“EN MINOR‘s debut achieves its atmosphere of Southern Gothic self-loathing with the gravel of Anselmo’s sullen voice and concentrated gloom. These are pensive songs for bruised souls seeking catharsis.” – Decibel
When The Cold Truth Has Worn Its Miserable Welcome Out, the long-awaited debut full-length from Southern Gothic-tinged project EN MINOR is out NOW and streaming via Housecore Records!
An experimental and eclectic creation that finds founding frontman Philip H. Anselmo (Pantera, Down, Superjoint et al) exploring a softer, graver vocal style, EN MINOR is an honest and deliberate change of pace delivering brooding tales of pain, regret, and sorrow. At once ugly and beautiful, EN MINOR features the collective talents of Stephen Taylor (Superjoint, Philip H. Anselmo & The Illegals, Wovenhand, 16 Horsepower), Kevin Bond (Superjoint, Christ Inversion, Artimus Pyledriver), Jimmy Bower (Eyehategod, Down, Superjoint), Calvin and Joiner Dover (The Dover Brothers), and Steve Bernal (former first cellist in the Temple Symphony Orchestra).
Stream EN MINOR’s When The Cold Truth Has Worn Its Miserable Welcome Out in its entirety at THIS LOCATION.
View EN MINOR’s previously released video for “Mausoleums” THIS LOCATION.
EN MINOR‘s When The Cold Truth Has Worn Its Miserable Welcome Out was recorded and mixed at Anselmo’s Nodferatu’s Lair Studio on the Northshore outside of New Orleans, Louisiana and is available via Housecore Records in North America, Season Of Mist in Europe, and Ward Records in Japan.
EN MINOR was inadvertently in the making since Anselmo’s earliest days as a child in the French Quarter. “The initial strains – in the most primitive sense – came about when I was given my first guitar at nine-years old,” relays Anselmo. “I didn’t have the patience to learn other people’s music, so I wrote my own. And some of those early parts are still prevalent in the songs we’re working with now. Fast-forward to 1988 when I bought my first four-track recorder; those old songs took on a new life and newer songs were written. Heavy metal was at the forefront of my performance-based output, but these little four-track songs were always there.”
By 1993, Anselmo moved back to his hometown of New Orleans and his home became an instant magnet for local musicians and artists. “At ungodly hours, these old four-track songs took on an even newer life jamming with these cats. We learned a few of the songs and wrote several more, and soon we were recording under the moniker ‘Body & Blood.’ We wrote more songs, all recorded on a newer model four-track. It was fun. We did it for the vibe. And it was pleasing to break away from multi-tracking studios and heavy metal. Metal music consumed most of our time and lives. Those ‘B&B’ sessions were damned-near therapeutic.”
Without a clear plan for the band, the project remained a periodic therapy session. “We kept things simple and just jammed when everyone was home and played our recordings for friends. Then I eventually moved again, Hurricane Katrina hit, and life sent all of us in different directions.”
It was in 2012 when EN MINOR truly took shape. “[Stephen] ‘Schteve’ [Taylor] was experimenting with some vibey stuff, and soon after began recording the sessions. This led to the current incarnation of EN MINOR. Together, we reworked a few of the old four-track songs and wrote several new ones in short order. These sessions are hypnotic and pulling. And we continue to write songs suitable for this project to this day. Ugly and beautiful, EN MINOR, isn’t ‘party music.’ This is ‘kill the party music.'”
“A brooding, thoughtful comedown. It’s Anselmo’s Gothic country record, and a twisted one at that. The singer has been outspoken about his love for horror films and noir over the years. EN MINOR appears to be the musical realization of those affinities.” — Consequence Of Sound’s 20 Most Anticipated Metal Albums of Fall 2020
“EN MINOR‘s debut achieves its atmosphere of southern Gothic self-loathing with the gravel of Anselmo’s sullen voice and concentrated gloom. These are pensive songs for bruised souls seeking catharsis.” – Decibel
“With EN MINOR, he’s embracing a gravely vocal style of defiance and regret, singing songs from a lifetime of experience and hard lessons learned in the outlaw country tradition of Merle Haggard… The measured pace and acoustic instruments of his new project reflect a state of mind and a possible sign of maturity finally catching up with Anselmo at a time when addiction is now years behind him.” – Revolver
“…Anselmo emoted with somber grace over beautiful ballads evoking his cover of Black Sabbath’s ‘Planet Caravan’ with Pantera all the way back on Far Beyond Driven…it’s a refreshing change of pace for Anselmo after many of his heavier outings these last few years.” – MXDWN (Psycho Las Vegas 2019 recap)
“Phil Anselmo’s low key new acoustic project dubbed ‘depression core’ was strangely invigorating. This was one of the most chill and memorable sets of the weekend.” – Metal Injection (Psycho Las Vegas 2019 recap)
“Dressed in a suit and looking like a suave Mike Patton, Phil had the audience in the palm of his hand. We were willing to take whatever journey he wanted us on. We all knew Phil Anselmo had poetry in his heart but perhaps not to this great extent.” – Janky Smooth (Psycho Las Vegas 2019 recap)
“When The Cold Truth Has Worn Its Miserable Welcome Out …. takes you on a journey into a dark fog-shrouded alley that is hauntingly irresistible. The music moves around and through you like the lazy hazy in an Amsterdam coffeeshop. EN MINOR have created a fantastic album that will surely be the soundtrack for a birthday party in a funeral parlor.” – Metal Wani
“… the culmination of Phil Anselmo’s development as a musician…a captivating listen if only for the intense power of Anselmo’s deep, clean singing…” – Ultimate Guitar
“EN MINOR has undoubtedly created a qualifying work here with the likes of When The Cold Truth… as you can feel all the weight, hear the pain, and really connect with the suffering of all sorts that are spotlighted in this album.” – Metal Addicts
“…a cohesive and emotionally devastating record. It’s hard not to be entranced with the simple poetry of what they conjure up here. This record is in many ways unexpected from this particular group of guys, but their execution is flawless.” – Two Guys Metal Reviews
“…a wonderful and mesmerizing journey into America’s folk music. Anselmo and his ensemble go deep to America’s southernmost cities and cultures, seeking the darkest melancholic tunes of the south. In an experimental structure, they ambitiously have written a modern day southern Gothic classic… When the Cold Truth… is a place for Anselmo to face his pain and sorrows, to soothe and purify his bewildered yet wounded soul.” – Heavy Music HQ
“…slow and methodical, dark in vocal ambiance and beautiful in musical solemnity.” – Music Frenzy
“Instead of relying on volume, Anselmo and his gaggle of musicians deliver the heavy by way of atmosphere and naked emotion. The album is largely built upon acoustic guitars, lush instrumentation, and Anselmo’s clean vocals – most akin to Mark Lanegan at the bottom of a well… After listening to this album, you will realize this isn’t such an extreme departure from Anselmo’s aesthetic. All of these songs make perfect sense. What’s more, it’s a refreshing makeover that fits right into our current existence of fear and uncertainty.” – The Void Report
“…When The Cold Truth Has Worn Its Miserable Welcome Out explores elements of Americana, and Gothic country, paying tribute to songwriters from generations ago while still having a fresh sound. It’s territory that Anselmo has only hinted at in the past, but alongside this accomplished crew of musicians EN MINOR has delivered an engrossing and bleak take on these genres.” – Metal Trenches
Philip H. Anselmo – vocals, guitars, bass
Kevin Bond – acoustic, electric guitar, bass
Stephen Taylor – guitar
Calvin Dover – keys
Joiner Dover – bass
Steve Bernal – cello
Jimmy Bower – drums
Jose Manuel “Blue” Gonzalez – drums (live)
Paul Webb – guitar (live)