Unearth, Kataklysm, Scar The Martyr, Dark Sermon
46 N Orange Ave.
Orlando, FL, 32801
This event is all ages
The curse were spoken, but very few creed that those boys would fly so high. Many people know SEPULTURA began as a role-play, early 80's in Belo Horizonte, a city located in southeast Brazil. And destiny was generous when it gave Paulo Jr. (b), Jairo Guedez (g), Max (g/v) and Igor Cavalera the ways of metal music. The Brazilian death metal scene was a crawling toddler when the band released their first LP in 1985. Entitled BESTIAL DEVASTATION, the record was split with fellow band Overdose and their SÉCULO XX recording.
Songs like Antichrist and Bestial Devastation made clear what SEPULTURA's goal was with their music, and their ever-growing legion of fans understood them well. The next step up was their very own album MORBID VISIONS (1986). Full of good riffs and the everlasting anthem Troops of Doom this remarkable record made them known all over Brazil, giving the band the opportunity of touring their land. But it also were their last album with Jairo Guedez, who unfortunately decided to leave the band.
SEPULTURA was growing in the Brazilian scene at a speed never seen before and their need for a new lead guitar player was fulfilled when Andreas Kisser, a talented and innovative musician like no other, joined the band. 1987 marked the release of SCHIZOPHRENIA, an instant classic to Brazilian metal and very well produced record with outstanding songs, like Escape to the Void and the instrumental piece Inquisition Symphony. By this time SEPULTURA arrived in foreign ears, driving attention from abroad to the Brazilian scene.
SCHIZOPHRENIA was bootlegged in Europe, selling 30.000 copies for which the band received no copyright profits at all. In its homeland, the band was playing even in the most inaccessible cities, like Manaus near the Amazon in Northern Brazil.
Igor, Max, Paulo and Andreas
Reaching for fame, after this outstanding album, SEPULTURA signed with Dutch label RoadRunner Records. Their first release on RR was 1989's BENEATH THE REMAINS, a reference in metal music nowadays. The band recorded the album in Brazil and despite a low budget, decided to bring Scott Burns from the USA to produce it. His experience and expertise were essential to bring professionalism to the band, teaching them to work like grown-ups. Burns also mixed and mastered the album in the US, something no other Brazilian metal band had ever done before.
To support the release of BENEATH THE REMAINS, SEPULTURA went on their first international tour. They toured Europe as an opening act for metal-legend Sodom, traveled over the US and went down to Mexico, marking their name across an ever growing amount of frontiers. It was a memorable tour for the band as they met some of their all time idols, Motörhead and Metallica, crossed the Berlin wall before the cold war was over, and shot their first video. Inner Self was the chosen song, one of the album's greatest hits along with title track Beneath the Remains and Mass Hypnosis.
First international tour
Being the first Brazilian metal band to succeed abroad, they were invited to the select group of headliners of the second edition of the Rock in Rio festival. To mark the occasion, their upcoming album ARISE (1991) had an anticipate release as a commemorative edition, the ARISE ROUGH MIXES (today a collector's item).
After playing in Rio de Janeiro, the band played a free outdoors gig in Sao Paulo in the Charles Muller Square, just outside Pacaembu Stadium, as a huge party to compensate for the long time they were away from their homeland. Unfortunately among the crowd of over 40.000 enthusiastic and excited fans, things ran out of control and a fan was murdered.
This tragic incident brought an aura of fear surrounding the Brazilian show business producers, and conveyed a false image of evilness of the SEPULTURA fans. For years to come all their concerts in Brazil would only happened after long and harsh negotiations.
However, the ARISE tour was a complete success worldwide. The band played in places they could never imagine they would like Greece, Japan and Australia, where one of the band's first single (Third World Posse) was released. In Holland, SEPULTURA played their first big international festival, the Dynamo Open Air. Also, over 100.000 fans celebrated their 2 sold out stadium concerts in Indonesia, where they went gold on ARISE's cassette tapes sales.
Beside the Third World Chaos single, singles were released for the songs Under Siege and Dead Embryonic Cells. Two video clips from Arise were done (Arise and Dead Embryonic Cells), and a home video entitled Under Siege, with live footage from Barcelona, Spain. After all was said, sung, played and done SEPULTURA had gotten the recognition they deserved for their hard work.
Recording the video for 'Territory'
But their most important work was released in 1993, with a stunning party in a medieval castle in England, where the press from all over the globe met. With CHAOS AD the band incorporated some unexpected elements to their brutal sound, like the Brazilian rhythms in the instrumental piece Kaiowas.
Ever since ince this album came out, bringing new ideas, concepts and cultures in their music became SEPULTURA's trademark. Territory was the first single off CHAOS AD. The Territory video clip was shot in Israel, which was a huge step forward for a Brazilian metal band.
The band then won the MTV Video Music Awards for best video of the year in Brazil. The songs Refuse/Resist and Slave New World also became singles/videos, and later the three were released as a home video (Third World Chaos).
Promo picture for CHAOS A.D.
This amazing album brought along an amazing tour. They broke taboos being the first Brazilian band to tour Russia and also the first Latin American band to play "The Monsters of Rock" festival in Donington, England. Meanwhile, in Brazil, it wasn't easy to book concerts as the band's fans still were portrayed as violent people following that horrible incident at the free Sao Paulo gig (during the ARISE Tour). But thanks to the Brazilian Official Fan Club (a.k.a. SOBFC) efforts the band finally could showcase its new work in its homeland. Working as hard as they could, the fan club members and Antonio Coelho (a.k.a. Toninho, president and founder) obtained an amount of signatures so impressive demanding SEPULTURA's presence at "The Hollywood Rock Festival" that its producers had no choice but adding the band to the bill.
In 1994 Max developed a great parallel project with Alex Newport from the band Fudge Tunnel. They named it NAILBOMB and recorded the album POINT BLANK with ultra-special guests Andreas Kisser, Igor Cavalera, Dino Cazares (Fear Factory), just to name a few. NAILBOMB recorded a second and last album while playing at the DYNAMO Open Air to a crowd of 100.000. It was a quick but strong project, and is considered a cult by the SEPULTURA fans.
With the Xavantes tribe
By then, SEPULTURA had written its part of the history of music and was celebrating a decade of existence but still felt the urge to create, innovate and evolve. And they did rose to a new level with their 1996's effort entitled ROOTS. The album title made clear what had influenced the band during the writing and recording process. Lots of Brazilian icons can be found in this remarkable record but the strongest is without a doubt the experience with the Brazilian native Xavantes tribe. The band spent some days living with the tribe and recorded the song Itsari during its stay there.
The songs Roots Bloody Roots, Attitude and Ratamahatta were all realeased as singles and videos. The first video clip (Roots Bloody Roots) was recorded in the city of Salvador, the birthplace of Brazil. The Attitude video features The Gracie family, Brazilian sport legends, and creators of the Brazilian Jiu-Jitsu.
With Gracie family recording the video for 'Attitude'
Ratamahatta is sung in Portuguese and features Brazilian percussionist Carlinhos Brown. The video clip for the song won the Best Rock Video award at MTV's Video Music Awards Brazil, and is the only video of SEPULTURA featuring no humans. It only shows puppets in a digitally animated world. The band then released a double version of the album entitled THE ROOTS OF SEPULTURA, with the regular version of ROOTS in one CD and a brief musical history of the band on the second one.
Monsters Of Rock '96
The ROOTS tour was scheduled worldwide and included some important festivals. The band's routine was quite tiring. Tragedy struck the band the day SEPULTURA was playing Donington's "Monsters of Rock" Festival. They received the sad news that a close friend of the band, the son of the band's manager and Max's stepson, Dana Wells, had died. As soon as possible Max flew back to the USA and the band had to perform for the first time as a three piece, in one of the most meaningful concerts of their career. Some fellow musicians helped them out and the three band members did well, they were hurt and sad, but didn't let their fans down that day.
The crowd understood the situation and showed respect to the band with one minute of absolute silence, a bone chilling moment. After this concert SEPULTURA took a break to pay their last respcets and mourn Dana but was back on the road shortly after.
The band did extended and successful concerts during that tour, but meanwhile administrative concerns were creating tension within the band. Often, they would not agree with the management and ultimately opted not to renew the contract of their manager when the time came. Unfortunately, the band's manager happened to be Max's wife, and the couple couldn't agree with the rest of the band. They were given the choice to split the management of the band, so Max could be managed by his wife. Instead, Max decided to leave the band. The rest of the tour had to be cancelled and the band's future was in jeopardy.
Recovering from the shock, the band knew they couldn't end their life's work this way and abandon their legion of loyal fans, as SEPULTURA is more than a band to some; it also is an ideology. As soon as they could they started working on their next album as a three piece. Meanwhile, Max went on and formed a new band (SOULFLY).
Igor, Paulo and Andreas found a new way for their music. This new direction brought Paulo's bass to the spotlight and Andreas did he vocals for a while but, as he never had sung before, wasn't comfortable doing it. SEPULTURA then started auditioning for a new singer.
The demo tapes came flying in RoadRunner Records offices from all over the world and the selection process proved to be a tough one. A small number of vocalists sounded good enough to take the spot. Each received a tape containing a couple of songs and were asked to work on it, including writing lyrics, before meeting the band for an audition. The final auditions took place in Brazil, for the fondness of the new singer with the band's homeland and its culture was essential, so were the bonding and relations with the band members.
Igor, Paulo, Derrick and Andreas
Right from the start, the band was impressed by Derrick Green. Derrick felt comfortable in Brazil, became a soccer fan, and got along with the band extremely well. Derrick was the man SEPULTURA was looking for and he became part of the family.
When Derrick joined, most of the songs were already written, only the the vocals were missing, and the band was in a rush to get the album released. Still they did everything the best they could, and AGAINST was released in 1998.
A very emotional album, AGAINST reflects the struggle of the band to win back their confidence and sportrays the power of SEPULTURA. Very special guests contributed to the album : long time friends of the band Joao Gordo (REZA) and Jason Newsted (HATRED ASIDE) and the Japanese Taiko drummers from KODO (KAMAITACHI), who hosted SEPULTURA at the KODO village (the Sado Island in Japan).
Then came the time to meet the fans again and make clear to everyone that all the press's gossip about SEPULTURA being dead were shameless rumors and lies. The first concert of the AGAINST era was a big charity event in Brazil, the BARULHO CONTRA FOME (Noise against hunger) concert.
Barulho Contra Fome ad
Derrick had been in a few bands before, but never had to face such a numerous, loyal and demanding audience. SEPULTURA rehearsed for BARULHO CONTRA FOME by playing a few concerts in small venues in California, including Los Angeles (Brick by Brick), under the name 'TROOPS OF DOOM'.
BARULHO CONTRA FOME was a great success. Several special SEPULTURA guests performed with them, presenting the 30.000 fans a show they'll remember forever. Mike Patton traveled from Italy to Sao Paulo to jam with the band. Jason Newsted came from the US. The Xavantes Indians got to know a whole new world coming down from their village to the concrete jungle of Sao Paulo. Carlinhos Brown left sunny Bahia to do RATAMAHATTA again. Jairo gladly joined his ex-band mates again and horror movie legend Coffin Joe blessed the band in his evil ways. Press and fans from abroad joined the enthusiastic crowd and warmly welcomed Derrick to the Sepultribe.
The singles 'TRIBUS', 'AGAINST' AND 'CHOKE' (this one also having a video clip with live footage from BARULHO CONTRA FOME show) were released off AGAINST. The AGAINST TOUR was succesful, reaching countries all over the world. SEPULTURA join classic metal act SLAYER to tour for the first time, putting an end to an unfounded rumor that the bands didn't get along well. And for the joy of die-hard Brazilian fans, SEPULTURA finally toured Brazil after years of absence.
As soon as the tour was over, the four musicians started writing the next album. The AGAINST years were an essential energy boost to the band that led them to conquer their own NATION (2001).
Andreas, Paulo, Igor and Derrick altogether wrote an album and created a utopian world. A special place for the most important people: fans, friends and families. The lyrics of the song SEPULNATION explain it all, their music is their weapon and they use it skillfully.
Rock In Rio 3
Thanks to the cooperation of the band's WebTribe, SEPULTURA were invited to play the third edition of the Rock in Rio festival. There they introduced NATION to a 150.000 people crowd, starting the show with the amazing anthem VALTIO, written with the collaboration of Finnish musicians APOCALYPTICA.
This new record went gold even before it reached the stores. It has its own style, guests like Jello Biafra and Dr. Israel, and even quotes from Mother Teresa de Calcutta, Albert Einstein, Gandhi and the 14th Dalai Lama.
The SEPULNATION already is rising up!
Charging out of the late 90s Massachusetts underground in a storm of thunderous riffs and focused aggression, in 2011 Unearth proudly stand at the forefront of modern metal. With Darkness In the Light, their fifth full-length, the quintet have delivered their most honest, powerful, and compelling statement to date, driving a fist into the collective gut of every image-obsessed wannabe metal band currently cluttering up the landscape, and setting a new standard when it comes to marrying precision brute force and exhilarating melody.
Following the release of 2008’s The March, an armor-plated beast of a record that cemented their position as kings of the machine-gun breakdown, the band once again earned their reputation as one of the hardest working bands in metal, hitting the road hard and further building upon their fervently devoted legion of fans. However, while proud of both that record and its predecessor, 2006’s III: In the Eyes Of Fire, vocalist Trevor Phipps believed they had yet to revisit the heights reached on 2004’s seminal The Oncoming Storm, a record that has remained a firm favorite in the hearts of many fans. “It’s funny because when you do a new record you always think it’s your best one at the time, but up to this point I think The Oncoming Storm was probably our most solid record – until now,” he states plainly. In fact, brief exposure to Darkness In The Light makes it abundantly clear that it’s not only poised to steal The Oncoming Storm’s crown but in fact stands as the record fans have long hoped for. “We didn’t sit around listening to The Oncoming Storm going ‘oh, we should write more songs like this’, but it definitely feels fresh to me in the same way that record did,” guitarist Buz McGrath concurs. “Our last two records are great records but I didn’t get that same feel. This one is special man, this one is our best yet.”
Both long term fans and those coming to the band for the first time will not fail to be struck by the sheer vitality of Darkness In the Light and the unconstrained energy that surges through its eleven tracks. From the instant the urgent, insidiously catchy “Watch It Burn” explodes to life it’s clear that this is Unearth playing on a whole new level, putting absolutely everything they’ve got on the line and intent on blowing everyone out of their path. “Times are tough but the band has a renewed energy to get out there and take what’s ours,” Phipps states adamantly. “There’s a bunch of bands out there that are all trying to get the spotlight, so it’s a case of fight or die, and our fists are flying man.” With every track kept short and to the point – only “Watch It Burn” breaking the four-minute mark – this is state of the art, ruthlessly honed metal that backs up Phipps’ assertion with some serious muscle. The likes of “Shadows In The Light” and “Arise The War Cry” reach anthemic heights previously only hinted at, the utterly crushing attack of “Eyes Of Black” and closer “Disillusion” capturing the band at their balls out heaviest, and throughout, the muscular grooves wrenched from John “Slo” Maggard’s bass pummel mercilessly while the blistering shredding of McGrath and guitarist Ken Susi is spectacular, and sure to inspire armies of metalheads around the world to air guitar like there’s no tomorrow.
Lyrically, while Phipps once again touches upon the political – most notably on “Watch It Burn”, which sees him decrying the ineffectual governmental system at work in the contemporary US – Darkness In The Light is a far more personal album. The somber “Equinox” touches upon internal struggles with feelings of depression and defeat, while “Last Wish” concerns real-life incidents that saw people close to the vocalist involved in accidents that placed them on life support, “and it’s about [being in that position and] trying to tell the people who are holding on that you’re not coming back, and to pull the plug”. Crushing closer “Disillusion” stands as a powerful “fuck-you song” against anyone who “at the end of the day makes you feel lied to”, and the recurring theme of focusing on negatives “even when good things are going on around you” served to inspire the title of the record.
Having written such a powerful brace of songs, to ensure they were captured exactly how the band wanted them they enlisted the services of über producer Adam Dutkiewicz. Alongside his ‘day job’ – playing guitar in Killswitch Engage – Dutkiewicz has put his name to landmark records from As I Lay Dying, The Acacia Strain, and All That Remains, as well as helming all of Unearth’s previous releases bar the Terry Date (Pantera, Deftones) produced III. However, prior to heading into the studio the band decided that it was in the record’s best interest if they parted ways with drummer Derek Kerswill. “Derek is an amazing drummer, and we’re still good friends, but his style wasn’t what we were looking for on the new record. He’s more of a rock guy than a metal guy, and we wanted something a bit more extreme,” McGrath explains. With this in mind, they recruited long time friend Justin Foley, best known for pounding the skins alongside Dutkiewicz in Killswitch Engage, and the perfect choice to ensure the album boasted the unrelenting rhythmic backbone it deserved. “I think he slips under the radar a little bit as far as drummers go but he’s an outstanding technical drummer,” McGrath enthuses. “We wrote the record on a drum machine, and Ken would write these kinda ridiculous drum parts and Justin just came into the studio and nailed everything we threw at him, he’s an amazing dude.”
With such lyrical honesty and devastating music, it was up to Phipps to match this ferocity in his vocal performance, and this was a challenge he was eager to tackle head on. “I think the songs on The March are solid and there are certain parts where I did well, but I think that’s probably my worst vocal performance, and for the last two plus years I’ve been frustrated with my vocal contribution to that record,” he admits candidly. “So this time out I was like fuck man, I really need to knuckle down and destroy myself here. I was really physically and emotionally invested in this project, and by the end of it I was drained and just at wit’s end, but that’s what it took to make sure that I gave the best performance I ever have.” Bolstering his riveting performance, for the first time since The Oncoming Storm, Susi also contributed some clean vocals to three songs, imbuing them with extra texture and emotional depth. “Ken’s got a great voice, and when we were writing the songs, I immediately gravitated toward anything that stuck out to me and sounded a little bit different, and this was definitely one of those aspects,” McGrath states. “It’s not something we were gonna do on every song, but it’s tastefully done and it kind of adds a different dynamic where songs needed it. I was kicking his ass to kind of ‘man up’ and make it a more aggressive kind of singing and it came out great, those songs are really exciting to us.”
Gearing up to take Darkness In The Light around the world and undoubtedly leaving a trail of mosh pit devastation in their wake, thirteen years into their career Unearth are more driven and determined than ever, ensuring that their fans get exactly what they crave from their heroes. “A lot of bands come and go, and it’s tough to make a living in heavy metal right now,” McGrath states. “But we’re still touring because we love it, and as long as there’s people out there who appreciate what we do we’ll keep on going. We just made the best record of our career and we want as many people to hear it as possible, so come on, let’s go.”
Canadian Death Metal legends Kataklysm officially formed in the fall of 1991, they released a now classic demo called Death Gate Cycle Of Reincarnation in 1992 that got world attention and a record deal with Germany's Nuclear Blast records, the band signed in 1993 and immediately released the demo on CD format and added the bonus track The Orb Of Uncreation which resulted in the creation of the critically acclaimed MCD The Mystical Gate Of Reincarnation. Kataklysm gained world praise and recognition ...a new style and influence was born : the Northern Hyperblast ..and that was just the beginning! In 1995 the band releases their first album entitled Sorcery which quickly propelled Kataklysm as one of the new leaders and forces to be reckon with in the extreme metal scene!
The band follow up again with another hard hitting assault in 1996 with the release of the second full length album Temple Of Knowledge accompanied with a video clip for the track The Awakener which resulted in headliner tours and a bright future a head. With releases like Northern Hyperblast Live a limited edition CD and the controversial 3rd album Victims Of This Fallen World in 1998 the band showed divesity and explored new territory in which Kataklysm found new ground to establish a new sound that soon that would pave the way for new classics to come!
In 2000 Kataklysm strike with a deadly weapon and 4th album called The Prophecy (Stigmata Of The Immaculate) an album that put Kataklysm on a new course and new horizons, that critics called one of the most devastating release in extreme music in years. With all eyes on Canada's finest export Kataklysm, the pressure was one. but that's when Kataklysm are their most lethal! In 2001 a classic extreme album was born entitled Epic (The Poetry Of War), with a melodic edge backed by extreme roaring power. The bands 5th album has become Kataklysm's finest hour leaving critics stupefied and the world begging for more!
So here we are today with tours in over 19 countries around the world, TV appearances expanding in 11 years of existence of blood & sweat, Kataklysm are back to prove that aging brings experience that make great leaders, Kataklysm are at the top of they're form and have evolved into a powerhouse that will crush all and leave nothing but Shadows & Dust for the mortals to beg! Their 6th album to be released in fall of 2002! Once again handled in the true mercenary fashion of Kataklysm with a production that will leave you breathless. A new chapter is born.. a new era in extreme music.. be prepared for Kataklysm's deadly grip!! Here is what one of North Americas most respected writers has to say about this new masterpiece: "Like true Gladiators, Shadows And Dust tears at you with violent power, crude anger and the barefaced truth of somebody with nothing to lose. A hailstorm of musical swords, without the sorcery, Kataklysm are primed to 'Face The Face Of War' with their latest. This is a furious speed freak with enough doom and gloom to lock and load you for many years to come. Think In Flames huffing gas while classic Priest blares in the background. Shadows And Dust is beauty from a world viewed with revulsion and malice. Unlike anything they've done and a true succession, Kataklysm, once again, take the heaviest of music and add true weight and consequence. " Mitch Joel (Circus Magazine/Hour/Revolver online)
Scar The Martyr
Heavy music has long provided a sanctuary for restless creative spirits. As drummer and songwriting mainstay for US metal titans Slipknot, Joey Jordison has earned himself a fearsome reputation as one of the most prolific and artistically driven figures in modern music. Now, after many years of side-projects and collaborations, he has formed a new band that boldly encapsulates his unique creative personality. A full-blooded and fully-formed sonic beast that brings Joey together with some of the most talented musicians in the rock world, Scar The Martyr are starting as they intend to continue: as an unstoppable force.
"I was working on new Slipknot material but I had to shelve it and wait until we all know we're getting back together," Joey explains. "But I couldn't stop writing! I stayed in the studio because I had so many ideas and I decided to put another band together. I wanted to really challenge myself and come up with some material that worked on a more intellectual level and that wasn't just a standard metal project. I had to do stuff that was challenging, something I'd never done before, and take it seriously. I needed to keep the integrity of Slipknot but branch out into some areas and I've never visited before and wanted to try. The result was way beyond what I expected. It was fun because it was a learning process. I was constantly challenged to make these songs better and take it in the different directions that I wanted to explore, and that's what made this record so fun."
Pieced together by Jordison and his new comrades over the last couple of years, Scar The Martyr's debut album is both a celebration of one man's unique vision and a potent collision between diverse but effortlessly compatible musicians. Although Joey plays guitars, bass and drums on the record, the contributions of lead guitarists Jed Simon (ex-Strapping Young Lad) and Kris Norris (Darkest Hour), vocalist Henry Derek and keyboard scientist Chris Vrenna (Nine Inch Nails) are not to be underestimated.
"I did the core of the music myself, but Henry did all the vocals and wrote all the lyrics, and Chris Vrenna from NIN did all the keys," Joey states. "I had a bunch of vocalists in mind when I started this but I didn't want someone from a known band and Henry blew everyone else away. Chris Vrenna was amazing too. He's a visionary. It's really hard to find great people to do programming and keyboard work and take the heaviness aspect and really transform it, so it's more than just metal. I gave Chris total freedom and he did a perfect job. When he does keys it really adds to the actual song. It's a very musical part of the compositions."
"As far as the bulk of the songwriting, with all the extra flavours I wanted to bring in, I wanted to get not just friends but people who understood what I wanted to do," Joey continues. "And they got it, man! Jed Simon came in and I didn't have to tell him anything. I didn't have to tell Kris Norris anything either. It was really weird. Me and Jed share the bond of a lot of 70s bands, and a lot of his style comes from that era. On Kris' side, the influence comes more from the early metal stuff, which I love too. They helped out the songs so much. A lot of leads are just put in to break up a vocal and show off a guitar player, but you can sing these leads and I love that, plus they are great live players and songwriters."
A dark, powerful and wildly inventive blend of punishing hard rock riffs, eerie keys and atmospherics, towering melodies and seething metallic aggression, Scar The Martyr represents a seamless blending of Joey's influences into a warped but mesmerising whole. From the turbulent refrains and thunderous pulse of Soul Disintegration and Cruel Ocean to the driving, soulful thrust of Never Forgive Never Forget, My Retribution's brooding riff attack and the slamming industrial crunch of Blood Host, it is a compelling maelstrom of smart ideas and massive hooks that recalls everything from Alice In Chains and Faith No More to Ministry and Neurosis while never once sounding remotely derivative. Mixed by legendary producer and sound sculptor Rhys Fulber (Fear Factory/Paradise Lost) Scar The Martyr is a mercurial meeting of minds, custom designed for maximum impact.
"When I listen to it, it doesn't sound like anything," says Joey. "That's when I really know, regardless of what anyone else thinks, that I met my goal. The songs are fucking great. I'm happy with every aspect of the record and usually I'm not! That's very new for me. It's weird. I'm ultra-critical and I still am with this record, but with this one I took a lot of care over this. I made sure I got everything right. I committed to it. I think you can tell from the sound that it's a real band. Even when some projects are good, you can tell they're not real bands. But this is real."
Despite being a member of one of the biggest metal bands on the planet while possessing a resume that includes stints with Korn, Satyricon, Ministry and Rob Zombie, not to mention two acclaimed albums with zombie punk crew Murderdolls, Joey Jordison still has more energy and ideas than virtually anyone else in heavy music today. Scar The Martyr is a brave and exhilarating bolt from the blue that promises to delight music fans from all points along the sonic spectrum. Once the album hits the streets, Joey and his new band will be hitting the road with full force, proving that not only is Scar The Martyr a bona fide band of brothers but also that this music is built to last and to leave us all with scars to cherish.
"If I'm going to do anything at this point in my career it's got to be a proper band. It has to be, otherwise I'm wasting my time. I've had a blast with all the bands I've had the pleasure of working with. If I was going to step outside of Slipknot, I wanted to expose myself fully, all in, all out, no compromises, in a creative and soul spilling way. It would have to be full on, an exorcism of sorts, take no prisoners, no shortcuts, everything constructed to the fullest and the best it could be. Everyone involved with this album stepped up to the plate, and put their hearts and souls into this. I can't wait for all of the fans to hear this and deliver this to them live. See you on tour!"
Formed in 2009, Dark Sermon arrives in the worldwide metal community determined to stand apart from the cookie-cutter garbage and trend-following cretins who have overcrowded the scene. They don’t care about what’s marketable or what sells. Dark Sermon has nothing less than total domination on their minds, armed with a new kind of heavy. The suffocating stomp of Behemoth, the brash experimentalism of Gojira and the all-out ferocity of American heroes like Job For A Cowboy and The Black Dahlia Murder all have a home in the Dark Sermon cookbook, which slices and dices its way through the most exciting elements of metal’s subgenres with relentless aggression.
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