There’s an unspoken edict handed down through the ages when it comes to rock bands: there are no rules.
Nobody picks up a guitar to be constricted or oppressed. It’s all about feeling free artistically. Now, The Sword—John Cronise [vocals, guitar], Kyle Shutt [guitar], Bryan Richie [bass], and Santiago Vela III [drums]—cut out boundaries since day one. Their style never stood predicated on a trend or a template. They always create what feels right and let the results speak for themselves.
When it came time to record the group’s fifth full-length album, High Country [Razor & Tie], Cronise landed at something of a spiritual crossroads. Following the final tour for their critically acclaimed Apocryphon, he holed up in his North Carolina home and eventually began writing new songs. The material began to veer into a different space that at the time Cronise felt was somewhat outside of The Sword’s sphere.
“I didn’t even intend for the demos to be Sword songs,” he explains. “But then I realized that I had taken on a sort of limiting view of what The Sword was, and that wasn’t actually what I wanted it to be. I think the new album is more reflective of the music I listen to and where our heads are at collectively. With each of our albums, it’s become less about fury and bombast and more about trying to write good songs. We realized that our music can go wherever we want it to go. There’s no pre-determined course here now, and there never was.”
High Country became new territory for The Sword, and they began doing things differently. That approach included more attention to backing vocals and harmonies, implementing more synthesizers and percussion elements, and tuning to E-flat instead of all the way down to C. As a result, the guitars stand out as more vital and vibrant than ever.
“I felt like the low tuning had become more of a crutch than a tool,” he says. “It was all a matter of trying to keep things fresh, and not fall prey to habits or expectations. We wanted to break out of any classifications and just put out a good rock record.”
Inspired, the boys headed to Church House Recording Studio in Austin, TX to cut High Country with Adrian Quesada of Brownout and Grupo Fantasma producing, Stuart Sykes [The White Stripes] engineering, and J. Robbins mixing. Over the course of four weeks, they hammered out the album’s 15 tracks in the old converted church. Thematically though, Cronise’s head was still in North Carolina.
“There are a lot of lyrical themes that run throughout the album,” he explains. “I live out in the mountains, so nature really inspired the whole record. That’s a large part of the lyrics.”
The title track and first single “High Country” springs from a transfixing guitar melody into a sweeping refrain, illuminating the group’s inherent dynamics. Over those rolling riffs, the singer paints a thought-provoking topography.
“That was actually the first song I wrote that ended up going on the record,” he says. “The title can have quite a few meanings. Physically, it might mean mountains and literal high country, but it can also refer to a plane of being; a place of wisdom and enlightenment.”
“Empty Temples” opens with a psychedelic buzz that quickly ramps up into towering guitars and another robust vocal display evocative of rock’s golden age.
“It’s loose and swinging, but it has these epic moments,” says Cronise. “Lyrically, it’s about letting go of the past and moving on. You just have faith if you embrace change and be unafraid, and you’ll find where you need to go.”
The gathering storm of “Early Snow” eventually gives way to a rapturous horn section, another first for the band, while “Mist and Shadow” stirs up a haze of blues that’s instantly thunderous. “That song is based around riffs written by Bryan, which is a new thing for us. He contributed quite a bit of music to this album, and in many ways it’s our most collaborative work to date.”
Both “The Dreamthieves” and “Tears Like Diamonds” have titles inspired by the work of science fiction author Michael Moorcock, though Cronise insists the lyrics have lives of their own. “I’d prefer to let people interpret the songs how they want,” he says, “which is one reason the lyrics aren’t printed in the album sleeve this time. I think they’re pretty intelligible and accessible, and I didn’t want them to distract from the music.”
The Sword’s impact continues to expand. 2012’s Apocryphon debuted at #17 on the Billboard Top 200, marking their highest entry on the chart. Since first emerging with 2006’s Age of Winters, the group has been extolled by everyone from Rolling Stone and The Washington Post to Revolver and Decibel. Metallica personally chose them as support for a global tour, and they’ve earned high-profile syncs in movies including Jennifer's Body and Jonas Åkerlund’s Horsemen. However, High Country is the band’s biggest, boldest, and brightest frontier.
“I want to make positive, uplifting music,” Cronise leaves off. “High Country has moments of darkness and thoughtfulness, as anything I write probably will. But at the end of the day I want to put smiles on people’s faces.”

Zakk Sabbath

"For all of their affinity for murky, sludgy sounds, Pontiak roars away with remarkable precision, pulling off that men-as-machine ethos quite convincingly. Maybe it's a sibling thing?" – San Francisco Bay Guardian

Pontiak is three brothers that grew up and live on farms in Virginia. Their lifelong closeness yields uncommon musical understanding, creative collaboration and personal camaraderie. Their singular combination of impressive work ethic and boundless creativity pays off on their new album INNOCENCE. From the explosive title track to the mellow groove of "Wildfires," these 11 songs are some of the most absorbing and melodic material the band has produced, without ever losing their signature heft. It was recorded in the band's Studio A in Virginia without the aid of computers.

When the band began to compose the songs that became INNOCENCE, instead of employing their well-worn method of carving out melodic passages from the squall of feedback and fuzz, the Carney brothers' songs frequently began the process with a trio of vocals, often eschewing instruments altogether as they wrote. Nowhere is this more apparent than the melancholic ballads of "Wildfires" and "Darkness is coming". On high energy, hook laden tracks such as "Lack Lustre Rush," "Surrounded by Diamonds," and "Ghosts," the distortion and the searing yet elegant guitar lines hang on the brothers vocal melodies.

In addition to designing their own album artwork, the band films, edits, and directs all their music videos, including the 18-minute short film entitled Heat Leisure,which the band released in 2013. The film juxtaposed the staid, oft silent beauty of historic Virginia farms, many of which were the location of civil war battles, with the live bombastic beauty of a rock show. The performance featured two new songs made in collaboration with several guest musicians, including labelmate Greg Fox of Guardian Alien. The film premiered as an official selection at the Chicago International Music and Movies Festival. In addition to East Coast dates with Guardian Alien in December of 2013, the band will be touring the US and Europe following the album's release.

Beastmaker began in the Spring of 2014 in Fresno, CA with Trevor William Church on guitar and vocals, John Tucker on bass and Andres Alejandro Saldate on drums.
 
Beastmaker's inspiration came from bands such as Black Sabbath, Pentagram, St. Vitus and Witchfinder General.  With this inspiration, they began crafting their own take on the classic doom genre.  A large portion of their inspiration also came from classic horror films from the 1960's and 70's, such as, The Abominable Dr. Phibes, Black Sunday and Tombs of the Blind Dead.
 
The band spent most of their first year writing, recording demos and playing a handful of shows. They have had the pleasure of sharing the stage with bands such as Sleepy Sun, Ape Machine, Black Pussy, Church of Misery, Slow Season and The Midnight Ghost Train. 
 
After the release of their first e.p. titled "You Must Sin," they caught the attention of Rise Above Records owner, Lee Dorian.  After hearing them, Lee immediately signed them to his record label, which was only one month after the e.p.'s release.  Beastmaker's debut album "Lusus Naturae" from Rise Above Records is due to be released early 2016.

$25.00 - $750.00

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