SICKFUKNROSS PRODUCTIONS PRESENTS
Fear Factory (TICKETS ARE AVAILABLE AT THE DOOR GUARANTEED)
Hate Eternal, Kobra and the Lotus, Burning Fair Verona, AFTER DEATH, Guverra
1450 Skipper Road
Tampa, FL, 33613
Doors 6:00 PM / Show 7:00 PM
This event is all ages
Fear Factory (TICKETS ARE AVAILABLE AT THE DOOR GUARANTEED)
With those words begins The Industrialist, a new chapter in Fear Factory's career of ideas and extremes. The follow-up to 2010's critically acclaimed Mechanize, The Industrialist is a vital chapter
in the history of one of the most over-achieving bands in heavy music. It's the Fear Factory machine
at its most confident and passionate, bringing every sonic weapon in its arsenal to the fore.
The shadow of the Los Angeles born band has loomed large, writing the book of industrial metal that has gone on to influence the likes of Rammstein and inform such stalwart noisemongers as Ministry. Fear Factory also merged the idea of melodic vocals erupting from death metal screaming long before it became modern metal's de-riguer. Over the course of a many storied career that's seen the success of five critically acclaimed albums plus a remix ep and album, Fear Factory has had a career of creative and commercial success, selling over three million records worldwide: they've also been plagued by bitter infighting and have emerged from it all in 2012 with a new alloy of aggression.
A NEW NEXUS.
Mechanize exorcised the demons that came with guitarist Dino Cazares and Burton C. Bell's
reunion after an eight year split that saw Fear Factory recording and performing without Cazares. Those wounds healed, The Industrialist revisits and refines the sweeping melodies and unforgettable songwriting that's also long distinguished Fear Factory.
"There's definitely been an evolution from that record to this one," states Bell. "It's still familiar very familiar and still very Fear Factory but there are elements that we didn't really get to on the last
record for the sake of metal."
Of course, Fear Factory aren't about to lighten up as "Recharger" ignites the album with the same trademark ferocity as Fear Factory classics like "Edgecrusher" or "Replica". Dino's industrial-tinged riffing is all discipline, noise and fury while Burton's trademark vocals bleed with desperation before exploding into enormous melodies. As the frontman screams "The future begins now!" at the top
of "New Messiah," there's no mistaking just who is behind the ten-track apocalypse that is The Industrialist.
"This one is more Fear Factory than anything we've done in years," says Dino. "Collaborating with Burt again was easy, it was like magic. It felt like we were back in our apartment with seven roommates trying to write songs with a drum machine."
Fear Factory's musical and lyrical vision of Future Shock is the beating machine heart of
The Industrialist. While the "story" behind the album is better spelt out in a companion booklet
that comes with a special edition of album, there is a very obvious storyline rooted both in forward thinking science fiction but also in contemporary events including the Occupy Wall Street and Anonymous Movements. "There is a main character who is called 'The Industrialist'," states Burton, referring to the character at the heart of songs like "God Eater: or ""Virus of Faith". "He's a machine that has become self-aware and becomes a catalyst for change. The album has the loose concept
of a murder plot, with the realization that the automaton is becoming more human each day. The
last track on the album "Human Augmentation" is moment where machine becomes human and realizes its own humanity. That's a thought that's very key to the Fear Factory universe."
DEUS EX MACHINA.
The Industrialist found Fear Factory in the studio with longtime co-producer and collaborator Rhys Fulber as well as Logan Mader who did additional tracking and digital editing. The process of writing and recording the album was hardly traditional. It was about as intense as it could be with Cazares and Bell constructing The Industrialist in the studio. "Everything that we recorded is fresh and exciting," says Burton. "We didn't demo anything before we recorded it. You can hear the life and the creativity that went into the making of this record as it was being laid down."
Dino is quick to compare The Industrialist to the band's longstanding 1995 classic Demanufacture. "Demanufacture took what we had done before and broke all that down to create something new," says Dino of the album that combined the mechanized Death Metal of Fear Factory's 1993 debut Soul of a New Machine and its then-untraditional follow-up Fear is the Mind Killer, an album of remixes. "We had some of the same intentions on the new record. Break it all down and build it all back up," says Cazares. "It's noisier. It has more Industrial influences. It's more Fear Factory and it just poured out of us."
Cazares and Bell aren't merely proud of the art they've made and continue to create but they also realize the impact Fear Factory has had on multiple generations of metal, industrial, and aggressive music. "We definitely pioneered the combination between melodic and brutal vocals," states Dino. "Syncopated guitar and kick-drum patterns. We were even the first death-grind-industrial band to have remix records!" It is staggering to think that today's Dubstep Metallers to progressive-minded
"D-Jent" bands owe a debt to Fear Factory. "People don't even know where some of these ideas originally came from!" enthuses the guitarist.
THE AGE OF THE INDUSTRIALIST.
Where several side-bands and offshoots have emerged from the Fear Factory fold: Dino's tungsten-timbered metal machine Divine Heresy and Burton's more cerebral Ascension of the Watchers, Fear Factory is the focus. Without exception or reservation. "Being in Fear Factory is survival for me," says the frontman. "It's what still matters most to us."
When the band hits stages worldwide in 2012, it will be some of Fear Factory's most anticipated and charged shows to date. The age of The Industrialist has begun.
As time passed, the chance of a reunion between Bell and Cazares seemed less and less likely. Then in April 2008, a full six years after they had last spoken, Bell, then touring with Ministry, ran into Cazares at the band's Los Angeles show and reopened the lines of communication. "I just said 'hey, how you doing?' and it started from there," Bell says. Not long thereafter Bell and Cazares were jamming again. With bassist Byron Stroud and drummer Gene Hoglan (Dethklok, Strapping Young Lad), Fear Factory was back and ready for action.
To challenge the perceived limitations and forge new boundaries is a goal aimed at by many yet reached by a select few. Guitarist Erik Rutan has crafted an impressive career by attaining that goal consistently for well over a decade with his legendary work in Ripping Corpse and Morbid Angel. 1999 brings forth the Wicked World debut of Rutan's newest assemblage of death metal unstoppability, HATE ETERNAL.
HATE ETERNAL was borne from Rutan's on-going quest to push the envelope of uncompromising hate. Having spent the majority of his career solely as a guitarist, he felt the strong desire to step up to the mic with his brutal vocals and mobilize an outfit that would truly represent his own ideas. The goal was to create a massive force of devastating death metal with a lineup that was untouchable. Filling the drum slot would prove challenging as the material seemed to demand an eight-armed demon. After trying out a few mere mortals, Tim Yeung entered the picture. Having studied the masters like Sandoval and Hoglan while adding his own unique qualities to his art, his utterly relentless attack proved to be a mandatory ingredient. Yeung is poised to take his place as one of the premier death metal drummers. The addition of Doug Cerrito (ex-Suffocation), one of the most respected guitarists in death metal, added yet another strong dimension to the band and the final addition of Jared Anderson's punishing bass attack and co-vocal sickness cemented the roster.
With undeniable aggression, premier musicianship and Erik and Jared's vicious lyrical firestorm, Conquering The Throne is the high-water mark for death metal in 1999. Musically, the album is on all-out precision assault, done so with all of the flair and expertise one would expect from such an impressive assembly. To accompany the assault, Rutan's lyrical stance derives influence from a variety of sources: ancient philosophies and scriptures, ongoing personal beliefs, ominous futuristic prophesies and other hateful visions. The combination is undeniable. Rutan and company have succeeded in creating an album of sheer death metal mastery, a supreme force thrust upon the world to be reckoned with forevermore. Be prepared, for the devastation is about to begin!
Kobra and the Lotus
WITH METAL now divided into countless sub-genres, it’s refreshing to find an act who require no prefix before the music that they play.
KOBRA AND THE LOTUS are the act in question, and the music they play is metal.
Not ‘this’ metal, or ‘that’ metal… just metal. Pure an’ simple.
This is music played without compromise or apology – fuelled by the finest traditions of the genre, by the great names who have gone before, but with a keen eye on the future and the raw edge of youth to keep the pot boiling over.
HAILING FROM Canada and fronted by powerhouse vocalist KOBRA PAIGE, also the band’s founding force, the defining factor here is a commitment to engage, entertain & excite, spear-headed by a live show that is crying out to be heard through larger amps in bigger venues…
"Kobra And The Lotus are the fire-breathing, female-fronted heavy metal bombshell. Classic, Priest-loving riffs. Powerhouse drummer. Singer who can belt the Halfordian high-notes ... these Canadian head-bangers can't return soon enough for us" – Classic Rock Magazine
OF COURSE, capturing the adrenaline-rush of a live show on record is never a straight-ahead task, but with Kevin Churko (Five Finger Death Punch, Ozzy) acting as producer, along with Julius 'Juice' Butty, the band’s debut album has been put to tape with as much energy & emotion as five musicians can muster in a secured environment, with no unnecessary gimmicks or off-point ideas to weaken the signal.
Scheduled for release in August 2012, with video track ‘Welcome To My Funeral’ already out there making its mark, it’s clear that this band is now honed to a fine and dangerous point….
“Touring had a huge influence on us in terms of realizing which direction we wanted the new songs to go in,” says Kobra. “We really wanted to take the live show and capture the spirit of that as best we could. It’s all about the power and the glory, after all!”
KOBRA AND THE LOTUS. A new name, a new band, but one built to last… and to stimulate all of the senses along the way.
Burning Fair Verona
"In fair Verona, where we lay our scene..."
...so begins the prologue of a famous William Shakespeare play. This line can also be used to explain the history and mission of Burning Fair Verona, a Tampa Bay-based melodic deathcore band that is rising from the ashes of a once-thriving extreme music scene, and whose own prologue took place in 2009.
Over the course of two years, Burning Fair Verona have established themselves as a force in the Tampa Bay metal scene, constantly evolving their sound, lineup and live presentation. The quintet unapologetically ignore the trends popularized by the image-obsessed "scene" bands, merging ethereal melodies with epic metal riffs and devastating, razor-sharp breakdowns. This approach has earned the band a dedicated fanbase that is inspired not only by the power of the music, but the honesty with which it is forged. With a list of influences that span two decades and the sub-genres of groove, thrash, melodeath, djent and metalcore, there is virtually no territory on metal's vast sonic landscape that BFV is afraid to explore. The varied roster of acts that the group has shared the stage with, and their debut EP, DYNASTY, are testaments to their versatility.
Although proud of their latest release, the group's members are already writing new material that will once again further their musical vision. BFV's path for the future has been set: to continue exhilarating their fans with crushing live sets, to bring their music beyond Tampa Bay to the masses, and to be one of the new hopes in a decayed scene.
After Death’s history dates back to the middle of 1999 when Mike Browning (vocals, drums), Richard Bateman (bass) and Gino Marino (guitar) - all of the first original line-up of Nocturnus in 1987, reformed as Nocturnus A.D. with Mike Walkowski on guitar, replacing the only other original member from 1987 Vincent Crowley (Acheron).
The name was changed to After Death in 2000 so it would not be associated with Nocturnus.
After Death recorded 3 demos in between 2003-2006 (“Consumed by Fire”, “Reviving the Gods” and “Secret Lords of the Star Chamber Below”) that also conveyed occult teachings to the public via musick they did during those days.
In 2008 After Death was brought to an European tour, performing Mike’s ex-band Nocturnus’ songs off from the band’s classic “The Key” album – as well as a couple of Morbid Angel’s songs that Mike co-wrote with Trey Azagthoth for Morbid Angel’s “Abominations of Desolation” album. Around at the same time German Iron Pegasus Records released a compilation of After Death’s 3 demos along with the band’s unreleased “Vibrations” EP, both as vinyl and CD formats.
In 2009, after a few more line-up changes, After Death established its line-up to a 5-piece band - this new line-up of After Death containing of experienced musicians who have previously played in such known bands as Obituary, Brutality, Incantation and many others. Soon a 4-track demo was recorded for promotional purposes only, which also caught an immediate attention of Chilean label Proselytism that wanted to put out the same demo remastered as a split CD (in addition of a new After Death song called “Dwellers of the Deep”) together with Chilean Death Metal act Unaussprechlichen Kulten, on a luxury digipack double CD.
Currently After Death have been working with a Venom cover song, “At War with Satan” for a Venom tribute that will later be released on German Iron Pegasus Records. The song is a really ambitious work from the guys, truly showing in such a great way that only a few bands are up for such challenges nowadays as After Death are. This is the first time ever when this epic Venom song was covered – and After Death used this extraordinary opportunity more than well.
Guverra is a Central Florida metal band founded in October 2009. Fast forward three years later, and with a definitive line up, Guverra begins to tear through venues all over Florida. Starting with the Haven Lounge in Winter Park, as well as Bombshell’s Tavern in Orlando, The Brass Mug in Tampa, The Speakeasy Lounge in Lake Worth, Odin’s Den in Winter Park, Club Firestone in Orlando, and even the Miami Airport Convention Center to play Supercon 2013, they are bringing their blend of modern and old school Thrash and Death metal to venues across the death metal state.
Producing their first studio recording of the song “False Prophet” in February 2013, which would be followed by a live music video in May 2013, they began their year playing shows with some of the best local bands out there. Sharing the stage with bands like Meka Nism, (N)ception, Murderfly, Wirethrone, Zergoth, Machine Gun Funk, Almost Winter, as well as opening for national acts like Fear Factory, Hate Eternal, Kobra and the Lotus, and Green Jello.
In August 2013, they would make their studio recording of “Junkie”, which would have a studio video with it, and begin another trek around Central Florida.