Pottsville rockers Crobot dig deeper, heavier, and more personal on new album ‘Obsidian’
From a press release:
In the shadowed valleys of Pennsylvania, where the relics of coal and the echo of a post-industrial America fuse, Crobot bursts forth – a sonic whirlwind born of rebellion and raw power. This band is not just a troop of musicians originating from Pottsville – they are a high-speed chase through the wastelands of rock music, armed with a potent cocktail of adrenaline and sonic boom.
At the helm is Brandon Yeagley, the quintessential rock ‘n’ roll shaman, wielding his harmonica and microphone like twin totems of chaos and creation. His fervor borders on the religious, a revivalist bent on converting the masses with each electrifying note and primal scream. Chris Bishop, the guitar-slinging axeman, carves through the darkness with riffs sharp enough to slice through the thickest fog, forging a path with every frenetic strum.
Joining the fray, Pat Seals, the latest addition to the rhythm section, pounds the bass with a ferocity that commands the shadows, his vibrations weaving through the fabric of the night, speaking directly into the void. Alongside him, Dan Ryan on drums stokes the engine of this auditory beast, his beats a thunderous pulse that breathes life into their wild musical onslaught.
Their odyssey through the sonic wilderness kicked off with the electrifying debut of “Something Supernatural” (2014), slicing through the static of the mainstream with a vibe that was both a nod to the past and a leap into the future. The journey took a gritty, neon-soaked turn with “Welcome to Fat City” (2016), an album that injected a dose of urban decay and psychedelic funk into their sound, expanding their narrative into the darker corners of the city. By the time “Motherbrain” (2019) hit the streets, Crobot had established themselves as a beacon for the disenfranchised, their music a battle hymn for those society had cast aside, with the single “Low Life” rising as an anthem for the underground. The saga continued with “Feel This” (2022), an explosive collection that captured the raw, live energy of the Schuylkill County band, further solidifying their status as torchbearers of rock’s chaotic, rebellious spirit.
Released today via Megaforce Records (Metallica, Anthrax, Ministry, Testament, Manowar, Mercyful Fate, Overkill, Bad Brains, Living Colour, Ace Frehley), “Obsidian” marks the group’s most introspective journey yet. Produced by Crobot; recorded at The Machine Shop Studios in Austin, Texas; and engineered, mixed, and mastered by Alberto De Icaza, the 12 songs dive into the deep, murky waters of the human condition, threading ancient myths with personal demons across its tracklist.
“‘Obsidian,’ the title track, went through many different structures,” Bishop explained, “but it was never quite right. So, we put it on hold and hit up Howard Jones, who used to play in Killswitch Engage and is now in Light the Torch. We told him that we had the album’s title, ‘Obsidian,’ but not the title track, sent him the tune, and he came back with some ideas that were perfect. So, we rolled with that; Brandon put his spin on Howard’s ideas, and we brought Howard into the circle of being in Crobot for that one song.”
The first single, “Come Down,” was co-written and brought to the band by drummer Dan Ryan, and the song’s accompanying visualizer, which is populated by a spaceborne killer, ancient Celtic druids, the obsidian Yeagley found in the woods, tracks of a white rabbit headed to a portal into the underworld, and more.
“As we started demoing songs,” Bishop noted, “the music was being pushed more and more into a heavier, darker, more metal direction. ‘Come Down’ is one of the heaviest songs that we’ve done; it’s much more in the world of Alice in Chains. Dan, our drummer, comes from that world, and we didn’t try to stifle that, so the new music is a lot heavier than our previous albums.”
While the band’s primary songwriters – Bishop and Yaegley – tend to leave their songs somewhat ambiguous, the new tunes touch upon very personal growth, conflicts, and reflections.
“Each song descends into the darker reaches of the psyche,” Bishop said, “set to a relentless rhythm of heavy, pulsing beats and gut-wrenching guitar solos, and offers a stark reflection of internal struggles.”
“‘Obsidian’ is almost a rebirth of our career,” Brandon added. “We were able to take a different approach to the writing and recording of this album, so the experience was very rewarding and different from past projects. Conflicts and reflections make you a better person, even in those darker moments, but I know I become a better person for it. I think that’s what symbolizes this entire album for us. It’s been a real breath of fresh air.”
This intense exploration on the album sets the stage for the raw and unfiltered experience of Crobot’s live performances. Witnessing the band on stage is to grasp the full chaotic impact of their music. Transformed into something otherworldly, Crobot becomes a force of nature, tearing through venues like a tornado and leaving behind nothing but awe. Their live shows transcend typical concerts, evolving into seismic events where the rock ‘n’ roll spirit vibrates through the air, shaking the very foundations of the musical landscape. They are currently on the road with fellow Pennsylvanians CKY and playing close to home at Lovedraft’s Brewing Company in Mechanicsburg on Tuesday, Sept. 17, with the promise to tour even more extensively in support of “Obsidian.”
Those who are ready for a ride that teeters on the brink of madness should strap in. This isn’t just a band. This is Crobot steering a ship through the storms of sound with the mad delight of a stunt driver at the wheel, screaming into the soul with the echo of rock gods past and the fierce hunger of those yet to come. Welcome to the spectacle, the chaos, the evolution. This is rock ‘n’ roll in its most primal form. Buckle up – it’s a wild ride.
