Gas Monkey Live & Texas Frightmare Weekend Present: GORE CORE METAL AND MORE TOUR
GWAR & Hatebreed
Miss May I, Ringworm
10110 Technology Blvd
Dallas, TX, 75220
Doors 6:00 PM / Show 7:00 PM (event ends at 12:00 AM)
This event is all ages
Watch & Listen
The Beserker Blóthar: Lead Howler
Beefcake the Mighty: Bass Guitar, Vocals
Pustulus Maximus: Lead Guitar, Vocals
BälSäc the Jaws ‘o Death: Rhythm Guitar, Vocals JiZMak da Gusha: Drums
Bonesnapper: Bodyguard, Crappy Vocals
Sawborg Destructo: Annoying Nemesis, Annoying Vocals
The Blood of Gods Mythos:
The story of GWAR is carved across the history of this barren and hopeless planet, but GWAR themselves are not of this world... their story begins in the deepest reaches of outer space. Long ago, the beings who would become the rock band GWAR were part of an elite fighting force, the Scumdogs of the Universe. For eons, they served as thralls to a supreme being known only as the Master. But one by one, each future member of the band earned a glaring reputation for being an intergalactic fuck-up. And so, they were banished, sent away on a fool’s errand to conquer an insignificant shitball floating in a dark corner of the universe; the planet Earth. Once here, GWAR shaped the face of the globe, destroying and rebuilding the natural world, and giving rise to all of human history. Aliens to some, gods and demons to others, our erstwhile Scumdogs fucked apes to create the human race, and this fateful unplanned pregnancy would prove to be truly disastrous!
Their new album, “The Blood of Gods” is nothing less than a sacred text chronicling the rise of humanity against their makers, and the massive battle between GWAR and the forces of all that is uptight and wrong with the world. Along the way, the band challenges the sins of their great mistake, from politics, pollution, and organized religion, to fast food, and factory farming. Humans are shown as what they are; a parasitical disease that must be eradicated before they suck the planet dry. Born of adversity, “The Blood of Gods” is a sonic scar...a question asked and answered...Death cannot kill GWAR. Nothing can. GWAR LIVES MOTHERFUCKERS!
An institution can be relied on. Its foundations don’t shake due to the winds of change or tides of trends—no matter how volatile, omnipresent, or tenuous.
With steadfast determination, drive, and dedication, Hatebreed cement themselves as one of heavy music’s strongest institutions on their seventh full-length offering and very first for Nuclear Blast worldwide, 2016’s The Concrete Confessional. Since 1994, the Connecticut quintet—Jamey Jasta [vocals], Chris Beattie [bass], Wayne Lozinak [guitar], Frank Novinec [guitar], and Matthew Byrne [drums]—has risen to the ranks of hardcore and heavy metal elite with a GRAMMY® Award nomination, main stage slots on festivals, and countless fans worldwide. 2013’s The Divinity Of Purpose earned their highest entry on the Billboard Top 200, bowing at #17 with impressive first-week sales in excess of 17,000. When it came time to return to the studio after two years on the road, Jasta and his cohorts clung to the bedrock on which their legacy stands firm.
“There’s nothing better than loud amps in the face, cranked up riffs that hit you right in the chest and lyrics that spark a new thought and give you a charge,” he declares. “That’s our musical DNA. We could just be who we are. We don’t need to incorporate whatever the trend is. We can just be Hatebreed. There are some new highlights to the game, but you know it’s us.”
The Divinity Of Purpose brought them to new areas of the globe as the headlined festivals in the UK, Finland, Norway, Germany, and Eastern Europe and landed a slot on Ozzfest Japan. They would perform at Poland’s Woodstock in front of 400,000 people. Stateside, the band supported longtime friends Black Label Society in the winter of 2015 and then got the opportunity to be direct support to Slipknot on a Spring 2015 run in between festival appearances at Rock On The Range, Welcome To Rockville, and more as well as Motörhead's Motörboat with Slayer and Motörhead.
“Riding into this album, I realized we could play with bands of every genre nearly anywhere without deviating from who we are,” continues Jasta. “The Motörboat was another real career highlight. We played this exclusive event with some of our chief influences. We got to literally chart new territory.”
Returning home in the Fall of 2015, they entered the studio with longtime producer Zeuss [Rob Zombie, Soulfly]. Immediately, they channeled the spirit that’s long defined their signature sound. By January, the record was mixed by Josh Wilbur [Megadeth, Lamb Of God] and primed for ignition.
“We had a really good vibe in the studio,” he says. “The record is a snapshot of this time for us.”
It also reflects what’s going on outside. The opening track and first single “A.D.” fuses together torrential thrashed-out guitars, double bass drums, and Jasta’s immortal growl before an incendiary lead. The singer dissects what the American Dream means in a climate of upheaval. “Fight fire with fire, you’ll see everyone’s burning,” he screams. Think of it as “Vote With A Bullet” or “Holy Wars…The Punishment Due” for the Instagram age.
“It’s a mirror of both sides of the story whether it’s what you believe in the media or what you actually see,” he explains. “Musically, it came together quickly. It’s about all of the frustrated feelings that come out when I turn on the news. So much of our attention is focused on the wrong areas. People want to one-up each other with better clothes and cars, and it’s all bullshit. Nobody goes to the grave with any of that stuff. It’s not all instant gratification. What exists on the phone and computer isn’t what exists in real life. What is the American Dream anymore?”
The machine gun chug of “Looking Down The Barrel Of Today” proves equally uplifting and undeniable. “I wanted something to get crowds pumped up,” he admits. “So many fans will tell us, ‘Your records help me get through my life.’ I needed to encourage this cyclical power to get up and face the day. You either make the best of today, or you’re done in by it.”
“Something’s Off” carries an ominously lyrical bass line into a guttural chant, showcasing Jasta’s chilling vocal dynamics in the process. “I’ve written songs about depression, alcoholism, and falling back into destructive patterns,” he says. “However, I never felt like I could really put my finger on what anxiety is. It’s not just social anxiety but this unexplained feeling of unease, like I’m in a fog. I’ve felt it occasionally since I was in grade school. You can’t control when it happens. Heavy music has kept that beast at bay—in addition to exercise and experiences with my family. I had to confront it directly in the lyrics here.”
Elsewhere, “Remember When” and “Slaughtered In Their Dreams” juxtapose visceral lyricism with a searing sonic backdrop as chaotic as it is catchy. Through and through, The Concrete Confessional is classic Hatebreed.
In order to transfer this message to the masses, the band inked a global deal with Nuclear Blast. “They’re world-renowned mainstays in the metal community,” he smiles. “We get to be in the company of career bands we look up to.”
Hatebreed have come a long way from the East Coast’s storied nineties underground scene. Their journey has seen them achieve a 2005 GRAMMY® Award nod in the category of “Best Metal Performance” for “Live For This,” sell over 1.2 million records, and land a #1 debut on Billboard’s DVD Chart with 2009’s Live Dominance. Moreover, they’ve annihilated audiences from Mayhem Fest to OZZfest Japan and Download Festival to Wacken, Hellfest, and beyond.
Now, The Concrete Confessional fits right into the bold, bloody, and beating heart of the Hatebreed institution.
“The title had to be something that was heavy and hard, but also vulnerable and honest,” Jasta leaves off. “Heavy music is this cleansing, therapeutic, and cathartic experience for so many. You’re there, the guitars are crushing you, and someone’s screaming their head off—sharing their pain and aspects of their life through words, poetry, or songs. There’s nothing like it. You confess you have negative thoughts, and you purge them. For however long you’re at the show, there are no bills to pay, issues to deal with, or problems holding you back. You can be free.”
Miss May I
Levi Benton – Vocals
Ryan Neff – Bass/Vocals
BJ Stead – Gutiar
Justin Aufdemkampe – Guitar
Jerod Boyd – Drums
The sound and fury of MISS MAY I is deeply embedded in the hearts and minds of a legion of fans. These are people from different backgrounds, of different ages, with diverse life experience, who all come together and connect with MISS MAY I’s combination of brutal proficiency and impassioned delivery. The five-piece powerhouse, from the fertile metalcore grounds of America’s heartland, have become an integral part of the worldwide heavy music community, transcending boundaries and limitations, galvanizing crowds, and energizing each person they encounter.
Not only have the young Warped Tour and Rockstar Mayhem veterans proven to be one of the most exciting bands in the genre, they’ve managed the near-impossible task of maintaining their original lineup along the way.
These are the same guys who formed Miss May I as teenagers in 2007 – inspired by New Wave Of American Metalcore heroes like Lamb Of God, Underoath, and Bleeding Through, as well as hard rock and metal legends like Pantera and White Zombie – now grown men. And in the eight-year span between studio albums from Metallica, Miss May I cranked out five slabs of metal: Apologies Are for the Weak (2009), Monument (2010), At Heart (2012), Rise of the Lion (2014), and Deathless (2015). All three of their most recent albums debuted in the Top 5 on Billboard’s Hard Music chart.
The band’s brand new album, Shadows Inside, doubles as monster riff-fest and forcefully vocal driven statement shaped by changes both within and without. Make no mistake this isn’t an about-face album full of contrived sentiment or glossy emptiness. It’s a record where the band challenged each other to work from outside of their comfort zone, to really hone in on what makes Miss May I vital, and deliver something fully authentic and raw.
On the road with friends and peers like August Burns Red, Parkway Drive, Blessthefall, Memphis May Fire, We Came As Romans, and Whitechapel, Miss May I bring devastating fury onstage and good natured charm offstage. They’ve held their own as support for rock radio hitmakers Five Finger Death Punch and as headliners on the Alternative Press Tour. This is a band with diverse appeal; they fine-tune their punishing metallic assault with an almost “pop” sensibility when it comes to catchy memorability.
The official music videos for Miss May I singles including “Deathless,” “Echoes,” “Relentless Chaos,” “Forgive and Forget,” “Hey Mister,” “Masses of a Dying Breed,” and “Day By Day” account for roughly 50 million views on YouTube, to say nothing of the fan made videos, live clips, cover versions, and audio streams. Those same anthems have been played millions of times more across streaming services and social media, embedded in the musical DNA of a generation of contemporaries and fans.
Early on, vocalist Levi Benton, bassist/vocalist Ryan Neff, guitarists BJ Stead and Justin Aufdemkampe, drummer Jerod Boyd and made two albums with scene kingmaker Joey Sturgis, positioning themselves among titans of the burgeoning modern metalcore genre like Of Mice & Men and their fellow Ohio natives in The Devil Wears Prada. At Heart, made with producer Machine (Lamb Of God, Eighteen Visions) was something of a graduation, demonstrated by the massive sound of immediate anthem “Hey Mister,” an AltPress cover feature, and main stage validation on the Vans Warped Tour.
The slickly savage Rise of the Lion, made with legendary producer Terry Date (Pantera, Deftones, Limp Bizkit), was ample evidence that Miss May I could hang with the big dogs. The band championed the circle pits and sleeveless denim they grew up seeing at Ozzfest, inspired by groups that had assembled in the DIY scene, like them, and went on to climb the heights of the metal mountains. The defiant mission statement that was Deathless followed, reuniting them with Sturgis in the throes of behind-the-scenes hardshipa that saw the band nearly dissolve, but ultimately triumph.
Nick Sampson (Asking Alexandria, Born Of Osiris, In Fear and Faith), who worked alongside Sturgis on Deathless, took the reigns of the instrumental section of Miss May I’s new album with the instrumental members in the Midwest. Benton collaborated with producer Drew Fulk (Motionless In White, Emmure, Crown The Empire), who brought out the best vocal performances of the young singer’s career thus far. Working in California, the pair was able to communicate ideas to the band back in their Michigan studio, where they’d reshape and refine the songs, until they were perfect.
This process, unlike anything Miss May I had attempted before, resulted in their most fully realized album yet. Mixed by Andrew Wade (A Day To Remember, The Word Alive, Neck Deep), the band’s first record for SharpTone is truly the best of everything before, with new ambition and confidence. Shadows Inside is a monster of an album and a longtime coming.
Miss May I celebrates a decade of savage metalcore and soaring melodic refrains, newly revitalized, and poised for an insurgent career renaissance; armed with unmistakable power, road hardened experience, a steadily building catalog, and unrelenting spirit, supported by a diehard community.
Ever since emerging from the Cleveland metal underground, RINGWORM has garnered the immediate attention of hardcore and metal fans. RINGWORM displays an awesome ferocity in the power of its instruments, and vocalist The Human Furnace uses his voice as a tool to extract the diabolical nature of anyone who hears it. The band has toured with dozens of prominent metal and hardcore acts over the years, ranging from Hatebreed and Converge to Goatwhore, Napalm Death, Voivod, and Eyehategod.
RINGWORM was spawned in 1991 from the metal scene in Cleveland, Ohio. In 1993, the band released The Promise (Incision Records), finding their place amongst other hardcore metal heavyweights such as Integrity and Earth Crisis. However, despite this early success, RINGWORM decided to pursue personal ventures: the Human Furnace concentrated his focus on tattooing and his artwork, while other members joined up with hardcore legends Integrity. Nearly 10 years later, 2001 saw RINGWORM emerge from their hiatus with their critically-acclaimed Victory Records debut Birth Is Pain. Extensive touring followed. The band continued on a steadily upward trajectory, honing its craft and releasing the well-received albums Justice Replaced By Revenge (2005), The Venomous Grand Design, (2007), and Scars (2011) via Victory over the course of the next decade.
In 2013, RINGWORM signed to renowned independent label Relapse Records and released yet another testament to their sheer brutality. 2014’s Hammer Of The Witch helped elevate the band far beyond underground circles, cementing RINGWORM‘s reputation as a hardcore / metal heavyweight and garnering praise from by a wide range of publications worldwide including Pitchfork, MetalSucks, and Revolver.
2016 is poised to be a breakout year for RINGWORM with the impending release of the band’s eighth full-length, Snake Church, a 12-track, 30+ minute testament of vicious aggression. After having converted metalheads and hardcore fans alike with their intense, no-holds-barred live shows and consistently punishing albums over the course of the last 25+ years, RINGWORM once again prove that they are in a league of their own when it comes to face-breaking sonic fury. Recorded and produced by Ben Schigel (Chimaira, ZAO) at Spider Studios and mastered by Brad Boatright at Audiosiege (Nails, Xibalba, Black Breath), Snake Church obliterates the listener and never relents, leaving nothing but bile and bone in its wake.
$25.00 - $600.00
Blabbermouth Pre Sale: 7/18-7/19 from 10AM-10PM using code GHBBM
LIMITED $10 Venue Pre Sale: 7/19 from 10AM-10PM using code GORECORE
$25 Advance/ $30 Day of Show/ $45 Premier Red Room/ $200 Premier Tables/ $600 Premier Cabanas