103.3 The Edge Presents:
The 25th Anniversary of Danzig plus Danzig with Doyle and Special Guests
Butcher Babies, Texas Hippie Coalition, A Pale Horse Named Death
1711 Main Street
Niagara Falls, NY, 14305
Doors 6:00 PM / Show 7:00 PM
This event is all ages
The 25th Anniversary of Danzig plus Danzig with Doyle and Special Guests
Glenn Danzig is a name that permeates, infects, and ultimately makes strong, the very soul of hard rock in the '90s. Through the legendary punk charge of his pre-Danzig outfits Misfits and Samhain, Danzig formed the backbone of today's mosh movement. Into the deep waves of the Danzig catalogue, and you've got a band that has created high-tension hybrids that are still being pondered and quietly adopted throughout today's metal community. Over eight million records sold, and Danzig is about to unleash a multi-media onslaught that will once again find disciples studying the master.
But first a little history.Danzig's early works took full advantage of what was initially a vital and productive working relationship ith Rick Rubin, resulting in a self-titled 1988 debut and a follow-up in '90 called Lucifuge that together enveloped the man's interest in punk,doom,gothic new wave and an intense California twist on black Satanic metal,culminating in a display of shockingly dark hard rock that sent chills the likes of which today's Norwegian churchburners could never know.
Danzig III: How The Gods Kill dropped in'92, rewriting the books on Sabbatherian doom metal; super charging the genre with molten guitar god riffs, foreboding but poetic lyrics,and above the fray, THAT VOICE. Glenn is a sonorious tenor blessed with the abilityto caress and terrorize all within a few short breaths.As the luck of the draw would have it, Danzig next found himself with an odd, unplanned Hit on his hands; a live version of the debut album's 'Mother' introducing the mainstream to this buffed-up, 'black leather powerhouse'. 1993's Thralldemonsweatlive EP went on to platinum status (following a similarly exalted fate for the debut),and Danzig's commercial legacy was ensured.
Never one to be complacent,Glenn rewired the band's sound into a frosty but intimate affair paradoxically rife with studio wizardry.Danzig 4P hit in '94,Glenn once more confounding the world with a record that would be a critically acclaimed masterpiece,casual but crafted,sinewy and insidious.
As relations with Danzig's label Def American broke down, so did Danzig's relationship with his band.Glenn found himself seeking fresh personnel and a fresh perspective, creating the darkwave industrial rhythms of Danzig 5: Blackacidevil, a record which, once again, was to re-engineer the cutting edge of hard rock in Danzig's imposing,muscle-strapped image.
But harsh circumstances have brewed, distilled, and unleashed a blistering counter punch by the name of Danzig 6:66 Satans Child, a record that is a visceral and aggressive statement of black intent,unafraid to clutch and grab from today's technologies, but more in tune with the frightening power of a well-juiced guitar.
Danzig 6 features essentially the same line-up as its predecessor, but there are a number of fresh pioneers associated with the project. Glenn's co-producer is Peter Lorimer, a remix king who has worked with the likes of Bowie, while engineer Josh Abraham has collaborated with Orgy, Coal Chamber and Korn. And speaking of Orgy, J. Gordon and Amir Derakh have stuck their hands into the pot and mixed fully seven of the record's twelve tracks. What the team has come upwirth is an inspiring and often trance-like Heavy Metal churn that understands the present and predicts the future, a record that re-writes the darkness of doom in the image of millennial technologies.
"Danzig 6 will have no problem living up to the hype, as well as the hyperspeeds at which that hype will spread through the net. One listen will confirm the often Sabbath- like authority of the record, coupled with a portfolio of unique Glenn Danzig voicings that astonish in their range, hue and suggestive malevolence. 'Five Finger Crawl' is a perfect example of Glenn's multiple deliveries within one song, Glenn whispering to a soundtrack of military metal countered with silken melody come chorus time. 'Cold Eternal' is a personal favorite of Glenn's, a song which he simply describes as "really, really sad." A treasure reveals itself within the closing track, '13', on which Glenn captures the classic but only occasional Danzig blues vibe, something that wraps Dylan's 'Ballad Of Hollis Brown', Robert Johnson's deal with the devil, not to mention Elvis and Johnny Cash in a dark blanket of woeful dirge rock that could only come from one band. Elsewhere, it's power chords a' plenty, fraught with drama, supported on a bed of subtle electronics, frighteningly doom-laden but infused with hook and groove
It's unlike any Danzig record you've heard. Not like any two from the catalogue have much in common. Unsurprising, says Glenn. "It comes back to something that I've always said. I don't like doing the same record over and over again. It's like, if I'm not going to do something different, I won't even do a rock record, I'll just do something else, you know; Like my comic book company, or a classical project. But I think the unifying thread is that basic punk rock attitude. I think it shines through on all of them, yes."
If Danzig 6:66 marks a majestic rebirth of the Danzig sound, this synthesis of the man's evil guitar rock and his selective pillaging of industrial conventions, it is a record that is only the beginning of a remarkable two year plan within the Danzig camp. Expect to see a Samhain box set, followed by individual reissues of the records, reissues of the entire Danzig catalogue, plus no less than three new projects cradling the millennium: the second installment of Black Aria, a massive Danzig b-sides collection, and finally a double live album, culled from years spent headlining stages in front of mod hotshots like Korn, Soundgarden, Type O Negative and Marilyn Manson.
It is a sinister time in the tired life of one world ending, and it unmistakably a time for the destructive and redemptive powers of the next century's man in black. Heed the warning: Danzig 6:66 Satan's Child is only the scabbard tip of what we can expect from Danzig throughout the birthing of a new rebel century. It is however, Danzig's soul crusher of a calling card, his coal-fired ebony heart made metal, the siren song soundtrack of two age in collision. Confront it now and feel your lifeblood drain and subsequently replenish truer than ever.
xxxxx -Martin Popoff
Faster than you can say heavy fucking metal, The Butcher Babies have
clawed their way to the top of the Hollywood music scene to become the
undisputed darlings of the Sunset Strip. Now, they are poised to take
on the rest of the world.
Fronted by Carla Harvey and Heidi Shepherd, and backed by Henry Flury
on lead guitar (Amen), Jason Klein on bass (Azdachao), and Chris
Warner on drums (Scars of Tomorrow), the Butcher Babies dish out
brutal grooves that attack the crowd during performances that play out
like a slaughter house carnival ride.
Rock Journalist Keith Valcourt recently hailed the Butcher Babies as
"The Hottest Band in the World" in his review of a show. "The Butcher
Babies deliver a loud crashing blend of heavy metal, punk and thrash
that recalls Pantera" notes Valcourt, adding "their stage show
embodies the horror antics of Alice Cooper and Rob Zombie. Carla and
Heidi don't merely sing: they assault the crowd with a blinding flash
of aggression and abuse. And the crowd loves them for it."
The perfect anti heroes for today's lackluster corporate music scene,
The Butcher Babies are answering the demand for a resurgence of the
days when going to a rock show was an event with their blistering
combination of theatrical presence and balls out metal.
Texas Hippie Coalition
There are two paths you can take in life. You can choose to fall in line and be a follower, always fifth or sixth back, lagging behind others. Or you can make your own line and live as you choose, with everyone else landing behind you, while you create your own thing. Want to guess which line Texas Hippie Coalition have chosen?
That's right. The purveyors of their own patented Red Dirt Metal sound are designing their own line in life and in music. For them, there is no other way.
Texas Hippie Coalition are committed to crafting a unique, original and thoroughly raucous brand of music that's born of both life experience and a respect for rock 'n' roll's forefathers. What exactly is Red Dirt Metal? Take outlaw country, toss in a dash of Southern-fried classic rock and mix it with some potent Texas power grooves and you've got a combustible sonic cocktail on your hands. Texas Hippie Coalition's third album Peacemaker is a textbook example of Red Dirt Metal, which is the sound the band has been honing and cultivating for its entire existence.
THC's frontman Big Dad Ritch, known as the "Godfather" of the RDM sound and an individual with a laser-like focus and vision when it comes to his music, believes that the band has hit its stride on Peacemaker, capturing the spirit of rock 'n' roll outlaws like Waylon Jennings and Willie Nelson. He declares, "The outlaw spirit is still alive today. That is our goal: Bring it back."
THC, who were the first band signed to their label Carved Records back in 2009, want fans of classic rock bands to know that they are carrying the torch and that they want to be the keepers of the genre's keys. There will be no extinction of this beloved genre if THC have anything to say about it. "We want the people that love Molly Hatchet, ZZ Top, .38 Special, the Van Zandts and those bands that are growing older to know that somebody else out there is already waving the flag high," he declared. The band, in essence, is ensuring that the style continues to have new and noteworthy additions, such as itself.
But Texas Hippie Coalition aren't simply about making sure the outlaw rock style that they pretty much worship stays alive. They want it to evolve, infusing it with a modern edge and energy, thanks to the new tools (or is that weapons?) of the trade. Having also been surrounded and influenced by the likes of Black Label Society and Pantera –with Ritch proudly proclaiming to having seen the latter between 50 and 75 times live- Texas Hippie Coalition are turning in something fresh and fierce with Peacemaker. They aren't just paying homage to Southern rock's cultural milemarkers. They are proceeding with the intent to add to its canon.
The process of making the album was at first bolstered by levels of familiarity and comfort. "Me and [bassist] John Exall have been together a long time, and we're soldiers always ready to go into battle no matter what," Ritch said about his bandmates. The lineup is now rounded out by [drummer] Gunnar Molton and [guitarist] Cord Pool.
But there were also some changes and shifts, which also add to the album's heft and helped the band to expand. Texas Hippie Coalition recruited producer Bob Marlette (Black Sabbath, Alice Cooper) to work his magic and to help the band to further explore what it was capable of with an already established, branded sound. "We have a new producer and we already know who we are and what our brand is, so with this album, we decided that the boundaries we set for ourselves [are] in the past. We would cut that barbed wire and explore beyond those fences" Ritch said.
Exploring beyond those fences and cutting that barbed wire meant creating what the band calls "heart songs." Rather than saddle them with a generic term like "ballad," Texas Hippie Coalition chose to call 'em "heart songs" because they touch the listener's ticker. "They take you even deeper into the heart and soul, and into the deeper darkness," Ritch admitted. He even referenced his biggest musical hero's ability to vacillate between the dark and the light. "Johnny Cash could still let you inside and see the darkness of the man," Ritch pointed out. "Johnny Cash was not just wearing black on the outside. There are parts of him that are black, and that same idea comes across on this album for us."
Even with "heart songs," Ritch issues a Surgeon General's warning of sorts. "This album here takes you on a harder, longer drive, right into a brick wall. Strap yourself in." Isn't that the best type of rock 'n' roll there is?
Speaking about specific songs on Peacemaker, he said that the visceral "'Damn You to Hell' is maybe the heaviest song we've written. It has such drive and intensity that it's like a mixed martial arts event, like UFC pay per view, like someone being grounded and pounded on." You may emerge feeling like you've been administered a beating, but as evidenced in Fight Club, you can come out the other side cleansed and stronger from the catharsis.
"Think Of Me" is admittedly "the closest thing to a love song that this band would ever do. It is a great song. It goes beyond those boundaries." Other songs that typify Red Dirt Metal include "8 Seconds" and "You Ain't Seen Me," which Ritch admits is "as southern-fried as Lynyrd Skynyrd and Molly Hatchet."
The title song is a brilliantly written tune, told from the perspective of a gun. Ritch said, "I thought, 'What would that gun say to people?'" That's not something you come across every day in rock music, and it's further evidence of how Texas Hippie Coalition are rewriting the rule book. The song boasts the lyrics, "I just whooped the devil's ass / And you ain't seen nothing if Jesus asks / It wasn't nothing for him to see / This is all between God and me." See what we mean about the outlaw spirit? It's wholly present in every note, riff and lyric of Peacemaker.
Essentially, Peacemaker, which follows the previous albums The Pride of Texas and Rollin', is like one of those out-of-control parties that will find you without a girlfriend and with pissed off family members the very next day, but you'll be gawking over your killer new tattoo while nursing an awful hangover. It's the stuff of life, the good time ingredient that you can't manufacture or fake. It comes from a very real place, thanks to Texas Hippie Coalition's ability to understand their influences and mine them into something wholly unique.
The Rapids Theatre
Fri, December 19
Wed, December 31
Sat, February 14
Sun, February 15
Wed, March 4
Fri, March 27
Thu, May 7