CROWN THE EMPIRE

MassConcerts Presents

CROWN THE EMPIRE

Attila, Veil of Maya, Gideon, Hawk, Life Right Now

Fri, August 9, 2019

Doors: 5:00 pm / Show: 5:30 pm

Palladium

Worcester, MA

$25 - $28

This event is all ages

Crown The Empire
Crown The Empire
Attila
Attila
It’s been far too long since a heavy metal band could get the party started the way Attila can. Drinks will be pounded down, blunts will be blown, panties will be thrown, and everyone will have the time of their lives once the Atlanta quintet’s sixth full-length album, Guilty Pleasure [Artery Recordings/Razor & Tie], pipes through the speakers. Hell, you don’t even have to admit you love it—hence the title—but we know you will (or at least your girlfriend will)…

2013 became a landmark year for the group—Chris “Fronz” Fronzak [lead vocals], Chris Linck [guitar], Nate Salameh [guitar], Kalan Blehm [bass guitar, backing vocals], and Sean Heenan [drums]. Their fifth offering, About That Life, snatched #22 on the Billboard Top 200, #5 on the Independent Chart, #4 on the Hard Music Chart, and #5 on the Rock Chart, moving over 14,200 copies first week. In the midst of sold out headline shows around the States, the band began working on what would become Guilty Pleasure at the end of the year. This time around, Fronz possessed a clear vision that included embracing seven-string guitars, adopting lower tunings, and nodding to turn-of-the-century classics from Slipknot, Korn, and Limp Bizkit.

“We’re never going to write the same album twice,” he declares. “We’re always going to maintain our sound and style, but we bring something new to the table for our fans to keep it fresh and interesting. Lyrically, I expanded. It’s not all about partying and being crazy. I touched on some real shit. I dropped some knowledge. I wanted to be more real because I owe it to our audience. The songs are more meaningful.”

Once again, the boys retreated to the studio with Joey Sturgis [Asking Alexandria, Of Mice & Men] in Michigan. Together, they amped up everything across the board.

“It’s a heavier and more fun Attila,” smiles Fronz. “It’s rap metal at its finest. There are elements from our older albums as well as new flavors.”

That’s apparent on the first single “Proving Grounds”. The guys ignite an atomic hook bolstered by succinct riffing and a percussive slam. “’Proving Grounds’ are areas that the government would test nuclear and atomic bombs,” he goes on. “Anyone can relate to this because we all have doubters. You have to take that doubt and leverage it do better. Proving people wrong is the ultimate satisfaction.”

On “Rebel”, Fronz spits incendiary bars over a barrage of chugging jackhammer guitars. Everything culminates on an anthemic refrain that’s equally ballsy and blistering.

“It’s about being yourself, doing what you love, and not giving a fuck about what authorities, parents, or people tell you that you’re supposed to do,” he proclaims. “That’s an important message. You can’t always live by the rules. If you really want to do something, you just have to do it. I want to encourage kids to use their ambition and do what they love.”

Then, there’s “Horsepig”. Boasting brash delivery and another sizable groove, it’s a special one for Fronz as it proved to be a family affair. “My three-year-old son actually named that song,” he admits. “One day, I showed him a flashcard of a warthog. He knew what it was, but he wanted to change the name to ‘Horsepig’ since a warthog looks like a horse and a pig. Later that day, we wrote the song, and I had to use the word he invented for its title.”

Along the way, Attila have turned “party metal” into a bona fide art form. Formed in 2005, they’ve continually clawed their way towards heavy music domination. In addition to being a headliner on Warped Tour 2014 and touring alongside everybody from Suicide Silence to Asking Alexandria and Memphis May Fire, these mayhem mavens have sold over 100,000 records to date. They’re preaching a new kind of gospel too…

“Our generation is killing rock ‘n’ roll by writing all of this pussy-ass music,” he leaves off. “This kind of music is about breaking the rules and pushing the limits. That’s what Attila has done and we will continue to do. We’re breaking rules. We don’t give a fuck if people like us or not. We’re doing what we love and having the time of our loves. The world needs that. We’re happy to be your outlet. Have a fucking blast. We’re your Guilty Pleasure.”
Veil of Maya
Veil of Maya
Underneath a maelstrom of polyrhythmic guitars, sweeping vocals, and shuddering beats, Veil of Maya encode a ponderous narrative at the core of their sixth full-length album, False Idol [Sumerian Records]. This time around, a captivating concept drives the quartet—Marc Okubo [guitar], Sam Applebaum [drums], Danny Hauser [bass], and Lukas Magyar [vocals].

“The whole album is told from a first-person perspective,” Lukas explains. “You’re following this character who’s not the nicest man. He rises to power though. You’ll have to listen in order to find out how it ends. The storyline is very dark.”

“It felt more like we were making a movie or a TV series,” adds Marc. “Lukas actually had a storyboard idea that we talked about before even starting. It’s almost like we were providing the soundtrack in Veil of Maya’s template.”

The seeds for this widescreen ambition can be traced back to 2015’s Matriarch. The album bowed at #2 on the Billboard US Hard Rock Chart and spawned the band’s biggest hit to date, “Mikasa”—which racked up over 5.2 million YouTube views and 5.1 million Spotify streams. Meanwhile, “Leeloo,” “Ellie,” and “Aeris” each cracked the 1-million mark on Spotify. Matriarch earned acclaim from Billboard, Alternative Press, New Noise Magazine, and more as the guys hit the road with the likes of Animals As Leaders, Upon A Burning Body, Volumes, Chelsea Grin, Oceans Ate Alaska, and other heavy hitters in addition to a stint on the Vans Warped Tour. Late 2016 saw the musicians head to Los Angeles in order to record what would become False Idol. Marc worked with producer Max Schad in one studio, while Lukas teamed with vocal producer Brandon Paddock in another.

“Two studios working at the same time was a new approach for us,” continues Marc. “In the past, we completed all of the instrumentals for Lukas to marinate on. Everything was done by the time he joined the band. This is the first time we got to write with his voice in mind. Another change, he was writing on the spot. It brought a different energy and ended up really cool. Max made a big difference too.”

That difference stands out in Veil of Maya’s marked sonic evolution. Every element is amplified: it’s heavier, it’s more hypnotic, and it hits even harder.
“The overall vibe is darker and heavier,” reveals Lukas. “with the story, the demeanor got pretty sinister. That’s an element that I don’t think anybody was expecting.”

The first single “Overthrow” revs up from a crushing tidal wave of riffing into a soaring and striking clean refrain. It taps into the expansive energy of signature fan favorites, while elevating the group to a new level.

“It’s got some of that ‘Mikasa’ spirit,” smiles Marc. “We thought that couldn’t hurt!”

“We show references to the beginning of the main character’s life at this point in terms of the content,” says Lukas. “It was a more compelling way to tell the story. All of the songs stand alone. They represent their own pieces of the story.”

Whether it’s the pulverizing power of “Overthrow” and “Doublespeak” or knockout send-off of “Tyrant” and “Livestream,” False Idol exorcises an unforgettable narrative in the landscape of Veil of Maya’s most definitive work to date.

“We wanted to create something refreshing,” Lukas leaves off. “We didn’t recycle the same old thing. It’s a new beginning.”

“I hope the record is something people want to go back to and study again,” concludes Marc. “It’s worth more than one listen.”
Venue Information:
Palladium
261 Main Street
Worcester, MA, 01608