Come and Take It Productions presents
THE SUMMER SLAUGHTER TOUR 2013
Dillinger Escape Plan, Animals As Leaders, Periphery, Norma Jean, Cattle Decapitation, The Ocean, Revocation, Aeon, Rings of Saturn, Thy Art Is Murder, Sibylline Prophecy
1308 E, 4th Street
Austin, TX, 78702
Doors 3:00 PM / Show 3:20 PM
This event is all ages
Watch & Listen
Dillinger Escape Plan
"The Dillinger Escape Plan is a band from Morris Plains, New Jersey. The band performs a fast-tempo, technically proficient style of heavy music popularly known as mathcore. The band recorded their second EP with Relapse Records in 1998 entitled Under The Running Board. A year later, this was followed with the album Calculating Infinity, which was met with great acclaim from both underground and mainstream press. The band were renowned in the hardcore scene for the intensity of their performances, which have at times incorporated extensive light shows, fireworks, fire breathing, and other special effects.
While the band's lineup has changed over the years, in part due to a variety of injuries. Guitarist Ben Weinman and former drummer Chris Pennie have been present in many of the lineups. After the departure of vocalist Dimitri Minakakis in 2000, the band held a nationwide search and selected Greg Puciato as the new singer. The band has since released three full length albums with Puciato on vocals: 2004's Miss Machine, 2007's Ire Works and 2010's Option Paralysis." - last.fm
Animals As Leaders
When Tosin Abasi released his debut solo album under the moniker ANIMALS AS LEADERS in 2009, few would have predicted the band's meteoric rise over the next two years. Although Abasi earned acclaim as the lead guitarist in the Washington, D.C.-based metalcore act Reflux, it was still a long-shot that an instrumental album of progressive metal with jazz, electronic and ambient flourishes would develop anything more than a cult following.
Fast-forward two-plus years to "Weightless," the group's sophomore effort, and ANIMALS AS LEADERS is revered worldwide as a trailblazing pioneer of modern heavy music. The group's genre-defying compositions have earned extensive praise — Steve Vai called the band "the future of creative, heavy virtuoso guitar playing," and MetalSucks recently ranked Abasi #2 on their list of modern metal's top guitarists — and the diversity of their music has enabled them to tour with a wide variety of acts, including Deftones, Underoath, Circa Survive, BTBAM, The Dillinger Escape Plan, The Faceless, Thursday, Dredg and, on the 2010 Summer Slaughter tour, even Decapitated.
Whereas the group's self-titled debut was a collaboration between Abasi and Periphery's Misha Mansoor, "Weightless" features the recording debut of ANIMALS AS LEADERS, the true band — that is, Abasi (guitars), Javier Reyes (guitars) and Navene Koperweis (drums). After nearly two years of touring together, the trio wrote and recorded "Weightless" together in mid-2011, with Koperweis producing and Reyes mixing. The group debuted a new track, "Isolated Incidents," during their inaugural headlining tour this summer, which included sellout shows from coast-to-coast — a sign that as quickly as ANIMALS AS LEADERS have risen, the best is yet to come.
Hailing from Washington DC, Periphery is one of the freshest progressive metal acts on the scene today. With their signature blend of polymetric grooves and soaring melodies, the band continues to push the envelope of modern metal music. The Band released their first full length album 'Periphery' on April 20th in 2010. It debuted at #128 on the Billboard Top 200, as well as #2 on the Billboard Heatseekers chart.
Periphery formed in 2005 and currently consists of Misha 'Bulb' Mansoor, Jake Bowen and Mark Holcomb on guitars, Matt Halpern on drums, and Spencer Sotelo on vocals. Since its inception, the band has been relentless its effort to have their music be heard. Allowing free access to almost their entire catalog, including over one hundred and thirty download-able songs, this self produced band is seeking to redefine the way music is experienced.
Periphery has toured extensively since 2008, supporting artists including DevilDriver, Emmure, Veil of Maya, Animals as Leaders, God Forbid, The Dillinger Escape Plan, A Life Once Lost, This Time Its War, Tony Danza Tap Dance Extravaganza, Fear Factory, Darkest Hour, Fair To Midland, The Human Abstract, Textures, The Contortionist and Stray From The Path. The band's first European headline tour in early 2011 titled 'The League of Extraordinary Djentlemen' with TesseracT, Monuments and The Safety Fire was a huge success. They released their 'Icarus EP' on April 19th, 2011. Make sure to catch them on their current European tour supporting prog-metal legend Dream Theater!
With their fifth full length studio disc and first for Razor & Tie, Atlanta's post-hardcore giants Norma Jean have delivered what many will come to regard as the heavy music album of 2010. Building on the sonic bedlam that has already earned the group an ever-swelling and tremendously loyal global following, Meridional is the aggressive, artful follow up to 2008's widely acclaimed studio effort The Anti Mother.
Launched by the walloping opening track and advance digital single "Leaderless and Self-Enlisted," Meridional isn't your typical blasting material. It's a seamless song cycle – and a loose acknowledgement of the heralded quintet's Southern roots – that incorporates an array of dramatic, melodic and experimental surprises.
If the ferocity, velocity and weaving melody that steers that aforementioned leading number incites and inspires, it's perhaps the ideal representation of what Norma Jean has become known for – unrelenting, innovative and exceptionally good songs. When pressed to explain how the band keeps managing to up its game with each successive studio effort, longtime lead vocalist and guitarist Cory Brandan modestly addresses the peerless end product that is Meridional.
"We have all become very comfortable as a team of writers and musicians," Brandan explains. "More and more as we continue to create we become less of a band and more of an artistic collaborative."
"We started to write this one well over a year ago, which really gave us time to sit with certain songs and ideas," adds drummer Chris Raines. "We really took our time and so much was able to happen. Songs got better, relationships got better, ideas came faster – it really went great."
That creative preparedness was essential in rendering what can only be regarded Norma Jean's most diverse and cohesive disc yet. From the sinister, percussion-driven standout "Deathbed Athiest" – which highlights Raines' pummeling wares – to the amazing, alluring hard rock anthem "Falling From The Sky: Day Seven" Meridional reflects Norma Jean at its most accomplished and adventurous.
"We wanted to make something different, but something that really flowed together," Raines says. "We didn't want to have our record sound like 10 different bands."
Although "Falling From The Sky" and the stirring, memorable bruiser "High Noise Low Output" build slightly on the melodic touches first surfaced on The Anti Mother, these Ozzfest and Warped Tour vets are by no means pondering a radical reinvention.
"We all like different kinds of music and that is always going to come through," Cory explains. "Besides they're hardly what I would call hits – that wasn't the intention – but they are songs that we feel are very important to keeping the record from being boring and monotonous."
On Meridional Norma Jean also sidestepped the same-old, same-old by opting to work with producer Jeremy Griffith (a veteran of records by Saosin and The Cartel) after two acclaimed discs (2006's Redeemer and 2008's The Anti Mother) with esteemed metal guru Ross Robinson. At Raines' suggestion – he has known Jeremy for a number of years – the band and the rising producer tested the waters on a demo of the song "Kill More Presidents."
Although that track was ultimately left off the album, the drummer says, "We loved the way Jeremy worked and the sounds that he got. He is really picky about who he works with and I really liked that about him. He totally gets the idea of a "dark" record and he helped us accomplish that."
"He's a really laid back guy," Brandan interjects. "He jumped right into our vibe of writing and recording." In fact, Griffith – an accomplished singer who also added backing vocals to Meridional – brought a number of unique ideas to the table. Jeremy challenged Cory, Scottie Henry and Chris Day track their guitar parts before Jake Schultz did his bass parts in the studio – an unconventional idea that paid huge dividends.
"It made it a lot easier to change notes during tracking without having to follow what was already tracked by bass," Cory says of the fresh method. "It worked really well and it left the record open to lots of different perspectives as we tracked."
Such innovations elevate Meridional to a new level in post-hardcore. Balancing the haunting interlude of "Septentrional" against the brutal, careening mayhem of "Blood Burner" the band offers an unexpected break from the intensity, setting a distinct mood on Meridional that is rarely achieved in the genre. "There are a few instances like that on the record and we tried to keep them separated to keep a certain flow going," Cory says. "Those tracks have something very special about them that will be a fun discovery for fans."
On the ferocious and unforgettable anthem "The People That Surround You On A Regular Basis," Norma Jean asserts it can craft music that is equally infectious and maniacal. Another highlight is "Anthem of the Angry Brides." With its frantic guitar noodling, skull thrashing rhythms and bark psychosis vocal delivery, the band knew it had a keeper. "We basically just wanted the song to be ridiculous the entire way through," Cory says. "It was a fun song to write."
If its predecessor was a bona fide concept record, Meridional takes a less stringent stance. Teaming with provocative, renowned Starving Eyes artist Jason Oda – who nailed the layout for Meridional – Norma Jean aspired to integrate the theme of the record. Although this time out, the band is hesitant to disclose the premise of the project, which developed during the course of writing and recording.
"We really can't wait for our fans to get the record and see the artwork that goes with the theme and the title and interpret it on their own," Cory explains. "Any concept is usually applied rather than calculated. We feel like it all comes down to the listener. Just as one person may interpret a painting differently than another person, we like that our fans may get something different than what we originally intended."
As for its creative expansion, Norma Jean – who will head out this summer on the Rockstar Energy Drink Mayhem Festival with Korn, Rob Zombie, Lamb of God and Atreyu – continues to dig deeper and go further, a practice which first started with 2005's O God, The Aftermath. But if Meridional sounds like a game changer in the metalcore realm, it didn't come without concern for its audience.
"With this record we asked ourselves 'What can we give?'" says Cory. "We just wanted to give something back to our older fans that have stuck with us through the years. But we didn't repeat ourselves."
When it came time for the members of Norma Jean to hear the final, completed sequence of Meridional, Raines says the band was elated. "Honestly, we felt proud," the drummer says. "Proud of this band and everything we have gone through in the last few years. We really did what we wanted to do and it showed."
"It's a very different Norma Jean on this record," Brandan decrees. "We definitely kept it heavy, but it's a new kind of "Norma Jean" heavy."
Compromise is not a concept Cattle Decapitation are willing to entertain. Ever. Over the course of nineteen years and six full-lengths the San Diego quartet have more than proven this, defining themselves as one of the most vital, brutal, and relentless forces in extreme music, and with The Anthropocene Extinction they have delivered a volatile, apocalyptic beast that is as hideous as it is compelling. "I feel that something rare happens with our band in that we get better and better with each release rather than going in the opposite direction, which happens to a lot of bands," states vocalist Travis Ryan. "As we get older we feel we have less and less to lose, which is freeing, and we really want to go as far out on a limb as we can without losing the extremity that has always driven us."
With 2012's Monolith Of Inhumanity Ryan, guitarist Josh Elmore, bassist Derek Engemann and drummer Dave McGraw delivered a sledgehammer blow, maintaining their position at the most violent end of the death metal spectrum yet expanding their sound, allowing a little more melody in without losing any of their intensity. As always tied together by a central concept, Ryan's bleak lyrics bluntly illustrated the fate of the human race if allowed to continue pillaging and destroying the planet. With The Anthropocene Extinction he extrapolates on this subject, looking back at the world in the aftermath of such ecological and environmental devastation, with its focus largely centered on the Pacific Ocean. "The Anthropocene Era is the era that humankind has inhabited, and it encompasses all of the ages that have come and gone during that period, and the record focuses on how we have managed to bring that era to an end. As our technology has advanced we have degraded the Earth. When you look to the oceans the footprint we have left comes in the form of all the junk and plastic that has made it out there because we let that happen, and the effect that has, because when you start breaking down eco-systems it's a domino effect and will one day end up doing us in. The Anthropocene Extinction is set in the world that we destroyed, and it's certainly the most depressing record I've written."
Of course, rather than taking such themes and applying them to introspective, navel-gazing music they weld them onto a soundtrack of all out savagery. Dominated by their blistering death-grind attack, shades of caustic black metal seep in across the record, and they further expand on the more epic and melodic aspects of its predecessor, at the same time making for a far more cohesive listening experience. "We've never actively said "let's do a black metal part" or "let's do a brutal blastbeat part!" We base everything on feeling, but we definitely focused much more on fluidity within the songs and making the record flow much more than on some of our earlier releases." With doom drenched opener "Manufactured Extinct" they set the scene, the monstrous "Clandestine Ways (Krokodil Rot)" - which turns the tables on the vivisectionists working in the cosmetic industry - and "Not Suitable For Life" perhaps the most intense and violent music the band have yet put their name to. Alongside these sit brooding instrumental "The Burden Of Seven
Billion" and the melancholic "Ave Exitium", and across the record Ryan's mutated, high pitched melodic shriek - which could never be mistaken for 'clean' vocals - gets more space to breathe. This provides The Anthropocene Extinction with its catchiest parts, though dispensed sparingly and never forced, taking "Mammals In Babylon", "Apex Blasphemy" and closer "Pacific Grim" into somewhat tragic, desperate territory. "I think we came out with something pretty damn catchy, which I know isn't a common trait of this kind of music, but then again we're not trying to be like everybody else, or anybody else. When you have four drastically different opinions in a band that's where I think actual magic happens. We're all into very different things, and sometimes that can lead to conflicts, sometimes that can lead to greatness."
Reenlisting Monolith Of Inhumanity producer Dave Otero (Allegaeon, Cephalic Carnage), the band returned to Flatline Audio in Denver, CO, eager to revisit the close collaboration that helped bring that record to life. "Dave is a bonafide producer, he's got a lot of great ideas and this time we heard him out pretty religiously because making Monolith had worked out so well. We've always kind of co-produced our records with whoever we brought in, but these last two we did a lot more listening to what he had to say rather than just sticking with what we were saying. Sometimes we shot down his ideas and vice versa, but that discussion was always beneficial. He basically becomes the fifth member of the band at that point, and I think that kind of relationship is the best way to get anything out of anybody." The Anthropocene Extinction also features contributions from some notable guests, with Tristan Shone (AKA Author & Punisher) contributing to "Plagueborne", Bethlehem's Jürgen Bartsch providing a spoken word part - in his native German tongue - for "Pacific Grim", and Phil Anselmo lends his sandblasted larynx to "The Prophets Of Loss". "We originally didn't plan on having any guest appearances, but when the opportunities presented themselves while we were in the studio, they just seemed to fit perfectly and it was great we were able to actually get them involved. We had played the Housecore Horror Film Fest in Austin and we shot the shit with Phil,who is a very cool guy, but it was our friend John Jarvis (Pig Destroyer, Fulgora) who reached out to him - without telling us - and then told us he wanted to be on the record!" Ryan laughs. "The part you hear him do on that song is exactly what popped into my head as soon as we learned he was going to do something with us, and really all of those guys contributed something so cool to the finished product."
The Anthropocene Extinction also sees the band extending their collaboration with Wes Benscoter, who has handled the artwork for every release since 2002's To Serve Man. "As with the case of Dave Otero, when we work with Wes he becomes a member of the band, and this also applies to Mitch Massie [who directed the notoriously NSFW video clip for Monolith Of Inhumanity's "Forced Gender Reassignment"]. I care about their opinions just as much as my own, and it's about putting the ball in the court of these guys as much as possible without sacrificing our artistic integrity." As usual, Benscoter formulated striking imagery that conveyed the record's themes in unflinching style, the cover featuring a bloated and distorted corpse washed up on a beach, its torn abdomen disgorging a mass of waste plastic. "It harkens back to what's going on with the albatrosses they have been finding on Midway Island for years. They're mistaking plastic for krill, ingesting this and dropping dead on the island, and as they decay the plastic inside them spills out. It paints a vivid picture of what's going on out there, and we're taking that and putting that within a human context, because, as I said before, it's a domino effect that ultimately leads back to our own downfall."
Travis Ryan - Vocals
Josh Elmore - Guitar
Derek Engemann - Bass
Dave McGraw - Drums
5 Silhouettes, their backlit bodies moving frenetically in front of the monstrous LED lighting rigs, flashing synchronized to every little change in the music: watching THE OCEAN perform live is an experience. The videos, the lighting and more than anything, the music - orchestral, dense and epic - all contribute to that certain atmosphere that sets THE OCEAN apart from most of their peers in the realm of modern day's heavy music. The lynch-esque play with darkness and dynamics make it easy for the listener to get lost in the dismal oceanic spheres.
The band originated in 2001, when mainman Robin Staps leased the basement of a former aluminum factory from World War II in the heart of Berlin-Kreuzberg. After a few weeks of daily construction work, "Oceanland" was born – a large underground complex of recording studio and sleeping rooms, where many members of THE OCEAN would spend the bigger part of the upcoming few years of their lives. The band's live show was conceptualized and improved here, and over the years, a collective of musicians from classical as well as rock music backgrounds formed around Staps. Four albums were recorded at Oceanland, before the band was evicted from the place in 2008.
It's pointless to try to recall every past member of The Ocean. There must have been about 30-40 in total. Nobody remembers all of them. Some may have died or sunk into alcoholism, others may still be alive but have just mysteriously disappeared at some point, even during tours...
It's not hard to see why when you try to imagine the conditions of the band's first tours. I remember attending their show at an anarchist's trailer park in Osnabrück, Germany, on a grim February night in 2002. One of them crushed his ankle when his leg got stuck between 2 planks of the pallet-stage in the non-heated tent. The 12 punks in the audience didn't give a shit. After the show, one of them was so drunk that he fell asleep only a few inches next to the campfire outside and almost burnt to death. I remember a show in Torun, Poland, with an audience attendance of two people, one of them being the bar owner... I remember waking up in a 20m2-room with 15 other people, next to a drunk ex-band member who had pissed all over himself, and myself, while we had both been asleep...
Despite all these initial hardships and the ever-changing lineup, the ocean collective have released 6 critically acclaimed studio albums over the course of the past 6 years. Praise of their 80 minutes concept-opus "Precambrian" (2007) spread like wildfire in the community:
"Epic in scope and flawless in execution, 'Precambrian' reinforces The Ocean as one of the most exciting names in modern heavy music. Behold mind-blowing metal on a wagnerian scale", ROCK SOUND (UK) cheered. "Ambitious and epic, dense and orchestral, the latest album from Germany's premier thinking man's metal collective The Ocean features a dizzying array of musical and vocal styles, from Mastodonian prog jags and Fear Factory jackhammer blasts to ethereal electronics and florid classical instrumentations", AMP (USA) added, and DECIBEL (USA) found the album to be "…engrossing to the point where words don't necessarily matter. The Ocean do for earth science class what Mastodon did for Melville: make learning brutal".
After more than 500 shows all over the world, supporting bands like OPETH, ANATHEMA, THE DILLINGER ESCAPE PLAN, THE BLACK DAHLIA MURDER, CULT OF LUNA and ISIS and successful headlining tours in Europe and the US (supported by KYLESA), the addition of vocalist Loïc Rossetti marks the final step in a recent development within the band: after 8 years of existence, THE OCEAN has transformed from a collective into a band. "The people I am working with now are the people I have always been looking for, and naturally, everyone else is much more involved than ever before", comments Staps. Rossetti replaces Nico Webers, who joined War From A Harlot's Mouth, and Mike Pilat, who left the band because he did not want to let touring be an integral part of his life anymore. However, the collective is not dead. As a matter of fact, 2009 album "Heliocentric" featured the largest number of additional musicians to date, mainly classical players. With 4 Swiss band members, THE OCEAN has found a new home in the highest city of Europe, La-Chaux-de-Fonds - although Staps still lives in Berlin.
The Ocean released their opus magnum in 2010 with the separately-released double-album "Heliocentric" (April 2010) and "Anthropocentric" (November 2010). This enormous conceptual effort took almost 2 years to be completed. From a lyrical and artistic point of view, the albums represent a fundamental and philosophical critique of Christianity. Both albums scored rave reviews all over the world, including "album of the month" in Metal Hammer Germany, Italy and Greece and a cover feature on the December- issue of Metal Hammer UK / Subterranea. AMG Magazine (US) stated that "This is the most forward-thinking statement by the Ocean yet, and stands as the most seamlessly integrated and consistent recording they've issued to date", and Rock Sound (UK) found the album to be "Luxurious, tectonic, ingenious, calculated, charismatic, enterprising, dextrous, inventive, unrestrained, fascinating and poignant. If all this doesn't convince you to at least check them out, then seriously, fuck off."
In 2000, vocalist David Davidson, drummer Phil Dubois-Coyne and bassist Anthony Buda, who attended a high school in Boston, Massachusetts, formed Cryptic Warning, influenced by Guns N' Roses and Metallica. The band's sound is known for being a fusion of technical death metal and thrash metal. Davidson developed his playing technique by attending the Berklee College of Music, where he focused on polyrhythm for jazz. This musical education brought him a expertise in both playing and songwriting, while "some of the atonal aspects of jazz gave him a different perspective on composing and soloing.
Rings of Saturn
RINGS OF SATURN is an internationally touring band based out of California where their founding member, Lucas Mann, resides. The band self-released their first full-length album entitled Embryonic Anomaly in late 2009. Four months later Unique Leader Records signed the band and Embryonic Anomaly was re-released internationally under the label on May 28th, 2010. Since then, Rings of Saturn has been hard at work touring nationwide throughout the United States and Canada promoting Embryonic Anomaly as well as their second upcoming album release entitled Dingir (din-jeer) which will be hitting stores Feb. 5th, 2013 on Unique Leader Records.
Thy Art Is Murder
$25.00 - $28.00
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