CORROSION OF CONFORMITY — No Cross No Crown

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CORROSION OF CONFORMITY - No Cross No Crown cover
3.77 | 5 ratings | 2 reviews
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Album · 2018

Tracklist


1. Novus Deus (1:29)
2. The Luddite (4:20)
3. Cast the First Stone (3:44)
4. No Cross (1:19)
5. Wolf Named Crow (5:13)
6. Little Man (4:32)
7. Matre’s Diem (1:27)
8. Forgive Me (4:07)
9. Nothing Left to Say (6:23)
10. Sacred Isolation (1:23)
11. Old Disaster (4:45)
12. E.L.M. (4:03)
13. No Cross No Crown (3:56)
14. A Quest to Believe (A Call to the Void) (6:02)
15. Son and Daughter (4:54)

Total time 57:37

Line-up/Musicians

- Pepper Keenan / Guitars, Vocals
- Mike Dean / Bass, Vocals
- Reed Mullin / Drums, Vocals
- Woody Weatherman / Guitars, Vocals

About this release

Nuclear Blast, January 12, 2018.

Thanks to Unitron for the addition and adg211288 for the updates

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CORROSION OF CONFORMITY NO CROSS NO CROWN reviews

Specialists/collaborators reviews

UMUR
"No Cross No Crown" is the 10th full-length studio album by US metal/heavy rock act Corrosion of Conformity. The album was released through Nuclear Blast Records in January 2018. It´s the successor to "IX" from 2014 and features one lineup change since the predecessor as lead vocalist/guitarist Pepper Keenan has returned to the fold after leaving the band after the "In the Arms of God (2005)" album and not being part of the lineup who recorded the 2012 eponymously titled comeback album nor a part of the lineup who recorded "IX (2012)". Both mentioned albums were recorded by the three-piece lineup of Mike Dean (Bass, Vocals), Reed Mullin (Drums, Vocals), and Woody Weatherman (Guitars, Vocals).

It was never ruled out that the three remaining members wouldn´t work with Keenan again, and in late 2014 Corrosion of Conformity indeed announced that they would be reuniting with Keenan to write and record at least one album and tour in support of it. Initially the plan was to release the album in 2015, but touring commitments and the temporary dismissal of Mullin after an alcohol abuse related seizure postponed the recording and release plans.

While the two predecessors featured a more hardcore influenced heavy rock/metal style, which harks back to the early beginnings of the band, "No Cross No Crown" more or less picks up where "In the Arms of God (2005)" left off. So the listener is treated to a catchy stoner metal/southern influenced heavy rock style featuring healthy doses of both aggression, groove, and melody. Keenan is a skilled vocalist with a distinct sounding voice and delivery, and he just brings that something extra to Corrosion of Conformity´s sound. The instrumental part of the music is also performed with great skill and conviction. The band are an organic playing unit, who obviously know each other well and connect on a musical plain. Nothing sounds forced here and the band appear to have a good time playing, which isn´t always the case with reunited artists.

So it seems that the band have reunited with the right intentions in mind (because they like playing together and not just because they could make a lot of money). That can also be heard in the quality of the material on the 15 track, 57:37 minutes long album, which is relatively high throughout the album. I wouldn´t call "No Cross No Crown" the band´s strongest or most memorable release, but it´s a powerful, groove laden, and heavy and hard rocking album, featuring mostly memorable and catchy songs. The whole thing is packed in a raw and organic sounding production, which suits the material well, so upon conclusion "No Cross No Crown" is a quality comeback album for the Pepper Keenan-fronted Corrosion of Conformity. A 3.5 - 4 star (75%) rating is deserved.
Kingcrimsonprog
Corrosion Of Conformity have had a lot of different line-ups over the years and a few very distinct career phases. Some of the most notable and best of which are the short-lived Blind era of the very early ’90s, where Pepper Keenan and Karl Angel joined the band and wrote a very dark, yet strangely melodic mixture of Sludge Metal and Groove Metal. Then Karl left, Pepper took over somewhat and they released three brilliant mixtures of Stoner, Southern Rock and good old fashion Metal with a bunch of diverse records that had acoustic sections, interludes, ballads and speedy-ragers all mashed into one record. Their final album in that line-up (well, with a new drummer actually, but close enough…) was very Doom Metal focused. Then Pepper left, and the Trio line-up from before even the Blind era reunited but instead of making Hardcore or Crossover Thrash like they did in the ’80s; they released two Doom albums with raw punky influences.

The celebrated and arguably most popular line up (the Pepper-in-charge on from the mid 90s-early ’00s) reunited recently and toured the globe with incredible reunion shows and now the time has finally come for them to put out some new music together. Its probably one of my most anticipated albums in a very long time. What on earth could it possibly sound like? Well, the first track is a slow instrumental Sludge intro, bringing immediately to mind the Blind era. Next comes the third single, ‘The Luddite’ which is almost indistinguishable from the style on their Doom-focused In The Arms Of God album from 2005, which is interesting to hear with Reed Mullin on drums. It totally works. Speaking of that album, the creepy-ass title track here might remind you of a certain dark semi-acoustic track from there too.

Like their seminal Deliverance album, there are a few instrumental interludes and mood pieces sprinkled throughout. The first two singles, ‘Wolf Named Crow’ and ‘Cast The First Stone’ hark back to the Wiseblood sound, recalling hits like ‘Long Whip/Big America’ or ‘King Of The Rotten’ in a certain specific way that the instruments interact with each other and with the production style (by John Custer, who did Wiseblood too!) leaving the space at the end of sections and sounding very organic and Jammed-out-in-a-rehearsal-room, if you know what I mean. ‘Little Man’ has a very characterful and southern-fried sound, reminiscent of the under-rated 2000 album, America’s Volume Dealer, only without the over-polished production.

So far, so great. Towards the end, there are a also few slower, sludgy, dragged-out pieces that hearken back to both ‘Pearls Before Swine’ and ‘Bottom Feeder.’ It just wouldn’t be a C.O.C album without mixing in something slow and dirty sounding towards the end, would it now?

The overall feeling is a mixture of all the Pepper-era albums, with a warm and very earthy production. It doesn’t stand out as an immediate drop-everything, earth-shattering revelation, but it is a very welcome return (although they were never really that gone recently, and I’d still love if they threw ‘Demark Vessey’ or ‘Tarquinious Superbus’ into the setlist nowadays too!) that gets better with repeat listens. If you walk in expecting to be blown away like the first time you heard Deliverance you might be disappointed, but if you go in with realistic expectations you’ll find a very solid and rewarding album. My favourite track on the album is ‘Forgive Me’ which has a sort of Thin Lizzy vibe to its hook, but a very metallic breakdown, and Pepper’s vocals are very exaggerated and full of character like they were on ‘Volume Dealer.

To top it all off, there’s a cover of Queen’s very heavy and Sabbathy debut album deep-cut, ‘Son And Daughter’ and it really, really suits C.O.C’s sound. I remember Iron Monkey covering it in the past and it is a very suitable track for this end of the Rock & Metal spectrum. I know people imagining ‘Radio Gaga’ or ‘I Want To Break Free’ might raise an eyebrow, but Queen’s debut was a lot heavier than you remember. For Stoner, Doom or Sludge bands it is a natural fit.

In summary; without disrespecting the fine work of the trio line-up, its nice to have the four guys from Deliverance through to ‘Volume Dealer back playing together again with their unique chemistry. The album is pretty diverse, with a nice mix of fast and slow, clean and dirty, stoner and doom, sludge and hard rock, atmospheric and immediate. The production job is perfect and there’s a fairly decent proportion of the tracks would make it into any fan’s future dream setlists or best-of playlists. If you don’t immediately do a spit-take and have heart-shaped eyeballs the very first time you hear it though, don’t worry, it grows on you.

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