Sherman Theater and SLP Concerts presents
Sat · July 22, 2017
Doors: 7:00 pm / Show: 8:00 pm (event ends at 11:00 pm)Sherman Theater
$20 in advance | $25 day of show
VIP BOXES: (SOLD OUT)
VIP boxes seat eight (8) people comfortably while you enjoy complimentary fruit and cheese platters as well as waitstaff to accommodate you and your family/friends with any amenity the Sherman Theater has to offer!
Member Price: $395
Non-member Price: $475
Sky boxes comfortably seat twelve (12) people and offer complimentary fruit and cheese platters as well as waitstaff to accommodate you and your family/friends with any amenity the Sherman Theater has to offer!
Member Price: $495
Non-member Price: $575
For more information regarding our VIP/Sky boxes, please call 570.420.2808.https://www.shermantheater.com/event/1470071/
"We turned a corner with Blood for Blood and we wanted to continue that path," Paul states. "It's much heavier and darker, and we take it to another extreme." The album also fosters a sense of community and the notion that "we're all in this together" among the metal community we are part of. The upside down "i" in the title is an exclamation point — a subtle indicator of how metal fans live their lives against the grain for their entire daily existence. "It doesn't matter how old you are — you are always a metal kid," Chad Gray declares, referencing himself and fans as one.
With the 2007 self-titled debut, HELLYEAH broke the ice, introducing the world to a band comprised of familiar faces who played in influential bands with signature sounds. 2010's Stampede showed off a more pleasure-seeking side of HELLYEAH. 2012's Band of Brothers was marked by internal change and further experimentation, while Blood for Blood found the band reaching the summit of brutality, creativity, and artfully mined piss and vinegar. UNDEN!ABLE is the logical next step and it's frontloaded with songs that crackle with a palpable industrial aggro energy. As guitarist Maxwell succinctly says, "It's belligerent and brutal, with peaks and valleys that bring you up and down, emotionally and lyrically."
One reason it's so belligerent and brutal? The time crunch that came along with crafting the album. The band spent 18 glorious but grueling months on the road in support of Blood for Blood and was given exactly two weeks (!!!) off before it had to start working on UNDEN!ABLE. The pressure and lack of recess awakened a sleeping giant within Maxwell. There was literally no time to waste and he marshalled his emotions for inspiration.
Without any time to decompress, Maxwell came out of the gates in sniper mode, admitting there was "no time for demo-itis!" He confessed, "I was pissed, agitated, and distraught. In the long run, it helped. There was so much intensity in the frustration." Paul notes that the band "took no time off so that we didn't get complacent. We knew there was a window of opportunity." It may not have been optimal at the time, but it yielded a maximized result. "We know we did great, broken ankles and all," he states. HELLYEAH's usual formula remained unaltered when it came to the recording process. They demoed at Paul's home studio in Dallas, TX before writing and recording with Kevin Churko in Las Vegas.
UNDEN!ABLE hosts redemptive, but throttling songs that will "scratch your soul," according to Gray. "X" is fast, furious and "over the top," says Paul. "It is something that metal fans need." It's expected to become an instant fan favorite. The more contemplative "Human" is moving, yet monstrous. The title track surges with raw energy and industrial crunch. "Love Falls" is a rhythmic and sultry departure for the band, which measures pain and anger equally, while "STARTARIOT" is nothing short of a fist-pumping, fuel-burning heavy metal epic.
UNDEN!ABLE is a complete work, including a cover that is the definitive visual matching the album's sonic wrath. The artwork was inspired by Chad Gray and designed by William "Wombat" Felch, who the band discovered through his artistic interpretations of HELLYEAH songs on YouTube, and who Paul labeled "like a new member of the band." The eye is emblematic of the metal community and the kids who find their kindred spirits in HELLYEAH. "The eyes are the portal to the soul," Gray says. "There is more extremity, so I wanted it to represent looking into the eye of someone who is a member of the metal community being cast out. You always feel like a fighter. So we created this eye and the exclamation point [in the title] as the stamp on this madness. You are looking into the soul of a metalhead."
Overall, there's a surging current of hunger in UNDEN!ABLE. The members have had success in the past, but they're not satisfied with all they have done. "It's all I know," Paul muses about what keeps him manning the kit and making new music, despite a career so illustrious that no one would fault him if he chose to hang up the sticks. "I could have quit and could be playing golf. Being a traveling musician? That fuels me. I have a true passion and belief in HELLYEAH and heavy metal music."
Gray concludes, "We're all in this together. We are metal fans first and foremost. We play off each other every night with our metal family. As a metal kid, I'd go to shows because I needed the release. Being on the other side now, I need this as bad as the fans do. I need to hit that deck every day and give everything I can." The divide between HELLYEAH and their fans has been erased with UNDEN!ABLE. It's an album made for the metal community, by the metal community.
The eleven tracks on HAIL THE APOCALYPSE join a rich catalog filled with cred-building artistic peaks and commercial breakthroughs alike, following in the tradition of larger-than-life bands like Rammstein, System of a Down and Rob Zombie who have conquered the airwaves without sacrificing their brilliant uniqueness and unfettered expressionism. Working from the playbook of Alice Cooper, Kiss and like minded phantoms of rock, Avatar delivers a postmodern party, electrifying the mainstream and underground alike.
Produced by longtime collaborator and two-time Grammy nominee Tobias Lindell, mixed by Jay Ruston, and mastered by Paul Logus. Hail the Apocalypse serves as ample evidence why Avatar is welcomed at Download UK, Rock on the Range and on tour with rock radio hitmakers, like label mates Pop Evil.
"Bloody Angel" and "Hail the Apocalypse" are new anthems for the ages, precision heat-seeking missiles targeting a cultural landscape primed and ready for fresh songs to champion from a band with a giant persona to rally behind. Breaking into America on tour with Sevendust, conquering their native Europe in arenas with Avenged Sevenfold and Five Finger Death Punch, Avatar shocked the world with the Top 30 commercial rock radio success of "Smells Like a Freakshow" and "Let it Burn."
Nobody was more amazed when Avatar devilishly polluted the commercial airwaves with their last album, Black Waltz, than band cofounder Johannes Eckerström. "Sweden is a smaller country. In terms of airplay, there isn't much room for heavier stuff and we aren't typical radio material. So, to me, with all due respect, isn't radio where you go to hear Lady Gaga songs? To hear we were Top 30 in America, it was like, 'Say what?!'"
Avatar puts equal emphasis on their visual presentation, stage presence and overall creative coherence, giving fans more than a killer live show and hit songs. Avatar is a work of art.
Hail the Apocalypse was recorded live at Karma Sound Studios in Bang Saray, Thailand. Bands like Bullet For My Valentine have made records there, enveloped in a trippy/exotic locale not unlike Killing Joke making a record inside an Egyptian pyramid back in the day. The band then went on to Tobias Lindells' studio in Patong, also in Thailand to record vocals and guitar solos. The studio is located in a house owned by a horror movie buff that includes a swimming pool decorated like Castle Grayskull.
The plane ride over inspired an unexpected turn in the creation of Hail the Apocalypse. After they had become sufficiently buzzed from the plane's bar, the band synched up their video screens to take in "Sound City," Dave Grohl's documentary love letter to the famed studio where seminal albums from the likes of Nirvana, Metallica, and Slipknot were made.
"After the documentary was over, we looked at each other and said, 'We should totally record this album live.' We were planning to do it in a more modern way, track-by-track, to a click track. But we said, 'Screw it! Let's do this live, the old-fashioned studio way.'"
Avatar didn't see much sunlight while in Thailand, opting instead to put their collective nose to the grindstone and work hard on what has become a hard rock masterpiece.
"The band was in a room staring at each other instead of staring at the floor. It was a great experience. Our producer rents a house from a guy who is a big horror movie fanatic. So when I did my vocals, I had big statues of Leatherface and Predator starring me down. And then there was that skull fountain in the pool! It was the perfecting setting. Here we were in this tropical environment, and yet death was everywhere."
Black Waltz began a momentous climb for Avatar both in terms of their career and in terms of their evolving sound. Hail the Apocalypse follows suit, building on the strengths of the last album while blowing down the doors off even the highest of expectations.
"When we did that music video for the title track on the last album, that's where we came up with the face paint and everything around it," the band's frontman explains.
"Something really clicked on a much deeper plane than we expected when I got my face paint. I saw myself in the mirror and I was awakened. We've been riding on that ever since. It's hard to even put it into words. We've played together for ten years; we've started to evolve a certain groove together, while still rooted in extreme metal."
Avatar came together at a young age, wrapping their heads around the New Wave of Swedish Death Metal that surrounded them in their native country and sharpening their chops. In short order, the technical melodic death metal of Thoughts of No Tomorrow (2006) and the even more intense Schlacht (2007) gave way to the classic rock n' roll and traditional heavy metal style of their self-titled third album, which demonstrated Avatar's ability to craft catchy songs with memorable hooks was equal to their technical proficiency. The group toured with metal luminaries In Flames, Dark Tranquility and Helloween, among others, as they steadily built a profile in the worldwide underground.
The ensuing word of mouth success around Black Waltz brought an increasingly diverse swath of newcomers to Avatar's shows, as they toured the U.S. supporting gold-selling rockers Sevendust and fellow Europeans Lacuna Coil. That tour included the band's first ever casino gig. "We had always said, if we ever play in a casino, we are going to take the payment for the show and put it on red at the roulette table," Eckerström says, laughing. "We finally got an opportunity to do that and guess what? We actually won!"
The string of good fortune continues, as Avatar gears up to conquer the world with Hail the Apocalypse. The virtuoso side of their earliest rumblings remains intact, enhanced with momentous strength by songwriting chops, gigantic hooks and a sense of groove. Hail the Apocalypse is not only the best album in the Avatar catalog, it's one of the most diverse hard rock records of the modern age, catapulting Avatar above the pack.
Avatar's music is challenging, daring, but altogether captivating, boasting Charlie Chaplin's winking silent movie flair for the dramatic and Marilyn Manson's dark merging of the commercial and the macabre, but still rooted in heavy music for its own sake.
"We are doing something that I strongly feel is lacking," Eckerström says. "This is metal music made by metal heads for metal heads. It's honest, intense and full of integrity."
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