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SUMMARY:Parkway Drive at Mesa Amphitheatre
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 \nAn Aussie metalcore group with highly confessional lyrics and a melody-driven emo-tinged sound\, the Amity Affliction emerged in 2008 with Severed Ties. They hit their stride in 2012 with the release of their third full-length effort\, Chasing Ghosts\, which like subsequent outings This Could Be Heartbreak (2016)\, Everyone Loves You… Once You Leave Them (2020)\, and Not Without My Ghosts (2023)\, soared to the top of the Australian charts\, and found international success as well. \nBrisbane post-hardcore act the Amity Affliction were formed in 2002 by Ahren Stringer and Troy Brady\, a pair of longtime pals — still high schoolers at the time — who had been affected by the death of their friend in a road accident. The band — a quartet rounded out by bassist Garth Buchanan and drummer Lachlan Faulkner — released a demo in 2003 and an EP in 2004 but didn’t start making waves in earnest until sometime later. In 2005\, after unclean vocalist Joel Birch joined the fold\, Amity Affliction went on a touring spell\, working up a nationwide reputation as a powerful live band. In 2007\, they added keyboard player Trad Nathan\, switched drummers with Ryan Burt replacing Faulkner\, and parted ways with Buchanan\, with Stringer taking on bass duties. The newly formed group then hit the studio to record the EP High Hopes\, followed in 2008 by the debut album Severed Ties\, which peaked at number 26 on the ARIA charts. \nAmity Affliction toured Australia again in 2008 and 2009\, both as a support and headlining act\, and in 2010 they released their second album\, Youngbloods\, which confirmed that their efforts paid off\, reaching number six on the ARIA charts. They would top that achievement just two years later when their third album\, Chasing Ghosts\, debuted at number one on the ARIA charts. A fourth album\, Let the Ocean Take Me\, arrived on Roadrunner in 2014 and was the band’s second consecutive ARIA chart-topper. That year\, Brady left the band\, leaving Stringer as the only founding member. \nAfter months of touring Ocean\, the quartet returned to the studio to record their fifth LP. This Could Be Heartbreak arrived in August 2016\, topping the ARIA charts once again. The band toured Australia\, the U.S.\, and Europe in support of the record\, before Ryan Burt left in February 2018 owing to mental health concerns. Later that year\, the Amity Affliction released their sixth album\, Misery. Their first concept effort\, it featured an overarching narrative chronicling the tale of three friends on a dark quest for vengeance. Two years later the band returned with weighty and depressive Everyone Loves You… Once You Leave Them\, their first studio LP with new drummer Joe Longobardi. 2023’s pummeling Not Without My Ghosts followed an over-arching theme of mortality and featured guest spots from late New Zealand rapper Louie Knuxx\, Comeback Kid‘s Andrew Neufeld\, the Plot in You‘s Landon Tewers\, and Phem. \n \n \nNorthlane’s new offering\, Obsidian\, is their most expansive and dynamic album yet. Self-recorded and self-produced with the help of their longtime collaborator Chris Blancato\, the sound Northlane have been working towards over the span of their career has been fully realised on Obsidian. Sonically spanning the gamut of their entire discography\, Northlane’s trademark heavy comfortably coexists with techno\, drum and bass\, intriguing synths\, perplexing time signatures and widescreen choruses. It’s this fearless evolution that keeps Northlane light years ahead of everyone else in heavy music. \n \n \nGrowth\, and the desire for eternal forward motion have been the concepts that have defined Make Them Suffer since the very beginning; and have been the foundations that led them from the world’s most remote capital city Perth in Australia\, to becoming a household name on stages around the world. As they have traversed previous eras\, the five piece have grown through the genres of deathcore\, melodic death metal\, & heavy metalcore; and as they continue on this path\, look to be defined by nothing more than the label ‘creative’. Through ‘Ether’\, ’27’\, and ‘Hollowed Heart’\, the band has worked to shed themselves of the shackles of expectation\, and as they look towards the open road that lies ahead of them\, the light that guides the way has a name\, ‘How To Survive A Funeral’. \nTo assist in the redefinition of every line the band is known for\, Make Them Suffer enlisted the assistance of Drew Fulk A.K.A. WZRDBLD\, who has worked with everyone from Motionless In White & Bullet For My Valentine\, to Yelawolf & Lil’ Wayne. The band travelled to LA to shack up at Fulk’s studio\, the first time in their career working this closely with a producer\, and the result is truly something unique in the current climate of heavy music. The band’s fourth full length sees inspirations from their past and present sounds twisted together into a package that will define Make Them Suffer’s place amongst their contemporaries as a truly creative act.
URL:https://globalazmedia.com/event/parkway-drive-at-mesa-amphitheatre/
LOCATION:Mesa Amphitheatre\, 263 N. Center St\, Mesa\, 85201\, United States
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DTSTART;TZID=America/Phoenix:20231003T193000
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SUMMARY:Foo Fighters + The Breeders at Talking Stick Resort Amphitheatre
DESCRIPTION:With alt-rock anthems heavy on melody and personality\, Foo Fighters have grown from Dave Grohl‘s humble solo project into one of the biggest — and most enduring — acts in modern rock. Once his self-recorded debut became a hit in 1995\, the former Nirvana drummer turned Foo Fighters into a full-fledged band whose lineup coalesced after the 1997 release of The Colour and the Shape. With 1999’s There Is Nothing Left to Lose\, the group’s sound gelled into a recognizable signature built upon the hooky loud-quiet-loud dynamics of Pixies and Nirvana\, a modern rock sound anchored by Grohl‘s love of classic guitar rock. Alone among their peers\, Foo Fighters displayed a rigorous work ethic\, recording and touring relentlessly into the 2020s\, racking up hit albums\, multiple Grammy wins and\, eventually\, a 2021 induction into the Rock & Roll Hall of Fame. All this activity allowed the Foos to experiment\, whether it was on 2005’s double-album In Your Honor\, the travelogue of 2014’s Sonic Highways\, or the danceable\, feel-good anthems on 2021’s Medicine at Midnight. The dedication to work also carried Foo Fighters through tragedy when their drummer Taylor Hawkins unexpectedly died in 2022. Grohl rallied the group to deliver But Here We Are\, a cathartic tribute to their colleague\, the following year. \nAll of this industriousness stems from Dave Grohl\, who had been playing guitar and writing songs long before he began drumming. Throughout his early teens he performed in a variety of hardcore punk bands and in the late ’80s he joined the Washington\, D.C.-area hardcore band Scream as their drummer. During Scream‘s final days\, Grohl began recording his own material in the basement studio of his friend Barrett Jones. Some of Grohl‘s songs appeared on Scream‘s final album\, Fumble. After the band’s 1990 summer tour\, Grohl joined Nirvana and moved cross-country to Seattle. \nAfter Nirvana recorded Nevermind\, Grohl went back to the D.C. area and recorded a handful of tracks that would appear on Pocketwatch\, a cassette released by Simple Machines. For most of 1992\, he was busy with Nirvana\, but when the band was off the road\, he recorded solo material with Jones\, who had also moved to Seattle. The pair kept recording throughout early 1993\, when Grohl returned to Nirvana to record In Utero. He had toyed with the idea of releasing another independent cassette in the summer of 1993\, but the plans never reached fruition. Following Kurt Cobain‘s suicide in 1994\, the drummer kept quiet for several months. In the fall of 1994\, Grohl and Jones decamped to a professional studio\, where in the space of a week\, they recorded the songs that comprised Foo Fighters’ debut album. Boiling down his backlog of songs to about 15 tracks\, Grohl played all the instruments on the album. He made 100 copies of the tape\, passing it out to friends and associates. In no time\, Grohl‘s solo project became the object of a fierce record company bidding war. \nInstead of embarking on a full-fledged solo career\, Grohl decided to form a band. Through his wife he met Nate Mendel\, the bassist for Sunny Day Real Estate. Shortly before the pair met\, Jeremy Enigk\, the leader of Sunny Day Real Estate\, had converted to Christianity and quit the band\, effectively ending the group’s career. Not only did Mendel join Grohl‘s band\, but so did Sunny Day‘s drummer\, William Goldsmith. Former Germs and Nirvana guitarist Pat Smear rounded out the lineup. The band\, named Foo Fighters after a World War II secret force that allegedly researched UFOs\, signed a contract with Capitol Records. The band’s self-titled debut\, consisting solely of Dave Grohl‘s solo recordings\, was released in July of 1995. It became an instant success in America\, as “This Is a Call” garnered heavy alternative and album rock airplay. By early 1996\, the album was certified platinum in the U.S. \nThroughout 1996\, Foo Fighters supported the album with an extensive tour\, enjoying a crossover hit with “Big Me.” Late in the year\, the group began recording its second album with producer Gil Norton. During the sessions\, William Goldsmith left the band due to creative tensions\, leaving Grohl to drum on the majority of the album. Before the record’s release\, Goldsmith was replaced by Taylor Hawkins\, who had previously drummed with Alanis Morissette. The Colour and the Shape\, Foo Fighters’ second album and the first they recorded as a band\, was issued in May of 1997. Smear left the group in the wake of the album’s completion and was replaced by guitarist Franz Stahl\, whose stay proved short-lived; 1999’s There Is Nothing Left to Lose was recorded as a three-piece\, with ex-No Use for a Name guitarist Chris Shiflett signing on soon after. \nOne by One\, the group’s most polished production\, appeared in late 2002\, followed by 2005’s In Your Honor\, which narrowly missed the top of Billboard’s album chart. After releasing a live album titled Skin and Bones in 2006\, the band returned to Norton’s studio and started constructing a dozen fractured\, eclectic rock songs to be released in 2007 under the name Echoes\, Silence\, Patience\, and Grace. Two years later\, the group released its first compilation\, Greatest Hits\, as Grohl launched his new supergroup Them Crooked Vultures\, which also featured Josh Homme of Queens of the Stone Age and Led Zeppelin‘s John Paul Jones. Foo Fighters reconvened for 2011’s Wasting Light\, a Butch Vig production that doubled as the official return of Pat Smear\, who hadn’t played on any of the band’s albums since 1997. Wasting Light wound up as a smash success for the Foos\, debuting at number one on the Billboard charts\, going gold in the U.S. and garnering the band another four Grammy Awards. In the wake of Wasting Light\, several other Foo projects emerged — a limited-edition compilation of covers called Medium Rare released for Record Store Day 2011; a documentary of the band called Back and Forth — and the group toured the album into 2012. \nIn 2012\, Foo Fighters announced they were taking a hiatus and Dave Grohl immediately returned to the confines of Queens of the Stone Age\, drumming on their 2013 album\, …Like Clockwork. He also threw himself into directing a documentary about the legendary Los Angeles recording studio Sound City. The film appeared early in 2013 to positive reviews\, and it was accompanied by a soundtrack called Sound City: Reel to Real\, which featured Grohl-directed jams including a variety of Sound City veterans\, plus Paul McCartney. Not long after its release\, Foo Fighters announced that their hiatus had ended and they were working on a new album. Sonic Highways\, released late in 2014\, was their most ambitious project yet; each track was recorded in a different city\, some with special featured guests\, a process documented on an eight-episode documentary series for HBO. Sonic Highways saw international release in early November 2014. During the Sonic Highways world tour\, the Foos had the honor of being the final band to perform on The Late Show with David Letterman on May 24\, 2015. Soon after\, as touring resumed\, Grohl fell from the stage during a stop in Sweden\, breaking his leg. He performed from a throne for the remainder of the tour\, which was rechristened the “Broken Leg Tour.” \nIn late 2015\, both as a gesture of appreciation to fans and a tribute to the victims of the Paris terror attacks\, Foo Fighters released the Saint Cecilia EP\, a five-song blast that featured Gary Clark\, Jr. and Ben Kweller. It returned the band to the Billboard charts\, peaking in the Top 20 on the Hard Rock\, Alternative\, Tastemaker\, and Vinyl charts. Soon after\, the band announced an indefinite hiatus and would not release new music until two years later\, when they returned with the single “Run.” This was the first taste of their ninth album\, Concrete and Gold\, which appeared in September 2017. Produced by Greg Kurstin\, the album found Grohl incorporating some prog rock influences into the group’s sound. It also featured a handful of unexpected guest performers\, including Paul McCartney\, who played drums on a track\, saxophonist Dave Koz\, Boyz II Men‘s Shawn Stockman\, and the Kills‘ Alison Mosshart; the latter two both added backing vocals. Along with topping the rock charts\, the album was also the group’s second to debut at number one on the Billboard 200. \nFoo Fighters toured extensively throughout 2017 and 2018\, including making an appearance at the Glastonbury Festival. By 2019\, they were back at work in the studio\, recording in an historic house in Encino\, California\, and again working with producer Kurstin. Initially scheduled for release in 2020\, Medicine at Midnight was delayed due to the COVID-19 pandemic. However\, a lead single\, “Shame Shame\,” did appear in November 2020\, topping the mainstream rock chart. Two more songs followed\, “No Son of Mine” and “Waiting on a War\,” paving the way for the album\, which ultimately arrived in February 2021. In March 2022\, the Foo Fighters traveled to South America to play a handful of concerts\, headlining the Lollapalooza festival in Argentina on March 20. On the morning of March 25\, 2022\, drummer Taylor Hawkins was found dead in his hotel room in Bogotá\, Colombia\, where the group was scheduled to perform that evening; he was 50 years old. \nAt the end of 2022\, Foo Fighters announced they planned to continue as a band following the death of Hawkins. Grohl and his bandmates processed the loss of their colleague on But Here We Are\, an album that occasionally echoed the spirit of the first Foo Fighters album while also featuring the assured\, precise execution of Greg Kurstin\, who returned for his third record with the Foos. ~ Stephen Thomas Erlewine\, Rovi \n \n \nThe Breeders started as a way for Pixies bassist Kim Deal and Throwing Muses guitarist Tanya Donelly to let out some suppressed creative energy\, but thanks to the success of their second album Last Splash and its smash hit single “Cannonball\,” the band became one of the biggest — and quirkiest — acts of the early-’90s alternative rock revolution. Though the large gaps of time between their later albums made their career trajectory less than predictable\, the Breeders’ appeal\, not to mention influence on later bands\, lasted for decades. \nTaking their name from the group Deal led with her twin sister\, Kelley\, in their teens\, the Breeders combined the spareness of Throwing Muses with the shifting dynamics and warped pop sensibilities of the Pixies. Deal and Donelly both played guitar\, leaving bass to Josephine Wiggs of Perfect Disaster and drums to Slint‘s Britt Walford. Pod\, their critically acclaimed debut album\, was released in 1990. Two years later\, the group delivered the muscular\, melodic EP Safari. Soon after its recording\, Donelly left the Breeders to form her own group\, Belly. Kim Deal brought in her sister Kelley as her replacement. Safari was also the last release to feature Walford\, who was billed as “Shannon Doughton” and “Mike Hunt” on the respective recordings. He was later replaced by Dayton drummer Jim MacPherson. The group also played its first high-profile gigs in 1992\, opening for Nirvana on their European tour. \nAs the band worked on its second album in the beginning of 1993\, the Pixies split\, leaving Kim Deal able to pursue the Breeders full-time. Released in August 1993\, Last Splash was a hazier\, more disjointed continuation of the hard pop of Safari. With the sonic collage of “Cannonball\,” the Breeders had a crossover hit that catapulted the group into stardom: within a year\, the album went platinum and the band had a prime spot on 1994’s Lollapalooza tour. That year\, the group also released the limited-edition 7″ Head to Toe and Divine Hammer singles\, both of which confirmed the Breeders as an artistically willful group that was nevertheless in tune with the commercial pop tastes of the early ’90s. \nJust as quickly as success hit the band\, the Breeders went on a sudden hiatus\, partly due to exhaustion from the rapid nature of their fame and from their extensive touring. Late in 1994\, Kelley was arrested for drug possession and was sent to a rehab clinic in Minnesota; the rest of the bandmembers went their separate ways while she recuperated. Wiggs played with musicians around New York\, ultimately forming the Josephine Wiggs Experience with them; Kim returned to Dayton with MacPherson\, learned how to play the drums\, and continued writing songs. By early 1995\, Kim had an album’s worth of new material ready to record. Though she considered recording them on her own\, Deal decided to assemble a backing band of MacPherson and other Dayton-area musicians\, including Nathan Farley and Luis Lerma of the Tasties. Not surprisingly\, the Amps — originally called Tammy & the Amps — sounded like a rougher\, lo-fi version of the Breeders; their gigs and their 1995 album Pacer emphasized the loose\, charming spontaneity of Deal’s style. \nThough the Breeders’ break was supposed to be temporary\, it lasted several years. Along with her time in the Josephine Wiggs Experience\, Wiggs later formed Dusty Trails with Luscious Jackson‘s Vivian Trimble. After Kelley completed her rehab\, she formed her own solo project\, the Kelley Deal 6000. She toured and released an album with this group\, 1996’s Go to the Sugar Altar. \nThat year\, Kim reclaimed the Breeders name and played some California dates with the band\, which featured members of the Amps and Pod violinist Carrie Bradley. In 1997\, the Breeders played the Tim Taylor Memorial Benefit Concert — in honor of Brainiac‘s singer/keyboardist\, who was killed in a car accident earlier that year — with that group’s drummer Tyler Trent replacing MacPherson\, who later joined Guided by Voices. Later that year\, Kim went into the studio in one of many frustrated attempts to make the third Breeders album. However\, the group’s low profile didn’t mean that it didn’t have any hits; a sample from “Cannonball” used in the Prodigy‘s worldwide smash “Firestarter” earned Kim songwriting credits and royalties. By early 1998\, Kelley had rejoined the band and the duo continued to write and record songs\, though the only song to surface from their sessions was a cover of the Three Degrees‘ “Collage\,” which appeared on the soundtrack to 1999’s big-screen adaptation of The Mod Squad. \nIn 2000\, Kim and Kelley spent time in the studio with Steve Albini; late that year\, the Breeders played their first gig in over three years (and Kim’s first show with Kelley in over six) at a free\, secret show in Los Angeles. Once again\, the Breeders’ lineup had changed\, with bassist Mando Lopez\, guitarist Richard Presley (both formerly of Fear)\, and drummer Jose Medeles backing the Deal sisters. The group reconvened in the studio with Albini in 2001\, completing an album’s worth of songs. The Breeders began a flurry of activity in 2002\, including the release of the Off You and Huffer singles and their long-awaited third album\, Title TK\, that May. After a quiet 2003\, Deal was once again in the news in 2004 when the Pixies reunited for tours of North America and Europe. \nIn late 2007\, rumors that another Breeders album was on the way were confirmed\, and Mountain Battles arrived in April 2008. The Fate to Fatal EP\, which featured a cover of Bob Marley‘s “Chances Are” and guest vocals from Mark Lanegan\, appeared in 2009\, the same year the Breeders curated the All Tomorrow’s Parties festival in Minehead\, England. The following September\, they played the ATP festival in Monticello\, New York. In 2013\, the band celebrated the 20th anniversary of Last Splash with a deluxe reissue of the album and a tour that reunited Kim and Kelley Deal with Wiggs and MacPherson. \nFollowing the tour’s success\, the band began work on its fifth album. The Breeders recorded with longtime producer Albini at his Electrical Audio studio in Chicago\, as well as with Mike Montgomery at Kentucky’s Candyland Recording Studio and with Tom Rastikis at Ohio’s Fernwood Studios. In October 2017\, the band delivered its first new music in eight years with “Wait in the Car\,” the lead single from All Nerve. Featuring backing vocals by Courtney Barnett\, the album was released in March 2018\, nearly 25 years after Last Splash. All Nerve peaked at 79 on the Billboard 200 Albums chart in the U.S.\, cracked the Top Ten in the U.K.\, and charted throughout Europe. \nThe members of the Breeders began the 2020s by spending time with their individual projects. Kim wrote a solo album; Kelly worked with R. Ring and Protomartyr; MacPherson played with the surf band the Mulchmen; and Wiggs collaborated with drummer Jon Mattock. In 2021\, they reconvened to contribute a version of His Name is Alive‘s “The Dirt Eaters” to the 4AD compilation Bills and Aches and Blues. Two years later\, the Breeders hit the road to commemorate Last Splash’s 30th anniversary with dates at Coachella and Riot Fest as well as with the Foo Fighters\, Belly\, and Horsegirl. September 2023 saw the release of a Last Splash reissue that was remastered from the original analog tapes and included two previously unreleased songs from the album’s sessions: “Go Man Go\,” which was co-written by Pixies‘ Black Francis\, and “Divine Mascis\,” a version of “Divine Hammer” with Dinosaur Jr.‘s J Mascis on lead vocals. ~ Stephen Thomas Erlewine & Heather Phares\, Rovi
URL:https://globalazmedia.com/event/foo-fighters-the-breeders-at-talking-stick-resort-amphitheatre/
LOCATION:Talking Stick Resort Amphitheatre\, 2121 N 83rd Ave\, Phoenix\, AZ\, 85035\, United States
ATTACH;FMTTYPE=image/png:https://globalazmedia.com/wp-content/uploads/2023/09/foo-fighters-at-Talking-Stick-Resort-Amphitheatre.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20231004T190000
DTEND;TZID=America/Phoenix:20231004T233000
DTSTAMP:20230929T131403Z
CREATED:20230929T131114Z
LAST-MODIFIED:20230929T131403Z
UID:17850-1696446000-1696462200@globalazmedia.com
SUMMARY:Chevelle + Three Days Grace at Arizona Financial Theatre
DESCRIPTION:The members of Three Days Grace began bashing out punk chords when they were in their teens\, carving a workmanlike yet energetic sound that fueled their live performances. Combining elements of angst-fueled alternative rock\, metal\, and grunge\, the Canadian group quickly established themselves as lynchpins of the post-grunge movement. Emerging in 2003\, the band soared to the top of the Billboard Mainstream Rock chart with platinum-selling efforts like One-X (2006) and Life Starts Now (2009)\, and have remained at the fore of the hard rock scene in the 2010s and beyond with internationally charting outings such as Human (2015)\, Outsider (2018)\, and Explosions (2022). \nThree Days Grace were formed in Norwood\, Ontario\, Canada\, in 1997 by Adam Gontier (vocals\, guitar)\, Brad Walst (bass)\, and Neil Sanderson (drums). The group was originally called Groundswell\, a five-piece that lasted from 1992 until transforming into a trio five years later. Gontier and Walst were raised in Norwood\, and many of their songs were inspired by living in a place with a population of around 1\,500. The bandmembers were still in high school when they had their first gig\, and they performed anywhere that would accept them — including opening at a movie. \nThree Days Grace eventually relocated to Toronto and were introduced to producer Gavin Brown by their old manager. The band gave Brown a private set\, and he selected what he felt were the most promising tracks. The group then produced a demo for EMI Music Publishing Canada. With Brown at the helm\, Three Days Grace recorded “(I Hate) Everything About You.” The tune got them a publishing deal with EMI and soon they were signed to Jive after being courted by the company’s president. Brown and Three Days Grace were sent to a studio in Boston\, Massachusetts\, to start the group’s debut album. The band completed its self-titled full-length in Woodstock\, New York\, at an isolated location free from big-city distractions. Heavily influenced by Kyuss and Sunny Day Real Estate\, the dark\, angst-ridden tales of small-town love and hate on Three Days Grace brought the group a Next Big Thing tag. \nThree Days Grace was released on July 22\, 2003\, by which time “(I Hate) Everything About You” was already a hit on alternative radio stations in Canada. The band toured extensively behind the record for the next two years as both a supporting act and headliners\, but after a while\, life on the road left the band\, especially Gontier\, feeling isolated and alone. Consequently\, this theme of disconnection — coupled with the realization that one was\, in fact\, not alone — would serve as the basis for their follow-up album. Getting back to their roots by writing the record in the Ontario countryside\, One-X was released in June 2006. The album\, which hit number five on the Billboard Top 200\, marked the recorded debut of the band’s second guitarist\, Barry Stock. Three Days Grace supported One-X throughout the summer on dates alongside Staind\, Hoobastank\, and Nickelback\, while “Animal I Have Become” became a number one modern rock hit. \nIn 2009\, the group released its third full-length album\, Life Starts Now\, which reached number three on Billboard’s album chart. After heading out on tour with bands like Nickelback and Avenged Sevenfold\, the group returned to the studio to record its fourth album\, the more atmospheric\, electronic-tinged Transit of Venus. Again\, they charted in the Top Five of the Billboard 200. In early 2013\, Gontier left the band\, citing a health issue\, and was replaced by Brad Walst’s brother\, singer Matt Walst of My Darkest Days. After touring and recording with their new singer\, two singles\, “Painkiller” and “I Am Machine\,” were released in 2014 and both reached number one on Billboard’s Mainstream Rock Songs chart. The band’s fifth album\, the darker\, loss-inspired Human\, followed in the spring of 2015. In July 2017\, Three Days Grace issued the single “The Mountain” ahead of the release of their sixth studio long-player\, the well-received Outsider\, which arrived in early 2018 and earned nominations for Album of the Year and Rock Album of the Year at the 2019 Juno Awards. Recorded partially in isolation during the COVID-19 pandemic\, Three Days Grace’s seventh album was heavy with themes of centering one’s self in a world of chaos. Released in 2022\, Explosions was co-produced with Howard Benson. ~ Michael Sutton\, Rovi \n \n \nCHEVELLE is the understated musical powerhouse who have continually delivered rock anthems for the past 24 years. 7 number one hits\, 17 songs reaching the top 10 charts\, over 4 million records sold in the USA and many more worldwide. Platinum and gold albums across their 8 studio records and successful live CD and two live DVD releases completes their extensive body of work to date. It’s all credit to their continuing dedication to be true to their craft\, the genre and their fans. Chevelle’s last two album releases\, La Gargola and The North Corridor both debuted #1 on the Billboard rock charts and #3 and #8 respectively\, on the Billboard top 200 charts. With no signs of this Chicago alternative rock trio slowing down any time soon\, their numerous chart-topping releases have certainly earned this band a place in American rock music history. After more than two decades together\, numerous releases\, and countless worldwide tours\, the band consisting of brothers\, Pete Loeffler [guitars\, vocals] and Sam Loeffler [drums]\, have confidently sailed through decades of uncharted waters and have emerged with a collection that’s equally intricate and intimate. \n \n 
URL:https://globalazmedia.com/event/three-days-grace-chevelle-at-arizona-financial-theatre/
LOCATION:Arizona Financial Theatre\, 400 W Washington St\, Phoenix\, AZ\, 85003\, United States
ATTACH;FMTTYPE=image/png:https://globalazmedia.com/wp-content/uploads/2023/09/Three-days-grace-at-Arizona-Financial-Theatre.png
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20231007T120000
DTEND;TZID=America/Phoenix:20231008T233000
DTSTAMP:20230828T154231Z
CREATED:20230828T153501Z
LAST-MODIFIED:20230828T154231Z
UID:17573-1696680000-1696807800@globalazmedia.com
SUMMARY:Goldrush 2023 at Phoenix Raceway Oct 7th-8th
DESCRIPTION:Relentless Beats brings you Goldrush 2023\, and this year it’s out at Phoenix Raceway in Avondale\, AZ. \n \nYour Goldrush: Sonoran Skies Lineup\n2-Day & Single Day Tickets On Sale Now!\n\n\nSaturday\, October 7\nAlison Wonderland • Louis The Child (Playground Set) • Tiesto • ATLiens • Brondo • Champagne Drip • Cloonee • Dabin • Dion Timmer • Dombresky • Kayzo Unleashed • Lizzy Jane • Marie Vaunt • Nostalgix • Ship Wrek • Slushii • Sonny Fodera • Weiss • Will Clarke • Anatta • Svnday Drvr \nSunday\, October 8\nZeds Dead • ZHU • Ameme • Ben Bohmer (LIVE) • BLOND:ISH • Bou • Detlef • FrostTop • Hamdi • Jessica Audiffred • Kai Wachi • KHIVA • Lady Faith • Madeon (DJ Set) • PAWSA • Riot Ten • S!CK!CK • TOBEHONEST • Austin Feldman • Michael Hooker • Sed’s Vortex b2b PrettyHard \n \n \n \n \n \nTICKETS\n  \n  \n\nAlone we can do so little\, together we can do so much\n\n\nWithout the brands listed below\, we simply couldn’t have the memorable experiences you have grown to love. We would like to extend our gratitude to each of these brands and companies for helping to provide texture to Goldrush and providing a lasting impression to fans! \nPartnership Inquiries\nIs your brand interested in partnering with Goldrush?\nWe would love to hear from you\, please CLICK HERE. \n\n\n\nOur Partners
URL:https://globalazmedia.com/event/goldrush-2023-at-phoenix-raceway/
LOCATION:Phoenix Raceway\, 7602 Jimmie Johnson Dr\, Avondale\, 85323\, United States
ATTACH;FMTTYPE=image/png:https://globalazmedia.com/wp-content/uploads/2023/08/Goldrush-2023-banner.png
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20231007T190000
DTEND;TZID=America/Phoenix:20231007T233000
DTSTAMP:20231003T212137Z
CREATED:20231003T212137Z
LAST-MODIFIED:20231003T212137Z
UID:17944-1696705200-1696721400@globalazmedia.com
SUMMARY:Coheed and Cambria + Deafheaven at The Hollywood Palladium
DESCRIPTION:It’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 \nOriginally formed as a duo in 2010\, Deafheaven\, now a quintet\, are a restless and experimental metal band from San Francisco. Often referred to as black metal\, the group finds the term limiting\, and sees the metal subgenre as a prime inspiration. Their ever-evolving sound includes elements of black metal\, shoegaze\, post-rock\, and even accessible — but musically challenging — arena rock\, as evidenced by albums such as 2013’s Sunbather and the punchier\, more dynamic New Bermuda two years later. 2018’s Ordinary Corrupt Human Love wed somewhat gentler and more experimental and cinematic songwriting to their established black metal roots. Their fifth studio album\, 2021’s Infinite Granite\, was their least metal-influenced record yet\, leaning closer to dream pop\, ambient\, and alternative rock. \nInitially made up of George Clarke (vocals) and Kerry McCoy (guitars)\, the band has a sound that blends black metal with elements of shoegaze\, adding a layer of warmth to the genre’s typically icy sound while expanding the emotional range outside of the typical themes of death\, despair\, and hopelessness. As a duo\, Clarke and McCoy wrote and recorded a demo on their own that would get the attention of Converge frontman Jacob Bannon’s label\, Deathwish Inc.\, which released the untitled EP in 2010. The pair expanded the lineup to include guitarist Nick Bassett\, bassist Derek Prine\, and drummer Trevor Deschryver\, who appeared on Deafheaven’s 2011 full-length debut\, Roads to Judah\, before parting ways with the band the following year. Looking to get back to their roots a bit\, McCoy and Clarke worked on the writing for their follow-up album as a duo again\, though they would recruit drummer Daniel Tracy to join them in the studio for the recording process. The result was their sophomore effort\, Sunbather\, which was released to critical acclaim in the summer of 2013. Recruiting new bassist Stephen Clark and guitarist Shiv Mehra\, Deafheaven toured across the globe extensively as a quintet\, including gigs with Between the Buried and Me\, Pallbearer\, No Joy\, and many others. In 2015\, Deafheaven signed to Anti- for the release of their highly anticipated third album\, New Bermuda. Produced by frequent collaborator Jack Shirley\, it arrived in early October. The set reached number 16 on the Top Rock Albums charts\, and was supported by lengthy international tours. Its critical and commercial success brought it to the ears of listeners not normally enamored of heavy metal. \nIn late 2017\, Deafheaven de-camped to 25th St. Recording in Oakland with Shirley again listed as producer. By their own admission\, they expanded their heavy\, kinetic sound by adding psychedelia-inspired vocals\, jazzy percussion\, and intricate organic piano melodies to juxtapose against their trademark black metal-inspired and post-hardcore trademark sonics. Ordinary Corrupt Human Love took its title from Graham Greene‘s novel The End of the Affair\, reflecting a theme of yearning romanticism. The set’s first single and video\, “Honeycomb\,” was issued in April of 2018\, and clocked in at nearly 12 minutes. While the video images showed glimpses of Deafheaven in the studio and wandering around San Francisco\, the song’s lyrics actually referenced the work of Argentine novelist Julio Cortázar. The full-length was released in May. The singer/songwriter Chelsea Wolfe guested on the track “Near.” \nIn 2020\, the band planned a ten-year anniversary tour that had to be postponed due to the COVID-19 pandemic. To celebrate the occasion anyway\, Deafheaven released 10 Years Gone (Sargent House) in December\, a live-in-studio recording of their planned touring set. In addition to revitalizing long-established crowd favorites such as “Vertigo” and “Kettle\,” they also included a recording of “Daedalus\,” the first song the band ever wrote together. Infinite Granite\, the band’s fifth studio album\, arrived in 2021. A departure from their previous albums\, Infinite Granite featured barely any screaming or metal riffs\, instead featuring swirling guitars and clean vocals reflecting influences including Radiohead\, Ride\, Tears for Fears\, and Chet Baker. ~ Gregory Heaney & Thom Jurek\, Rovi
URL:https://globalazmedia.com/event/coheed-and-cambria-deafheaven-at-the-hollywood-palladium/
LOCATION:The Hollywood Palladium\, 6215 W Sunset Blvd\, Los Angeles\, 90028\, United States
ATTACH;FMTTYPE=image/jpeg:https://globalazmedia.com/wp-content/uploads/2023/10/Coheed-and-Cambria-at-The-Hollywood-Palladium.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20231009T200000
DTEND;TZID=America/Phoenix:20231009T233000
DTSTAMP:20230922T131458Z
CREATED:20230922T131458Z
LAST-MODIFIED:20230922T131458Z
UID:17816-1696881600-1696894200@globalazmedia.com
SUMMARY:Sleep Token & AA Williams at Fox Theater in Pomona\, CA
DESCRIPTION:SUNDOWNING: “Sundowning\, or sundown syndrome\, is a neurological phenomenon associated with increased confusion and restlessness in patients with delirium or some form of dementia. The term ‘sundowning’ was coined due to the timing of the patient’s confusion. For patients with sundowning syndrome\, a multitude of behavioral problems begin to occur in the evening or while the sun is setting…” \nFrom June to November\, through 12 tracks and passing seasons\, Sleep Tokenreveals an evenly-spaced\, precisely-timed sequence of recordings that stand as both individual touchstones and carefully aligned musical pieces\, all informed by a common emotional thread plus a flow of graphics and videos specific to each song; the end result is a digital and physical release of the album on November 22\, with format choices embracing a bespoke box-set containing a variety of exclusive elements\, including early recordings. \nStarting with “THE NIGHT DOES NOT BELONG TO GOD\,” the opening track on the album\, the singles will be issued\, in sequence\, every two weeks at sundown (GMT). “The Night…” arrives on summer solstice when the sun is highest in the sky in London\, descending throughout the subsequent singles releases. \n \n \n \nMaking her stage debut in April 2019 and selling out her first headline show at London’s prestigious Southbank Centre less than a year later\, A.A. Williams hit the ground running. Similarly\, the acclaim for her performances and her music has been unanimous from the start. After one self-titled EP and a collaboration with Japanese post-rockers MONO\, the London-based singer-songwriter signed to Bella Union and released her stunning debut album\, Forever Blue\, in July 2020. \nThat Southbank show would prove to be the last time she would take to the stage for a long while as the world struggled to cope with unforeseen and extreme challenges. Never a musician to sit still\, the classically trained multi-instrumentalist focused her creativity on arranging – firstly\, by stripping songs back to the most delicate bones on her Songs From Isolation covers record\, and now with a complete reimagining of her own material as the four songs from her debut EP become arco. \nNot many musicians have the ability – or indeed bravery – to rework a collection of their own full band ‘rock’ songs into a string-and-voice arrangement. A.A. Williams\, however\, is not like many musicians and the minimalism of Arvo Pärt and Gorecki has long since sat beside Vaughan Williams’ folk-inspired classical work as important influences on her music.
URL:https://globalazmedia.com/event/sleep-token-aa-williams-at-fox-theater-in-pomona-ca/
LOCATION:Fox Theater Pomona\, CA\, 301 Garey Ave.\, Pomona\, CA\, 91766
ATTACH;FMTTYPE=image/jpeg:https://globalazmedia.com/wp-content/uploads/2023/09/Sleep-Token-Photo-By-Adam-Messler-5-of-15.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20231010T200000
DTEND;TZID=America/Phoenix:20231010T233000
DTSTAMP:20230922T131603Z
CREATED:20230922T131522Z
LAST-MODIFIED:20230922T131603Z
UID:17815-1696968000-1696980600@globalazmedia.com
SUMMARY:Sleep Token & AA Williams at Fox Theater in Pomona\, CA
DESCRIPTION:SUNDOWNING: “Sundowning\, or sundown syndrome\, is a neurological phenomenon associated with increased confusion and restlessness in patients with delirium or some form of dementia. The term ‘sundowning’ was coined due to the timing of the patient’s confusion. For patients with sundowning syndrome\, a multitude of behavioral problems begin to occur in the evening or while the sun is setting…” \nFrom June to November\, through 12 tracks and passing seasons\, Sleep Tokenreveals an evenly-spaced\, precisely-timed sequence of recordings that stand as both individual touchstones and carefully aligned musical pieces\, all informed by a common emotional thread plus a flow of graphics and videos specific to each song; the end result is a digital and physical release of the album on November 22\, with format choices embracing a bespoke box-set containing a variety of exclusive elements\, including early recordings. \nStarting with “THE NIGHT DOES NOT BELONG TO GOD\,” the opening track on the album\, the singles will be issued\, in sequence\, every two weeks at sundown (GMT). “The Night…” arrives on summer solstice when the sun is highest in the sky in London\, descending throughout the subsequent singles releases. \n \n \n \nMaking her stage debut in April 2019 and selling out her first headline show at London’s prestigious Southbank Centre less than a year later\, A.A. Williams hit the ground running. Similarly\, the acclaim for her performances and her music has been unanimous from the start. After one self-titled EP and a collaboration with Japanese post-rockers MONO\, the London-based singer-songwriter signed to Bella Union and released her stunning debut album\, Forever Blue\, in July 2020. \nThat Southbank show would prove to be the last time she would take to the stage for a long while as the world struggled to cope with unforeseen and extreme challenges. Never a musician to sit still\, the classically trained multi-instrumentalist focused her creativity on arranging – firstly\, by stripping songs back to the most delicate bones on her Songs From Isolation covers record\, and now with a complete reimagining of her own material as the four songs from her debut EP become arco. \nNot many musicians have the ability – or indeed bravery – to rework a collection of their own full band ‘rock’ songs into a string-and-voice arrangement. A.A. Williams\, however\, is not like many musicians and the minimalism of Arvo Pärt and Gorecki has long since sat beside Vaughan Williams’ folk-inspired classical work as important influences on her music.
URL:https://globalazmedia.com/event/sleep-token-aa-williams-at-fox-theater-in-pomona-ca-2/
LOCATION:Fox Theater Pomona\, CA\, 301 Garey Ave.\, Pomona\, CA\, 91766
ATTACH;FMTTYPE=image/jpeg:https://globalazmedia.com/wp-content/uploads/2023/09/Sleep-Token-Photo-By-Adam-Messler-5-of-15.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20231012T180000
DTEND;TZID=America/Phoenix:20231012T233000
DTSTAMP:20231006T131920Z
CREATED:20231006T131920Z
LAST-MODIFIED:20231006T131920Z
UID:17950-1697133600-1697153400@globalazmedia.com
SUMMARY:Drowning Pool + Saliva & More at Marquee Theatre
DESCRIPTION:Drowning Pool is an alternative/nu-metal band that combines muscular drums\, angry riffs\, and dark themes. The group found mainstream success in 2001 with the release of their platinum-selling debut album\, Sinner\, which included the hit single “Bodies.” After the death of vocalist Dave Williams in 2002\, Drowning Pool relied on a rotating cast of lead singers (Jason Jones\, Ryan McCombs\, and Jasen Moreno) to deliver hard-hitting efforts like Full Circle (2007)\, Resilience (2013)\, and Strike a Nerve (2022). \nFounded in 1996\, Drowning Pool represented the vision of drummer Mike Luce and guitarist C.J. Pierce\, who formed the band after relocating from New Orleans to Dallas and hooking up with bassist Stevie Benton. Although they initially performed as an instrumental trio\, their sound coalesced with the arrival of Dave “Stage” Williams as vocalist. Drowning Pool experienced success from the outset. When a copy of their first demo reached members of Sevendust\, they were invited to tour with the industrial metal group. Tours with Kittie and (hed) p.e. followed. Their second demo\, recorded after two years on the road\, reached the Top Ten on Dallas radio station KEGL and led to a contract with the Wind-Up Records label. Produced by Jay Baumgardner (Papa Roach\, Godsmack\, Coal Chamber)\, their first album\, Sinner\, became an instant hit. It was certified platinum within six weeks of its release\, while their first single\, “Bodies\,” was one of the most frequently aired videos on MTV for a new band. They reached out to an even greater audience with dynamic performances at Wrestlemania XVIII and Ozzfest during the summers of 2001 and 2002. Unfortunately\, their streak of success was not to last. Shortly after rousing the crowd at Ozzfest in Indianapolis\, Indiana\, on August 3\, 2002\, Williams was found dead of natural causes on the tour bus. In the wake of that tragedy\, the band forged ahead. A concert film\, Sinema\, featuring more than two-and-a-half hours of footage\, was released in late 2002. In January 2004\, the band announced the addition of singer Jason “Gong” Jones\, and their sophomore effort\, Desensitized\, followed several months later. In 2006\, former Soil singer Ryan McCombs assumed the vocal duties\, and a year later they released Full Circle\, which was followed by live album\, Loudest Common Denominator\, in 2009. A self-titled album dropped in 2010\, making McCombs the first DP singer to record more than one album with the group. However\, it was not to last: he departed the following year\, and was replaced by Suicide Hook vocalist Jasen Moreno\, who made his official debut on 2013’s Resilience. Three years later\, Moreno would match McCombs’ record with the announcement of the second Moreno-led and sixth overall Drowning Pool album\, Hellelujah. Produced by Jason Suecof (Deicide\, Motionless in White)\, the release featured the uncompromising single “By the Blood.” Originally slated for release in 2020\, the band’s seventh long-player\, Strike a Nerve\, was pushed to 2022 due to the COVID-19 pandemic. Billed as their heaviest effort to date\, the 11-song set saw the band digging hard into their blue-collar Southern metal roots. ~ Craig Harris & Neil Z. Yeung\, Rovi \n \n \nAfter acquiring front man Bobby Amaru in 2011\, Saliva became infused with new blood\, energy\, and spirit. The same energy launched Saliva’s career in 2001 with the release\, _Every Six Seconds – a certified Double Platinum-selling album\, containing the hits\, “Click Click Boom” and 2002 Grammy nominated\, “Your Disease.” Saliva’s in-your-face\, anthemic writing style continued with a certified Gold-selling album *Back in to Your System_ with hits: “Always\,” “Raise Up\,” and the Nikki Sixx co-written\, “Rest In Pieces.”* \nSaliva will continue to release tracks and ultimately a full album in Spring of 2023. The new music has a contemporary feel but sticks to the blue collar roots that their fans love. \nSaliva is Brad Stewart (bass)\, Wayne Swinny (guitar)\, Sammi Jo Bishop (drums) and Bobby Amaru (vocals). \n \n \nEdgy Las Vegas-based Adelitas Way broke into the mainstream in 2009 with the song “Invincible\,” which appeared on numerous television spots for CSI Miami and served as the theme song for the weekly WWE Superstars show\, Raw vs Smackdown Video game\, appeared on FAW \,served as The legacy Theme song\, and performed at numerous Large WWE events. A Blue collar grass roots work ethic has the band touring the world for over a decade\, building one of the strongest fan bases in Music today. Independently AW has over 180 Million Streams on their strong Catalog of songs. Formed in the mid 2000s by vocalist/songwriter Rick DeJesus\, the band (includes drummer Trevor Stafford\, Bassist Andrew Cushing\, Guitarist Tavis Stanley) released its debut in July 2009. AW sophomore effort\, the acclaimed Home School Valedictorian was a massive success. In July 2013 the group entered the studio to record Stuck\, which featured the hit single “Dog on a Leash\,” which peaked at number Five on the U.S. Mainstream Rock Chart. 2016\, the band issued their fourth studio album\, Getaway Independently\, and featured the Top 10 Rock radio hit “Bad Reputation”. 2017’s Notorious album included hit singles “Ready for War (Pray for Peace)\,” which served as the theme song to TLC: a WWE PPV event. The hit single “Notorious” was released In the fall Of 2017 and is one of the bands Most successful songs to date with over 40 Million streams. Adelitas way is a fan Favorite for their songwriting\, Live shows\, and Fan Experiences \n \n \nEvery once in a while\, a singer comes along that single-handedly resets the bar for what a rock vocalist should be. Someone with such raw emotion and power that it makes the hair on the back of your neck stand up. Maryland-based rock band ANY GIVEN SIN’s Vic Richie is that singer. ANY GIVEN SIN spent much of 2019 generating buzz with the release of their single “Dynamite\,” which quickly became the number one most spun song on SiriusXM’s Octane. The band soon solidified its position on Octane\, landing the coveted Accelerator Artist title\, and blazing past some of the biggest names in rock on the weekly BIG UNS Countdown. As the number two most requested song on the channel\, it ended up at number twenty-nine on Octane’s Top 100 year-end countdown. The success of their first single was quickly followed up with the release of their second single\, “Another Life\,” which\, in turn\, became the number one most spun song as well. Any Given Sin recently released their third single\, “Insidious.” The band has been working with some heavy-hitters in the rock world including Trevor Kustiak (Evans Blue)\, John Moyer (Disturbed)\, and most recently\, Chris Dawson (SAUL\, Seasons After)\, who produced both singles\, “Another Life” and “Insidious.” Complete with epic\, crunchy guitar riffs and put-a-hole-in-your-soul\, massive drums\, this is a true-blue American rock band with both authenticity and power.
URL:https://globalazmedia.com/event/drowning-pool-saliva-more-at-marquee-theatre/
LOCATION:Marquee Theatre\, 730 N Mill Ave\, Tempe\, 85281\, United States
ATTACH;FMTTYPE=image/jpeg:https://globalazmedia.com/wp-content/uploads/2023/10/Drowning-Pool-Saliva-More-at-Marquee-Theatre.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20231018T200000
DTEND;TZID=America/Phoenix:20231018T200000
DTSTAMP:20231012T151834Z
CREATED:20231012T151834Z
LAST-MODIFIED:20231012T151834Z
UID:17971-1697659200-1697659200@globalazmedia.com
SUMMARY:VNV Nation + Traitrs at The Van Buren
DESCRIPTION:VNV Nation is a European based alternative electronic project led by Ronan Harris in the roles of singer\, songwriter and producer. \nNever content with fitting in a category\, VNV Nation’s sound blends poetic and thought provoking lyrics with a sound that ranges from melodic dance beats and indie-electronic anthems\, to haunting ballads and post-classical soundtrack pieces. The live shows are legendary for their energy and positive emotion\, drawing a devoted fanbase from across the musical spectrum to sold out tours and headline appearances at festivals in Europe and America. \nOver the course of the project’s career\, VNV Nation has continued to reach new heights\, with its last 3 albums charting top 10 in Germany\, as well as its last album achieving top 5 Billboard Chart positions in the US. \nRonan Harris was born in Dublin\, Ireland\, and lives in Hamburg\, Germany \n \n \nWith their emotive melodies\, propulsive rhythms\, angular guitars and dark cinematic electronics\, TRAITRS have quickly become one of modern post-punk’s fastest rising independent bands. Consisting of Sean-Patrick Nolan and Shawn Tucker\, TRAITRS formed during the summer of 2015 in Toronto\, Ontario Canada. The duo recorded demos with producer/engineer Josh Korody (Nailbiter\, F*cked Up\, Japandroids\, Dilly Dally)\, garnered the attention of Pleasence Records label head James Lindsay and released their debut cassette Rites And Ritual in April 2016. After gaining buzz in the European and North American dark music scenes\, TRAITRS released their critically acclaimed LP Butcher’s Coin (Pleasence Records\, Manic Depression Records\, Alchera Visions) in May 2018. Backed by the strength of lead single ‘Thin Flesh’\, the duo embarked on a series of lengthy tours overseas\, performed in over a dozen countries including showcases at Wave Gothik Treffen\, Castle Party\, Extramuralhas\, Nocturnal Culture Night\, Wavefest\, Canadian Music Week and Pop! Montreal. Their relentless touring schedule and work ethic caught the attention of Schubert Music Publishing’s Thomas Thyssen and Eric Burton\, and in October 2020 they announced TRAITRS as the first signing to their brand-new record label Freakwave Records. This year\, TRAITRS will release ‘The Sick\, Tired And Ill’ EP on July 30 and the full-length LP ‘Horses In The Abattoir’ on November 19. \n \n 
URL:https://globalazmedia.com/event/vnv-nation-traitrs-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:20231026T200000
DTEND;TZID=America/Phoenix:20231026T233000
DTSTAMP:20231017T151401Z
CREATED:20231017T151401Z
LAST-MODIFIED:20231017T151401Z
UID:17978-1698350400-1698363000@globalazmedia.com
SUMMARY:The HU + Blind Channel & Nerv at The Van Buren
DESCRIPTION:In 2019\, an NPR story put a spotlight on “a band from Mongolia that blends the screaming guitars of heavy metal and traditional Mongolian guttural singing\,” accurately highlighting the cultural importance & unique musical identity of The HU. Founded in 2016 in Ulaanbaatar\, Mongolia\, The HU blend traditional Mongolian instrumentation & throat singing with Western rock in what they call “Hunnu Rock.” Their debut album\, 2019 ‘s The Gereg\, debuted at #1 on the World Album and Top New Artist Charts while receiving critical acclaim from the likes of Billboard\, GQ\, The Guardian\, The Independent\, Revolver\, & Sir Elton John. It saw the band receive Mongolia’s highest state award\, The Order of Genghis Khan\, by the President of Mongolia. A deluxe version included collaborations with Jacoby Shaddix (Papa Roach) and Lzzy Hale (Halestorm) & caught the attention of Metallica who enlisted them to cover “Through The Never” for their 2021 Metallica Blacklist album. THE HU were also featured performing an original song for EA Games’ Star Wars Jedi: Fallen Order. Their second album\, Rumble Of Thunder\, was released in 2022 following sold-out tours across the world in North America\, Europe\, Asia\, & Australia including festival appearances at Coachella\, Lollapalooza\, Download Festival and more. In November 2022\, The HU became the first-ever rock/metal band to receive the prestigious UNESCO “Artist of Peace” Designation. A deluxe version of RUMBLE OF THUNDER is due in 2023 via Better Noise Music. \n \n \nDarkness which envelopes Finland is what fuels Blind Channel. The veritable coal to their roaring furnace of ambition\, embracing it is the DNA that runs throughout their music. Balancing their tenacity with sincerity\, “It’s this feeling of never being enough is what drives us forward right now\,” vocalist Niko Vilhelm says. \nWhen forming back in 2013 in the city of Oulu\, way up in the North of Finland\, vocalists Niko and Joel Hokka\, drummer Tommi Lalli\, guitarist Joonas Porko and bass player Olli Matela\, plus the later addition of DJ/Percussionist Aleksi Kaunisvesi – knew that it was all about going big or going home. When they were told to sing in their native tongue\, they refused. It was simply never an option. The doors that closed only made them want to grab an axe to break through\, The Shining style\, to properly make themselves known. This is exactly what they did when they found their way onto the largest stage in Europe: Eurovision\, after competing in the Uuden Musiikin Kilpailu (UMK)\, Finland’s annual contest to discover their entry. Winning the spot\, by the largest landslide the competition has seen\, Blind Channel captured and enamoured the continent with the fiery nu-metal charge of ‘Dark Side’. \nBe warned however\, Eurovision isn’t the crux of Blind Channel’s story. This stepping stone that saw them take to that hallowed stage\, was just that\, a gambit towards the bigger picture. \nMANAGEMENT Backbone Management antti (at) backbonemanagement (dot) fi \n \n \nWe are Nerv\, a 4-piece genre-bending rock band residing in California. The band’s members are originally from all over the US with vocalist Dillon Jones (Sacramento\, CA)\, guitarists Jordan Grokett and Scott Buchanan (Dallas\, TX) and drummer Tyler Clark (Atlanta\, GA). Nerv burst onto the scene in November 2017 with their heavy hitting debut single ‘Enough’. Then in Spring 2018 the band released their highly successful debut EP ‘Bad Habits’\, working with producer Erik Ron (I Prevail\, Godsmack\, Hollywood Undead). In October of 2022\, Nerv released their long-awaited debut full length album\, ‘We’re All Patients Here’.
URL:https://globalazmedia.com/event/the-hu-blind-channel-nerv-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:20231030T173000
DTEND;TZID=America/Phoenix:20231030T233000
DTSTAMP:20231023T024653Z
CREATED:20231023T024653Z
LAST-MODIFIED:20231023T024653Z
UID:18091-1698687000-1698708600@globalazmedia.com
SUMMARY:STATIC-X + SEVENDUST at Marquee Theatre
DESCRIPTION:American metal crew Static-X emerged at the tail end of the ’90s\, pushing an aggressive thrash metal blend with industrial overtones and a techno pulse. Their breakthrough debut\, 1998’s cult classic Wisconsin Death Trip\, rocketed them to stardom in the heavy music world\, their image boosted by frontman Wayne Static‘s distinctive hair and vocal delivery. While maintaining momentum into the 2000s with additional efforts like Machine and Shadow Zone\, Static‘s passing in 2014 effectively halted the group in their tracks. However\, at the close of the decade\, the original lineup made a comeback with the help of previously recorded Static vocals\, issuing Project Regeneration in 2020. \nStatic-X’s roots trace to the Midwest\, where vocalist/guitarist Wayne Static grew up in Michigan and drummer Ken Jay in Illinois. They ended up in Chicago separately and met at the record store where Jay worked\, introduced to one another by future Smashing Pumpkins vocalist Billy Corgan (who was in the band Deep Blue Dream with Static). Static and Jay decided to head west to California and start up a new band. Shortly after their arrival\, Osaka native Koichi Fukada responded to the duo’s ad and became their new guitarist\, as well as programmer. Bassist Tony Campos\, the only true Californian\, was the final piece of the puzzle. Signed to Warner Brothers in February 1998\, Static-X debuted with Wisconsin Death Trip a year later. The album was a hit and eventually certified platinum\, bolstered by the strength of the singles “Push It” and “Bled for Days.” Despite the success\, founding guitarist Fukada briefly left the group in 2000\, replaced by Tripp Eisen (ex-Dope) for 2001’s gold-certified Machine\, their highest-charting effort to date. Further lineup changes followed\, as drummer Jay left after the 2003 album Shadow Zone. Soon after\, misdemeanor charges forced Eisen to leave the band in 2004 (he was later convicted and spent a year in prison). Still\, Static-X was undeterred. Static tapped Fukada to rejoin on guitar and programming in 2005\, while touring drummer Nick Oshiro took over full-time. \nIn June 2005\, a rejuvenated Static-X returned to recording with Start a War\, home to the single “I’m the One.” Fifth album Cannibal arrived in 2007\, charting inside Billboard’s Top 40. The band toured and released a CD/DVD document\, Cannibal Killers Live\, then settled into the recording of their sixth studio album\, Cult of Static. Released in March 2009\, it debuted inside the Top 20\, their second highest showing to date. The group went on hiatus not long after finishing a lengthy tour\, with Wayne Static announcing a renewed focus on his Pighammer side project\, with contributions from his wife\, Tera Wray. In 2011\, Pighammer appeared as a solo album under his own name. A year later\, he re-formed Static-X — minus any of the original members. The lineup\, which consisted of his solo backing band\, mounted a tour but broke up by 2013\, and a year later\, Wayne Static was dead of a drug overdose at the age of 48. Just over a year after that\, his widow Tera Wray took her own life. \nThis tragedy seemed to spell the end of Static-X\, but a few years later\, the remaining bandmembers patched up their differences and decided to see if they could salvage anything from past recordings. Starting from a slew of unreleased demos\, the group went into the studio\, once again with Ulrich Wild\, where they stripped Wayne‘s vocals from the demos and composed entirely new tunes around them. The resultant album\, Project Regeneration\, was released in two volumes\, with Vol. 1 arriving in the summer of 2020. To support the release\, the band embarked on tour with a new\, masked frontman named Xer0\, rumored to be Edsel Dope of Dope. Lead single “Hollow” crashed the U.S. Dance/Electronic chart\, peaking in the Top 15. ~ Neil Z. Yeung & Josh Loehr\, Rovi \n \n \nSevendust never follow a linear path. Instead\, they continue to bulldoze a lane of their own with a proven one-two punch of rumbling grooves\, unpredictable riffing\, and stirringly soulful vocals unlike anything else in hard rock. As a result\, their music connects straight to the heart as evidenced by their full-contact live shows and diehard “family” of fans. It’s why they’ve been around since 1994\, tallied global sales of seven million\, logged three gold-selling albums\, delivered three Top 15 debuts on the Billboard 200\, and garnered a GRAMMY® Award nomination in the category of “Best Metal Performance.” They’re the rare force of nature who not only graced the bills of Woodstock and OZZfest\, but also Shiprocked! and Sonic Temple and some of the largest stages around the globe. Along the way\, they’ve notably collaborated with everyone from members of Deftones\, Daughtry\, and Staind to Alter Bridge\, Periphery\, and Xzibit. 2020 saw them deliver one of the most-acclaimed albums of their career with Blood & Stone\, which Metal Hammer christened “Sevendust’s best work in years” and Outburn dubbed “everything a Sevendust fan could want.” \nHowever\, the Atlanta quintet—Lajon Witherspoon [lead vocals]\, Clint Lowery [lead guitar\, backing vocals]\, John Connolly [rhythm guitar\, backing vocals]\, Vince Hornsby [bass]\, and Morgan Rose [drums]—defy expectations yet again on their fourteenth full-length and debut for Napalm Records\, Truth Killer. \n \nAn uncompromising New York City-based outfit that draws from both heavy metal and industrial music\, Dope’s confrontational emissions evoke Ministry\, Skinny Puppy\, and White Zombie. Emerging in 1999 with the hard-hitting Felons and Revolutionaries\, the group continued to beat the post-industrial drum on 2005’s American Apathy and 2018’s Blood Money\, Part 1\, while managing to weave in elements of speed\, alternative\, rap\, and nu-metal. \nThe quintet was formed in the Chicago area by brothers Edsel Dope (lead vocals\, rhythm guitar) and Simon Dope (keyboards). Simon studied chemistry at the University of Florida\, then received a scholarship to Polytechnic in Brooklyn. There he was joined by his brother\, with the two claiming to have financed their demos by selling drugs. The initial incarnation of the band included lead guitarist Tripp Eisen\, bass player Acey Slade\, and drummer Preston Nash. They began a selective series of gigs in late 1997. In October 1998\, they were signed to Flip Records\, which made a production deal with Epic. \nDope’s debut album and best-selling release to date\, Felons and Revolutionaries\, was released in September 1999. The Dope brothers gutted their lineup after the ensuing tour\, switching Slade to guitar and bringing in original bassist Sloane Jentry\, guitarist Virus\, and drummer Sketchy Shay. In the fall of 2001\, they released their second album\, Life. Two years later\, the band inked a deal with Artemis and issued the nu-metal-leaning Group Therapy. The punitive American Apathy arrived in summer 2005\, featuring covers of Depeche Mode‘s “People Are People” and N.W.A‘s “Fuck tha Police.” It topped the Billboard Heatseekers chart upon release. No Regrets was issued four years later\, and featured a guest appearance by Zakk Wylde. After an extended hiatus\, Dope’s classic lineup returned with a new album and coinciding tour. The band — Edsel Dope\, Acey Slade\, Virus\, and Racci Shay — released Blood Money\, Pt. 1 in late 2016\, with a sequel\, the aptly-named Blood Money\, Pt. 2\, arriving in 2019. \n \n \nNo matter where you go\, loyalty means the same thing. It represents a promise to uphold a code of honor. You remain true to yourself\, your friends\, and your family. Lines Of Loyalty maintain this level of commitment to both their craft and their mission. The Kenosha\, WI trio—Nubz Morrison [vocals\, guitar]\, Redo Ianni [bass\, vocals\, keys]\,—deliver melodically magnetic rock anthems with unapologetic dedication and diligence. After years of success under the name Mixed Company\, they assert themselves as a hypnotic heavy rock force on a series of singles in 2021. \nIn fact\, they’re so committed the word “Loyalty” adorns Nubz’ face… \nTo bring this vision to life\, they hit the studio with producer Chris Dawson [Saul] to record in 2021. Now\, they officially introduce Lines Of Loyalty via the single “I’m Not The One.” Anchored by a thick beat and punchy bass line\, the track twists and turns through unpredictable riffs towards an instantly chantable chorus. \nDue to this honesty\, the guys will ultimately inspire just as much loyalty from listeners as they unleash more music.
URL:https://globalazmedia.com/event/static-x-sevendust-at-marquee-theatre/
LOCATION:Marquee Theatre\, 730 N Mill Ave\, Tempe\, 85281\, United States
ATTACH;FMTTYPE=image/jpeg:https://globalazmedia.com/wp-content/uploads/2023/10/Static-X-Sevendust-at-Marquee-Theatre.jpg
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DTSTART;TZID=America/Phoenix:20231031T180000
DTEND;TZID=America/Phoenix:20231031T233000
DTSTAMP:20231026T144119Z
CREATED:20231026T144119Z
LAST-MODIFIED:20231026T144119Z
UID:18135-1698775200-1698795000@globalazmedia.com
SUMMARY:Wednesday 13 + Gemini Syndrome & More at The Nile
DESCRIPTION:The Duke of Spook has returned once more from beyond the grave to reveal the “NECROPHAZE!” This latest full length offering from the ghouls of WEDNESDAY 13 will be available on September 27 2019 via Nuclear Blast Records. Heavily influenced by the real night terror occurrences of Wednesday himself\, historical serial killers & a slew of 80’s horror films\, the ideas behind NECROPHAZE are bizarrely familiar\, frightening\, & a hell of a lot of fun. While still consistently horrifying\, this new album certainly carries with it a more humorous sentiment than its gloomy predecessor (and 1st album with Nuclear Blast Records)\, “Condolences” (2017). Songs like “Bring Your Own Blood (BYOB)\,” clearly a play off the phrase “bring your own booze\,” manage to intertwine opposing ideas of the blood sucking undead w/ a teenage house party. “In every 80’s horror movie there’s always a party\,” Wednesday chuckles\, “so we wanted to get that vibe. The title made me laugh so we wrote a song that’s sort of a more violent ‘Monster Mash.’” The 1st single “Decompose\,” which was initially written by drummer Kyle Castronovo\, and was also the first song/demo brought to the table\, is like a catchy anthem for the idea of “I know you’re dead\, but I really wish you could be deader.” \nRecording & mastering by Michael Spreitzer; producer\, engineer\, as well as the long time guitarist of DevilDriver. Dropping just in time to enjoy on Halloween\, creepsters of the night\, prepare yourselves\, to ENTER THE NECROPHAZE. \n \n \nGEMINI SYNDROME welcomes you to the third and final degree of your initiation into the Synner Society. 3rd Degree – The Raising\, is GEMINI SYNDROME’s third full length album. Following the band’s 2013 debut Lux\, and 2016 sophomore LP Memento Mori\, this new album offers the closing chapter in a trilogy of song and narrative. This order of three steps\, and three albums\, is not by chance\, but is a nod to many of the initiatory traditions that exist and act as a vessel for transmitting and preserving the Sacred Knowledge throughout the ages. The intention is to provoke the listener to think about the mystery of life\, the nature of reality\, the roles we play\, and the masks we wear in this world. Wherein Lux\, meaning “Light\,” was concerned with birth; and Memento Mori\, meaning “Remember That We Must Die\,” dealt with the finite nature of life; the focus and message of 3rd Degree – The Raising\, is of traversing Death\, being Reborn and reintegrating with our True Self\, and thus being raised into the next degree of experience. 
 “Every quest within deserves a good soundtrack…” — GS° \n \n \nMoldovan progressive modern metal unit INFECTED RAIN have been turning heads in the metal world this fall with the next chapter of their metamorphosis – their otherworldly fifth album\, Ecdysis\, out January 7\, 2022 via Napalm Records. \nINFECTED RAIN have become one of the most exciting new acts in the heavy music world\, with charismatic\, multi-talented frontwoman Lena Scissorhands emerging as one of the fastest-rising leading ladies of the genre. Now\, the band arises from the dark depths once again – freshly off their very first tour of the USA with Butcher Babies and Stitched Up Heart. Produced once again by Valentin Voluta\, Ecdysis successfully demonstrates ultramodern brutality without sacrificing emotion and melody – showcasing a new layer of INFECTED RAIN that longtime followers and new fans alike will embrace. Frontwoman Lena Scissorhands adds about Ecdysis: “While the whole world was in a deep depression\, Ecdysis was slowly but surely maturing. The time in isolation away from all our plans and goals\, away from loved ones and the stage\, brought out something so new and different in us. A new chapter starts with this album\, a chapter of raw emotions and complete commitment.” \n \n \nHailing from NYC\, Black Satellite\, comprised of Larissa Vale and Kyle Hawken\, is creating waves in the rock scene with a sound that’s dark\, edgy\, and distinctly their own. Fusing industrial and metal influences\, their music transcends conventional boundaries solidifying their place in the genre. The band continues to break new ground through ceaseless hard work and non-stop touring\, showcasing their dedication both on and off stage. \nShortly after launching their first single VALKYRIE from their debut album ENDLESS\, Black Satellite garnished attention from press outlets such as Billboard\, Huffington Post\, Revolver\, Loudwire\, Knotfest\, and Alternative Press. \nThe band recently concluded writing and recording their sophomore record\, AFTERMATH\, mixed by veteran producer Ben Grosse (Marilyn Manson\, Breaking Benjamin) with tracks produced by Kane Churko (Papa Roach\, In This Moment). Their single VOID is the first taste of the brand new album. \nIn 2021\, they released a cover of Rammstein’s “Sonne” to critical acclaim with Revolver Magazine describing the track as “a masterclass in metal covers.” Followed by the release of their latest single BROKEN. \nBlack Satellite has since completed tours supporting John 5\, Fozzy\, Nita Strauss\, Cold\, Sumo Cyco\, and Drowning Pool. The band also toured with with Cradle of Filth and Devil Driver in March\, 2023. Continuing with the second leg of the tour in October 2023\, directly followed by a massive Fall tour with Wednesday 13.
URL:https://globalazmedia.com/event/wednesday-13-gemini-syndrome-more-at-the-nile/
LOCATION:The Nile Theater\, 105 West Main Street\, Mesa\, 85201\, United States
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