This is an ALL AGES event
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- Anyone who is under 18 MUST be accompanied by a parent or legal guardian who is 21 or older
This is an ALL AGES event
“The greatest challenge for me is to keep improving every aspect of the compositions and arrangements,” says ARCH ENEMY founder/guitarist Michael Amott about new album, War Eternal. “I’m always searching for ‘the perfect ARCH ENEMY song.’ When I started the band in 1995 I had the idea to create the most heavy melodic band of all time.”
And he did. Over the course of 19 years, ARCH ENEMY, under Amott’s guidance, crafted 10 acclaimed full-lengths, dominated sales charts, and toured the globe. If Amott were a smart man, he’d retire now to some tropical island with his favorite Michael Schenker records in tow and the setting sun on his face. But neither he nor ARCH ENEMY are done. Not by a long shot.
With vocalist Alissa White-Gluz replacing long-time frontwoman Angela Gossow in 2014 respectively, War Eternal is ARCH ENEMY reborn. “Changes in the band lineup are hardly ever looked upon favorably by the fans,” Amott acknowledges, “which I completely understand. Nonetheless, it does happen and the changes that have been made in the ARCH ENEMY camp were necessary in order for the band to survive and keep going. I love the energy of working with new people and Alissa has certainly brought a lot of talent and enthusiasm to the band!”
When Amott recruited Angela Gossow to front ARCH ENEMY for the Wages of Sin effort, he changed extreme metal forever. With White-Gluz, he has a new weapon. She’s a veritable firebrand on War Eternal, her unrelenting roar, cruel rasp and unique looks are the mark of a woman ready to conquer the world. “My goal is to keep ARCH ENEMY alive and thriving!” White-Gluz exclaims. “I want to open a whole new chapter for ARCH ENEMY, powerful and diverse, all the while respecting the legions of fans that love traditional ARCH ENEMY. Fans can expect loads of pure fucking metal.”
At 13 tracks, War Eternal is the quintessential ARCH ENEMY album. It’s both a nostalgic nod to the band’s past (“Never Forgive, Never Forget”, “No More Regrets”) and stunning example of what’s possible in the future (“Down to Nothing”, “Time is Black”). But if there’s a standout track—a spearhead—it’s the title song. Unveiled to the world on Youtube, “War Eternal” marches defiantly against the mundane, two raised fists to the constraints of society and the cage it desperately tries to put on us all. In it, White-Gluz proves she’s the next generation of great, while Amott and the rest of ARCH ENEMY play as if ”War Eternal” is their last song. That ”War Eternal” amassed an astonishing 1.5 million views the first 10 days is telling of its conviction and power. “There are a lot of details in this album that excite me as a songwriter and guitarist,” Amott grins. “Personally, I’ve pushed myself harder as player on War Eternal and feel I’ve gone to another level this time, which is very rewarding. I actually think the whole band has kicked everything up a notch or two.”
Produced by the band and mixed and mastered by Jens Bogren (Opeth, Paradise Lost) at Fascination Street Studio, the Swedes’ 10th full-length is unrelentingly brutal yet remarkably polished. “We could afford any big name producer at this stage in the game,” says Amott. “Having the band produce the album was a natural and logical way of working for us at this point. It was critical that we bring out the true ARCH ENEMY sound, the essence of the band on this record and who knows that better than us? Jens Bogren did an outstanding mixing and mastering the album. It was my first time working with him and I am more than impressed with his talent.”
The album was hailed as “Album Of The Month” in Terrorizer (UK), Powerplay (UK), Metal Hammer (Germany), Rock Hard (France), Metallian (France), Scream (Norway), Sweden Rock (Sweden) and got more than positive reviews all over the world; additionally, War Eternal achieved career-best chart positions for the band in the USA (#44), Germany (#9), Finland (#5), France (#56), and The Netherlands (#36), plus the best UK chart entry (#85) since Doomsday Machine (#81). ARCH ENEMY were also honored to appear on the front covers of Revolver (USA), Legacy (Germany), Rock Hard (France), Inferno (Finland), Up (Netherlands), Aardschok (Netherlands), Metal Maniac (Italy),Pro Rock (Bulgaria), Into The Pit (Thailand) and many more magazines.
Right after the release of War Eternal, the band kicked off their eternal touring with sublime festival shows at Wacken, Sweden Rock and many more, followed by a world tour with Kreator (with whom they released a split 7” single later in October 2014).
During the USA headline tour with Kreator, the band decided to part ways with guitarist Nick Cordle.
Christopher Amott (the brother of ARCH ENEMY founder/bandleader Michael Amott) joined the band for the remainder of their American headlining tour and Jeff Loomis (ex-Nevermore) stepped in for the following European dates with Kreator. Jeff will continue for another busy year in 2015 and beyond.
Jeff Loomis states: "I'm very excited to be playing with ARCH ENEMY. Michael Amott and I have stayed in contact over the years since we toured together when I was playing in Nevermore. Not only do I admire his guitar playing and songwriting, but I also consider him a close friend. To be able to share the stage with Michael, Sharlee, Daniel and Alissa is something I'm really looking forward to. 2015 is going to be a great year... See you all on tour!"
Michael Amott (guitars) comments: "The prospect of working with Jeff Loomis moving forward is truly awesome! Jeff Loomis is one of the best guitar players in the metal world in my opinion, as well as being a long time friend. I look forward to tearing it up on stages around the world together as we continue on the ‘War Eternal' touring cycle throughout all next year and beyond!"
There is no doubt that ARCH ENEMY are stronger than ever before. And the war is not over yet.
Michael Amott - Guitar
Daniel Erlandsson - Drums
Sharlee D'Angelo - Bass
Jeff Loomis - Guitar
Alissa White-Gluz - Vocals
Ronnie Canizaro- Vocals
Lee Mckinney- Guitar
Joe Buras - Keys
David DaRocha- Bass
Cameron Losch- Drums
The Chicago based VEIL OF MAYA have definitely taken the hard road to success grinding it out on the road through countless tours over the years, but now that backbreaking schedule is paying off tenfold. This quartet are one of the few very bands that can authentically mix elements of progressive metal, melodic death metal, thrash and hardcore brutality together effectively, all while keeping the listener constantly interested with baited breath wondering just what is coming next. This is exactly why they will have a career for years to come.
With their third full-length album, Eclipse, they continued to blend Meshuggah-esque riffs, shreddy solos and haunting melodies into a compelling package that garnered high acclaim from fans and media alike. With his overflowing riff bank in hand, the group have continued to churn out new material that has ultimately resulted in the new tracks that will be featured on a much anticipated new full length album (release TBA 2014) . The results are even more jagged and heterogenous with dizzying guitar savagery, jazz chords and fragmented leads congealing in a swarm of blast beats.
VEIL OF MAYA are firing on all cylinders and remain one of the top artists within the genre never adhering to any preconceived ideals further pushing the envelope with each new track they create.
You don’t name your band Cattle Decapitation if you’re looking to subtly insinuate your way into the consciousness of the masses. Equally, unleashing some of the most intense, horrifying, and extreme metal known to mankind will not ingratiate you with those of a sensitive nature, for the San Diegan’s boundary-pushing music is designed to turn heads and snap necks, and not necessarily in that order. Returning with their seventh full-length, the devastating Monolith Of Inhumanity, the band have never sounded more focused, more aggressive, or more determined to get in the faces of those who erroneously believe they have already experienced the band at their extreme best. “One of the main things this band has done since the very beginning was to try to break tradition and break the mold of what’s acceptable, in any given genre we’re working in,” states vocalist Travis Ryan. “I’m really happy that with this record we’ve been able to successfully push those boundaries further than we ever have, and without going into the ‘suck’ realm or sounding contrived. We’ve gone so far out on a limb on this one, and I’m just ecstatic that we’ve pulled off what we were trying to achieve.”
This achievement stands as one of the most volatile, ambitious, and impossible to aptly categorize records you will hear in 2012. Dragging their ever-evolving deathgrind sound kicking and screaming into the epic territory inhabited by the likes of Dimmu Borgir and Anaal Nathrakh, the quartet redefine all perceptions of what Cattle Decapitation is. “The mindset of this band has always been abrasive and balls to the wall, and like a car accident where there’s no fucking stopping it. Throwing melodic vocals or guitar work – or dare we say catchy elements – into that is tantalizing,” says Ryan. That such elements have been woven sparingly into their turbulent racket does not mean the band have in any way diminished the sheer visceral impact they are known for. “There can be hooks and catchiness without compromising what the band – or any individual in the band – is all about,” asserts guitarist Josh Elmore. “Having these elements at our disposal is just another tool with which we can build the best songs that we can. It was great also having input from Derek (Engemann, bass, who makes his writing and recording debut with this album), who added some new dynamics to some of the songs. We also spent a lot of time thinking about structure on this record, wanting every moment to count, no matter what the tone of it was.” After one exposure to Monolith Of Inhumanity it’s evident that these more melodic elements truly enhance the power of the tracks, and make for a more diverse and involving collection. On “A Living, Breathing Piece Of Defecating Meat” the band unleash a chorus
that manages to be hideous and infectious at the same time, while the towering “Your Disposal” and “Lifestalker” wield sweeping, dramatic sections tinged with apocalyptic fury, which are all the more gripping for the inclusion of Ryan’s melodic shrieking. “I was waiting for the guys to write parts I could use that kind of melody on, and as soon as they played me “Your Disposal” I dropped the song I was working on and just went for it,” enthuses Ryan. “This is the first record where I really listened to what the fans were saying they wanted, and many of them wanted a lot more of those weird, epic, melodic parts that crept into The Harvest Floor (2009), and I’m like okay, done, because luckily I agree with you this time!”
As with all of the band’s releases, Monolith Of Inhumanity revolves around a central concept, building upon Ryan’s potent distaste for contemporary civilization and the damage wrought in the name of progress. “Whereas The Harvest Floor focused on sort of rounding up the populace and getting rid of them, this record is about what would happen had we let them go. It’s about where humanity will end up if it continues the course it’s on,” the vocalist explains. This concept, inspired in part by 2001: A Space Odyssey, is once again captured in the cover art by longtime collaborator Wes Benscoter, depicting a bleak apocalyptic future and the regression of mankind into apes. “The monolith really represents technology, and the cover’s this trash heap with the monolith atop it and humans scavenging all around it, because that’s all they’re able to do any more. It’s where we’re headed on the course we’re on, and yeah, a lot of kids will say that’s a really negative, shitty attitude to have, but is it not correct?”
In realizing the record, the quartet – rounded out by drummer Dave McGraw – travelled to Denver, Colorado to collaborate with producer Dave Otero (Allegaeon, Cephalic Carnage). “Dave brought really good performances out of everybody, and he gave the record a lot of clarity while the heaviness is still there,” states Elmore, though it was the producer’s suggestions on how to better flesh out the songs that made the most profound difference in the guitarist’s eyes. “The guy really knows what he’s doing. I do a lot of layering after the basic rhythm track, and if I came to a point where I wasn’t sure about something someone would always pipe up and say you realize everything Dave has suggested so far has worked? Try it!” he laughs. That the record is as accomplished as it is also belies the fact that the schedules of the members made it difficult for them to focus on writing it over the year they had allotted. “As it turns out we work really well under pressure,” Ryan says with a wry smile. “But we were all so busy it’s literally a wonder that we got it done at all in that year, let alone what we came out with. It makes me feel like we’re capable of anything, and that’s really a new development.”
The visual aspect of their output having always been important to them, the band are enthused to have the album released as a gatefold vinyl, and to have Tom Bunk, creator of The Garbage Pail Kids collectors cards from the 1980s, design cards for the individual members of the band, which will be available with pre-orders. “Collecting those cards was one of my favorite things when I was a kid, and our friend and ex-manager is a complete nerd about it and has known Tom Bunk for years, and put us in touch with him. This is an older guy that doesn’t have to be fucking around with some deathgrind band who isn’t going to push him to new heights, but he thought it sounded like a fun project and he was very cool about everything. It still hasn’t really hit me that we quite literally have our own Garbage Pail Kid cards!” Ryan grins. “The funny thing is that it also inadvertently ties right into the theme of the record, which has so much focus on garbage and waste. It didn’t even occur to me until months later, but that’s the beauty of this band, things happen for a reason. For instance, for the first time, going into this record I didn’t have the whole concept worked out in my head. Usually I have it in mind as much as a few years before we get around to making the record, and I need that, it has to make sense to me or it’s just not going to work. I was so scared it just wasn’t going to come, but one day it literally just hit me. The title, the concept, the cover, all of it, and suddenly everything fell into place, and now it’s done I think this is the first time we’ve all been one hundred percent proud of what we’ve created – and for good reason.”
Bio by Dan Slessor
Since the release of their debut full-length album, The Aura, in June 2011, Montreal progressive death metallers Beyond Creation have become known for taking the innovative and exciting metal sound of their Quebec homeland and launching it into uncharted territory. Guitarists Simon Girard and Kevin Charté blend top-notch technical death metal playing, at times reminiscent of Gorod and The Faceless, with uid and progressive slides and taps, inspired by everything from
Guthrie Govan to Animals As Leaders. They are joined by arguably one of the most
forward-thinking players in metal, Dominic 'Forest' Lapointe, on six-string fretless bass, known for his work with Augury, Quo Vadis, Teramobil, Atheretic and others. Backed by the relentless assault of hyperactive drummer Philippe Boucher (Other bands: Incandescence, First Fragment, Chthe'ilist, Décombres) and led by Girard's blend of guttural growls and inhaled/pitched screams, Beyond Creation are blazing their own trail through hard work, originality and a fresh perspective on the metal genre.
Sat Aug 15 2015 2:30 PM
(Doors 2:00 PM)
This is an ALL AGES event