Demon Lung - A Dracula

Back in 2003 I reviewed Demon Lung's The Hundredth Name for Ghost Cult Magazine giving the album a 9/10 and likened it to a “modern doom masterpiece.” Time has done little to alter that sentiment as the CD still finds itself in rotation in the car. However, it might be usurped by the Vegas group's latest offering, A Dracula. This time the doom quintet base their concept on the 1977 flick Alucarda, the gist of which is this: the daughter of Satan falls in love with a nun and converts her to the dark side. She is killed by her fellow nuns, is resurrected by Satan's Daughter and together they exact their revenge on the nuns and the world. How cool is that?!

The band once again worked with Billy Anderson. His engineering helps give the music that penetrating warmth that envelopes the scene like a fog, obscuring all that lay beyond the here and now, allowing the listener to become one with the music. Music that somewhat manages to be even more epic than its predecessor.

After the acoustic intro “Rursumque Alucarda”, Demon Lung launch into A Dracula with “Behold, the Daughter”. The track features some swift rhythms that have no place on a doom record but Demon Lung make them work. Hey, Cathedral didn't drag their feet the whole time either. As we're introduced to the evil temptress those rhythms bring trepidation and mimic the pounding hearts of those confronting the Daughter. It does slow to groovier movements and ominous doom however. Through it all Shanda Fredrick's perfectly suited voice leaves no doubt that this is doom no matter the tempo.

Throughout A Dracula we can feel this dynamism. Fast sections give way to pounding riffs in a sludge vein as well as chugging doom signalling action of a most dark sort. One even finds quieter moments with Fredrick's croon dominating. Those times are ones of abject sorrow yet are usually followed by the muscular doom we've come to expect. One can think of and feel those times like tears drying and a resolve building into the resulting destruction. Revenge.

Time and again the unholy trinity of Phil Burns and Brent Lynch (guitar) and Jason Lamb (bass) serve up powerful and epic riffs reaching the highest spires and the deepest dungeons. Their unity is as natural as it is overpowering. Undoubtedly doomy tone and a bevy of riffs, punctuated by concussive chords slam the listener hard enough to make the heart skip a beat and the variety of moods pieced fluidly together reflect the drama of the narrative.

All this ensures not only a feeling of doom but also of terror through those racing tempos, barely perceptible, more felt than heard atmospheric touches and Fredrick's coldly seductive delivery. Saving perhaps the best for last, A Dracula concludes with “Raped by the Serpent”, where all things come to a head and Fredrick puts forth her most powerful performance.

There is no doubt Demon Lung have crafted a superb doom album here but what makes it special, and so intriguing, is how they're able to adapt the film into the lyrical concept without it sounding cheap. Especially without the use of samples. Other than the arresting chorus on the closer, my favourite lyric is from “Deny the Saviour” with “You worship death, I worship life.” I love that this is the Daughter speaking to the nun.

With A Dracula Demon Lung have once again rendered my soul to the darkness and put forth an album I'll be sure to listen to for a long time to come. Lurching doom, terror-filled runs more akin to death metal, Jeremy Brenton's thunderous percussion and Fredrick's (splendid) voice comprise the pieces of this excellent (sure, I'll say it again) masterpiece.

Released June 29, 2015 on Candlelight Records

A Dracula on Bandcamp

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Corrosion of Conformity - Corrosion of Conformity

Remember when you were a kid and you had that group of friends that did everything together? But there was always that one guy that had a little more going on. The group would want to go shoot hoops, or hang out under the bridge throwing rocks at trains, or some other such sport or shenanigans. But that guy was too busy playing video games, watching porno, or (gasp) hanging out with his girlfriend. The typical exchange: "Hey man, you comin' or what?" "Nah dudes. You go ahead and I'll catch up with ya later." And everything is cool.

Now take that scenario and apply it to Corrosion of Conformity. Bassist/vocalist Mike Dean, guitarist Woody Weatherman, and drummer/vocalist Reed Mullin wanted to make a new album. But guitarist/vocalist Pepper Keenan was too busy with Down. (That's a way better excuse than porno or a girlfriend.) That's cool.  They made the album anyway and Pepper will just catch up with them later. (i.e. no animosity) What that means, is that this album was made by the "classic" Animosity line-up. (I know. I know. I couldn't resist.)

Now, the last time I listened to COC in any capacity, if I recall correctly, was September 17, 2009. I don't have some crazy memory (quite the opposite) but it was the day after a night I will never forget. The COC material was actually Six Songs With Mike Singing. The night before must have had some effect because although I know I listened to it, I can't remember a damn thing about it. Point being: To my frequently misfiring mind, COC sounds like "Albatross" and "Clean My Wounds". Corrosion of Conformity sounds nothing like either of those songs. In fact, this new album sounds nothing like Animosity either.

I expected the Pepper-less COC to sound like the crossover of their early days but that's not the case. The dish we are served instead may actually be spicier than the pre- and Pepper-ed eras. These seasoned vets have thrown the proverbial curve ball. For the most part the album sounds almost like a COC record with the obvious difference being in the vocal department. I say almost because it has more, shall we say, balls, than "modern day" COC. The guitar tone is close to what I would expect but overall the album is more dynamic. Mixed into that southern hard rock vibe is more edge. More youthful enthusiasm. Not near the energy of Animosity mind you, but I can hear touches of that spirit throughout the album. Perhaps my favourite track of the album "Leeches", is by far the song closest to the crossover this lineup is known for. It's almost like this album is at a point in between Animosity and their later works. 

Crossover isn't the only other subgenre that makes its presence known. Throughout the album and mostly in the vocals, a doomy feel seeps to the surface. I hesitate to say it sounds like St. Vitus but that's what comes to mind. Maybe The Obsessed or Spirit Caravan would be a more apt reference point. If that wasn't enough, even grunge makes an appearance. On a couple songs, most notably "Weaving Spiders Come Not Here", a distinct Soundgarden vibe is heard. In fact, if you played me "Weaving.." without telling me who it was I would think it was a lost b-side from Down On The Upside. It's definitely better than the new SG song that is set to appear on The Avengers soundtrack. 

"El Lamento De Las Labras" is an instrumental track that sounds exactly like the laid back southern rock I would have expected from a new COC album. However, the song doesn't really go anywhere and it kind of kills the momentum built by the aforementioned "Leeches".

Detractors might look at the mix of styles as a negative. Perhaps if this was a new band just trying to discover themselves I would agree yet this is a band that been around for almost 30 years. So the fact that they mix it up and incorporate doom, punk, grunge, thrash, and southern rock into a new record is actually quite refreshing. Then again maybe Keenan's absence had something to do with that. For example, when I have the TV all to myself, I get so excited I can't decide what to watch. If there was a pornographic cartoon docu-action horror flick/series, that would make things much easier. (If Heavy Metal was true?) Maybe having the free reigns COC couldn't decide which direction to go so they just amalgamated it all together? Seems unlikely though. I prefer to think that they just made the music that was there to make as the trio. I see it as the band taking influence from themselves and others and making the album they wanted to make. I'm by no means trying to imply that Pepper was a control freak or anything. I can't speculate on the band dynamic.

I believe COC has succeeded in making a solid, enjoyable album with this lineup. Should Keenan rejoin the fold if/when things slow down with Down, so be it. I don't think it would hurt. I've got all kinds of respect for him. But should Dean, Weatherman and Mullin continue as a trio I see no reason to be upset with what they've accomplished and could accomplish in the future.

Corrosion of Conformity is available now from Candlelight Records.

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