"I'm so sick of unicorns," says Combichrist's Andy LaPlegua about the song "Fuck Unicorns"
from their new album We Love You (Out Of Line [EU]/Metropolis Records [US]). "They went
from being something ironic and ridiculous, to an overexposed hipster icon. Fuck unicorns!"
In some ways, the peaceful and gentle unicorn can be seen as the symbolic opposite to
Combichrist. To them, music equals mayhem and volume; the louder and the more aggro, the
better. Their brand of head-pummeling electronica has been amped up and adrenalized. There
are louder guitars, heavier drums, darker electronics and a lot more anger.
Kicking off the album is the disjointed and anthemic "We Were Made To Love You." LaPlegua
imagines a "futuristic robot-controlled society", slowly setting up the listener for 13 tracks of
relentless aggression and bass heavy electronica. From the stuttering thump of "Every Day Is
War" to the choking-on-glass/buzz-saw aggression of "Satans Propaganda" to the breakneck
punk metal of "Love Is A Razorblade", We Love You leaves you gasping for breath. The searing
first single "From My Cold Dead Hands" is a crash course in everything We Love You delivers.
It's a paean that glorifies guns and the power they wield, and is as much a midnight dance-floor
anthem as it is a personal statement devoid of the tired politics that accompanies the topic of
guns. "I'm not a politician, and I don't expect my politicians to make music," he explains.
"However, people are so afraid to say what's on their mind if it's not PC. I believe in the rights to
have guns, and I believe in personal freedom."
Initially cutting his teeth in the seminal Norwegian hardcore bands My Right Choice and Lash
Out, LaPlegua segued out of that scene into the electronic music world with Icon of Coil.
Originally a solo project, it morphed into a full band with the additions of Sebastian Komor and
Christian Lund. Not only did IOC mark LaPlegua's first major work with electronics and dance
beats, but it also granted him wider exposure beyond Norway; IOC was LaPlegua's first project
to be released in the United States.
It wasn't until 2003 that LaPlegua founded Combichrist - the project that would soon dominate
his time. A departure from IOC's futurepop sound, Combichrist took LaPlegua's hardcore past
and electronica present and merged them into a singular, mechanical music monster. Without
the compromise of the band dynamic, LaPlegua, who does everything in the studio himself on
Combichrist releases, was able to explore whatever musical avenue he desired. What he found
was a long dark road with plenty of twists and turns. The Joy of Gunz, LaPlegua's first release
as Combichrist, was quickly followed by two EP's: 2004's Kiss the Blade and Sex Drogen und
In 2005, LaPlegua was back at it again, releasing the landmark album Everybody Hates You.
Defying the dreaded sophomore slump, the second Combichrist full-length featured two tracks
that would become club classics: "This Shit Will Fuck You Up" and "This Is My Rifle", and was
also the project's U.S. debut on Metropolis Records. Further benchmarks were set with the
release of the 2006 EP Get Your Body Beat, the title track of which landed Combichrist its first
appearance on Billboard's Top 10 Dance Singles chart.
The years that followed brought three more full-length albums — What the Fuck Is Wrong with
You People? (2007), Today We Are All Demons (2009) and Making Monsters (2011) — as well as
a handful of additional EPs. Following the release of Making Monsters, they promoted it loudly
by accompanying German friends Rammstein on a North American stadium tour, expanding
their audience even further. At the tail end of 2012, LePlegua was commissioned to write the
music for the CapCom videogame DMC Devil May Cry, resulting in over 20 tracks, many of which
appeared on the soundtrack album No Redemption. Not really a follow-up to Making Monsters,
yet not really a side project, No Redemption was intentionally harder and more metal than
anything that had been released previously. While it resulted in mixed reactions from fans and
critics, No Redemption managed to topple the adversity and enjoyed a successful run.
Stretching their musical scope even wider, in late 2013 the band performed with a symphony
orchestra in Leipzig as part of the Gothik Meets Klassic Festival. Paying homage to their
history, they completed a series of "old school" shows to remind fans of their illustrious
electronic roots.
With We Love You in queue to usher them into the next chapter, Combichrist is ready to return
to the road with a new live show that showcases all facets of the band. And like all previous
albums and tours, the fans can expect pure and unadulterated Combichrist. "One of my best
friends said it the best, 'listening to this album sums up everything I know about you and
music'," he laughs, "only bigger, more bombastic and even louder!"

Bolt your doors, seal off your windows, and turn off your radio it's a scary world out there, full of mindless zombies and equally mindless rockstars, self-righteously preaching and self-indulgently whining to the herd. But help is on the way, as Wednesday 13 stands ready to shock the rock status quo out of its brain-dead coma. Equal parts artist, horror and TV addict, and riveting frontman, Wednesday 13 refuses to be your typical messiah. I don't like anyone preaching to me that's why I've never gone to church. says Wednesday. For me, music has always been an escape from real life. Whatever problems I had, I could always go home, put on a record and just escape all of that shit. So in my own music, the only thing I'm serious about is not being serious!

Though best known for fronting the Murderdolls, Wednesday is a rock veteran who's been playing in bands since he was 15-years old. He adopted his stage moniker in 1995, naming himself after Wednesday of The Addams Family and the address, 1313 Mockingbird Lane, of The Munsters. A year later he formed his now-deceased horror-core band Frankenstein Drag Queens From Planet 13, named in the spirit of legendary B-movie director Ed Wood. The band put out four independent albums between 1996 and 2001, and played countless local shows. Frankenstein Drag Queens was Wednesday's baby, and he slaved away for his undead offspring - writing the songs, booking shows, working low-wage jobs (delivering everything from newspapers to furniture), and generally putting all his money and energy into the band.

In 2001, the 'Drag Queens independent releases and loyal underground following caught the attention of national artists, as Wednesday was asked by the (since departed) Murderdolls guitarist Tripp Eisen to join the band. Wednesday started in the bass slot, but his talent and showmanship quickly resulted in a move to the lead vocalist position. It was he and band founder Joey Jordison of Slipknot who collaborated on the writing of the band's debut album, Beyond the Valley of the Murderdolls. The Murderdolls quickly built a fiercely devoted following, through repeated world tours (including 30,000-person shows in Japan, opening slots for Iron Maiden throughout Europe, and other choice tours), and worldwide rock press acclaim and album sales followed. As 2003 came to an end, Beyond had earned silver-status in the UK, sold over 100,000 units in the U.S. alone, and garnered accolades including Kerrang!'s Readers Choice Award Best New Band and Album of 2002 and Metal Hammer's Thank God They're Not Good Charlotte award in 2003. Predictably, the success of the Murderdolls resulted in Wednesday disbanding his first band. But since the Frankenstein Drag Queens' demise, it has ironically won a worldwide cult following. Wednesday can't help but laugh: "In the beginning, the 'Drag Queens were inspired by Ed Wood. In the end, the band was like Ed Wood in that he wasn't popular until after he died either.

Murderdolls, meanwhile, was put on hold in 2003 as Jordison returned to the studio and the road with Slipknot. Wednesday returned home, immediately locked himself in his basement, and emerged with over 100 songs written. In June 2004, he began work on his first solo album, playing all but the drums himself. True to form, Wednesday has stitched together a morgue-full of influences horror films, cartoons, punk and heavy metal into a spook-tacular monster-mosh of an album, Transylvania 90210: Songs of Death, Dying and the Dead. Fans of White Zombie, Rob Zombie, AFI, Alkaline Trio the aforementioned 'Dolls, as well as metal, punk, and horror in general will find the record at once refreshing and outrageous. With his sallow complexion and raven dreadlocks, Wednesday may look like a grim goth at first glance, but the singer/guitarist is more a throwback to the days of Alice Cooper and Twisted Sister, when rock music had no more pretentious aspirations than being over-the-top, escapist fun.

The song I Walked with a Zombie, for instance, was inspired by the 1943 horror movie of the same name. It's one of the first movies that dealt with voodoo, the singer/guitarist explains. But I just went in a totally different direction the song is actually kind of a love song about a zombie.

The song Elect Death for President, meanwhile, was inspired by the TV news. I was watching CNN last year, and I was like 'You know, this is scarier than any horror movie,' Wednesday recalls. I'm not a political person, but it doesn't take a genius to realize that there are problems. So I started making up sarcastic lyrics about a campaign where Death was actually running for president. I felt kind of weird afterwards, like Did I just write a political song? Or not?'

The recording now behind him and the bloody, infectious results commited to tape, the singer/guitarist is burning to sink his fangs into the rock world's throat once again. Despite his writing and performing the record himself, Wednesday 13 is a band, which includes Wednesday on vocals/guitar, Ghastly on drums, Kid Kid on bass and Pig on guitar. Once the record was done, the band immediately hit the road, playing a 16-date club tour of the UK/Europe to warm up the new material. The tour was a great success, drawing thousands of fans and affirming Wednesday's ability to connect with fans, whatever the project.

Growing up a little blonde kid in the middle of the Bible Belt (North Carolina, where he still resides), Wednesday escaped at an early age into a world of creature features and rock gods. I'm the perfect example of what television and rock 'n' roll can do to a kid with no plans to be a doctor or fireman, says Wednesday. I still sort of live inside of a television. My songs stem from movies and things I've seen on TV. It seems natural, then, that each track on Transylvania 90210 is an episode in the outrageously shocking mini-series that Wednesday 13 created. Tune In: Wednesday 13's debut album will be your new guilty pleasure.

Night Club is an electronic duo from Los Angeles, CA.

They scored the Comedy Central series "Moonbeam City" as well as the film "Nerdland" starring Paul Rudd & Patton Oswalt.

Their debut LP Requiem For Romance was released in October 2016.

Harsh. Visceral. Unforgiving. The issues that are too taboo to discuss in public are this band's bread and butter. Disarming, unrelenting honesty is the main ingredient in this low-end remedy for whatever ails you. Brewing in the depths of Florida's muck since 2014, the artistic output of Prison has only gathered tenacity and edge with time. With an insatiable aim to bridge the gap between genres, boundaries serve only as walls waiting to be demolished. Above all, Prison is a no-holds-barred, unadulterated barrage of truth that will make your hairs stand on end with each and every line. Alternative metal, nü metal, noise... call it what you may, but at the end of the day, Prison is a beast all its own.

Death Valley High

Fuse distorted guitar riffs over dance-punk beats and you'll have Death Valley High - the mixtape to a doomsday dance party. The band have spent the last 2 years touring in the US and Europe. 2016 will find them touring the US again with Orgy, then hitting the studio to record their fourth full length album. PØSITIVE EUTH out now! Available on CD, MP3, & Limited Edition 12"LP.
"Tapped into a raw energy and honed it into a sweetly sinister sound."

$18.00 - $20.00

Tickets Available at the Door

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