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DTSTART;TZID=America/Phoenix:20231202T190000
DTEND;TZID=America/Phoenix:20231202T233000
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SUMMARY:Highly Suspect + Good Boy Daisy at The Van Buren - SOLD OUT
DESCRIPTION:A muscular\, hard-hitting\, and wide-ranging group in the vein of Pop Evil\, Queens of the Stone Age\, and Royal Blood\, Brooklyn’s Highly Suspect rode a series of indie EPs and years of touring to a pair of Grammy nominations for their 2015 debut. A year later\, their follow-up delivered another hit in the Grammy-nominated single “My Name Is Human\,” setting high expectations for their third outing\, 2019’s hip-hop-leaning MCID. The band continued to blur genres on 2022’s The Midnight Demon Club. \nhe band formed in Cape Cod in 2009 around the talents of Johnny Stevens (guitar\, vocals\, synths) and twin siblings Ryan (drums\, vocals) and Rich Meyer (bass\, vocals). After working regionally as a cover band\, they relocated to Brooklyn and began recording original material\, resulting in a pair of EPs\, First Offense (2009) and The Gang Lion (2010). They continued to establish themselves with one more EP\, The Worst Humans\, in 2012\, before heading into the studio with producer Joel Hamilton (Black Keys\, Elvis Costello) to record their debut long-player. The resulting Mister Asylum\, which featured the fiery single “Lydia\,” was released on 300 Entertainment in 2015. Their debut received critical praise and two unexpected Grammy nominations\, leading to an extensive supporting tour. \nOff the road by early 2016\, they immediately returned to the studio to record a second full-length\, The Boy Who Died Wolf\, which saw release in November of that year. The album’s lead single\, “My Name Is Human\,” topped Billboard’s Mainstream Rock chart and earned Highly Suspect another Grammy nomination for Best Rock Song. As early as November 2018\, they began teasing information about their next album which they later revealed would be called MCID. A pair of singles\, “Upperdrugs” and “16\,” were released in August of that year\, with the eclectic\, hip-hop-infused MCID\, which featured guest spots from Young Thug\, Gojira\, Tee Grizzley\, and Nothing But Thieves‘ Conor Mason\, arriving in November 2019. Three years later\, Highly Suspect released The Midnight Demon Club\, a kinetic and life-affirming set that paired hip-hop beats and cinematic soundscapes with blazing metal. \n \n \n\n\n\nFor some people\, working with a sibling would be nearly impossible. But for identical twin sisters Hallie and Dylinn Mayes\, starting a band together was the only thing that made sense. “We’ve never known anything different\,” says Hallie. “We’ve spent our whole life together\, each and every moment.” “We’re the typical twins\,” adds Dylinn. “We’re best friends and we’re never apart.” So when the two discovered music was their calling\, they formed GOOD BOY DAISY\, becoming an alt-pop duo with plenty of rock influence. “It’s amazing to see how our chemistry is\,” says Hallie\, referring to both their onstage personas as well as their day-to-day experiences recording. “It’s unfairly easy.” \nRaised on a steady diet of ‘90s grunge\, the sisters inherited a lot of their early music taste from their father\, as well as many rounds of the video game Rock Band—featuring Dylinn on guitar with Hallie playing drums. But as they began to thumb through vinyl at their local record stores\, their favorite artists grew beyond Alice In Chains and Soundgarden to include more modern indie favorites such as alt-J and Matchbox Twenty. And somehow as they grew older\, theirmusic interests became even more intertwined. “We’ll never complain about who has the aux cord\,” says Hallie with a laugh. \nWhile they continued to jam out as videogame rockstars\, it wasn’t until they saw a group of friends perform at a local show that they realized real-life stardom was within their grasp. “It was the first time we saw someone our age playing in a band\,” says Dylinn. “We’re like—wait a minute\, you can play in a band? You can get up with your friends and play music you like? That’s a thing?” “Not only that\,” adds Hallie\, “I had no idea that people wrote their own music. When I saw kids our own age doing it\, it was a game changer.” \nBoth of them recall coming home from that show and immediately scrambling to get their own real-life instruments. In addition to drumming\, Hallie began to take on singing duties while Dylinn stayed with guitar. Before they continued with their own writing\, their first sets were still full of grunge and rock covers\, featuring cuts from AFI\, Hole and Rage Against The Machine. “That’s all we knew\, so that’s what came out of us\,” says Hallie. “The more we developed our own musical taste throughout high school\, we totally changed our sound\,” says Dylinn. \nThey began to tour every weekend while also searching for a steady writing and producing partner. “No one pushed us like we wanted to be pushed\,” says Dylinn. “It was always some kind of conflict or fighting in terms of musical taste\, or where we wanted the song to go\,” adds Hallie. \n\n\n\n\n\n\nThe duo are going for it every way they can; along with future song releases on the horizon\, they’re more than ready to tour and play for crowds again. “We really shine when we play live\,” says Hallie. “We’re excited to show everyone how fun our concerts can be.” \nBeyond that\, the two just want Good Boy Daisy to be known to the world. “As a band\, we hope to become the coolest household name\,” says Dylinn. “We’re real people\,” says Hallie\, “and I can’t wait for everyone to know who we are.”
URL:https://globalazmedia.com/event/highly-suspect-at-the-van-buren-sold-out/
LOCATION:The Van Buren\, 401 W. Van Buren St\, Phoenix\, AZ\, 85003\, United States
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DTSTART;TZID=America/Phoenix:20231205T190000
DTEND;TZID=America/Phoenix:20231205T233000
DTSTAMP:20231201T030033Z
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SUMMARY:Queens of the Stone Age + Spiritualized at Arizona Financial Theatre
DESCRIPTION:Queens of the Stone Age emerged from the stoner rock underground of the 1990s to become one of the leading heavy rock bands of the 21st century\, a transition sparked by the release of their major-label debut\, Rated R\, in 2000. A murky immersion in chemical excess\, the album showcased QOTSA’s skill in wedding thick\, grimy guitars with shape-shifting psychedelia\, a blend suited for the desert leader Josh Homme called home. Over the years\, Homme remained the constant in QOTSA’s mercurial lineup\, anchoring the group as members and guests cycled through the studio and stage. Dave Grohl‘s presence on the drumkit on 2022’s Songs for the Deaf helped break the band to a wider audience in America\, placing them at the vanguard of hard rock music. QOTSA’s membership stabilized around the release of …Like Clockwork\, the 2013 record that returned them to indie status while giving them their first number one album on the Billboard charts. Homme maintained the same quintet through the Mark Ronson-produced Villains and In Times New Roman…\, a 2023 album that found them discovering new shades and textures within their palette. \nQueens of the Stone Age has its roots in Kyuss\, the stoner rock band Josh Homme led during the early ’90s. After Kyuss split in 1995\, Homme served as a supporting guitarist on a Screaming Trees tour\, then decided to launch a new band called Gamma Ray. An eponymous EP appeared in 1996 before a German metal band named Gamma Ray threatened legal action over the appellation. Taking a cue from a nickname bestowed on the group by producer Chris Goss\, Homme decided to rename his fledgling unit Queens of the Stone Age\, unveiling this moniker on the Roadrunner various-artists compilation Burn One Up! Music for Stoners in 1997. Later that year\, the split EP Kyuss/Queens of the Stone Age — comprised of old tunes from the latter and new material from the former — confirmed the transition between Homme‘s two groups. \nHomme co-produced Queens of the Stone Age’s eponymous 1998 debut with Joe Barresi\, which was released on Loosegroove\, the indie imprint from Pearl Jam‘s Stone Gossard and Regan Hagar. With Alfredo Hernandez on drums\, Homme played all the guitars and most of the bass and keyboards on the record\, but he soon expanded QOTSA into a touring outfit featuring former Kyuss bassist Nick Oliveri along with guitarist Dave Catching; the latter played on the first volume of Homme‘s shape-shifting collaborative project the Desert Sessions\, which appeared in 1997. This group was by no means secure. By the time QOTSA entered the studio to record their major-label debut Rated R\, Hernandez was no longer with the band; Nick Lucero and Gene Trautmann split drumming duties on the record. \nCo-produced by Homme and Goss and released on Interscope\, Rated R built QOTSA’s audience exponentially. “The Lost Art of Keeping a Secret” gave the band a Top 40 hit in the U.K. Live spots at Ozzfest and with Foo Fighters and Hole helped broaden their following\, while events like Oliveri getting arrested after performing nude at the 2001 Rock in Rio Festival helped generate headlines. All this buzz culminated in Foo Fighters leader — and former Nirvana drummer — Dave Grohl becoming a temporary member of QOTSA for 2002’s Songs for the Deaf and its 2022 supporting tour\, which featured Homme\, Oliveri\, Grohl\, ex-Screaming Trees vocalist Mark Lanegan\, and A Perfect Circle guitarist/keyboardist Troy Van Leeuwen. With its singles “No One Knows” and “Go with the Flow\,” Songs for the Deaf elevated Queens of the Stone Age into the upper ranks of modern rock acts\, acting as a heavy\, trippy counterpart to the prevailing neo-garage rock of the early 2000s. \nGrohl decamped at the conclusion of the Songs for the Deaf tour\, returning to his regular gig in Foo Fighters; he was replaced by Joey Castillo\, who previously drummed with Danzig. In the wake of QOTSA’s success\, Homme embraced a variety of outside gigs\, including playing on a pair of Mark Lanegan albums and collaborating with Jesse Hughes on Peace\, Love\, Death Metal\, the first album by their band Eagles of Death Metal. When it came time to reconvene QOTSA for a sequel to Songs for the Deaf\, the band no longer featured Nick Oliveri; Homme fired him due to issues in the bassist’s personal life. With Alain Johannes taking over for Oliveri\, the group finished recording Lullabies to Paralyze\, making space for guest appearances by ZZ Top‘s Billy Gibbons and Shirley Manson. Preceded by the single “Little Sister\,” Lullabies to Paralyze appeared in March 2005\, followed by a supporting tour that occasionally featured Lanegan in his last live outings with the band. \nChris Goss returned to co-produce 2007’s Era Vulgaris alongside Homme. Featuring fewer guests than usual — Julian Casablancas of the Strokes appeared on the single “Sick\, Sick Sick\,” Lanegan provided vocals on one track — Era Vulgaris appeared in June 2007\, wrapping up the band’s contract with Interscope. After a supporting tour featuring bassist Michael Shuman and keyboardist Dean Fertita — the pair would become steady members of QOTSA from this point forward — the band went into a period of inactivity as Homme pursued other projects over the next few years. Chief among these was Them Crooked Vultures\, a power trio also featuring Dave Grohl and Led Zeppelin bassist John Paul Jones\, who released an eponymous album in 2009. The next year saw a deluxe reissue of Rated R and in 2011\, the band reissued their hard-to-find debut and did a small supporting tour behind this deluxe edition. \nQueens of the Stone Age began recording a new album in 2012\, transitioning from drummer Joey Castillo to his replacement Jon Theodore during the sessions. The record found QOTSA bringing Grohl back into the fold while also finding spots for Mark Lanegan\, Trent Reznor\, Alex Turner\, Jake Shears\, and Elton John\, as well as Nick Oliveri for his first spot on a QOTSA album in a decade. With the finished album in hand\, Queens of the Stone Age signed with Matador in 2013 and the ensuing …Like Clockwork album was released in June of that year. Supported by the singles “My God Is the Sun” and “I Sat by the Ocean\,” …Like Clockwork topped the Billboard 200\, as well as the Alternative\, Digital\, Hard Rock\, Independent\, and Top Rock charts. Following the success of …Like Clockwork\, Homme and various Queens’ members participated in the Sound City documentary project and Iggy Pop‘s 2016 Post Pop Depression album and tour. For Villains\, the band’s seventh album\, QOTSA worked with Mark Ronson and invited Nikka Costa and Matt Sweeney into the studio as guests. Featuring the singles “The Way You Used to Do” and “The Evil Has Landed\,” Villains debuted at three on the Billboard charts upon its August 2017 release. \nAfter the Villains tour\, Queens of the Stone Age took an extended hiatus\, reemerging in June 2023 with In Times New Roman…\, their third album for Matador. It was the first QOTSA album to be produced by the band and to not feature any guests. ~ Stephen Thomas Erlewine\, Rovi \n \n \nWhen highly influential English psychedelic rockers Spacemen 3 splintered\, singer/guitarist Jason Pierce (also known as J. Spaceman) formed his group Spiritualized\, extracting his more melodic and plaintive songwriting from droning minimalism of his former band. Spiritualized evolved from the narcotic\, Velvet Underground-inspired sounds of their earliest material to incorporate both gospel and blues influences and wistful orchestral pop touches that took cues from Brian Wilson and Phil Spector‘s teenage symphonies to God. The band reached a new level with the lush atmospheres and sad-hearted beauty of their 1997 classic Ladies and Gentlemen We Are Floating in Space and found international chart success with 2001 album Let It Come Down. With a creative process that involves exacting composition\, recording\, and mixing\, Spiritualized albums trickled out slowly throughout the 2010s and 2020s\, with extended gaps between albums like 2012’s Sweet Heart\, Sweet Light\, 2018’s And Nothing Hurt\, and 2022’s Everything Was Beautiful. \nAlthough Spiritualized fully emerged after the acrimonious breakup of Spacemen 3\, the band’s roots extended back to that group’s final LP\, 1990’s Recurring. A Spacemen 3 album in name only\, Recurring was split evenly between independently recorded work from Pierce and estranged partner Pete “Sonic Boom” Kember; as a result\, while Kember’s side presaged his eventual work with Spectrum\, Pierce’s half\, recorded with most of the musicians who would later be featured in Spiritualized (including guitarist Mark Refoy\, bassist Willie B. Carruthers\, and drummer Jon Mattock)\, pre-dated the orchestral drones that became the band’s hallmark. The first true Spiritualized single\, a dramatic reading of the Troggs‘ “Anyway That You Want Me\,” was the final nail in the coffin — reportedly\, Kember was so incensed by the Spacemen 3 logo appearing on the disc’s jacket that he disbanded the group for good. \nIn 1991\, Spiritualized returned with a string of EPs — Feel So Sad\, Run/I Want You\, and Smile/Sway — before their long-awaited debut\, Lazer Guided Melodies\, finally appeared the following year. The masterful\, blissed-out result of Pierce’s obsessive studio fine-tuning and endless remixing\, the album was promoted by Spiritualized’s slot on the high-profile Rollercoaster tour\, where they appeared with the Jesus and Mary Chain and Curve. A limited-edition live document\, Fucked Up Inside\, followed in 1993\, trailed by another EP\, Electric Mainline\, later in the year. \nIn 1995\, Spiritualized — now a trio consisting of Pierce\, keyboardist/guitarist Kate Radley\, and bassist Sean Cook — issued Pure Phase\, a heady\, dense production that boasted separate mixes from each stereo channel. With 1997’s platinum-certified Ladies and Gentlemen We Are Floating in Space\, Pierce deliberately jettisoned many of the band’s usual points of departure\, including drones\, tremolos\, and phase tones; recorded with new drummer Damon Reece\, it featured a cameo appearance from legendary New Orleans pianist Dr. John on one track\, while Memphis studio legend Jim Dickinson appeared on another. Other guests included the Balanescu Quartet (also featured on Pure Phase)\, the London Community Gospel Choir\, and Spring Heel Jack. The two-disc Royal Albert Hall October 10\, 1997 live album followed in late 1998. \nThe following year\, Pierce gutted Spiritualized’s lineup\, firing Cook\, Reece\, and Mike Mooney\, who formed Lupine Howl after their dismissal; Radley left after she married Verve frontman and solo artist Richard Ashcroft. Only saxophonist Ray Dickaty and occasional keyboardist Thighpaulsandra (aka Tim Lewis) remained in the band. Pierce began writing and recording material for the next Spiritualized album at George Martin‘s Air Studios and recruited percussionist Tom Edwards\, bassist Martin Shallards\, Echoboy drummer Kev Bales\, and guitarist Dogan (from Julian Cope‘s band)\, for the sessions. That critically acclaimed fourth album\, Let It Come Down — which featured an even lusher\, more involved sound than Ladies and Gentlemen — arrived in mid-2001. The effort was their highest-charting release to date\, peaking at number three in the U.K. and marking the band’s first appearances on the French and U.S. charts. \nThe follow-up\, 2003’s Amazing Grace (Dedicated/Arista)\, was more of a back-to-basics record. Although it entered the U.K. charts at number 25\, it failed to make a dent in international markets. Their sixth album\, Songs in A and E (Universal/Sanctuary)\, arrived in spring 2008 and saw Spiritualized bounce back toward the top of the charts. In 2010\, the band embarked on a tour performing Ladies and Gentlemen in its entirety\, writing new songs influenced by that album — as well as by the Beach Boys and Peter Brötzmann — while they were on the road. Pierce and company laid down the songs at studios in Los Angeles\, Wales\, and Reykjavik over the course of two years; the result\, Sweet Heart\, Sweet Light (Double Six/Fat Possum)\, was released in April 2012. \nAfter a six-year hiatus\, the longest yet for his band\, Pierce wanted to make what he thought would be the last Spiritualized album. Not having the budget to record in a large studio\, he opted instead to construct the effort on a laptop computer\, “playing” everything himself (the lush strings are sampled) save for horns\, upright bass\, and timpani; it was a process he initially found exasperating. The end result\, And Nothing Hurt\, was released in September of 2018\, followed by a full-band tour as well as the admission that the offering would not be the final one from the group. The album charted respectably throughout Europe and reached the Top 20 of the Top Modern Rock/Alternative Albums chart in the U.S. Everything Was Beautiful followed four years later and was as meditative and expansive as ever\, with the lead single\, “Always Together with You\,” nodding yet again to both Spector and the Velvet Underground. ~ Jason Ankeny\, Rovi
URL:https://globalazmedia.com/event/queens-of-the-stone-age-spiritualized-at-arizona-financial-theatre/
LOCATION:Arizona Financial Theatre\, 400 W Washington St\, Phoenix\, AZ\, 85003\, United States
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DTEND;TZID=America/Phoenix:20231211T233000
DTSTAMP:20231204T011700Z
CREATED:20231203T230504Z
LAST-MODIFIED:20231204T011700Z
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SUMMARY:Heilung at Shrine Auditorium & Expo Hall
DESCRIPTION:Since its inception in 2015\, the enigmatic ritual collective HEILUNG has been paving melodic paths to the past with their unique and mystifying sound. Evading all conventional genre tags and the confines of any specific labels\, the group aptly self-describes their sound as “amplified history\,” emphasizing their ability to connect modern society with the rudiments of humanity’s beginnings through music. HEILUNG once again journeys back in time with its new chapter\, ‘Drif;’ however\, unlike previous offerings that centered around prehistoric northern Europe\, album number three will explore other great rudimentary civilizations outside of Europe. \n“All the songs on ‘Drif’ have their own stories\,” adds HEILUNG throat singer and one of the band’s three composers\, Kai Uwe Faust. Each has its place and sense of belonging\, with inspiration not only from Northern Europe\, but from the ancient great civilizations\,” explains the band. “We took the ancient surrounding advanced civilizations in account\, because our ancestral Nordic civilizations did not just pop up\, exist and disappear in isolation. Already in the Bronze Age\, we found silk on German land that was imported already from the far\, far East 3000 years ago. From the Viking age\, we found beads that were brought there from present-day Syria high up in the Northern mountains. \n“Centrally important concepts\, still in extensive use today\, like the number Zero and all the mathematical universes deriving from it\, the use of iron and the general concept of settling all originate from traditional high civilizations outside the north and still fundamentally changing our ancestor’s world. \n“With singing these primordial songs we want to give tribute to these cultures\, reconnect to the beginnings and remember that we all\, from East to West\, from past to present\, are connected through the exchange of ideas and inspiring each other.”\nMeaning “gathering\,” ‘Drif’ serves as more than merely a gateway that bridges history with modern day society\, but is also a statement of the strength in unity and togetherness\, which will come as no surprise to those who have experienced HEILUNG’s live ritual\, in which every ceremony starts with a reminder that “we are all brothers.” “‘Drif’ means ‘gathering\,’’ explains HEILUNG. “A throng of people\, a horde\, a crowd\, a pack. In symbiosis with the album title\, ‘Drif’ consists of a flock\, a collection\, a gathering\, a collage of songs\, that much like little flames were seeking towards each other\, to join\, to bond\, to create\, and be greater together.” \nWhile HEILUNG features authentic and archaic instrumentation that ranges from rattles and ritual bells to human bones and throat singing\, their captivating brand of music is far from primitive. Producer and founding member Christopher Juul implements subtle electronic elements that elevates the musical atmosphere and provides a more in-depth and layered soundscape. \n“This album has very clearly dictated its own path. Our attempts to tame it were repeatedly fruitless\, and once we came to this realization\, the creative flow surged forward with immense force. So much so that sometimes it felt like the songs wrote themselves\,” the band adds. \nHEILUNG’s success has been unprecedented\, achieving milestones in its few short years of existence that many do not see in a lifetime. The collective already had rapidly been growing a buzz upon the self-release of their first full-length\, ‘Ofnir\,’ in 2015\, but their dizzying upward trajectory really took off from the moment they set foot on the stage at Castlefest in 2017 for the now-legendary debut of their live ritual. Luckily for those who were not fortunate enough to bare witness to this magical event\, the full ceremony was captured on film\, having since been viewed by tens of millions of fans across the globe. \nAs HEILUNG trekked across Europe and brought their mystifying experience to new audiences\, talk of this new band and their stunning ceremony made way to Season of Mist label owner Michael Berberian\, who quickly offered the band a record contract after seeing their undeniable musical impact for himself. \nBy 2019\, HEILUNG launched their second full-length record\, ‘Futha\,’ which contrasted the masculine and battle-heavy themes of their debut with a feminine counterpart that celebrated fertility and female energy. Upon the first week of the record’s release\, it graced the Billboard charts with coveted numbers\, debuting at #3 on the Heatseekers Charts and #4 on the Billboard World Music Chart\, placing on a total of seven Billboard charts while meeting critical-acclaim from the press on a global scale. \nHaving already made its way around Europe\, HEILUNG announced its first ever North American tour for the start of 2020\, which sold out entirely within 72 hours of ticket on-sale. The band later returned to the United States and performed their live ritual for a sold out audience of 10\,000 people at the historic Red Rocks Amphitheater in Denver\, CO (USA)\, further solidifying their early legacy status.\nBy this time\, the band’s music started to appear in places outside the confines of music venues\, videos\, and vinyl. From hit television series like ‘Game of Thrones’ and ‘Vikings’ to video game giants like ‘Conqueror’s Blade VII: “Wolves of Ragnarök’ and ‘Senua’s Saga: Hellblade II’ to the blockbuster Robert Eggers film ‘The Northman\,’ HEILUNG’s music has risen far above the underground and has transcended into a greater world. Even a global pandemic couldn’t slow down HEILUNG’s success; it only strengthened them and gave them the gift of time to complete work on album number three\, ‘Drif.’ \nAccording to Greek philosopher Pythagoras\, three is a divine number\, signifying harmony\, wisdom\, and understanding. He also believed it to be the number of time – past\, present\, future; birth\, life\, death; beginning\, middle\, end. Purposefully or not\, ‘Drif’ embodies this philosophy\, putting forth a divine work of art that ties together the beginning of civilization with the modern world today. Make no mistake\, HEILUNG still does not represent any modern political or religious ideology\, but rather delivers a humbling reminder of where we came from. “Remember\, we are all brothers. All people\, beasts\, tree and stone and wind\, we all descend from the one great being that was always there\, before people lived and named it\, before the first seed sprouted.” \n  \n \n \nHeilung at Orpheum Theatre – Phoenix. Photos By: Adam Messler
URL:https://globalazmedia.com/event/heilung-at-shrine-auditorium-expo-hall/
LOCATION:Shrine Auditorium & Expo Hall\, 665 W Jefferson Blvd\, Los Angeles\, CA\, 90007\, United States
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