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BEGIN:VEVENT
UID:25f8076e-185d-426e-8301-b88c27d3ad4f@findlocal.community
DTSTAMP:20261012T002437Z
DTSTART;TZID=America/Indiana/Indianapolis:20261114T180000
DTEND;TZID=America/Indiana/Indianapolis:20261114T200000
SUMMARY:Corrosion of Conformity & The Sword
DESCRIPTION:Let’s face it: Much has gone down in the COC universe since t
 heir last album smacked us upside the head. Back in 2018\, when No Cross
  No Crown dropped like a rock n’ roll atom bomb\, the tried-and-true COC
  lineup of Pepper Keenan (vocals/guitar)\, Woody Weatherman (guitar)\, R
 eed Mullin (drums)\, and Mike Dean (bass) was still going strong. Four b
 rothers united in a decades-long history kicked off by a roving pack of 
 teenage punks in Raleigh\, NC\, circa 1982. COC’s first four albums left
  a permanent mark on headbangers\, longhairs\, and street punks everywhe
 re: Underground classics Eye for an Eye (1984) and Animosity (1985) foll
 owed by slightly more overground bangers Blind (1991) and Deliverance (1
 994). By the time COC carved off No Cross No Crown nearly a quarter cent
 ury later\, they were legends in their own time\, revered by two generat
 ions of punk\, metal\, and rock fans. Then tragedy struck: In January 20
 20\, Reed Mullin left this earthly plane. It was a devastating blow\, bo
 th personally and professionally. How do you replace a brother? You can’
 t. All you can do is soldier on in his memory. Which is that the rest of
  COC did—until Covid shut down the globe. Then Mike Dean decided to go h
 is own way. It was an amicable split\, but it left Pepper and Woody to c
 ontemplate their next move. They hunkered down at Pepper’s place in Miss
 issippi\, listening to all the music they love. Discharge. ZZ Top. Motör
 head. Neil Young. Black Sabbath. You know: The good stuff. They started 
 writing. They didn’t stop\, not for a long time. Matter of fact\, they w
 rote an honest-to-God double album. “As we went on\, we had such a crazy
  plethora of songs\, it was almost like two different directions\,” Pepp
 er says. “We knew we had to split it into two different albums. Then we 
 came up with this concept.” The concept happens to be the title of the r
 ecord. It’s called Good God Baad Man. “Our producer\, Warren Riker\, kep
 t calling it Dark Side of the Doom\,” Pepper says. “In my head\, it’s a 
 weird love letter to all things rock n’ roll. We used that for the freed
 om to go in different directions. Each album is its own tiny universe\, 
 has its own identity. Good God leans toward the heavier/pissed end of th
 e spectrum. Baad Man is more on the throwdown rock scope. As we went alo
 ng\, it became clear which songs went on which album.” They brought in d
 rummer Stanton Moore\, who played on COC’s 2005 album\, In the Arms of G
 od. They brought in bassist Bobby “Rock” Landgraf\, who did time with Pe
 pper in New Orleans heavyweights Down when he wasn’t terrorizing the loc
 als in his own band\, Honky. “With a lot of these songs\, we’re trying t
 o make Reed Mullin proud\,” Pepper says. “He was a badass\, and a one-of
 -a-kind drummer. And the stakes were high.” The first single is “Gimme S
 ome Moore\,” featuring backing vocals from Uncle Al Jourgensen of Minist
 ry and Madonna guitarist Monte Pittman. The hook of the song is Struggle
  is worth the fight/Leather\, chains and spikes. “Me and Woody wanted to
  write a song as if we were 17 years old again\,” Pepper explains. “We e
 ven made a seven-inch for it.” Said seven-inch is an early ’80s punk thr
 owback\, complete with black & white photo collage and a Fear cover on t
 he flipside. It’s a ripper. “Lose Yourself” is a song the guys all wrote
  together. Propelled by a beefy groove\, you just might hear echoes of C
 OC’s 1996 heater\, Wiseblood. “It’s short and to the point\,” Pepper say
 s. “It’s kind of about not taking life too seriously. If things are gett
 ing in the way\, just get away for a while\, lose yourself\, get your he
 ad straight.” On the other side of the coin\, Good God closer “Run For Y
 our Life” is a powerful psychedelic dirge with heavier-than-heavy spoken
  word from an old friend who happens to be a US military combat veteran.
  “Baad Man” opens the second album with a jive-talking dose of grand fun
 k\, straight from the grimy streets to your tender earholes. “It’s a wei
 rd ’70s rock stomper thing\,” Pepper says. “It’s about a guy who thinks 
 he’s a badass\, but he really ain’t.” The album’s final track\, “Forever
  Amplified\,” boasts guest vocals from Anjelika “Jelly” Joseph of the lo
 ng-running New Orleans jazz-funk band Galactic\, of which Stanton Moore 
 is a founding member. “She grew up singing gospel in a Baptist church\, 
 and she nailed the hell out of the song\,” Pepper enthuses. “It’s a dedi
 cation to all the people we’ve lost\, including Reed.” Produced by Gramm
 y award winner Warren Riker (Fugees\, Down\, Cathedral) and featuring co
 ver art by famed New Orleans artist Scott Guion\, Good God Baad Man was 
 recorded at Blak Shak Studios in Riffissippi\, USA\, Dockside Studios in
  Maurice\, Louisiana\, and—get this—Bee Gee Barry Gibb’s home studio in 
 Miami. “His studio is a magical time warp\,” Pepper says. “He was drinki
 ng Cuban coffee and hanging out with us while we were tracking guitars. 
 I played Maurice Gibb’s Strat on ‘Baad Man.’ The whole experience was a 
 game changer—big time.” Bottom line? COC is back. In a big way. Born aga
 in for the last time\, you might say. “Woody and I are guys who love mus
 ic\, period\,” Pepper says. “We had open minds through this whole proces
 s. We love ZZ Top as much as we love Black Flag. With this record\, we’v
 e got a whole new paint palette. We made a mess and went Maad.” The Swor
 d have handcrafted their own immersive mythology underscored by undeniab
 le and unpredictable guitar fireworks\, cinematic themes\, and otherworl
 dly concepts. Since emerging out of Austin\, TX in 2003\, the quartet—JD
  Cronise [vocals\, guitar]\, Bryan Richie [bass\, keys]\, Kyle Shutt [gu
 itar\, vocals]\, and Santiago Vela [drums]—have incited the obsession of
  a diehard fanbase and the applause of tastemakers such as Rolling Stone
 \, The Washington Post\, Decibel\, and more. The band’s catalog encompas
 ses six full-length albums\, namely Age of Winters [2006]\, Gods of the 
 Earth [2008]\, Warp Riders [2010]\, Apocryphon [2012]\, High Country[201
 5]\, and Used Future [2018]. The group shared the stage with everyone fr
 om Metallica to Lamb of God and Clutch in addition to selling out headli
 ne tours on multiple continents. After a two-year hiatus\, the band offi
 cially reunited and returned in tandem with the celebration of the 15th 
 anniversary of Warp Riders. Hailed as a “classic” by Consequence\, it or
 iginally garnered praise from the likes of Premier Guitar\, SPIN\, and m
 ore. Standing out as one of the 21st century’s most important heavy band
 s\, The Sword architect the next chapter of their mythology with more to
 uring and a new record on the horizon.\n\nTickets: https://thevogue.com/
 events/corrosion-of-conformity-the-sword-11-14-2026-indianapolis\n\nhttp
 s://findlocal.community/event/25f8076e-185d-426e-8301-b88c27d3ad4f
LOCATION:Vogue Theatre - IN\, 6259 North College Ave.\, Indianapolis\, IN
  46220
URL:https://findlocal.community/event/25f8076e-185d-426e-8301-b88c27d3ad4
 f
STATUS:CONFIRMED
SEQUENCE:0
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