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DTSTART;TZID=America/Phoenix:20220406T183000
DTEND;TZID=America/Phoenix:20220406T233000
DTSTAMP:20220403T185353Z
CREATED:20220403T185353Z
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UID:13327-1649269800-1649287800@globalazmedia.com
SUMMARY:10 Years\, Black Map & Vrsty at Crescent Ballroom
DESCRIPTION:For nearly two decades\, 10 Years have quietly pushed themselves and modern rock towards evolution. Building a formidable catalog\, the group’s gold-selling 2005 breakthrough The Autumn Effect yielded the hit “Wasteland\,” which went gold\, infiltrated the Billboard Hot 100\, and clinched #1 at Active Rock Radio and #1 on the Billboard Alternative Songs Chart. They landed three Top 30 entries on the Billboard Top 200 with Division [2008]\, Feeding the Wolves [2010]\, and Minus the Machine [2012]. Most recently\, 2017’s (How to Live) As Ghosts marked a reunion between Jesse\, Brian\, and Matt and achieved marked success. Not only did the album bow in the Top 5 of the US Top Hard Rock Albums Chart\, but it also yielded the hit “Novacaine.” The single ascended to the Top 5 of the Billboard US Mainstream Rock Songs Chart and tallied 16 million Spotify streams\, alongside 29 million streams across all dsp’s. The cumulative total for all track streams from repertoire on How To Live (As Ghosts) exceeds 51 million plays. Along the way\, they sold out countless headline shows and toured with everyone from Korn\, Deftones\, and Stone Sour to Chris Cornell and Linkin Park. The new album\, Violent Allies\, is a collaboration with GRAMMY® Award-winning producer and Feeding the Wolves collaborator Howard Benson [My Chemical Romance\, Halestorm\, Papa Roach\, Three Days Grace]. \n \n \nA muscular American prog metal/hard rock trio with an impressive pedigree\, San Francisco’s Black Map is the creation of Dredg guitarist Mark Engles\, Far drummer Chris Robyn\, and Trophy Fire vocalist/guitarist Ben Flanagan. While Driver\, their 2014 debut EP\, offered gritty vocals and overblown distorted guitars\, by the time they issued their first full-length album\, …And We Explode\, they had begun crafting more deliberate hooks and prog riffs. On 2017’s In Droves\, their sound showcased clean\, melodic vocals with detuned\, multi-pedaled\, hook-laden guitar riffs and syncopated prog drumming. They dug into harder-edged prog and alternative metal for 2022’s Melodoria. \nBlack Map was formed in 2014 in San Francisco. They came together as the trio’s respective primary bands were on hiatus and discovered a solid penchant for writing together. The group issued their debut EP\, Driver\, shortly after forming\, with their full-length debut\, …And We Explode\, appearing from Minus Head Records just eight months later. It drew favorable reviews from critics\, who made comparisons to bands like A Perfect Circle\, Deftones\, and Chevelle. \nThe trio moved to eOne for their Aaron Hellam-produced sophomore long-player\, In Droves\, which arrived in 2017. Garnering an even larger array of positive reviews\, Black Map hit the road and played the American music festival circuit for the lion’s share of the next 12 months\, racking up more than 150 gigs in the process. Between festival dates\, they booked studio time with producer Mike Watts in Long Island\, New York\, and cut three songs. They recorded a fourth with Hallam upon returning home\, and the tracks were all released as the prog metal-oriented Trace the Path EP later that year. The band toured across 2019 before being sidelined by the COVID-19 pandemic in 2020. \nBlack Map reunited in 2021 and spent many hours writing at home in San Francisco. They booked time in several studios across the Bay Area. Deciding to produce themselves\, they enlisted Zach Ohren (Machine Head\, the Ghost Inside\, Set Your Goals) as a guiding light and co-producer. That September\, they issued the pre-release single “Chasms” on Minus Head; it served as the opening track for 2022’s ten-song Melodoria. ~ James Christopher Monger\, Rovi \n \n \nNew album WELCOME HOME out 1/21 on Spinefarm Records. Learn more @ www.vrsty.nyc. \nSure\, it’s easy to believe everything has been done before. VRSTY (Var-Si-Ty) prove it hasn’t. The New York City quartet—Joey Varela [vocals]\, Javy Dorrejo [bass]\, Chris Cody [drums]\, and Paul Gregory [guitar]—layer R&B vocal styles over heavy metallic grooves and chugging riffage. After posting up over 2 million streams and charting Billboard with their independent releases\, the group crafted a unique and unexpected hybrid on their 2020 debut EP for Spinefarm Records\, Cloud City. \nFueled by the success of Cloud City – which saw hit singles Massive & Shameless rack up over a million streams each in under a year – VRSTY will release their label debut full-length WELCOME HOME on January 21\, 2022. \n“When people ask me what we sound like\, I say\, ‘We’re whatever you want us to be’\,” states Joey. “I can’t put a genre on us\, because I’m a pop and R&B singer who loves metal. There are pop tracks\, metal tracks\, and R&B tracks. It’s super different heavy music with pop-inspired vocals. The genre has enough bands who sound similar. If you spend time trying to do what’s popular\, you fall into a mode. That’s not something we’re interested in. The music has to be fun for us and the people listening to it.” \nIn the end\, VRSTY break all of the rules and ultimately break ground. \n \n 
URL:https://globalazmedia.com/event/10-years-black-map-vrsty-at-crescent-ballroom/
LOCATION:Crescent Ballroom\, 308 N 2nd Ave\, Phoenix\, AZ\, 85003\, United States
ATTACH;FMTTYPE=image/png:https://globalazmedia.com/wp-content/uploads/2022/04/10-years-at-Crescent-Ballroom.png
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20220409T193000
DTEND;TZID=America/Phoenix:20220409T233000
DTSTAMP:20220403T192054Z
CREATED:20220403T192054Z
LAST-MODIFIED:20220403T192054Z
UID:13333-1649532600-1649547000@globalazmedia.com
SUMMARY:Journey & ToTo at Gila River Arena
DESCRIPTION:JOURNEY is one of the most popular American rock bands of all time\, creating some of the best-known songs in modern music. Since the group’s formation in 1973\, the band has earned 19 top 40 singles and 25 Gold and Platinum albums and has sold nearly 100 million albums globally. Their Greatest Hits album is certified 15 times-Platinum\, bringing Journey into the elite club of Diamond-certified award holders. The band continues to tour and record into the 21st century\, performing concerts for millions of fans worldwide\, and received the prestigious Billboard “Legends of Live” touring award. 2018’s massive co-headlining tour with Def Leppard was the band’s most successful tour to date\, landing them in the Top 10 year-end touring chart with more than 1 million tickets sold. In 2017\, Journey was inducted into the Rock and Roll Hall of Fame. In March 2019\, Journey released a live DVD/CD set from their concert at the Budokan in Tokyo\, featuring the first-ever performances of the band’s “Escape” and “Frontiers” albums in their entireties. Journey received a star on the Hollywood Walk of Fame\, was inducted into the Hollywood Bowl Hall of Fame\, and is the subject of the award-winning documentary\, “Don’t Stop Believin’: Everyman’s Journey.” \n \n \nFew ensembles in the history of recorded music have individually or collectively had a larger imprint on pop culture than the members of TOTO.  As individuals\, the band members can be heard on an astonishing 5000 albums that together amass a sales history of a half a billion albums.  Amongst these recordings\, NARAS applauded the performances with more than 200 Grammy nominations. Toto has over 400 million streams on Spotify alone along while views on YouTube far exceed over a half billion. \nWith close to 40 years together and literally thousands of credits\, including the biggest selling album of all time: Michael Jackson’s Thriller\, and accolades to their names\, TOTO remains one of the top selling touring and recording acts in the world. They are the benchmark by which many artists base their sound and production\, and they continue to transcend the standards set by the entire music community\, being simply synonymous with musical credibility. Their repertoire continues to be current via high profile usage on broadcast television. They are pop culture\, and are one of the few 70’s bands that have endured the changing trends and styles to a career enjoy a multi-generational worldwide fan base. \nOn February 9\, 2018\, TOTO will release their brand new Greatest Hits package 40 Trips Around The Sun featuring three new tracks. \n \n 
URL:https://globalazmedia.com/event/journey-toto-at-gila-river-arena/
LOCATION:Desert Diamond Arena\, 9400 W Maryland Ave\, Glendale\, AZ\, 85305\, United States
ATTACH;FMTTYPE=image/jpeg:https://globalazmedia.com/wp-content/uploads/2022/04/Journey-and-toto-at-Gila-River-Arena.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20220412T190000
DTEND;TZID=America/Phoenix:20220412T233000
DTSTAMP:20220403T193941Z
CREATED:20220403T193941Z
LAST-MODIFIED:20220403T193941Z
UID:13337-1649790000-1649806200@globalazmedia.com
SUMMARY:Ministry with Melvins and Corrosion of Conformity at The Van Buren
DESCRIPTION:Born in 1981 in Chicago\, Ministry has been the lifetime passion project of founder Al Jourgensen\, considered to be the pioneer of industrial music. In its early days\, Ministry was identifiable by its heavy synth-pop material in line with the new sounds and technology that were being developed in the ‘80s. Ministry’s output began with four 12” singles on Wax Trax! Records in 1981 before the first LP With Sympathy in 1983 via Arista Records. As time progressed however\, so did Ministry\, quickly developing a harsher\, and more stylized sound that the band soon became infamous for on seminal albums Twitch (1986)\, The Land of Rape and Honey (1988)\, and The Mind Is A Terrible Thing To Taste (1989). With the release of Psalm 69: The Way to Succeed and The Way to Suck Eggs (1992)\, Ministry hit an all time high in the mainstream musical realm and received its first Grammy nomination. In total\, Ministry has been nominated for a Grammy award six times. After an indefinite hiatus in 2013\, Ministry’s 2018 album\, AmeriKKKant\, continued to reflect Jourgensen’s views on the frightening state of society and politics. Ministry’s newest album MORAL HYGIENE is set to be released on October 1st\, 2021 via Nuclear Blast Records. \n \n \nThe Melvins weren’t the first band to acknowledge the heavy metal influences that most left-of-center bands had been trying to shake off since punk rock broke in 1977 (that honor would go to Black Flag on their polarizing 1984 album My War). But no other band to emerge from the punk/alternative underground would mine Black Sabbath‘s slow\, monolithic roar with greater effect than the Melvins\, and they would prove to be wildly influential despite barely breaking out of cult status. The drop-D tunings and brontosaurus stomp of grunge icons such as Tad\, Mudhoney\, and Soundgarden would be unthinkable without the trails the Melvins blazed\, and Kurt Cobain often sang their praises\, helping them land their first major-label recording deal in 1993. They became a bridge between the edges of the punk and metal communities\, who would find greater common ground from the ’90s onward. (Their debut EP\, 1986’s 6 Songs\, found them wavering between speedier punk-oriented numbers and full-on heaviness\, but by 1991’s Bullhead\, the Melvins’ trademark gargantuan sound was firmly in place.) And while the Melvins were as recognizable as any band of their day\, they also proved to be more creatively flexible than nearly all their peers\, willing to experiment with different styles (the massive suite on 1992’s Melvins [aka Lysol]\, the ambitious studio experimentation of 1996’s Stag\, the noisy soundscapes in 2017’s A Walk with Love and Death) and a variety of musical configurations (bringing in multiple guest vocalists on 2000’s The Crybaby\, using two drummers on 2006’s A Senile Animal\, working with a rotating team of bassists on 2016’s Basses Loaded\, recording with two bassists at once on 2018’s Pinkus Abortion Technician\, and recording an epic-scale acoustic set for 2021’s Five Legged Dog)\, all of which helped the band remain productive and prolific more than three decades after they launched. \nThe band formed in Aberdeen\, Washington\, the same town that produced Nirvana‘s Cobain and Krist Novoselic. For Nirvana and many other Seattle-area bands\, the Melvins’ sludge was inspirational; the younger bands took the Sabbath-styled heaviness of the Melvins and added an equally important pop song structure\, which the group tended to lack. While all of their disciples became famous after Nirvana broke big in 1991 (including Mudhoney\, which featured former Melvins bassist Matt Lukin)\, the Melvins only expanded their cult slightly. They did earn a major-label contract with Atlantic\, but after releasing three records for the label\, they were dropped in late 1996 and the group returned to indie status\, landing with Amphetamine Reptile for 1998’s Alive at the F*cker Club. The late ’90s and early 2000s saw a flurry of releases by the band: The Maggot\, The Bootlicker\, The Crybaby\, Electroretard\, The Colossus of Destiny\, Hostile Ambient Takeover\, Pigs of the Roman Empire\, and Houdini Live 2005: A Live History of Gluttony and Lust\, all of which (except for the fourth one) were issued on Mike Patton‘s Ipecac label. \nIn addition to their Melvins activities\, singer/guitarist Buzz Osborne joined Patton (and former Slayer drummer Dave Lombardo and Mr. Bungle bassist Trevor Dunn) for the experimental outfit Fantômas\, resulting in a number of releases (1999’s self-titled debut\, 2001’s The Director’s Cut\, 2002’s Millennium Monsterwork by “the Fantômas Melvins Big Band” (recorded live in San Francisco on New Year’s Eve 2000 but not released until two years later)\, 2004’s Delirium Cordia\, and 2005’s Suspended Animation)\, while the Melvins’ latest bassist\, Kevin Rutmanis\, joined Patton in another side project\, Tomahawk. In 2006\, Big Business bassist Jared Warren and drummer Coady Willis joined the Melvins\, appearing on that year’s Senile Animal album. The follow-ups\, 2008’s Nude with Boots\, 2010’s The Bride Screamed Murder\, and a live album titled Sugar Daddy Live\, were recorded with the same lineup and released by Ipecac. \nThe band returned in 2012 with a stripped-down lineup\, dubbed Melvins Lite\, for Freak Puke\, which found Crover and Osborne recording without the boys from Big Business and instead adding standup bassist Dunn to their roster to round out the band’s already formidable bottom-end sound. Mixing things up even further\, the band invited a host of guests\, including the likes of Jello Biafra and J.G. Thirlwell\, for Everybody Loves Sausages\, an album of covers that arrived in 2013. Another new album\, Tres Cabrones\, released in November of that same year\, saw them reunited with original drummer Mike Dillard — who had previously appeared only on their early demo tapes — while usual drummer Dale Crover took over on bass duties. Another odd combination occurred in 2014\, as Crover and Osborne joined the Butthole Surfers‘ Jeff “J.D.” Pinkus and Paul Leary on the eclectic Hold It In. \nTwo unusual releases from the Melvins arrived in 2016. An album the group began recording in 1999 with Mike Kunka of Godheadsilo was finally completed and released as Three Men and a Baby\, credited to Mike & the Melvins. And in the middle of 2016 they issued Basses Loaded\, where the group recruited a handful of favorite bass players to collaborate on songs. The guest artists included Krist Novoselic of Nirvana\, Steve McDonald of Redd Kross and OFF!\, J.D. Pinkus\, Trevor Dunn\, and Jared Warren. One of the few things the Melvins hadn’t done was release a double album\, but they were finally able to cross that off their list in 2017 with A Walk with Love and Death. The 23-track release included material written and recorded as the score to a film by Jesse Nieminen. In 2018\, the Melvins broke ground with a lineup featuring two bassists on the album Pinkus Abortion Technician. The sessions found J.D. Pinkus (returning from his previous appearances on Hold It In and Basses Loaded) handling the bottom end along with Steve McDonald (also heard on Basses Loaded)\, while King Buzzo and Dale Crover took their usual places on guitar and drums. The band reunited several times with first drummer Dillard\, releasing several EP-length or stand-alone recordings under the sub-moniker Melvins 1983. In 2021\, this formation of the band released a full-length titled Working with God. With touring off the table during the COVID-19 pandemic\, the hard-working Melvins played a series of live streamed concerts under the banner Melvins TV\, and set to work on an unusual project. Five Legged Dog\, released in October 2021 and featuring the Osborne/ Crover/McDonald lineup\, was the group’s first all-acoustic album\, running nearly two-and-a-half hours\, and featuring new interpretations of songs spanning their recording career\, as well as covers of songs that influenced them. ~ Stephen Thomas Erlewine & Greg Prato\, Rovi \n \n \nOne of the first punk-metal fusion bands\, Corrosion of Conformity were formed in North Carolina by guitarist Woody Weatherman during the early ’80s. In their early years\, C.O.C. became known for their aggressive sound\, intelligent political lyrics\, and willingness to break away from both hardcore and metal conventions. In the ’90s\, their shift to a more stripped-down\, deliberate sound — sort of Black Sabbath filtered through the Deep South — brought them enough in line with the alt-metal Zeitgeist to bring them a measure of mainstream popularity. \nC.O.C. debuted in 1983 with the thrashy\, Black Flag-influenced Eye for an Eye\, featuring a lineup of Weatherman\, drummer Reed Mullin\, vocalist Eric Eycke\, and bassist Mike Dean. They began to build up a cult following with 1985’s Animosity\, but their label at the time\, Death\, grew tired of their internal instability — lineup changes found Eycke replaced by vocalist Simon Bob — and dropped them following 1987’s Technocracy. It took several years for a new lineup to come together — featuring Weatherman\, guitarist Pepper Keenan\, Mullin\, vocalist Karl Agell\, and bassist Phil Swisher — but when it did\, the result was 1991’s Blind\, a powerful\, focused\, more metallic record that increased their audience by leaps and bounds. Agell was fired following its success\, and he and Swisher went on to form Leadfoot; meanwhile\, Keenan became the full-time lead vocalist on 1994’s even more Sabbath-esque Deliverance\, which also featured the return of original bassist Mike Dean. During 1995\, Keenan took a short detour into the Southern metal supergroup Down (which also featured Pantera‘s Phil Anselmo and members of Crowbar). \nThanks to a shift in popular taste in favor of the ultra-heavy brand of alternative metal\, the group had helped pioneer\, C.O.C. found themselves with a larger audience than ever before when they released 1996’s Wiseblood\, which continued and expanded their rock radio success. After a lengthy break from recording and a world tour with Metallica\, C.O.C. returned with a new album in the fall of 2000\, titled America’s Volume Dealer. Another break ensued\, resulting in the release of the live recording Live Volume in 2001. It wasn’t until April of 2005 that the band regrouped for the hard-hitting and complex In the Arms of God. C.O.C. went on hiatus\, with the members working on various side projects until 2010\, when drummer Reed Mullin rejoined the band\, reuniting the Animosity lineup while Pepper Keenan continued working with his other band\, Down. The remaining trio began work on new material\, and in 2012 released their eighth album\, the eponymous Corrosion of Conformity\, on Candlelight Records. Their ninth album\, aptly titled IX\, arrived in 2014. Shortly after the latter LP’s release\, C.O.C. reunited with Keenan and began work on their tenth studio long-player\, No Cross No Crown\, which dropped in January 2018. The band announced the death of Reed Mullin on January 27\, 2020. ~ Steve Huey\, Rovi \n \n 
URL:https://globalazmedia.com/event/ministry-with-melvins-and-corrosion-of-conformity-at-the-van-buren/
LOCATION:The Van Buren\, 401 W. Van Buren St\, Phoenix\, AZ\, 85003\, United States
ATTACH;FMTTYPE=image/jpeg:https://globalazmedia.com/wp-content/uploads/2022/04/1A0A1284.jpg
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DTSTART;TZID=America/Phoenix:20220413T200000
DTEND;TZID=America/Phoenix:20220413T233000
DTSTAMP:20220403T195549Z
CREATED:20220403T195549Z
LAST-MODIFIED:20220403T195549Z
UID:13348-1649880000-1649892600@globalazmedia.com
SUMMARY:Poppy - Never Find My Place Tour at Marquee Theatre
DESCRIPTION:Runeterra has no shortage of valiant champions\, but few are as tenacious as Poppy. Bearing a hammer twice the length of her body\, this determined yordle has spent untold years searching for the “Hero of Demacia\,” a fabled warrior said to be the rightful wielder of her weapon. \nAs legend describes it\, this hero is the only person who can unlock the full power of the hammer and lead Demacia to true greatness. Though Poppy has searched the furthest corners of the kingdom for this legendary fighter\, her quest has proven fruitless. Each time she has attempted to pass the hammer on to a potential hero\, the results have been disastrous\, often ending in the warrior’s death. Most people would have abandoned the task long ago\, but most people do not possess the pluck and resolve of this indomitable heroine. \nPoppy was once a very different yordle. For as long as she could remember\, she had been in search of a purpose. Feeling alienated by the chaotic whimsy of other yordles\, she preferred to soak up stability and structure where she could find it. This drive brought her to the human settlements of western Valoran\, where she gazed in wonder at the caravans striping the countryside in an endless file. Many of the people there looked tattered and weary\, but they stumbled on in pursuit of some ephemeral better life that might lie just beyond the horizon. \nOne day\, however\, a different sort of caravan passed through. Unlike the other travelers\, these people seemed to move with purpose. They all awoke at the exact same time each morning\, roused by the sound of a watchman’s horn. They took their meals together every day at the same hour\, always finishing within a few minutes. They set up their camps and took them down with remarkable efficiency. \nWhile yordles used their innate magic to fashion extraordinary things\, these humans achieved equally astounding feats through coordination and discipline. They acted in concert like the cogs of a gear\, becoming something much larger and stronger than any single person could ever be. To Poppy\, that was more marvelous than all the magic in the world. \nAs Poppy watched the camp from the safety of her hiding place\, her eyes caught the gleam of armor emerging from a tent. It was the group’s commanding officer\, wearing a brigandine of gleaming steel plates\, each piece overlapping\, each an integral part of the whole. The man’s name was Orlon\, and his presence seemed to stir the souls of everyone there. If someone became discouraged\, he was there to remind them of why they pressed on. If someone collapsed from exhaustion\, he inspired them to get up. It reminded Poppy of certain yordle charms\, though again\, without magic. \nPoppy crept in for a closer look. She found herself following this shining commander\, as if drawn to him by fate itself. She observed Orlon as he led his soldiers in training exercises. He was not a large fellow\, yet he swung his massive battle hammer with surprising alacrity. At night\, Poppy listened intently to his hushed discussions with the elders of the camp. She heard them making plans to pull up stakes and head west to build a permanent settlement. \nPoppy’s mind was overwhelmed with questions. Where was Orlon going? Where did he come from? How did he assemble this meticulous band of travelers\, and was there a place for a yordle in it? At that moment\, she made the most important decision in her life: For the first time ever\, she would reveal herself to a human\, as this was the first time she’d ever felt a connection with one. \nThe introduction was a jarring one\, with Orlon having just as many questions for Poppy as she had for him\, but the two soon became inseparable. He became a mentor to her\, and she a devotee to his cause. In the training grounds\, Poppy was an invaluable sparring partner–the only member of Orlon’s battalion who was unafraid to strike him. She was never obsequious\, questioning his decisions with an almost childlike innocence\, as though she didn’t know she was supposed to meekly follow orders. She accompanied him to the site of the new settlement–an ambitious new nation called Demacia\, where all were welcome\, regardless of station or background\, so long as they contributed to the good of the whole. \nOrlon became a beloved figure throughout the kingdom. Though few had actually seen him wield his hammer\, he always bore it on his back\, and the weapon quickly became a revered icon for the fledgling nation. People whispered that it had the power to level mountains and tear the earth itself asunder. \nOrlon passed the hammer to Poppy on his deathbed\, and with it\, his hope of an enduring kingdom. It was only then that Orlon told her the story of his weapon’s creation\, and how it was never truly intended for his hands. He explained to Poppy that the hammer was meant to go to the Hero of Demacia–the only one who could keep Demacia whole. As her friend drew his last breath\, Poppy swore to him that she would find this hero and place the weapon in his hands. \nBut what Poppy possesses in resolve\, she lacks in ego\, as it never even occurred to her that she might be the hero Orlon described. \n \n 
URL:https://globalazmedia.com/event/poppy-never-find-my-place-tour-at-marquee-theatre/
LOCATION:Marquee Theatre\, 730 N Mill Ave\, Tempe\, 85281\, United States
ATTACH;FMTTYPE=image/jpeg:https://globalazmedia.com/wp-content/uploads/2022/04/poppy-at-marquee-theatre.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20220415T200000
DTEND;TZID=America/Phoenix:20220415T233000
DTSTAMP:20220411T024501Z
CREATED:20220411T024501Z
LAST-MODIFIED:20220411T024501Z
UID:13440-1650052800-1650065400@globalazmedia.com
SUMMARY:Apocalyptica & Lacuna Coil at The Van Buren
DESCRIPTION:“Cell-0 represents the core of everything. For us it is a particle that symbolizes the essence of all. That is to say\, where everything comes from and where everything ends up…” Apocalyptica are true explorers\, always seeking new frontiers and uncharted territories in which to express themselves. With Cell-0\, their 9th studio album\, the ambitious and electric quartet have not simply returned to their non-vocal roots\, they have traveled deeper and further into the universe of instrumental music than ever before. That first love and passion which fueled Apocalyptica to form during 1993 in Helsinki now carries richer layers of knowledge and experience\, which in turn have led to the band to a fundamental realization and creative path. \n \n \nFormed in 1994\, Lacuna Coil quickly became one of Century Media’s biggest selling bands. From Comalies (2002) and Karmacode (2004) to Shallow Life (2009) and Broken Crown Halo (2014)\, the high-flying Italian act demonstrated an uncanny ability to pull in rock\, gothic\, and metal audiences. The band’s spirited and lauded live performances have also earned them a solid reputation for a band that not only delivers night in/night out\, but also a band whose stage performance reverberates long after the show is over. Indeed\, Lacuna Coil’s heartfelt\, heavy\, melodic\, and rhythmic metal—a hybrid of gothic\, groove\, and alternative—has created a rabid worldwide following. Whether it’s “Our Truth” and “Delirium” or “Nothing Stands in Our Way” and “Trip the Darkness\,” Lacuna Coil’s dual-vocalist assault is immediately identifiable. New album\, Black Anima\, continues the Italian’s reign atop the metal stack. BLACK ANIMA line up Cristina Scabbia – Vocals Andrea Ferro – Vocals Marco ‘Maki’ Coti Zelati – Bass Guitar\, Keys & Synth Diego ‘DD’ Cavallotti – Guitars Richard Meiz – Drums \n \n 
URL:https://globalazmedia.com/event/apocalyptica-lacuna-coil-at-the-van-buren/
LOCATION:The Van Buren\, 401 W. Van Buren St\, Phoenix\, AZ\, 85003\, United States
ATTACH;FMTTYPE=image/png:https://globalazmedia.com/wp-content/uploads/2022/04/Apocalyptica-and-Lacuna-Coil-at-The-Van-Buren.png
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20220416T173000
DTEND;TZID=America/Phoenix:20220416T233000
DTSTAMP:20220414T010600Z
CREATED:20220414T010600Z
LAST-MODIFIED:20220414T010600Z
UID:13464-1650130200-1650151800@globalazmedia.com
SUMMARY:Behemoth & Arch Enemy at Marquee Theatre
DESCRIPTION:“It doesn’t get more blasphemous than this.” \nThat’s Behemoth mastermind Nergal talking about the title of the band’s 11th and latest album\, I Loved You At Your Darkest. While it certainly seems an unlikely title for a black metal band—especially one that called their last album The Satanist—its origin might surprise you even more than the words themselves. “It’s a verse from the Bible\,” Nergal reveals. “It’s actually a quote from Jesus Christ himself. For Behemoth to use it as the basis of our record\, it’s sacrilege to the extreme.” \nNergal and his bandmates—Orion (bass) and Inferno (drums)—have channeled that passion into I Loved You At Your Darkest. A crushing salvo of black metal majesty replete with hellish riffs\, thundering drum cannonades and soaring liturgical choirs reminiscent of classic horror cinema\, the album is also bejeweled with nimble-fingered rock guitar solos on songs like “God=Dog\,” “Ecclesia Diabolica Catholica” and “Sabbath Mater.”<br> \n \n \n\n\nTime passes\, the world changes\, but some things remain constant and unassailable. Heavy metal has endured for more than four decades because its spirit is eternal\, and few bands embody the intensity\, integrity and lofty artistic ambitions of the genre with more dazzling aplomb than Arch Enemy. Formed in Sweden in the mid-90s by former Carcass/Carnage guitarist Michael Amott\, this most explosive and proficient of modern metal bands have spent the last 20 years propagating an unerring creed of technical excellence\, songwriting genius and thunderous\, irresistible live performance\, accruing a huge global fan base along the way. \n\n\n\n\nWhen Arch Enemy released their debut album Black Earth in 1996\, death metal was stagnating and in desperate need of a kick up the ass. Amott’s blueprint for the purest of metal strains proved an instant underground hit\, both in Europe and Japan\, and almost single-handedly resurrected death metal as a viable art form with mainstream potential. Signed to Century Media Records for 1998’s sophomore effort Stigmata\, Arch Enemy marched purposefully towards a new millennium with a rapidly growing reputation. 1999’s Burning Bridges added to the band’s momentum\, their razor-sharp blend of brutality and epic melody becoming more refined with each creative step. But it was in 2001\, when original vocalist Johan Liiva stood aside and mercurial frontwoman Angela Gossow stepped in\, that Arch Enemy truly took off. \nReleased in 2001 in Japan and nearly a year later in Europe\, Wages Of Sin showcased a revitalised line-up and newfound gift for immortal anthems\, Gossow’s feral roar adding many layers of charisma and power to Arch Enemy’s already monstrous sound. Swiftly dedicating themselves to a relentless touring schedule\, the band’s upward trajectory continued throughout the first decade of the 21st century\, with each successive album enhancing the band’s reputation and bringing legions of new fans to this resolute heavy metal campaign. \n \n \nHi Napalm heads ! Shane bouncing in here late Sunday night ! 49 mins left before we face another Monday Morning .. i am gonna chip in frequently now on this Spotify page as regular as i can with new playlists – Stuff i or members of Napalm are into musically – and playlists of stuff we are liking – bands that have influenced etc !! meanwhile check out the latest @Venomous Concept album Politics Versus the Erection.. cheers and good night \n \n 
URL:https://globalazmedia.com/event/behemoth-arch-enemy-at-marquee-theatre/
LOCATION:Marquee Theatre\, 730 N Mill Ave\, Tempe\, 85281\, United States
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DTSTART;TZID=America/Phoenix:20220421T200000
DTEND;TZID=America/Phoenix:20220421T233000
DTSTAMP:20220414T012955Z
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LAST-MODIFIED:20220414T012955Z
UID:13471-1650571200-1650583800@globalazmedia.com
SUMMARY:The Hu & The Haunt at The Van Buren
DESCRIPTION:Founded in 2016 in Ulaanbaatar\, Mongolia\, The HU\, comprised of producer Dashka along with members Gala\, Jaya\, Temka\, and Enkush\, are a modern rock group rooted in the tradition of their homeland. The band’s name translates to the Mongolian root word for human being\, and their unique approach blends instruments like the Morin Khuur (horsehead fiddle)\, Tovshuur (Mongolian guitar)\, Tumur Khuur (jaw harp) and throat singing with contemporary sounds\, creating a unique sonic profile that they call Hunnu Rock. Their debut album\, The Gereg\, debuted at #1 on the World Album and Top New Artist Charts. They have accumulated over 250 million combined streams and video views and have received critical acclaim from the likes of Billboard\, NPR\, Revolver\, Vice\, GQ\, and even Sir Elton John himself. Proving their global appeal\, the HU have sold out venues across the world in North America\, Europe\, Asia\, and Australia\, with scheduled festival appearances at Coachella\, Lollapalooza\, Download Festival\, and more\, creating a community of fans from all walks of life. They’ve quickly grabbed the attention of the industry\, leading to collaborations with Jacoby Shaddix of Papa Roach\, Lzzy Hale of Halestorm\, and Metallica\, who most recently gave the band’s Mongolian rendition of their hit\, “Sad But True\,” the official seal of approval. The band has also explored eclectic ways to reach audiences with their sound\, most notably writing and recording music for EA Games’ Star Wars Jedi: Fallen Order. \n \n \nThe Haunt conjures a wild\, youthful and stylish indifference that reflects an era when rock n’ roll was ‘by and for’ the beautiful outcasts. Led by siblings Anastasia (18) & Maxamillion (22)\, the group creates a strong bond with fans through their live shows and online\, by encouraging confidence and authenticity. 
 Their Alt-Rock-Pop sound elicits a feeling of both classic and contemporary rock/pop icons who have influenced their music\, and denies any claim to chasing trends. 
 The band released their self-titled debut EP in 2018\, produced by Josh Diaz\, and Maxamillion Haunt. After touring with Palaye Royale throughout late 2018 and early 2019\, the band spent time recording their sophomore EP “Social Intercourse” produced by Matt Good. 
 “MAKE ME KING” the first single off of the band’s debut full-length album\, out now!!! \n \n 
URL:https://globalazmedia.com/event/the-hu-the-haunt-at-the-van-buren/
LOCATION:The Van Buren\, 401 W. Van Buren St\, Phoenix\, AZ\, 85003\, United States
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DTSTART;TZID=America/Phoenix:20220422T183000
DTEND;TZID=America/Phoenix:20220422T233000
DTSTAMP:20220414T014416Z
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UID:13476-1650652200-1650670200@globalazmedia.com
SUMMARY:All That Remains & Miss May I at Encore
DESCRIPTION:Formed by guitarist Oli Herbert and ex-Shadows Fall vocalist Phil Labonte in 1998\, Massachusetts’ All That Remains debuted in 2002 with Behind Silence and Solitude on Metal Blade. Rounded out by drummer Michael Bartlett\, guitarist Chris Bartlett\, and bassist Danny Egan\, the record first showcased the band’s blistering and heavy take on melodically infused hardcore death metal. All That Remains went through some lineup changes\, and guitarist Mike Martin was added for their 2004 breakthrough on Prosthetic Records\, This Darkened Heart. Produced by Killswitch Engage‘s Adam Dutkiewicz and released to rave reviews\, the record landed All That Remains on various shows and tours with the likes of GWAR\, the Crown\, Arch Enemy\, Darkest Hour\, and more. They continued touring nonstop behind Heart\, taking a break only in late 2005 to begin writing new material for their third full-length. Working again with Dutkiewicz and Prosthetic\, the band recorded The Fall of Ideals\, which appeared in July 2006. By this time\, the group comprised Labonte\, Herbert\, Martin\, drummer Shannon Lucas\, and bassist Jeanne Sagan. All That Remains hit the road once again\, spending time on the European leg of the Sounds of the Underground tour and that summer’s Ozzfest; nationwide headlining dates were completed that fall. \nOvercome followed in 2008\, and included two singles (“Chiron\,” “Two Weeks”) that also appeared in the video game franchise Rock Band. Their fifth album\, For We Are Many\, was produced by Dutkiewicz and appeared in 2010. The album shot to the tenth spot on the Billboard 200 while the band set out on tour with Hatebreed and Five Finger Death Punch. All That Remains’ eclectic sixth album\, A War You Cannot Win\, arrived in 2012; it was almost\, though not quite\, as successful as its predecessor\, going to number 13 on the Billboard chart. It was three years before the band dropped another record. For 2015’s The Order of Things\, produced by Josh Wilbur\, they upped the ante\, making it faster\, heavier\, and more melodic than ever before. The album was preceded by the brutal single “No Knock.” In 2017\, All That Remains issued their eighth studio long-player\, the Howard Benson-produced Madness\, via Razor & Tie. Channeling the sonic heft of 2010’s For We Are Many\, the band issued the punishing Victim of the New Disease in 2018\, this time via Fearless Records. ~ Corey Apar\, Rovi \n \n \nThe sound and fury of MISS MAY I is deeply embedded in the hearts and minds of a legion of fans. These are people from different backgrounds\, of different ages\, with diverse life experience\, who all come together and connect with MISS MAY I’s combination of brutal proficiency and impassioned delivery. The five-piece powerhouse\, from the fertile metalcore grounds of America’s heartland\, have become an integral part of the worldwide heavy music community\, transcending boundaries and limitations\, galvanizing crowds\, and energizing each person they encounter. \nMiss May I celebrates a decade of savage metalcore and soaring melodic refrains\, newly revitalized\, and poised for an insurgent career renaissance; armed with unmistakable power\, road hardened experience\, a steadily building catalog\, and unrelenting spirit\, supported by a diehard community. \n \n 
URL:https://globalazmedia.com/event/all-that-remains-miss-may-i-at-encore/
LOCATION:Encore\, 5851 E Speedway Blvd\, Tucson\, AZ\, 85713\, United States
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DTSTART;TZID=America/Phoenix:20220424T143000
DTEND;TZID=America/Phoenix:20220424T233000
DTSTAMP:20220414T020939Z
CREATED:20220414T020939Z
LAST-MODIFIED:20220414T020939Z
UID:13481-1650810600-1650843000@globalazmedia.com
SUMMARY:98KUPD Presents UFEST 2022
DESCRIPTION:If ever there was a perfect time for a new album from the outspoken\, socially-conscious\, multi-Gold and Platinum punk rock band Rise Against\, it’s right now. Nowhere Generation\, due out June 4 on Loma Vista Recordings\, is blazing and aggressive\, fusing old-school punk attitude with post-hardcore fury. Lyrically\, the eleven songs were influenced by input from the band’s vocalist/lyricist Tim McIlrath’s two young daughters\, and the band’s community of fans\, and point an enormous spotlight at the social and economic deck that has been stacked against younger generation’s pursuit of The American Dream. Today\, there is the promise of The American Dream\, and then there is the reality of The American Dream. America’s “historical norm” that “the next generation will be better off than the one that came before” has been diminished by an era of mass social\, economic\, and political instability\, and a sell-out of the Middle Class. The brass ring that was promised by hard work and dedication no longer exists for everyone\, and as was the case with the counterculture of the 1960s\, disruption becomes the only answer for the Nowhere Generation. Nowhere Generation was recorded at The Blasting Room in Fort Collins\, CO under the tutelage of Jason Livermore\, Andrew Berlin\, Chris Beeble and long-time producer/engineer Bill Stevenson who has worked with the band on nearly all of their acclaimed releases since their sophomore effort\, 2003’s Revolutions Per Minute. \n \n \nIt’s been over two years since Coheed and Cambria’s 2015 album\, The Color Before the Sun\, was released as the band’s first “non-concept” album over the span of their 15-year career. The album left the sci-fi universe of “The Amory Wars” and instead focused on frontman Claudio Sanchez’s personal life\, including the birth of his first child. With 2018 upon us\, and a major summer tour now announced\, the volume of fans’ chatter for a new album and whether or not it will return to the band’s fictional concept arc will surely reach new heights. \nCoheed and Cambria is a rare band whose music is able to transcend “scenes” and effortlessly cross genres of rock – from indie to progressive\, to metal and pop-punk to classic rock. The band is frequently compared to progressive\, operatic rock bands of the ‘70s\, ala Queen\, Supertramp or Rush due to their thrilling concept albums that take you on a grand journey of sounds and often clock-in around 10 mins\, but still somehow include sugary pop-laden hooks. \nThe group’s following has grown steadily every album\, partly due to their ferocious live show that brings fans to their knees with an equally expansive light show. This summer\, the band will be performing songs from their expansive catalog\, and we can only imagine they’ll pull a few new tricks from up their sleeves. \n \n \nFew bands have endured with as much demonstrably California-encompassing vibrancy as the Hermosa Beach\, CA institution that is Pennywise. They reign unchallenged\, outside the margins of the mainstream\, a staple on the SoCal radio airwaves and worldwide festival circuit revered and championed by generations of fans filling theaters and clubs. \nPennywise possess the power to merge the subversive with the celebratory. Each Pennywise record is chock full of fast-paced anthems expertly engineered to inspire radical change\, personal empowerment\, relentless hijinks\, and reckless fast times. On paper it may read like a mess of contradictions\, but on record\, it sounds like California. \nAt this point\, three decades since the band’s DIY beginnings\, Pennywise classics like “Same Old Story\,” “Fuck Authority\,” “Alien\,” “Homesick\,” and “Bro Hymn” are as fundamental to punk rock and hardcore as stage dives and guitars. \nThe defiantly titled Never Gonna Die is the first full album of brand new songs with singer Jim Lindberg\, guitarist Fletcher Dragge\, drummer Byron McMackin\, and bassist Randy Bradbury in over ten years. It’s as timely as it is timeless\, charging head first into the chaos of the current climate of the world with the tried-and-true determined sound the Pennywise faithful demand. Never Gonna Die was forged in the same space where the band penned classic songs with late bassist Jason Thirsk and produced once again by rock producer and close collaborator Cameron Webb. \n \n \nA muscular\, hard-hitting power rock outfit in the vein of Queens of the Stone Age\, Band of Skulls\, and Royal Blood\, Brooklyn’s Highly Suspect rode a series of indie EPs and years of touring to a pair of Grammy nominations for their 2015 debut. A year later\, their follow-up delivered another hit in the Grammy-nominated single “My Name Is Human\,” setting high expectations for their third outing\, 2019’s genre-hopping MCID. \nThe band formed in Cape Cod in 2009 around the talents of Johnny Stevens (guitar\, vocals\, synths) and twin siblings Ryan (drums\, vocals) and Rich (bass\, vocals) Meyer. After working regionally as a cover band\, they relocated to Brooklyn and began recording original material\, resulting in a pair of EPs\, First Offense (2009) and The Gang Lion (2010). They continued to establish themselves with one more EP\, The Worst Humans\, in 2012 before heading into the studio with producer Joel Hamilton (Black Keys\, Elvis Costello) to record their debut long-player. The resulting Mister Asylum\, which featured the fiery single “Lydia\,” was released via 300 Entertainment in 2015. Their debut received critical praise and two unexpected Grammy nominations\, leading to an extensive supporting tour. Off the road by early 2016\, they immediately returned to the studio to record a second full-length\, The Boy Who Died Wolf\, which saw release in November of that year. The album’s lead single\, “My Name Is Human\,” topped Billboard’s Mainstream Rock chart and earned Highly Suspect another Grammy nomination for Best Rock Song. As early as November 2018\, they began teasing information about their next album which they later revealed would be called MCID. A pair of singles\, “Upperdrugs” and “16\,” were released in August of that year\, with the eclectic\, hip-hop-infused MCID\, which featured guest spots from Young Thug\, Gojira\, Tee Grizzley\, and Nothing But Thieves‘ Conor Mason\, arriving in November 2019. ~ James Christopher Monger\, Rovi \n \n \nEmerging from Southern California during the rap-metal explosion around the turn of the century\, Atreyu crafted a hardcore sound much closer to Agnostic Front or Hatebreed. Their warped\, detuned guitars were matched by pounding drums and acidic vocals\, which gave the material a distinct metalcore edge. Originally operating under the moniker Retribution\, the band eventually changed their name to Atreyu\, after a character from the Michael Ende-penned fantasy book The Neverending Story\, and released their debut album\, Suicide Notes and Butterfly Kisses\, in 2002 on Victory Records. They continued to refine their punitive but melodic post-hardcore sound on career best-of offerings like Lead Sails Paper Anchor (2007) and Congregation of the Damned (2009)\, before going on hiatus in 2011. They reconvened four years later and released their sixth studio effort\, Long Live\, with In Our Wake following in 2018. After a change in vocalists\, the band reintroduced themselves with 2021’s Baptize. \nThe quintet was formed in Orange County by Brandon Saller (drums/vocals)\, Dan Jacobs (guitar)\, Chris Thomson (bass)\, Travis Miguel (guitar)\, and Alex Varkatzas (vocals). Atreyu released various demos\, including the seven-song EP Visions\, in the late ’90s before commercially debuting with the Fractures in the Facade of Your Porcelain Beauty EP on Tribunal in late 2001; the full-length Suicide Notes and Butterfly Kisses appeared the next year on Victory. Touring almost nonstop in support of the record\, the group faced lineup changes as bassist Marc McKnight replaced Thomson before the recording of their follow-up. Atreyu’s second full-length\, The Curse\, surfaced in June 2004 and went on to sell over 300\,000 copies; it was re-released with an accompanying DVD a year later. The band hit the road hard\, playing 2004’s Ozzfest and 2005’s Warped Tour\, in addition to headlining their own successful world tour. They contributed a track to 2006’s soundtrack to Underworld: Evolution and were near the top of the billing for the year’s Taste of Chaos tour alongside the Deftones and Thrice. Their next effort\, A Death Grip on Yesterday\, was issued in late March 2006 and hit number nine on the Billboard charts. Following a summer spent headlining the second stage at the year’s Ozzfest\, Atreyu jumped into the major-label waters over at Hollywood Records\, leaving an early 2007 best-of collection as their Victory farewell. Their Hollywood debut\, Lead Sails Paper Anchor\, followed later in the year. In 2008 the album was re-released with bonus materials\, including a concert film. Atreyu didn’t waste any time\, and in late 2009 they released their fifth studio album\, the critically acclaimed Congregation of the Damned. The album would be their last for some time\, as the band went on hiatus the following year to focus on family matters and various other musical pursuits. They reconvened in 2015 with the Destroy/Spinefarm Records-issued Long Live\, which featured 12 new hard-hitting tracks\, including the blistering title cut and first single. In September 2018\, the band issued a trio of singles ahead of the release of their eighth studio long-player\, In Our Wake\, which arrived later that October. Once promotion for that album concluded\, the band hit the road to celebrate two decades on the scene. \nIn 2020\, Atreyu announced the departure of founding vocalist Varkatzas. Brandon Saller stepped up to take on clean vocals while McKnight handled the dirty. They also recruited drummer Kyle Rosa. The new unit issued “Save Us” later that year; the track would appear on their eighth set\, 2021’s Baptize. The single “Warrior” with Travis Barker was also featured on the album. ~ Bradley Torreano\, Rovi \n \n \nDED has been turning heads as one of rock’s most promising newcomers since the release of their 2017 debut album Mis-An-Thrope.Originating from Phoenix\, AZ\, DED embodies elements of rock\, alternative and metal\, with pop melodies\, hooks and choruses\, cloaked in some of the densest\, most histrionic\, headbanging music on the planet. But when you dig beneath the aggressive surface\, DED’s unexpectedly soulful music is about bringing hope\, relief and self-awareness of the things we consume and the way we act so that we can strive to be the best we can be for ourselves and others. Helmed by powerhouse rock producer Kevin Churko (Five Finger Death Punch\, Ozzy Osbourne\, Disturbed)\, the new music takes on the fury of their debut and deepens the emotions with a compassion for humanity and a thought-provoking consciousness. DED is building a community by offering comfort in times of despair\, positivity by exposing negativity\, and clarity through suffering. DED\, who are quickly becoming one of rock’s most exciting torchbearers\, blaze their own trail as they cathartically stare down various beasts – both existential and innate – proving that there’s a way to live through the struggle and come out stronger\, happier\, and more aware of how we look after ourselves and each other. \n \n \nPLUSH is composed of four talented women\, under 21\, whose accomplishments and talent eclipse their age. This female rock force is fronted by singer\, songwriter and guitarist Moriah Formica. Drummer Brooke Colucci\, guitarist Bella Perron and bassist Ashley Suppa round out the lineup. The mission of PLUSH is to bring the heart of rock back to the mainstream with a new fresh spin on the sounds you already love. PLUSH hopes to inspire young women everywhere to follow their dreams\, regardless of whatever challenges may lie in the way. \n \n \nDropout Kings are a generational evolution of rap infused rock bands such as Linkin Park\, fusing together heavy metal sounds with the progressive rhythms of hip hop and trap music. Dubbing it as ‘Trap Metal’\, DOK prides themselves on pioneering and molding the genre\, crafting unique soundscapes that feel familiar yet fresh and innovative. Songs like ‘Scratch & Claw’ feature impactful and introspective rap lyrics and haunting yet passionate vocals over polished\, metal inspired\, instrumentation\, while ‘Going Rogue’ pushes the creative threshold of what a band can excel to be. Dropout Kings\, formed in 2016\, have already garnered millions of streams from their debut album\, AudioDope\, which was released August 10th\, 2018 through Napalm Records. The group signed to the label before they even performed their first concert\, confirming the band’s raw talent and creative fortitude. AudioDope went on to receive rave reviews\, being herald for it’s refreshing yet nostalgic sound while blurring the lines between rock and hip hop. In 2019\, Dropout Kings signed to Stay Sick Recordings and released the GlitchGang EP. In 2021\, DOK signed with Suburban Noize Records and re-released the GlitchGang EP\, only further cementing them as a force to be reckoned with. Dropout Kings are on a quest to make the world hear their story.
 (US) ashley@mac.agency (EUR) thorsten.harm@napalm-events.com (MGMT) larry@regimemusicgroup.com \n \n 
URL:https://globalazmedia.com/event/98kupd-presents-ufest-2022/
LOCATION:Talking Stick Resort Amphitheatre\, 2121 N 83rd Ave\, Phoenix\, AZ\, 85035\, United States
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