts Bite Too 10. Rigging the Fight 11. Receiving No Answer to the Knock
The Review:
Superjoint Ritual, as this band effectively is, made a couple of records in the early 00's and then disappeared as Down reignited and- by my estimation- stagnated. Now, Anselmo is back with a rather different line up but still peddling the same angst ridden mix of sped up/metalled up EHG/Saint Vitus and Black Flag.
Song lengths are fairly concise, the anger is almost tangible and overall this is an unholy racket of rather hardcore proportions. Anselmo recreates the vocal stylings of his early 30's self to good effect. Naturally, he remains (now more so than ever!) a divisive figure- but I'm not here to write about politics; so the music is the focus here.
The likes of “Ruin You” are punk-ish blasts of anger and Phil really does turn in a good vocal performance of raging fury; his best in years. The title track is just a ferocious beast, as is... the rest of the album. Certainly, this record proves that Anselmo's writing and performance have not been hurt by years of drug abuse, scandal, grief and whatever else has been negative grist to his mill. When he screams “we used to be drug addicts!” in “Circling the Drain”, you know that he speaks from a place that you don't really want to go to (no, not Bradford).
Naturally, there is no experimentation here, no subtlety and certainly no ballads. This is horrible and pitch black stuff. In every sense, the album feels like a natural successor to “A Lethal Dose...”combining the bile of the previous two records with the propensity for throwaway song titles (“Asshole”- a nasty little track) and the raw production values. Through the latter stretch of the album, from the lengthier “Clickbait”, the bass intro sporting “Mutts Bite Too”, the sharp “Rigging The Fight” and so on, there is not one backwards step. The record just marches relentlessly onwards.
By the time it ends with the five and a half minutes of “Receiving No Answer to This”, it is quite a relief. This is gnarly and nasty music made by a figure that is both revered and reviled. Through all the controversy, one thing keeps me coming back to listen to Anselmo: the quality of the music. And the music is as potent as ever. A storming return.
“Caught up in the Gears of Application” is available here
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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