25TH ANNIV OF DANZIG
Danzig with Doyle
Corrosion Of Conformity, The AGONIST
Sun, April 28, 2013
Doors: 7:00 pm / Show: 8:00 pmVentura Theater
$29.50 - $35.00
This event is all ageshttp://www.venturatheater.net/event/224361/
But first a little history.Danzig's early works took full advantage of what was initially a vital and productive working relationship ith Rick Rubin, resulting in a self-titled 1988 debut and a follow-up in '90 called Lucifuge that together enveloped the man's interest in punk,doom,gothic new wave and an intense California twist on black Satanic metal,culminating in a display of shockingly dark hard rock that sent chills the likes of which today's Norwegian churchburners could never know.
Danzig III: How The Gods Kill dropped in'92, rewriting the books on Sabbatherian doom metal; super charging the genre with molten guitar god riffs, foreboding but poetic lyrics,and above the fray, THAT VOICE. Glenn is a sonorious tenor blessed with the abilityto caress and terrorize all within a few short breaths.As the luck of the draw would have it, Danzig next found himself with an odd, unplanned Hit on his hands; a live version of the debut album's 'Mother' introducing the mainstream to this buffed-up, 'black leather powerhouse'. 1993's Thralldemonsweatlive EP went on to platinum status (following a similarly exalted fate for the debut),and Danzig's commercial legacy was ensured.
Never one to be complacent,Glenn rewired the band's sound into a frosty but intimate affair paradoxically rife with studio wizardry.Danzig 4P hit in '94,Glenn once more confounding the world with a record that would be a critically acclaimed masterpiece,casual but crafted,sinewy and insidious.
As relations with Danzig's label Def American broke down, so did Danzig's relationship with his band.Glenn found himself seeking fresh personnel and a fresh perspective, creating the darkwave industrial rhythms of Danzig 5: Blackacidevil, a record which, once again, was to re-engineer the cutting edge of hard rock in Danzig's imposing,muscle-strapped image.
But harsh circumstances have brewed, distilled, and unleashed a blistering counter punch by the name of Danzig 6:66 Satans Child, a record that is a visceral and aggressive statement of black intent,unafraid to clutch and grab from today's technologies, but more in tune with the frightening power of a well-juiced guitar.
Danzig 6 features essentially the same line-up as its predecessor, but there are a number of fresh pioneers associated with the project. Glenn's co-producer is Peter Lorimer, a remix king who has worked with the likes of Bowie, while engineer Josh Abraham has collaborated with Orgy, Coal Chamber and Korn. And speaking of Orgy, J. Gordon and Amir Derakh have stuck their hands into the pot and mixed fully seven of the record's twelve tracks. What the team has come upwirth is an inspiring and often trance-like Heavy Metal churn that understands the present and predicts the future, a record that re-writes the darkness of doom in the image of millennial technologies.
"Danzig 6 will have no problem living up to the hype, as well as the hyperspeeds at which that hype will spread through the net. One listen will confirm the often Sabbath- like authority of the record, coupled with a portfolio of unique Glenn Danzig voicings that astonish in their range, hue and suggestive malevolence. 'Five Finger Crawl' is a perfect example of Glenn's multiple deliveries within one song, Glenn whispering to a soundtrack of military metal countered with silken melody come chorus time. 'Cold Eternal' is a personal favorite of Glenn's, a song which he simply describes as "really, really sad." A treasure reveals itself within the closing track, '13', on which Glenn captures the classic but only occasional Danzig blues vibe, something that wraps Dylan's 'Ballad Of Hollis Brown', Robert Johnson's deal with the devil, not to mention Elvis and Johnny Cash in a dark blanket of woeful dirge rock that could only come from one band. Elsewhere, it's power chords a' plenty, fraught with drama, supported on a bed of subtle electronics, frighteningly doom-laden but infused with hook and groove
It's unlike any Danzig record you've heard. Not like any two from the catalogue have much in common. Unsurprising, says Glenn. "It comes back to something that I've always said. I don't like doing the same record over and over again. It's like, if I'm not going to do something different, I won't even do a rock record, I'll just do something else, you know; Like my comic book company, or a classical project. But I think the unifying thread is that basic punk rock attitude. I think it shines through on all of them, yes."
If Danzig 6:66 marks a majestic rebirth of the Danzig sound, this synthesis of the man's evil guitar rock and his selective pillaging of industrial conventions, it is a record that is only the beginning of a remarkable two year plan within the Danzig camp. Expect to see a Samhain box set, followed by individual reissues of the records, reissues of the entire Danzig catalogue, plus no less than three new projects cradling the millennium: the second installment of Black Aria, a massive Danzig b-sides collection, and finally a double live album, culled from years spent headlining stages in front of mod hotshots like Korn, Soundgarden, Type O Negative and Marilyn Manson.
It is a sinister time in the tired life of one world ending, and it unmistakably a time for the destructive and redemptive powers of the next century's man in black. Heed the warning: Danzig 6:66 Satan's Child is only the scabbard tip of what we can expect from Danzig throughout the birthing of a new rebel century. It is however, Danzig's soul crusher of a calling card, his coal-fired ebony heart made metal, the siren song soundtrack of two age in collision. Confront it now and feel your lifeblood drain and subsequently replenish truer than ever.
xxxxx -Martin Popoff
Thirty years and many changes later, COC's original trio is back with a self-titled release for London-based independent Candlelight Records.
"Corrosion of Conformity isn't a comeback album or an example of diminishing returns," Invisible Oranges observed. "It's a testament to immense talent and the elusive endowment of staying power."
In the summer of 2010, COC's founding members—bassist/vocalist Mike Dean, drummer/vocalist Reed Mullin and guitarist Woody Weatherman—gathered at Weatherman's farm in Virginia to get to work again after a five-year hiatus. With longtime vocalist/guitarist Pepper Keenan busy working with metal supergroup Down back home in New Orleans, COC began playing together as a three-piece for the first time since the mid-1980s.
That's the same lineup behind 1985's Animosity, widely considered a crossover classic. While the trio re-visited songs from that album and 1987's Technocracy, this was not just an exercise in nostalgia, and they soon began writing new material.
The original members of COC are excited to be working together again.
"Mike, Woody and I essentially learned how to play music together and cultivated our own style, sound, and unspoken language," said Mullin. "Re-bonding with them musically has been the greatest thing that's ever happened to me."
THE AGONIST, born in 2004, covers a wide range of styles from classical to black metal. Their debut album, Once Only Imagined (2007), caught the eyes and ears of many musicians and music fans alike, and their sophomore album, Lullabies for the Dormant Mind, will once again prove the diverse talents of these young musicians. The a cappella version of Tchaikovsky's "Swan Lake" is only one example of the band's musical abilities as it impressively exhibits White-Gluz's mind blowing wide range of vocal skills and professionalism as a singer.
Produced by Christian Donaldson (Cryptopsy, Mythosis), Lullabies for the Dormant Mind exposes new facets of the band and touches upon classical, jazz, opera, grindcore, thrash and black metal influences in a complete metal opus. Following a dark, twisted yet beautiful, surrealist visual concept from Natalie Shau once again, THE AGONIST have created an uncomfortable yet addictive setting for their metal. Lullabies For The Dormant Mind promises to turn heads with its daring mix of moods and styles, a challenging album well ahead of its time.
White-Gluz's vegan roots fuel her need to promote the protection of the planet and its inhabitants, and she does so through this outlet. Along with guitarist Danny Marino, bassist Chris Kells and drummer Simon McKay, each member brings their own rich musical backgrounds to the table, creating the perfect expression of melody and madness. Make no mistake, this is a straight-up metal band that holds nothing back with one goal in mind: to make music that is as catchy as it is heavy; as sweet as it is loud; and as angry as it is melancholy.
THE AGONIST, known as being road warriors, toured relentlessly in support of Once Only Imagined with a very diverse group of artists including Overkill, Sonata Arctica, Enslaved, Arsis and The Faceless. This further proved that their commanding and intense live performance can win over any crowd. White-Gluz's uncompromising vision, intelligence and thought-provoking lyrics has also helped garner some positive attention. Once Only Imagined tackled some of society's biggest issues, including animal testing, drug abuse, eating disorders, environmental protection and man's inhumanity towards animals and each other. The band's ultimate goal, though, is simply to encourage people to think for themselves.
26 S. Chestnut St.
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