Cannibal Corpseās Violence UnimaginedāNew Guitarist, Classic Sound

The new Corpse (left to right): guitarist Rob Barrett, bassist Alex Webster, vocalist George "Corpsegrinder" Fisher, guitarist Erik Rutan, and drummer Paul Mazurkiewicz.
For their 15th album, the death metal pioneers double-down on their trademark bone-crunch and add longtime producer Erik Rutan on guitar.
As extreme metal continues to splinter into infinite niche genres and thrash metal's heroes steadily mosh towards the pastures of classic rock, it's the right time to re-examine the legacy of the bands that initiated metal's big push towards the outer reaches of its sonic margins. Much of the guitar content on social media these days is comprised of young players shredding and djenting away on extended-scale guitars, and it's no exaggeration to say that none of that would exist without the influence of O.G. American death metal's bludgeoning chug and churn. And while they weren't the first on the scene, Cannibal Corpse is often considered the band that ultimately defined the subgenre's sound.
With the release of their skull-shatteringly heavy 15th studio album, Violence Unimaginedāand now boasting over 30 years of parent-terrifying musicāCannibal Corpse have proven yet again that they're more than just innovators within a subgenre. They're an institution. Essentially, Cannibal Corpse is the AC/DC of death-metal: a band that's created a distinct sound and consistently progressed within that idiom despite several lineup changes, including a lead vocalistāagain like AC/DCāwithout sacrificing the elements that made that sound so enthralling in the first place.
Violence Unimagined is a dynamic and bloody disgusting journey through a hectic mix of Cannibal Corpse's signature breakneck blasters and hulking mid-tempo groovers. It's an album that has everything fans love and expect from the Florida-based squad. It's also an album that benefits tremendously from an injection of fresh creative blood via the contributions of longtime producer Erik Rutan, who not only produced the recordings, but officially joined the quintet as a guitarist and songwriter just before starting pre-production.
"I think he did a really good job of adapting and Cannibalizing his riffs to make it sound like us." āRob Barrett
Best known for fronting his own band, Hate Eternal, and for the multiple long stints he's served on guitar with Morbid Angel, Rutan has spent the lion's share of the past decade producing a laundry list of diverse and critically acclaimed heavy albums from his MANA Studios in St. Petersburg, Florida. This isn't the first time that Rutan has played guitar with the band, though. When Pat O'Brien took leave in 2019, the producer was the obvious choice to step in as his touring replacement. O'Brien and the band have since parted ways entirely, and with Rutan on board as an official member of the group, Violence Unimagined is Cannibal Corpse's first release to feature his song contributions.
A lineup shift can throw a serious wrench in the works for a band with a sound as well-defined as that of Cannibal Corpse, but Rutan's integration into the fold for Violence Unimagined was seamlessāsomething he and guitarist Rob Barrett credit to his deep ties with the group. Rutan details just how deep that history really goes, saying, "I remember Alex [Webster, bass] and Paul [Mazurkiewicz, drums] handing me the first Cannibal record before it even came out! I've known Rob and George ["Corpsegrinder" Fisher, vocals] since 1990, and having recorded the band so many times, I have a really clear understanding of their music. And as guitarists, Rob and I have always worked great together on getting tones and I've always had so much respect for the kind of player and writer he is."
For years now, Cannibal Corpse's songs have been penned by individual band members. Even though Rutan was asked to join just three months before entering the studio, "they welcomed me with open arms when it came to contributing songs," he says. "A lot of Alex's and Rob's songs had been formulated already when I started to write, so I was able to see what would help fill in some gaps to help make it an even bigger album dynamically. I had a very loose thought process going into it because there had been songs presented to me already, and I was working around those, though when I typically start writing, thinking kind of goes out the window. The songwriting is more about instinct and trying to preserve the things that make this band what it is, while still creating fresh ideas. I think that's why this band has had the success and longevity it has, and I love every record this band has done because they all offer something unique."
Rob Barrett's Gear
"It's crazy to think, but we're almost classic death metal now," says Rob Barrett, seen here playing his Dean Cadillac onstage with Cannibal Corpse in 2018.
Photo by Alex Morgan
Guitars
- 1989 GibsonĀ Les Paul Standard with EMG 81 pickups
- Dean Custom Shop Cadillac with 25 ¾" scale and Fishman Fluence Modern Active Humbuckers
- Charvel Pro-Mod So-Cal Style 1 HH with maple fretboard and Seymour Duncan JB pickups (used for solos)
Strings and Picks
- D'Addario NYXL (.011ā.064 7-string sets, without the .011, for guitars tuned to G# and C#)
- D'Addario NYXL (.013-.056, for guitars tuned to A# and D#)
- Dunlop Tortex 1.5 mm Sharp
Amps
- Mesa/Boogie Dual Rectifier
- Peavey 5150 (block letter era)
- Vintage Marshall JCM800
- Marshall 4x12 cab with Celestion Greenbacks
Effects
- Ibanez 30th Anniversary TS9 Tube Screamer
- Maxon OD-9 Overdrive
- Maxon ST-9 Pro+ Super Tube
Despite their longstanding rapport and mutual respect, Barrett admits he was a bit apprehensive about adding Rutan to the mix as a songwriter. "I was worried his songs were going to sound too much like Hate Eternal, but when he started playing me his stuff, it was like, 'Wow! This does sound like Cannibal Corpse!' You could just tell Erik Rutan wrote them. He did a really good job of adapting and Cannibalizing his riffs to make it sound like us." To Rutan's credit, he says writing tunes for Violence Unimagined felt "very natural," not only because of his long history with the group, but as a fan the guitarist felt confident he could apply his own feel and musical stamp to Cannibal Corpse's songs.
The major pivot point from past Cannibal Corpse releases comes from Rutan's unique vocabulary as a soloist. While Barrett's more traditionally stout shredding remains an immediately recognizable part of the Cannibal Corpse sound, Rutan's slithering melodic playing is worlds away from the chaotic chromatics of predecessor O'Brien. Rutan says, "Some of my earliest memories are hearing different composers, like Beethoven, Bach, Mozart, Vivaldi.... I really feel like listening to classical music as a child influenced how I approach songwriting. Even the stuff that's more dissonant has a classical background that I personally hear really clearly. The solo on 'Follow the Blood' is one of those moments. I created a melody, and halfway in it goes into a harmonized counterpoint melody, and in the center of the stereo spread is a full-on solo lead. That solo has a real classical music approach."
"Some of my earliest memories are hearing different composers, like Beethoven, Bach, Mozart, Vivaldi ā¦" āErik Rutan
The guitarist also looks well beyond Western classical music, and adds, "Turkish music and Middle Eastern stuff has been a huge inspiration to me! Listening to a lot of Middle Eastern music inspires a lot of my solos, even in 'Inhumane Harvest,' where there's slides and half-tone things that have a Middle Eastern flavor. And I do like to do a little shred here and rippin' there, but the song has to call for that."
Drawing from such a wide range of source material provides Rutan with the substance required to fulfill his own mission as a soloist. "I've always looked at solos as a journey within songs, and they have to take a path," he says. "It's all about the solo feeling natural within a song, and I want them to make an impact. If you look back at everything I've done, from Ripping Corpse to Morbid Angel and Hate Eternal, my approach to soloing has always been about substance over flash. It's never been about technique as much as it's been about feel, but with complexity. To me, complexity and technique are very different things."
āErik Rutan's Gear
Here's Erik Rutan onstage with his B.C. Rich Ironbird, back when Hate Eternal toured as an opening act for Cannibal Corpse in 2018.
Photo by Alex Morgan
Guitars
- 1989 Gibson Les Paul Standard w/ EMG 81 pickups
- B.C. Rich Custom Shop Ironbird w/Gibson Dirty Fingers bridge pickup and Lawrence L-500 neck pickup (used for solos)
Strings and Picks
- D'Addario NYXL (.11ā.64 7-string sets, without the .011, for guitars tuned to G sharp and C sharp)
- D'Addario NYXL (.13-.56, for guitars tuned to A sharp and D sharp)
- Dunlop Jazz III XL Tortex 1.35 mm
Amps
- Mesa/Boogie Dual Rectifier
- Peavey 5150 (block letter era)
- Vintage Marshall JCM800
- Marshall 4x12 cab with Celestion Greenbacks
Effects
- Ibanez 30th Anniversary TS9 Tube Screamer
- Maxon OD-9 Overdrive
- Maxon ST-9 Pro+ Super Tube
While Violence Unimagined certainly marks a new era in many ways for Cannibal Corpse, it's business as usual for Barrett, who reflects on the band's legacy: "It's crazy to think, but we're almost classic death-metal now! We, as a band, have tried really hard to stay on the track we started on while moving forward. We never want to be stuck in the past and just keep trying to copy what we already did."
Meanwhile, Rutan ruminates on the process a bit more sentimentally. "Everyone's contributions and the accumulation of everyone's unique approach has allowed this band to keep progressing over the course of 15 albums, but those albums all keep true to the essence and spirit of what Cannibal Corpse is. From the riffs to the solos to the song structures to the album flow, it's all a journey.
Stacking Up Corpses: Building the Bandās Rhythm Guitar Sound
Longtime producer Erik Rutan stepped into the guitar chair on Violence Unimagined, marking his first time as a songwriter for the band.
After working on five albums with the band, Rutan may have mastered the clandestine art of recording Cannibal Corpse, but that doesn't mean it's an easy gig. The producer is adamant about quad-tracking rhythm guitars, a technique he says is key to creating the brutal wall of chainsaw axes that is Cannibal Corpse's calling card. Rather than reamping a single performance or splitting the guitar signal to multiple amps to capture several sources in one take, the two guitarists each had to provide four individual performances of every one of the new album's challenging, often tremolo-picked, rhythm parts.
Rutan breaks down the madness behind the method: "Part of what I like to do is color the four tracks with multiple amps, so we'll start with a defining tone, which will be the main tone panned left and right. Then we find a second tone to add in for the third and fourth tracks, and that tone is not really about how it sounds on its own, but what it contributes to the overall sound when combined with the main tone. We'll have guitar tracks three and four around 5 to 7 dB lower in the mix than the main tracks. You get a different character and dynamic in the overall tone that you don't even know is missing until you add that second amp in."
From Barrett's perspective, the hardest part about the quad tracking process is simply getting through the first track. "As soon as you get to the second track, it gets smoother and you can keep going," he says. "We try to play through each track as far as we can without doing punches, but this stuff isn't easy and we do punch in when it's a tricky part."
Rutan adds, "Rob and I are very proficient at duplicating our performances tightly and that really adds to that wall of sound. When you play a part four times, the little idiosyncrasies and inconsistenciesāas long as you're a really tight playerāadd another layer of dynamics to the guitars."
"If you'd asked me a year ago what I saw coming, I'd have never envisioned how this whole thing unfolded. I've done a lot in my career and I've always felt really grateful for all the opportunities I've had, but this record, especially, is one of my proudest moments. After all these years, to join Cannibal Corpseāa band that means so much to my life, my career, and, personally, as friendsāto be a part of it after 30-plus years of playing death-metal ⦠it still blows my mind! It feels great and it feels so natural. I can't help but feel gratitude about it while also reflecting on the ups and downs and the work I've put into everything I do, and to be able to continue that while being a part of Cannibal Corpse is really special for me."
CANNIBAL CORPSE - Live in Bucharest, Romania 13.06.2019 [Full Show]
This raging concert performance from Bucharest, Romania, in 2019 was part of Erik Rutan's first tour with the band, before he became an official full-time member.
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This legendary vintage rack unit will inspire you to think about effects with a new perspective.
When guitarists think of effects, we usually jump straight to stompboxesātheyāre part of the culture! And besides, footswitches have real benefits when your hands are otherwise occupied. But real-time toggling isnāt always important. In the recording studio, where weāre often crafting sounds for each section of a song individually, thereās little reason to avoid rack gear and its possibilities. Enter the iconic Eventide H3000 (and its massive creative potential).
When it debuted in 1987, the H3000 was marketed as an āintelligent pitch-changerā that could generate stereo harmonies in a user-specified key. This was heady stuff in the ā80s! But while diatonic harmonizing grabbed the headlines, subtler uses of this pitch-shifter cemented its legacy. Patch 231 MICROPITCHSHIFT, for example, is a big reason the H3000 persists in racks everywhere. Itās essentially a pair of very short, single-repeat delays: The left side is pitched slightly up while the right side is pitched slightly down (default is ±9 cents). The resulting tripling/thickening effect has long been a mix-engineer staple for pop vocals, and itās also my first call when I want a stereo chorus for guitar.
The second-gen H3000S, introduced the following year, cemented the deviceās guitar bona fides. Early-adopter Steve Vai was such a proponent of the first edition that Eventide asked him to contribute 48 signature sounds for the new model (patches 700-747). Still-later revisions like the H3000B and H3000D/SE added even more functionality, but these days itās not too important which model you have. Comprehensive EPROM chips containing every patch from all generations of H3000 (plus the later H3500) are readily available for a modest cost, and are a fairly straightforward install.
In addition to pitch-shifting, there are excellent modulation effects and reverbs (like patch 211 CANYON), plus presets inspired by other classic Eventide boxes, like the patch 513 INSTANT PHASER. A comprehensive accounting of the H3000ās capabilities would be tedious, but suffice to say that even the stock presets get deliciously far afield. There are pitch-shifting reverbs that sound like fever-dream ancestors of Strymonās āshimmerā effect. There are backwards-guitar simulators, multiple extraterrestrial voices, peculiar foreshadows of the EarthQuaker Devices Arpanoid and Rainbow Machine (check out patch 208 BIZARRMONIZER), and even button-triggered Foley effects that require no input signal (including a siren, helicopter, tank, submarine, ocean waves, thunder, and wind). If youāre ever without your deck of Oblique Strategies cards, the H3000ās singular knob makes a pretty good substitute. (Spin the big wheel and find out what youāve won!)
āIf youāre ever without your deck of Oblique Strategies cards, the H3000ās singular knob makes a pretty good substitute.ā
But thereās another, more pedestrian reason I tend to reach for the H3000 and its rackmount relatives in the studio: I like to do certain types of processing after the mic. Itās easy to overlook, but guitar speakers are signal processors in their own right. They roll off high and low end, they distort when pushed, and the cabinets in which theyāre mounted introduce resonances. While this type of de facto processing often flatters the guitar itself, it isnāt always advantageous for effects.
Effects loops allow time-based effects to be placed after preamp distortion, but I like to go one further. By miking the amp first and then sending signal to effects in parallel, I can get full bandwidth from the airy reverbs and radical pitched-up effects the H3000 can offerāand I can get it in stereo, printed to its own track, allowing the wet/dry balance to be revisited later, if needed. If a sound needs to be reproduced live, thatās a problem for later. (Something evocative enough can usually be extracted from a pedal-form descendant like the Eventide H90.)
Like most vintage gear, the H3000 has some endearing quirks. Even as it knowingly preserves glitches from earlier Eventide harmonizers (patch 217 DUAL H910s), it betrays its age with a few idiosyncrasies of its own. Extreme pitch-shifting exhibits a lot of aliasing (think: bit-crusher sounds), and the analog Murata filter modules impart a hint of warmth that many plug-in versions donāt quite capture. (They also have a habit of leaking black goo all over the motherboard!) Itās all part of the charm of the unit, beloved by its adherents. (Well, maybe not the leaking goo!)
In 2025, many guitarists wonāt be eager to care for what is essentially an expensive, cranky, decades-old computer. Even the excitement of occasional tantalum capacitor explosions is unlikely to win them over! Fortunately, some great software emulations existāEventideās own plugin even models the behavior of the Murata filters. But hardware offers the full hands-on experience, so next time you spot an old H3000 in a rack somewhereāand youāve got the timeāfire it up, wait for the distinctive āclickā of its relays, spin the knob, and start digging.
A live editor and browser for customizing Tone Models and presets.
IK Multimedia is pleased to release the TONEX Editor, a free update for TONEX Pedal and TONEX ONE users, available today through the IK Product Manager. This standalone application organizes the hardware library and enables real-time edits to Tone Models and presets with a connected TONEX pedal.
You can access your complete TONEX library, including Tone Models, presets and ToneNET, quickly load favorites to audition, and save to a designated hardware slot on IK hardware pedals. This easy-to-use application simplifies workflow, providing a streamlined experience for preparing TONEX pedals for the stage.
Fine-tune and organize your pedal presets in real time for playing live. Fully compatible with all your previous TONEX library settings and presets. Complete control over all pedal preset parameters, including Global setups. Access all Tone Models/IRs in the hardware memory, computer library, and ToneNET Export/Import entire libraries at once to back up and prepare for gigs Redesigned GUI with adaptive resize saves time and screen space Instantly audition any computer Tone Model or preset through the pedal.
Studio to Stage
Edit any onboard Tone Model or preset while hearing changes instantly through the pedal. Save new settings directly to the pedal, including global setup and performance modes (TONEX ONE), making it easy to fine-tune and customize your sound. The updated editor features a new floating window design for better screen organization and seamless browsing of Tone Models, amps, cabs, custom IRs and VIR. You can directly access Tone Models and IRs stored in the hardware memory and computer library, streamlining workflow.
A straightforward drop-down menu provides quick access to hardware-stored Tone Models conveniently sorted by type and character. Additionally, the editor offers complete control over all key parameters, including FX, Tone Model Amps, Tone Model Cabs/IR/VIR, and tempo and global setup options, delivering comprehensive, real-time control over all settings.
A Seamless Ecosystem of Tones
TONEX Editor automatically syncs with the entire TONEX user library within the Librarian tab. It provides quick access to all Tone Models, presets and ToneNET, with advanced filtering and folder organization for easy navigation. At the same time, a dedicated auto-load button lets you preview any Tone Model or preset in a designated hardware slot before committing changes.This streamlined workflow ensures quick edits, precise adjustments and the ultimate flexibility in sculpting your tone.
Get Started Today
TONEX Editor is included with TONEX 1.9.0, which was released today. Download or update the TONEX Mac/PC software from the IK Product Manager to install it. Then, launch TONEX Editor from your applications folder or Explorer.
For more information and videos about TONEX Editor, TONEX Pedal, TONEX ONE, and TONEX Cab, visit:
www.ikmultimedia.com/tonexeditor
The luthierās stash.
There is more to a guitar than just the details.
A guitar is not simply a collection of wood, wire, and metalāit is an act of faith. Faith that a slab of lumber can be coaxed to sing, and that magnets and copper wire can capture something as expansive as human emotion. While itās comforting to think that tone can be calculated like a tax return, the truth is far messier. A guitar is a living argument between its componentsāan uneasy alliance of materials and craftsmanship. When it works, itās glorious.
The Uncooperative Nature of Wood
For me it all starts with the wood. Not just the species, but the piece. Despite what spec sheets and tonewood debates would have you believe, no two boards are the same. One piece of ash might have a bright, airy ring, while another from the same tree might sound like it spent a hard winter in a muddy ditch.
Builders know this, which is why youāll occasionally catch one tapping on a rough blank, head cocked like a bird listening. Theyāre not crazy. Theyāre hunting for a lively, responsive quality that makes the wood feel awake in your hands. But wood is less than half the battle. So many guitarists make the mistake of buying the lumber instead of the luthier.
Pickups: Magnetic Hopes and Dreams
The engine of the guitar, pickups are the part that allegedly defines the electric guitarās voice. Sure, swapping pickups will alter the tonality, to use a color metaphor, but they can only translate whatās already there, and thereās little percentage in trying to wake the dead. Yet, pickups do matter. A PAF-style might offer more harmonic complexity, or an overwound single-coil may bring some extra snarl, but hereās the thing: Two pickups made to the same specs can still sound different. The wire tension, the winding pattern, or even the temperature on the assembly line that day all add tiny variables that the spec sheet doesnāt mention. Donāt even get me started about the unrepeatability of āhand-scatter winding,ā unless youāre a compulsive gambler.
āOne piece of ash might have a bright, airy ring, while another from the same tree might sound like it spent a hard winter in a muddy ditch.ā
Wires, Caps, and Wishful Thinking
Inside the control cavity, the pots and capacitors await, quietly shaping your tone whether you notice them or not. A potentiometer swap can make your volume taper feel like an on/off switch or smooth as an aged Tennessee whiskey. A capacitor change can make or break the tone controlās usefulness. Itās subtle, but noticeable. The kind of detail that sends people down the rabbit hole of swapping $3 capacitors for $50 āvintage-specā caps, just to see if they can āfeelā the mojo of the 1950s.
Hardware: The Unsung Saboteur
Bridges, nuts, tuners, and tailpieces are occasionally credited for their sonic contributions, but theyāre quietly running the show. A steel block reflects and resonates differently than a die-cast zinc or aluminum bridge. Sloppy threads on bridge studs can weigh in, just as plate-style bridges can couple firmly to the body. Tuning machines can influence not just tuning stability, but their weight can alter the way the headstock itself vibrates.
Itās All Connected
Then thereās the neck jointāthe place where sustain goes to die. A tight neck pocket allows the energy to transfer efficiently. A sloppy fit? Some credit it for creating the infamous cluck and twang of Fender guitars, so pick your poison. One of the most important specs is scale length. A longer scale not only creates more string tension, it also requires the frets to be further apart. This changes the feel and the sound. A shorter scale seems to diminish bright overtones, accentuating the lows and mids. Scale length has a definite effect on where the neck joins the body and the position of the bridge, where compromises must be made in a guitarās overall design. There are so many choices, and just as many opportunities to miss the mark. Itās like driving without a map unless youāve been there before.
Alchemy, Not Arithmetic
At the end of the day, a guitarās greatness doesnāt come from its spec sheet. Itās not about the wood species or the coil-wire gauge. Itās about how it all conspires to either soar or sink. Two guitars, built to identical specs, can feel like long-lost soulmates or total strangers. All of these factors are why mix-and-match mods are a long game that can eventually pay off. But thatās the mystery of it. You canāt build magic from a parts list. You canāt buy mojo by the pound. A guitar is more than the sum of its partsāitās a sometimes unpredictable collaboration of materials, choices, and human touch. And sometimes, whether in the hands of an experienced builder or a dedicated tinkerer, it just works.
Two Iconic Titans of Rock & Metal Join Forces for a Canāt-Miss North American Trek
Tickets Available Starting Wednesday, April 16 with Artist Presales
General On Sale Begins Friday, April 18 at 10AM Local on LiveNation.com
This fall, shock rock legend Alice Cooper and heavy metal trailblazers Judas Priest will share the stage for an epic co-headlining tour across North America. Produced by Live Nation, the 22-city run kicks off September 16 at Mississippi Coast Coliseum in Biloxi, MS, and stops in Toronto, Phoenix, Los Angeles, and more before wrapping October 26 at The Cynthia Woods Mitchell Pavilion in The Woodlands, TX.
Coming off the second leg of their Invincible Shield Tour and the release of their celebrated 19th studio album, Judas Priest remains a dominant force in metal. Meanwhile, Alice Cooper, the godfather of theatrical rock, wraps up his "Too Close For Comfort" tour this summer, promoting his most recent "Road" album, and will have an as-yet-unnamed all-new show for this tour. Corrosion of Conformity will join as support on select dates.
Tickets will be available starting Wednesday, April 16 at 10AM local time with Artist Presales. Additional presales will run throughout the week ahead of the general onsale beginning Friday, April 18 at 10AM local time at LiveNation.comTOUR DATES:
Tue Sep 16 ā Biloxi, MS ā Mississippi Coast Coliseum
Thu Sep 18 ā Alpharetta, GA ā Ameris Bank Amphitheatre*
Sat Sep 20 ā Charlotte, NC ā PNC Music Pavilion
Sun Sep 21 ā Franklin, TN ā FirstBank Amphitheater
Wed Sep 24 ā Virginia Beach, VA ā Veterans United Home Loans Amphitheater
Fri Sep 26 ā Holmdel, NJ ā PNC Bank Arts Center
Sat Sep 27 ā Saratoga Springs, NY ā Broadview Stage at SPAC
Mon Sep 29 ā Toronto, ON ā Budweiser Stage
Wed Oct 01 ā Burgettstown, PA ā The Pavilion at Star Lake
Thu Oct 02 ā Clarkston, MI ā Pine Knob Music Theatre
Sat Oct 04 ā Cincinnati, OH ā Riverbend Music Center
Sun Oct 05 ā Tinley Park, IL ā Credit Union 1 Amphitheatre
Fri Oct 10 ā Colorado Springs, CO ā Broadmoor World Arena
Sun Oct 12 ā Salt Lake City, UT ā Utah First Credit Union Amphitheatre
Tue Oct 14 ā Mountain View, CA ā Shoreline Amphitheatre
Wed Oct 15 ā Wheatland, CA ā Toyota Amphitheatre
Sat Oct 18 ā Chula Vista, CA ā North Island Credit Union Amphitheatre
Sun Oct 19 ā Los Angeles, CA ā Kia Forum
Wed Oct 22 ā Phoenix, AZ ā Talking Stick Resort Amphitheatre
Thu Oct 23 ā Albuquerque, NM ā Isleta Amphitheater
Sat Oct 25 ā Austin, TX ā Germania Insurance Amphitheater
Sun Oct 26 ā Houston, TX ā The Cynthia Woods Mitchell Pavilion
*Without support from Corrosion of Conformity