THIS IS HARDCORE 2013 - Sunday Ticket
GWAR, Sick Of It All, Trapped Under Ice, Paint It Black, The Suicide File, and more
421 N 7th Street
Philadelphia, PA, 19123
Doors 12:00 PM
THIS IS HARDCORE 2013 - Sunday Ticket
GWAR / SICK OF IT ALL / TRAPPED UNDER ICE / PAINT IT BLACK / SUICIDE FILE / NEGATIVE APPROACH / 100 DEMONS / SLAPSHOT / NO REDEEMING SOCIAL VALUE / CODE ORANGE KIDS / STRENGTH FOR A REASON / COLIN OF ARABIA / CLENCHED FIST / PRIDE KILLS / RELENTLESS
THE TIME IS NOW! On your knees in submission and worship at the feet of the true lords of the underworld, humans! The mighty GWAR is again upon us. Unassailable in grandeur, GWAR emerged from the very bowels of Antarctica and have grown into two-time Grammy Award nominated icons whose influence upon society is far too great to accurately gauge. GWAR is all-ruling and everlasting! Surrender yourself to their remorseless force!
In the beginning…
GWAR is part of an ancient order of warriors known as the Scumdogs Of The Universe who were banished from space and sent to planet Earth for a scandalous array of cosmic crimes. Once on Earth, the Scumdogs fornicated with apes and thus, through bestial sexual mutation, the human race was born. A crime far too great for their extraterrestrial ruler/maker — The Master — to discount, the Scumbogs were incarcerated in ice, deep beneath their hulking temple in the wastelands of Antarctica. Here they lay dormant for millions of years, controlling the will of the humans they'd spawned through mental telepathy. With little effort and great results, they brought about war, disease and injustice. Earth was on a path to self-destruction before GWAR had ever played a note…
Days grew into weeks, weeks into months and month into years. According to legend, the advent of '80s hair metal ultimately led to the Scumdog's reawakening and GWAR's inevitable rise. "Because of their overuse of hair spray, a huge hole was burned into the ozone above our temple," vocalist Oderus Urungus recalls thoughtfully. "Our ice began to thaw." Just then, intergalactic fugitive gangster/music mogul Sleazy P. Martini, fleeing the wreckage of his helicopter (which was shot down by the IRS) stumbled upon the Scumdogs' tomb. Martini's gold chains, shiny suit and slick pompadour inadvertently redirected the sun's rays and accelerated the melt. The defrosted Scumdogs instinctively prepared to destroy Martini but guitarist Balsac, The Jaws Of Death, swayed by a prophecy about the pre-eminence of whomever freed them, convinced the 'dogs otherwise. Martini eventually taught the aliens to play instruments, got them hooked on crack and set them on the road in the form of a heavy metal band. GWAR was born. The band immediately embarked on a 25-year (and counting) assault on the Earth, the goal being the ultimate disintegration of all humankind. "We are intent on the actual melting of the entire planet," Urungus, who is approximately 43 billion years old with a penchant for melting things, boldly clarifies.
As Earth's only openly extraterrestrial band, GWAR has since witnessed, inspired and is indeed directly responsible for many of the most destructive events in Earth's recent past. It is no coincidence that since the second coming of GWAR, this world's has slipped ever closer to the apocalypse. As immortal heavy metal warlords who put on the greatest show in history, GWAR exact reverence in each and every land they pillage, their brain-draining, ear-searing, eruption of blood, guts, savage lust and gastric juices a ritual every human must endure.
Bringers of gore, torture and amoral humiliation, GWAR has hurt feelings, fought off throngs of alien attackers and caused billions of dollars in property damage yet despite their generally anti-social behavior, GWAR — and their awe-inspiring collection of CDs, EPs and videos — has inspired a planet-wide legion of followers, a sure sign that an Earth-bound takeover is imminent.
Two-and-a-half decades later…
Many have tried to replicate the debilitating sounds and psychological trauma that defines the cosmic collective. No one has succeeded, nor will they, for GWAR is an unconquerable galactic battalion of rage and destruction, who are as loved as they are feared.
"We are immortal gods, forged in the fires of the Universe's creation," proclaims Urungus loudly. "The endless wars and scores, the utter majesty that is GWAR, is unmatched, our supremacy eternal! Undying yet not undead, we are Kaos-Demons from far beyond the Kretek Nebuli. Proficient in all gravities, we are the SCUMDOGS OF THE UNIVERSE! This gives us quite an edge over most bands."
"We are great, they are not," adds bassist Beefcake The Mighty. "The few intelligent humans out there who recognize quality have followed us from the beginning and will continue to do so until rewarded with death at our hands. The rest of Earth's sheep exist only for our amusement."
Join the members of GWAR — Urungus, Beefcake, Balsac, drummer Jizmak Da Gusha and guitarist Flattus Maximus — as they mark the 25th year of their re-awakening on planet Earth with new album, Lust In Space, coming August 18th. Recently resigned to powerhouse label Metal Blade Records after an eight-year/two-record absence, GWAR's latest long player promises to be their most sonically devouring, instrumentally challenging offering to date. A head-jarring, teeth gnashing Molotov cocktail of chronic chaos, songs like "Let Us Slay," "The UberKlaw," "Where Is Zog?" and the title track, will silence any remaining skeptics for all eternity.
"When Lust in Space drops in August, the world shall be forced to its knees in total surrender," Urungus predicts, from the band's Antarctic stronghold. "The release marks the 25th anniversary of our thawing-out, and we proclaim a two-year celebration to herald this brain-melting event! The event is so colossal that the idea of a more traditional, one-year celebration seemed completely inappropriate...this one is longer...and bigger! The new shit rocks."
"I feel rage that GWAR has been around for 25 years, kicking ass and making other people rich, and there still isn't a proper GWAR movie, video/computer game or sex aid," Dave Brockie, Urungus' alter ego chimes in. "We haven't even been to Asia yet. Even though we recorded an album there…in the future. There are still countless doors we must break down to attain everything that can and must be achieved by GWAR, and the 25th Anniversary is the perfect time to do just that! Break things!"
"I find it quite annoying that we're still stranded here on Earth after 25 years," snaps Beefcake in closing. "We are meant for so much more. It is quite fortunate for you though, is it not? Is it you who are our captive audience, or are we your captive gift of awesomeness? Think about that!"
GWAR: Master's of metal and lords over Earth! Bow down and obey. Lust In Space is upon us.
Sick Of It All
Formed by brothers Lou and Pete Koller in the mid-'80s, Sick of It All became a seminal band in the New York City hardcore scene. While remaining true to their roots and without compromising their style, Sick of It All progressed from an indie band with a strong live following to a major-label act touring with the likes of Helmet and Rancid. Sick of It All remained a vital influence on the hardcore scene. They released Built to Last in early 1997 to critical acclaim and an expanding audience.
The brothers came up with the band's bluntly expressive name in their parents' basement in 1984. SOIA's original lineup -- with Lou on vocals, Pete on guitar, Rich Cipriano on bass, and Arman Majidi on drums -- released an initial self-titled EP in 1987 on the independent Revelation label. After playing N.Y.C. clubs like CBGB and building a strong local following, SOIA released, on the Combat label, their first album, Blood Sweat & No Tears, a collection of 19 songs of intense energy, 17 of which clocked in at less than two minutes. Following the release of the album, SOIA embarked on their first national tour. Majidi left during the tour to work with Rest in Pieces and was replaced by Max Capshaw. Majidi rejoined to record the We Stand Alone EP, which was released in early 1991 on the Relativity label. Neither Majidi nor Cipriano played with the Koller brothers on the tour preceding the release; Eddie Coen substituted on bass, plus E.K. on drums.
SOIA recorded and released Just Look Around for Relativity in 1992 with the original lineup intact, and then Cipriano left for good prior to an international tour that brought SOIA to Europe and Japan. Craig Setari came on to play bass and to establish the lineup that remained intact into the new millennium. Just Look Around was instrumental in revitalizing the declining N.Y.C. hardcore scene. SOIA left the Relativity label after the release of the album, citing dissatisfaction with the efforts of the indie label. They released Scratch the Surface in 1994 on the Eastwest label, facing accusations of selling out from fans and industry members.
Two releases in 1995 on the Lost & Found label -- a live album entitled Live in a World Full of Hate and a collection of early recordings, Spreading the Hardcore Reality -- bridged the gap between the releases of Scratch the Surface and Built to Last, which was released on the Elektra label. During that time, SOIA continued to tour extensively, including visits to South and Central America.
SOIA have suffered from associations with violence. Frequent fights at early shows gave them the unwanted and unfounded image of condoning violence. The bandmembers have attempted to disassociate the group from the violent acts of their fans. In the early '90s, Wayne Lo, a Massachusetts prep student, shot and killed several classmates while wearing a Sick of It All T-shirt, and The New York Times granted space to the bandmembers to issue a statement of vindication, in which they explained how Lo had misinterpreted their lyrics. Rolling Stone also ran an editorial in defense of the band. "Goatless," a song on Scratch the Surface, is inspired by the episode.
SOIA's steady progression has been colored by numerous accusations of selling out. The band once debated the pseudo-anarchist band Born Against live on N.Y.U. radio about that very subject. The band generally dismisses any such accusations. Only in recent years have the members of the group been able to give up their "day jobs." They are not overly concerned about their image, and in fact have stated in interviews that they have no image. They are more concerned about writing music inspired by real events in their own lives, and performing it with more emphasis on impact and energy than on melody.
Still going strong into the new millennium, Sick of It All returned with their second release on Fat Wreck Chords, Yours Truly, in the fall of 2000. Next came the band documentary video The Story So Far in 2001, their contribution to Fat's Live in a Dive series (2002), the studio album Life on the Ropes (2003), and the B-sides collection Outtakes for the Outcast (2004). Marking 20 years together in 2006, they began the year in the U.K. with Dropkick Murphys before their ninth full-length, Death to Tyrants, dropped in April on Abacus. The band spent the next four years touring, and finally returned with its ninth album, Based on a True Story, in April of 2010. The following year, Sick of It All celebrated their 25th anniversary with Nonstop, which featured the band re-recording some of its classic songs with producer Tue Madsen at the helm in the studio.
Trapped Under Ice
baltimore's hardcore titans return to philadelphia. they started the
"nyhc/hardstyle" wave that has popped up in recent years, but one
listen to their back catalog is all you need to tell you who is the
best at this modern spin on a classic style.
Paint It Black
Dan Yemin may not quite be an "elder statesmen" of punk, but his impact on it throughout the past 15 years certainly approaches Mt. Rushmore status. After establishing a melodic edge to the precedings with Lifetime and Kid Dynamite, Yemin has finally "stepped to the mic'" with Paint it Black. Conveying the intensely personal (try a brush with death) as well as the overtly political (war, chemical dependency and "womb envy"), Yemin and company continue to leave room for the threatening urgency of a beautifully writ "fuck you" song. Drawing on traditionally aggro forebears like Minor Threat, musical innovators like Swiz and the cold-stare lyricism of hip hop, Paint it Black is a mixed-bag success story worthy of its pedigree.
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