ALBUM REVIEW: Corrosion of Conformity - "No Cross No Crown"

By: Ernesto Aguilar

Album Type: Full length

Date Released: 12/01/2018

Label: Nuclear Blast

Dissipated is the more prevalent punk and thrash of "IX" in favor of the sound that made CoC its name, but done in a contemporary way. As such, this is Corrosion of Conformity's finest work in many years.  "No Cross No Crown is something Corrosion of Conformity fans can rejoice in.

"No Cross No Crown"CD//DD//LP track listing

1. Novus Deus

2. The Luddite

3. Cast The First Stone

4. No Cross

5. Wolf Named Crow

6. Little Man

7. Matre's Diem

8. Forgive Me

9. Nothing Left To Say

10. Sacred Isolation

11. Old Disaster

12. E.L.M.

13. No Cross No Crown

14. A Quest To Believe (A Call To The Void)

15. Son And Daughter

The Review:

Runs as long and lovely as Corrosion of Conformitysadly do not come often. While there are a few collectives that manage to stay together for extensive stretches, maintaining their levels is tough. Since 1984's "Eye for an Eye,"few bands have navigated being musically innovative, commercially successful and faithful to their roots as the boys from North Carolina. Although there have been some rocky spots, the results for CoC have largely been positive.  The band has undergone some changes in its style over the decades (see its punk ethos of the 1980s and thrash/punk/crossover in the late 2000s), as well as among its lineup (most importantly the departure of frontman Pepper Keenan in 2005, after leading CoC to its biggest hits and largest arenas). Yet Corrosion of Conformity has survived it all and managed to stay a popular touring – albeit less on the sales front – performer.

When Keenan departed CoC in 2005 to lead Down, the group continued on, but never attained the heights previously touched. A break was punctuated with 2012’s self titled album, 2014's solid "IX" album and EP "Megalodon," and occasional appearances with Keenan. However, the remaining members were coy about a reunion for quite awhile. Yet the lineup's chemistry with Keenan was undeniable, and CoC headed to the studio in 2015, with Keenan back at the mic. "No Cross No Crown" is the product of those sessions.

CoC's history has been marked with many long recording pauses – keep in mind, they've had only five albums since 2000 – and lots of touring. The layoff between the harder edged "IX" and the latest is noticeable, in a positive way – not only because of the stylistic change, but because of the renewed vigor you catch early on "No Cross No Crown." Such fresh energy is irrefutably due to Keenan's rejoining the group. He and the rest of the band have an old spark back. And still, Keenan's vocal is not only enduringly compelling, but comes anew from the heavy blues cloth from which classic metal oftentimes takes cues. Dissipated is the more prevalent punk and thrash of "IX" in favor of the sound that made CoC its name, but done in a contemporary way. As such, this is Corrosion of Conformity's finest work in many years.

If you got turned on to CoC during its "Deliverance" period, a lot of that power and swagger is back. Opener "Novus Deus" slinks through your earbuds and careens right into "The Luddite," with mammoth riffs and Keenan's wicked generalship. What makes Corrosion of Conformity so fascinating in its run is how it has managed to rise above what you think about the music it does. Meaning, CoC is probably most clearly associated with hard rock and metal, but can attract fans among those who like alternative rock, stoner and heavy blues. A song like "Little Man" could easily find a home on mainstream rock radio, for instance. There are a few bands in our contemporary cadence that have managed to do a decent crossover in a fashion that flouts their genre – think System of A Down, Slipknot and a few others – which Corrosion of Conformity enters the conversation with. Obviously, that isn't a musical comparison insofar as CoC has turned their music into something that attracts attention from music fans who might vibe with their particular charisma and originality as much as the songs on "No Cross No Crown." Breathe easy for no Ed Sheeran-esque rapping or elements that detract from its brand; CoC accentuates what it does best instead, while highlighting other influences beguilingly well.

There are lots of durable metal moments on the latest recording that are sure to get longtime CoC fans hyped. "Forgive Me" is a hard rock romp with a roadhouse chaser. "Old Disaster" and "Wolf Named Crow" are vintage CoC, harkening back to its "Clean My Wounds" glory days. Lyrically, Keenan remains poignant as ever, spinning tales with many meanings and conveying messages that avoid being heavy handed, like "Cast the First Stone" ("Back in time before they crossed the line, and the truth was made of gold/Cross of paths that was based on the past, or so the story goes/Strike fear and the end draws near, and the peasants wore a blindfold"). You get the feeling, hearing something as inescapably catchy and aggressive as "E.L.M.," that there's simply a particular pleasure the foursome gets in playing together. Familiarity is part of it. So must knowing they've captured a special bolt of lightning, such as with album closer "A Quest to Believe." However that enthusiasm is distilled, its result is something Corrosion of Conformity fans can rejoice in. Now, bring on the tour.

"No Cross, No Crown" is available here

Band info: facebook

ALBUM REVIEW: Black Label Society - "Grimmest Hits"

By: Richard Maw

Album Type: Full Length

Date Released: 19/01/2018

Label: Spinefarm Records |

Entertainment One

“Grimmest Hits” is a Sabbath-esque listen with bluesy inflections and is chock full of riffs and solos.

“Grimmest Hits” CD//DD track listing:

01. Trampled Down Below
02. Seasons Of Falter
03. The Betrayal
04. All That Once Shined
05. The Only Words
06. Room Of Nightmares
07. A Love Unreal
08. Disbelief
09. The Day That Heaven Had Gone Away
10. Illusions Of Peace
11. Bury Your Sorrow
12. Nothing Left To Say

The Revew:

After 2014's “Catacombs of the Black Vatican”, I was interested to see what Zakk and BLS would do next. The short answer was that they would tour and then... disappear for a while. BLS are now back with “Grimmest Hits” and my first impressions are that this is a step back towards riffs and more exciting writing. “COTBV” lacked memorable tunes and was rather too laid back for my tastes- although it was a polished and melodic album. Bearing in mind that I absolutely love “Sonic Brew”, “1919 Eternal”and “Order of The Black”, it is pleasing to hear something more akin to those albums rather than the lacklustre “Shot to Hell” or “Mafia”.

Opener “Trampled Below” is a foot stamper- very Sabbathy- and sets out the record's stall via big grooves and riffs and melodic vocals while “Seasons of Falter” is much mellower, but is a finely crafted song with a  pretty great central riff (think Sabbath again). Wylde has toned down his Ozzy-isms, vocally, and is back further towards how he sounded on earlier albums, but the riffs on the album really are very much in the vein of classic Ozzy-era Sabbath; as might be expected considering Wylde's recent foray in the live arena with his very own tribute, Zakk Sabbath. There is plenty of bluesy feel to the riffage of “The Betrayal”- it would have fit right in on Pride and Glory- so the album starts to take shape: bluesy, hard rocking stylings with a heavy Sabbath influence- this is not the full on metal fest of “Order of The Black”, but is much weightier than “Catacombs...”

Wylde delivers a fine vocal on “All That Once Shined”, and more melodic hard rock as the track progresses. As ever, the guitar work is fantastic (if you like pinch harmonics and blazing leads- not so much of the former on this offering, mind, but plenty of the latter). There is a lovely bluesy break in the middle of the song, too- fantastic! The first ballad is “The Only Words”, but it is a good one and light years away from the sombre (and dull) offerings of mid period albums. Again, it is closer to “Pride and Glory” than “Hangover Music”, by way of comparison.

The head gets nodding again for “Room of Nightmares”- still not warp speed or all out aggression, but good solid heavy riffs abound with a solid groove and a focused playing time. “A Love Unreal” starts acoustic and elegant, but mutates quickly after that brief intro into a swaggering riff and then melodic chorus- shades of “Sonic Brew” in the middle section spring to mind, too. The opening to “Disbelief” is pure Iommi and the main riff is too! A cracking track, not without some light and dynamics, this possibly represents where Wylde is at these days; hard rocking, but not frantically so.  “The Day That Heaven Had Gone Away” employs a similarly one paced approach but is much less interesting as the second of the album's ballads- great solo, of course.

“Illusions of Peace” puts the pedal to the metal effectively and uses a stop start motif which becomes a swaggering groove- prime BLS- with a Led Zep influence: the track is a corker. “Bury Your Sorrow” has a swinging feel and an off kilter riff, offering something different again. There are strong hooks on this one and it is weighty as well. Again, things switch down a gear for “Nothing Left To Say”, a conventional piece of soft rock, essentially, but a likeable one and closer to Wylde's “Book Of Shadows” releases than his usual BLS output. It makes for a question mark of a closing statement instead of an exclamation point and is a well crafted track. Not the incendiary pyrotechnics I was expecting the record to close with, but so be it. Wylde is now over 50 years old- the changes make sense, I think.

At 55 minutes, the album is perhaps a little over long- the easiest solution for me would be to cut a couple of ballads, of course! This is much stronger than “...Vatican”, which although I reviewed it fairly positively at the time just lacked staying power and memorable tunes. “Grimmest Hits” is a much more focused effort and rocks hard enough to keep fans like me happy and has enough melody to entice fans of less extreme metal fare. It is a Sabbath-esque listen with bluesy inflections and is chock full of riffs and solos. Zakk's back!

“Grimmest Hits” is available here

Band info: facebook

ALBUM REVIEW: Electric Wizard - "Wizard Bloody Wizard"

By: Ernesto Aguilar

Album Type: Full length

Date Released: 17/11/2017

Label: Witchfinder Records |

Spinefarm Records

 “Wizard Bloody Wizard” transcends whatever the in-thing of the moment is, and focuses instead on musicianship, the album's all-analog approach creates a warm, vintage sound for the songs and on the whole Electric Wizard feels re-energized, whilst  remaining true to their seedy pedigree

"Wizard Bloody Wizard"CD//DD//LP track listing

1. See You In Hell

2. Necromania  

3. Hear The Sirens Scream

4. The Reaper

5. Wicked Caresses

6. Mourning Of The Magicians

The Review:

Doom metal institution Electric Wizard has been around so long that its musical progeny continue to make waves around the world. Its gritty, mystical method to metal has directly and indirectly influenced legions of heavy music performers for over two decades. Consider 2000's "Dopethrone" and what it meant for the genre. Indeed, the English band has been at it over 25 years, plying its brand of pulpy blues/stoner/sludge rock in the vein of Black Sabbath, Blue Cheer and other legends.

The 2014 release "Time to Die" saw the return of original drummer Mark Greening to the team. However, Greening again left, resulting in a pause from recording. Instead the group kept a hectic touring schedule, with new drummer Simon Poole joining Electric Wizard for its new chapter. With its over-the-top artwork and Occult/marijuana/horror themes in "Wizard Bloody Wizard," Electric Wizard is back at last. The next inquisition is whether Electric Wizardcan make remarkable music in this period where plenty of acts have, arguably, co-opted it sonically and lyrically, or whether that brand of a seminal group still makes it something to watch.

The album got a preview with the lead-off single and opener, "See You in Hell." Great reason for that: it is easily one of the album's best tracks, with its plodding bass courtesy of Clayton Burgess, distorted guitars and vocals that overwhelm with lyrics rather than volume. Electric Wizard has gotten a reputation over the years for theatrical songwriting that is more Alice Cooper than Cannibal Corpse, and this opener only reinforces it. “This world is crazy and makes me sick/Maybe I'll torture you just for kicks/But I lie here possessed by evil/Forever a servant of the Devil." The delivery is not nearly as threatening as that sounds. In fact, it is entirely listenable in a manner that is reminiscent of the late 1970s' flirtations with evil music themes. Electric Wizard stay true to the seedy pedigree, though it remains accessible.

The more skeptical might find this opening a tad formulaic – Electric Wizarddoes particular things exceedingly well, and stays with it. However, credit must go to a band with this kind of history, which has mastered its craft in a way that transcends whatever the in-thing of the moment is, and focuses instead on musicianship. Jus Oborn's vocals are as spellbinding as ever, the album's all-analog approach creates a warm, vintage sound for the songs. Electric Wizard feels reenergized to give fans that dig what they do, exactly what they came for.

Still, familiarity for some is sure to breed contempt. You may have heard by now that "Wizard Bloody Wizard" has gotten its share of heat for lackluster moments. A dash of that criticism is fair, though some of that is based in expectation of a louder, lewder Electric Wizard in the vein of 2010's "Black Masses." Here, the group is looking for a more stripped-down performance; hence the aforementioned analog recording and flourishes that harken back to Led Zeppelin era heavy rock. True to that, a song like "Hear The Sirens Scream" offers you a taste of a cleaner vocal and more of the downtempo, bluesier hard rock of the period. "Necromania" opens with a more conventional booming heavy rock riff. It too is an energetic jam, in a fashion that can likely attract new fans, frankly.

One of the few disappointments is that this release is incredibly short, at just under 45 minutes. Electric Wizard try to make up for the brief disc with "Mourning of the Magicians," an 11-minute closing cut that sees Liz Buckingham doing some impressive guitar work. The chorus "see you in Hell" reappears, as if to close the story loop from the opener, and the song's themes, which speak of darkness and betrayal, illuminate the thick rhythm laid out. Although "Wizard Bloody Wizard" is unlikely to be considered Electric Wizard'scrowning achievement, it may in fact turn into bait for a new audience into the renaissance of old-school hard rock.

"Wizard Bloody Wizard" is available here

Band info: facebook

REVIEW: Dutchguts / Chained to the Dead – Split [EP]

By: Mark Ambrose


Album Type: EP

Date Released:01/09/2017

Label: Horror Pain Gore Death Productions

“Dutchguts / Chained to the Dead” Split CD//DD track listing

1). Dutchguts– “Bad Batch”

2). Dutchguts– “Happy Trails to Hell”

3). Dutchguts– “Snake Piss”

4). Chained to the Dead – “The Ballad of the Melting Hobos”

5). Chained to the Dead – “The Ones That Walk Away”

6). Chained to the Dead – “Beast from the East”

The Review

While I love the complex shit out there – the prog-influenced, hyper-hyphenate blackened genre mixers – a powerful double dose of filth can be just as transcendent as “challenging” grand statement albums.  Case in point: the split EP by sludge punkers Dutchgutsand death maniacs Chained to the Dead.  Dutchguts slam out a trio of tunes that serve as the perfect soundtrack to a night of bad decisions that get this, actually packs some bluesy menace into those fuzzy tones.  Sure they recall Eyehategod and Motorheadbut they also could be a gone to seed ZZ Top (that good, early shit) jamming on Black Sabbath.  They play headbanging riff songs, with scattered shout along choruses, until the raucous doomy closer, “Snake Piss”.  Slowing to an absolute crawl, the dual guitars of Gonzalez and Galarraga are all swagger and snarl, while the rhythm section of Rivas and Cerri easily shifts between hardcore aggression and swinging bar band rock.  I want a whole slab of this stuff, though I worry my liver may not take it.

Chained to the Dead, meanwhile, serve up some rotten-to-the-bone, meat and potatoes death metal.  You know you’re dealing with true splatter fetishists when your song opens with a Street Trash sample that actually serves the putrid subject matter.  Guitarist Stephen Rasczyk goes real old school with his riffing: no squealing, chaotic leads, just memorable hooks that make you want to get in the mosh and bleed all over someone.  John-Paul Dal Pan is well-served in the production, as his hefty bass tone is stomach turning on “Beast from the East”.  Ott, meanwhile, is an enviable metal drummer, whose brutality and proficiency are matched by his restraint – never overplaying but never boring.  Vocalist Rocco Martone may have one of the most violent cadences in death metal.  Each syllable sounds like he’s rasping out a liter of blood and clotted guts, which goes perfectly with the overall horror aesthetic.  Most importantly, like all the other elements of the group, he makes a simple style, free of effects or acrobatics, wholly his own.  Each of Chained to the Dead’s three cuts is memorable as an infected scar – you’ll keep returning to these wounds despite your revulsion, and even come to perversely enjoy your self-mortification.

“Dutchguts / Chained to the Dead” is available here

Band info: Dutchguts|| Chained to the Dead

REVIEW: Beggar - "Chainscraper" (EP)

By: Ernesto Aguilar

Album Type: EP

Date Released: 17/05/2017

Label: Independent

Still heavy, with flourishes of dank blues, Beggar sets a dense forecast on each track.

“Chainscraper” CD//DD track listing

1. Chainscraper

2. Take a Leaf

3. Our Good Name

4. Cryptid

The Review:

As metal bands go, London's Beggar is as active as they come. Formed in 2012, Beggar released a string of recordings, including its self-titled demo in 2013, “Beggar II” in 2014 and EPs in 2015 and 2016. Vocalist Charlie Davis, guitarists Abraham Whitworth and Jake Leyland and drummer Bertrand Sautier clearly have a significant amount of creative energy between them. With the group's third EP, "Chainscraper," Beggar's music seems primed for its next stage of development.

Those who have heard past works by Beggar will surely remember some of the more melodic tones to its work. Although the music has always been quite thick, there were plenty of hooks and strong rhythms from Sautier and Davis, who covers bass duties as well. This EP, the recording feels far more urgent with vocals much edgier than its last forays. Still heavy, with flourishes of dank blues, Beggar sets a dense forecast on each track. Some critics have likened the style to something south of Rage Against the Machine. It is possible to hear echoes of that group in the first 60 seconds of a track like "Cryptid" although what Beggar does is truthfully far different. There's certainly some groove, but it is without the rap and hip-hop influences of Rage. It is easier to hear something more like early Suicidal Tendencies in many of these riffs. For the pure metal fan, such is welcome news.

Beggar's new recording, in fact, unifies most with hard rock, punk and neo-blues inspirations to its already potent metal clang. Listeners get the gouge of classic metal and sludge from the beginning with the title track, then into "Take A Leaf," which sprinkles in just a bit of thrash too. It's really mellifluous, in fact. Rarely do you find yourself bobbing your head with a band's sticky tightness, but you get it here. Maybe it's band compatibility that lends to Beggar's prodigious output and just how enjoyable these guys are when they play together. However the group wrings out just excellent music, they do it with gusto on this new EP.

Throw up a high five to Davis, of course, for adeptly using this vehicle for his shouts, growls and brutal vocals on a song such as "Our Good Name." The lead on this EP is quite a standout. Then again, this new recording by Beggar reveals a band growing and getting better with time.

"Chainscraper" is available here

Band info: bandcamp || facebook

ALBUM REVIEW: Melvins - "A Walk With Love & Death"

By: Ben Fitts

Album Type: Full Length (Double)

Date Released: 07/07/2017

Label: Ipecac Recordings

 

On “A Walk with Love and Death”, the Melvins do both things that their cultish fans love about them, and do them both damn well.

“A Walk With Love & Death” CD//DD//LP track listing:

“Love”

1. Aim High
2. Queen Powder Party
3. Street Level St. Paul
4. The Hidden Joice
5. Give It to Me
6. Chicken Butt
7. Eat Yourself Out
8. Scooba
9. Halfway to the Bakersfield Mall
10. Pacoima Normal
11. Park Head
12. T-Burg
13. Track Star
14. The Asshole Bastard

“Death”

1. Black Hearth
2. Sober-delic (acid only)
3. Euthanasia
4. What’s Wrong with You
5. Edgar the Elephant
6. Christ Hammer
7. Flaming Creature
8. Cactus Party
9. Cardboro Negro

The Review:

Thirty-four years into their career, the Washington trio Melvins have established themselves as one of the most important groups of weirdos in the history of recorded music. They pioneered the very foundations of both sludge and grunge, were the first to fully utilize the uses of drop tunings and were a major influence on seemingly every metal band at least bordering doom on this side of 1990. It is impossible to view a new work of theirs without the context of their back catalogue. And that back catalogue is vast, but amazingly contains scarcely a forgettable record. Each new Melvins release finds a new personality and/or territory and their newest full-length, “A Walk With Love & Death” does both. Twice.

At twenty-three songs (with a total runtime of eighty-nine minutes), “A Walk With Love & Death” is the Melvins’ first double-album, and they embrace the concept. While many albums spread themselves between two disc because there was simply too much material to be contained on just one, on “A Walk With Love &  Death”, the Melvins create two distinct, separate albums (the first titled “Death”, the second titled “Love”) and package them together as one cohesive unit.

“Death”, the first disc, is by far the more accessible of the two discs and is rank with breezy, blues based grooves. “Death” opens the swampy “Black Health”, which, while still clearly the Melvins, is oddly reminiscent of Creedence Clearwater Revival or Tony Joe White. Intensity builds over the darker, grungier track “Sober-Deli (Acid Only)” before the arrival of “Euthanasia”, a rumbling, groove based sludge metal song (the kind of sound that many think of first when they think of the Melvins).

These moods represented by these first three tracks, bluesy and breezy, grungy and sulky and classic Melvins sludge, more or less define the remaining six songs on the “Death” side of “A Walk with Love and Death”. They are mixed differently and to different proportions, from the stomping bluesy rock and roll of “What’s Wrong With You” and “Cactus Party” to the menacing, propulsive sludge of “Flaming Creature”, the latter of which possibly takes the cake for the best track to be found anywhere on the “Death” side of the album and incorporates some of the funnest, most rifftastic and straightforward music that the Melvins have ever recorded. However, this is balanced out by the following disc, “Love”. That is where things get weird.    

After the buzzing, white instrument noise that ends “Cardboa Negro”, the track that closes “Death”, “Love” introduces itself with ambient street noise on the track “Aim High”. Snippets of casual conversation, the clacks of high-heeled feet and the drone of wind striking a mic set up to introduce the second disc of “A Walk With Love & Death”. “Love”is not all tape collage, and at nearly thirty seconds into “Aim High”, a synthesizer, playing actual tonal notes, can be heard struggling over the din of human background noise, a battle that it eventually loses. “Aim High” sets the precedent for the rest of the second disc.

 “Love” is a constant back and forth between tonal music, made by instruments, and ambient, collected sounds. Both ingredients get chances to shine, in varying amounts, throughout “Love”. The tracks on “Love” to feature the most music (as it is traditionally understood) are punk-infused, avant-garde jazz piece “Scooba”, which even features singing vocals (albeit sampled, and somewhat comical ones) and “Give It To Me”, which sounds like a Chicago blues band caught in the midst of interdimensional travel, and sounds less and less like Chicago and more like that other dimension as the song progresses. Conversely, tracks such as “The Hidden Joice” and “Chicken Butt” are built around studio altered spoken samples, with only a backdrop of dissonant synthesizers (with some sparse guitar playing on “The Hidden Joice”). The other ten tracks on “Love” explore seemingly every midpoint one can imagine, from the white noise feedback and out of focus guitar shredding of “Street Level St. Paul” to the casual street noise set to an electronic background of “T-Burg”.

It wasn’t enough for the Melvins to just make a double album. If they were going to do it, they were going to do it in a way that displayed the duality of their nature, taking both ends to their extreme. “Death”is upbeat, groove-based, energetic, punk derived rock and roll that teeters into metal, grunge and blues as they see fit. It is quite possibly the most conventional, accessible collection of music that the band was ever released, even more so than classic major label efforts such as “Houdini” or “Stoner Witch”. And it’s wonderfully enjoyable. The second disc, “Love”, is some of the band’s most obtusely difficult music, on par with 1994’s infamous display of weirdness, “Prick”. And it’s wonderfully challenging. On “A Walk With Love & Death”, the Melvins do both things that their cultish fans love about them, and do them both damn well.   

 “A Walk with Love and Death” is available here

Band info:  bandcamp|| facebook

TRACK PREMIERE: Swamp master generals Morass of Molasses make a blistering statement with "My Leviathan"

Self-described "swamp master generals" Morass of Molasses will release their new album “These Paths We Tread” on May 19th 2017 via HeviSike Records.  The album's 7 tracks blend fuzz, sludge and doom and will undoubtedly be remembered as one of the best records of 2017.

Morass of Molasses create the kind of lumbering heavy blues riffs which induce involuntary head nodding and a deep stirring of the loins. The band's short life so far has also seen them sharing stages with such luminaries of the scene as Orange Goblin, Ohhms, Vodun, Elephant Tree, Desert Storm, Space Witch, Sea Bastard, Limb, Gurt and many more. Their gutsy Jagermiester stage performance at Bloodstock helped propel them into a relentless schedule of touring during which they released their debut EP ‘So Flows Our Fate’.  

The new album, “These Paths We Tread” is a veritable melting pot of ideas, blended together, forming a thick stew of heavy blues with side of doom for good measure. As in the EP before, the band uses the album as a vehicle to explore concepts of mythic sin and ancient archetypes. The Journey we take through life as humans is ever at the forefront, and drives the songwriting. 

Without resorting to speed runs, tapping, or other flashy distractions, Morass of Molasses focuses on a basic formula of riff, tone, a massive backbone of rhythm supplied from bass and drumming, and catchy, rock-laden lyrics and delivery, creating a sinfully sweet ride through the slightly hazy and humid land they call their soul. Gaze into it, and let the wind whistle a neat little tune into your ear as we premiere the opening track from their monstrous new album.  We give you “My Leviathan”

“These Paths We Tread” DD//LP track Listing: 

1. My Leviathan

2. So They Walk

3. Serpentine

4. The Ritual

5. Centralia

6. Maenads

7. Wrath Of Aphrodite

Band info: facebook || bandcamp