ANTHRAX, HATEBREED, Shadows Fall, Exodus, Municipal Waste, Black Breath, Trap Them
Palladium
04/19/2013 01:00 PM EDT
$35 adv./$40 day of/$90 three day pass
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Supporting Acts: Holy Grail, VYGR, Dead by Wednesday., Mutilation Rites, Death Before Dishonor, Xialba, The Mongoloids, Powertrip, Expire, TWITCHING TONGUES, Suburban Scum, Rude Awakening, The Greenery, Disgrace, Antagonist AD, Municipal Waste
ANTHRAX
Worship Music Biography
Joey Belladonna - vocals
Charlie Benante – drums
Frank Bello – bass
Rob Caggiano – guitars
Scott Ian – guitars
TV has soap operas, literature has Shakespeare, and metal – well, metal has Anthrax, that fire-breathing, thrash-spitting, multi-headed beast of a band that – 30 years since the day Scott Ian and then-bassist Danny Lilker searched a biology textbook for the disease that would become their moniker – smiles back at you with a monstrous, upturned middle finger and refuses to fucking die. But then, if you have an inkling about heavy metal, you'll have heard of their meteoric rise in the 80s alongside the likes of Slayer, Megadeth, and a little band that once crashed on Anthrax's studio floor known as Metallica. You'll know all about their game-changing, crossover hit with Public Enemy on Bring The Noise in 1991. You'll have listened to generations of bands that owe everything to their signature stomp and crushing riffs. And in more recent times, you'll have witnessed an almost irrational will to survive in defiance of monumental odds. And that, true believers, is the story of one of the most doggedly heroic bands in metaldom on the cusp of their greatest release to date. The road has not been easy.
Rewind to 2005. Hot on the heels of 2003's rapturously received We've Come For You All, a unanimously praised, end-to-end scorcher spearheaded by vocalist John Bush, Anthrax shocked the metal world with the announcement that singer Joey Belladonna would be re-joining the band for a classic, 80s-era reunion that would sweep them around the world on a wave of head-banging nostalgia, but more importantly, reconnecting the band as friends and as the brutal thrash machine that gave the world Among The Living.
Once that tour finished, Anthrax returned to discover that John Bush had moved on, and they would need to recruit yet another singer for the recording of their follow-up to WCFYA, the album that would become Worship Music, their tenth studio album. The band worked with one singer for a period of time, but in 2009, they were still without the right vocalist.
“There was no way I was going to let anything derail my life's work,” says Scott Ian. “We've been through more drama than most bands experience in a lifetime. Granted, we didn't have to deal with somebody dying or some tragic situation but at the same time we really did face an uncertain future. For lack of a better way to explain it, I am a tenacious prick, and if I want something to happen I will make it so. It's always been like that. It touches on the 30th anniversary. I think back to July 18, 1981. Danny Lilker and I were friends and I always said to him, 'when White Heat [Lilker’s band at the time] break up, we're forming Anthrax,' and he was like, 'we're not breaking up.' I've always been like that, and with such an amazing record to put out, there's no way I was going to let anything screw that up.”
Refusing to accept their predicament, the remaining members rallied themselves in a spine-tingling gesture of conviction and self-belief for what would become the single greatest metal event of the 21st century, the first-ever performance of The Big 4. According to Charlie Benante, getting the band's proverbial excrement together for that gig was just the motivation that Anthrax needed to spit out the blood and get back on their feet.
“The genesis of this whole Big 4 idea – and you could say the idea of getting Joey back in the band full time - was at the Rock and Roll Hall of Fame,” Benante continues. “It was me, Lars, and Scott talking at the bar, bullshitting, and Lars just blurted it out. It was such a surreal moment, we weren't sure if he was taking the piss out of us and all of a sudden it just happened. It made us really say 'we need to step this up and get this thing going.' It was because of that that we were pushed into this direction. Metallica gave us the kick in the ass that we needed.”
“Joey was the band’s vocalist from ’85 to ’92, the time period when ‘The Big Four’ started,” added Scott, “so we felt he had to be the guy to represent us on these Big Four shows, and he had to be the guy on the new record.”
Rob Caggiano picks up the story – “So Charlie called Joey, they started talking and Joey expressed an interest. Then we all met with him in New York and while the vibe was really good, none of us really knew what to expect. Then we did the first Big 4 show with Joey, I think that’s when we all knew that this was right. The vibe was amazing, he sounds better than he’s ever sounded, including the reunion tour.”
Reuniting with Joey Belladonna for a whirlwind, globe-stomping tour that would see Anthrax playing shoulder to shoulder with Slayer, Megadeth and old pals Metallica, the explosive success of The Big 4 would suddenly beg the question of what would happen next, and more to the point: who would sing on Worship Music, and how would Anthrax approach the follow-up to We’ve Come For You All? It wasn’t easy, but – from the ferocious attack of “Earth on Hell” to the red-blooded might of “Fight’em ‘Til You Can’t,” the results have been nothing less than horn-conjuring.
“The majority of this record was about 55% done before we even had a singer in mind,” explains Charlie. “It was me, Scott and Frankie in our rehearsal room, the same way we wrote Spreading the Disease - with no singer in mind. But I'll never forget the day I first heard Joey singing, I got goosebumps, I got excited - all I could think of in my mind was 'how will he sing this song' and it was just amazing to me. Every time I heard the next song I would be like, 'this rules.'”
“The process leading up to it was painful but I think being in Anthrax is painful,” says bassist Frank Bello with a laugh. “I think everything happens for a reason and to listen to this record now, this is the reason it had to happen that way, and I am loving Joey's voice. I'm listening and I'm thinking 'you know I can't tell you when he sang better.' I'm not gonna kiss his ass that much but I really think the guy just doesn't age. He weirds me out because he just goes out there and sings like a bird, amazingly, with power. He came into a hard situation. He really rose to it. When Joey came in it was like the icing on the cake for me. ”
Joey agrees: “It's not easy to throw someone in there and try to wash away what you've done and how you've done it,” says Joey. “I feel honored, but I also feel like I've done a lot to be there, I wasn't just saying 'oh I've got a chance again.' I just thought I'd be who I was without being like 'can I be like someone else?' I just went in and sang with the best intentions. I just did whatever came from my heart to the best of my abilities, and it worked.”
And that is an understatement. Co-produced by Rob Caggiano and Jay Ruston (both Grammy-nominated producers), the album takes its name from one of Charlie's late-night bouts of insomnia where, while flipping through TV channels he stumbled upon a religious-themed infomercial entitled “Worship Music.” A fitting sentiment for an undeniable masterwork of skewering melodies powered by herculean riffage and a tunefulness that bespeaks Anthrax's utter supremacy as songwriters. From the haunting, ethereal tones of “Worship” – an atmospheric piece composed by Charlie himself – to the punch-in-the-face assault of opening track “Earth On Hell,” the results are positively badass. But that isn't to say Worship Music is without its deeper subtexts.
“The song “In the End” has a melancholy feel to it,” says Charlie. “It has nothing to do with the band, but two people who had a lot to do with our band, Dimebag and Ronnie James Dio. They were both heroes and huge influences on us. Darrell played on the last three Anthrax records, a sixth member if you will, and Ronnie was always a champion for us, taking us on tour, just being so amazing to us always. It had to be made, and it was very cathartic.”
“It's just an epic piece of music,” adds Scott. “Of course in the back of my mind I was thinking, 'if somehow I could get this in the lyrics without it being completely cornball, that song would just lend itself to expressing the feelings and emotions about how we felt about what those guys meant to us -- Did we ever tell you how much we loved you tearing my head off tearing my face off ripping my heart out.” I meant that in a good way. The first time I ever heard Ronnie James Dio, my world was fucked forever.”
Of course, Worship Music also features a far more obvious musical tribute about Anthrax's greatest inspiration, Judas Priest, mysteriously entitled... “Judas Priest.”
“We wrote it right at the time the announcement came that they were retiring,” says Scott. “I just got so bummed out about it, almost the same way I felt with Ronnie dying or Darrell getting killed, it was a similar emotion, like: 'is this what it's like now, I'm just going to see my heroes go?' It kind of depressed me. The thought of a world without Judas Priest is just weird, so I remember talking to Charlie and we agreed we should just write a song called ‘Judas Priest.’ It was such an overtly, metal song, and that in of itself is the tribute.”
Alongside the colossal crescendo of “Crawl” and the irresistible catchiness of “The Devil You Know,” Worship Music is a record of mass destruction to be released upon the world, and to the delight of fans everywhere it already began when, in July, the Anthrax.com was updated with new artwork by universally acclaimed comic artist Alex Ross and an offering of “Fight’em ‘Til You Can't” as a free download that swept across the internet like a thrash metal hurricane.
“Basically, we made our fans wait so long so it was like 'why make our fans pay for it?” says Charlie. “They've waited so long, so here's a gift.'”
“’Fight’em ‘Til You Can't’ is about humans fighting the Cylons,” adds Scott, referring to the title’s relationship to a famous line in the recently re-imagined space epic “Battlestar Galactica.” “My take is more Zombie-oriented than Cylon oriented, but I think you could absolutely read it as Anthrax fighting until we can't. I'm sure that was in the back of my mind. As much as I like the idea of it just being a fun-filled Zombie killing romp, that emotional thread pretty much runs through everything I'm doing lyrically, you can't keep me down, I'm gonna do what I'm gonna do.”
Given that this year Anthrax celebrates its 30th anniversary of fighting the good fight, Scott's sentiment is a poignant one. So how does it feel to be releasing a new record over three decades since you began?
“It freaks me out actually, that that much time has gone by,” says Charlie. “In my mind I still feel like the same person from back then, but if we were to do this ten years ago, I would be more concerned about staying relevant and this time I could care less about staying relevant. It's about doing what I think our fans enjoy.
“I truly can't put it into any kind of context because we're just so busy, you know? We're sitting here with this setup of a record in the middle of playing shows with so much going on, so I guess I could say nothing is changed, things are exactly the same as when we're working toward the next thing and that's maybe somehow some way we've always been able to move forward, always looking forward and never stopping - it's never been that way with Anthrax, even just this constant struggle to find band members who would commit to rehearsing for four nights a week and having to fire them, it was constantly moving forward until we recorded Fistful of Metal, well we've gotta go on tour and sell t-shirts, and we've gotta get rid of Neil Turbin, and then we found Joey... In 2011 my day is still filled with what's happening with Anthrax, and I love this new record and how it represents our whole career in Anthrax. I can't wait for people to hear it.”
*****
Over the past 30 years, Anthrax has achieved sales in excess of 10-million. The band has also received multiple Gold and Platinum albums, multiple Grammy nominations, and a host of other accolades from the media, industry and fans.
HATEBREED
The New Haven, CT-based Hatebreed got together in 1993 for the purpose of creating a "back to basics" hardcore band with heavy, metallic guitars, screaming vocals, and 30-second songs. Consisting of Jamey Jasta (vocals), Lou "BoHATEBREED is excited to announce the upcoming “10 Years of Perseverance” fall tour, a United States headline tour to commemorate the 10th anniversary of the band’s ground-breaking 2002 major-label debut, Perseverance. The tour features direct support from Whitechapel and special guests All Shall Perish and Deez Nuts, and kicks off on September 13th in Clifton Park, NY.
Tickets go on sale to the general public on Friday, June 8th. In addition, an exclusive pre-sale will begin on Wednesday, June 6th. HATEBREED will also be offering an exclusive VIP Diehard Package that includes a Meet and Greet, Commemorative Diehard Laminate, Poster and more! Make sure to head over to www.hatebreed.com/VIP for all ticketing and VIP Diehard details.
Perseverance is recognized worldwide as a landmark album in HATEBREED’s musical catalog—an album that skyrocketed the band to immediate leader-of-the-pack status after its release. Released on March 26, 2002, the band’s second full-length studio album blasted open the doors of American DIY Hardcore in mainstream culture with songs such as ‘I Will Be Heard’, ‘A Call For Blood’ and the album's title track, ‘Perseverance’. Since the release of Perseverance, the fusion of hardcore and metal has been emulated and evolved relentlessly, but never duplicated with the same originality and brutality that HATEBREED accomplished with their first major-label release.
Perseverance debuted within the top 50 of the Billboard Top 200 chart and has since gone on to sell roughly half a million copies worldwide.
HATEBREED recently announced that they are in the studio self-producing their upcoming full-length album with co-producer assistance from world-renowned metal producers Josh Wilbur (Lamb of God, Avenged Sevenfold) and Chris “Zeuss” Harris (Suicide Silence, All That Remains, Shadows Fall).
The band just reported that they have finished the drum tracks. When asked about the recording process, drummer Matt Byrne said, “I got the biggest and best drum tone ever for this new album and Zeuss really helped me dial in the sound. Having 25+ days of pre-production really helped make this an efficient and fun recording session.”
For more information about the upcoming album, tours, and additional news regarding HATEBREED, please visit their websites.
Shadows Fall
Before the so-called "New Wave of American Heavy Metal" was even a ripple, Shadows Fall were there. Emerging from Springfield, MA in 1995, this D.I.Y. band ultimately found legions of fans, worldwide fame, two Grammy nominations, and even a song on Guitar Hero. Of course, none of this came from luck. Instead, hard work and musical innovation have been the forces propelling Shadows Fall, continually revealing ever more of this band's greatness. They are beyond simply best-in-class; in so many ways, Shadows Fall – with their unmistakable, seamless blend of metal and hard rock - have grown to help define the very essence of modern aggressive music. With Retribution – the band's fifth full length and follow-up to 2007's critically acclaimed Threads of Life – it's no surprise to find Shadows Fall once again taking bold steps in their quest for constant evolution. It starts, of course, with the guts of Retribution – the sound. "With each album we've gotten a little more confidence to really let all of our influences show," says vocalist Brian Fair. "We're unapologetic about the old-school metal and the 80s influence, as well as the thrash and the melodic death metal." And Retribution – with music production by Zeuss and vocal production by Elvis Baskette - surely has that thrash-metal bedrock which has long served as the foundation of Shadows Fall – but there's more. "We've really taken some songs all the way," explains Fair. "The brutal parts are a complete, non-stop assault, and the rock-influenced songs go all the way within that rock direction. A song like 'Picture Perfect' - the chorus is more Journey or Def Leppard than it is death metal," laughs Fair. "There's really no holding back when it comes to our songwriting. Once the floodgates open, we go all the way." The result is Retribution - a collection of songs that showcase the versatility and vision of this band that only seems to get better over time. But the evolution of Shadows Fall is not limited to their music. Atop the shifting grounds of an unpredictable music industry, they've found even more opportunity to try new ideas. "We learned everything from the ground up," says Fair, reflecting on more than a decade of experience and lessons learned. "We've gone through the independent metal world to the major label world, and have come to realize that, given the way things are now, it's all about the band re-taking the control of everything: music, business, ownership, publishing. Everything."
Exodus
Exodus is one of the first thrash metal bands to come out of the bay area, formed in 1980 in San Francisco, California, by Kirk Hammett, Tom Hunting, Paul Baloff, Jeff Andrews, and Gary Holt.
They were cited as major influence by pretty much every thrash band. Known for their aggressive brand of thrash, as opposed to the more melodic, NWOBHM rooted thrash sound of the likes of Metallica, and equally aggressive live shows.
At their prime (83-86) they were known as 'Kings of the Bay (area)', with practically no band daring to headline over them at the bay area.
After several personnel changes, Exodus split in 1993. The band reformed from 1997-1998 with new bassist Jack Gibson. The band reformed a second time in 2001.
Exodus is currently touring in support of the newly released album "The Atrocity Exibition: Exhibit A".
In 1983, founding member Kirk Hammett left to join Metallica and was replaced by Rick Hunolt and Rob McKillop replaced Andrews on bass. This lineup released the classic title Bonded by Blood (1985) cited as an influence on up-and-coming bands of the era.
Shortly before the release of Pleasures of the Flesh (1987), Paul Baloff left and was replaced by Steve "Zetro" Souza, who also sang for Legacy, which developed into Testament.
Municipal Waste
Hailing from Richmond, Virginia, Municipal Waste are the reigning kings of the New Wave of Crossover. Municipal Waste deliver blazing fast, raw thrash-core in the tradition of DRI, Suicidal Tendencies, "Animosity"-era Corrosion Of Conformity, Nuclear Assault and Attitude Adjustment. All barely in their 20's, the members of Municipal Waste inject youthful energy and humor into a classic genre they were too young to catch the first time around.
With a self-titled EP on Amendment Records, an LP entitled "Waste 'Em All" on Six Weeks Records, and several splits and comps under their belts, Municipal Waste have quickly established themselves as the leaders of a fast-growing scene of bands resurrecting the spirit of the mid-80's Crossover scene.
Fast, furious, and funny, each of Municipal Waste's super-short songs is a memorable anthem to post-apocalyptic mutants, beer, thrash music, or all of the above. The band's dedication is deadly serious yet they are not afraid to bring the fun back into hardcore. Bashing out songs with such titles as "Thrashing's My Business And Business Is Good", "Thrash? Don't Mind If I Do", and "Drunk As Shit", (as well as a split EP whose songs were all based on Kurt Russell films), Muncipal Waste have earned themselves the tag of "party thrash".
Rumors of Municipal Waste's awesome live shows have spread from coast to coast and across the world; the band departs on their first European tour this month. Upon their return to the states, Municipal Waste will begin work on their Earache debut.
Black Breath
Southern Lord is proud to unleash the second album from Seattle's barbaric wrecking crew that is BLACK BREATH! Sentenced to Life is the highly-anticipated follow-up to the band's raging 2010 debut album, Heavy Breathing. The new album projects an even more vile, metallic sonic attack than it's predecessor... with a bit less rock and roll swagger and more full-on crushing death metal rage.
Trap Them
Trap Them's sound combines elements of old-school Swedish death metal, punk, and d-beat and takes influence from bands such as Entombed, Black Flag, Nasum and Tragedy. Trap Them has spent time on the road with Napalm Death, Disfear, Skeletonwitch, The Black Dahlia Murder, Victims, Rotten Sound, Toxic Holocaust and Coliseum, among others, and has appeared at the Maryland Death Fest and The New England Metal and Hardcore Fest. (In fact, Mark "Barney" Greenway of Napalm Death was quoted as saying, "Trap Them restored my faith in extreme music.") Before entering the studio to record their Prosthetic debut, due in 2010, the band will be releasing an EP through Southern Lord Records.
Venue Information
Palladium
261 Main Street
Worcester, MA 01608