American heavy metal veterans Corrosion Of Conformity are finally set to release their long-awaited new double album, Good God / Baad Man, arriving on April 3 through Nuclear Blast.
A lot has changed in the world of Corrosion Of Conformity since their last studio release. Back in 2018, No Cross No Crown landed hard, powered by the long-running lineup of Pepper Keenan, Woody Weatherman, Reed Mullin, and Mike Dean — a group with roots stretching back to their early punk beginnings in Raleigh, North Carolina in the early ’80s.
The band’s early catalog helped shape generations of heavy music fans, from underground staples like Eye For An Eye and Animosity to later classics like Blind and Deliverance. By the time No Cross No Crown arrived decades later, Corrosion Of Conformity had already earned their place as legends across punk, metal, and hard rock.
Then, in January 2020, tragedy hit with the passing of drummer Reed Mullin.
The loss changed everything, and the band faced the question of how to move forward. Like so many others, they were soon stalled by the global shutdown. After that, Mike Dean stepped away, leaving Keenan and Weatherman to figure out what came next.
They regrouped at Keenan’s place in Mississippi, digging back into the music that shaped them — Discharge, Zz Top, Motörhead, Neil Young, Black Sabbath — and eventually started writing again.
The writing turned into something far bigger than expected: a full double album.
“As we went on, we had such a crazy plethora of songs, it was almost like two different directions,” Pepper says. “We knew we had to split it into two different albums. Then we came up with this concept.”
That concept became the title itself: Good God / Baad Man.
“Our producer, Warren Riker, kept calling it “Dark Side Of The Doom””, recalls Pepper. “In my head, it’s a weird love letter to all things rock ‘n’ roll. We used that for the freedom to go in different directions. Each album is its own tiny universe and has its own identity. “Good God” leans toward the heavier/pissed end of the spectrum. “Baad Man” is more on the throwdown rock scope. As we went along, it became clear which songs went on which album.”
To bring the new material to life, the band enlisted drummer Stanton Moore, who previously appeared on Corrosion Of Conformity’s 2005 record In The Arms Of God. They also brought in bassist Bobby “Rock” Landgraf, known for his time with Pepper in Down, alongside his own work with Honky.
“With a lot of these songs, we’re trying to make Reed Mullin proud,” Pepper says. “He was a badass, and a one-of-a-kind drummer. And the stakes were high.”
The first taste of this massive release arrives with the lead single “Gimme Some Moore”. The track features backing vocals from Ministry’s Al Jourgensen and Madonna guitarist MontePittman, and the hook hits with the line: “Struggle is worth the fight/Leather, chains and spikes.”
“Me and Woody wanted to write a song as if we were 17 years old again,” Pepper explains. “We even made a seven-inch for it.”
That seven-inch, released during their Mexico and South American run, carries an early ’80s punk feel, complete with a black-and-white collage design and a Fear cover on the flip side.
The video for “Gimme Some Moore” was filmed by Mike Holderbeast and directed by PepperKeenan.
Produced by Grammy winner Warren Riker — known for work with the Fugees, Down, and Cathedral — Good God / Baad Man was recorded across multiple locations, including Blak Shak Studios in Mississippi, Dockside Studios in Louisiana, and even Bee Gees legend Barry Gibb’s home studio in Miami.
For metal and hard rock fans, this is shaping up as one of the biggest Corrosion Of Conformity releases in years — heavy, personal, and built with the kind of grit only decades in the underground can produce.
The Buddy Guy 90 Tour kicks off in Toronto this July with an extensive summer run in North America.
Guy turns 90 on July 30th.
BUDDY GUY TOUR DATES
July 2026 July 15 – Toronto, ON – Massey Hall July 18 – Buffalo, NY – Kleinhans Music Hall July 20 – TBA July 23 – Mayetta, KS – Prairie Band Casino & Resort July 24 – St. Louis, MO – The Factory July 25 – Chicago, IL – The Chicago Theatre July 26 – Milwaukee, WI – Riverside Theater July 29 – Shipshewana, IN – Blue Gate Performing Arts Center July 31 – Atlantic City, NJ – Ocean Casino Resort
August 2026 August 1 – Ranson, WV – Hollywood Casino at Charles Town Races August 2 – Glenside, PA – Keswick Theatre August 4 – Englewood, NJ – Bergen Performing Arts Center August 5 – Lynn, MA – Lynn Memorial Auditorium August 7 – Waterbury, CT – Palace Theater August 8 – New Brunswick, NJ – State Theatre New Jersey August 19 – Nashville, TN – Ryman Auditorium August 20 – Atlanta, GA – Atlanta Symphony Hall August 22 – St. Augustine, FL – St. Augustine Amphitheatre August 23 – Clearwater, FL – Ruth Eckerd Hall August 25 – New Orleans, LA – Saenger Theatre August 27 – San Antonio, TX – Majestic Theatre August 28 – Austin, TX – 3TEN Austin City Limits Live August 29 – The Woodlands, TX – The Cynthia Woods Mitchell Pavilion August 30 – Dallas, TX – Majestic Theatre
September 2026 September 9 – Los Angeles, CA – Hollywood Bowl September 11 – San Diego, CA – The Rady Shell at Jacobs Park September 12 – Chandler, AZ – The Showroom at Gila River Hotels & Casinos – Wild Horse Pass September 13 – Albuquerque, NM – Popejoy Hall September 15 – Denver, CO – Paramount Theatre September 18 – Tulsa, OK – venue TBA
Metal bands had their heyday in the 80s and, believe it or not, controversy also helped. These were the days of the “satanic panic” and a lot of parents were concerned about metal music. A lot of people, particularly in the United States, were even attempting to ban some of these bands from playing and selling records.
However, as the saying goes, any publicity is good publicity. Some of these bands actually benefitted from this stunt. Moreover, kids always want to listen to the things their parents don’t allow. Here are ten bands, in no particular order, that scared parents in the 80s.
1. Slayer
Slayer in the 80s.
Possibly one of the first metal bands that comes to mind when thinking about this topic. The thrash metal band was formed in 1981 and from almost the beginning until now (they just reunited after a 5-year hiatus) they have been heavily criticized for different situations. It can be argued that the entirety of the band’s history has had controversy.
At the beginning of Slayer, guitarists Kerry King and Jeff Hanneman were in charge of the lyrics. This is key because they deal with topics such as anti-religion, serial killers, genocide, torture, etc. This was coupled with Slayer’s satanic imagery as well as their aggressive sound. With that mix, it is logical to think that a parent in the 80s would not want their child to listen to this band.
Moreover, earlier albums like “Show No Mercy” and “Hell Awaits” had strong satanic lyrics. While this was all in jest (vocalist Tom Araya is Catholic), that caused them issues. And “Reign in Blood” showed the evolution to crimes, murders, etc.
2. W.A.S.P.
The original image of W.A.S.P. was very much glam-oriented and their music had the noise and chaos that characterized that subgenre. At that time, it was impossible not to attract people’s attention. Although the band was formed in 1982, it was not until 1984 that they were able to release their first album.
The first track was called Animal (F*** Like a Beast), which clearly has an impact on any parent. The song received a lot of criticism and the band had to leave it off the album and only sell it through independent labels. Also, the staging at that time was “eye-catching” since, for example, they drank blood from a human skull.
Leader Blackie Lawless would eventually take the band to a darker, more serious direction. However, a lot of people got to know W.A.S.P. because of these controversies. It worked as free publicity at the time but the band’s more serious efforts deserve a lot more recognition.
3. Iron Maiden
Iron Maiden
By the 1980s, Iron Maiden had been in the music business for a few years. However, when the band released “The Number of the Beast” in 1982, they received a lot of criticism that somewhat changed the general public’s image of Iron Maiden. Interestingly enough, the album was the first with Bruce Dickinson as vocalist.
The album’s artwork and name were quickly rejected by some religious groups who urged people to destroy it. They began to be considered Satanic. The band themselves took it upon themselves to clarify the situation, explaining the origin of their lyrics, which had no anti-Christian inclination or anything like that. However, the album became the band’s most successful up to that point and catapulted them to stardom.
Moreover, it is interesting that Iron Maiden never dealt with Satanism in their music. While this record might suggest otherwise, this has never been the band’s lyrical direction. Therefore, this moment speaks of the misconceptions the 80s had with some bands. However, it is likely that Iron Maiden didn’t mind the free publicity.
4. Motley Crue
Mötley Crüe and the Glam Metal Explosion
Motley Crue was part of the first group of metal bands that began to form the glam metal movement in the early 80s in the United States. The reception of this movement was not very good on the part of the more conservative part of society. These movements found in these bands an image that was not to their liking beyond the musical aspect.
To this must be added that Motley Crue has been characterized by having members whose personalities are a bit hedonistic, which is not usually liked. This has been reflected in the large number of clashes they have had with other bands.
5. Mercyful Fate and King Diamond
Mercyful Fate was born from the hand of King Diamond in 1981 and, despite several hiatuses, is still active. The Danish band, in its beginnings, did touch on themes related to the occult and Satanism, which is why it did not have much approval from Christian movements in different parts of the world.
In addition, the general image of the band and of King Diamond in particular does not leave a feeling that could be pleasant for parents. Moreover, once the singer became a solo artist, he kept his Satanic beliefs but the lyrics became more focused on horror. That didn’t stop parents and organizations from censoring him, though.
6. Ozzy Osbourne
Well, in this particular case, this isn’t about metal bands, but just about an individual. Of course, that individual is Ozzy and explaining why he was not liked by parents in the 80s is not a very complex thing. Besides the relationship that was always sought between rock and Satanism, in 1981, Ozzy cut off the head of a dove when he was supposed to release it in a form of peace.
A year later he would do the same with a bat. In 1984, a teenager committed suicide listening to an Ozzy song. This is not to mention the lifestyle of excess that characterized him at that time. This is just a brief summary of why the Englishman was not considered an appropriate image for children according to his parents.
In many ways, Ozzy became the boogeyman of the 80s music scene. But that is something that he nailed perfectly.
7. Judas Priest
Judas Priest is an institution in the world of metal, but in the 80s they were subject to criticism that affected their image a bit. In 1980, the English band released “British Steel“, one of the most successful albums of their extensive career.
The album had songs like “Breaking the Law” that, within some extremely conservative groups, was interpreted as an incitement to vandalism. It was also viewed as a call to disrespect the norms of society. That didn’t seem to affect the band in terms of their output and how they went about things.
8. Twisted Sister
Dee Snider from Twisted Sister
Despite being one of the pioneering metal bands of the 70s, Twisted Sister‘s greatest peak of popularity came in the 80s. It was in 1984, with the release of the album “Stay Hungry”, that the band achieved international fame. Hits like “We’re Not Gonna Take It” or “I Wanna Rock” have cultural icons in the music business.
Despite Twisted Sister‘s success and how catchy their songs were, the band’s image and how loud they could be did not help them to be liked by parents. People only have to see how Dee Snider looked in the 80s and how he behaved on stage to understand that. Snider also had a memorable audit with the PMRC in the decade
9. Venom
Venom‘s influence on extreme and thrash metal is undeniable. An entire subgenre of metal is named after their 1982 album, “Black Metal“, which says a lot. It is common for metal bands to be associated with Satanism and the occult by those outside of this world who do not see a little further.
However, in the case of Venom, their songs did deal with these themes. As the band always clarified, it was for entertainment reasons, something similar to what horror movies do. Despite this, in 1982, their song “Possessed“, from the album of the same name, entered a list of “banned” songs by the Parents Music Resource Center.
Furthermore, the band’s sound was raw and explosive. It is difficult to find a band in the early 80s with a more extreme music approach. In that regard, that also helped to scare parents at the time. The heavy riffs and screechy vocals made for a terrifying combo. In many ways, Venom changed the game for extreme metal bands as a whole.
10. Def Leppard
The guys of Def Leppard in 1981.
In the early 1980s, Def Leppard began to gain prominence after being together for a few years. In 1981, they released “High ‘n’ Dry“, an album that was generally well-received. However, some of its songs did not please everyone.
The eponymous song “High ‘n’ Dry (Saturday Night)” was also included on the Parents Music Resource Center’s list of “banned” or “inappropriate” songs. The committee argued that the song promoted excessive alcohol consumption. This made Def Leppard a band that wasn’t very popular with parents.
The case of this band is quite interesting because they went from heavy metal to a more pop-oriented sound. A few years later, most kids in the 80s would be listening to Def Leppard thanks to the “Hysteria” record.
11. Black Sabbath
Nicholls was an unseen member of Black Sabbath for years.
Black Sabbath are often credited as the originators of heavy metal, and from the start they were shrouded in controversy. Formed in 1968, their early songs like “Black Sabbath” (1970) used occult imagery, church bell sounds, and ominous lyrics that alarmed many listeners. In one early incident, a nurse died by suicide with the Paranoid album on her turntable, sparking outrage and a moral panic over the band’s music. Throughout the 1980s, the mere name “Black Sabbath” was enough to worry parents caught up in the Satanic Panic – TV programs about devil worship even pointed out if a troubled teen was a Black Sabbath fan as if it were evidence of evil.
Religious groups and PTA meetings frequently targeted the band for supposedly promoting Satanism, even though the band members insisted it was all theatrical. Black Sabbath’s dark image (upside-down crosses in artwork, gloomy lyrics about doom and war) made them an easy scapegoat for society’s fears. They were even singled out by the Parents Music Resource Center for a song about drinking (ironically, “Trashed”). All of this kept Black Sabbath in the crosshairs of worried parents, who saw them as the embodiment of heavy metal’s threat – a reputation the band wore like a badge of honor as pioneers of the genre.
12. AC/DC
AC/DC – Photo Credit: Press
AC/DC might be a bluesy hard-rock band at heart, but in the 1980s they became entangled in the era’s Satanic Panic in a big way. The Australian rockers had long played with devilish imagery – guitarist Angus Young would don devil horns onstage, and their 1979 album Highway to Hell cheekily embraced a demonic theme.
This stagecraft was mostly tongue-in-cheek, but not everyone got the joke. In 1985, AC/DC was dragged into notoriety when the press linked them to the crimes of serial killer Richard Ramirez (the “Night Stalker”), a self-professed Satanist who was obsessed with their song “Night Prowler.” After a suspect’s AC/DC hat was found at a crime scene, sensational media reports accused the band of inspiring murder.
Rumors even spread that AC/DC stood for “Anti-Christ/Devil’s Child” – a completely false claim that the band had to publicly deny. As America’s Satanic Panic peaked, concerned parents and preachers zeroed in on AC/DC, conflating the band’s hellish album titles and stage antics with genuine devil-worship.
The band, of course, insisted it was just rock ‘n’ roll theater (Angus famously explained the name actually came from his sister’s sewing machine). Nevertheless, mid-’80s parents looked warily at AC/DC’s records, fearing that the hard-rock boogie of these Aussies hid a pathway straight to the devil – a reputation the band found both absurd and perversely fitting for an album called Highway to Hell.
13. KISS
KISS – Image Credit: Press
By the 1980s, KISS had already spent a decade as one of rock’s most flamboyant and controversial acts – and a persistent bogeyman for parents and pastors. In their 1970s heyday, KISS performed in outrageous black-and-white face makeup with Gene Simmons spitting blood and breathing fire in his demonic “The Demon” persona. This over-the-top spectacle led to wild urban legends about the band. Perhaps the most famous rumor claimed that “KISS” was actually an acronym for “Knights In Satan’s Service,” fueling the idea that the band members were secret Satanists leading kids astray.
The band has repeatedly denied this, but the rumor was so widespread that even KISS’s own fan club newsletter addressed it in 1979, debunking it.) Parents during the Satanic Panic era often took these rumors seriously – if your kid had a KISS poster, some worried it was practically an altar to the devil. On top of that, Gene Simmons’ freaky onstage antics inspired other tall tales, like the apocryphal story that he had a cow’s tongue grafted onto his own. In truth, KISS was more about shock value and merchandising than the occult, and by 1983 they even shed their makeup to boost waning popularity.
But for many uneasy moms and dads in the ’80s, memories of KISS’s fire-breathing “Demon” and those Satanic acronym rumors kept the band filed under “dangerous.” The irony? KISS mostly sang about rock ‘n’ roll and party anthems – but the image had taken on a life of its own, scaring parents long after the band had moved on.
14. Alice Cooper
Long before the ’80s metal boom, Alice Cooper earned the title of the original “shock rocker” – and he was still terrifying parents during the 1980s. Alice (born Vincent Furnier) had a theatrical stage show featuring guillotines, electric chairs, snakes, and plenty of fake blood. He famously thrived on controversy. In the early 1970s he’d been blamed for everything from corrupting youth to (unfairly) killing a live chicken onstage, and was even banned from performing in some places after outraged petitions by moral watchdogs. By the time the Satanic Panic rolled around in the ’80s, Cooper was a veteran at rattling the establishment – and fundamentalist groups still had him in their sights.
Ultra-conservative Christian organizations in America branded Alice Cooper a Satanist, launching a modern-day witch-hunt against him. This was quite ironic, as Alice was the son and grandson of pastors and has said, “I never did anything onstage that was anti-Christian… They just found an easy target.”. Indeed, Alice’s onstage persona was a villainous character, but it was all for show – he wasn’t actually promoting devil worship.
That didn’t stop parents in the ’80s from warning about Alice Cooper like he was the devil incarnate. His comeback tours in the mid-’80s (complete with the guillotine act and ghoulish makeup) drew protests from the same kind of folks who later went after heavy metal. Cooper’s attitude?
The more they tried to ban him, the more curious kids became. He later quipped that in the old days “if parents hated us, we were on the right track.” Alice Cooper’s legacy is living proof that sometimes the outrage only makes the forbidden fruit more delicious to teens – and in the ’80s, he remained a potent symbol of rock rebellion that kept parents sweating.
15. Ronnie James Dio
Ronnie James Dio didn’t just scare parents with his music. He gave the entire metal genre its most feared visual symbol. Dio is widely credited with popularizing the “devil horns” hand gesture in heavy metal after joining Black Sabbath in 1979, picking it up from his Italian grandmother who used it as a ward against the evil eye. What was essentially an old superstition from Southern Italy became, in the eyes of every concerned parent in America, undeniable proof that metal musicians were worshipping Satan.
When Dio launched his solo band in 1982, the fear only intensified. The debut album “Holy Diver” featured cover art depicting a demonic figure drowning a priest in chains, which was about as subtle as a sledgehammer through a church window. Songs like “Stand Up and Shout” and the title track were anthemic and empowering, but parents were not exactly sitting down to analyze the lyrics when the album cover looked like a recruitment poster for hell.
His follow-up records kept the fantasy and occult imagery front and center. Dragons, demons, swords, and sorcery were everywhere in Dio’s visual identity. To metalheads, it was Dungeons and Dragons set to music. To parents, it was evidence that this small, powerful-voiced man from New Hampshire was leading their children into darkness. The irony is that Dio was by almost every account one of the kindest, most generous people in the music industry. He treated fans like family, mentored younger musicians, and never had the kind of substance abuse scandals that plagued his peers.
But none of that mattered when your mom walked into your room and saw a poster of a demon strangling a priest next to a guy throwing devil horns. In the world of 80s parental panic, image was everything, and Dio’s image was practically designed in a lab to trigger every fear a parent could have about heavy metal.
Interview With Clarity As Arson – West Heat #1 The Bunkhouse, 15.02.26
1. Please introduce yourself for anyone who may not know you. Tell us a little bit more about you as a band?
We are Clarity As Arson, we are a metalcore band from Ebbw Vale South Wales. We formed in 2008 but after a few name changes, we settled on Clarity As Arson. We were active for many years playing all over Wales and a few times in England but in 2016 we decided to go on an extended hiatus as several of us wanted to settle down and start a family.
Time passed and we all decided to get back together and jam for fun but after a few sessions we decided to start playing gigs again as nothing feels as good as playing on a stage in front of a crowd.
Last year we recorded our Second EP Blood, Sweat and Beers which is on all streaming sites and we are looking to record another EP sometime this year. We mix metalcore heavy riffs with southern hardcore licks, we draw our influences from Cancer Bats, Every Time I Die, Killswitch Engage, Letlive., Converge, Malevolence and so many more.
2. What made you want to participate in the Metal To The Masses South Wales 2026 campaign? Have you had previous experience? Or is this your First time? We have previously played in metal to the masses many years ago and got to the final heat. It was an amazing experience and we had so much fun, it was held in Fuel Cardiff and the energy from the crowd and comradery from the other bands made applying for this year’s competition a no brainer for us.
3. M2TM is all about supporting your local scene. How important is the local scene to you as a band?
The whole scene has changed massively since we were last playing gigs regularly, the scene is crucial for us as an aspiring band and it’s always good to make connections with bands and promoters at gigs and M2TM is a huge opportunity for us and other bands.
4. We have a slightly different set up this year with Heats/Quarters/Semis taking place at Bunkhouse & Green Rooms. Have you played the venue before or is this your first time? Are you excited to get on those stages?
We are playing Bunkhouse and its avenue that we have never played before but we have heard amazing things about the venue from friends who have had the privilege to play there. We have played in Swansea before, in Sin City, Lemon Factory and The Scene. It was always a great atmosphere in Swansea
5. What are your expectations from being a part of M2TM?
What we expect from being a part of M2TM is to put on a good show, meet new bands and people and hopefully build relationships and connections that lead to more shows and opportunities for us as a band.
6. What would getting to our Day Of Wreckoning final and the possibility of playing Bloodstock Festival 2026 mean to you?
As a band playing in the Day Of Wreckoning would be an incredible opportunity, playing for the chance to play at Bloodstock with the best up and coming bands in the UK. Even if we didn’t make it to Bloodstock the learning that we would come away with from that opportunity would be invaluable. But on the other side, playing a festival as established and renowned like Bloodstock is every band’s dream.
We at Clarity As Arson have always wanted the opportunity to play a festival and would love for that dream to become a reality one day. 7. We encourage all the bands in M2TM to try and check out the other bands, who are you most looking forward to? Who should your fans also try to catch?
We have checked out the other bands in our heat and there is some fierce competition. I know I am really looking forward to sharing the stage and hearing House of Hosts live.
8. Tell us in five words why people should come and see your band?
Enta Omry is Maulén’s first full-length album and they’ve chosen an ambitious project to start with. It’s a re-interpretation of “Inta Omri”, a popular piece by Egyptian singer Umm Kulthum. As of writing, only part of it is available to listen, but this version does well to invoke the same feelings, human connection, places, and emotions in a pilgrimage across desert soundscapes.
The German duo’s fifth album is vintage-encrusted death metal that delights your senses rather than overloads them. While not caveman-levels of brainless, Dread Emperor is simple and to the point, and all the better for it.
Doom metal can venture off in a few different directions, including fantastical, depressive, nihilistic, or, in the case of Sundecay, suspicious. The group’s third album carries a sense of dread, as if it’s discovering skeletons in every closet it investigates. Note that this is different from morbid. The Blood Lives Again is definitely not music for giving up.
On their second album, Brazil’s Fossilization take cues from the early days of Anathema, Paradise Lost, and Katatonia, then crank the intensity up past its limits. Although the duo namedrops death/doom progenitors, they seemingly draw more from brutal death metal. There’s probably some sorrow on Advent of Wounds, you’ll just have to dig through mountains of intricate riffs to find it.
Overtoun understand that it’s better to be rough around the edges. Yes, their twitchy thrash metal owes a good bit to the early progressive death metal scene, but they intentionally left Death Drive Anthropology a tad unpolished so that its breakdowns and shred-happy solos can sound lawless.
Armed with a new vocalist, Greyhawk is back and riding out with their third album of steel-bending power metal. On Warriors of Greyhawk, they continue to expand their anthemic AOR vibes that were present on their last album without sacrificing their original classic heavy metal sound. It’s a blistering, shining work of power metal.
Everyone’s favorite gloomlords are back! On Necropalace, Worm has taken cues from 90s symphonic black metal, injecting their death-doom with vampiric grandiosity. The result is something that feels otherworldly, haunted, and malefic. The guitar leads are excellent as always, and the album features a guest solo from Marty Friedman.
From Colin Dempsey’s track premiere of “Cuando seamos absorbidos por la obscuridad”:
“Cuando seamos absorbidos por la obscuridad,” and Under the Tragic Fullmoon of the Vampire, espouses a devotion to one aesthetic and explores its smallest pockets. Such primitiveness will turn some off, but that’s the point. Wampyric Rites are checking IDs at the door to see if you can weather the full moon, or if you’ll lose your mind before dawn.
Photo by Danin Drahos Watch CORROSION OF CONFORMITYâs âGimme Some Mooreâ video HERE. American heavy metal legends CORROSION OF CONFORMITY will release their long-awaited new double album, Good God / Baad Man, on April 3rd […]
The Black Keys announced the Peaches ‘n Kream World Tour, a six-month run across North America and Europe that hits Place Bell in Laval on October 16. The tour launches April 24 in Fort Lauderdale and wraps October 18 in Windsor, Ontario, supporting the duo’s 14th studio album Peaches!, arriving May 1 via Easy Eye Sound/Warner Records.
The tour follows the band’s No Rain, No Flowers run last year, which moved over 250,000 tickets across North America and Europe with sold-out shows at Red Rocks Amphitheatre, Los Angeles’ Greek Theatre, and London’s Alexandra Palace Park. All support acts on the new tour come from Dan Auerbach’s Easy Eye Sound label, with lineups varying by city. Jeremie Albino opens the Canadian leg, including the Place Bell date.
Peaches! was recorded live in one room with minimal overdubs, the first album the band has mixed entirely themselves since 2006’s Magic Potion. Dan Auerbach described it as the band’s “most natural record” since their 2002 debut The Big Come Up. The sessions happened while Auerbach’s father was staying in his Nashville home in the final stages of esophageal cancer. Patrick Carney, Auerbach’s bandmate and longtime friend, knew “it would be good for Dan to have something to do.”
“We weren’t making a record. We were just jamming, like this is for us,” Auerbach said in a statement. “Really primal, in a moment when all the nerves were raw, just kinda screaming. I think my dad getting sick made me not give a fuck and just wanna scream for a bit.” Carney added, “Everything was all cut live in one with no separation, including vocals. It was a nightmare to mix but we got it sounding raw and filthy.”
The band released the single You Got To Lose last week. The album features cover art by Memphis photographer William Eggleston, who also shot the cover for their 2021 album Delta Kream. Patrick Carney’s brother Michael designed the package, as he did for early Black Keys albums including Brothers, which won a Grammy for its cover.
Artist pre-sale starts Thursday, February 12 at 10am local. General on-sale starts Friday, February 13 at 10am local.
Disturbed vocalist David Draiman has called for 'any festival organizer' to set up a festival with musicians from across the political spectrum. Continue reading…
Of course, Wampyric Rites are releasing an album, Under the Tragic Fullmoon of the Vampire, on Friday the 13th in the coldest month of the year. That on-the-nose mise-en-scene comes about rarely and with the Ecuadorian band’s embodiment of all things feral and nocturnal, it’d be inappropriate not to take the opportunity. Although, what’s traditionally seen as appropriate doesn’t exist in their raw black metal, pushed aside by cassette-tape quality hiss and flat soundscapes. On their upcoming third full-length record, Wampyric Rites tapers their focus onto black metal’s skeleton, dismissing the dungeon synth of their previous works. The benefits of this are on full display on “Cuando seamos absorbidos por la obscuridad,” which you can listen to below.
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“Cuando seamos absorbidos por la obscuridad” follows the principles laid out by Transylvanian Hunger over 30 years ago, bouncing between frosty, antagonistic black metal and d-beat, although it damns variation and dynamism to hypnotise. Which is to say, the track is repetitive. You could say Wampyric Rites are invoking a trance, or that they’re hiding their power level in service of the song, but they are as stubborn as a pitbull. Fortunately, like watching a marathon runner set a new record pace, that stubbornness is part of the appeal and a chance for the duo to flaunt their stamina. The other part of the appeal is that “Cuando seamos absorbidos por la obscuridad,” and Under the Tragic Fullmoon of the Vampire, espouses a devotion to one aesthetic and explores its smallest pockets. Such primitiveness will turn some off, but that’s the point. Wampyric Rites are checking IDs at the door to see if you can weather the full moon, or if you’ll lose your mind before dawn.
Photo by Murry Deaves âCryogenically Frozenâ is the latest single from UK progressive death metallers CRYPTIC SHIFT. The track comes off the bandâs Overspace & Supertime full-length, set to drop on February 27th through Metal […]
