South By So What?! Fall Edition: Day One, featuring GWAR & FINCH

Third String Productions Presents...

South By So What?! Fall Edition: Day One, featuring GWAR & FINCH

Story Of The Year, Whitechapel, Dance Gavin Dance, The Almost, Miss May I, Like Moths to Flames, Goatwhore, Band of Orcs, Iron Reagan, Hawthrone Heights, 3 Inches Of Blood, Capture The Crown, Death Angel, Battlecross, Revocation, Set it Off, Holy Grail, Sylar, Urizen, Azurah, I AM KING, I AM KING

Fri, October 25, 2013

Doors: 3:00 pm / Show: 3:00 pm (event ends at 12:00 am)

QuikTrip Park

Grand Prairie, TX

$35.00 - $85.00

This event is all ages

www.southbysowhat.com

GWAR
GWAR
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.
Finch
Finch
Finch will be reuniting to commemorate the 10th anniversary of What It Is To Burn on Feb 1st, 2013 at the Glasshouse in Pomona CA. We are excited to play What It Is To Burn from front to back in it's entirety. We'll see you at the show!

Love Finch,

Nate Barcalow, Randy Strohmeyer, Alex Linares, Daniel Wonacott and Alex Pappas
Story Of The Year
Story Of The Year
Hard work, determination and success go hand and hand—and no one understands that better than STORY OF THE YEAR. In that spirit it should come as no surprise that these post-hardcore sensations decided to title their fourth full-length The Constant. However that doesn't mean that the band's latest disc isn't a logical progression for St. Louis' favorite breakout act. In fact in many ways The Constant is a fresh burst of energy for the band who exploded onto the scene in 2003 with their ubiquitous single "Until the Day I Die" and also marks the beginning of an exciting new musical chapter for this fearless fivesome. While the band have already released three studio full-lengths: 2003's Page Avenue, 2005's In The Wake Of Determination and 2008's The Black Swan, The Constant picks up where the band left off and proves that STORY OF YEAR sound more top of their game with each subsequent release.

Recorded with Elvis Baskette (who also co-produced The Black Swan) at his secluded studio in Virginia, The Constant was written and recorded in a scant three months—a fact that allowed the band to capture these songs' inherent urgency without getting bogged down in the process. "This was the fastest recording and writing experience for us ever and it was cool because we didn't overthink everything," explains the band's vocalist Dan Marsala—who alongside guitarists Ryan Phillips and Philip Sneed, bassist Adam "The Skull" Russell and drummer Josh Wills make up STORY OF THE YEAR. "Writing and recording The Black Swan was a long, grueling process and this time we wanted to do the opposite: just have fun, be spontaneous and make it exciting—and it worked out better," he continues. "Everyone is so happy with the end product and it was a great time."

While countless acts have come and gone since STORY OF THE YEAR formed over a decade ago, Marsala credits the band's success to their ability to form a unique niche in the punk community. "We have such a wide range of tastes and influences that we can continue to progress in any direction and stay relevant at all times, and we've always taken pride in having no boundaries or limits with the music we write" he adds—and STORY OF THE YEAR's unwavering relevance has never been as evident as it is on The Constant. From emotional rockers like "I'm Alive" to driving, post-hardcore masterpieces like "The Children Sing" and the heartfelt piano ballad "Holding On To You," The Constant sees STORY OF THE YEAR sonically stretching out to create their most varied and accomplished collection of songs to date.

"This was the first time musically that we wrote the entire record together," Marsala explains. "We tried not to over think it. We just got together every day and jammed until something caught our ears. Our only real goal was to make sure we were having fun during the entire process. That's why we started playing music in the first place, and I think we definitely achieved that goal. I had more fun writing and recording The Constant than any other record in our career." This relaxed environment allowed STORY OF THE YEAR to experiment with ideas that they hadn't pursued in the past as evidence on tracks like "Eye For An Eye," a one-take punk song that started as a joke at practice or "Holding On To You," which sees the band showcasing a more vulnerable side to their typically aggressive sound. "That's probably the lightest song on the record but I think it turned out better than I ever could have imagined," Marsala says about the aforementioned track. "Musically, The Constant ranges from fast hardcore punk to melodic piano ballads with everything in-between."

This newfound freedom of expression also extends to The Constant's lyrics, which see Marsala exploring his own psyche with remarkable clarity. "I dug a little deeper personally with what's going on in my head with the lyrics this time around," he says. "There are still four or five songs that are socially political and similar to what we did on The Black Swan, but I definitely think it's a progression for me." The album title also embodies the band's work ethic and commitment to both themselves and their fans. "Music is the constant thing in life for us," Marsala explains. "When I go to bed I think about music and when I wake up it's the first thing on my mind," he continues. "The Constant can mean anything; hopefully our band will go on forever and we want music to remain a constant thing in our lives no matter what."

Ultimately having already conquered the mainstream charts and converted countless cynics via their music and incendiary—and acrobatic—live performances, which are documented via their DVD Our Time Is Now (Two Years In The Life Of…) and CD/DVD Live In The Lou/Bassassins, at this point STORY OF THE YEAR are making music simply because they love it without any other outside influences creeping in to distract them. "We're not trying to be the biggest band in the world or write songs to be on the radio," Marsala acknowledges. "We just want to make music that we love and that people will come see live; it's not about making millions of dollars, it's about having a solid label that will release your stuff and help you deliver honest music," he summarizes with more than a hint of hope in his voice. "We plan on doing this until we're old men and The Constant is just the next step on our musical journey."
Whitechapel
Whitechapel
Having spent several years lauded as one of the frontrunners in their genre, in 2012 Whitechapel stand as a defining force in contemporary heavy music. Building dramatically on the trademarked bludgeon of their first three releases, with Whitechapel the Tennessean sextet have inarguably delivered their most intense, dynamic, and downright hostile record to date. Drenched in atmospheric darkness, the record is also rife with gripping melodies that drag the listener in to the tumult, willing or otherwise, and across its ten tracks it is infused with an emotional depth that pointedly separates the band from the plethora of two-dimensional mosh-starters that have sprung up in their wake. "These songs are some of the best material we have released to date, and the whole vibe of the record compelled us to self-title it," states guitarist Alex Wade. "With every record we strive for something different – we're always going to stay true to what Whitechapel is, but we want to evolve and do something that is fresh and engaging both for ourselves and for the people who support us."

Setting the scene with the brooding piano that prefaces the storm of frantic riffs and pulverizing drums of opener "Make It Bleed", it is clear that Whitechapel are coming from a place of pure darkness this time out. At times teetering on the brink of despair while always primed to fight anything and everything that gets in their way, every track has its own personality, fitting perfectly alongside each other to form a breathtaking whole. From the heads down attack of "Section 8" or the merciless "(Cult)uralist" to the apocalyptic drama of "Dead Silence" or the loping grooves of "Possibilities Of An Impossible Existence" the band put it all on the line, creating something that is as honest as it is devastating. "There's a lot of variety on this record – it has the fastest songs we've ever written on it, but it also has the slowest songs we've ever written, so whether you like the slower grooves of A New Era Of Corruption (2010) or the really fast riffs of This Is Exile (2008) there is something for everyone on this album," explains Wade. "It also has a much stronger sense of dynamics, because if you're just smashing someone over the head one hundred percent of the time it can get monotonous, and there's more melody to it too. Some of the choruses are really dark but have so much melody you could almost sing over them – which is something we would never do, but having that dynamic there is exciting to us." Having grown displeased over time with A New Era Of Corruption, primarily due to the fact it was comprised of songs written by individual members rather than as a shared effort, the band rectified this with Whitechapel, and Wade believes this collaboration plays a large part in what sets the record apart from its predecessor. "In the credits of the last record it was like this guy wrote this song, and then this guy wrote that song, whereas there's so much collaboration on this record it wasn't worth going through it to try and list it in the credits, it is the product of our efforts. I think that's cool, and it's good to know that when we work together we're at our finest."

A further contributing factor to the record's power is the addition of drummer Ben Harclerode (ex-Knights Of The Abyss), who joins Wade and guitarists Ben Savage and Zach Householder, bassist Gabe Crisp, and vocalist Phil Bozeman. "Most drummers that we had seen play our songs would kinda have to dumb it down rather than play it exactly the way it was on the record, but Ben sent us a video of him playing "Reprogrammed To Hate" and every single note, every little cymbal accent was there, so we were extremely blown away by how he had replicated what Kevin Lane had played on previous albums," Wade states. "He sent us another video playing the much faster "Father Of Lies" and after that we knew we had to get him down to jam with us. He learned an eleven-song setlist, turned up, sat down behind the kit, and we ran through the whole set without stopping, it was like he had been in the band for years. The power and precision he brings to Whitechapel is just amazing, and having him in with us writing the new record definitely took that side of things to the next level."

While frontman Phil Bozeman has proven himself one of the most formidable vocalists and lyricists in metal of the last few years, his previous efforts pale in comparison to his contributions to Whitechapel. "While it's definitely brutal I would say that first and foremost it's a dark and depressing record," he states. "I didn't go for one big concept that unites all the songs this time out, I just wrote about whatever I was feeling. I like that it's kind of scattered and covers a lot of topics, and I think that's an important part of the record's power." Whether ruminating on his general disillusionment with humanity ("Faces"), decrying the sheep-like nature of society as people allow themselves to be led rather than standing up as leaders themselves ("(Cult)uralist"), or giving in to the belief that there is no hope for the future ("Possibilities Of An Impossible Existence"), Bozeman never pulls a punch, and his vocal performance is equally unflinching. "I didn't want to just have the same monotone kind of screaming, I wanted to branch out and really get the emotion behind it across. This was about getting so angry you just had to let it all out. You're not even worrying about how good it sounds, you're just yelling out of pure spite and rage, and I think that really comes across. I didn't want anyone listening to it thinking it's just the same old bullshit. We're better than that."

Working with producer Mark Lewis (Deicide, Devildriver), according to Wade it was not until they were in the studio and the songs started coming together that the band realized just how good a record they were making. "Honestly, everyone at the beginning of this record was kind of iffy about it," he laughs wryly. "As we were putting the demos together we were like yeah, this stuff's pretty cool but we were a little worried about it. But then when we got in there with Mark, every time we added a layer it just got better and better." Blown away by Harclerode's razor sharp performance and the huge drum sound engineered by Lewis, a killer guitar tone infusing the wealth of punishing riffs with life, and a monstrous bass sound kicking things in the ass, at every turn the band's enthusiasm grew. "It was all just coming together amazingly, and as soon as Phil did his vocals it was like oh my God! This is our favorite record!"

Returning to their rightful place on the road, the band are enthused to take these new songs to their rabid fan base. They stand confident in their belief that their followers will hungrily devour the latest evolution of their sound, and having dramatically bolstered their fan base through blowing away the unsuspecting crowds on 2010's Warped Tour they are sure to draw in new adherents anywhere they play. While Wade firmly believes that the band are still growing and striving to improve, for now he could not be happier with the fruits of their labor. "Every band at some point plateaus, it's inevitable, but we're not there yet, we're still growing, and I think this record proves that. Looking at the finished thing – the music, the vocals, the overall vibe behind it, all the way down to the mix and the master – it's almost like a perfect storm where everything came together just right and resulted in the record that we needed to put out."
Dance Gavin Dance
Dance Gavin Dance
Dance Gavin Dance is a six-member post-hardcore/experimental band from Sacramento, California.
The Almost
The Almost
It's all too easy to make an album in this day and age. You rent out a studio, record one part, and then cut and paste it across the whole record. That happens partly because of fear. Putting your soul on tape is a scary thing. THE ALMOSTovercame that fear and did something completely different for not only themselves but modern rock as a whole. They holed up in a small room in Nashville's Omni Studios for only five days and played every note of their third full-length album, FEAR INSIDE OF OUR BONES (Tooth & Nail/EMI/Universal), together in unison.
Now, there's an overwhelming thunder on the horizon. It's the sound of a band realizing its potential. It's the sound of life. It's the sound of THE ALMOST.
The group made the decision to record the album in the same room completely live, and the album was born in their collective blood, sweat, and tears."Itwasn't a piecemeal process as the majority of modern records are," explains lead vocalist, lyricist and guitarist AARON GILLESPIE.With a little help from producer Marshall Altman (Tom Morello, Ingrid Michaelson, William Fitzsimmons), the music was made live over the course of merely five days. "It's something none of us have ever done and with the time crunch, we were surprised how tight of a live band we've finally become.Thematically, we bounced the entire record off using anxiety as our backboard."
THE ALMOSThave come a long way since the release of their 2007 debut, Southern Weather(Tooth & Nail/Virgin) which hit the Billboard Top 200 chart at #39 with 29,000 copies sold in its first week and spawned their first single "Say This Sooner" which hit Top Ten at Alternative Radio. In the aftermath, the current lineup--AARON GILLESPIE(lead vocalist, lyricist and guitarist), JAY VILARDI [guitars], DUSTY REDMON[guitars], JON THOMPSON [bass], and JOE MUSTEN [drums]—had solidified, and they played to rabid crowds around the world. In 2009, the group delivered Monster, Monster which Alternative Press hailed "a time-release painkiller: Once the emotionally charged rock gets into your system, its' good for a long-lasting buzz" (November 2009). After touring with Paramore, The Starting Line, The Used and a trek on the Vans Warped Tour the acclaimed group performed on Jimmy Kimmel Live!and have gone on to sell over 300,000 albums.
"We've always been polished in the studio," says Vilardi. "We never quite got the live energy down. We became a great live unit on the Monster, Monster cycle because we were busier than we'd ever been. That played into the vibe of this record. On stage, Aaron is a fireball of energy. We share anxiety. We're anxious little dudes, and you can hear that in the record because it's live."
"That's why it's got a gritty, dirty vibe," Gillespie goes on. "We went for it. We did Monster, Monster the traditional way. We spent a ton of money on a massive studio and all of these things we didn't need. It was amazing doing everything live. I'll do records like this for the rest of my life. We wanted to be on a time crunch so we only booked the studio for five days."
In those five days, the musicians tapped into elegantly visceral rock energy. Album opener "Ghost" echoes with unbridled blues intensity before converging on a divinely heavy refrain.
"The broken guitar sound at the beginning—the two notes that start our record—are my two favorite notes I've ever played," Vilardi laughs. "It's the perfect starting point.
About the lyrics, Gillespie reveals, "You have to test yourself. So often, we take things that we see and hear at face value. With yourself, you can't do that. You've got to test everything. You can't trust yourself until you've tested yourself. You've got to run your thinking through the lens."
Meanwhile, the first single "I'm Down" steams ahead like a swaggering Southern freight train before the singer carries a soulful chorus proclaiming, "Don't count me out."
"Musically, it's one of the rawest songs," Gillespie explains. "It's about relationships. For me, I felt like I failed someone and I was wondering if I could even give anything else. In a relationship, you get to that point where you wonder if you've failed so bad the other person will even accept anything else from you. You have to show the change in your heart and life for it to work."
Vilardi continues, "It's indicative of where we come from. This is a rock 'n' roll band, and people will hear that."
Across the entire album, Gillespie continues to wear his heart on his sleeve. He doesn't hold anything back within the lyrics or music. "I want to make music that I believe in," he proclaims. "I want people to trust that I'm being honest. I'm not so concerned about moving units or anything like that. It's about being honest with people. I want everyone to realize this is real. This is my life and reality."
"First and foremost, we have to like what we're doing," adds Vilardi. "That's such a crucial component of all of this. We need to make it as meaningful and great as we can. We need to completely believe in what we do, and that's the case with this album."
Amidst all of the thundering rhythms and massive riffs, The Almost's honesty resounds the loudest. "There's hope," Gillespie concludes. "People are free to feel the way they feel and go through what they're going through. We're free to hurt. We're free to live. I think music is the best vehicle to spread that. Music is the great communicator. This is my soundtrack, heartbeat, and who I want to be. I hope everyone feels like this record belongs to them."
Miss May I
Miss May I
Hailing from Dayton, Ohio, Miss May I claims a sound that is mature far beyond their years. With no members over the age of 19, they have been breaking out of the Dayton music scene with a sound that is unbelievably fast paced, heavy, and crushing, yet tastefully melodic and catchy. Currently writing for a full length debut with Rise Records, the band is gearing up for a 2009 release thats looking to propel them to the forefront of their genre.
Like Moths to Flames
Like Moths to Flames
LIKE MOTHS TO FLAMES have set the underground music scene ablaze in just a few short years, thanks to a decidedly unique, fresh and original take on an otherwise well-worn genre. Stomping sing-a-long anthems, pulverizing metal chaos and crystal clear/soaring shiny pop dance together with delicious freedom within the band's sound. Bring Me The Horizon, Devil Wears Prada and Miss May I are some of the only bands doing it at the same level of intensity, precision and passion as Like Moths To Flames, who have taken their rightful place alongside their scene counterparts while steadily maneuvering a career that is uniquely their own.

Upon the band's arrival, fans quickly became as passionate about the group's songs as the young men who composed them. When We Don't Exist took the early promise of the group's debut EP, Sweet Talker, and expanded upon all of its ideas. When We Don't Exist is broader, catchier and more fired up than the vast majority of the likeminded genre records being downloaded, streamed and otherwise consumed around the world. One listen to the group's output is all the evidence one needs to understand why the Like Moths To Flames has dominated on the road on The AP Tour with Miss May I and The Ghost Inside, the Scream It Like You Mean It Tour with We Came As Romans and Attack Attack! or supporting groups like DRUGS. The two newer songs on the deluxe edition – "Learn Your Place" and "Shapeshifter" – inch even further toward that proverbial "next level," looking toward the future.
Vigilant fans of the metalcore sound were well aware of vocalist Chris Roetter before the band began. Like Moths To Flames is the culmination of all of his travels, experience and relationships from the years he spent fronting Emarosa and Agraceful. The rest of the band cut their teeth in smaller acts as well. Guitarist Eli Ford was formerly in My Ticket Home. Drummer Greg Diamond came from The Air I Breathe, while bassist/backing vocalist Aaron Evans (who started LMTF with Roetter) and lead guitarist Zach Huston played in TerraFirma together.
"Aaron and I were in bands that had seen the bad side of the music business," Roetter explains of the group's formation. "This time around, we wanted to make sure that we were playing music that we had a good time with. We wrote music that we liked that we knew that we would like to play live. We knew we wanted to go out and have fun we want to do it our way, however we wanted."
The band found their footing with their debut EP and then really developed their sound with their first full-length, which is chock full of angry bile and exposition reflective of a singer with plenty to get off his chest.

Like Moths To Flames embarked on the "A Metal Christmas" tour to support their inaugural EP on Rise Records, together with Texas In July and A Hero A Fake. After a lineup reshuffle that resulted in the current incarnation save for the drummer position (which shifted shortly thereafter), the band recorded their first full album, which was released in November, 2011. In the following January, they hit the road on the S.I.N. Tour with D.R.U.G.S., Hit the Lights and Sparks The Rescue. Next they found themselves back on tour with their friends in Texas In July. Next came the summer's Scream It Like You Mean It Tour. The year wrapped up with Like Moths To Flames joining The AP Tour.
In an era of verse/chorus/verse screaming and singing, Like Moths To Flames aims for a more organic blend of the two styles that serves the song rather than a formula. Even as people continue to discover When We Don't Exist, Like Moths To Flames are putting their eyes toward the bigger prize of album number two, which the band intends to make even "darker" and "more eerie."

Spending ten months out of the year on the road, the group is fully committed to making music their long-term lifestyle. At the end of the day, the band's raison d'etre is simple. "I want to be able to connect with people through writing songs," Roetter says. "That's something that I've been able to do since I was younger and that's something that I want to continue to do. We want to be able to meet fans and people and play our music. More time out on the road playing shows for more people is going keep lighting the fire under the band to keep it going."
Goatwhore
Goatwhore
Over the course of nearly 15 years and an incalculable amount of tour miles, New Orleans' own Goatwhore have inadvertently established themselves as one the most diligent and consistently ferocious bands of the 21st century. Forged in fire by ex Acid Bath/Crowbar guitarist Sammy Duet in '97, their storied legacy follows a dramatic —and often traumatic — series of lineup shifts, injuries, haunting
s, natural disasters and an assortment of other mishaps large and small. But, driven by a blood oath to heavy metal and perhaps the powers of Satan himself, Goatwhore forever persevere.

Their journey began with the bestial Serenades To The Tides Of Blood demo and subsequent Eclipse Of Ages Into Black debut full-length unleashed over a decade ago. Then a five-piece comprised of Duet, Soilent Green vocalist Ben Falgoust, guitarist Ben Stout, bassist Patrick Bruders and drummer Zak Nolan, the band's stanch DIY work ethic, rigid tour schedule and the bludgeoning force of songs like "Invert The Virgin" and "Desolate Path To Apocalyptic Ruin" quickly spawned a maniacal cult following. By 2003, Goatwhore had systematically harvested a legion of followers possessed by the band's profound maze of unhallowed lyrics, Celtic Frostian rhythms, and blackened bayou swagger. Catastrophe–brewed sophomore release, Funeral Dirge For The Rotting Sun, bore a slower, broodier brand of apocalyptic menace; onethat trailed a near-fatal van crash that left Falgoust temporarily paralyzed and the future of the band in disarray. Against all medical odds, Falgoust regained use of his legs and the band, now a four-piece with Duet taking on full guitar responsibilities, quickly returned to their rightful place on the road. Seemingly drawn to bouts of misfortune, A Haunting Curse found the revised Goatwhore lineup of Duet, Falgoust, drummer Zack Simmons (ex-Nachtmystium) and bassist Nathan Bergeron, fleeing the debilitating floodsof Hurricane Katrina. Delayed but undeterred, Goatwhore's first Metal Blade offering proved their most volatile yet. Relentless in speed, precision and barefaced animosity, Goatwhore had traveled well-beyond the confines of conventional black metal with a thrashier end product that fully-embraced their long-avowed Hellhammer and Venom devotion without ever plagiarizing it.

Released in 2009, the sinistral Carving Out The Eyes Of God hit with titanic urgency. Hailed among the year's most worthy metal albums by fans and critics nationwide, Goatwhore's fourth long-player shattered mainstream conventions. The recordbroke Billboard Top 200 ranking in at #190, debuted on the Billboard Hard Music chart at #33, the Billboard Top New Artist (Heatseekers) Albums chart at #16, and the Billboard Top Independent Albums chart at #34. Decibel magazine declared the production,"the band's tightest, most guitar-driven offering to date. An unholy smorgasbord of rigid tempo shifts, gargantuan hooks, blasting black mass anthems, and Falgoust's soot and venom snarl…," while Outburn compared it to, "a modern day, 'roid-injected sword fight between Celtic Frost and Venom." High traffic web portal Blabbermouth crowned the production "…one of 2009's purest metal albums…nefariously black and sadistically thrashing in a way that is uniquely Goatwhore," while MetalSucks proclaimed Carving Out The Eyes Of God "the catchiest album Goatwhore have ever released." Furtheralbumtriumphs included a spot on the 2010 edition of Ozzfest and two performances at the annual SXSW music conference enabling the horned collective to deliver their sadistic hymns of religious treachery to an even broader sect of listeners.

For the next two years, the band maintained an infamously unyielding tour cycle, leveling cities throughout the US, Canada, Europe and Australia with their universally praised live rituals. Further educating the potentially unversed, "Apocalyptic Havoc" appears on the Xbox 360/PlayStation 3 game soundtracks for Splatterhouse and more recently, Saints Row 3, while the video for the song was featured in an episode of Last Call with Carson Daly. And as if to close out a near perfect run of riotous adventures, Goatwhore was named Best Hard Rock/Metal Artist of 2010 at The Big Easy Awards last April, a deserving honor based on performance throughout the year.

In 2012, Goatwhore again raise their cloven hoofs in salutation to Blood For The Master. Now featuring Duet, Falgoust, Simmons and bassist James Harvey, who joined the goaty ranks in 2009 following the departure of Nathan Bergeron, the record finds Louisiana's notorious metal horde at their most unified. Recorded and mixed at Mana Recording Studios in St. Petersburg, Florida with longtime friend/producer Erik Rutan, who worked with Goatwhore on both Carving… and A Haunting Curse, the ten-track, 38-minute Blood For The Master is epic in sound, mind and execution.

Released through Decibel Magazine's flexi series, and later posted online for the masses to absorb, a cover of Motöhead's "(Don't Need) Religion" was presented as an album teaser in October. An appropriately infernal rendition of an often neglected classic, the song served as the perfect precursor to an album prevalent in its hailstorm of fist-pumping, heathen anthems and rhythmic devastation.

Exhibiting a labyrinth of moods and meticulous tempo shifts, Blood For The Master is streamlined without ever rendering itself predictable. As memorable as it is menacing, the band's fifth full-length quite literally writhes under the weight of its own deviant heaviness. Led by the traditionally iconoclastic sermons of the leather-throated Falgoust, and made whole by its mammoth guitar tone, unconditional drum/bass battery and Duet's intermittent snarls of wrath, the record again challenges god's legitimacy/authority while further exploring the ritual of death. Conveyed with a poetic, near occultish grace, songs like violent opener "Collapse In Eternal Worth," "Embodiment Of This Bitter Chaos," and "In Deathless Tradition" finds Falgoust, dubbed "one of the best live and recorded singers in metal history," by notable Canadian website Hellbound, in full domination mode. "I always have a lot of words," he elaborates. "I don't like repeating things but I've started doing more chorus-verse-chorus stuff. I started letting the music breath more."

"It's not like the new songs are a drastic change," Duet noted in an early interview with Decibel Magazine. "It's like an experimentation on how much more metal we can get – I mean actual metal; the roots of heavy metal. But not in a way that it sounds like power metal or anything like that. It's like an extremely metal version of us."

"I thought this was a lot harder to write just because we didn't want to repeat ourselves," he further notes. "I mean, we could have easily gone and written another Carving Out The Eyes Of God but we didn't want to do that. There are still elements on the new album that we wouldn't normally do, but it definitely still sounds like us."

"It's definitely harder at this point," Falgoust agrees of the writing process, "because you start to get to the point where you're a little older and more conscious about your ideas and everything; you become more anal about things. I'm still getting used to it, but I really like it. I like the flow. When we write, we try to think of it in a live approach. A lot of people write records but they never really focus on playing it live but that's so important. We can do all of these songs live, which is something we did with Carving… as well."

"I think sometimes we get slighted for stuff" Falgoust continues on where the band now fits within metal's ever expanding pantheon of subgenres. "Whatever terms people decide to lock us into— black metal, death metal, black death metal, everyone's gotta have some kind of little blanket. It's almost like a social standing. To me, it's all just straight heavy metal."
Band of Orcs
We're oRcs that play metal!

Until the Domination, oRc on!!!!
Iron Reagan
3 Inches Of Blood
3 Inches Of Blood
Raised in hell, forged by fire and harder than Krupp Steel, 3 INCHES OF BLOOD are about to triumphantly return as one of the biggest defenders of traditional heavy metal with their stunning new album, "Here Waits Thy Doom"! The new opus was tracked in Seattle's Sound House Recordings with renowned producer Jack Endino (Soundgarden, High on Fire, Zeke) and is soon to be hailed as the gospel of all things heavy.

"Here Waits They Doom" marks the recording debut of extremely talented drummer Ash Pearson that lends a whole new dynamic to the band's already lethal assault. This disc is also the first offering where Cam Pipes handles all vocal duties with Justin Hagberg adding some backups. Guitarist Shane Clark and Hagberg also laid down all of the bass tracks themselves, ensuring maximum shred on the album. Although the lineup is different, the aesthetic remains the same, and the technical proficiency surpasses that of the last record.

Shane Clark (guitars) states: "Our new album is finished and we've named it "Here Waits Thy Doom". Much like our last record it is a step beyond the album that precedes it. We've again taken what we do a step further and not made "Fire Up The Blades" part 2, we've stuck to our formula - no formula. We are true metal fans and we've made an unapologetic metal record. I think this our most focused record to date, from writing all the way to mixing there was no unnecessary drama or too many cooks in the kitchen. This is 3 INCHES OF BLOOD at its most punishing, epic and mighty."

Born out of a love for pure metal, 3 INCHES OF BLOOD have been slaying the infidels of extreme music for nearly a decade. In that time, they've released three albums and toured with such acclaimed acts as Satyricon, The Black Dahlia Murder, Motorhead, Cradle of Filth or Exodus, just to name a few. With their last album, "Fire Up the Blades", they crafted a number of undeniable anthems that crash, rip and roar like a Medieval battleground. With their first album on Century Media Records, "Here Waits Thy Doom", 3 INCHES OF BLOOD now up the ante and will leave every metal fan crying iron tears of pure joy!

3 INCHES OF BLOOD represent everything that heavy metal was, is and will be about! "Here Waits Thy Doom" demonstrates that the best way to stay ahead of the heavy metal curve is to write music that comes from the heart and sounds nothing like the horde of bands tapping into the latest trends. To that end, they draw fuel from their favorite artists, including Judas Priest, Mercyful Fate, UFO, and Rainbow and compile it all into their own deadly potion.

Take a running dive into The Blades, and find out.
Capture The Crown
Capture The Crown
Death Angel
Death Angel
Among the youngest bands ever to storm the metal genre, Death Angel has come to be known as one of the most influential bands to emerge from the thriving Bay Area Thrash Metal Scene in the early 1980s, an era when one could catch Cliff Burton (Metallica) at the front of the stage at Ruthie's Inn banging his head to Death Angel's inventive style, and speedy, complex arrangements

In 1986, a Death Angel demo produced by Kirk Hammett (Metallica) titled "Kill As One" sparked the interest of Enigma Records. Then, in 1987, Death Angel's debut, "The Ultra Violence," was released. Drummer Andy Galeon was just 14 years old at the time. The album was a full-frontal assault on the ears, buzzing with the group's youthful energy, and "The Ultra Violence" sold 40,000 copies in just four months. Another innovative recording, "Frolic Through the Park," followed, marking Death Angel's evolution both lyrically and musically. "Bored," another track from the band's second release, highlighted the cutting-edge band's inventive dynamics, and won a spot on MTV's "Headbanger's Ball."

Geffen Records was impressed enough with Death Angel's television premier to offer the band a deal, and Death Angel became the first band of their breed to appear on the major label's roster. At Geffen, the band released what is widely regarded as one of the most original and accomplished thrash metal albums ever recorded, "Act III." The record pushed the limits of the genre to create something truly unique, a definitive work that is essential to any metal fan's music collection. Death Angel's masterful songwriting ability was once again on display nationwide in 1990, as the videos for "Seemingly Endless Time' and 'Room With A View' saw heavy rotation on MTV.
Battlecross
Battlecross
The young band's career kicked off what every metal musician dreams of: amazing album reviews from Metal's most respected publications for their 2011 debut on Metal Blade Records, Pursuit of Honor. Metal Assault named the record "one of the most 'complete heavy metal albums in recent times' while receiving high praises from heavyweights Revolver, Decibel, Blabbermouth and others. With killer reviews across the internet and in print publications throughout North America and overseas (including band of the month in Metal Hammer Norway and Metal Hammer Spain), it should be no surprise that this blue collar, hard-work ethic that comes from the members of BATTLECROSS translates into a potent force on record as well as a high-energy live performance winning fans across the country on some of the metal's highest profile tours.

The growing buzz over Pursuit of Honor positioned the band for opportunities that have proven to be stepping stones for what is expected to be a long and exciting career for BATTLECROSS, starting with a spot in a 2011 CMJ Showcase with Skeletonwitch and Kvelertak and the band's first tour ever, an Eastern U.S. run with Rose Funeral and Diamond Plate. It was during this tour that BATTLECROSS was introduced to North America and became SiriusXM Liquid Metal mainstays with the single Push Pull Destroy, which spent over 30 weeks on 'The Devil's Dozen' and reached the #1 most requested song for five weeks and to date, over two million YouTube views. Throughout 2012, satellite radio introduced singles 'Breaking You' and 'Man of Stone', together spending a total of 50 weeks on Jose Mangin's popular Metal Countdown.

BATTLECROSS' reputation for technical talent, humility and fan engagement earned the band the opportunity to continue their climb with an appearance at 2012 SXSW Metal Blade Showcase; tours with: Hate Eternal and Goatwhore (Winter 2012), Origin, Decrepit Birth, Cattle Decapitation on the Occupation Domination Tour (Spring 2012), Metal Hammer's Trespass America Festival with Five Finger Death Punch, Killswitch Engage, and Trivium (Summer 2012), a headlining stage appearance at Heavy MTL, opposite System of a Down and high-profile shows celebrating Metal Blade's 30th Anniversary with As I Lay Dying, Six Feet Under and more.
Revocation
Revocation
Revocation returns with a new album of masterful modern metal in Chaos of Forms. Unforgettable songs bend, stop, twist, and shred at virtuosic levels while exploding with frenetic energy. As future classics "Cradle Robber", "Dissolution Ritual", "No Funeral", "Cretin" and more show, each aspect of the band has been honed to deadly perfection and brings to fruition the promise that (the previous full-length) Existence Is Futile hinted at. Chaos of Forms proves beyond doubt that REVOCATION are masters of their craft and metal's finest new band.

"absolutely godlike death/thrash." - Decibel

"a whirlwind of methodical metal in its highest form; aggressive, heavy, challenging, melodic and oftentimes, dare I say, fun as fuck to listen to." - Metal Maniacs

"Taking the excellent dynamics of Pestilence with the visceral intensity of Sepultura and the technical prowess of Carcass combined with shredding extensive leads and solos Revocation are a band that is going places." - Masterful-Magazine.com
Set it Off
Set it Off
Since their formation in 2008, Set It Off has already released three EPs, signed to Equal Vision Records, toured non-stop, and shared the stage with the impressive likes of My Chemical
Romance, A Day To Remember, Say Anything, Against Me! and We Came As Romans. And now they're ready for more.

In a recent interview with Alternative Press, Carson explains that the new album features Set ItOff's signature sound of orchestra-infused pop with a new sense of heaviness, diversity and intensity in the album, both lyrically and musically. He states, "What's really present on thisalbum…we're very theatrical when we present our story. If it's a darker subject, there is a lot of
angst and neurosis that goes into that song…In fact, in one song, Zack and Ken think I sound like the Joker from The Dark Knight. Not that I'm going for that, I just really try to get into character for each song as far as the mood goes. It has that diversity, but it still sounds like Set It Off."

In a separate interview, Carson further expounded on the band's experience in working with Zack and Kenneth recalling, "Our favorite phrase they would use is 'You can beat that.' They allowed us to become better musicians and individual writers…in the vocal booth, they helped drive my darker side out of me when it needed to show. Through bringing it out in the studio every day, it allowed me to bring "him" out on stage too. It's like therapy for me."

For their first full-length ever, Set It Off ambitiously set out to take their signature sound to the next level and pushed themselves further than ever before in every possible way – technically, musically, lyrically and emotionally in the writing and recording process. "Musically I feel like we are the strongest we've ever been. All the touring we've done in the past year has made us night and day tighter for our live performances and working and meeting other musicians on that next level has forced us to push our skills musically in all aspects from playing to writing," explains Clermont.

Danziger notes that, "Once we got in to the swing of things though, it started coming together very naturally…we liked what we did with Horrible Kids and you can definitely hear that sound in this new record." He continues, "But a lot has happened in the past year. We've made new friends, faced new challenges, had new experiences, and from that we've all grown up a lot. I think the new album reflects how we've changed as people. It has a similar feel to our most recent EP, but is more mature and polished."

In August 2011, the young band made their label debut with the re-release of their third EP Horrible Kids, which garnered widespread praise in the press from the likes of mtvU, Alternative Press, Guitar World, Rock Sound, Outburn Magazine and more, launched them into countless tours around the US, and ultimately prepared them to write and record their first full-length record. Horrible Kids debuted at No. 63 in the 100 Alternative Albums on iTunes, with their music video for "@reply" featured as an iTunes "Hot Music Video" and the music video for "Breathe In, Breathe Out" receiving great accolade on its own, as it was added to rotation on mtvU after winning the station's The Freshmen challenge.

Horrible Kids was recorded at Red Sparrow Studios in Wilson, NC with Brandon "B-Real" Ham and John Harrell and mastered by Paul Leavitt [VersaEmerge, The Dangerous Summer]. The EP blends contagious, driving melodies and hard-hitting choruses with genuine sincerity and a powerful message, creating an emotional concept album referencing the troubles of being bullied growing up and importance of being yourself and embracing who you are no matter what. The band's new album takes the same energetic and passionate approach, but strays from a specific theme, allowing the band to touch on a broader spectrum of topics. "Lyrically, Horrible Kids was me digging deep into my past. With the new album, you're getting to jump inside my head and think how I think, feel what I feel, and really understand how human we all are." Carson confesses openly. "We are human – we have good times, we have bad times, we think pure thoughts, and we think impure thoughts. As far as how I describe these situations, I want you to feel like you are sitting down for a short film…and if I'm not evoking any sort of emotion from you then I'm not doing my job."

"We are very proud of our last release, Horrible Kids EP, but this album is just on a different level, and we're very, very excited about it," concludes Danziger. "This is a new era of Set It Off, and we're ready for it. "
Holy Grail
Holy Grail
Straight up Heavy Metal from Pasadena, CA on Prosthetic Records.
Sylar
Sylar
Sylar is a metalcore band from Queens, NY formed in 2011. They released their debut EP Cutting the Ties digitally via iTunes on November 1, 2011. Lead vocalist Jay Panesso has been selling merch for Emmure since 2011. The band just finished up their second EP produced by Caleb Shomo of Attack Attack!.

TO WHOM IT MAY CONCERN | OUT NOW
DOWNLOAD: http://georiot.co/SYLAR
MERCH: http://sylar.merchnow.com/
I AM KING
I AM KING
we... have forgotten our place,
we have traded who we are,
for the sake of a comfortable lifestyle

we find our identities in our cars,
and the money in our pockets,
rather then our souls,
which is what truely defines us all

there is a man behind a mask,
swallowing us alive,
yet hidden in the shadows

FIGHT BACK!
GET ANGRY!
YOU have a purpose,
so seek it out

this is a revolution,
and if I AM KING,
YOU ARE KING.
I AM KING
I AM KING
we... have forgotten our place,
we have traded who we are,
for the sake of a comfortable lifestyle

we find our identities in our cars,
and the money in our pockets,
rather then our souls,
which is what truely defines us all

there is a man behind a mask,
swallowing us alive,
yet hidden in the shadows

FIGHT BACK!
GET ANGRY!
YOU have a purpose,
so seek it out

this is a revolution,
and if I AM KING,
YOU ARE KING.
Venue Information:
QuikTrip Park
1600 Lone Star Parkway
Grand Prairie, TX, 75050
http://www.quiktrippark.com/