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DTSTART;TZID=America/Phoenix:20230201T180000
DTEND;TZID=America/Phoenix:20230201T233000
DTSTAMP:20230118T000352Z
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SUMMARY:Parkway Drive at Marquee Theatre
DESCRIPTION:In the kitchen of the Byron Bay home of Winston McCall stands a refrigerator\, adorned on one side by a quote from Tom Waits: “I want beautiful melodies telling me terrible things.” \nThis\, the Parkway Drive vocalist says\, is a pretty good summation of himself. It holds true\, too\, as one of the guiding principles behind Darker Still\, the seventh full-length album to be born of this picturesque and serene corner of north-eastern NSW\, Australia\, and the defining musical statement to date from one of modern metal’s most revered bands. \nDarker Still\, McCall says\, is the vision he and his bandmates – guitarists Jeff Ling and Luke Kilpatrick\, bassist Jia O’Connor and drummer Ben Gordon – have held in their mind’s eye since a misfit group of friends first convened in their parents’ basements and backyards in 2003. The journey to reach this moment has seen Parkway evolve from metal underdogs to festival-headlining behemoth\, off the back of close to 20 gruelling years\, six critically and commercially acclaimed studio albums (all of which achieving Gold status in their home nation)\, three documentaries\, one live album\, and many\, many thousands of shows. \n“When Parkway originally started out\, we all were trying to push ourselves to do more than we possibly could\,” is how McCall explains it. “The better we got at it\, the more comfortable we got\, to the point where it became all comfortable. That is when we chose to acknowledge that just being comfortable was not necessarily doing justice to the skills and the creativity that you have grown over the years. What you hear on Darker Still is the final fulfilment of our ability to learn and grow catching up with the imagination that we have always had. These are the kinds of sounds we always had in mind. This is the way we always dreamed.” \nTo understand that growth is to understand Darker Still\, both musically and thematically. Those who thought they had Parkway Drive figured out – the unrivalled energy\, the high-octane breakdowns\, McCall’s trademark bark – need reconsider everything they know about Australia’s masters of heavy. Not that anyone truly paying to their recent evolution should be surprised\, though. “This is a journey we began with Ire\, and which grew further still on Reverence\,” McCall says\, referencing the band’s preceding 2015 and 2018 works\, respectively. In that context\, it is easy to view Darker Still as the curtain-closer on a transformative trilogy that has seen Parkway reach new heights of creativity and success by eschewing the restrictive\, safe conventions of genre and abandoning their own self-imposed rules in favour of a wide-eyed appreciation of bold new horizons. “There are compositions and songs that we’d never attempted before – or\, to be more accurate\, which we have attempted in the past\, but not had the courage\, time or understanding to pull off\,” McCall reveals. \nThe vocalist would be the first to tell you that in order to grow\, you have to let go of the past; a mantra Parkway embraced tighter than ever before when it came to blueprinting Darker Still. McCall describes how “we wanted to make a record that stood alone from the records we hear at this point in time”; one that delivers on “a more expansive sound\, which allows a new weight to fall into the music.” Gordon\, meanwhile\, says it features “some of the heaviest moments we have ever created\, but it is a different kind of heavy: an emotional catharsis that you can feel in every cell in your body.” The drummer is brutally honest in his reflection that\, between “the ever-changing COVID lockdowns\, government mandates\, travels restrictions and tense personal relationships within the band”\, Darker Still was the most challenging moment of the band’s career. Ling offers agreement\, admitting that the three-year journey of writing and recording – which commenced as far back as April 2019 and would conclude in February 2022 following three months in the studio with producer and engineer pairing George and Dean Hadjichristou – “broke me by the end” as he juggled lockdown family life with the “daunting task of trying to stick everyone’s ideas together” in his downstairs home studio. \n“When writing songs\, we have a few questions that we ask ourselves that helps define our creative path\,” he explains of the gruelling process. “‘What will this song achieve?’ ‘Why does this song deserve to be on this album?’ ‘What emotional response will this song provoke in the listener?’ If all these points check out\, we know we are on the right path.” \n“We are very much a collaborative band when it comes to song writing\,” says Gordon. “Each song goes through several layers of scrutiny and refinements before the final version emerges. Some songs are completely unrecognisable from the first rendition to what ends up on the record.” \nAnd so while Darker Still remains irrefutably Parkway Drive\, it finds the band sonically standing shoulder to shoulder with rock and metal’s greats – Metallica\, Pantera\, Machine Head\, Guns N’ Roses – as much as it does their metalcore contemporaries. “I wanted a classic guitar tone for this record\,” explains Ling\, who credits much of his inspiration to the connection his riffs have with a crowd in a live setting. “I’ve always been drawn to early ‘90s metal\, so something along these lines with a modern edge was my jive. Creatively my goal was to write intricate and intriguing music that is also simple enough for everyone to understand and enjoy. We made a conscious decision to not go overboard with layering and soundscaping. This move would help reinforce our raw and classic album vision.” \n“Production wise\, we wanted to have a slight throwback to the ‘90s\, leaning into some more real and natural sounding tones\, which gives the record more character\,” nods Gordon\, whose work behind the kit on Darker Still – “Less about how much I could show off\, and more about what will best compliment the song\,” is his simple assessment – is emblematic of the record at large. “It took us a long time to learn about the importance of dynamics\,” he says. “We now pick our moments much more and let the song breathe when it needs to.” \nIt is a revivified sound that provides the backdrop for some of McCall’s most personal and introspective songs yet. Exploring the concept of the ‘dark night of the soul’ – “The idea of reaching a point in your life where you are faced with a reckoning of your structure of beliefs\, your sense of self and your place in the world\, to a point where it’s irreconcilable with the way that you are as a person\,” as McCall describes – Darker Still unfurls like the great rock concept albums\, from Pink Floyd to\, most comparably\, Nine Inch Nails’ The Downward Spiral. \nAmongst ruminations on society’s fear of death\, societal isolation and a loss of humanity\, its 11 tracks play out in a classic three-act structure. Ground Zero opens its ‘setup’; a “reckoning with your own internal monologue\, says McCall\, which ominously speaks to “the fights\, the falls\, the scars and broken bones” and how “beneath it all\, the cracks begin to show…” Its second act – its ‘confrontation’ – frames the album’s title track at its core: a classic rock epic about “love and time” that spans a near seven-minutes and which evokes Metallica’s Nothing Else Matters. The album’s ‘resolution’\, meanwhile\, concludes with From The Heart Of Darkness: a brooding monster that opens with McCall’s contemplative searching (“There’s a war going on inside\, nobody’s safe from / You can run\, but you can’t hide / When it’s your soul you must confront”) before exploding with its mosh-call of “Fury be my victory!” \n“I wanted the end of the record to mirror my experience to a degree of what this journey has been like for me\,” McCall reveals. “I found that I was always afraid of showing defiance to be honest and true to myself\, even if that meant sacrificing who I was to become a better version of who I could be. That has to be ripped from the darkest part of you\, because the darkest part of you is what you are always afraid of in the first place. It’s the thing that you don’t want to shine the light on. It’s the element that you don’t want to show people\, which you shy away from\, which you’re too scared to embody.” \nIt is a closing statement that truly defines Darker Still. This is the Parkway Drive the band have been striving to be for two decades. Ling says it best: “I’m really proud of what we have achieved together\, and feel that as musicians\, we have really ascended to new realms of class and ability.” Emerging from the darkness of the past few years\, this is the true face of Parkway: redefined and resolute\, focused in mind and defiant in spirit. \n \n \nOver the course of their career\, Memphis May Fire have channeled a generation’s worth of angst\, frustration\, and pain\, with a focused blend of gigantic melodic hooks and crushing aggression. Even after topping Billboard’s Hard Music Albums chart\, having an album debut at No. 4 on the Billboard Top 200\, and breaking into radio’s Active Rock Top 20\, Memphis May Fire refuse to sacrifice who they are or the people who made them. \nA new season unfolds for the band\, and it’s filled with revitalization and renewal. Stripping things down to their core elements\, hearkening back to the days when they created the music their fans most cherish\, Memphis May Fire rekindled the spark within to build an inferno of riffs and inspirational words. They have returned to their roots with the seasoned polish earned through years of touring and making music together. “Blood & Water” is proof positive of this fact. \nMemphis May Fire have toured with a vast list of important rock and metal acts that include Killswitch Engage\, Sleeping With Sirens\, Black Veil Brides\, Sevendust\, and Atreyu. They’ve co-headlined with Yellowcard and The Devil Wears Prada\, regularly appeared on Warped Tour\, and at major rock festivals. The band’s previous six albums’ continued relevance is a testament to the energized connectivity between the band and their audience. Songs like “Miles Away\,” “No Ordinary Love\,” “Beneath the Skin\,” and “Carry On” account for 100 million views and millions of streams. \nExpect more anthems for the broken and beyond from Memphis May Fire in due course. \n \n \nCURRENTS is the new standard for death-infused metalcore. This is emotionally fraught and impossibly angry music soaked in cold\, depressive atmosphere. CURRENTS explore the forbidden realms of a tortured psyche\, searching for meaning amidst uncertain chaos and venom. \nHeartache\, physical abuse\, abandonment\, trauma – no dark emotion is spared examination. CURRENTS also turn their gaze outward\, offering no mercy to man-made catastrophes like climate change and animal abuse. An exploitative system that inflicts such harm upon humanity and the entire world will not be spared the wrath within this explosive\, weaponized bombast. \nImmediately upon the arrival of the first taste of the band’s second album\, the comments section lost its collective mind. Shockingly devoid of the genre’s penchant for hateful trolling\, the music video for “Poverty of Self” (a scathing indictment of the predatory industries taking advantage of the sick and broken) was met with an avalanche of praise. “These guys are breakdown scientists\,” declared one commenter. “That intro wastes no time to smash you right in the face\,” wrote another. \nThe best gem? “I would donate my organs to this band just to watch them live again.” \nThe Way It Ends\, the second full-length from the Connecticut bruisers\, is a thematic and spiritual successor to their dense\, bludgeoning\, and smartly constructed full-length debut\, The Place I Feel Safest (2017)\, and a direct follow-up to the blistering and diverse EP\, I Let The Devil In (2018). \nThose well-versed in Meshuggah\, Humanity’s Last Breath\, Vildhjarta\, and Architects have embraced CURRENTS with full-throated passion. A combination of their contemporaries and influences\, channeled through unique perspective and personal experience\, resulted in something revolutionary. It’s why they were handpicked for tours with August Burns Red\, As I Lay Dying\, We Came As Romans\, Fit For A King\, Born Of Osiris\, and the Impericon Never Say Die! Tour. \nCURRENTS is comprised of singer Brian Wille; guitarists Chris Wiseman and Ryan Castaldi; bassist Chris Pulgarin; and drummer Matt Young. A winding road through earlier incarnations culminated in a series of self-released EPs\, leading to the band’s partnership with SharpTone. \nKerrang! put “Silence” from The Place I Feel Safest on a list of the 15 Greatest Mosh-Calls in Heavy Music\, alongside bangers by genre leaders like Parkway Drive and Code Orange. Calling the song an “exploration of emotional torment\, all blunt force riffage\, wiry guitars\, and spat vocals\,” the rock mag summarized the track as “a narcotic blend of melodrama and madness.” \nAlbum number two was produced by ex-For Today guitarist Ryan Leitru (Sleeping Giant\, Your Memorial) and Wiseman\, generating the kind of expansive and expressive performances best captured by producer/engineers who are also passionate musicians. Mixing duties were handled by ex-Periphery multi-instrumentalist Adam “Nolly” Getgood (Devin Townsend\, Animals As Leaders). The Way It Ends was mastered by Kris Crummett (Dance Gavin Dance\, Issues). \nCURRENTS take special care to ensure each release serves a purpose\, with a cohesive journey from start to finish\, more in line with classic metal albums than today’s mere collections of songs. The lyrics are thoughtful yet accessible\, skipping easy t-shirt ready sloganeering for actual depth. Blast beats\, breakdowns\, and a driving onslaught of riffs are tempered by stripped back\, tranquil\, ambient moments. There’s post-hardcore\, punk rock dissonance\, and even black metal esotericism. \n“A Flag to Wave” is a CURRENTS anthem\, a mission statement kicking The Way It Ends off after a moody intro\, cascading with devilishly dynamic riffing and intense\, rapid fire rhythm. By contrast\, album tracks like “Kill the Ache\,” “Split” and “Origin” introduce slight electronic elements\, keys and synths\, that actively drive the songs forward. A significant portion of The Place I Feel Safest was about abandonment. Building to a crescendo\, “Let Me Leave” serves as a narrative mirror image\, from the opposite perspective\, a first-person account of the one who walks away. \nThe raw emotion on display in CURRENTS is the key to the deep connection the band has made with its ever-widening audience. They’ve proven themselves a consistent\, determined\, and reliable entity that will always challenge themselves and move forward\, without compromising their core.
URL:https://globalazmedia.com/event/parkway-drive-at-marquee-theatre/
LOCATION:Marquee Theatre\, 730 N Mill Ave\, Tempe\, 85281\, United States
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DTSTART;TZID=America/Phoenix:20230209T190000
DTEND;TZID=America/Phoenix:20230209T233000
DTSTAMP:20230129T233024Z
CREATED:20230129T233024Z
LAST-MODIFIED:20230129T233024Z
UID:15894-1675969200-1675985400@globalazmedia.com
SUMMARY:Paramore + Bleachers at Footprint Center
DESCRIPTION:Paramore is a band that formed in 2003 in a quiet town that is now known as Nashville\, TN. Still in junior high\, music made up 100% of their extracurricular time. Until eventually\, they all left for tour in the middle of a school year and thank heaven music would eventually work out for them. No one understood how a band so un-country could be from this strange little town called Nashville\, nor how a bunch of kids so small could play their angst-filled songs so proudly. \nMuch time has passed since those innocent days. \nLife has worn its grooves into the record that is Paramore’s collective life. If you look closely\, you can see that the members of Paramore all have very sexy dark circles under their eyes now… and surprisingly\, haven’t all quit music after years of sexism in the media\, soap opera-worthy drama\, and nearly 15 years inside the brutal beast that is the music industry. \nParamore still reside in their beloved home of Nashville\, TN\, which these days looks a lot more like a construction site than a well-kept secret. They spend most their days and nights sitting on the porch together laughing or crying… reminiscing\, daydreaming\, or trying desperately to just stay present. \nThe band recently wrote and recorded their 5th album in their hometown of Nashville. It’s called After Laughter\, and it’s available everywhere now. \n \n \nBleachers is an American rock band from New Jersey and the official stage name of songwriter and record producer Jack Antonoff. Antonoff has been nominated for a Golden Globe Award and won six Grammy Awards\, including the 2022 Grammy for Producer of the Year. Bleachers’ rock music is heavily influenced by the late ’80s\, early ’90s\, and the high school-based films of John Hughes while still using modern production techniques. Their debut single “I Wanna Get Better” was released in February 2014\, followed by three studio albums: Strange Desire (2014)\, Gone Now (2017)\, and Take the Sadness Out of Saturday Night (2021).
URL:https://globalazmedia.com/event/paramore-bleachers-at-footprint-center/
LOCATION:Mortgage Matchup Center\, 201 E Jefferson St\, Phoenix\, 85004\, United States
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DTSTART;TZID=America/Phoenix:20230226T180000
DTEND;TZID=America/Phoenix:20230226T233000
DTSTAMP:20230221T021426Z
CREATED:20230221T021426Z
LAST-MODIFIED:20230221T021426Z
UID:16015-1677434400-1677454200@globalazmedia.com
SUMMARY:Steel Panther at Marquee Theatre
DESCRIPTION:Satirically pretending to be a hair metal band that missed its big break in the ’80s\, singer Ralph Saenz (“Michael Starr”)\, drummer Darren Leader (“Stix Zadinia”)\, bassist Travis Haley (“Lexxi Foxxx”)\, and guitarist Russ Parrish (“Satchel”) hit the club circuit on the Sunset Strip around the turn of the millennium under the name Metal Shop (later changed to Metal Skool\, and then to Steel Panther). With big\, spiky wigs\, leather jackets\, zebra-striped spandex\, chops earned from playing in a Van Halen tribute band\, and lots and lots of machismo\, their comic take on sex\, drugs\, and rock & roll to the extreme caught on quickly\, leading to sold-out shows and some unexpected brushes with mainstream success. As their popularity increased\, the Hollywood crowd started frequenting their sets\, often making appearances on-stage. This led to some opportunities: the band fittingly played the role of a metal band as “Danger Kitty” in a Discover Card commercial; they appeared on The Drew Carey Show as themselves; and their song “FF” was used as the theme for MTV’s Fantasy Factory. \nIn 2008\, the band signed to Universal Republic. After releasing the singles “Death for All But Metal” and “Community Property\,” Steel Panther’s full-length Feel the Steel was released in October of 2009. The album broke the band onto the Billboard chart\, netting them a spot at number 98 on the U.S. charts (and 48 on the rock chart). Not wanting the fun to stop\, the band got back to it quickly and in 2011 followed up with Balls Out\, which featured guest appearances from comedian Dane Cook and Nickelback‘s Chad Kroeger\, among others. 2014’s All You Can Eat featured the single “Party Like Tomorrow Is the End of the World\,” and featured cover art parodying Leonardo da Vinci’s Last Supper. In 2016\, the band issued their first concert LP\, Live from Lexxi’s Mom’s Garage\, which was released in conjunction with their first full-length feature film\, which blended comedic vignettes and other assorted antics with the aforementioned glam-folk garage show. \nAt the end of 2016\, Steel Panther released a cover of Cheap Trick‘s “She’s Tight” in advance of their fourth studio album Lower the Bar\, which arrived in March 2017. The group headed out on tour in support of the album\, playing dates across the world before embarking on their Sunset Strip Live tour\, which saw the band playing a mix of original material and classic metal covers. Tapping producer Jay Ashton for their fifth album\, the band dropped the unabashed Heavy Metal Rules in late 2019\, preceded by the single “All I Wanna Do Is Fuck (Myself Tonight).” \nFollowing a brief spell of absence from touring Lexxi Foxx announced his departure from the band in 2021\, with the group holding open auditions for a new bassist. The group eventually settled on Joe “Spyder” Lester\, whom had played live with the band in Foxx’s absence. Steel Panther returned to the studio to record their sixth album\, On the Prowl. Producing it themselves\, the album continued with their tongue-in-cheek hair metal\, with the tracks “Never Too Late (To Get Some Pussy Tonight)” and “Friends with Benefits” preceding its release in early 2023. \n \nRiff-monsters Crobot conjures up the kind of rock ‘n’ roll that has grooves so powerful they throw you around the room and hooks high enough to shake the heavens. They take the sweet-sounding nectar of the gods and pour it down your throat until you’re wailing along like a banshee. With tens of millions of streams\, countless shows and acclaim from the likes of Metal Hammer\, Classic Rock\, Kerrang\, BBC Radio\, SiriusXM Octane\, Loudwire\, Guitar World and more\, Brandon Yeagley [vocals]\, Chris Bishop [guitar]\, Tim Peugh [bass]\, and Dan Ryan [drums] realize their vision like never before on their fifth full-length\, Feel This [Released June 3 via Mascot Records]. Feel This is the follow-up to 2019s Top 10 Heatseekers album Motherbrain – whose cumulative streams have surpassed 30 million. 20 million of which were for the goliath single “Low Life” – a US Top 10 at active rock radio on the Billboard Mainstream with a 29-week run.
URL:https://globalazmedia.com/event/steel-panther-at-marquee-theatre/
LOCATION:Marquee Theatre\, 730 N Mill Ave\, Tempe\, 85281\, United States
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