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Danzig Announce Spring 2022 U.S. Tour Dates With Cradle of Filth + Crobot

Danzig have announced a block of tour dates across the United States this spring that will include one complete performance of the Glenn Danzig -led metal band's classic second album,  Danzig II: Lucifuge . Joining Danzig on all dates will be  Cradle of Filth and Crobot .

The Lucifuge  show is scheduled for May 7 at Toyota Arena in Ontario, Calif., just east of Los Angeles. Two days prior, Danzig will play in Reno, Nev., before they hit Arizona, Colorado, Georgia, Louisiana, Missouri, Ohio and Texas over the ensuing days.

See the dates down toward the bottom of this post.

A Feb. 28 update from Danzig's website says, "Danzig will be performing a string of live dates here in the U.S. starting in May. In the only Southern California date at the Toyota Arena in Ontario, Calif., they will be performing the whole Danzig II: Lucifuge album."

Lucifuge emerged as the sophomore Danzig effort in 1990. It followed the act's 1988 self-titled debut, which contains the single " Mother ." It preceded 1992's Danzig III: How the Gods Kill , 1993's Thrall-Demonsweatlive EP and 1994's Danzig 4 . Those releases feature the classic Danzig lineup, including guitarist John Christ, bassist Eerie Von and drummer Chuck Biscuits.

These days, Danzig include guitarist Tommy Victor (Prong), bassist Steve Zing (Samhain) and drummer Johnny Kelly (Type O Negative). In 2020, Danzig released the covers album,  Danzig Sings Elvis .

An auteur on top of being a musician, Glenn Danzig last year released his second motion picture, the "vampire spaghetti western" Death Rider in the House of Vampires . It followed his directorial debut, the 2019 horror anthology Verotika , based on his  Verotika comic series.

Danzig, Cradle of Filth + Crobot Spring 2022 U.S. Tour Dates

May 5 – Reno, Nev. @ Grand Sierra Theatre May 7 – Ontario, Calif. @ Toyota Arena * ^ May 8 – Mesa, Ariz. @ Mesa Amphitheatre ^ May 10 – Denver, Colo. @ Mission Ballroom May 11 – Kansas City, Mo. @ Uptown Theater May 14 – Cincinnati, Ohio, @ Icon Music Center May 15 – Atlanta, Ga. @ The Eastern May 17 – New Orleans, La. @ The Fillmore May 18 – Houston, Texas @ 713 Music Hall May 19 – Austin, Texas @ Waller Creek Amp.

* Full Danzig II: Lucifuge performance ^ With Tiger Army

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Past Tour Dates...

SEPTEMBER 2023 - DANZIG  ( playing Danzig I in its entirety )

(Support: Behemoth, Twin Temple, & Midnight )

1 FRI. - IRVING, TEXAS - PAVILLION at TOYOTA MUSIC FACTORY

2 SAT. - SAN ANTONIO, TEXAS - BOEING CENTER at TECH PORT 6 WED. - ATLANTA, GEORGIA - ROXY THEATRE 8 FRI. - ALTON, VIRGINIA - BLUE RIDGE ROCK FESTIVAL 9 SAT.- ATLANTIC CITY, N.J. - OVATION HALL 11 MON. - BOSTON, MA - MGM MUSIC HALL at FENWAY 13 WED. - CLEVELAND, OHIO - MASONIC TEM PLE 14 THUR.- DETROIT, MICHIGAN - MASONIC TEMPLE THEATRE 16 SAT. - NEWPORT, KY - MEGACORP PAVILLION 17 SUN.- CHICAGO, ILLINOIS - BYLINE BANK ARAGON BALLROOM

22 FRI. - LAS VEGAS, NEVADA - THE THEATRE at VIRGIN HOTELS 23 SAT. - ONTARIO, CALIF, - TOYOTA ARENA

JULY 2023 - OG Misfits 

08 SAT. - Newark, NJ - Prudential Center  ( w/ Gaslight Anthem & Fear )

15 SAT. - Phoenix, AZ  - Talking Stick Resort Amphitheatre

( w/ AFI & Fear )

JUNE 2023 - OG Misfits  ( w/ Megadeth & Fear )

24 SAT. - Tampa, FL - MidFlorida Amphitheatre

JUNE 2023 - DANZIG  ( playing Danzig I in its entirety )

09 FRI. - Gdansk, Poland - Mystic Festival 2023

10 SAT. - Helsinki, Finland - Rock Fest 2023

MAY 2023 - DANZIG Sings Elvis

12 FRI. - Las Vegas, NV - Tropicana

FEBRUARY 2023 - DANZIG Sings Elvis

10 FRI. - Los Angeles, CA - Monta lban The atre

OCTOBER 2022 - THE ORIGINAL MISFITS ( Cancelled )

29 SAT. - Dallas, TX - Dos Equis Pavilion

OCTOBER 2022 - DANZIG 

7 FRI. - Sacramento, CA - Aftershock 

SEPTEMBER 2022 - THE ORIGINAL MISFITS 

17 SAT. - Chicago, IL - Riot Fest ( performing Walk Among Us )

MAY 2022 - DANZIG ( w/ Cradle of Filth & Crobot )

5 THURS. - RENO, NV. - GRAND SIERRA RESORT - GRAND THEATRE

7 SAT. - ONTARIO, CA. - TOYOTA ARENA - LUCIFUGE (*Tiger Army, Cradle of Filth, Crobot)

8 SUN. - MESA, AZ. - MESA AMPHITHEATRE (*Tiger Army, Cradle of Filth, Crobot)

10 TUES. - DENVER, CO. - THE MISSION BALLROOM

11 WED. - KANSAS CITY, MO. - UPTOWN THEATER

14 SAT. - CINCINNATTI, OH. - ANDREW J BRADY ICON MUSIC CENTER

15 SUN. - ATLANTA, GA. - THE EASTERN

17 TUES. - NEW ORLEANS, LA. - THE FILLMORE AT HARRAH'S

18 WED. - HOUSTON, TX. - 713 MUSIC HALL

19 THURS. - AUSTIN, TX. - STUBB'S WALLER CREEK AMPHITHEATER

OCTOBER 2021 - DANZIG Sings ELVIS

30 SAT. - Los An geles, CA - The Hollywood Roosevelt Hotel

31 SUN. - Los Angeles, CA  - The Hollywood Roosevelt Hotel

SEPTEMBER 2021 - THE ORIGINAL MISFITS 

9 SAT. - Sacramento, CA - Aftershock Festival

AUGUST 2021 - DANZIG - ( performing Danzig II )

21 SAT. - Las Vegas, NV - Las Vegas Psycho Fest

JULY 2021 - DANZIG

17 SAT. - Cadott, WI - Rock Fest

AUGUST 2020 - DANZIG  ( Postponed due to Covid )

1 SAT. - MUNICH, GERMANY. - CIRCUS KRONE 2 SUN. - ZURICH, SWITZERLAND. - VOLKSHAUS 4 TUES. - COPENHAGEN, DENMARK. - AMAGER BIO 5 WED. - OSLO, NORWAY - SENTRUM SCENE 7 FRI. - KOLN, GERMANY - E-WERK 8 SAT. - HILDESHEIM, GERMANY - MERA LUNA FESTIVAL 9 SUN. - WIESBADEN, GERMANY - SCHACHTHOF

JULY 2020 - DANZIG   ( Postponed )

31 FRI. - SZEKESFEHERVAR, HUNGARY.. - FEZEN FESTIVAL

MAY 2020 - THE ORIGINAL  MISFITS  

5 SAT. - Mexico City, MX - DOMINATION FEST ( Postponed )

APRIL 2020 - DANZIG Sings Elvis   

17 FRI. - San Francisvo, CA - Bimbo's 365 Club

(* to be Rescheduled June/July )

22 WED. - Hollywood, CA - The Hollywood Roosevelt

  (* to be Rescheduled June/July )

DECEMBER 2019 - THE ORIGINAL  MISFITS  

14 SAT. - PHILADELPHIA, PA - Wells Fargo Center

OCTOBER 2019 - THE ORIGINAL  MISFITS  

19 SAT. - NEW YORK CITY - Madison Square Garden

SEPTEMBER 2019 - THE ORIGINAL  MISFITS  

7 SAT. - DENVER, CO - Fiddler's Green Amphitheatre

11 WED. - OAKLAND, CA - Oracle Arena 14 SAT. - SEATTLE, WA. - White River Amphitheatre

AUGUST 2019 - THE ORIGINAL MISFITS

17 SAT. - LAS VEGAS, NV - Mandalay Bay 

JUNE 2019 - THE ORIGINAL MISFITS

29 SAT. - LOS ANGELES, CA - BANC OF CALIFORNIA STADIUM

APRIL 2019 - THE ORIGINAL MISFITS

27 SAT. - CHICAGO, IL - ALLSTATE ARENA

NOVEMBER - DANZIG 30TH ANNIVERSARY  

1 THURS. - ALBUQUERQUE, NM. - EL REY THEAT 3 SAT. - IRVINE, CA. - 5 POINTS AMPHITHEATER

OCTOBER - DANZIG 30TH ANNIVERSARY  

7 SUN. - TEOTIHUACAN, MEXICO. - FORCE FEST 24 WED. - PORTLAND, OR. - ROSELAND 25 THURS. - SEATTLE, WA. - SODO 27 SAT. - SALT LAKE CITY, UT. - THE COMPLEX 28 SUN. - RENO, NV - GRAND SIERRA THEATER 31 WED. - DENVER, CO. - FILLMORE

AUGUST 2018 - DANZIG (Psychofest - HTGK set)

8/19/18  SAT. - LAS VEGAS, NV - HARDROCK HOTEL

AUGUST 2018 - DANZIG 30TH ANNIVERSARY  

8/2/18 THURS. - WACKEN, GERMANY - WACKEN OPEN AIR 8/3/18 FRI. - LUXEMBOURG.. - DEN ATELIER 8/4/18 SAT. - KOLN, GERMANY. - LIVE MUSIC HALL 8/6/18 MON. - GLASGOW, SCOTLAND. - BARROWLANDS 8/7/18 TUES. - LONDON, ENGLAND. - BRIXTON ACADEMY 8/9/18 THURS. - WIESBADEN, GERMANY - SCHLACHTHOF 8/10/18 FRI. - MUNICH, GERMANY - TONHALLE 8/11/18 SAT. - JAROMER, CZECH REPUBLIC - BRUTAL ASSAULT

MAY 2018 - THE ORIGINAL MISFITS

19 SAT. - NEWARK, NJ - PRUDENTIAL CENTER

DECEMBER 2017 - THE ORIGINAL MISFITS

28 THURS. - LAS VEGAS, NV - MGM GRAND 30  SAT. - LOS ANGELES, CA - THE FORUM

SEPTEMBER 2017 - 25TH ANNIVERSARY DANZIG III

7 THURS. - HAMPTON BCH., N.H. - HAMPTON BCH. CASINO BALLROOM 8 FRI. - PHILA., PA.. - ELECTRIC FACTORY 9 SAT. - MONTCLAIR, N.J. - WELLMONT THEATER 11 MON. - HUNTINGTON., N.Y. - PARAMOUNT THEATER 12 TUES. - LEWISTOWN., N.Y. - ARTPARK AMPHITHEATRE 14 THURS. - CLEVELAND, OH. - AGORA 15 FRI. - DETROIT, MI. - FILLMORE 16 SAT. - CHICAGO, ILL. - RIOTFEST

22 FRI. - SAN FRANCISCO, CA. - WARFIELD THEATRE

23 SAT. - LAS VEGAS, NV. - BROOKLYN BOWL

25 MON. - TEMPE, AZ. - THE MARQUEE

JUNE/JULY 2017 - EUROPEAN FESTIVALS

JUNE 29 THURS. - SWEDEN BRAVALLA FESTIVAL JULY 1 SAT. - FINLAND PROVINSSI ROCK FESTIVAL

MAY 2017 - BLACKEST OF THE BLACK

26 FRI. - SILVERADO, CA. OAK CANYON PARK 27 SAT. - CHICAGO, IL OAK CANYON PARK (Danzig)

SEPTEMBER 2016 - THE ORIGINAL MISFITS

4 SUN. - DENVER, CO. NATIONAL WESTERN COMPLEX 18 SUN. - CHICAGO, IL DOUGLAS PARK

OCTOBER 2015 - BLACKEST OF THE BLACK

3 SAT. - PHOENIX, AZ. MARQUEE THEATRE 5 MON. - AUSTIN, TX. STUBBS WALLER CREEK AMPHITHEATRE 7 WED. - MEMPHIS, TN. MINGLEWOOD HALL 9 FRI.- NEW ORLEANS, LA. CIVIC THEATRE 11 SUN. - BIRMINGHAM, AL. IRON CITY 12 MON. - ORLANDO, FL. HARD ROCK LIVE 14 WED. - CHARLOTTE, N.C.. THE FILLMORE 16 FRI.- PHILADELPHIA, PA. ELECTRIC FACTORY 17 SAT. - WORCESTER, MA. 'ROCK & SHOCK' THE PALLADIUM 18 SUN.- MONTREAL, QC. METROPOLIS 20 TUES.- PORTLAND, ME. STATE THEATRE 21 WED. - NYC, N.Y. BEST BUY THEATRE 23 FRI.- CLEVELAND, OH. AGORA THEATRE 24 SAT. - MILWAUKEE, WI. THE RAVE 25 SUN.- OMAHA, NE. SOKOL AUDITORIUM 27 TUES. - BOULDER, CO. BOULDER THEATRE 29 THUR.- SAN JOSE, CA. CITY NATIONAL CIVIC

30 FRI. ROB ZOMBIE & DANZIG DOUBLE BILL LAS VEGAS, NV. THE JOINT 31 SAT. HALLOWEEN- LOS ANGELES, CA. MICROSOFT THEATRE

JULY 2015 - DANZIG

11 SAT. - POMONA, CA. FOX THEATRE 12 SUN. - FLAGSTAFF, AZ. PEPSI AMPHITHEATRE 14 TUES. - HOUSTON, TX. BAYOU MUSIC CENTRE 15 WED.- SAN ANTONIO, TX. AZTEC THEATRE 17 FRI. - DALLAS, TX. SOUTH SIDE BALLROOM 18 SAT. - TULSA, OK. BRADY THEATRE 19 SUN. - KANSAS CITY, KS. ARVEST BANK MIDLAND THEATRE 21 TUES.- DENVER, CO. FILLMORE AUDITORIUM 24 FRI. - CALGARY, AB. MAC EWAN HALL 25 WED.- EDMONTON, AB. SHAW CONF. CENTRE 27 MON.- VANCOUVER, BC QUEEN ELIZABETTH THEATRE 28 TUES. - SEATTLE, WA. SHOWBOX SODO 30 THURS.- SAN FRANCISCO, CA. THE WARFIELD 31 FRI.- LAS VEGAS, NV. BROOKLYN BOWL

NOVEMBER 2014 - SAMHAIN '30 Bloody Years'

Sat/Nov-1 New York City @ The Best Buy Theater

OCTOBER 2014 - SAMHAIN '30 Bloody Years'

Fri/Oct-31 Washington, DC @ The Howard Theater

Wed/Oct-29 Philadelphia, PA @ The Electric Factory

OCTOBER 2014 - DANZIG

Sun/Oct-26 Austin, TX @ HOUSECORE HORRORFEST w/ Special SAMHAIN Set

Sat/Oct-25 San Bernardino, CA @ The KNOT FEST

SEPTEMBER 2014 - SAMHAIN '30 Bloody Years'

Sat/Sept-20 San Francisco, CA @ The Warfield Theater

Fri/Sept-19 Los Angeles, CA @ The Wiltern Theater

Sat/Sept-13 Chicago, IL @ RIOT FEST

JUNE 2014 - AMNESIA ROCKFEST DANZIG w/ Doyle

Sat/June 21, Montebello, QC Cananda

MAY 2014 - SONISPHERE FESTiVAL

May 30, Stockholm, Sweden

May 28, Helsinki, Finland

OCTOBER 2013 - DANZIG 25th Anniversary Tour w/ DOYLE

Tue/Oct-08 Ft. Lauderdale, FL @ Revolution

Wed/Oct-09 Tampa, FL @ Cuban Club

Fri/Oct-11 Nashville, TN @ Marathan Music Works

Sat/Oct-12 Atlanta, GA@ Center Stage

Sun/Oct-13 Charlotte, NC @ Fillmore

Tue/Oct-15 Norfolk, VA @ The Norva

Thu/Oct-17 Niagara Falls, NY @ Rapids

Theater Fri/Oct-18 New York, NY @ Roseland

Sat/Oct-19 Worcester, MA @ Palladium/Rock and Shock

Mon/Oct-21 Pittsburgh, PA @ Stage AE

Wed/Oct-23 Grand Rapids, MI @ Orbit Room

Thu/Oct-24 Louisville, KY @ Expo 5

Sat/Oct-26 Houston, TX @ Warehouse Live

Sun/Oct-27 Oklahoma City, OK @ Diamond Ballroom

Tue/Oct-29 El Paso, TX @ Tricky Falls

Thu/Oct-31 San Francisco, CA @ Warfield

SEPTEMBER 2013 - DANZIG 25th Anniversary Tour w/ DOYLE

13 FRI. - CHICAGO, IL @ RIOT FESTIVAL

AUGUST 2013 - DANZIG 25th Anniversary Tour w/ DOYLE

2 FRI. - ZURICH, SWITZERLAND @ KOMPLEX

3 SAT. - GERMANY @ WACKEN OPEN AIR FESTIVAL

9 FRI. - TORONTO, CANADA @ SOUND ACADEMY

10 SAT. - MONTREAL, CANADA @ HEAVY MTL FESTIVAL

24 SAT. - CALGARY, AB @ FLAMES CENTERAL

25 SUN. - EDMONTON, AB @ UNION HALL

27 TUES. - VANCOUVER, BC @ COMMODORE

28 WED. - SEATTLE, WA @ SODO SHOWBOX

30 FRI. - LOS ANGELES, CA @ GIBSON AMPHITHEATER

31 SAT. - TEMPE, AZ @ MARQUEE THEATER

JULY 2013 - DANZIG 25th Anniversary Tour w/ DOYLE

4 THURS. - OLSO, NORWAY @ SENTRUM SCENE

6 SAT. - GOTHENBURG, SWEDEN @ METALTOWN FESTIVAL

31 WED. - VIENNA, AUSTRIA @ ARENA

JUNE 2013 - DANZIG 25th Anniversary Tour w/ DOYLE

14 FRI. - DENMARK @ COPENHELL FESTIVAL

15 SAT. - FINLAND @ PRO VINSSI ROCK FESTIVAL

19 WED. - UK MANCHESTER @ ACADEMY 1

20 THURS .- UK WOLVER @ HAMPTON CIVIC

23 SUN. - CLISSON, FRANCE @ HELLFEST

24 MON. - UK, LONDON @ ROUNDHOUSE

MAY 2013 - DANZIG 25th Anniversary Tour w/ DOYLE

2 Thurs. - Revolver 2013 Golden Gods @ (Los Angeles - Club Nokia)

APRIL 2013 - DANZIG 25th Anniversary Tour w/ DOYLE

17 WED. - LAS VEGAS, NV. @ HOUSE OF BLUES

19 FRI. -DENVER, CO @ OGDEN THEATRE

20 SAT. -ALBEQUERQUE, NM @ SUNSHINE THEATRE

22 MON.- AUSTIN, TX. @ STUBBS BBQ

23 TUES -CORPUS CHRISTI, TX. @ CONCRETE STREET

24 WED. -DALLAS, TX. @ PALLADIUM

26 FRI. - PHOENIX, AZ. @ MARQUEE THEATRE

27 SAT. -POMONA, CA. @ FOX THEATRE

28 SUN. -VENTURA, CA. @ VENTURA THEATRE

DANZIG Tour Dates

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Danzig Announces Spring 2022 US Tour with Cradle of Filth and Crobot

• Oops! Something went wrong. Please try again later. More content below

The post Danzig Announces Spring 2022 US Tour with Cradle of Filth and Crobot appeared first on Consequence .

Danzig has announced a Spring 2022 US tour featuring support from Cradle of Filth and Crobot on all dates. The brief two-week jaunt will include one special show that will find Danzig performing 1990’s Danzig II: Lucifuge in full.

The tour kicks off May 5th in Reno, Nevada, and runs through a May 19th show in Austin, Texas. Fans who attend the May 7th show in Ontario, California, will be treated to the full Danzig II: Lucifuge performance, as well as an additional opening set by Tiger Army in the direct support slot.

No ticket information has been released yet, but keep checking back here to find out when they’ll become available.

While Danzig did play a few one-off shows and festival gigs in 2021, the outing will mark the first proper tour for the band since 2018. In the meantime, frontman Glenn Danzig has kept busy making bonkers horror films, including the recent Death Rider in the House of Vampires .

Editor's Pick

Cradle of Filth’s Dani Filth on Ed Sheeran Collaboration: “We’re Currently Looking at Some Options”

Of course, Danzig has also been fronting his legendary band the Misfits during their reunion shows over the past few years.

See the full list of tour Danzig tour dates below.

Danzig 2022 US Tour Dates with Cradle of Flith and Crobot: 05/05 – Reno, NV @ Grand Sierra Resort 05/07 – Ontario, CA @ Toyota Arena * 05/08 – Mesa, AZ @ Mesa Amphitheatre 05/10 – Denver, CO @ The Mission Ballroom 05/11 – Kansas City, MO @ Uptown Theater 05/14 – Cincinnati, OH @ Andrew J Brady Icon Music Center 05/15 – Atlanta, GA @ The Eastern 05/17 – New Orleans, LA @ The Fillmore at Harrah’s 05/18 – Houston, TX @ 713 Music Hall 05/19 – Austin, TX @ Stubb’s Waller Creek Amphitheater

* = full Danzig II performance and additional opening set by Tiger Army

Danzig Announces Spring 2022 US Tour with Cradle of Filth and Crobot Spencer Kaufman

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DANZIG Announces Tour With CRADLE OF FILTH & CROBOT

Plus one date where he'll play Danzig II: Lucifuge.

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Glenn danzig's vampire spaghetti western death rider in the house of vampires is out on dvd.

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• Consequence

Danzig Announces Spring 2022 US Tour with Cradle of Filth and Crobot

The May outing will include one special show featuring a full performance of 1990's Danzig II: Lucifuge

Danzig has announced a Spring 2022 US tour featuring support from Cradle of Filth and Crobot on all dates. The brief two-week jaunt will include one special show that will find Danzig performing 1990’s Danzig II: Lucifuge in full.

The tour kicks off May 5th in Reno, Nevada, and runs through a May 19th show in Austin, Texas. Fans who attend the May 7th show in Ontario, California, will be treated to the full Danzig II: Lucifuge  performance, as well as an additional opening set by Tiger Army in the direct support slot.

Update: Tickets for the outing are now available via Ticketmaster .

While Danzig did play a few one-off shows and festival gigs in 2021, the outing will mark the first proper tour for the band since 2018. In the meantime, frontman Glenn Danzig has kept busy making bonkers horror films, including the recent Death Rider in the House of Vampires .

Cradle of Filth’s Dani Filth on Ed Sheeran Collaboration: “We’re Currently Looking at Some Options”

Of course, Danzig has also been fronting his legendary band the Misfits during their reunion shows over the past few years.

See the full list of Danzig tour dates below.

Danzig 2022 US Tour Dates with Cradle of Filth and Crobot: 05/05 – Reno, NV @ Grand Sierra Resort 05/07 – Ontario, CA @ Toyota Arena * 05/08 – Mesa, AZ @ Mesa Amphitheatre 05/10 – Denver, CO @ The Mission Ballroom 05/11 – Kansas City, MO @ Uptown Theater 05/14 – Cincinnati, OH @ Andrew J Brady Icon Music Center 05/15 – Atlanta, GA @ The Eastern 05/17 – New Orleans, LA @ The Fillmore at Harrah’s 05/18 – Houston, TX @ 713 Music Hall 05/19 – Austin, TX @ Stubb’s Waller Creek Amphitheater

* = full Danzig II performance and additional opening set by Tiger Army

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Danzig announces US tour, including in-full ‘Lucifuge’ performance

Danzing has announced a U.S. headlining tour.

The spring outing launches May 5 in Reno, Nevada, and will wrap up May 19 in Austin, Texas. For just one of the tour stops, taking place May 7 in Ontario, California, Danzig will play is 1990 sophomore solo album, Danzig II: Lucifuge , in full.

Cradle of Filth and Crobot will provide support. For the full list of dates and all ticket info, visit Danzig-Verotik.com .

Danzig’s latest album is his 2020 Elvis covers compilation, Danzig Sings Elvis . His most recent original effort is 2017’s Black Laden Crown .

Copyright © 2022, ABC Audio. All rights reserved.

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Danzig Announces 2022 North American Tour With Cradle of Filth

Danzig  is hitting the road later this spring, and he's bringing along an amazingly unexpected pairing of bands as support. The horror-punk icon will be touring North America with symphonic black-metal vets  Cradle of Filth  and hard-rock up-and-comers Crobot. The 10-date run kicks off May 5th in Reno, Nevada, and hits multiple cities on the west coast and Midwest before finishing up in Austin, Texas, on May 19th.

Notably, the May 7th date in Ontario, California, will feature Danzig playing his entire 1992 album, Danzig II: Lucifuge , front to back and Tiger Army will be joining for just that show. Head to Danzig's website  for more information and see the full routing of dates below. 

Danzig, Cradle of Filth, Crobot tour dates: 05/05 Reno, NV – Grand Sierra Resort 05/07 Ontario, CA – Toyota Arena (performing "Lucifuge") (w/Tiger Army) 05/08 Mesa, AZ – Mesa Amphitheatre 05/10 Denver, CO – The Mission Ballroom 05/11 Kansas City, MO – Uptown Theater 05/14 Cincinnati, OH – Andrew J Brady Icon Music Center 05/15 Atlanta, GA – The Eastern 05/17 New Orleans, LA – The Fillmore at Harrah's 05/18 Houston, TX – 713 Music Hall 05/19 Austin, TX – Stubb's Waller Creek Amphitheater

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Danzig Announces U.S. tour with Cradle Of Filth and Crobot in May

Posted by Mark Zapata on March 1, 2022

Danzig will be heading back out on the road in May. One show will see him performing his 1990 sophomore album Danzig II: Lucifuge in full. Support will be provided by Cradle Of Filth and Crobot.

Tour Dates:

05/05 Reno, NV @ Grand Sierra Resort 05/07 Ontario, CA @ Toyota Arena (performing “Lucifuge“  05/08 Mesa, AZ @ Mesa Amphitheatre 05/10 Denver, CO @ The Mission Ballroom 05/11 Kansas City, MO @ Uptown Theater 05/14 Cincinnati, OH @ Andrew J Brady Icon Music Center 05/15 Atlanta, GA @ The Eastern 05/17 New Orleans, LA @ The Fillmore at Harrah’s 05/18 Houston, TX @ 713 Music Hall 05/19 Austin, TX @ Stubb’s Waller Creek Amphitheater

Tags: Cradle of Filth , Crobot , Danzig

Categorised in: News , Touring

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Danzig Announce North American Tour With Cradle of Filth, Crobot

The group will perform ‘Lucifuge’ in full at their California show

Danzig has announced a string of North American tour dates. The mini-trek kicks off on May 5 at the Grand Sierra Resort in Reno, NV and wraps up on May 19 at Stubb’s Waller Creek Amphitheater in Austin, TX. Black metal legends Cradle of Filth and hard rock upstarts Crobot will serve as special guests for the run.

All ticket information can be found HERE .

On May 7, Danzig will play their seminal 1992 LP Danzig II: Lucifuge in full. The show takes place at the Toyota Arena in Ontario, CA. For one night only Tiger Army will join the bill.

05/05 Reno, NV – Grand Sierra Resort 05/07 Ontario, CA – Toyota Arena (performing “Lucifuge”) (with Tiger Army) 05/08 Mesa, AZ – Mesa Amphitheatre 05/10 Denver, CO – The Mission Ballroom 05/11 Kansas City, MO – Uptown Theater 05/14 Cincinnati, OH – Andrew J Brady Icon Music Center 05/15 Atlanta, GA – The Eastern 05/17 New Orleans, LA – The Fillmore at Harrah’s 05/18 Houston, TX – 713 Music Hall 05/19 Austin, TX – Stubb’s Waller Creek Amphitheater

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Danzig Announces May U.S. Tour With Cradle Of Filth & Crobot

Danzig will be doing some limited touring in May with one of the dates set to find him performing his 1990 sophomore album “ Danzig II: Lucifuge ” in full. Cradle Of Filth and Crobot will be joining him for the trek, while Tiger Army will join for the Ontario, CA date.

05/05 Reno, NV – Grand Sierra Resort 05/07 Ontario, CA – Toyota Arena (performing “ Lucifuge “) (feat. Tiger Army ) 05/08 Mesa, AZ – Mesa Amphitheatre 05/10 Denver, CO – The Mission Ballroom 05/11 Kansas City, MO – Uptown Theater 05/14 Cincinnati, OH – Andrew J Brady Icon Music Center 05/15 Atlanta, GA – The Eastern 05/17 New Orleans, LA – The Fillmore at Harrah’s 05/18 Houston, TX – 713 Music Hall 05/19 Austin, TX – Stubb’s Waller Creek Amphitheater

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Danzig Announce Spring 2022 U.S. Tour Dates Featuring Cradle Of Filth And Crobot

Tara Mobasher

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Danzig  

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Danzig is an American hardcore punk act that developed as a predecessor to Glenn Danzig’s former bands the Misfits and Samhain. The group focuses on exaggerated themes of the macabre and exert a style reminiscent of the heavy gloom ridden sound heard from artists like Ozzy Osbourne and the Doors.

Though Danzig is perhaps best remembered as the original singer of the horror punk group the Misfits, it was his second group Samhain, which acted as the basis for his future musical endeavors. The band Danzig formed in response to Rick Rubin’s excitement with Samhain’s final performance. After Rubin saw the show he was set on signing lead singer Glenn Danzig to his record label as a solo act; however, Danzig refused to sign on unless he was accompanied by Samhain bass player Eerie Von. Ex-Samhain guitarist John Christ and Chuck Biscuits from D.O.A., Black Flag, and Circle Jerks also joined the line up in 1987.

Danzig took the gothic theatrics exhibited throughout his previous career to new heights with the release of his self-titled debut. The album was produced by recording engineer mastermind Rick Rubin and put out on his Def American Recordings label. The album is the band’s best selling album and since its release date it has reached Platinum status. The album was also garnered with critical praise; however, it did take a few years for the record to catch on with the public. Five years after its release the song “Mother” became a huge hit on MTV and it has since gone on to be featured in various video games such as “Guitar Hero” and movies like “The Hangover Part III”. The album has also been a major influence on a wide range of artists such as James Hetfield of Metallica, who provided backing vocals on a few of the album’s songs and cult folk musician Bonnie ‘Prince’ Billy, who performed a cover of “Am I a Demon”.

Danzig’s next album “Danzig II: Lucifuge” was released in1990 and featured concepts heavily extracted from historic blues artists such as Howlin’ Wolf and Robert Johnson. The album fixates on themes of mortality, evil, the supernatural, and darkness.

By the release of the band’s third album Rick Rubin’s involvement in the group began to diminish and Danzig took greater part in the production of future album releases. Rubin was involved with all the group’s studio albums up until their 1994 release “Danzig 4”. This record contained the semi-hit “Cantspeaak”, which became a MTV favorite as well as the only single other than “Mother” to make it into the Billboard charts.

After this release Danzig left Rubin’s label to join Hollywood Records and put out a 5th studio album entitled “Blackacidevil”. This release not only saw a departure form Rubin’s idiosyncratic production work, but also one from the classic Danzig lineup. The only original member left in the group at this time was lead singer Glenn Danzig. “Blackacidevil” was largely seen as a solo release from Glenn Danzig. However this was not his first solo attempt. In 1992 Glenn Danzig put out an entirely instrumental full length entitled “Black Aria”. The album though instrumental displayed strong religious themes concerning Lucifer’s descent from god and its musical nature was haunting and atmospherically heavy. Despite the stylistic change, the album managed to do commercially well relative to its genre and entered the Billboard Classical Charts at No. 1.

On Danzig’s sixth studio album “Satan’s Child” he went in a more industrial direction and recorded the whole thing digitally. “Thirteen” (a dark bluesy ballad originally written for Johnny Cash) was a standout on the album. It was featured in the movie “Hangover” and was later covered by Mark Kozelek of Red House Painters and Sun Kil Moon.

The 2000s were marked by three full length releases from the band: “Danzig 777: I Luciferi” (2002), “Circle of Snakes” (2004) and “Deth Red Sabaoth” (2010). Also Glenn Danzig released “Black Aria II”, the follow up to his debut solo recording. A year later Danzig worked on compiling a 26 song retrospective of lost material spanning the band’s entire career.

Around this time Danzig stated that he had grown tired with the cyclical system of widespread tours and resultantly opted for more localized and smaller scale tours. However for the band’s 20th anniversary he embarked on a lengthy US tour that also stopped off in Mexico and Canada.

Danzig has played many notable festivals over the years including the “Download Festival” and “Nova Rock Festival” alongside acts such as Alice Cooper, Rob Zombie, and System of a Down.

Live reviews

Attending a Danzig concert is not a far comparison from stepping down into the underworld to join a party of fiends, but this is the type of excitement fans anticipate a Danzig concert to incite.

Danzig is fronted by the legendary Misfits’ singer Glenn Danzig, who takes the same amount of force and energy that he showed from his previous days in Misfits and acts it out in full force when performing with Danzig. The band is sure to terrify their audience’s soul with the blasting sound of their doom metal music, but their fans are sure to love every second of it. Danzig has incredible stage presence and dynamics. The guitar player is performing fast atonal riffs on his guitar in a punk style and is running all over stage jumping up in the air with inspiration. The bass player is rapidly performing intense rhythms that pulse through the air-waves all while ferociously head banging to the music. Glenn Danzig is perhaps the most fierce member on stage, running all over the place, getting up in his audience’s faces, and screaming his intense lyrics at them.

The band is all dressed in a dark, ghoulish manner with long, black hair, all black attire, and tattoos exposed over their bodies. The guitarist also elaborates with the dark vibe they are giving off by performing on a guitar with skeleton bones painted over it. The stage is dimly lit with dark blue and purple lights, while intense bursts of bright lights flare on stage. There is also a huge screen in the background exhibiting different shades of red lights that are reminiscent of something you would see in the pits of hell. The stage is also decorated with demonic looking statues that depict the images of skull bones.

When seeing Danzig live you are definitely in for a fierce and unique experience that will be sure to grab your attention. Recently Danzig has been performing live with Misfits’ former guitarist Doyle, so you know you can expect to hear the band crank out some classic Misfits’ songs.

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Danzig is the brain child of singer and songwriter Glenn Danzig, who formerly found fame with Misfits and Samhain. The mixture of horror punk and doom blues is a pretty niche genre and it is definitely not something for the faint hearted. When you enter into a Danzig concert, you enter into the whole mentality that goes along with the music. There is a real lack of real theatrics and character in modern metal so it is fantastic to see Danzig doing something pretty different.

They definitely attract a loyal following who all know the procedure when it comes to their concerts, everybody has their hands in the air as Glenn roars the introductions of 'Hammer of the Gods'. This level of intensity remains consistent from both performer and patron, the stage operation is a demonic setting with thrashing instrumentals whilst the pit of audience members is swirling chaos. The influence of Black Sabbath is incredibly obvious on 'How the Gods Kill' before they reappear for a tribute to Misfits and close with 'Not of This World' to the battered, bruised crowds.

The old devil still has it!! Great show, he got old but didn't lose the strength!

Sound was a bit low on the vocals...

But really enjoyed it!!

Beware photographers: Danzig didn't allow pictures or video on the UK O2 Brixton Academy, the securities were really over the people on this. I emailed them asking why and they said the artist requested no pictures/video.

Otherwise, O2 Brixton Academy is one of the best gig venues of London hands down!!

Danzig always puts on a great show. What I don't get is why he keeps coming to The Palladium. The sound sucks and the no moshing/crowd surfing rules blow! I'll keep going because the Rock and Shock convention is fun and I am a huge Danzig fan. But the Palladium really takes away from the experience.

Would have been great to see him with Corrosion of Conformity, but it was cancelled due to "unforeseen circumstances ". I was sooo looking forward to this concert! So very bummed that it was cancelled. At least I found out in early enough time so that I could get my hotel cost refunded.

Wow what a great show!! Vocal sound was not loud enough but was awesome! Danzig rocks!!! We sat in the lower loge and the warfield is such a great venue. The crowd was loud and crazy. Good times!

Seeing/hearing the mighty Danzig coaxin' the cenobytes by prowling the stage like the ice cool NYC 80s street punk he is over dem screaming blu thrash riddim was a pleasure.

Never again but, yeah

Excellent he never fails to impress.. CORROSION Of CONFORMITY great also. The opening bands all rocked and DANZIG killed it. Stellar performance

I hope that the band comes back to the area soon.

I love the band but the sound was terrible. No bass, guitar way too loud vs other instruments and too distorted and drums very thick. not the best show i've seen from Danzig.

What a show last night an absolutely brilliant show and all two bands put on a hell of a show and definitely see danzig again this guys rocked my world

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Danzig announces 2022 U.S. tour with Cradle of Filth & Crobot

Share the post "Danzig announces 2022 U.S. tour with Cradle of Filth & Crobot"

Danzig has announced a 2022 U.S. tour with Cradle of Filth and Crobot in tow — see all confirmed shows below.

Danzig’s camp say, “ DANZIG will be performing a string of live dates here in the US starting in May: In the ONLY southern California date at the Toyota Arena in Ontario, CA. they will be performing the whole DANZIG II -LUCIFUGE Album. Joining DANZIG on all the US dates will be Cradle Of Filth and Crobot. ”

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Watch: DANZIG Performs Entire 'Danzig II: Lucifuge' Album In Ontario, California

DANZIG performed its entire 1990 album "Danzig II: Lucifuge" during its concert last night (Saturday, May 7) at the Toyota Arena in Ontario, California. Fan-filmed video of the show can be seen below.

DANZIG 's current U.S. tour, featuring support from CRADLE OF FILTH and CROBOT , launched May 5 in Reno, Nevada and will end on May 19 in Austin, Texas.

Nearly a decade after first floating the possibility of no longer hitting the road, Glenn Danzig recently hinted that this tour might be his last. "I don't think I'm going to tour anymore," he told Revolver magazine in a new interview. "I'm just going to fly out to a show here or there. I'll maybe be down to do some one-offs. But I just don't see myself getting on a tour bus anymore … Yeah. I think I'm done."

Danzig also stated that he is in no rush to make a new collection of original music. DANZIG 's latest album, "Black Laden Crown" , came out in May 2017 via Evilive Records / Nuclear Blast Entertainment .

"I write songs here and there," he said. "Lately, I seem to be writing more soundtrack stuff. I don't know that I'm ever going to do another album again. I might do an EP or I might just record some songs and put them out for free on the Internet. We'll see. It could be that right now I'm just not interested, and then a month from now I'll be in the studio. It depends. I've got to be excited about working in order to go do it. And right now I'm not that excited."

Glenn went on to say that there are "a bunch of different" reasons he is feeling less inspired to make new music. "I've been doing it so long, I've written so many songs — trying to get excited about it and bringing something new or something cool, it takes a little longer now," he said. "The other thing is that people are stealing music left and right. Nobody really buys music anymore. I still go in a real studio to record so I'm not some kid in my living room doing my record."

Acknowledging that "Black Laden Crown" seemed to be well received by his fans, Glenn said: "It came in Top 20 in Billboard, the first time since 'Danzig 4' . I don't know that it means that much anymore these days, because no one's buying, but it's kind of cool. People really liked 'Deth Red Sabaoth' [2010] and people really like 'Black Laden Crown' . So maybe I'll do an EP or something."

Danzig released a collection of Elvis Presley covers, "Danzig Sings Elvis" , in April 2020 and has been focusing on making films, including last year's "Death Rider In The House Of Vampires" and his feature film directorial debut, "Verotika" .

Glenn has been talking about the end of his touring career since at least 2015. At that time, he told Cleveland Scene : "I love being on stage and that's the great part of touring. I'll always do that. It's the bouncing around on a bus. That's the part I hate."

He continued: "I'm a workaholic. When you're on the road, you don't have all your stuff with you and you can't work.

"A long time ago, I stopped touring and my manager asked if I would tour if they let me fly home once in a while. We did a few West Coast tours and it worked. We tried it on a national level and it kind of works, so that's why we started doing shows again.

"If I retired, I would find other things to do. I just keep doing what I do."

Danzig added: "At some point, I'll stop touring. That's for sure."

Last month, Glenn told the 96.7 KCAL-FM radio program "Wired In The Empire" that he is currently working on four different movie scripts, including sequels to "Death Rider In The House Of Vampires" and "Verotika" .

When it debuted at the Cinepocalypse festival in Chicago in 2019, "Verotika" was compared by some reviewers to Tommy Wiseau 's "The Room" , the so-bad-it's-amazing drama which is considered one of the worst movies ever made.

DANZIG was formed in 1987 after Glenn 's involvement with horror-punks the MISFITS and gothic hard rockers SAMHAIN .

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Danzig II: Lucifuge – 30th Anniversary Edition

ANTHONY BOLLERO | Go Venue Magazine

It seems all too fitting that I managed to choose today ( Glenn Danzig ‘s 65th birthday) to write my review for the 30th anniversary of Danzig ‘s powerful second full-length album,  Danzig II: Lucifuge .  Released on June 26th, 1990, this album found the band at a more comfortable period.  By this point the fellas had all toured together and hung out with one another for a few years, resulting in a much tighter sounding band.  The arrangements are more dynamic, complex, and interesting on this release than on the previous debut.  ‘Lucifuge’ (which roughly translates to “to shun the light”) most certainly showcases the songwriting prowess that Glenn and company harnessed during this period. 

Before I get into the songs themselves, I must take a moment to get into the brilliant packaging of this album.  Considering I was only 11 years of age when this was released, cracking open that CD case and entering into the sinister world that laid before me was pretty intense.  We’re first presented with a cover that features a black and white photograph of Glenn displaying the now infamous “Lucifuge cross necklace” (an inverted metal cross with the “Danzig skull” affixed to it) hanging in front of his chest, perched just so between his hands.  Open it up, and the first thing you see as you begin to unfold it is a King James version bible quote written in red on a black background from John 8:44 that states:  “Ye are of your father the devil, and the lusts of your father ye will do.”  Keep going and suddenly Glenn appears in color along with John Christ on the left, Eerie Von on the right, and Chuck Biscuits at the bottom.  The booklet has now unfolded into an inverted cross.  Pretty wild for the time, seeing the whole “Satanic Panic” thing was still in full swing.

Now, onto the music.  This is one of those albums that flows perfectly from beginning to end.  Much attention was given to the order of the songs and how Glenn’s overall body of work was to be presented to the listener.  It’s really a flawless ride.  The descent begins with “ Long Way Back From Hell “, which opens with a loud “dive bomb” guitar technique, courtesy of John Christ.  For this album, it’s the sonic equivalent of being grabbed and drug into an nefarious world.  Strap in, kid…you’re about to go for a ride!  Glenn’s opening lines couldn’t have been any better:

sold into slavery down in New Orleans goddess of the bayou light black dog’s head on the killing bed  severed and left to bleed there on fire  in the corner of the world there in misery  there on fire  in the corner of the world  left for god to see

The stage has now been set for a bluesy and evil trip.  Things don’t stop as the band goes right into the second track, “ Snakes of Christ “, without hesitation.  I absolutely love when musicians do this on an album.  It really helps to bring the entire body of work together as one cohesive piece.  Again we are graced with a devilish guitar lick from John Christ, followed by a perfectly timed mid-tempo beat from Chuck Biscuits.  Chuck was an absolute beast behind the drums.  Like a human metronome with a very minimal kit.  A perfect fit for this band during this time.  On this song, Glenn tackles the issue of the teachings of Christ being distorted by various religious organizations.

Again, things don’t stop for a second as the band moves immediately into the third track, “ Killer Wolf “, which Glenn has stated is, “my version of an old blues song about a guy who wolfs around the door of every girl in town.” which starts out with a nice drum intro by Chuck followed by a very bluesy bass line from Eerie laced with an equally bluesy guitar riff.  The song ends properly with a screaming guitar lick from John and we move onto the fourth track, and a personal favorite of mine, “ Tired of Being Alive “.  I’m sure everyone has their own take on the meaning of this song and I certainly have mine, but it’s probably best to just listen for yourself and draw your own conclusion.  It’s certainly a beast of a tune and fits the bluesy and evil theme of the album perfectly.  Glenn’s voice sounds incredible on this one!  Another mid-tempo tune that kicks into overdrive at the end with killer drum work by Chuck. 

Next up is a song that was actually recorded for Danzig’s debut album, but was saved for ‘ Lucifuge ‘ instead since it fit the mood so much better, “ I’m the One “.  Honestly, I couldn’t imagine this song on the first album.  Stripped down, bayou blues at it’s finest.  Glenn has described this song as, “another blues song…about a guy realizing his destiny”.  Very simple, as it only features guitar, vocals and a hi-hat in the background.  A nice placement too.  Pretty much dead center on the album.

Keeping things flowing properly, the album picks back up with the dark and chugging intro to the next song, “ Her Black Wings “.  Glenn has stated in previous interviews that this song took him a long time to get just right.  I’d say all of that time and dedication certainly paid off, because this is definitely a highlight of this album.  An instant classic that is still performed live by Danzig today.  Very dynamic and tenacious.

Song number seven is another personal favorite of mine from this album, “ Devil’s Plaything “.  I mean, really…how can you go wrong with a title like that?  The guitar intro is perfectly sinister in nature followed by Glenn declaring:

love is a flame a devil’s thing a violent storm about to be born just look in these eyes  see all the lies  all these things you see  you cannot deny

The band comes in strong with Chuck providing especially strong and mischievous drum work.  Glenn’s lyrics for this one seem to suggest that the fires of love and the fires of Hell may as well be the same thing. 

Riding in on the tails of “Devil’s Plaything” is “ 777 “, which was actually a working title for this album early on.  This tune examines the biblical perception of armageddon.  Great slide guitar work from John Christ on this one and exceptional crooning by Glenn.  His vocal brilliance really shines through here. 

Next up is one of Glenn’s personal favorites from this album, and rightfully so.  “ Blood and Tears ” is a ballad-like tale of “a girl’s failed relationship and subsequent torment”.  Heartbreaking yet beautiful at the same time, ending with a single piano note which I believe is a low B? 

The final song before the closer is “ Girl “, which I think is a song overlooked by many on this album for whatever reason.  I feel that it fits with the overall feel of this album quite well.  Great riffage from John on this one and a solid performance from the rhythm section.  Everything comes together quite nicely here and transitions perfectly into the album closer, “Pain in the World”.  One thing that Danzig always does a fine job of with his albums is open up and close down very strong.  This song is no exception.  Opening up with a evil and bluesy guitar lick and more menacing drum work from Chuck, things take a bit of a backseat for the verses on this one, allowing Glenn’s brilliant vocals shine one last time.  …and what better way to close this album than with the following verse:

heart full of hell indifferent and cold  heart full of misery’s seed  you should have learned hate is your mirror  like it or don’t  angel of suffering smiles coming down from above

An album of true perfection. Brilliant songwriting, flawless execution by the band, and really great production all lend themselves to an extraordinarily strong piece. An essential part of the Danzig catalog.

• 30th anniversary edition
• Album Review
• American Recordings
• Chuck Biscuits
• glenn danzig
• John Christ
• Misfits fans
• Snakes Of Christ

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Danzig II - Lucifuge

Enter oblivion - 100%.

Danzig’s self-titled debut may have made a strong impression that arguably remains their most famous to this day, but its 1990 sequel was a drastic leap forward creatively. While the band’s foundational tropes may be the same as before, a much fuller production job and a noticeably more comfortable dynamic lead to a considerably broader execution. Their underlying Delta inspirations are pushed to absurd extremes, giving birth to a blues metal style that hearkens back to the earliest days of Black Sabbath in a way that no stoner doom acolytes could ever dream of reproducing. Armed with the confidence to fully embrace the characterization that was merely hinted at before, Lucifuge makes for a rather theatrical listen. The themes of devil worship and occult orgies seem to have more intent behind them this time around as the opening shuffle on “Lost Way Back from Hell” is injected with some Louisiana bayou storytelling and “Snakes of Christ” speeds up the “Twist of Cain” riff while pairing it with some ritualistic verses and a fun chorus. There’s even room for a little post-Ozzy Sabbath homage as Danzig himself admitted to transposing the riff from “Zero the Hero” to the erotic strut that defines “Her Black Wings.” This extra bombast is reinforced by the songwriting reaching its most dynamic extents yet. The musicians fully embrace their softer side with contrasting results on “I’m the One” and “Blood and Tears,” the former an unplugged performance defined by twangy Robert Johnson acoustic strums and a coming-of-age tale turned demonic while the latter is swept in earnest heartbroken balladry that Danzig had allegedly written for Roy Orbison. The softer segments also do well in fleshing out the building structures on “Devil’s Plaything” and “777” and “Tired of Being Alive” and the especially distraught “Pain in the World” edge their slow shuffles closer to the depths of doom. Of course, this album was likely where Danzig’s tendency to go too far into character started getting too hard to ignore. “Killer Wolf” is the most egregious example of this in action as the band’s hazy muscular chug is met with the singer’s jarring cosplay of an old-timey bluesman, threatening to derail the entire experience, while “Girl” seemingly overcompensates for its sparse lyrics by slurring the title to hilariously unintelligible levels. It’s easy to imagine listeners getting turned off and no doubt contributed to the band’s memetic status, but I can’t help but find it charming. It feels almost like the camp of the eighties’ cheesiest metal singers getting caught up in a more ironic world. Overall, Danzig’s second album is a display of blues metal perfection. While plenty of groups were tapping into these rootsy inspirations by the time, the interpretation here is unlike any other as the band’s already distinct darkness was accentuated by their willingness to go all-in on the theatrical execution. The atmosphere is too cheesy to be scary, but the hooks are constant winners with the musicianship perfectly suited to the different moods at hand. Plenty of musicians have tried to replicate the blues metal sound (the first Spirit Division album was admittedly my attempt at doing so), but nothing truly sounds like Lucifuge.

Danzig - Lucifuge - 100%

Former punk rock Misfits vocalist Glenn Danzig puts together a lineup featuring John Christ on guitars, Eerie Von on bass, and Chuck Biscuits on drums. This deems to be their best cast from this legendary heavy metal quartet. Talk about innovation, creativity, quality songwriting, "Lucifuge" has it all. Glenn's vocal outputs are top notch and his originality in his department with the throat are rather worthy of praise. He mixes some yelling on some songs with clean vox depending on if the guitars are in their distorted mode or clean/acoustic ones. The riff-writing is totally original and very blues based. One thing that's missing though is a second guitar during solos. That's the only beef I have with this album. Some songs are just guitar and vocals with the drums almost entirely absent say for example on the track "I'm The One". I'd have to say that "Tired of Being Alive" is my favorite track because it's so dark and melancholic especially lyric-wise. The guitars and vocals are by far the highlight of this album. There aren't too many lead guitar bits, mostly distorted tone axe-work with bar chords and palm muted riffs especially on "Her Black Wings". There are plenty of backup vocals to augment Glenn's unique voice. I'd have to say this guy can really sing with aggression mixed with clean/mellow tone as previously mentioned. All of the songs deserve praise, though the lyrics on some tracks are spewed forth with anti-religion topics. But that just goes along with the title of the album. "Lucifuge" features Danzig's most powerful work to date based on what I've heard from the band. The guitars, bass, vocals and drums are in perfect sync on every track and riffs contain songs that are so memorable they'll stick to you forever in memory. Musically an influence of blues based riffs, dark portions of bits that set the atmosphere of this heavy metal which is played better than it's ever been as Danzig has done on here. Total construction of originality and evil all mixed into one hell of a release by these legends. The mixing was just perfect. Everything was totally heard throughout this release. The guitar, vocals, bass and drums were perfectly formulated to destroy. In essence, the production just mighty and fueled with force. There aren't any tracks on this 49+ minute onslaught that lack integrity. They're all top notch. Looking for some heavy metal that's quality not only in songwriting, but unique, dark, depressing and evil? Well "Lucifuge" tops the world with that kind of credibility. The best possible lineup ever and no mistaking that. Everything was just played right and Glenn's vocals are so unique and are their best ever. I haven't heard him sing this well ever, not even on their debut. Don't expect anything fast paced on here because it just is absent. Every song is slow tempo based, with acoustic songs, clean and distorted guitar alongside amazing drum work by Chuck Biscuits. Don't miss out of one legendary album with a legendary cast. Pick this up as soon as possible if you haven't already!

Danzig is totally the man - or was, anyway - 90%

If any Danzig album truly deserves to be called a classic, this is it. The Mephistophelean Midget and his merry band were at the height of their powers, making Elvis blubber in his grave whilst churning out one awesome blues-metal riff after another. More complex than their first effort, less experimental than their next two releases, and leagues above the assdribble Danzo’s been shoveling out recently. For traditional heavy metal with swagger, it doesn’t get much better than “Lucifuge”. "Lucifuge" is metal the old way with a heavy blues influence and a touch of doom. There’s some great faster songs on here, some slow moving headbangers, a straight-up blues number or two, and even a ballad that would have made Mr. Presley proud. If it weren’t so damn evil. The choruses stick in your head like you were Trotsky in Mexico City circa 1940. Danzig and the original lineup do it simple, but they do it well. The production sounds pretty good to me. I mean, Rick Rubin was involved. He didn’t fuck up much. Everything in it’s right place - Danny Boy’s vocals up front, and the rest of youse fucks in da back! Guitarwise, I’ll bet Danzig’s wondering what John Christ is up to these days. Anyway, the best guitarist he’ll ever have did a great job pumping out the hits. And some truly memorable solos while he was at it. Sure, there aren’t sweep archipelagos and insane stop-start peninsulas all over the place. But that would fit this type of music about as well as O.J.’s bloodstained glove. And the vocals? Let me tell you a story about the vocals... Danzig sat alone by the low fire, nothing on such a bitter night. He brooded over what he had just seen – the frightening face of Fat Elvis in his doorknocker. “Fuckin’ humbug,” Glenn exclaimed. ‘Twas then that he heard a scraping sound, deep down, as though someone were dragging a heavy paunch across the floor. The noise grew louder, coming up the stairs, pausing right outside his door. "It's humbug still!" said Danzig. "I won't believe it." His color changed though, when, without a pause, it came on through the heavy door, and passed into the room before his eyes. Upon its coming in, the dying flame leaped up, as though it cried, "I know him; Elvis’ Ghost!" and fell again. After a bit of discussion, Elvis told Danzig, “You will be visited by two more ghosts, since I’m a-filling in as the ghost of Danzig’s deep past.” “I think I’d rather fuckin’ not,” Danzig snarled. “Well,” Elvis mumbled in a Southern accent between bites of a huge peanut butter and bacon sandwich, “you ain’t got a choice. Next, you’ll be visited by Jim Morrison, the ghost of your vocal style’s more recent past. He’ll probably make you take a bunch of drugs. And then the ghost of Danzig future, well, that’s a scary sumbitch. He’s about as in shape as I was when I passed, but still wears ridiculous mesh shirts. And his vocals totally suck.” "Oh shit. Losing my voice! My whole life would be over. Well, this sounds like a process that could take all night, and I’ve got a hot goth chick I’m fixing to bang out in Hoboken at 11. Couldn't I take `em all at once, and have it over, Elvis?" Glenn asked. Elvis did not reply, but instead shuffled toward the open window, flying out to join thousands of other spirits of dead rock and rollers floating through the night air. As for bass, well, the dude’s name is Eerie Von. Points for that alone. Anyway, as it seems in most albums we review all we can say is that he adds to the low end, has a moment or two where he is allowed to shine, and overall is not worth talking at length about. The drumming is quite fitting for this style of metal. Not crazy, but you can tell old Chucky Biscuits can hit the kit hard. Quite a fine and rockin’ performance. Christ, Eerie, and Biscuits, besides having great stage names, were the lineup that made Dannon Yogurtzig famous – too bad he iced ‘em. I can sing along with a good portion of this, which is surprising given that most of the lyrics are pretty involved. Sure there’s are some kindergarten level sex stuff, but Danzig’s pagantastic musings on tracks like “Her black wings” and “Long way back from hell” are quite effective. My all-time favorite lines on “Lucifuge” have to be from “I’m the one” though… "I was a snake-eyed boy And at the age of five I made love to the howl of the wolves With a dark haired girl" *DAMN*. Danzig was banging hoes at the age of five. I’ll bet you didn’t lose your cherry until at least your teens. What a fucking badass. However, I’ll bet that dark haired girl had more satisfying lays before and since. Five year olds, dude, five year olds. Now for the cover art and packaging. Gee, I wonder who came up with the idea of putting his own hairy chest on the front of the album. “I’ll bet I get more chicks if they see what a feral, hungry Satanic killer wolf I am!” Holding the logo-cross he made in shop class, Danzig’s nipples stand up at attention begging for you to purchase this. Or you can get the alternate cover, where they tried to copy The Doors. I’d get number one – for the bromance and for the booklet, which will be discussed shortly. The logo simply says “Danzig" - it was way cooler elsewhere. On my copy the booklet folds out into an inverted cross. Excellent. And the lyrics and band pic. But most importantly, inverted cross. Therefore, booklet gets a ten out of ten. This one of the albums that got me into metal, thanks to a good buddy playing it for me with a big grin on his face. Many a smoky afternoon was spent imitating the Evil Elvis’ vocals and laughing our asses off. And now you can have that pleasure too. Like early AC/DC, simply good music you can’t go wrong with. Gather the family around, bust out a board game, and join ma and pa in a chorus: "Serpents of the lord Crawling to the will of god Serpents of your lord Crawling, all evil!" Originally posted at: www.globaldomination.se

More Sex Oriented Blues Metal For Y'all! - 90%

Danzig's debut album was an important step in Mr. Danzig's career. It was his first heavy metal album and a really good one as well. Danzig probably knew that if they were going to keep it up, they would had to be really specific with their new album. I don't think that they made any album as good as the first one but this one wasn't far beneath. On this album, they've added even more blues into their special heavy metal sound and the sex beats are still here as well. The first two songs, "Long Way Back From Hell" and "Snakes Of Christ" are actually a two-in-one song but they're different from each other. The riffs on both directly marks the even blusier approach the band have added to this album. "Killer Wolf", also what I call "this albums 'She Rides'", is a very blues oriented song with one of the best choruses in Danzig's as well as heavy metal's history. "Tired Of Being Alive" and "Devil's Plaything" are two pretty calm tunes that could have been big hits with they were on the air more often. "Her Black Wings" which was one of the 4 videos that were made for this album is the heaviest song and it has a really great guitar riff. Another 2 important songs here that shows the more blues oriented sound is "777" and "I'm The One". The first is acoustic almost all the way through and the latter one is acoustic all the way through. Both are very blues inspiered and reminds of music like Johnny Cash and Elvies Pressley. The production is very good and it fits these tunes very well. It works for both heavy metal, hard rock and blues so there's no problem with a song that has a "distasteful" sound. Everything's balanced but the guitar solos are a little static from time to time. The cast here are so awesome. THIS was the REAL Danzig and since it seems that this line-up never will happen again, I'm guessing that Danzig are doomed. John Christ is an incredible guitarist who can perfectly combinate blues with heavy metal. Eerie Von is a great bassist who's playing fits really well with the music and makes it very dark. Chuck Bisquits drumming is insane, I'm a drummer myself and I tell ya that this guy is SICK. One of the best drummers out there for sure. Glenn's vocals are as always on top and he sure has one of the greatest vocals in rock history. So finally to my last comments on "Lucifuge"... This is a great album which almost holds up to the same quality as the debut album. I totally recommend this album for fans of hard rock, blues, heavy metal, rock 'n' roll or whatever. This is one of Danzig's finest albums and I think that this one will live on for a long while forward.

Danzig's best album, hands-down. - 93%

Danzig’s 2nd album, Lucifuge, makes several immediately noticeable improvements over the more rock-based debut, which helps to accelerate the band as a whole. Lucifuge stands as Danzig’s tour de force in the band’s classic style before undertaking the ambitious 3rd album, How the Gods Kill. To many, Lucifuge stands as the be-all end-all of Danzig’s works, and with good reason. The first major improvement since the last album is the production. While the debut used a raw and restrained production job that somehow effected the power of the music’s delivery, Lucifuge has cleaned up the band’s sound considerably, and for the better. John Christ’s guitar tone is thicker and meatier, allowing for heavier numbers like the mammoth closer “Pain in the World” to become the powerful, rebellious, and foreboding anthems they were meant to be all along. Also, Chuck Biscuit’s drum sound has improved; the drums have a certain spaciousness to them this time around, allowing more room for the songs to breathe, as opposed to the boxy, claustrophobic sound of the first album. The whole album uses a considerably more “airy” sound than the previous outing; this helps in all facets. Quiet moments like “Blood and Tears” breathe with life and envelope the listener, and the opening cut, “Long Way Back From Hell” is only aided with the bigger sound. Lucifuge’s best aspect of improvement lies in the band itself. The songwriting skills of the band have improved drastically since the last album; in comparison to the debut, all of the musicians involved have come together in a true collaborative effort, and there is a greater sense of unity in the compositions. Not only have they gotten heavier and tighter, as seen on the aforementioned opener and the famous “Her Black Wings”, but also more progressive. The great hard-rocking elements of the debut are still present here, albeit in a more evolved and professional form. Some of the band’s greatest songs are also the most daring ones, though; “777” utilizes swampy slide guitars and a Southern-styled aesthetic, the latter of which seems present throughout the whole album. Both “Blood and Tears” and “Tired of Being Alive” bring a bluesy vibe to the album without coming off as forced; in fact, the shuffle-like tempos add more grit and swagger to the sound. “I’m the One” is an exercise in both things mentioned: acoustic guitars power the song, accented by Glenn’s menacing howl, which tells a twisted story of a supposed devil’s son cursed to live a mortal life. To further the above paragraph, the band have also grown as musicians. Chuck’s drum work, while still primitive, is a bit more adventurous and dexterous here, as seen in the use of more fills and transitions. John’s will to experiment with different guitars here comes off in a wonderful way, and the heavier numbers now seem more elaborate, calculated, and well-constructed. Though many of the songs still follow rigid verse-chorus structures, the variety found in the instrumentation will keep one interested. The band learned a better use of dynamics here as well; “Devil’s Plaything” starts off quiet and continues to build suspense until a fierce chorus explodes, and ends with a great vocal harmony. Like the first album, many of the verses and quiet and the choruses loud; but there are clear exceptions, mainly the fiery opener, and the more narrative “777.’ Glenn’s vocal performance here is more than likely his best; his voice has matured and is able to adapt to the different moods of the songs. The sheer passion of “I’m the One”, “Blood and Tears”, and “Tired of Being Alive” cannot be quelled, while the foreboding and brooding passages of “Her Black Wings” are automatically memorable. To make the vocals even better, the lyrics have improved vastly. They’re not as cryptic as the debut, and seem more intimate and personal. Evil references still run amok, but now they are in a more mysterious and developed manner. Overall, Lucifuge stands as my personal favorite album from Danzig. The band’s vast improvements in all departments helps for making some of the band’s most memorable and diverse songs, and the album’s diversity never wears thin during the play time. There are no standouts, because the whole album is great.

Unique Vocals - 90%

This is one of those albums your going to love or hate. It has no real specific genre...its not quite doom metal, and its not quite traditional metal. The best descripition would be Elvis on Acid. The difinitive thing that will make you either love or hate this album is your love or hate for Glenn's vocals, the album is filled with them, and only them. This isn't really a band...but more of a solo project hidden under a band Name. Glenn's vocals on this album can compete with the best of the traditional/ 80's style heavy metal, Dio, Bruce Dickenson..etc. He has the volume of a man 3 times his size. He sings loud, long and projects his voice like a champ. Glenn's voice is up there...like I said, just think of a heavy metal elvis. The instruments on this album like most "solo" albums of singers take a backseat to the vocals. They are played well, but they don't do anything to stand out. That of course is a fault of the way the songs are written, which were written mostly by Glenn. They are totaly undermined by his vocals thus serving the sole purpose to make a structure of a song to fit Glenn's vocal style. This album I would say is for anyone who likes traditional metal, or vocals similiar to Bruce Dickinson's solo stuff or maybe even dio. Like I said Glenn's vocals are very unique to the metal genre. The album though, is done very well, the songs sound great and its a melo metal experience.

Rock and Roll Globe

Real writing about real music.

I’m The King Wolf: Danzig II: Lucifuge At 30

Danzig’s sophomore mold-breaking blues metal masterpiece still swings low as part of his grand slam album quartet

Heavy metal culture rode a pendulum midswing in 1990. The dawn of the decade was an apex for vapid hair metal bands.

Alternat(iv)ely it was the darkness before the dawn for all the gnarled rockers from Seattle vying to sign major deals that would file their fangs in exchange for mall culture awareness.

Metallica’s Black Album was still a year off, as was Nirvana’s Nevermind . January 1990 saw Rush’s “Show Don’t Tell” topping the Album Tracks Chart. The same month Voivod headlined a US tour over Soundgarden and Faith No More. As a high school senior I was on cloud nine, hardly imagining so many vast disappointments on the horizon.

Amongst my friends the biggest debate was whether or not Word As Law by Neurosis was “too metal.” In those punk influenced circles The Misfits were ubiquitous thanks to Caroline’s recent reissue series and the affordability of cassette culture. Personally I was less enamored with the campy B-movie obsessions of The Misfits, far more fascinated by Danzig’s second group, the transgressive esoteric Samhain. 

Internet access was limited to email and bulletin boards at schools and universities. Beavis & Butthead’s pilot film “Frog Baseball” was two years away. Danzig had already been blacklisted by MTV after the network goofed by running an uncensored version of the original “Mother” video on Headbanger’s Ball.  Isolated as I was in small town Oregon, I missed the first boat when Glenn Danzig’s solo career began to flex.

It had taken Glenn Danzig a frustrating decade for his dark star power to be recognized by the big leagues. He had to start his own label just to get the Misfits material released in the first place. From ’77-’87, he battled to prove himself, finally finding a champion in Rick Rubin. Samhain signed to Def Jam on the advice of patron saint Cliff Burton, a mere year after Rubin had signed Slayer. In short order the band retooled its name to one that need never change. Next Rubin brought in dream drummer Chuck Biscuits. The fourth tine of the cross was classically trained guitarist John Christ. Rubin’s production stripped this fearsome quartet’s sound down to the bone with timeless results.

I first recall paying attention to “Twist of Cain” and all the songs on the self-titled album on U of O campus in the fall of 1991. My dorm mate had a leather jacket he’d scrounged out of a dumpster, EVERY Heather Thomas poster (bikini, bath tub, scuba gear, etc…), and two hundred heavy metal cassettes. Each evening, after finishing his homework (at least one of us was doing that) he’d play his handmade electric guitar along to Metallica and Slayer records. I turned him on to Bleach a month before Nevermind was released. Together we shared confusion and dismay when he brought home the “Enter Sandman” cassingle on release day. But that Danzig tape stayed in rotation throughout the autumn season.

Danzig’s sophomore album Lucifuge was the first I owned. By then I’d moved out of the dorms and into shared housing off campus, rooming with a goth couple who had moved to Eugene from Phoenix in order to escape the sun. They kept heavy curtains over the windows and displayed a stolen tombstone on our mantle. For my nineteenth birthday they gifted me a shrink-wrapped cassette tape with Danzig’s glowering face hovering in the darkness on the cover. His band mates’ faces lurked over his left shoulder like little devils full of bad advice. The original edition of the CD features a booklet that unfolds into an upside-down cross.

By this time I was disgusted with the direction that my favorite bands were taking. Metallica were newly dead to me. Nirvana had shit the bed. Voivod had gone psychedelic alternative. Ministry was writing comedy songs about drag racing. I’ve since grown up and have a different appreciation for all those albums/careers. But what I wanted in 1992 was uncompromising artistry. Danzig gave it to me. The opening of the album is a clarion call of dive bomb swoops from John Christ’s guitar. “Long Way Back From Hell” is up-tempo, pure evil, and it fucking rocks. Here was fire and brimstone Danzig, singing high-octane voodoo blues about murder in New Orleans. 

Next up is “Snakes of Christ”, a sort of “Twist of Cain” riff do-over that proves what a difference a few BPMs and glossier production make. The sonic difference between Danzig I and Lucifuge are comparable to the marked crispness Pixies’ Doolittle boasted over the rugged earthy sound of Surfer Rosa . (Great records, all).

The swing of “Killer Wolf” follows. Like “Mother” it’s a warning to parents. In this case, Danzig is gonna get inside their little girl, and she’s gonna “howl ‘Til the sun comes up.” Danzig’s power trip is daunting and infectious. Does the listener have what it takes to follow in his footsteps? (Answer: no).

Taking a page from the early black and white trilogy of Blue Öyster Cult albums, Danzig leaves no silence between cuts. As the feedback of “Killer Wolf” fades away, the plaintive guitar of “Tired Of Being Alive” moans in. Danzig isn’t afraid to show that he’s sensitive—about his own feelings. He honestly could not care less about yours.

“I’m The One” is one of most authentic blues jams in a catalog that’s not short of homage to the roots of rock. Here’s Danzig doing his best Elvis impression over John Christ’s acoustic start/stop riffage, and a lone hi-hat cymbal. This song nods to “Life Fades Away” which Danzig had penned for Roy Orbison on the Less Than Zero soundtrack, and to “Thirteen” which he’d later write for Johnny Cash’s first American album. Side one taps out with “Her Black Wings.” Who would have imagined that Danzig could follow up the ultimate stripper anthem “She Rides” with another song embraced by pole dancers around the world? There is no sensible reason that this song isn’t in heavy rotation on classic rock stations. Then again, perhaps it’s a dark blessing that a song of this quality hasn’t been squeezed blood dry like so many of its peers. (I’m looking at you, every radio song from Back In Black and Appetite For Destruction ).

Side two kicks off with “Devil’s Plaything” giving Glenn license to sincerely croon over a delicate arpeggio…until Chuck Biscuits steps in with a series of crushing drum fills and the song erupts into a stop/start march. Lyrically it’s another cautionary tale about the hellfire heat you risk when trying to love a man like Danzig. This is one of the rare instances where he allows in a chorus of backing vocal “whoa-ohs” something he’s generally steered clear of since folding The Misfits. “777” was the working title before Danzig settled on the Latin compound Lucifuge, meaning “flee the light.” Nevertheless, the song “777” remains the same, and features slide guitar, an instrument few metal bands outside Raging Slab make good use of.

VIDEO: Danzig “I’m The One”

“Blood and Tears” is a remarkably lovely ballad. Glenn does his Orbison impression over this church organ waltz. It’s not difficult to imagine Sinatra or Bowie covering “Blood and Tears”, though of course neither was sweeping the metal ghetto in search of songs in the 1990s. The first Danzig album hinted that songs like this might be coming, and many have followed since. But Lucifuge was the moment when Glenn really unleashed his full range as a vocalist and a songwriter. He may be a legend for his cat food memes, but he deserves a better reputation based simply on craftsmanship of songs like this. “Girl” takes the boneyard position, another romantic warning to all would-be paramours to Danzig’s heart and throne. Loving this man is more than your mind or body can take. That doesn’t seem to stop a series of hot and bothered underwear models from leaning against wooden rails in the black & white videos that appear on the Lucifuge Home Video compilation. Since MTV was ignoring the band (“Mother ‘93” changed all that a few years later), Danzig simply released his own video set, which included him reciting passages from Paradise Lost (from memory), running with wolves, and wrestling an alligator. There’s also a cute segment with Chuck Biscuits rating sugary breakfast cereals with Halloween themes.

The album finale is another savage waltz. “Pain In The World” boasts an evil riff and a lyric about…evil. After nearly five minutes, following the blueprint of Glenn’s heroes on their original song “Black Sabbath” the tune launches into a blistering howl of drums and guitar. Then we’re left with nothing to do but turn the tape over, or move on to Danzig III.

VIDEO: Danzig 1990 Home Video

How The Gods Kill ended up being the band’s commercial peak. That’s also the first time I saw the band live, and the only time I caught the original lineup. I was a college dropout by then, manning the science fiction/fantasy section at a used book store. A Hesher I worked with who wore puffy white Reeboks offered to buy me a concert ticket in exchange for a ride to Portland. On Oct 24, 1992 (‘tis the season) we drove up to the Fox Theater (where I’d seen a tepid post-Nevermind set from Nirvana one year prior). Danzig, however, was at a live peak. He blew the doors off the place, despite warm-up sets from White Zombie and Kyuss. Danzig and his band stole the show by miles. Chuck Biscuits was on a thirty-foot drum riser flanked by gargoyles with laser eyes. It was a sight to behold the prowess of the band playing only material from those first three albums (though when pressed I’ll often admit that 4P is my favorite). 

The first four Danzig albums are a grand slam. Anyone who dismisses any of those four, or considers one better than the rest either isn’t listening or is victim of some adolescent bias that they’ve never outgrown. Inside that trajectory, Lucifuge is the moment when the band was on a high. They still got along with each other. The awkwardness with Rick Rubin had barely begun (his studio absence relegated him to “executive producer” credit on albums III and IV). “Mother” was still three years away from charting. Lucifuge proved the band was capable of expanding its sound, improving its production, and extending its own mythology into a new decade. The feeding frenzy of major labels strip-mining the independent Underground scene in the early 90s was the last of its kind. I’m happy that The Melvins and Babes in Toyland and TAD were able to get a trip around the world out of the deal. But far too many artists suffered artistically. Danzig was ahead of the curve, and to this day refuses to compromise an inch. 

Lucifuge was released three days after Glenn’s 35 th birthday. This week he celebrated 65. His most recent releases include the long-promised Danzig Sings Elvis covers album, and the long-threatened film Verotika .

Thanks for always being you, Glenn, and for taking no shit along the way.  And Happy Birthday, King Wolf.

Danzig will perform Lucifuge in its entirety at the recently rescheduled Psycho Las Vegas 2021. Information and tickets available here . 

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Nathan Carson

Nathan Carson is a writer, musician, and MOTH StorySlam Champion from Portland, Oregon. A founding member of the international doom band Witch Mountain, Carson is the host of the FM radio show The Heavy Metal Sewïng Cïrcle, owner of boutique booking agency Nanotear, and author of the weird horror novella Starr Creek. More about his music, music writing, fiction and graphic novels can be found at www.nathancarson.rocks.

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