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DTSTART;TZID=America/Phoenix:20260526T193000
DTEND;TZID=America/Phoenix:20260526T233000
DTSTAMP:20260611T042933
CREATED:20260505T011034Z
LAST-MODIFIED:20260505T011034Z
UID:6175-1779823800-1779838200@clicksfromthepit.com
SUMMARY:The Cab at Nile Theater
DESCRIPTION:The Cab is a pop-rock band from Las Vegas\, Nevada\, known for their emotionally rich songwriting\, genre-blending sound\, and sharp musicality. Since forming in 2005\, the band has carved out a lasting place in the alternative music scene—fusing sleek pop production with rock instrumentation\, R&B influences\, and lyrical depth. \nThe Cab gained early momentum with their breakout debut album\, Whisper War (2008). In 2011\, they made a bold creative leap with Symphony Soldier—a self-funded\, independently released album that elevated their sound to cinematic levels and featured fan favorite “Angel with a Shotgun.” “Angel with a Shotgun” has surpassed 260M+ streams and\, despite its pre-tiktok release\, found massive success on shortform\, reaching 400M+ views across 300K+ TikTok creates. \nAfter an extended hiatus\, The Cab officially returned in 2025\, announcing their first new music in over a decade alongside live touring dates. Their new material dives deeper into themes of growth\, reinvention\, and emotional clarity—filtered through the lens of lived experience and creative maturity—while still delivering the cinematic energy and relatable themes that made them fan favorites over 10 years ago. \nOn Sept 26\, 2025\, the band marked their return with the release of a new EP\, Road To Reign: A Prelude. \nThe lineup features returning members Alex DeLeon (vocals)\, Alex Marshall (guitar\, keys)\, Dave Briggs (drums)\, and Joey Thunder (bass).
URL:https://clicksfromthepit.com/event/the-cab-at-nile-theater/
LOCATION:The Nile Theater\, 105 West Main Stree\, Mesa\, AZ\, 85201\, United States
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DTSTART;TZID=America/Phoenix:20260529T190000
DTEND;TZID=America/Phoenix:20260529T233000
DTSTAMP:20260611T042933
CREATED:20260516T001726Z
LAST-MODIFIED:20260516T001726Z
UID:6198-1780081200-1780097400@clicksfromthepit.com
SUMMARY:The HU + Apocalyptica at The Van Buren
DESCRIPTION:The Hu are a Mongolian band whose fusion of heavy metal\, throat singing\, and traditional Mongolian instrumentation brought them global attention and commercial success at the end of the 2010s. Their single “Wolf Totem” enjoyed a surprising run in the U.S.\, topping two Billboard charts\, making them the first band from their country to do so. Following the breakout success of their 2019 debut\, The Gereg\, the Hu toured heavily\, took part in a 2020 Metallica tribute album\, and in 2022 began teasing singles from their follow-up LP\, Rumble of Thunder. \nFormed in 2016 in the capital city of Ulaanbaatar by Gala (morin khuur\, vocals)\, Jaya (tumur khuur\, tsuur\, vocals)\, Enkush (morin khuur\, vocals)\, and Temka (tovshuur\, backing vocals)\, the quartet take their name from the ancient Mongolian empire known as the Hunna\, which in Western culture is referred to as the Huns. Utilizing the distinctive\, multi-octave droning technique known as throat singing as well as the traditional string and wind instruments of their homeland\, the Hu and their producer\, Dashka\, married this sound with electric guitars\, bass\, and heavy metal drums to great success. Their first two singles\, “Yuve Yuve Yu” and “Wolf Totem\,” appeared in 2018 and went viral\, notching millions of streams worldwide; the latter song hit number one on Billboard’s Hard Rock Digital Sales chart as well as the World Music chart. Both tracks appeared the following year on the Hu’s debut album\, The Gereg\, which saw international release from Eleven Seven Records. \nThe end of 2019 proved to be a fruitful period\, with the group’s first North American tour and the release of collaborative mixes of “Yuve Yuve Yu” and “Wolf Totem\,” featuring American singers Danny Case (From Ashes to New) and Jacoby Shaddix (Papa Roach)\, respectively. The band also landed a song on the soundtrack to the popular Star Wars video game Star Wars Jedi: Fallen Order. The collaborations continued into 2020 with another Hu track\, “Song of Women\,” featuring Halestorm vocalist Lzzy Hale. That same year\, they contributed a cover of Metallica‘s “Sad But True” to the Metallica Blacklist tribute album. In May 2022\, the Hu delivered “This Is Mongol\,” the lead single from their second album\, Rumble of Thunder. A second song\, “Black Thunder\,” arrived two months later. \n \n \nA listen to Apocalyptica’s Apocalyptica brings with it the nagging urge to figure out where\, exactly\, the music fits. Certain moments — entire tracks\, even — are given over to classical formality\, and it is in those moments\, steeped as they are in traditional loveliness\, that a listener can come dangerously close to thinking he is hearing something lofty and important. He is not. Apocalyptica\, the genre-splicing Finnish instrumental band that changed headbangers’ perception of the cello\, is not pretentious exactly\, but its effect is the same as that of a rock band whose lead singer is audibly British: it sounds smart. Too smart\, for instance\, to issue from the headphones of a kid just discovering Black Sabbath or lining up for Slipknot tickets. Where Apocalyptica might fit\, then\, is not with heavy rock scenesters but with aging metal heads. It is not hard to envision tracks like “Fatal Error” and “Fisheye” booming from the speakers of a splashy convertible with a bald guy at the wheel. Elaborate fantasy-concocting gamers — Dungeons & Dragons players and their descendants — also stand a better chance than most of finding relatable rock bliss here. \n \n \nThe album Weirdo (2025) is The Rasmus’ 11th full-length outing\, produced and co-written by Desmond Child and Marti Fredriksen. The band was formed in 1994 while the members were still in high school. Their debut\, Peep\, rapidly went gold in Finland\, making them rock stars at the age of 16. The follow-up\, Playboys\, also went gold and earned the group an Emma\, Finland’s version of a Grammy. Their third album\, Hell of a Tester\, included “Liquid\,” a track voted Best Single of the Year by Finnish music critics. 2001’s Into went double platinum\, with its debut single\, “F-F-F-Falling\,” topping the charts. An international audience started to build\, and the band toured Europe. Their fifth album\, Dead Letters (2003)\, became their breakthrough\, due in large part to the single “In the Shadows.” 2005’s Hide from the Sun went platinum in Finland. Their fourth Finnish chart-topper\, Black Roses\, was released in 2008\, also produced by Desmond Child. After the Best of The Rasmus: 2001–2009 compilation\, they released their self-titled eighth album in 2012. The band returned in 2017 with Dark Matters. In January 2022\, they announced the departure of founding guitarist Pauli Rantasalmi and introduced new guitarist Emilia ‘Emppu’ Suhonen. The album Rise was released the same year\, including “Jezebel\,” Finland’s entry in the Eurovision competition. The Rasmus are vocalist Lauri Ylönen\, bassist Eero Heinonen\, guitarist Emppu Suhonen\, and drummer Aki Hakala.
URL:https://clicksfromthepit.com/event/the-hu-apocalyptica-at-the-van-buren/
LOCATION:The Van Buren\, 401 W Van Buren St\, Phoenix\, AZ\, 85003
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DTSTART;TZID=America/Phoenix:20260624T183000
DTEND;TZID=America/Phoenix:20260624T233000
DTSTAMP:20260611T042933
CREATED:20260519T010618Z
LAST-MODIFIED:20260519T010618Z
UID:6351-1782325800-1782343800@clicksfromthepit.com
SUMMARY:Killswitch Engage + Machine Head at Marquee Theatre
DESCRIPTION:Killswitch Engage first shook the structure of heavy music upon climbing out of snowy industrialized Western Massachusetts in 1999. A musical outlier\, the band pioneered a union of thrashed-out European guitar pyrotechnics\, East Coast hardcore spirit\, on-stage hijinks\, and enlightened lyricism that set the pace for what the turn-of-the-century deemed heavy. 2002’s Alive Or Just Breathing became avowed as a definitive album\, being named among “The Top 100 Greatest Metal Albums of the Decade” by Decibel and celebrated by everyone from Metal Hammer to Revolver. Not only did they bust open the floodgates for dozens to follow\, but they also garnered two GRAMMY® Award nominations in the category of “Best Metal Performance” in 2005 and 2014\, respectively\, and gold certifications for The End of Heartache [2004] and As Daylight Days [2006]. The group landed three consecutive Top 10 debuts on the Billboard Top 200 with Killswitch Engage [2009]\, Disarm The Descent [2013]\, and their career high best bow at #6 with Incarnate [2016]. The latter two releases would also both capture #1 on the Top Rock Albums and Top Hard Rock Albums charts. Their total streams have exceeded half-a-billion to date.  Along the way\, the band has shared stages with some of the biggest acts in the world and has sold out countless headline gigs in six continents across the globe. \n2019 represents another turning point. The quintet—Adam Dutkiewicz [guitar\, production]\, Joel Stroetzel [guitar]\, Mike D’Antonio [bass]\, Justin Foley [drums]\, and Jesse Leach [vocals]—sharpens every side of this signature sound on their eighth full-length and first for Metal Blade\, Atonement. The vision the band initially shared two decades ago crystallizes like never before. \n“To me\, the name Killswitch Engage means ‘Shut the system down’\,” exclaims Jesse. “It’s anti-authority and anti-corruption. My lyrics are very spiritual and political. It’s a part of what Killswitch has been since the beginning. We carry the message through the live show. There’s a sense of fun\, enjoying life\, and emotional catharsis. I don’t even know if we meant to do it consciously\, but this showcases all of our styles. It happened naturally. I’m proud of it.” \n“This is another honest record\,” says Justin. “We’re just being who we are and writing the best material we can.” \n“People take themselves way too seriously\,” adds Adam. “We love metal\, but we also love melody and we want to have a good time.  That’s who we are; we don’t act like your typical ‘metal band.’ \nAtonement proves that. It earmarks the culmination of a trying and turbulent two years. The musicians started kicking around ideas as early as 2017. The band recorded the bulk of the material separately\, with Adam once again behind the board. They worked at Signature Sound for drums and Adam’s own Wicked Good Studios for guitars\, both based in San Diego. Meanwhile\, Mike cut his bass tracks wherever he could: on the road in hotels\, in dressing rooms backstage\, and at home. Vocals were recorded on both coasts at Mainline Recording Studios in Westfield\, Massachusetts and Wicked Good Studios. In the middle of the process\, a polyp developed scar tissue in Jesse’s throat\, forcing him to undergo surgery. The intense three-month recovery ended with speech therapy\, vocal therapy\, and scream therapy. \n“At first\, I was wondering if I was done career-wise\,” he admits. “It worked out though. Out of everything came a real determination to learn techniques and get a second chance at becoming a better vocalist. I have so much more control of my voice and can scream properly. I don’t think the album would be what it is if I didn’t go through all of this.” \nHis “trial-by-fire” on stage came during a 2018 tour with Iron Maiden as he regained “confidence” performing in front of sold out arena and stadium crowds. At the same time\, he experienced a debilitating bout of writer’s block. By the end of this run with the metal gods\, Adam took him aside and offered words of inspiration. \n“I shared my unfinished lyrics\, and he said\, ‘You don’t even need all of these. Keep it simple.’\,” Jesse goes on. “I was stressed out. I was insecure. A lot was going on in my head between writer’s block and the surgery. It was amazing to have a friend and producer like Adam mentally slap me upside the face and encourage me.” \n“Jesse did a really great job with the words and melodies\,” remarks the guitarist. “At the same time\, I strove to write songs that were really thrash-y and aggressive. We’ve got more butt-kickers than we usually do.” \nSigning to Metal Blade also stoked this fresh fire. “We were all excited to kick off a new chapter\,” says Justin. “We’ve known Brian Slagel forever. We have friends who have worked with him. We went into this with a sense of optimism about what we could potentially do on this cycle with Metal Blade on our side.” \nThe opener and first single “Unleashed” tempers ominous drums with foreboding guitars before descending into a chantable refrain. “It’s the genesis of the whole thing\,” explains the frontman. “For me\, it’s about the inner animal and darkness we all have inside. Thankfully\, I’ve only had it come out a few times in my life. The chorus felt like something people could relate to.” \n“The Signal Fire” steamrolls from airtight thrashing towards an expansive and entrancing refrain. Boasting a guest appearance from former Killswitch Engage singer and current Light The Torch vocalist Howard Jones\, it sparks a pyre of metallic mastery\, joining two eras of the band on one anthem. \n“I had an image from Lord of The Rings when they climb to the top of the mountain and light a fire to signal for backup\,” says Jesse. “It felt powerful to me. At the same time\, Howard’s Light The Torch was making new music. I thought\, ‘‘Light The Torch’and ‘Signal Fire’ make sense together.’ It needed to be a call-to-arms\, and I wanted to invite him to sing on it. We hit it off for the first time\, recently. Afterwards\, we were texting back-and-forth. We needed a song with him to show the fans there’s solidarity. It’s a perfect ode to our bond as brothers and a nice nod to Light The Torch.” \nElsewhere\, legendary Testament mainman Chuck Billy brings his unmistakable guttural growl to the possessed power of “Crownless King\,” which Adam rightfully refers to as “fucking awesome.” On the other end of the spectrum\, the soaring chorus of “I Am Broken Too” assures “someone struggling with mental illness or suicidal thoughts not to give up\, because there are more of us than you think\,” as the singer reminds. Then there’s “As Sure As the Sun Will Rise\,” which builds towards a triumphant chant\, turning a corner thematically over thunderous percussion and punch-y guitars. \nIn the end\, Killswitch Engage lengthen their legacy while blazing another new path—the system won’t be the same again. \n“I want to take all of that energy\, negativity\, and shit I suffer with and turn it into something positive to make people feel a sense of hope\,” Jesse leaves. “Acknowledge the darkness and fight through it. If you keep pushing\, you will persevere. There will always be a ray of hope.” \n“I want fans to enjoy this\,” Adam concludes. “When I listen to metal records\, I get pumped up and excited. I hope our fans can get just as excited when they hear our songs and watch us play live. Do you really want to pay money to look at someone pretending to be a badass? It’s not what we do. If we’re laughing\, we’re enjoying it—and we are enjoying this one.” \nBOILER \nKillswitch Engage first shook the structure of heavy music upon climbing out of snowy industrialized Western Massachusetts in 2000. A musical outlier\, the band pioneered a union of thrashed-out European guitar pyrotechnics\, East Coast hardcore spirit\, on-stage hijinks\, and enlightened lyricism that set the pace for what the turn-of-the-century deemed heavy. 2002’s Alive Or Just Breathing became avowed as a definitive album\, being named among “The Top 100 Greatest Metal Albums of the Decade” by Decibel and celebrated by everyone from Metal Hammer to Revolver. Not only did they bust open the floodgates for dozens to follow\, but they also garnered two GRAMMY® Award nominations in the category of “Best Metal Performance” in 2005 and 2014\, respectively\, and gold certifications for The End of Heartache [2004] and As Daylight Days [2006]. The group landed three consecutive Top 10 debuts on the Billboard Top 200 with Killswitch Engage [2009]\, Disarm The Descent [2013]\, and their career high best bow at #6 with Incarnate [2016]. The latter two releases would also both capture #1 on the Top Rock Albums and Top Hard Rock Albums charts. Their total streams have exceeded half-a-billion to date.  Along the way\, the boys have shared stages with some of the biggest acts in the world and have sold out countless headline gigs in six continents across the globe. \n2019 represents another turning point. The quintet—Adam Dutkiewicz [lead guitar]\, Joel Stroetzel [rhythm guitar]\, Mike D’Antonio [bass]\, Justin Foley [drums]\, and Jesse Leach [vocals]—sharpen every side of this signature sound on their eighth full-length and first for Metal Blade\, Atonement. The vision they shared two decades ago crystallizes like never before as evidenced by the first single “Unleashed\,” “The Signal Fire” [feat. Howard Jones]\, “Crownless King” [feat. Chuck Billy]\, and “I Am Broken Too.” \n \n \nVery few bands make it to their 11th album. Even fewer do so with the same fire and fury that defined their early years. But Machine Head isn’t just any band. For over three decades\, the personification of determination\, Founder/Vocalist/Guitarist Robb Flynn\, has led Machine Head on an uncompromising path – one fueled by defiance\, reinvention\, and a relentless pursuit of evolution. Now\, with ‘UNATØNED’ (out April 25\, 2025 on Nuclear Blast)\, they’ve once again sharpened their sound into its most direct and impactful form to date. \nDetermined to challenge himself\, Flynn set strict songwriting parameters for ‘UNATØNED\,’ shorter\, more focused songs with a decidedly American feel\, unconventional key changes\, and shifting structures that break expectations. That self-imposed restraint resulted in a lean\, unrelenting album that captures Machine Head at their most potent. \nThe album drips with melancholy melodies\, and yet hammers with bludgeoning riffs\, soars with anthemic sing-a-longs of love-lost and sadness\, to bellowing power and undeniable confidence. \n‘UNATØNED’ is Machine Head proving once again that longevity in metal isn’t about comfort – it’s about taking risks\, standing firm in conviction\, and refusing to stagnate. Eleven albums deep\, they remain as fierce\, relevant\, and unstoppable as ever. \n \n \nAlthough many have tried to bring the raw sound of crossover thrash back to life\, Iron Reagan are one of the few bands with the pedigree to do it right. Based out of Richmond\, Virginia\, singer Tony Foresh (of Municipal Waste)\, guitarist Phil Hall (of Cannabis Corpse)\, guitarist Mark Bronzino (of A.N.S.)\, bassist Paul Burnette (of Darkest Hour)\, and drummer Ryan Parrish (also of Darkest Hour) came together in 2012 to resurrect one of heavy metal’s lost arts. In 2013\, the band unleashed its sound on the world with its first full-length\, Worse Than Dead. In 2014\, Iron Reagan signed to Relapse Records\, where they made their label debut with their sophomore effort\, The Tyranny of Will\, later that year. Also in 2014\, Paul Burnette left the band\, and new bassist Rob Skotis (of Hellbear) came on board. In 2017\, Iron Reagan delivered their third album\, Crossover Ministry\, followed in 2018 by a split LP with Arizona-based death metal unit Gatecreeper\, and the EP Dark Days Ahead. \n \n \nInspired by the burgeoning American thrash metal revival of the mid-2000s\, Denver\, Colorado’s Havok emerged in 2004 with an aggressive\, neck-snapping style that evoked Bay Area thrash legends like Exodus\, Metallica\, and Testament. They broke into the Billboard 200 in 2013 with their acclaimed third full-length effort\, Unnatural Selection\, and continued to refine their uncompromising sound on future endeavors like Conformicide (2017) and V (2020). \nHavok assembled in 2004 and proceeded to ply their retro-fitted classic thrash trade via a series of self-financed releases: a 2005 demo\, a 2006 single\, and a 2007 EP\, curiously named Pwn ’em All. These efforts duly got them signed to Candlelight Records\, which released Havok’s debut album\, Burn\, in 2009 and then sent them off to tour with bands like Exodus\, Anthrax\, Destruction\, Primal Fear\, and Hammerfall. All of this roadwork only tightened up the group’s impressive chops\, and prepared members David Sanchez (lead vocals\, rhythm guitar)\, Reece Scruggs (lead guitar)\, Jessie de los Santos (bass\, backing vocals)\, and Pete Webber (drums) for the recording of their sophomore album\, Time Is Up (produced by thrash stalwart James Murphy: Death\, Obituary\, Disincarnate\, Testament\, etc.)\, which was released in early 2011. \nMichael Leon replaced de los Santos on bass for 2013’s Unnatural Selection\, which earned positive reviews and saw Havok make their Billboard debut. The band toured steadily during the rest of the year\, and they switched labels from Candlelight to Century Media. Leon left the group after three years to join Soulfly and was replaced by Nick Schendzielos of Cephalic Carnage\, who made his studio debut on Havok’s fourth album\, Conformicide\, which was released in March 2017. Three years later\, the band returned with new bassist Brandon Bruce in tow and issued their aptly named fifth long-player\, V.
URL:https://clicksfromthepit.com/event/killswitch-engage-machine-head-at-marquee-theatre/
LOCATION:Marquee Theatre\, 730 N Mill Ave\, Tempe\, AZ\, 85281\, United States
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DTSTART;TZID=America/Phoenix:20260729T183000
DTEND;TZID=America/Phoenix:20260729T233000
DTSTAMP:20260611T042933
CREATED:20260611T003025Z
LAST-MODIFIED:20260611T003025Z
UID:6472-1785349800-1785367800@clicksfromthepit.com
SUMMARY:Motionless in White at Talking Stick Resort Amphitheatre
DESCRIPTION:An industrial city situated in Northeastern Pennsylvania\, you could say Scranton quietly prides itself on a tried-and-true Rust Belt blue-collar work ethic. \nFor their fourth full-length album and first for Roadrunner Records Graveyard Shift\, Motionless In White—Chris Motionless [Vocals]\, Ricky Horror [Guitar]\, Ryan Sitkowski [Guitar]\, Ghost [Bass]\, and Vinny Mauro [Drums]—dug into the roots of their hometown’s pervasive attitude. \n“We’re a band that came out of the small town blue-collar spirit\,” affirms Chris. “We put ten years into growing this and working hard to do what we love the most. We look forward to putting in another ten. Both the area we come from and the fan base brought us to this point. Graveyard Shift is all about that work ethic. It’s been instilled in us. Early on\, we realized if you give the time and effort to chase a dream\, it’s possible to achieve it by the sheer amount of drive and passion you have.” \nSince 2006\, that ethos has fueled Motionless In White’s rise to the upper echelon of modern rock. Albums such as 2010’s Creatures and Infamous in 2012 would galvanize a rabid fan base around the quintet. During 2014\, Reincarnate reached new heights\, bowing at #9 on the Billboard Top 200 and claiming #1 on Billboard’s Top Rock Albums Chart. The title track and lead single turned into a Top 20 Active Rock smash and notched 13.2 million YouTube views and 9.8 million Spotify streams. Simultaneously\, they have shared stages alongside everyone from Slipknot\, Korn\, and Breaking Benjamin to A Day To Remember and Marilyn Manson in addition to making arresting festival appearances at Warped Tour\, Aftershock\, Rock On The Range\, Rock Allegiance\, and beyond. \nIn 2016\, they entered a Los Angeles studio with producer and longtime collaborator Drew Fulk [Emmure\, Crown The Empire] to record what would become Graveyard Shift. \n“It was all about writing bigger\, better\, and more refined songs\,” exclaims the frontman. “On Reincarnate\, we felt like we had discovered our true identity. This record wasn’t so much centered on experimentation as it was on refinement. In the past\, I feel like I always placed the vocals second to music. This time\, there was a focus on trying to make sure the vocals had their big moments. That was a major key in really making Graveyard Shift separate from all of the other albums. I haven’t really been able to look back at anything I would’ve done differently or something I didn’t feel like I put my whole heart into here. I just feel incredibly confident about everything on the record.” \nMotionless In White introduced this latest body of work with the galloping gut punch of “570”—the area code of Scranton and something of an homage to home. In less than three months\, it amassed 3.1 million Spotify streams and amplified anticipation for the full-length’s impending arrival. \n“Last summer\, I had the opportunity to meet with a lot of fans on Warped Tour and have some very intense\, personal\, and deep discussions\,” recalls Chris. “I walked away from these meetings feeling energized. Whether the conversations were dark or uplifting\, I was ready to approach anything in my way with how I felt afterwards. Our current single\, ‘LOUD\,’ is a direct result of that energy. I wanted to encourage people to feel the same way. It’s definitely one of the more powerful and inspirational messages on the album.” \nThroughout its 12 tracks\, Graveyard Shift weaves together various personal vignettes. From embracing one’s dark side on “Necessary Evil” [feat. Jonathan Davis] to the hypnotic and humorous ode to Danny Elfman’s influential body of work\, “Not My Type (Dead As Fuck 2)\,” the record remains unpredictable at every turn. “Eternally Yours” signals a first for the group. \n“It’s our first true love song\,” Chris goes on. “There was a very poetic and romantic approach. That’s something\, as a lyricist\, I have been trying to explore more of within myself over the past few albums.  It’s a special song for all of us.” \n  \nScranton plays a subtle role in the overarching narrative itself. Chris can recall finding early inspiration in the city’s once fertile music scene\, which slowly dissipated over the years. At the same time\, he and his bandmates have transported that energy worldwide with Graveyard Shift. \n“I like to think we’re taking our favorite traits of this area on the road and showing the rest of the world what Scranton created out of all that great camaraderie\, those friendships\, and the memories\,” he says. “We all come from the same spot. It’s something I think many people all over the world can identify with. We’re not content to just sit still and let life happen. We want to show you can take the initiative\, go out there\, and make a difference for yourself. That rings throughout all of the songs and speaks to the true meaning of Graveyard Shift.” \nUltimately\, Motionless In White have the power to electrify a new love for rock music in the process. \n“We’re quite a simple band in terms of our intent\,” he leaves off. “Turn off your head\, detach from reality\, listen to the music\, and enjoy the songs. That’s what we’re encouraging. We want to give people something to latch on to away from life’s bullshit. I hope they walk away feeling their love for music was either restored or upheld.” \n \n \nFit For A King harness the power of their brotherhood in order to perpetually push forward. The music contains traces of the members’ personal and collective experiences grafted onto an ever-evolving sonic palette of metalcore unpredictability\, alternative melody\, and deathcore brutality laced with electronic alchemy. As trends came and went in the background of the last decade\, the quintet— Ryan Kirby [vocals]\, Bobby Lynge [guitar]\, Daniel Gailey [guitar]\, Ryan “Tuck” O’Leary [bass]\, and Trey Celaya [drums]—have weathered trials and tribulations as well as enduring the chaos of a world constantly influx. However\, their bond stretches back to 2011 when Fit For A King unleashed their independent debut Descendants. They continually progressed with Creation/Destruction [2013]\, Slave to Nothing [2014]\, Deathgrip [2016]\, and The Path [2020]. Meanwhile\, 2022’s The Hell We Create marked their fifth Top 3 debut on the Billboard Top Christian Albums Chart and third straight Top 15 debut on the Top Album Sales Chart. Outburn applauded how\, “With The Hell We Create\, Fit For A King takes on a new depth\,” and KERRANG! assured\, “It hits hard in all the right places.” In 2025\, you can hear their strength and camaraderie loud and clear on their eighth full-length offering\, Lonely God [Solid State Records]. \n \n \nCall them heroes or hell-bringers\, it doesn’t matter to the men of Lorna Shore. On their fifth album—the declarative I Feel The Everblack Festering Within Me—the New Jersey quintet are putting all of metal’s subgenres on notice. Because after one listen\, you’ll wonder what motivates them and what took metal so long to evolve. \nThere are all kinds of levels within the 10 tracks on I Feel The Everblack Festering Within Me. Andrew O’Connor’s orchestral arrangements give the songs an epic\, cinematic feel that guides listeners into a mise-en-scene of their own creation. When the other members add parts\, the results are positively stentorian. De Micco can thrust into light-speed\, black-metal tropes and then downshift into the kind of phrasing one might hear from a ‘70s guitar hero. Ramos is clearly the heir apparent to the kind of vocal madness that Faith No More’s Mike Patton built his considerable reputation on. Add in the propulsive terror of Yager and Archey\, and there’s no reason for Lorna Shore’s collective feet to ever touch the ground. Hardly ordinary by anyone’s standards whether it’s deathcore or black metal\, there are things at work on Everblack that feel more like an extension of prog rock due to its extremity and big grandiose gestures. But by virtue of physical onslaught and wanting to divine truth from their music\, Lorna Shore have kept themselves fired up by torching up the metal rulebook at every turn\, practically demanding that other genres step up their game. \n \n \nStatic Dress is a British four-piece post-hardcore band from Leeds\, England. Formed in 2018\, the band currently consists of vocalist Olli Appleyard\, guitarist Vincent Weight\, bassist George Holding and drummer Sam Ogden. \nThe group signed to Roadrunner Records in May 2023\, swiftly announcing a Redux version of their debut album Rouge Carpet Disaster\, which includes 4 reimagined versions of album tracks. Until this point\, the band were independent and had released a smattering of singles\, an EP (Prologue) and an album (Rouge Carpet Disaster)\, as well as a demo version of the Prologue EP which was only available on CDs at Slam Dunk festival 2021.
URL:https://clicksfromthepit.com/event/motionless-in-white-at-talking-stick-resort-amphitheatre/
LOCATION:Talking Stick Resort Amphitheatre\, 2121 N 83rd Ave\, Phoenix\, 85035\, United States
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