Corrosion Of Conformity & The Sword
with Hippie Death Cult
All Ages
Tuesday, November 10, 2026
Doors: 6 pm // Show: 7 pm
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Corrosion Of Conformity
Let’s face it: Much has gone down in the COC universe since their 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), Reed Mullin (drums), and Mike Dean (bass) was still going strong. Four brothers 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 everywhere: Underground classics Eye for an Eye (1984) and Animosity (1985) followed by slightly more overground bangers Blind (1991) and Deliverance (1994). By the time COC carved off No Cross No Crown nearly a quarter century later, they were legends in their own time, revered by two generations of punk, metal, and rock fans.
Then tragedy struck: In January 2020, Reed Mullin left this earthly plane.
It was a devastating blow, both 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 his own way. It was an amicable split, but it left Pepper and Woody to contemplate their next move. They hunkered down at Pepper’s place in Mississippi, listening to all the music they love. Discharge. ZZ Top. Motörhead. 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 wrote 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,” Pepper 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 record. It’s called Good God / Baad Man. “Our producer, Warren Riker, kept 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 freedom 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 the spectrum. Baad Man is more on the throwdown rock scope. As we went along, it became clear which songs went on which album.”
They brought in drummer Stanton Moore, who played on COC’s 2005 album, In the Arms of God. They brought in bassist Bobby “Rock” Landgraf, who did time with Pepper in New Orleans heavyweights Down when he wasn’t terrorizing the locals in his own band, Honky. “With a lot of these songs, we’re trying to 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 Some Moore,” featuring backing vocals from Uncle Al Jourgensen of Ministry 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 even made a seven-inch for it.” Said seven-inch is an early ’80s punk throwback, complete with black & white photo collage and a Fear cover on the 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 COC’s 1996 heater, Wiseblood. “It’s short and to the point,” Pepper says. “It’s kind of about not taking life too seriously. If things are getting in the way, just get away for a while, lose yourself, get your head straight.”
On the other side of the coin, Good God closer “Run For Your 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 funk, straight from the grimy streets to your tender earholes. “It’s a weird ’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 long-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 dedication to all the people we’ve lost, including Reed.”
Produced by Grammy award winner Warren Riker (Fugees, Down, Cathedral) and featuring cover 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 drinking 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 again for the last time, you might say. “Woody and I are guys who love music, period,” Pepper says. “We had open minds through this whole process. We love ZZ Top as much as we love Black Flag. With this record, we’ve got a whole new paint palette. We made a mess and went Maad.”
COC’s first four albums left a permanent mark on headbangers, longhairs, and street punks everywhere: Underground classics Eye for an Eye (1984) and Animosity (1985) followed by slightly more overground bangers Blind (1991) and Deliverance (1994). By the time COC carved off No Cross No Crown nearly a quarter century later, they were legends in their own time, revered by two generations of punk, metal, and rock fans.
Then tragedy struck: In January 2020, Reed Mullin left this earthly plane.
It was a devastating blow, both 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 his own way. It was an amicable split, but it left Pepper and Woody to contemplate their next move. They hunkered down at Pepper’s place in Mississippi, listening to all the music they love. Discharge. ZZ Top. Motörhead. 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 wrote 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,” Pepper 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 record. It’s called Good God / Baad Man. “Our producer, Warren Riker, kept 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 freedom 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 the spectrum. Baad Man is more on the throwdown rock scope. As we went along, it became clear which songs went on which album.”
They brought in drummer Stanton Moore, who played on COC’s 2005 album, In the Arms of God. They brought in bassist Bobby “Rock” Landgraf, who did time with Pepper in New Orleans heavyweights Down when he wasn’t terrorizing the locals in his own band, Honky. “With a lot of these songs, we’re trying to 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 Some Moore,” featuring backing vocals from Uncle Al Jourgensen of Ministry 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 even made a seven-inch for it.” Said seven-inch is an early ’80s punk throwback, complete with black & white photo collage and a Fear cover on the 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 COC’s 1996 heater, Wiseblood. “It’s short and to the point,” Pepper says. “It’s kind of about not taking life too seriously. If things are getting in the way, just get away for a while, lose yourself, get your head straight.”
On the other side of the coin, Good God closer “Run For Your 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 funk, straight from the grimy streets to your tender earholes. “It’s a weird ’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 long-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 dedication to all the people we’ve lost, including Reed.”
Produced by Grammy award winner Warren Riker (Fugees, Down, Cathedral) and featuring cover 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 drinking 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 again for the last time, you might say. “Woody and I are guys who love music, period,” Pepper says. “We had open minds through this whole process. We love ZZ Top as much as we love Black Flag. With this record, we’ve got a whole new paint palette. We made a mess and went Maad.”
The Sword
The Sword have quietly and carefully handcrafted their own immersive mythology underscored by undeniable and unpredictable guitar fireworks, cinematic themes, and otherworldly concepts. Since emerging out of Austin, TX in 2003, the quartet—JD Cronise [vocals, guitar], Bryan Richie [bass, keys], Kyle Shutt [guitar, 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 many more. The band’s catalog encompasses six full-length albums, namely Age of Winters [2006], Gods of the Earth [2008], Warp Riders [2010], Apocryphon [2012], High Country [2015], and Used Future [2018]. Among many highlights, Apocryphon bowed at #17 on the Billboard 200, notching their highest career debut on the respective chart. Along the way, the group also shared the stage with everyone from Metallica to Lamb of God and Clutch in addition to selling out headline tours on multiple continents. Infiltrating popular culture, their music has appeared in films a la Jennifer’s Body and Jonas Åkerlund’s Horsemen as well as video game franchises, including Guitar Hero. To date, they have impressively amassed north of 100 million streams. As such, they remain one of the 21st century’s most important heavy bands.
After a two-year hiatus, the band officially reunited and returned in tandem with the celebration of the 15th anniversary of Warp Riders. Hailed as a “classic” by Consequence, it originally garnered praise from the likes of Premier Guitar and SPIN, to name a few. Now, The Sword architect the next chapter of the mythology they first began over two decades ago with more touring and a new record on the horizon.
After a two-year hiatus, the band officially reunited and returned in tandem with the celebration of the 15th anniversary of Warp Riders. Hailed as a “classic” by Consequence, it originally garnered praise from the likes of Premier Guitar and SPIN, to name a few. Now, The Sword architect the next chapter of the mythology they first began over two decades ago with more touring and a new record on the horizon.
Hippie Death Cult
Hippie Death Cult has steadily become one of the most exciting bands in the modern heavy music scene, pairing massive riffs, deep grooves, psychedelic textures, thoughtful lyricism, and hypnotizing melodies into a sound that feels both classic and contemporary. Formed in Portland, Oregon, guitarist Eddie Brnabic, vocalist/bassist Laura Phillips, and drummer Harry Silvers have earned a reputation for delivering dynamic, emotionally charged songs and electrifying live performances that showcase their distinctive sound, transcending traditional genres and captivating fans worldwide.
Since their early releases with Cursed Tongue Records and Heavy Psych Sounds Records, the band has built serious momentum. Their 2019 debut album, 111, and its 2021 follow-up, Circle of Days, received strong praise from critics and listeners alike, with both records topping the Doom Charts and numerous “best of” lists, solidifying Hippie Death Cult as a standout name in the underground scene. Following these releases, the band’s evolution into a power trio marked a turning point, with Laura Phillips stepping into lead vocal duties and infusing even more identity and force into the group’s sound and chemistry.
This progression came fully into focus on Helichrysum, the band’s first full-length studio album featuring Phillips on lead vocals. Released in 2023, the album was widely praised for its stronger songwriting, greater dynamic range, and the chemistry of the new lineup, becoming their most successful release to date in terms of streams and sales. The band supported Helichrysum with over 250 shows across North America and Europe, including performances on major festival stages and headlining spots, further showcasing the raw power and intensity that have made their live shows a must-see.
Now signed to Black Light Media and Metal Blade Records, Hippie Death Cult is entering a new phase with the most reach and momentum of their career. With a growing international fanbase, an increasingly refined sound, and a new release on the horizon, the band is poised to take the next leap forward.
Since their early releases with Cursed Tongue Records and Heavy Psych Sounds Records, the band has built serious momentum. Their 2019 debut album, 111, and its 2021 follow-up, Circle of Days, received strong praise from critics and listeners alike, with both records topping the Doom Charts and numerous “best of” lists, solidifying Hippie Death Cult as a standout name in the underground scene. Following these releases, the band’s evolution into a power trio marked a turning point, with Laura Phillips stepping into lead vocal duties and infusing even more identity and force into the group’s sound and chemistry.
This progression came fully into focus on Helichrysum, the band’s first full-length studio album featuring Phillips on lead vocals. Released in 2023, the album was widely praised for its stronger songwriting, greater dynamic range, and the chemistry of the new lineup, becoming their most successful release to date in terms of streams and sales. The band supported Helichrysum with over 250 shows across North America and Europe, including performances on major festival stages and headlining spots, further showcasing the raw power and intensity that have made their live shows a must-see.
Now signed to Black Light Media and Metal Blade Records, Hippie Death Cult is entering a new phase with the most reach and momentum of their career. With a growing international fanbase, an increasingly refined sound, and a new release on the horizon, the band is poised to take the next leap forward.