New Man, New Songs, Same Shit, Vol.2 Me And That Man

• 1 Black Hearse Cadillac (feat. Hank Von Hell, Anders Odden) 04:02
• 2 Under the Spell (feat. Mary Goore) 03:40
• 3 All Hope Has Gone (feat. Blaze Bayley, Gary Holt, Jeff Mantas Dunn) 03:17
• 4 Witches Don't Fall in Love (feat. Kristoffer Rygg) 03:53
• 5 Losing My Blues (feat. Olve Abbath Eikemo, Frank the Baptist, Chris Holmes) 03:43
• 6 Coldest Day in Hell (feat Ralf Gyllenhammar, Douglas Blair) 05:15
• 7 Year of the Snake (feat. David Vincent) 03:49
• 8 Blues & Cocaine (feat. Michale Graves) 03:08
• 9 Silver Halide Echoes (feat. Randy Blythe) 03:34
• 10 Goodbye (feat. Alissa White-Gluz, Devin Townsend) 03:34
• 11 Angel of Light (feat. Myrkur) 04:17
• 12 Got Your Tongue (feat. Chris Georgiadis) 02:18
• Total Runtime 44:30

Info for New Man, New Songs, Same Shit, Vol.2

"Behemoth-Mastermind Adam ""Nergal"" Darski hat erneut einen düsteren Pakt mit dem Teufel geschlossen und kehrt mit dem dritten Studioalbum, New Man, New Songs, Same Shit, Vol.2, des Dark Folk/Blues/Americana inspirierten Soloprojekts ME AND THAT MAN zurück.

Als Fortsetzung des Vorgängers New Man, New Songs, Same Shit, Vol.1 (2020) folgt das neue Werk dem bisherigen Schaffensweg und wartet erneut mit einer Fülle von spannenden Features auf - doch dieses Mal hebt er sie auf ein ganz neues Level! Die neue Scheibe wird von Größen wie Gary Holt (Slayer, Exodus), Alissa White-Gluz (Arch Enemy), Randy Blythe (Lamb Of God), Myrkur, Devin Townsend, David Vincent, Doug Blair (W.A.S. P), Hank von Hell (Turbonegro) und Olve Abbath Eikemo (Immortal, Abbath) unterstützt, die sich perfekt in die Sammlung okkulter Hymnen des Albums einfügen und eine neuartige Symbiose aus ungefiltertem Blues, Gothic-beeinflusstem Folk, Country-Essenz und einem Hauch des Bösen bilden.

Der Eröffnungstrack ""Black Hearse Cadillac"" - mit Vocals von Hank von Hell und den Gitarrenkünsten von Anders Odden - markiert den düsteren Beginn dieser infernalischen Reise durch dunkle Desert-Klanglandschaften und tiefschwarze Lyrik. Das treibende ""Under The Spell"" (feat. Mary Goore) macht seinem Titel alle Ehre und evoziert zuweilen eine Spaghetti-Western-Atmosphäre. Songs wie das verruchte ""Witches Don't Fall in Love"" (feat. Kristoffer Rygg/Ulver), das geradlinig rockende ""Blues & Cocaine"" (feat. Michale Graves) und das mysteriöse ""Goodbye"" - inklusive einer eindringlichen und doch kraftvollen Gesangsattacke von Alissa White-Gluz - zeigen das große Facettenreichtum der Platte auf. Dies zeigt sich zudem bei Songs wie der gefühlvollen Blues-Rock-Ballade ""Angel of Light"" mit der fesselnden Stimme von Myrkur oder dem dynamischen Uptempo-Crusher ""Got Your Tongue"" feat. Chris Georgiadis (Turbowolf).

Nach dem spannenden Debüt Songs of Love And Death (2017), gefolgt von der Zweitveröffentlichung New Man, New Songs, Same Shit, Vol.1, spiegelt das neue Album Nergal in einem völlig anderen Licht wider und bietet einen hörbaren Kontrast zu den extremen Klängen von Behemoth.

Me And That Man

Me And That Man
Behemoth is one of the most internationally renowned and unrepentant black metal bands. Nergal himself has tread a road that few would dare to walk - arrested on charges of blasphemy in his native Poland, authoring a bestselling book Confessions Of A Heretic, and titling Behemoth's last album The Satanist - but in true contrarian fashion, appearing as a judge on Poland's version of The Voice, and as the cover of Polish Newsweek, and more.

Songs Of Love And Death is a dark journey through sun-bleached, dusty plains, soundtracked by low-slung acoustic guitars and steeped in the rawest essence of rock and blues. The duo's debut will prove to be a revelatory affair for Behemoth's huge global fan base, while simultaneously luring many more people into Nergal's artistic world. Fans of everything from Nick Cave, Danzig, Leonard Cohen, and Johnny Cash's American Recordings, through to the grim, frontier polemic of Wovenhand will find countless mesmerizing moments on the album.

"This album is not meant to turn Me And That Man fans into Behemoth fans," Nergal notes. "If one day they follow, OK. Something like “My Church Is Black” is a strong declaration, a song that naturally invites people from the extreme metal world, and perhaps they'll want to enter this world too. They might even like it. With Me and That Man, I'm telling simple stories in a simple way, not overloaded with metaphors and hidden meanings. It's just got to be as natural, organic and stripped down as it can be."

He further explains, "With Me And That Man, the songs just come out in a very organic way. One would be bluesy, one would be more of a ballad, but put together they all made sense. I need Me And That Man to keep the balance, as the potential of my mother band seems limitless. It gets bigger and bigger, more advanced and more sophisticated... and darker ...and blacker. But Me And That Man is at the opposite pole, artistically speaking. With all the best art, once you have it in you, you have to release it, otherwise it becomes intoxicating and dangerous to your own system. This is how I deal with my emotions and my dark feelings and shadows. This is not happy music, but it's liberating."

"This is a side-project, but I don't really know what it's going to grow into," Nergal concludes. The idea was just to get this music out to people. There's no hidden agenda. It is what it is, and if you like it, it's cool. If you don't, that's cool too. This is the battle we've already won."

This album contains no booklet.