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UK’s legendary extreme metal icons Cradle of Filth recently announced their return to North America in support of their latest album Cryptoriana – The Seductiveness of Decay! For the second leg of their North American onslaught, the band has enlisted industrial/metal shock rocker Wednesday 13 as well as theatrical metal newcomers Raven Black.
For the first time in years, Cradle of Filth‘s set will feature an all new, massive stage production.
Comments Cradle of Filth vocalist Dani Filth: “As a band, we are very much looking forward to the upcoming second leg of our US/Canadian Cryptoriana World tour. The first, at the beginning of last year, was such a success that we decided to come back armed with a bigger, better show coupled with two awesome bands in support. We can’t wait to bring the noise back to our favorite hunting ground! Ia! Ia! Cthulhu Fhtagn!”
Tickets and meet and greets are on sale now via the official Cradle of Filth and Wednesday 13. Confirmed dates are as follows:
“Cryptoriana – The Second Coming Of Vice World Tour 2019“ Cradle of Filth, Wednesday 13, Raven Black
3/07/2019 Las Vegas, NV – House of Blues 3/08/2019 Anaheim, CA – House of Blues 3/09/2019 Sacramento, CA – Ace of Spades 3/11/2019 Portland, OR – Crystal Ballroom 3/12/2019 Seattle, WA – El Corazon 3/14/2019 Billings, MT – Pub Station Ballroom 3/15/2019 Calgary, AB – Marquee 3/16/2019 Edmonton, AB – Starlight Room 3/18/2019 Winnipeg, MB – Burton Cummings Theatre 3/20/2019 Minneapolis, MN – Varsity Theatre 3/21/2019 Milwaukee, WI – The Rave 3/22/2019 Flint, MI – The Machine Shop 3/24/2019 Grand Rapids, MI – Intersection 3/25/2019 Chicago, IL – House of Blues 3/26/2019 Cleveland, OH – House of Blues 3/27/2019 Toronto, ON – Opera House 3/29/2019 Guelph, ON – Guelph Concert Theatre 3/30/2019 Montreal, QC – Corona Theatre 3/31/2019 Quebec City, QC – L’Imperial Bell 4/01/2019. Boston, MA – Paradise Rock Club 4/02/2019 Huntington, NY – Paramount Theater 4/03/2019 New York, NY – Irving Plaza 4/05/2019 Asbury Park, NJ – Stone Pony 4/06/2019 Baltimore, MD – Baltimore Soundstage 4/07/2019 Newport News, VA – Boathouse Live 4/09/2019 Greensboro, NC – Cone Denim Entertainment Center 4/10/2019 Charleston, SC – Music Farm 4/12/2019 Fort Lauderdale, FL – Revolution 4/13/2019 Pensacola, FL – Vinyl Music Hall 4/14/2019 New Orleans, LA – House of Blues 4/15/2019 San Antonio, TX – Aztec Theatre 4/17/2019 Houston, TX – House of Blues 4/18/2019 Dallas, TX – House of Blues
The Bands
About Cradle of Filth:
Cradle of Filth‘s latest album Cryptoriana – The Seductiveness Of Decay was recorded at Grindstone Studios, Suffolk, UK by the very honorable Scott Atkins, esq. who has been the resident go-to producer for Cradle of Filth for several albums.
Wednesday 13 continues to support the highly successful Condolences, which was released on June 2, 2017 via Nuclear Blast Entertainment. The album was produced, mixed and mastered by Chris “Zeuss” Harris (HATEBREED, ROB ZOMBIE). Artwork was created by Travis Smith (OPETH, KATATONIA, NEVERMORE).
Raven Black are a theatrical metal act from Michigan. Their unique brand of metal – influenced by gothic, classical, and circus music – is the soundtrack to vocalist Raven‘s curse, as she, The Doctor (guitar), Stitches (bass), and The Demon (drums) are traveling the world to tell their story.
The Doctor, a Voodoo Priest, came across a lost and scared little girl. He cursed her with a magic spell to turn her into a doll. The curse was disrupted by her terrifying and taunting screams, and the girl remained half human. As Raven lived in the dark world of the Doctor, she secretly learned his magic and conjured up Muppet, The Demon. She made him her eternal protector and trapped him inside her heart. The Doctor and Muppet created Stitches to help search for lost souls looking to join their dark world. Welcome to the dark metal carnival!
Born out of Troy, NY’s infamous hardcore scene, Brick by Brick – featuring Mike Valente (Guitars), Andy Parsons (Bass), Ray Mazzola (Vocals, ex-Full Blown Chaos), and James Muller (Drums) – have relentlessly cultivated their reputation as a staple force of hybrid hardcore metal. Solidifying and reviving their sound in recent years with the addition of Mazzola on vocals, the band’s perspective is fresh with formidable intent.
“Brick by Brick exemplifies a working-class band.” – New Noise Magazine
Hive Mentality out February 22, 2019
Brick by Brick return in 2019 with their seventh studio album, Hive Mentality – an onslaught of brutal ferociousness. The album is scheduled to be released on February 22, 2019 via Upstate Records, and will be available to pre-order via major digital retailers beginning January 11.
Produced by Jason Bourdeau, the album was recorded at Overit Media in Albany, NY, with mastering by legendary Alan Douches of West West Side Music.
Check out a brand new Hive Mentality album teaser now via YouTube
Raising a massive middle finger to the establishment, Hive Mentality is a battle cry to all that is wrong with the world, yet signifying that all is right with heavy music convergence. Epitomizing the tone of the title track “Hive Mentality“, track guest Jessica Pimentel (Alekhine’s Gun vocalist, Orange is the New Black actress) seethes “Get the fuck out of the way or get trampled,” with a ranting rage. Based upon true events, track five, entitled “Bar Is Open“, sums up Brick by Brick flawlessly in their declaration of, “We live to drink/We love to fight/We bring the party/Rage through the night.” That statement is further emphasized by none other than guest vocalist Tony Foresta (Municipal Waste, Iron Reagan). The Acacia Strain‘s Vincent Bennett further exudes the savagery of Hive Mentalitywith his vocal spot on “In The Ruins“, before the album reaches its apex with a blistering rendition of Motörhead‘s “Iron Fist“, a sonically-heated kick like a belt of Jack that Lemmy himself would have savored and tipped his hat to.
Vocalist Ray Mazzola says, “It was an honor to have our guest vocalists join us for this album. We wrote it knowing all along that Tony from Municipal Waste/Iron Reagan was going to sing on ‘Bar Is Open‘, and it turned out that a few of the more thrash-edged songs were inspired by him. Vincent of The Acacia Strain agreed to redo an old tune of ours, ‘In The Ruins‘, that was featured as a limited edition run that he collaborated with us on. It needed to be heard internationally. Last but not least, Jessica Pimentel from Orange Is The New Black/Alekhine’s Gun was a perfect choice for the middle rant on ‘Hive Mentality‘, portraying anger from a woman’s perspective.”
Brick by Brick brings one metal riff after another, interwoven with slamming breakdowns and a relentlessly rhythmic battering. Hive Mentality transcends beyond genres – it embraces the angst within each soul from any heavy music scene and brings solace to every metalhead, muscle head, hardcore kid, and old school punk who’s been internally bleeding and eternally screaming in defiance.
Hive Mentality track list:
“Hive Mentality” featuring Jessica Pimentel “Bad Sign” “Toe to Toe” “Battleground” “Bar Is Open” featuring Tony Foresta “Never to Wake” “In The Ruins” featuring Vincent Bennett “Slave to the Grind” (Skid Row cover) “Iron Fist” (Motörhead cover)
“Brick by Brick has a long and storied career which reads like a documentary on all that’s upstate and heavy as fuck.” – RadioRadioX
Brick by Brick has shared the stage and/or toured with many notable artists such as Anthrax, Hatebreed, Shadows Fall, Biohazard, Agnostic Front, Madball, The Acacia Strain, Sick Of It All, and many more. The band has also appeared on many festivals, including New England Metal and Hardcore Festival, Black n’ Blue Bowl, Tsunami Fest, Breast Fest, Motorcity Fest, Toughlove Fest, Florida Rules fest, and more. Building upon their performance resume, Brick by Brick will perform at select shows this winter – see below for all current dates.
Brick by Brick upcoming shows:
12/21 – Poughkeepsie, NY @ The Chance Theater (w/ Cro-Mags, Murphy’s Law + more) Facebook Event Link
12/22 – Waterford, NY @ Chrome (w/ The Acacia Strain, Recon + more) Facebook Event Link
“When it comes to by the number, blue-collar heavy hardcore there isn’t a need for a whole lot of innovation and Brick by Brick understands this. And that’s not a thinly veiled shot at the band. If you want to hear aggressive music firmly anchored in tradition, you will find it…” – PunkNews
Los Angeles-based five-piece The Crown Remnant recently announced the upcoming release of latest conceptual opus, The Wicked King: Part II, available for pre-order now via Amazon, iTunes, Google Play and Bandcamp. Pre-orders are available with “Inferno” as an instant-grat download. You can also pre-save the album via SpotifyHERE. The Wicked King: Part II, takes the listener on a dramatic, energetic joyride from start to finish!
Today, The Crown Remnant have revealed a brand new guitar playthrough video for their latest single, “Inferno“. Watch the video, featuring the skills of guitarist Will Ash, now alongside an interview via PureGrainAudio.com‘s Geared Up HERE.
Will Ash tells PureGrainAudio.com: “We’re lucky to have the opportunity to record with some amazing gear. This latest record, Part II, and The Wicked King: Part I were both recorded with a blend of amazing guitars and amps including a Mesa Mark IV, Peavey 5150 (block letter), and more. Of the three main guitars used to track the record, this Schecter Hellraiser was my main lead guitar.”
You can now watch two additional new videos from The Crown Remnant, including a live footage music video for “Inferno“, as well as part one of the band’s behind-the-scenes track-by-track video series, detailing the album’s intro track, “Into the Depths“.
The Crown Remnant have mastered the art of melodic, theatrical, yet hard-hitting heavy metal, and the world is about to take notice. Combining a variety of metallic influences ranging from modern metalcore and prog, thrash and more, The Wicked King: Part II acts as the second part of the band’s previous release, The Wicked King: Part I. Within the first month of its release, The Crown Remnant garnered over 10,000 streams of their first single cut from The Wicked King: Part I, entitled “Haunted“. The band plans to follow suit and beyond with The Wicked King: Part II.
The Wicked King: Part II is loosely based on thematic concepts of oppression and tyranny. Originally recorded as one long album, the band decided to split it into two releases – with The Wicked King: Part II acting as the “darker” side of the two. Part II addresses tales of betrayal, mortality, exploring the afterlife and more. Intertwined within these ideals are scattered lyrics pertaining to the character designed on the front cover of the album: The Wicked King. He remains an everlasting shadow of a forgotten king set on immortality, with his insatiable lust for never-ending life.
The Wicked King: Part IIwas recorded in multiple studios throughout Southern California, with the help of S&W Audio, and producer/engineer Tyler Ruehl (Noble, At The Skylines, Taipan, Lion I Am). After a rigorous tracking process, the songs were mixed by Robin Leijon (In Dying Arms, Atena, Eternal Void).
The Crown Remnant will hit this road this winter for select tour dates! See below for a list of all confirmed tour stops.
The Crown Remnant tour dates:
1/23 – Fresno, CA – Barmageddon 1/24 – San Francisco, CA – The Noise SF 1/27 – Eugene, OR – Old Nick’s 1/29 – Seattle, WA – The Funhouse 2/1 – Boise, ID – The Shredder 2/2 – Las Vegas, NV – Beauty Bar 2/3 – Phoenix, AZ – 51West
The Wicked King: Part II track listing:
1) Into the Depths 2) The End 3) Legacy 4) Inferno 5) The Eternal Façade 6) As Faith Fades 7) The Wicked King
The Crown Remnant is:
Geordy Shallan – Lead Vocals Will Ash – Lead Guitar Jorge Lopez – Rhythm Guitar Josue Lara – Bass Guitar Art Ramirez – Drums
PHOENIX — Many of us have been invited to a pity party and more than likely, we have no desire to attend. When Puddles the sad clown hosts one, however, I recommend you RSVP and make it a priority on your calendar.
I was one such lucky attendee amidst several thousand others that packed the Ikeda Theater at Mesa Arts Center. Not knowing what to expect of the next 110 intermission-free minutes aside from a sweet serenade from the 6’8” baritone crooner in a clown costume, I kept my mind, ears, and eyes open.
Three minutes before the show was set to begin, the house lights were still up as people shuffled to their seats. There appeared to be commotion on the mezzanine level as several audience members looked up to see the unmistakable giant, cuddly clown making his way through the sea of people giving hugs, handshakes, and posing for photos. He effortlessly hurdled the chairs and made a concerted effort to greet as many of his party “guests” as he could, before making his way down to the ground level where he popped through the back doors and dashed to and fro, greeting attendees as he made his way up to the stage.
Puddles Pity Party is anything but predictable, and after enthusiastically giving high fives to some of the folks in the front rows, he hoisted himself up onto the stage and awkwardly rolled to his feet despite the fact that there was an accessibility staircase not 10 feet to his left. It was at this moment I realized that things were going to be shaken up into a concoction of splendor and entertainment that would take all of us on a wild adventure of fellowship and laughter.
The festivities began with Puddles amusingly popping a whopping amount of gum into his mouth and loudly chewing as he read an AARP magazine featuring Kevin Costner.
Much like other aspects of the show, these pieces may have seemed trivial at the time, but became integral parts of his act. Perpetually animated and childlike in his movement at times, Puddles — brought to life by Mike Geier — scoots about the stage on his stool and takes his sweet time getting to center stage to watch a montage of his trials and tribulations while appearing on America’s Got Talent. The sad clown with the golden voice sang his rendition of R.E.M.’s “Losing My Religion”, only to be abruptly stopped by a loud buzzer and a giant red X like the one he received while performing for the show. Despite this, Puddles pressed on.
The irony was not lost in respect to a silent comic entertainer who uses only his vocal ability to belt out emotional tunes; however, the heartfelt depth of his singing left the partygoers absolutely stunned. Puddles performed “The Sound of Silence” to a video of ASL translator, Zoey Stormes, signing a moving performance. Though he is a sad clown who expresses tremendous variety of emotion, from melancholy, to gratitude, to wonderment, it’s virtually impossible to be sad while in his presence. Laughter and words of encouragement from the crowd consistently permeated the silence.
Puddles has several obsessions that attendees learn throughout their time with him, two of which are Kevin Costner and coffee. Never have I attended a party that entailed a coffee break, but there is a first time for everything. In fact, Puddles Pity Party contained many firsts, which takes the Vaudevillian style act from being a show to a full-fledged experience. I lost count of how many times Puddles left his wad of gum behind on his suitcase of goodies and plucked it back up to resume chewing. Additionally, I lost count of how many times he rolled himself off the stage to interact with the audience and bring a new friend up to be a part of the show. Attendees were swept away, transformed into an environment where excitement is found in the simple and absurd.
It was when I oddly caught “the feels” from hilarious snippets of robots falling over to the sound of Puddles’ emotional rendition of Coldplay’s “Fix You” that I realized the power and magnitude of this king-sized clown’s voice. No love song directed at a cup of coffee will ever feel so pure and heartfelt as it did in that theater.
Partygoers were just as much a part of the show, and were brought into Puddles’ world of make-believe. One woman transformed into a wolf that Puddles waltzed with. A gentleman enthusiastically sang the karaoke version of “All By Myself”. Another got to be a rocket scientist, and yet another got to stuff his face with cupcakes while being reminded that the word “stressed” spelled backwards is “desserts”. Puddles even had one of the party attendees summon Kevin Costner, albeit after a failed attempt that accidentally summoned Kevin Bacon.
Other celebrities were attending in spirit, as it was impossible to miss the homages to Axl Rose, Freddie Mercury, and the King himself, Elvis Presley. Puddles’ prowess as an accomplished musician was made apparent through performing on his cardboard guitar that asserts “Do Good Work”, to his various beats on both real and video game drum sets, to his unique song mashups.
Geier, affectionately known as “Big Mike”, who has run a burlesque performance troupe out of Atlanta and also performs with the Kingsized Jazz Trio, has the performer gene coursing through his veins. Traveling with Puddles Pity Party, he has made audiences giggle and laugh warmly all over the world while wearing his endearing heart on his ruffled sleeve.
All you would have to do is go on YouTube and search “Puddles” to encounter countless videos of the sad clown with the golden voice. One of his most captivating being his rendition of Sia’s “Chandelier”, which partnered with Scott Bradlee’s Postmodern Jukebox and also performed on America’s Got Talent to agape jaws and an uproarious standing ovation.
The party on Friday was no exception and the crowd had their phones out to record video of his most notable serenade, as is encouraged. This did not stop Puddles from giving his adoring fans the up-close and personal show they were hoping for, as he grabbed one phone to sing to it and place it in the hand of another individual while picking up their phone and passing it on until there were multitudes of attendees who had incredible footage of Puddles and the cell phone of their fellow party-goer. The laughter that ensued afterward while people scrambled to find each rightful owner was memorable. If anyone can bring people closer together with their fellow man, it’s most definitely Puddles the sad clown.
If you have the opportunity to attend a pity party put on by Puddles, I highly encourage it. How a sad clown can make everyone in a room light up with laughter is a special kind of magic that can only be felt and seen by experiencing it firsthand.
Tempe, AZ — At face value, thinking about a period of seventeen years does seem like a long stretch of time. Contrarily, Minus the Bear frontman, Jake Snider, has a different take on the idea because about halfway through the set on their farewell tour at the Marquee Theatre last night, Snider gave the audience some insight into their seventeen year-long career as a band, “Seventeen years feels like almost no time has passed. We appreciate all of you for being here. We’ve got the best fans of anyone.”
This served as a beautiful footnote at the end of the influential band’s creative streak consisting of 6 studio albums and 12 EPs, as well as countless national and international tours. They’ve been highly influential in the math rock genre and are largely considered pioneers of the style, their beginnings predating many noteworthy math rock bands like This Town Needs Guns and Chon.
They clearly expressed their gratitude to the audience, and the feeling was undeniably mutual as the sounds of cheering and clapping rarely died down over the course of the evening. Every crowd has its black sheep though, demonstrated towards the end of the show as one inebriated concert-goer threw a full can of beer at bassist Cory Murchy. To the relief of many, the band didn’t hold the rudeness of one person against the rest of the audience as Snider calmy chimed in over the mic “Please don’t throw your f*ucking beer can at us. Thanks, we love you guys.”
Tera Melos
The unforgettable night began with an excellent introduction of the complex music to come thanks to the opening act, Tera Melos. The Sacramento, California-based band pummelled the audience with a frenetic 40 minute set that never once let up in energy.
It all began when Nick Reinhart, the guitarist/vocalist/keyboardist of the band, gave the other members a quick, nearly imperceptible glance, and then they were off with their first song, “Don’t Say I Know”. The band continued their set without uttering a word or letting out a breath between songs while only occasionally looking at each other for brief acknowledgement of what was coming next. This was astounding because of the technicality and otherworldly sounds emanating from Reinhart’s guitar; it takes incredible musicianship to even follow what’s going on as a listener, let alone a Tera Melos band member.
Interspersed between songs were spastic, electronic guitar lines that could often be described as computer beeping in 5/4 time. Some of these sounded reminiscent of dubstep while others bordered more along EDM territory. It was surprising to many fans in attendance that it was coming from a guitar, as well as those more familiar with the band as you’d frequently hear someone new shouting “What?!” or “How?!” from around the room as Reinhart stomped on a new combination of guitar FX pedals.
Another highlight of their incredible set was “Slimed”, with Reinhart screaming “Something about my face, always makes me sick!” as the band followed along perfectly without missing a note. On these merits alone, Tera Melos is not, nor will they ever be, a band to be missed.
Minus the Bear
After fans had about 20 minutes to recover between sets from the mind blowing experience of Tera Melos, Minus the Bear picked up right where the opening act left off.
The band’s embrace of classics like “Pachuca Sunrise”, “The Fix”, and “The Game Needed Me” from their second album Menos Del Oso scattered throughout the set among more recent favorites, such as “Last Kiss” from their final 2017 release, VOIDS served as an anachronistic tribute to their incredible evolution as a band over time. It was a nice touch and always kept you guessing as what was to come next. The band’s sound was also finely tuned to the venue’s sound system, a huge relief considering anything less would have proven unacceptable for a band so musically polished themselves.
Guitarist Dave Knudson was a finger-tapping machine, only taking both his hands off the guitar neck to kneel down and adjust knobs on his plethora of FX pedals. If Knudson and Reinhart were to face off in a gladiator-esque guitar FX duel, it would be impossible to tell who would come out on top. Knudson and keyboardist Alex Rose were the icing on the cake of the intricately layered music, as bassist Murchy and touring drummer Joshua Sparks provided a solid backbone for the songs to breathe new life into the hearts of many listeners.
While farewell tours will always carry bittersweet connotations, this inspiring show served as a proper send-off for some of math rock’s founding fathers with the grateful support of an up-and-coming math rock band. It’s hard to picture it going any better than it did, and many fans stayed until the very end of the show, absorbing every beautiful moment. The legacy of Minus the Bear will live on through not only their own music, but in the hearts and minds of fans worldwide and other math rock bands reinventing the sound that was so new only seventeen short years ago.
PHOENIX — Hailing from Perth, Australia, The Faim dropped into Crescent Ballroom on headliner Hands Like Houses’ “U.S. Tour 2018”. With a whopping 5-band line-up (including Arlington, The Faim, Devour the Day, Emarosa, and Hands Like Houses), Phoenix was treated to an explosive set of just 30 minutes, which left the crowd hungry for more! On the dimly-lit stage, the band brought an unanticipated level of energy and a performance undoubtably worthy of headlining at an even bigger venue.
With a big sound and big backing, it was entirely evident that The Faim will be going far, and doing it fast. At the time of our interview, it was still unknown when the band would grace Arizona with their presence. Since then, The Faim has released multiple songs and music videos, their Summer is a Curse EP (released September 7th), toured the states, and are embarking on a world tour in 2019. Current tour dates can be found on their website.
This honestly doesn’t seem real. Selling out/upgrading shows on the other side of the world is a fantasy we’ve never expected. This is a testament to all of the incredible support and dedication from our amazing supporters all over the world. This love is unforgettable x pic.twitter.com/Rxyxh5e6FG
Following the performance, I met with Raven to praise him for his unreal, 200% stage presence, to which he humbly and graciously replied that he’s just happy to be doing what he loves.
“One of the most unpredictable and exciting bands in our world.” – Rock Sound
Los Angeles, CA – Australian three-piece, Chase Atlantic, has debuted their much-anticipated new single, “Like A Rockstar.” The offering is a solid, atmospheric alt-pop track that underscores the band’s eclectic sound and diverse musicianship. It also marks the group’s first release under their newly-inked partnership between MDDN and BMG. A forthcoming EP is slated for release in early 2019. Stream and download “Like A Rockstar” on digital retailers HERE.
“The group’s genre-bending sounds echo The Weeknd and The 1975.” – Associated Press
Comprised of brothers Clinton and Mitchel Cave, and their longtime friend, Christian Anthony, Chase Atlantic personally produce, perform, and passionately conjure up dark alternative pop, punctuated by rock and R&B that blurs the lines between a nocturnal aesthetic and primal bliss. Since forming in 2011, the trio has headlined shows worldwide, released their successful self-titled debut album (2017), as well as two independent EPs, Dalliance(2014) and Nostalgia (2015). In 2015, their single, “Friends,” went viral and caught the attention of Good Charlotte’s Joel and Benji Madden, who signed them to their music company, MDDN.
“Chase Atlantic is going to be big” – QRO Magazine
Chase Atlantic has crossed over 80 million global streams on Spotify and Apple Music, racked up over 7.2 million total views on YouTube, and clocked over 1.1 million monthly Spotify listeners. The band has also built a strong following on social media, with 650k total combined followers across their platforms. In addition to touring with Blackbear, Sleeping With Sirens, and Lights, the group has played notable festivals including Lollapalooza, Bonnaroo, Firefly, Reading & Leeds, PukkelPop, Lowlands, and the final run of the Vans Warped Tour. Chase Atlantic is currently on a headline trek across Europe, with a full itinerary of dates included below.
In other impressive news, Chase Atlantic landed the front cover of Rock Sound Magazine’s August issue, and has also garnered critical acclaim in the media from the likes of Billboard, Alternative Press, Associated Press, and more.
Chase Atlantic Headline Tour Dates:
12/7/18 – Manchester, U.K. @ Rebellion Club
12/8/18 – Leeds, U.K. @ Key Club
12/9/18 – London, U.K. @ The Garage
12/11/18 – Paris, France @ Les Etoiles
12/12/18 – Antwerp, Belgium @ Zappa JC
12/13/18 – Haarlem, The Netherlands @ Patronaat
12/14/18 – Dortmund, Germany @ FZW
12/15/18 – Hamburg, Germany @ Knust
12/16/18 – Innenstadt, Germany @ Colos-Saal
12/17/18 – Munich, Germany @ STROM
12/19/18 – Milan, Italy @ Legend Club
12/20/18 – District 5, Switzerland @ Dynamo
12/22/18 – Madrid, Spain @ Moby Dick
12/23/18 – Barcelona, Spain @ La Nau
“On the fast track to the top.” – Substream Magazine
Chase Atlantic Is:
Mitchel Cave – vocals, bass guitar Clinton Cave – lead guitar, bass saxophone, programming Christian Anthony – rhythm guitar, vocals
PHOENIX — Justin Courtney Pierre returned to Arizona for an intimate underground show at the historic Valley Bar Friday night, revitalizing fans with a colloquial performance of his latest solo-album In The Drink. Since Motion City Soundtrack’s “So Long, Farewell Tour” in 2016, it had been unclear when and if Pierre would continue making music in the future.
“Post-MCS I just really wanted to focus on the art,” Pierre told Billboard during a recent interview, “so, I built a team of people around me that I can utilize for all the other stuff – the production, the business. What’s nice about this is I don’t have to ask anybody for permission or get four people to agree on whatever we’re doing. I can just do my ideas whether they’re stupid or not, for better or for worse. I thought, ‘OK, so if this is the only record I ever do, great. I’m just gonna do it exactly the way I want it.’“
Produced by Motion City Soundtrack bandmate Joshua Cain, In The Drink is heavily influenced by the sound of the 90’s, classic guitar and, as Pierre puts it, (in direct reference to noted inspirations Swervedriver, Polara, Guided By Voices, and Frank Black’s “Teenager of the Year”) “a lot of movement going on”.
During a coinciding interview with boutique pedal company ZVex, Pierre went on to explain the experimental nature of his work which he revealed, lead him to his newfound love affair with the ZVex Fuzz Factory 7, as well as the ZVex Effects Vertical Vexter ’59 Sound, which he utilized throughout Friday night’s performance. When it comes to guitar, this singer-songwriter prefers a more improvisonal approach – toying with different combinations until his fancy footwork yields a sound he likes.
Pierre’s tourmates for his latest solo album include old friend and master of effects – guitarist Thomas Rehbein, sensational vocalist and guitarist Lydia Liza, emotive bassist Shannon Burns, and relentless drummer David Jarnstrom.
“I’m listening to Flaming Lips in my headphones to drown out all this other bullshit”, Pierre joked before jamming out the opening notes to “I Don’t Know Why She Ran Away”, following opening tracks “Undone” and “Anchor”. “Just kidding!”, he laughed – noting that the night’s opener had been unable to make it due to an undisclosed transportation issue. As a result of that last minute change, the night became increasingly conversational. Fans shouted back and forth as Pierre responded between tracks from on-stage, speaking on everything from his struggles with alcohol, to new “dadhood”, and even his strong distaste for Burger King. Pierre casually guided the audience through an evening of impromptu storytelling between each new track from In The Drink, but not without some nostalgic surprises along the way.
Preceding the Farewell Continental portion of the evening, a tribute to Pierre and Rehbein’s passion project since 2008, “My Girl Margo” off a “special upcoming EP” got fans jumping for more. With the night’s energy at its peak, “Total Devastation” had diehard JCP fans weak in the knees.
Next up was a new Farewell Continental song that’s not yet been recorded. “It’s called ‘Tossing and Turning’”, Pierre told fans, “It’s a motif I’ve used before and I’m aware of that,” he laughed, “And I like to remind people, it’s supposed to sound like this.” Farewell Continentaltakes the undeniably esoteric undertones of In The Drink one step further, culminating a uniquely chaotic blend of power-pop-meets-classic-rock. The band finished out a lively performance of “Do You Wanna Tangle” also by Farewell Continental, before abruptly leaving the stage where only Pierre was left to tame the spotlight.
Without question, the moment we’d been waiting for since 2016 had finally arrived; it was time for a little Motion City Soundtrack. Pierre explained that since the band had chosen not to continue making music two years prior, he’d decided to play only MCS songs which he’d “brought to the party” so to speak. Members of the crowd shouted out track after track in hopes of hearing their longtime favorites. Pierre responded by teasing onlookers with a candid rendition of “Stand Too Close” before breaking for a quick story – “The Caffeine Story” he called it: “Listen, listen. I haven’t had a drink of alcohol in over nine years, and a few years after that I quit caffeine. And now I have nothing.”
As fans applauded, “Atonia” began rumbling out from the speakers. Fans sang along loudly as Pierre pieced together a nostalgic solo tribute session including “When You’re Around” and “LG FUAD”, to which the entire bar sang aloud. “Okay, now I am going to invite the band back to the stage,” Pierre announced before launching into a cover of Guided By Voices’ “Motor Away” which he credited as one of his favorite songs to date. “Some of these guys just heard it for the first time today,” he told fans as they hooted and hollered at Pierre to “do it again!”
The evening closed out with “Shoulder the Weight”, “In the Drink”, and “Goodnight Hiroyuki” – the last three tracks off of Pierre’s latest solo expressional, sending fans off with a phantasmal intermingling of sludgy, otherworldly tones. Rehbein could be seen sliding his guitar back and forth against everything from the guard rail to the speakers and even Liza’s guitar while her robust, angelic voice offered a sweet contrast to the whirlwind of instrumental experimentation unfolding on stage. “This is it. I love you all, except Kevin!”, Pierre exclaimed.
Following a staggering twenty track setlist, fans continued to swarm the stage in hopes of one more. Band members could be seen handing out copies of the setlist, and even notes from practice sessions to outstretched hands eager to claim their prize. Following the performance, Pierre stayed true to his reputation of being the down-to-earth artist we’ve all come to love and hung out to greet and take photos with anyone and everyone who chose to stick around. Although he was lacking in words (as he announced that he would not be speaking, in order to protect his voice), Pierre’s charismatic demeanor radiated off of him as fan after fan stepped up to meet the man of the hour.
After two years of wondering, Pierre took us back to the driving spirit and endearing authenticity behind what made Motion City Soundtrack great. It’s that permeating willingness – to care and connect with his fans, to tell the stories that need to be told, and if there’s one thing for sure, it’s that we absolutely cannot wait to see what this performer is up to next.
PHOENIX — A Perfect Circle ended “on a high note” for the last date on the third leg of their headlining North American tour, to the city that frontman Maynard James Keenan thanked for being the “marijuana-stinking cherry” on top. Dark electronic duo Night Club and trip hop artist Tricky supported the band starting from October 20th, leading up to this night at Comerica Theatre. A PerfeBetct Circle delivered a performance that repeatedly went from smoldering to bellowing, and took the transfixed audience on an escape of commiseration through hard rock.
This year, A Perfect Circle released Eat the Elephant, which is their first album release in fourteen years, and their fourth studio album. Today, A Perfect Circle released a limited-edition 7” vinyl single featuring the latest single, “So Long, And Thanks for All the Fish”. Included on the release is a B-side, a cover of AC/DC’s “Dog Eat Dog”. It is available exclusively from the Record Store Day Black Friday event at select brick-and-mortar record stores.
The tone of their performance in Phoenix was first set with a dark stage as they invisibly began the instrumentals of the title-track of their latest album, “Eat the Elephant”. Anyone who has previously experienced A Perfect Circle live may have come to expect a giant white sheet shrouding the stage front leading up to, and remaining through the entirety of, the first song, before dramatically dropping to the floor. However, the sheet was absent this time around. Each band member was gradually backlit by just a bit of light, one-by-one, until all appeared as nearly pure-black silhouettes.
Blue and white rays of light and rising smoke backed them, in front of a curtain displaying their logo, and they were surrounded by white panels that would feature visuals catered to each song throughout the night.
True to character, Keenan remained even less visible than his bandmates for the entire performance, on a platform in the back of the stage. Sometimes he blended in with the darkness and visuals so well that one might question whether he had left the platform, seeing that he remained stationed upon a second glance.
When A Perfect Circle performed at Comerica Theatre in April of 2017, Keenan offered a few encouraging words. This time around, he almost seemed to be out of supportive messages.
Perhaps referencing the “despicable false claim”, in his words, made against Keenan earlier this year, he said, “Crazy, crazy, crazy, insane times we’re living in, wouldn’t you say? Insanity… People all mad at each other over a fuckin’ internet thing. It’s stupid… I’ve heard it said love is the answer… but because of all of the marijuana, I can’t remember the question.”
However, substantial sentiments and motivational speeches may not be necessary every time, considering the volumes that the messages in their music speak, and how emotionally evoking the dynamics of the music are. As usual, A Perfect Circle performed with nearly album-quality sound. Often, elements of the songs that may go unheard when listening to recordings were clearly audible during this performance, bringing new life to the music and a deeper appreciation for the composition. Furthermore, hearing lyrics to new songs for the first time live, versus via studio recording, can cement a different impression of the song as the concert experience packs in the emotion emanating from the artist.
Eight of the songs performed this night were from Eat the Elephant. Lyrics that really strike a chord in relation to the status quo, religion, and the political climate are contained in their songs, such as the following from “The Doomed” from the new album:
What of the pious, the pure of heart, the peaceful? What of the meek, the mourning, and the merciful? What of the righteous? What of the charitable? What of the truthful, the dutiful, the decent?
Doomed are the poor Doomed are the peaceful Doomed are the meek Doomed are the merciful
For the word is now death And the word is now without light The new beatitude: “Fuck the doomed, you’re on your own”
The lighting and visuals on the screens became increasingly dramatic, matching the intensity of the music throughout the night. They designed a setlist that felt narrative, which crescendoed and climaxed. Along with that, the colors shifted from cool and neutral, to bold and loud red, white, and black. Behind the band, the all-seeing eye displayed where their logo once appeared. The audience was united in a cathartic experience, as they let go and got lost in A Perfect Circle’s trademark indignation and disdain.
One fan in the audience was overheard saying, “I forgot how hard these guys rock!” and with unrestrained, unabashed love and respect for the band, he yelled louder than all around him.
“We’re gonna end on a high note here in Arizona. Off to Europe for about 3 weeks. So thank you very much for being the cherry on top. A marijuana-stinking cherry.” — Maynard James Keenan
Before going into “Dog Eat Dog”, a tribute to the late Malcom Young of AC/DC, Keenan took a moment to introduce the band members. It was interesting to note the many other music projects all band members are a part of, emphasizing how much of a supergroup A Perfect Circle is.
“Our rhythm section: from Beta Machine, Ashes Divide, Eagles of Death Metal, and Puscifer — Mr. Matt McJunkins, Mr. Jeff Friedl.” McJunkins (Bassist) is also a former touring member of Thirty Seconds to Mars.
He continued, “Guitar & keyboards: from Autolux and Failure, Mr. Greg Edwards.” Edwards is filling in for James Iha, who is currently touring with Smashing Pumpkins. He was also a member of Lusk and Replicants in the past.
Of course Keenan is also a member of multiple bands on top of A Perfect Circle, including Tool and Puscifer.
Some find the media policies for A Perfect Circle’s shows to be pretentious or mistreating to fans. Like a performance in a symphony hall, the band sends the message that it is a faux pas to raise up a phone in the air during theirs. Others feel that it not only preserves an important atmosphere that keeps integrity to the music and sets their performances to a different level than other rock concerts, but also actually appreciates their fans because the band wants to connect with them like they did in the days before smartphones. There were some in the crowd that could be overheard during the show actually expressing appreciation for the absence of cell phones in the air throughout the concert. The impression was that most, if not all, in attendance left satisfied and delighted.
Following the climax of the performance with four ferocious songs, A Perfect Circle closed out the concert with “Delicious” from the new album. It had the fitting mood of the falling action of the storyline, lyrically segueing into a resolution of sorts:
How inconvenient and unexpected and harrowing for you, as consequences tend to be For the rest of us, so delicious to witness your dread. Poetic justice consummate.
During these times, it is interesting to see swathes of artists such as A Perfect Circle, Cake, Otep, Eminem, Taylor Swift, and many more, using their platforms to speak out against or oppose President Donald Trump and the Republican Party. While some feel that entertainers should “stay in their lane” in topics such as these, it is undeniable that they historically have significant ability to influence the public, for better or for worse. With the success of their world tour, and the large attendance of a concert on a Tuesday night, it is evident that there are a significant number of people that aren’t repelled by their political leanings. In the current political climate, A Perfect Circle’s brooding music serves as an outlet, a beacon of intellect and sanity, and a unifier for like-minded fans that are equally frustrated, angry, and despairing.
While it would be unlikely that Keenan and his band would skip playing his home-state, Arizonans were undoubtedly grateful that they had the opportunity to experience A Perfect Circle live after getting some fresh music from them. Keenan stated in a June 2018 interview that “there should be” more albums in the future. Though Eat the Elephant has proven worth the wait, hopefully it will not be another fourteen years before the next release. Hopefully fans can be treated to another tour in support of the next release, or at least more Arizona shows.
Considering the solid quality and atmosphere of their live performance, the sizable setlist, the supportive experience, and love of their intense music, any fan that may hesitate to make the investment in a concert ticket can rest assured this one is worth it. A Perfect Circle’s show in Phoenix was not a buzzkill.
Los Angeles, CA — Canadian rock quintet, The Glorious Sons, have announced an extensive U.S. headline tour for 2019! The trek runs from February through March and sees the JUNO-award winning band returning to key cities including Brooklyn, Philadelphia, Atlanta, Nashville, Chicago, Los Angeles, San Francisco, and Seattle. LA-based newcomers, LIILY, will also provide direct support for the shows. Tickets go on sale to the public this Friday, November 16th and will be available to purchase HERE.
Before the end of the year, The Glorious Sons will once again join The Struts on tour for a short leg of dates in Chicago, Des Moines, and Lawrence. The five-piece is also confirmed for notable radio holiday festivals in Pittsburgh, Charlotte, and Washington, D.C., sharing the stage with the likes of Bastille, Andrew McMahon in the Wilderness, and Meg Myers. A full itinerary of shows can be found below.
The Glorious Sons are having a massively successful year with their smash single, “S.O.S.”(Sawed Off Shotgun), which is skyrocketing on a global scale. The track is climbing the Spotify Viral 50 charts, hitting #36 globally and #15 in the U.S. “S.O.S.” also just cracked the top 10 on the U.S. Active Rock radio charts and has racked up over 3.5 million streams and 105k Shazams. Furthermore, it was added to Spotify’s marquee Rock This playlist in the #1 position last week and is prominently featured on their other top-performing playlists including Rock Hard, Totally Alt, New Noise, Rockin’ Vibes, and more. In other impressive news, the song recently held the #1 position on Apple Music’s influential playlist, “The New Rock,” in the U.S., Canada, Australia, and New Zealand.
Stream and download “S.O.S” on all digital retailers HERE, and watch frontman Brett Emmons’ accompanying ‘Open Letter’ video HERE:
Listen to the 2017 album release Young Beauties and Fools:
11/16/18 – Prince Albert, SK @ EA Rawlson Centre ^
11/17/18 – Winnipeg, MB @ Burton Cummings Theatre ^
11/19/18 – Thunder Bay, ON @ Community Auditorium ^
11/22/18 – Toronto, ON @ Scotiabank Arena ^
11/23/18 – Chicago, IL @ House Of Blues *
11/24/18 – Chicago, IL @ House of Blues *
11/26/18 – Des Moines, IA @ Wooly’s *
11/27/18 – Lawrence, KS @ The Granada *
12/1/18 – Pittsburgh, PA @ Stage AE (105.9 The X’s Kick-Ass Christmas) *
12/3/18 – Charlotte, NC @ The Fillmore (106.5 The End Festivus) # %
12/4/18 – Washington, D.C. @ The Anthem (DC 101 Office Party) # ^^ %
2/12/19 – Cambridge, MA @ The Sinclair ^
2/14/19 – Brooklyn, NY @ Rough Trade ^
2/15/19 – Philadelphia, PA @ Johnny Brenda’s ^
2/16/19 – Harrisburg, PA @ Club XL Live ^
2/17/19 – Buffalo, NY @ Town Ballroom ^
2/20/19 – Atlanta, GA @ Vinyl ^
2/21/19 – Nashville, TN @ Basement East ^
2/24/19 – Detroit, MI @ St. Andrew’s Hall ^
2/25/19 – Madison, WI @ High Noon Saloon ^
2/27/19 – St. Paul, MN @ Turf Club ^
2/28/19 – Chicago, IL @ Schubas Tavern ^
3/2/19 – Kansas City, MO @ The Record Bar ^
3/4/19 – Colorado Springs, CO @ The Black Sheep ^
3/5/19 – Denver, CO @ Globe Hall ^
3/7/19 – Phoenix, AZ @ Valley Bar ^
3/8/19 – San Diego, CA @ Voodoo Room at House of Blues ^
3/9/19 – Los Angeles, CA @ The Roxy Theatre ^
3/10/19 – San Francisco, CA @ Rickshaw Stop ^
3/11/19 – Sacramento, CA @ Holy Diver ^
3/13/19 – Seattle, WA @ Tractor Tavern ^
^ Headline
* w/ The Struts # w/ Bastille % w/ Meg Myers ^^ w/ Andrew McMahon in the Wilderness
The Glorious Sons Is:
Vocals, guitar, harmonica: Brett Emmons
Guitar, vocals: Jay Emmons
Guitar, vocals: Chris Koster
Drums, vocals: Adam Paquette
Bass: Chris Huot
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(2015). In 2015, their single, “Friends,” went viral and caught the attention of Good Charlotte’s Joel and Benji Madden, who signed them to their music company, MDDN.
, which is their first album release in fourteen years, and their fourth studio album. Today, A Perfect Circle released a 
