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CORROSION OF CONFORMITY “Good God/Baad Man”
CORROSION OF CONFORMITY “Good God/Baad Man”
By Mercyful Mike
There are a handful of bands that when the mention of an imminent new release surfaces, that date becomes an actual event. This definitely seemed to be the case with the unleashing of the colossal “Good God/Baad Man” by CORROSION OF CONFORMITY. Never willing to age gracefully, this new album is a perfect example of the “It's better to burn out than to fade away…” credo made popular by Neil Young. On “Good God/Baad Man”, COC lean fully into that headspace with a sprawling double album that confirms high volume and a “f**k them all attitude” can be a driving, almost spiritual force.
Split into two distinct halves (alter egos?), “Good God/Baad Man” deliberately pits the two sides against each other. Pepper Keenan described one side as the more “heavier/pissed” material while the other “embraces a looser rock-and-roll groove approach.” Ballsy move if you ask me, but as the album is absorbed as a whole, it works not only in the band’s favor, but the listener, too. Almost 2 albums for the price of one, if you get my drift.
The Good God side slams the hardest. “You Or Me” is top shelf Southern sludge: monster riffs, ugly psychedelic wanderings, and the kind of groove that sounds permanently stained with whiskey. “Gimme Some Moore” (a nod to returning drummer Stanton Moore perhaps?) is even more revealing, a deliberate throwback to the band’s hardcore roots, complete with a snarling punk velocity that recalls the chaos of “Animosity” without feeling nostalgic. Backing vocals by Al Jourgensen is a nice touch.
The Baad Man half opens things up to breathe a bit. The title track and “Asleep On The Killing Floor” showcase COC’s syrupy, swampier side, where their love for BLACK SABBATH and LYNYRD SKYNYRD are front and center. There’s less urgency here, but a very healthy dose of atmosphere is added. Consider this section of the album as the soundtrack to your favorite dive bar on a hot, humid night, while your elbows stick to the beer soaked bar-top as you throw back Busch Lights. I just hope your night doesn’t end up in “Handcuff County”.
It can’t be understated that a major reason this album succeeds is due the current lineup. Drummer Stanton Moore is such a brilliant, loose pocket player, and bassist Bobby Landgraf is a thunderous metronome that keeps the foundation of each song weighty and solid. Furthermore, if you factor in the emotional weight of losing Reed Mullin, it’s amazing just how fresh and rejuvenated COC sound on this release. Mullin’s spirit was definitely present throughout the creation of “Good God/Baad Man” .
While there are a few instances where the album wanes ever so slightly, as a whole, “Good God/Baad Man” marks the triumphant return of a band that still makes music of substance. There really is no point to ever compare new COC albums to those of their past. Each new release is a unique milestone in the ever evolving journey of CORROSION OF CONFORMITY and should be treated as such. Superb album.
9/10
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