Fucked Up, Power Trip, Code Orange Kids
1652 W. Lincoln Avenue
Anaheim, CA, 92801
Doors 6:30 PM / Show 7:00 PM
This event is all ages
The tireless and tour-hungry hardcore loyalists in LA's TERROR, spearheaded by the endless enthusiasm of frontman Scott Vogel, have earned quite a reputation since forming at the turn of the millennium. Their melding of no-frills breakneck hardcore and the fervor of new generation metal bridges the gap between young and old, and it makes for one hell of a pit no matter what city or stage the band leaves in ruin. Vogel has been a key figure in the scene's survival, having given up a normal home life to slug it out on the road despite broken limbs, slipped discs and everything else that comes with hosting a TERROR show.
Century Media Records has been a long-time admirer of Vogel and the band, and the label is thrilled to now officially welcome them to its increasingly diverse worldwide roster and announce the summer release of TERROR's third full-length, The Damned, The Shamed on June 10th. This vicious slab of brutality was produced by the renowned Zeuss (Hatebreed, Shadows Fall) and is sure to please the band's diehard fanbase, while garnering a new legion of young maniacal supporters. Be sure to stay tuned to to the Terror Myspace Page for a new track, which should be posted in the coming weeks and for their complete tour itinerary.
Vogel further comments on the newly signed deal: ""After a good run with Trustkill and several cool releases TERROR felt it was time for a fresh push and to attack from a whole new angle. We are very pleased to put out our next record with Century Media. We are lucky enough to travel and tour every corner of the earth and CM has a great worldwide presence. Plus, with a back catalogue of Merauder, Shadows Fall and Behemoth, we are in great company."
As synonymous as the band has become with stellar live shows, records like Lowest of the Low, One with the Underdogs and Always the Hard Way have earned TERROR a reputation for consistency. No matter what the circumstances, Vogel has surrounded himself with talent rich in passion. A DIY attitude has often been a common bond between band members, and the current line-up is no exception. New guitarist Martin Stewart made invaluable contributions to the purist, no B.S. approach heard on Donnybrook's Lions In This Game, Doug Weber (guitar) and Nick Jett (drums) have been with the band from the start, and Jonathan Buske (bass) gave Always the Hard Way an effective lumbering beat.
If anything, TERROR's goal is to bring back the good natured release of circle pits and stage dives as well as the finger-pointing anthems that were once integral to the hardcore scene. In its infancy, the band represented everything overzealous bouncers hated, and Vogel encouraging the crowd to "elevate the maximum stagedive potential" didn't always sit well with the LA venues they packed with sweaty kids fed-up with aimless music. Nonetheless, thanks to word of mouth and the strength of songs like "Keep Your Distance" and "What Have We Done," the band soon found itself touring partners with everyone from As I Lay Dying to Hatebreed, amongst a slew of others. It is this drive and desire that has cemented TERROR into the hearts of music fans worldwide and made them royalty within the touring front. The fact that they're direct support to the reunited Earth Crisis right now speaks volumes. Time off for TERROR is considered time away from their hardcore family across the globe, something that they cannot live without, so rest assured, the years to come hold many more releases and live appearances worldwide.
Rest assured that, The Damned, The Shamed is the definitive hardcore album of 2008. Consider this your only warning.
Fucked 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 Fucked 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 Fucked 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.
Steel, Speed, and Destruction
Code Orange Kids
Savage, visceral hardcore from the blossoming Pittsburgh, PA scene.