Hound Gawd! Records announces the new album by The Cutthroat Brothers And Mike Watt.

Titled ‘The King Is Dead’, the album will be available as vinyl LP, CD and digital download starting at midnight on Record Store Day, June 12th, 2021. The venomous blues-punk, swamp-rock sounds of The Cutthroat Brothers And Mike Watt conjure bands like The Gun Club, The Cramps, The Stooges and The Hives. You can check out the video for the first single now:

The opening track ‘Killing Time’ snarls out a battle cry and sets the scene. Jason Cutthroat’s guitar slashes and slides like a straight razor. Donny Paycheck’s (ex Zeke) drums land harder than a barber chair thrown off a 13 story building, while under it all the mighty and unmistakable bass thunder of Mike Watt (Stooges, Minutemen) sticks everything together like blood to the scene of a crime. This collaboration began when Mike Watt interviewed Jason and Donny on The Watt from Pedro Show. When the real life barbers casually asked Watt to play bass on their next album, they didn’t expect to hear “yes”. Mike Watt added his magic and is now an honorary Cutthroat Brother barber by blood. Watt’s gritty, powerful playing will blow your greasy black pompadour back like a jet engine. Hailed as “the Sweeney Todd’s of punk”, The Cutthroat Brothers and Mike Watt are a mean and murderous match made in hell. World renowned visual artist Raymond Pettibon (Black Flag, Sonic Youth) contributed the cover art, making ‘The King Is Dead’ packaging hotter than a wet shave and twice as slick. Take this blood-soaked bash-a-thon and file it where it fits: right next to punk rock greats like Misfits or The Damned.

Jack Endino (Nirvana, Soundgarden, Mudhoney) produces, mixes, and masters again (his 4th collaboration with The Cutthroat Brothers in only 2 plus years since the band was formed), honing ‘The King Is Dead’ to a razor sharp point. It pens with the aforementioned ‘Killing Time’, an anthem for miscreants everywhere. Up next is the rockabilly and drug influenced ‘Medicine’ finding Mike Watt in a fuzzed up bounce reminiscent of The Minutemen’s ‘Corona’. The third and title track ‘The King Is Dead’ is a spooky blues burner that slips into the room like a night stalker, then slashes everything into a brash, bluesy bloodbath. The rest of the album pummels forward in the gritty, grimy, grinning fashion that leaves the listener sliced, shaking and twisting on the barbershop floor wanting more.