Corrosion of Conformity keeps putting out quality releases, oblivious to fashions or trends. We know what to expect from them, and this album doesn’t disappoint.
If The Black Crowes are the successors of the swagger and grit of The Rolling Stones, then we can also say that Corrosion of Conformity are the rightful heirs to the Lynyrd Skynyrd throne. After their punkish trash metal beginnings, by their third release, Blind, they’d morphed into a Southern Rock-infused alternative metal juggernaut.
By this, their eleventh full-length release overall, they show no signs of slowing down. Neither did they lose the penchant for creating their blues-infused, Skynyrd-drenched, Hendrix-imbued blend of southern rock. Ever after the loss of two key members (bassist Mike Dead and drummer Reed Mullin (RIP)), the band still ploughs on through like a stubborn mule, or a venomous rattlesnake hidden in the grass, ready to strike. 
New acolyte Bobby Landgraf on bass keeps the songs tight and steady. Stanton Moore on drums keeps the pacing varied and swinging. He shows technical ability and considerable chops, without becoming obtrusive (thanks to Charlie Benante, for that!).
New acolyte Bobby Landgraf on bass keeps the songs tight and steady. Stanton Moore on drums keeps the pacing varied and swinging. He shows technical ability and considerable chops, without becoming obtrusive (thanks to Charlie Benante, for that!).With regards to Woody Wheatherman and Pepper Keenan, they still trade licks and riffs, with an ease and playfulness that is almost telepathic. They play off each other, like if they were sipping a brewskie on a sunny afternoon. Laid back and deceptively simple. But it shows a level of complementarity between them that is nothing short of astonishing. Making them one of the most underrated guitar duos in heavy music.
True to its title, the album feels like a spiritual journey, full of twists, turns, and tribulations. Ultimately, its riches are revealed in the end. Not satisfied with a single dose, we are presented with a double album’s worth of material. Fourteen tracks in total, full to the brim with addictive riffs, excellent solos, and some quirky detours. Dare we say, even some faint raga influences in places? Sporadically, even their more primitive and harsh side shows its ugly head. Proving that, if necessary, it can be awakened at a moment’s notice.
Expertly produced by Warren Riker (Down, Cathedral, Fugees, etc.), featuring a “Band-in-a-room” feel, which means that all the instruments and voices have room to breathe and space to flow naturally. On a side note, portions of the album were recorded at Barry Gibb’s (Bee Gees) home studio, and reportedly, Pepper played with Maurice Gibb’s Stratocaster on the track “Baad Man.”
It’s mind-boggling and satisfying in equal measures when a band that has been around for so long is still able to release such vital music. If you want to explore a band that coils together southern rock, alternative metal, blues, and psychedelia, this is a great place to start.
Good God/Baad Man is set for release on April 3.
PHOTO BY: Danin Drahos
CORROSION OF CONFORMITY
