Add to Calendar2017-09-09 18:302017-09-09 23:59:00America/New_YorkDanzigDoors open at 6:30 PM. More show details at: https://wellmonttheater.com/shows/danzig/The Wellmont Theater, 5 Seymour St, Montclair, NJ 07042
Corrosion Of Conformity
Official Facebook Page: www.facebook.com/corrosionofconformity
Official Twitter: www.twitter.com/coccabal @coccabal
Official Instagram: www.instagram.com/coccabal/ @coccabal
Corrosion of Conformity are reuniting with guitarist/vocalist Pepper Keenan for UK/European and North American dates. Other than a few surprise appearances, this will be the first time Keenan has toured with the band since 2006. This will also be the first time the "Deliverance" lineup of the group has played together since 2001.
C.O.C. recently emerged from hibernation as a trio and released 2012's eponymous album and 2014's "IX" to wide acclaim, but many have been eagerly awaiting the return of Pepper Keenan.
The band were originally an influential hardcore punk/heavy metal crossover act before reaching critical success with a new lineup on 1991's "Blind" album. That trajectory continued with wider appeal as Keenan took over as primary vocalist on "Deliverance" (1994) and "Wiseblood" (1996).
These two recordings in particular fused the raw energy of the previous albums with some great strides forward in classic rock inspired songwriting and more spacious production and execution, which were often copied but rarely equalled.
This juggernaut gained mass and momentum with relentless touring alongside Metallica, Clutch, Eyehategod and many more.
Eventually following "In the Arms of God", 2005, Keenan focused all energy on his hometown band Down.
Until now, that is.
Recent internet chatter on the subject of a reunion turns out be true.
Mutoid Man War Moans Bio Mutoid Mans initial aspirations were fairly humble. Guitarist Stephen Brodsky (Cave In) and drummer Ben Koller (Converge, All Pigs Must Die) wanted to bask in their love of frantic, ferocious, no-frills metal. No riff was deemed too extreme, no drum pattern was considered too absurd. With the recruitment of bassist Nick Cageao, Mutoid Man pushed metals villainous pageantry to vaudevillian levels. Over the course of extensive touring on their debut album Bleeder, the bands live shows became exercises in showmanship, with the requisite headbanger gymnastics morphing into Van Halen-esque panache and hardcore-basement-show prankery. On their sophomore album, War Moans, the bands stage one-upmanship carries over to their songcraft, yielding an album of ridiculously savage hooks and next-level dexterity. The beginning of the writing process for War Moans was marked by a fortuitous setback. While touring on Bleeder, Mutoid Man learned their rehearsal space was the latest victim of gentrification in Brooklyn. Their equipment was relocated to the basement of Cageaos work, the renowned metal club St Vitus. Practices were held on the clubs stage during the venues off-hours. Its fitting that War Moans was born in a room that has not only hosted intimate appearances by bands like Carcass, Megadeth, and a one-off Cobain-less Nirvana, but has also become a second home to the citys many up-and-coming punk and metal bands. Fittingly, you can hear vestiges of big-name acts precision mixed in with the scrappy underground bands raw tenacity and unbridled hunger in Mutoid Mans latest offering. From the chugging bass line and guitar trills that kick off Melt Your Mind, Mutoid Man sets a precedent of divine instrumentation and unholy riffs. Bone Chain demonstrates the bands uncanny ability to meld punishing breakdowns, fretboard acrobatics, and pop sensibilities into one propulsive punch. Micro Aggression crams more deliriously savage hooks into two-and-a-half minutes than your average thrash band can muster over the course of an entire album. The breakneck tempos are then dropped to the midtempo stomp of Kiss of Death, which marries the warped bottomfeeder sludge of Morbid Angels World of Shit (The Promised Land) with 80s hair metal vocal bravado. Well, its certainly our most perverted record, Brodsky says when asked if theres an overarching theme to War Moans. And without a doubt, lyrics like Came inside of Satans daughter / Nine months later, whos the father? from Date with the Devil reinforce this notion. But rather than lampooning metals machismo, Brodsky sees War Moans as a statement on larger societys lascivious obsessions. Its about how easily things can be sexualized and how that can be at war with your senses, how that makes you perceive things, and how it forces you to behave. Maybe it even attacks your ability to stay on the straight and narrow. Cageao sees another subconscious theme to the album—our predilection towards self-destruction. It makes more sense now after the election, and that wasnt even the intention, Cageao says with a mischievous grin. The world is destroying itself.The second side of War Moans captures this more serious side of Mutoid Man, but also rallies against the possible downfall of the modern world by recruiting musical allies to fill out their doomsday epics. Irons in the Fire finds Cave In compatriot Adam McGrath lending guitar heft to a megalith anthem. The title track instantly recalls The Big Four, with thrash icon Marty Friedman further cementing the vibe by lending a blazing guitar solo. Grim folk luminary Chelsea Wolfe and her longtime collaborator Ben Chisholm lend vocals and auxiliary instrumentation to the goth-inflected Wreck and Survive, as well as the albums harrowing closing track. We wanted to write a Mr. Big-style arena rock ballad, Cageao says of Bandages. And indeed, the big open chords and wounded lyrics will surely have audiences pulling their lighters out of their po
ckets, but Wolfes siren vocals and Chisholms electronic pulses give the song an apocalyptic weight never attained by the darlings of the Sunset Strip. Despite the ominous tone set by the closing tracks of the album, fatalism has never been the objective of Mutoid Man. The ultimate goal has always been Van Halen, Cageao says. No one is Van Halen, obviously. No one can play like that. I mean it in the sense that there is no fear of being an asshole.Indeed, anyone thats witnessed the band live is keenly aware that Cageao and his compatriots prioritize fun over kvlt posturing. And with their latest album, Mutoid Man effectively captures their power, precision, and grandiosity for all posterity. Sargent House is proud to release War Moans to the masses on June 2, 2017. written by Brian Cook
Tour hashtag: #Danzig2017
You know it’s Danzig the moment you hear him.
It’s not just that inimitable voice either. It’s the thick airy guitars, bluesy swagger, and “come hither” evil that placed him at the forefront of a number of musical revolutions. Due to his ingenuity, horror and punk formally collided with The Misfits’ genesis in the seventies. Anytime you see that iconic Misfits skull, you’ll immediately think of his howl fueling punk classics like 1982’s Walk Among Us or 1983’s Wolf’s Blood/Earth A.D. His vision for Samhain and albums such as Initium and November-Coming-Fire, to name a few, indelibly impacted the landscape of extreme music, fortifying the crossroads between heavy riffs and occult imagery so prevalent these days. Then, there’s his eponymous band—Danzig. 1988’s self-titled debut would go platinum and yield classics including “Mother,” “Twist of Cain,” and “She Rides,” while overall sales across his catalog exceed 10 million worldwide to date.
Moreover, you can consistently feel his presence throughout pop culture, whether it’s his music soundtracking moments in The Hangover film series, at the personal request of director Todd Phillips, or Artists ranging from Johnny Cash & Roy Orbison to Guns & Roses, Metallica, My Chemical Romance & many more recording his songs. That imprint expands further with his successful Verotik Comics and forthcoming feature film directorial debut. However, Danzig wants to show you where it started with his tenth full-length album and first since 2010’s Deth Red Saboath—Skeletons [Evilive Records].
A labor of love that dates back to 1979, he pulls back the curtain behind his influences with a collection of ten covers spanning artists as diverse as Elvis Presley, ZZ Top, and Aerosmith to Black Sabbath, The Troggs, The Everly Brothers, and more. Recording intermittently between 2012 and 2015 in Los Angeles, he quite literally reveals the bone structure for his own style.
“These are my skeletons,” he affirms. “You may or may not know that I dig these songs. You could say that some of this music is the actual basis and skeleton of what I listened to growing up—ultimately informing the kind of music I like. It’s the foundation. If you took Elvis and Sabbath out of my life, I probably wouldn’t be the Glenn Danzig you know! I’m glad both sides are represented on this record.”
Among the tracks, he takes Presley’s “Let Yourself Go” from the film Speedway and transforms it with a swinging distorted stomp and bluesy vocal crescendo. “I thought it was a song I could do something really cool with,” he goes on. “It’s also something that I didn’t think anyone would necessarily expect. When you tell them you’re going to do an Elvis cover, they expect something they know. Not a lot of people know this one. It’s actually on The ’68 Comeback Special, and it’s worth going back to.”
He also “Danzig-ized” Sabbath’s “N.I.B.”, beginning with just guitar, vocals, and half-beat drums bolstered by ominous church bells. Meanwhile, Aerosmith’s “Lord of Your Thighs” grows exponentially heavier in his hands with a swell of pinch harmonics and robust riffing.
“People might be surprised I like that second Aerosmith record, Get Your Wings. There are tracks on there, especially ‘Lord of Your Thighs,’ that stand out to me. However, if you hear theirs and then you hear ours, ours is much heavier,” he grins.
A rousing cover of The Litter’s “Action Woman” opens a window into his pre-punk and garage roots, while Danzig brings a blast of intensity to ZZ Top’s “Rough Boy,” turning it into a metallic freight train. “I always thought it was such a great song,” he continues. “I wanted to make it more linear and run all the way through.”
The Troggs “A Girl Like You” becomes a punkified juggernaut in his hands with its fuzzed-out guitars, pounding drums and the trademark Danzig sing-a-long choruses.
He captures the rebellious spirit of the sixties outlaw biker films with a punked-out take on “Devil’s Angels” from the Devil’s Angels Soundtrack complete with his old school Misfits Dallas Arbiter Jumbo-Fuzz Pedal. Then, Danzig adds a countrified spark to “Satan” from Satan’s Sadists, which he assures, “You might be surprised, but I didn’t change any of the lyrics. I didn’t have to!”
Danzig’s interpretation of “Crying in the Rain” from The Everly Brothers instantly captivates. Accompanied only by piano, guitar, and tympani, he accomplishes the mission of making it more “ethereal, sparse, dark, and haunting.”
Ultimately, Skeletons sparks the next phase for Danzig. Helping catalyze his next full-length offering and 2015 tour plans, it’s yet another revolution. “I hope people dig it,” he leaves off. “I also hope it gives everybody a little bit of insight into the music I listen to and maybe an insight into how I did the songs. If you enjoy it, that’s great.”
No matter what, you’ll know it’s undeniably him the moment you press play…
— Rick Florino, June 2015