Corrosion Of Conformity have begun rolling out new material from their forthcoming double album, though fans will have to hunt it down in person for now. The gold-certified southern metal veterans debuted a brand-new track titled “Gimme Some Moore” as a physical-only release, pressing it onto a 7″ vinyl single paired with a cover of Fear’s 1981 punk staple “I Love Livin In The City”. The release was made available exclusively at the band’s show on January 10th at Multiforo Cultural Alicia in Mexico City, Mexico.
While full details surrounding the band’s expansive 11th studio album remain under wraps, Corrosion Of Conformity will be taking their new material on the road this spring as part of the “Suffer No Evil Tour“, joined by Clutch and JD Pinkus.
“Suffer No Evil Tour” dates:
- April 9 – Sayreville, NJ – Starland Ballroom
- April 11 – Worcester, MA – The Palladium
- April 12 – Rochester, NY – Kodak Center Theater
- April 14 – Chesterfield, MO – The Factory
- April 15 – Lexington, KY – Manchester Music Hall
- April 17 – Kansas City, MO – VooDoo Lounge at Harrah’s
- April 18 – Sioux City, IA – Anthem at Hard Rock Sioux City
- April 19 – Sioux Falls, SD – The District
- April 21 – Grand Junction, CO – Mesa Theater
- April 23 – Boise, ID – Treefort Music Hall
- April 24 – Reno, NV – Cargo Concert Hall
- April 27 – Albuquerque, NM – El Rey Theater
- April 28 – Midland, TX – The Horseshoe
- April 29 – San Antonio, TX – The Aztec Theatre
- May 1 – Pensacola, FL – Vinyl Music Hall
- May 2 – Chattanooga, TN – The Signal
- May 3 – Asheville, NC – The Orange Peel
In a recent interview on “The Sonic Road Podcast,” bassist Bobby Landgraf provided the first concrete details regarding the long-awaited follow-up to 2018’s No Cross No Crown, revealing that the band has recorded enough material for a sprawling dual release tentatively scheduled for late March or early April via Nuclear Blast.
Speaking to host Beau McGranahan, Landgraf disclosed that the band entered the studio with a surplus of material, leading frontman Pepper Keenan to pitch the expanded format to their label.
“We probably did 15, 16, maybe even more, songs at the writing session, so it came time to record and we just did it all,” Landgraf explained. “And Pepper‘s got a really good relationship with the label. They trust him. He [said], ‘We gotta make this a double record.’ They’re, like, ‘Okay.’ I don’t recall ever hearing a pushback story from the label.”
According to the bassist, the album is not just a collection of songs but a structured artistic statement designed for immersive listening.
“Pepper has a brilliant concept for the record. For each side, it’s different. The songs on this record go together, the songs on this record go together. And it’s a very conceptual record,” Landgraf noted. “[It’s got] beautiful artwork… And it will be a serious headphone record. You’ll wanna sit at home and put phones on. Don’t rip off the record by just hearing it on your telephone or your white earbuds.”
The sessions saw the return of acclaimed drummer Stanton Moore (Galactic), who previously performed on the band’s 2005 album In The Arms Of God. The recording process, primarily held at Keenan‘s home studio in Mississippi, was described as an intense period of isolation and creativity.
“When I was standing there to Stanton Moore and we had two weeks of living together at the house and just being in each other’s heads and there was nowhere to go — there’s nowhere to go get in trouble; you’re just there working on the stuff,” Landgraf recalled. “I learned so much from Stanton — to be a bass player, to really hit the right spots and to catch that one… Stanton, I believe, really helped me elevate my bass game.”
The production, helmed by longtime collaborator Warren Riker, captured a raw and spontaneous energy. Landgraf noted that the team “recorded every mistake, every goof-off, every mess-around thing, and some of the stuff came right off the floor.”
In a surprising twist, additional guitar tracking took place at a private studio in Miami owned by Barry Gibb of the Bee Gees, a connection facilitated by Gibb‘s son, Steve Gibb (formerly of Black Label Society and Crowbar).
Musically, the double album promises to diverge from standard rock tropes. Landgraf hinted at a diverse soundscape that includes “little interlude stuff, Pink Floyd-y stuff in the middle of songs, a narration and talking and some sci-fi.”
“Usually — I don’t know; I’ll just say the words AC/DC, and every song’s gonna kind of have a thing to ’em. This is not that at all. You never know where you’re going for the next song. Pepper did that by design,” he added.
