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News, Speakeasy PR, Tours

Faith No More Return, First European Performances in Five Years 

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SAN FRANCISCO – Faith No More return to the road next summer, announcing what will be the band’s first European performances in five years: Hellfest (June 20), Sunstroke (June 13) and Tons of Rock (June 26), with more European festival performances to be announced soon.

“Five years, four colonoscopies, two root canals and a handful of prostate exams tell us that it’s time to carpe diem our asses back to Europe asap,” said the band, collectively.

Faith No More last played in Europe in June of 2015, following the May 2015 release of Sol Invictus (Ipecac/Reclamation Recordings). The collection debuted atop the international sales charts: #2 in Australia, #4 in Germany, and #6 in both the U.S. and UK. Rolling Stone dubbed the 10-song album “triumphant,” the New Yorker called it “a reminder of everything that made Faith No More great in the first place,” and the Los Angeles Times said, “Faith No More has a history of defying expectations, and that’s what it’s doing again with Sol Invictus.”

The San Francisco-born, platinum-selling band have released seven studio albums: We Care A Lot (1985), Introduce Yourself (1987), The Real Thing (1989), Angel Dust (1992), King For A Day… Fool For A Lifetime (1995), Album of the Year (1997) and Sol Invictus (2015).

Faith No More Is:

Mike Bordin (drums)
Roddy Bottum (keyboards)
Bill Gould (bass)
Jon Hudson (guitar)
Mike Patton (vocals)

Faith No More Online:

Website | Facebook | Instagram | Twitter

Featured photo (top) by Jimmy Hubbard



Concerts, Kataklizmic Design, Media, Photo Galleries, Reviews

REVIEW: Lindsey Stirling Enthralls in Hometown Show at Comerica Theatre (11-23-19)

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PHOENIX — There is an age-old argument over when exactly the Christmas season starts. Some would say that the day after Halloween is the official date that you can start preparing for Christmas, and others argue that the day after Thanksgiving, and not a day before, is the proper date to throw some Christmas music on and start feeling festive. It should be postulated that neither of these are correct: The first day that it officially feels like Christmas is the day of the first concert in Lindsey Stirling’s annual winter tour.

The tour is in its third year now, first named “Warmer in the Winter” in 2017, “The Wanderland Tour” in 2018 and now “Warmer in the Winter” again. Stirling, an Arizona native, noted during the show that the name came from all of the warm winters she spent here in Arizona. “The Wanderland Tour” bypassed Arizona, which may possibly explain why the tour changed names last year.

Arizona winters are indeed warm, and this one was no exception up until earlier this week. As the doors opened and the public began pouring into Comerica Theatre in Downtown Phoenix, there was a chill in the air, one that announced that winter actually does come to Arizona. In the moments leading up to the first wisp of smoke from the machine on stage, the audience filtered into the theatre and found their seats with a growing buzz of anticipation, as excited conversations built toward a crescendo as showtime drew closer. All ages had come out to see Lindsey Stirling, from the wide-eyed young girls who wore dresses that looked much like the dresses that Stirling wears in her music videos, to the older fans who looked like they were ready for a Sunday morning church service. For the young, they had come to see their hero. For the older, to see an artist who has redefined what it means to be a violinist. No one left disappointed. 

Lindsey Stirling
| Photographer: Mark Greenawalt © All Rights Reserved

The “Warmer in the Winter” tour was a delight in every way possible. From the first few moments after the smoke machines kicked on to announce the start of the show until the final notes of the last song, “I Wonder While I Wander,” each and every second was packed with magic. Stirling and her dancers moved effortlessly through incredibly difficult maneuvers, drawing the crowd in. She is well known for her violin skills and her dancing, but she is also an incredible singer with a wicked sense of humor. Backed by a talented band including Kit Nolan on the keyboard and Drew Steen on the drums, Stirling danced, sang, and cracked jokes throughout the night. 

Lindsey Stirling
| Photographer: Mark Greenawalt © All Rights Reserved

The production includes special effects, props, and costuming that inspire awe and joy. The backdrop was a massive screen, which was one of the key elements to the show. Throughout the night, it would be used to show a clip of Stirling’s alter ego Phebla, become a backdrop of the universe while she played “Between The Twilight” from her newest album Artemis, and finally to have us fly through a field of mushrooms as a nod to Alice In Wonderland during “Carol of the Bells.” She explained that she named the album after Artemis because Artemis is the Goddess of the moon, and the moon brings light into the darkness. 

Her concerts are always an inspirational and moving experience because heartfelt speeches in between songs are a regular part of the show. She told the audience, “I want you to think about how amazing you are, because I think that’s something you may not tell yourself enough…every single person in this room is incredible and powerful…as I play this song, maybe even close your eyes and see yourself for how beautiful you are and for your own light, because the world needs every single person to shine.” As she started to play “Between The Twilight”, the spotlight turned off, and the screen behind her showed the universe, or the stars in it at least. The ethereal sound took the audience on a journey of light, of sound, of beauty.

Stirling is also a fierce advocate for her fans. After a visually stunning “We Three Gentlemen,” She gave an emotional speech, talking about her journey to get where she was. She then told the audience “Nobody else can write your story. Never let anyone else tell you what you can do, what you can’t do, what you’re good at, what you’re not good at — because you’re the only one who knows what you can do, what’s inside of you.” She admitted that her insecurities had not changed from before she found fame until now. 

Lindsey Stirling
| Photographer: Mark Greenawalt © All Rights Reserved

Stirling spoke at length, her voice quivering a bit as she talked about losing her best friend to cancer 4 years ago, and her dad 3 years ago. It was an emotional, vulnerable speech. She spoke about angels and how she felt they surrounded her. This led into “Angels We Have Heard on High,” during which she stood at the top of the stairs in front of the screens with a mesmerizingly beautiful light that followed her every move with her bow. It was the most impactful song of the show. 

She spoke with gratitude of how much she appreciated the shows in Arizona, saying that she looked forward to them because, “I feel like this is my family.”

“Thank you guys so much for coming! It’s only because of you guys and the support I had from home from the very beginning that I am here. Thank you.” 

Lindsey Stirling
| Photographer: Mark Greenawalt © All Rights Reserved

During Stirling’s “favorite song to play,” “Hallelujah,” the tone switched away from happy, jovial, and infectious. The entire venue was utterly captivated by the otherworldly beautiful sound of the violin and backing guitar. There were some in the audience wiping away tears as the last notes faded away and Stirling again thanked everyone.

There are those that dedicate their life to the mastery of the violin, and others who train to lead the dance troupe at the theatre. To be able to do both at once – and do it well – is rare indeed. As the show started it became apparent the immense amount of planning and attention to detail that went into each and every step of this spectacular display. Each costume change was so well-planned that it would not be noticed or delay the show, and each dance move was tightly choreographed. Stirling has a zest for performing, a love for the fans, and a respect for her craft that lends itself to a show that would be hard to equal. 

Lindsey Stirling
| Photographer: Mark Greenawalt © All Rights Reserved

Everyone had gathered for a concert, but those in attendance received so much more than that. Viewing the show through the eyes of one who has seen many, it was an incredible, exciting show — one that lingers in the back of the mind. She is a wonderful role model to the young that view her as a giant. They aspire to one day reach her greatness after witnessing the impact of her beauty and grace.

Lindsey Stirling
| Photographer: Mark Greenawalt © All Rights Reserved

Stirling has a self-awareness that gives strength and power to those around her, saying what people need to hear before they even know they need to hear it. She is, in a word, rare. She is a once in a generation talent who has captured the imagination of the young, inspires the broken and gives peace to all who hear her. As the show ended and we walked into the cold night air of her hometown, it was hard not to feel refreshed and ready to celebrate the season. And that, in the end, is the magic of Lindsey Stirling.

Photo Gallery

Photographer: Mark Greenawalt

Lindsey Stirling – Comerica Theatre 11-23-19

Photography © Mark Greenawalt
All Rights Reserved

BMG, News, Tracks

Evanescence Releases “The Chain” (from “Gears 5”) – Their First New Rock Recording in Eight Years

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Los Angeles, CA — Transcendent, two-time GRAMMY® Award-winning rock band, Evanescence, has returned with their first new rock recording in eight years, “The Chain (From Gears 5).” Listen HERE.

The band recorded their signature-rock version of the Fleetwood Mac classic following lead singer Amy Lee having lent her vocals to the launch trailer for Xbox Game Studios’ Gears 5 for Xbox One, Windows 10, and Steam, from the massively popular Gears of War series. The spot aired as part of a multi-million-dollar ad campaign this fall in conjunction with the launch of the game. Watch it HERE. 

Gears 5 was Microsoft’s most successful video game launch since Halo 4 in 2012. 

Amy Lee firmly re-establishes herself as one of rock’s pre-eminent vocalists, exhibiting an impressive range that still packs a wallop” –Variety

“The Chain” is the first release in what is expected to be a very active period for Evanescence. Following their critically acclaimed foray into symphonic music with 2017’s Synthesis album and world tour, the five-piece has reemerged by embracing a heavier sound, albeit with their trademark style that has made Evanescence integral in establishing a global, critical mass in rock, and among the most unique artists of the millennium. The band is currently working on new original music, which will start rolling out in 2020 in advance of their next studio album. Stay tuned for more details to come. 

“This cover was so fun to make. We love Fleetwood Mac and wanted to paint a dark and epic picture with our take on ‘The Chain,’” says Amy Lee. “The lyrics make me feel the power of standing together against great forces trying to pull us apart, perhaps even from the inside. I really wanted to drive that home in our version, and even made everyone in the band sing by the end of it! We’re beyond excited to share this with our fans and I’m really looking forward to playing it live.” 

At the end of the month, Evanescence will be heading to Mexico City to play Knotfest, followed by an appearance at Download Festival in Tokyo on March 29, 2020. After a short break, the group will be heading out on a massive co-headline tour of Europe and the U.K. with Within Temptation. The new batch of dates kicks off on April 4 in Brussels, Belgium and concludes in Birmingham, U.K. on May 1. Evanescence will also return to the U.S. shortly thereafter for a headline show at The Fillmore in Minneapolis, MN on May 14. All tickets are on sale now and can be purchased on the band’s official website HERE.

“Haunting, powerful, and packed with poetic truth, Lee’s voice is one of the strongest in the game—recognizable and unparalleled.” –Nylon

Evanescence 2019-2020 Tour Dates:

  • 11/30/19 – Mexico City, Mexico @ Knotfest 
  • 3/29/20 – Tokyo, Japan @ Download Festival 

  • 4/4/20 – Brussels, Belgium @ Palais 12 *
  • 4/5/20 – Paris, France @ Accor Hotel Arena *
  • 4/7/20 – London, U.K. @ The O2 *
  • 4/9/20 – Berlin, Germany @ Velodrome *
  • 4/11/20 – Frankfurt, Germany @ Festhalle *
  • 4/12/20 – Zurich, Switzerland @ Hallenstadion *
  • 4/14/20 – Milan, Italy @ Mediolanum Forum *
  • 4/15/20 – Munich, Germany @ Zenith *
  • 4/17/20 – Hamburg, Germany @ Sporthalle *
  • 4/18/20 – Leipzig, Germany @ Leipzig Arena *
  • 4/20/20 – Dusseldorf, Germany @ Mitsubishi Hall *
  • 4/21/20 – Amsterdam, Netherlands @ Ziggo Dome *
  • 4/22/20 – Amsterdam, Netherlands @ Ziggo Dome *
  • 4/24/20 – Brussels, Belgium @ Palais 12 *
  • 4/26/20 – Esch-sur-Alzette, Luxembourg @ Rockhal Main Hall *
  • 4/28/20 – Glasgow, U.K. @ The SSE Hyrdo *
  • 4/30/20 – Leeds, U.K. @ First Direct Arena * 

  • 5/1/20 – Birmingham, U.K. @ Arena Birmingham *
  • 5/14/20 – Minneapolis, MN @ The Fillmore 

* w/ Within Temptation

Follow Evanescence:

Website | Facebook | Twitter
Instagram | YouTube

Featured photo (top) by P.R. Brown


News, Night Owl PR, Tours

Former Taking Back Sunday Bandmates Team Up for Emo Night Tour in 2020

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Former bandmates Fred Mascherino and Eddie Reyes have reconnected and teamed up for their very own rendition of Emo Night. They’ll be taking their show on the road in January 2020 for a few dates that will include stops in Amityville (NY), Asbury Park (NJ), and Easton (PA). The festivities will include DJ sets, emo karaoke, and performances by The Color Fred and Fates Got A Driver.

“The Color Fred played an Emo Night that our friend Jon runs in Pennsylvania and we had a blast,” explains Mascherino. “He was spinning all of the bands that Eddie and I use to play with, so we thought it would be fun to do it in other places and have Eddie’s band help make it even more fun.”

The Color Fred is an indie rock band headed by former Taking Back Sunday guitarist/vocalist Fred Mascherino. Bend to Break, The Color Fred’s first full-length album, was released on October 30, 2007. The album hit #8 on the Billboard Heatseekers Chart. The band toured throughout North America and Europe, playing with bands such as Dashboard Confessional, Angels and Airwaves, and Four Year Strong. They released an acoustic EP titled The Intervention for Record Store Day in 2009 and did a virtual solo acoustic tour in support of its release.

Mascherino then entered the studio to record LP2 and wound up collaborating with his friends Josh Eppard (Coheed and Cambria) and Andy Jackson (Hot Rod Circuit) in what eventually became Terrible Things. The trio signed to Universal Motown Records, released their popular self-titled full-length, then spent most of their time on the road supporting bands including The Offspring, Minus the Bear, Bayside, Circa Survive, and Streetlight Manifesto. Mascherino then went on tour playing bass in The Lemonheads and guitar for Say Anything. During that time, he was producing and co-writing with bands eventually building his own studio, Diver Down. In late 2018, Fred decided to close the studio to the public and start recording his own music again. Coming full-circle, the new material is being released as The Color Fred. The first song “Don’t Give Up on Me” was released this past May. More new material is underway in the studio and will be released in the near future.

BMG, Music Videos, News, Signing

Jetty Bones Sign to Rise Records and Share Official Music Video for “the part:”

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Los Angeles, CA — Rise Records is excited to announce that Jetty Bones, the musical project led by Ohio-based musician, Kelc Galluzzo, has joined their roster of artists. In celebration of the news, the band has shared a new music video for their single, “the part:”, a standout song from their third EP, – (pronounced “hyphen”), which debuted earlier this year via Take This To Heart Records. Stream/download the effort HERE, and watch the new visual HERE. Jetty Bones is also currently working on new music, expected next year on Rise. 

Kelc has a message for Jetty Bones fans about this announcement and next chapter in the band’s career: “Growing up in Ohio, we used to have this local scene saying about how the dream was to ‘live in Ohio, start a band, then sign to Rise Records.’ Well, 12 years later, I finally get to say that those teenage dreams are a reality: Jetty Bones has officially signed to Rise and will be putting out a full-length record next year. As the final piece of the – era, here’s a music video and a promise to keep building this community around support and vulnerability as a part of the Rise family. Thank you for reminding me that fighting for passion, recovery, and the strength to help others has not been in vain. I don’t know if I can ever find the words to accurately explain how much I needed all of you (and still do), but I’m going to try my best for as long as you let me.” 

Channeling the band’s namesake, Betty Jones, who broke out of her all girls’ Catholic school to remove herself from a situation where she wasn’t happy, Jetty Bones exists to encourage people to rise above everyday situations and push for a life with better meaning.

“The sound of an artist totally in control over her craft and her story.” –Chorus.fm

The group’s 2017 EP, Old Women, was a story of progress, growth, and the development of human connection – something often overlooked today. In a world so focused on outward appearances, Old Women takes you on a journey through one girl’s mental and emotional attempts to attach to something in a more genuine way, that something being other people. Its brisk, contemplative follow up, – (pronounced “hyphen”), is a bridge between Kelc’s journey to healthier interpersonal bonds and a future colored by close friends, As Jetty Bones still functions with Kelc’s crystal clear delivery and racing thoughts at its center and a network of trusted musicians bouncing in the margins, – is a testament to the artist’s growth, depth, and warmth. 

Currently on Tour in the U.S. With New Found Glory

Jetty Bones is also currently on tour in the U.S. supporting New Found Glory, along with Hawthorne Heights and Free Throw. The remaining run of dates continues tonight in Lancaster, PA at Chameleon Club and wraps next week at Saturn in Birmingham, AL on November 26. A list of shows is included below, with tickets available to purchase HERE. 

Jetty Bones Tour Dates Supporting New Found Glory:

11/20 – Lancaster, PA @ Chameleon Club
11/21 – Asbury Park, NJ @ Stone Pony
11/22 – Huntington, NY @ The Paramount
11/23 – Richmond, VA @ The National
11/25 – Carrboro, NC @ Cat’s Cradle
11/26 – Birmingham, AL @ Saturn 

Follow Jetty Bones:

Website | Facebook | Twitter | Instagram

“Blistering pop rock that isn’t afraid to hold back if the connection encourages listeners to strive for something better.” 
–Substream Magazine


Concerts, Kataklizmic Design, Media, Photo Galleries, Reviews

REVIEW: The Building Brings Soothing Vibes to Downtown Phoenix Bar (11-13-19)

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PHOENIX — In the middle of downtown Phoenix is a nondescript alley with a door halfway down it. Over that door is a neon sign with the words “Valley Bar” spelled out. It casts a stark and yet warm glow into the alley. It is not an easy venue to find, but it is absolutely worth the trek if you’re looking for great music. For this particular event, Heather Woods Broderick and The Building was playing on a Wednesday night.

Valley Bar entrance sign
| Photography: Rodrigo Izquierdo © All Rights Reserved.

The Building is fronted by Anthony LaMarca, a talented and accomplished music veteran. He is currently the guitarist for the band The War on Drugs, and has played drums for St. Vincent on tour. He also has his own record label, named Primary Records. Broderick has toured with Sharon Van Etten as part of her backing band and has also played in bands such as Horse Feathers. To be able to see musicians as talented as these two in a venue as intimate as the Valley Bar is indeed a treat.

By the time the show started just after 8:00pm, the entire audience had shown up. There were fewer than 20 people in attendance — likely due to a somewhat hard to find venue and a midweek show. For those of us fortunate enough to be in attendance, we were treated to a downright solid show.

Heather Woods Broderick (Vocals, Guitar, Keys)
| Photography: Rodrigo Izquierdo © All Rights Reserved.

Heather Woods Broderick

Broderick took the stage first with Andrew Carlson on the bass guitar, and Dean Anshutz on the drums. Carlson and Anshutz would be on stage for most of the evening, since they play in The Building as well. Broderick started with an acoustic guitar. Her fingers flew across the strings as a nearly ethereal sound came from the guitar — a sound that would be present for much of the evening. Her otherworldly vocals are enough to find your mouth agape. There is a beauty in the melancholic, enthralling tone of Broderick’s music.

While most of the songs are slower, she turned up the tempo with “Quicksand” from the album Invitation, which is a song that is rather drum heavy and a very nice change of pace. Anshutz was a joy to watch during the show because of his precision on the drums and how much he gets into it, but he was even more so during this song. Broderick also played “I Try” and ended the show on “Invitation”. With the voice of an angel and impressive control, Broderick yodeled through the closing notes of the final song, which is a delight that can only be experienced live since these fluctuations are not heard on the studio recording of the song.

Mid-show, she mentioned that she was surprised at how warm it still was outside and what there was to do in downtown Phoenix. Later on, she also spoke about touring with The Building, and said “They’re very sweet people and I love hearing them play their stuff every night.” It was also mentioned that there was a week and a half left in the tour.

The Building

The Building took the stage shortly after 9:00pm, and LaMarca greeted the audience with “We’re called The Building, we’re from Youngstown Ohio, thanks for being here!” and launched into the first song. He seemed to forget the lyrics after the first line of the song, but instead of powering through and going to the next line, he stopped the song and cracked a joke about the mistake. He noted that it was better to acknowledge the mistake and fix it, saying “It’s like when you go to a sandwich shop and you order turkey on a sandwich but instead they give you fish and it’s just not as good.” The song was restarted, and the night was back on track.

Anthony LaMarca (Vocals, Guitar) & Dean Anshutz (Drums), The Building
Photography: Rodrigo Izquierdo © All Rights Reserved.

There is a bit of a wistful feeling to these songs, perhaps owing to the fact that the drums were rarely used throughout the set. Watching Carlson play the bass grants a new appreciation for how precise each note needs to be. There is also a mellowness to the songs that feels a bit like quiet reflections in musical form. The soothing mood of the music would pair well with The Paper Kites on a relaxation playlist. 

Midway through the show, LaMarca stopped to chat with the audience. He noted that this was their first time in Phoenix and then asked if anyone had any dogs. Surprisingly, only one person indicated she did, and they had a conversation about the three dogs she owned. The latest album is named after LaMarca’s dog Petra, a German shepherd. There is a story on their website about the name of the record and his dog Petra, and it is one we highly recommend reading.

As the night drew to a close, LaMarca announced the final song as “Peace’s Eternal Truth Renews All,” or “PETRA”. Each of the songs off of the latest album are quite personal, as he has battled Multiple Myeloma twice in the past few years and this was written and recorded during his latest battle, but PETRA feels more personal than the others. As the last notes faded, the show ended, and the few of us fortunate enough to be there made our way up the stairs and back into the alley in downtown Phoenix. Watching LaMarca and The Building in such a small venue is not an opportunity that should be taken for granted. All members of the band are extremely talented, and as such, the music was excellent.

The Building Online:

Website | Facebook | Twitter | Instagram

Photo Gallery

Photographer: Rodrigo Izquierdo

The Building & Heather Woods Broderick – Valley Bar 11-13-19

Photography © Reagle Photography
All Rights Reserved

Live Nation, News, Tours

KISS Announced Today The ‘End Of The Road’ Comes To Its End July 21, 2021, Last Leg of Shows Also Announced

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Rock n roll legends KISS have announced today the last legs of their final tour, the End Of The Road Tour. The initial tour announcement was met with huge fan demand for added shows, but the End Of The Road Tour will officially come to a close on July 21, 2021 at a NY location yet to be named. Produced by Live Nation, the tour will continue to wow audiences in 2020 with additional concert dates listed below. KISS will be offering VIP experiences and special KISS Army fan presales (info below).

Known for their trademark larger-than-life blistering performances, KISS has proven for decades why they are hands down the most iconic live show in rock n roll. The Rock & Roll Hall of Famers who have sold more than 100 million albums worldwide have said this tour is devoted to the millions of KISS Army fans.

“All that we have built and all that we have conquered over the past four decades could never have happened without the millions of people worldwide who’ve filled clubs, arenas and stadiums over those years. This will be the ultimate celebration for those who’ve seen us and a last chance for those who haven’t. KISS Army, we’re saying goodbye on our final tour with our biggest show yet and we’ll go out the same way we came in… Unapologetic and Unstoppable,” said KISS.

KISS Meet & Greet Experiences will be available Tuesday, November 19 at 10am local time through 10pm local time HERE. KISS Army fan club presales will begin Wednesday, November 20 at 10am local time until Thursday, November 21 at 10pm local time. Visit the band’s website for more information. Tickets to the general public will go on sale starting Friday, November 22 at 10am local time HERE.

Citi is the official presale credit card of the End Of The Road Tour. As such, Citi cardmembers will have access to purchase presale tickets beginning Wednesday, November 20 at 12pm local time until Thursday, November 21 at 10pm local time through Citi EntertainmentSM. For complete presale details visit HERE.

End of the Road Tour Dates

2-1-20 Manchester, NH SNHU Arena
2-4-20 Allentown, PA PPL Center
2-5-20 Buffalo, NY KeyBank Center
2-7-20 Charlottesville, VA John Paul Jones Arena
2-8-20 Greensboro, NC Greensboro Coliseum Complex*
2-11-20 Columbia, SC Colonial Life Arena*
2-13-20 Lexington, KY Rupp Arena
2-15-20 Peoria, IL Peoria Civic Center
2-16-20 Fort Wayne, IN Allen County War Memorial Coliseum
2-18-20 Springfield, MO JQH Arena
2-19-20 Wichita, KS INTRUST Bank Arena
2-21-20 Sioux City, IA Tyson Events Center
2-22-20 Grand Forks, ND Alerus Center
2-24-20 St. Paul, MN Xcel Energy Center+
2-25-20 Lincoln, NE Pinnacle Bank Arena+
2-29-20 Laughlin, NV Laughlin Event Center
3-2-20 Bakersfield, CA Mechanics Bank Area (formerly Rabobank Arena)
3-4-20 Los Angeles, CA Staples Center
3-6-20 Oakland, CA Oracle Arena
3-9-20 El Paso, TX UTEP Don Haskins Center
3-10-20 Lubbock, TX United Supermarkets Arena
3-12-20 Tulsa, OK BOK Center
3-14-20 Lafayette, LA Lafayette Cajundome
3-15-20 Biloxi, MS Mississippi Coast Coliseum
8-28-20 Burgettstown, PA KeyBank Pavilion
8-29-20 Atlantic City, NJ Jim Whelan Boardwalk Hall
8-31-20 Canandaigua, NY Constellation Brands – Marvin Sands Performing Arts Center
9-3-20 Bangor, ME Darling’s Waterfront Pavilion
9-4-20 Mansfield, MA Xfinity Center
9-5-20 Hartford, CT XFINITY Theatre
9-8-20 Atlanta, GA Cellairis Amphitheatre at Lakewood
9-9-20 Raleigh, NC Coastal Credit Union Music Park*
9-11-20 Clarkston, MI DTE Energy Music Theatre
9-12-20 Tinley Park, IL Hollywood Casino Amphitheatre – Chicago, IL
9-14-20 Dayton, OH Wright State University Nutter Center
9-15-20 Milwaukee, WI American Family Insurance Amphitheater
9-19-20 George, WA Gorge Amphitheatre
9-20-20 Ridgefield, WA Sunlight Supply Amphitheater
9-22-20 Boise, ID ExtraMile Arena
9-24-20 Salt Lake City, UT USANA Amphitheatre
9-27-20 Chula Vista, CA North Island Credit Union Amphitheatre
9-29-20 Phoenix, AZ Ak-Chin Pavilion
10-1-20 Austin, TX Austin360 Amphitheater
10-2-20 Fort Worth, TX Dickies Arena

*general on sale starts 12pm local time
+general on sale starts 9am local time

KISS Online:

Website | Facebook | Twitter | YouTube



Albums, Kataklizmic Design, Reviews

REVIEW: DIVISIONS — STARSET Takes Us on a Journey Through the Future

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Released on September 13th, 2019, DIVISIONS is the third studio album by STARSET. Fronted by Dustin Bates, STARSET is known for their elaborate shows and their detailed, cinematic rock albums. To watch STARSET live is to watch a spectacle of light and sound that leaves you in awe. There is an augmented reality app, aptly titled STARSET, that was first meant to be used during the live concert. This has since been updated to have some functions outside of the concert setting. During the “Immersion: Part One” tour, Bates and his bandmates wore spacesuits. Bates, in fact, has a significant tie to space: he was a teacher at the International Space University Space Study Program at one point, and has solidified his image of being both an extremely imaginative and talented musician and an accomplished scientist.

DIVISIONS — set on Earth in 2049, in a dystopian future that involves mind control via an implant. Four music videos were released in the lead-up to the album release: “MANIFEST,” “WHERE THE SKIES END” “STRATOSPHERE,” and “DIVING BELL.” Watching them helps understand the story behind the album, which in turn is linked to their show.

You do not listen to Starset —
you experience them.

As you travel through the journey that is DIVISIONS, you will hear more than just the songs. “WHERE THE SKIES END,” for example, is bookended by audio clips from a video called “A New Horizon” that played at the 1939 Worlds Fair in New York. The name of the exhibit was “Futurama,” and was a vision of the future – a future that came true in many ways. Ronald Reagan can be heard in “STRATOSPHERE,” taken from a speech he gave in 1987 to the UN about war, in which he said “I occasionally think how quickly our differences worldwide would vanish if we were facing a threat…From outside this world.“

The first track is only Bates speaking with synth playing, building until the end of the song. “A BRIEF HISTORY OF THE FUTURE” lays out the rest of the album:

This place is a desert for the mind
Devoid of emotion and barren of thought
No real thought, at least
It’s no surprise
Most minds here have long since atrophied from lack of use
They wait in flatline for the next rushing jolt of synthetic stimulation
The real world can’t compare, even if it were allowed to
Contemplating the real world leads to seeing the world for what it is: a prison... (Continues)

“MANIFEST” is a mix of heavy rock riff and poppy sounding choruses. It leaves you off balance a little, though it is a very enjoyable song, and it just takes a couple of listens to get used to the genre switch. It showcases the genius of Bates: as the music switches between rock and pop, the lyrics describe a love that seems to be a bit unstable:

Every time I’m onto you
You change it up‚ you always do

The song ends with a cadence of crashing guitars and drums, leaving the listener with a second or two of silence to regroup a bit before the synth beginning of “ECHO”.

“Echo” is a symphonic song, soaring behind lyrics that seem to be steeped in Greek Mythology. From the mention of the Odyssey at the beginning, up to and including the lyrics:

I call and I can hear you sing
But oh, it’s only my echo
It’s only my echo

In Greek Mythology, Echo was cursed by Hera to only be able to repeat the last words that another would speak. She met, and fell in love with Narcissus, who fell in love with himself. That ended rather poorly for both of them. The song seems to be more than just the story of Narcissus, it indeed seems to be told from the viewpoint of a narcissist:

I thought it was destiny
I was gonna conquer the sky
Then plummet to the ground and be
Anchored by your side
But when every time I found myself upon new heights
I would climb again and leave you in the moonlight

It should be noted that the person referred to here followed the singer silently for most of the song, so the accusation of giving up early toward the end rings quite false. It is, again, a well-crafted song by Bates.

“WHERE THE SKIES END” seems to be a near defiant look at the future, a musing that is sung over music that alternates between a heavy riff and synth. The lyrics speak of the change between the current and the previous generations — one that could possibly apply to today as well:

These aren’t the dreams of our fathers
There’ll be no wishing on stars
We are the sons and the daughters
Let them come test who we are

“PERFECT MACHINE” is far more synth heavy, the music slowing down a bit, and seems to be a tragic song in some ways. In the first verse it becomes quite apparent the protagonist is not exactly the nicest person in this scenario; in fact, they sound downright manipulative:

And if I bend just right
I can make it
I didn’t want you
I wanna watch you change
From a butterfly and into chains

By the end of the song, the subject seems like they have reached the point where they have acknowledged their faults and are trying to protect the other person from them. 

As the outro plays, you can hear what sounds like a subway, or perhaps a bus station, and a disembodied voice in the background repeating propaganda. It is a masterful touch to remind you that this is set in a dystopian future

“TELEKINETIC” is absolutely connected to “A Brief History Of The Future”. This is a heavy, heavy song, reaching past the rock genre and going into the metal, with a scream punctuating the song. One cannot help but to be reminded of the band RED during this song. Bates weaves in a comparison of being a puppet and voodoo, and in between it all, the mention of the hit of the chemicals in the brain that popped in the first song.

Fake
I’m just a puppet in your play
You pull the strings and I obey
High, that oxytocin hit me just right there
It’s counterfeit
Zombie, zombie, could it be a hex?

As the song ends, as your ears are possibly still ringing, “STRATOSPHERE” starts. This is the first true pop rock song on the album. In the first half, the drum kick is the heaviest element of the song, unless you listen closely to the lyrics. It is indeed a beautiful, tragic song; a song of longing and missing someone that you once loved.

There is duality between “STRATOSPHERE” and “FAULTLINE,” with the latter sounding more like a sarcastic, angry song about a hurt partner pushing back against the other in the relationship:

First you gotta know
How to play the victim
Hate to tell you so
But you repeat the symptoms like an aftershock
And I only want to make it stop

It is such a sharp contrast in music style and lyrics that it feels out of place, and yet it will resonate with anyone who has ever gone through a rough breakup, and indeed with anyone leaving an abusive relationship.

“SOLSTICE” has a bit of a heavy sound to it, with a great beat with some EDM behind it, though it quickly becomes very repetitive. Musically it’s a great song, lyrically it leaves one wanting more. It is the least impactful song on the album, though it is still an enjoyable song musically.

“TRIALS” is, quite simply, a song of defiance — a story of looking straight into the teeth of the darkest days and triumphing. Set over a driving drumbeat, it is another song that reminds me a bit of RED and moves closer to metal and away from rock. 

“WAKING UP” shares the same kind of driving drumbeat, though the message changes quite a bit. There is a near EDM feel to this song as well, and seems to be more about the message of someone throwing off the mind control device. It is truly enjoyable, though there is some repetition.

“OTHER WORLDS THAN THESE” is one of the most enjoyable songs on this album, both in music and in message. There are many concepts being explored here, one of which is a mind that has been awakened and is now contemplating the vastness of the universe, and that there may indeed be other worlds out there.

“DIVING BELL” is a beautifully juxtaposed song. It feels relaxed, but has an urgent question: 

If I stare into the abyss
Will it stare into me?  

It is not often that you witness the process of living with depression and trying to push away from those who love you. It is a perfect end to one of the most well-put-together albums of 2019.

STARSET is amidst their “DIVISIONS: 2019” tour in support of this album, and unsurprisingly, the show looks just as incredible as previous tours. Finishing the U.S. leg of the tour in Newport, KY, they will be embarking on a European leg starting February 8th, 2020.

View tour dates: HERE

Get the album, allow your imagination to take you on the journey that STARSET has laid out before you, and then go see them live.
You will not regret it.

STARSET Online:

Website | Facebook | Twitter
Instagram | YouTube


News, Speakeasy PR, Tours, Uncategorized

TOOL Extends North American Tour — Tickets On-sale This Friday

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LOS ANGELES — TOOL, who are in the midst of their first North American tour in support of their #1 charting, record-breaking album Fear Inoculum (RCA Records), today announces an additional round of tour dates, kicking off on Jan. 10 in San Diego.

Newly Announced Dates:

January 10 San Diego, CA Viejas Arena
January 12 San Diego, CA Viejas Arena
January 15 Fresno, CA Save Mart Center
January 17 Las Vegas, NV T-Mobile Arena
January 18 Glendale, AZ Gila River Arena
January 21 Austin, TX Frank Erwin Center
January 22 Dallas, TX American Airlines Arena
January 28 Atlanta, GA State Farm Arena
January 29 Nashville, TN Bridgestone Arena
January 31 Memphis, TN FedEx Forum
February 1 New Orleans, LA Smoothie King Center

Tickets are on-sale this Friday, Nov.15 at 10 am local time, with a limited number of VIP packages available exclusively to Tool Army members via Toolband.com this Wednesday, Nov.13 at 10 am local time.

TOOL begins a two-night stint in Toronto this evening, during their extensive, sold out North American tour. The tour, which sees the band performing in some cities for the first time in over a decade, has received widespread accolades with the Los Angeles Times calling it “impeccable,” the Chicago Tribune describing the outing as a “twisting multimedia rollercoaster of a concert” and The Arizona Republic saying it’s “a visually breathtaking night of dystopian art-rock spectacle.”

Fear Inoculum arrived on Aug. 30 following years of anticipation. The album debuted at #1 on Billboard’s Top 200 and earned heaps of critical praise with NPR saying, “Fear Inoculum was worth the 13 year wait,” Revolver proclaiming the 10-track album “a masterpiece to be dissected for years to come” and Consequence of Sound saying the release finds “TOOL in peak performance.”

Full List of Sold Out North American Tour Dates:

November 11 Toronto, ON Scotiabank Arena
November 12 Toronto, ON Scotiabank Arena
November 14 Boston, MA TD Garden
November 16 Newark, NJ Prudential Center
November 18 Philadelphia, PA Wells Fargo Center
November 19 Brooklyn, NY Barclay’s Center
November 21 Uncasville, CT Mohegan Sun Casino Arena
November 22 Atlantic City, NJ Boardwalk Hall
November 24 Raleigh, NC PNC Arena
November 25 Washington, DC Capital One Arena

Tool Is:

Website | Facebook | Twitter | Instagram

Featured photo (top) by Travis Shinn


Albums & EPs, News, Night Owl PR, Tours, Tracks

Rivals Reveals “Thunderstorm”, Supernova EP out Today; On Tour with Slaves

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Rivals brand new 2-song, 7″ EP Supernova was released today via Smartpunk Records HERE and is available on streaming services as well. Listen HERE. The title track has already received over 53k streams on Spotify alone. “We’ve really started to step up the creativity with sounds and environments,” describes Rivals vocalist Kalie Wolfe. “Building and creating a world around a theme and trying to show everyone what we see and feel. Between Supernova and “Thunderstorm“, we really stepped out of our comfort zone for this.”

“I’ve always wanted to write a song that was like ‘what’s up b@*%#*$, were back’ and that’s what ‘Thunderstorm‘ is,” explains Wolfe of their new single “Thunderstorm.” “For those who doubted us, said we wouldn’t last or said we couldn’t make it. For the doubt in our own hearts throughout the last two years and how we pulled our own ‘guns’ out to really pushed our way through all of that doubt. We became our own heros and I’m proud as hell of us for what we’ve accomplished in the past few years. ‘Thunderstorm‘ is our fight song.”

Catch them on tour with Slaves

Rivals Is:

Kalie Wolfe (vocals)
Sebastian Clarke (bass)
Micket Woodle (guitar)
Josh Alves (drums)

Rivals Online:

Website | Facebook | Twitter | Instagram

Featured photo (top) by Matt Bender