F*cked Up have the most perfect name for any band in rock history. In two words it bluntly states the truth that lies at the heart of the white noise maelstrom – things are different from what you expect.
Right from the start this Toronto band has been pushing musical and conceptual boundaries. Forming ostensibly as a punk band, they swiftly took on hardcore and twisted it into their own version, with a psychedelic edge, unexpected instrumentation like flute and keyboards, and songs stretched to perverse lengths.
They initially released a series of impossible to find 7" singles, all with related artwork that sometimes landed them in trouble, and sometimes looked like they came from the late 60s, when minds were melting with possibilities. There were also albums that continued this theme, each one more bold and adventurous.
Meanwhile, the band's gigs took on legendary status. Frontman Damian Abraham's nude stage dives and blood-strewn face were becoming a lunatic motif for a take on the hardcore genre that constantly upended assumptions: lyrics about plants and rebirth, moneys to charities for battered women. All the time, there was a sense of a narrative, and even in their loudest moments there was a deep intelligence to their music.
The narrative itself has come to full fruition on their new album, the 78-minute David Comes To Life rock opera, an album set to a play.
In the punk wars the rock opera was held up as the ultimate example of decadent capitalist-pig rock, the kind of opulent, navel-gazing fodder of faded rock dictators clinging onto power by their filthy fingernails and their tediously long records. It breaks the strict rules of punk and is precisely the reason why F*cked Up have presented this mammoth work.
Their whole history has been mashing ferocious but highly thought-out music with brilliant concepts and Situationist philosophy. They have now made their ultimate statement, tying up all the loose ends and question marks in this sprawling, yet consistently brilliant album.
In anyone else's hands, David Comes To Life might be a disaster, but F*cked Up are in a different lineage – the concept album, after all, was invented by the Kinks or the Pretty Things and even the Who's huffing-and-puffing Tommy and Hawkwind's Space Ritual. You could even include some of the Crass albums as concept albums if you really thought about it – darkly powerful works that let you enter a parallel universe.
Though no less monumental, it is far more melodic than their breakthrough The Chemistry of Common Life. There are more female vocals, which work in perfect contrast to Abraham's highly effective wounded bull growl. The band sound tighter and with more space for the flourishes and imaginative songwriting that entwine their love of fey British indie pop with heavy riffing, and some genuinely twisted turns. Perhaps most grippingly, the triple-guitar interplay between Mike Haliechuk, Josh Zucker and Ben Cook has risen to symphonic levels. They channel musicians from Angus Young, Pete Townshend and Noel Gallagher to Bob Stinson and Lyle Preslar with ease and grace.
The result is better than Sham's That's Life, less desperate than SF Sorrow, a finer cultural self reference than Arthur and Village Green, a better tribute to plants than Dopesmoker, and more a unmixable album than Loveless. But you can hear all these musical touchstones in David's multi-layered melodic filigree.
And then there comes the story…
David Comes To Life is a story of lost love, global meltdown, depression, bombs, guilt and madness. Or is it? A modern day morality tale set to the dour backdrop of a British industrial town in the late 70s, it's a four-part play that follows the dark moods and inner psyche of the titular hero. At the same time, the reliability of the narrator gets called into question, the tables are turned, responsibility shifts, and the story goes meta.
David loses his lover in a bombing during an undisclosed war . The story then turns into an internal dialogue between David and the narrator, Octavio St Laurent. The ensuing plot sees the roles and characters shapeshifting as the dialogue about love and hate battle it out. It's a fantastically complex concept that somehow works. The mind-altering subject matter sits perfectly with the intense and at times gorgeous music.
Of course you could always ignore the backstory and just listen to a fiercely imaginative, powerful 78 minutes of blistering, melodic rock'n'roll crossed with all manners of psychic weirdness. Your choice.

Terror is so much more than 5 individuals making music. It is an energy, a force, a refuge and a voice for all the lost and unheard. This is an attempt to put to words that force expressing the band’s dreams, visions and hopes through the underground music medium of hardcore. This is the story of TERROR, the now legendary team of vets tirelessly sharing their ambitions live on stage over 300 times a year since their start in 2003. The band has no boundaries when playing a show. Performing a festival to thousands one day and following it up with a show in a squat the other is not an uncommon occurrence for this group. They simply want to perform for whoever is willing to listen. Terror is welcoming to all crowds and groups, sharing the stage with such a diverse list of bands ranging from Hatebreed to Strung Out, Behemoth to the Bouncing Souls and Lamb of God to Trapped Under Ice. If someone wants to book it and the schedule is willing, they are there to inspire.

A decade’s worth of crafting their sound and presence has not worn down this outfit, as often happens to lessers of the genre, but rather it has merely honed their focus to a laser pinpoint. Through the maze of labels, lineups and album releases comes the current chapter in the series. KEEPERS OF THE FAITH is a worldwide call to the community, an attempt to hear back from the faithful on the front lines. A gathering in of allies, both diehards and new bloods. 14 new tracks produced by Chad Gilbert of New Found Glory (who’s also produced H2O) at Buzzbomb Studio in Orange County, CA and engineered by Paul Minor (Death By Stereo) and mixed by Matt Hyde (Slayer and Hatebreed), KEEPERS OF THE FAITH will be available on September 14th through Century Media Records (compact disc) and Reaper Records (vinyl) simultaneously. Reaper will also release an anticipatory 7” EP in July and another one to follow in early 2011.

Frontman Scott Vogel sums it all up, "This is the record we put everything we have into, from the music to the lyrics, the layout to the title and to the direct hand to hand street marketing approach, we are putting it all on the line. We took all the rules of what’s going on in the industry today and washed them from our minds. We wanted to capture those early days of hardcore. This is the record we were destined to make. This is TERROR at its best and I’m so excited to get this out and start touring surrounding its energy and passion."

So prepare for the release, the latest communiqué to the troops. Everyone on high alert for the imminent distribution of hardcore reality. You know what you’re getting into when TERROR releases new tracks. Clear any room you may be in because it’s not gonna be pretty.

Steel, Speed, and Destruction

Code Orange Kids

Savage, visceral hardcore from the blossoming Pittsburgh, PA scene.

$16.00 - $18.00

Off Sale

**Tickets purchased on day of show at the door will have $1 facility fee applied **

add to your calendar

Who’s Going

Upcoming Events
Echoplex

Ticketfly

F*cked Up / Terror with Power Trip, Code Orange Kids

Sunday, October 6 · 7:00 PM at Echoplex

Off Sale