HEAVY FEST: Chapter Two ft. Zomboy, All That Remains

NV Concepts & Above The Sky Productions Present

HEAVY FEST: Chapter Two ft. Zomboy, All That Remains

Midnight Tyrannosaurus, PhaseOne, Figure, Sullivan King, Kai Wachi, Mersiv, Uncle Bob, AG, 2nd STAGE:, Nile, Terrorizer, Thy Will Be Done, Saving Vice, 6IXFEETUNDXR, Pine Needle Soul, Local Mix Winner

Sat, November 9, 2019

Doors: 4:00 pm / Show: 4:15 pm


Worcester, MA

$30 - $75

This event is all ages

Dubstep producer from the UK. Currently signed to Never Say Die
All That Remains
All That Remains
If you want to leave a lasting impression, get to the point...
Clinging to airtight songcraft, knifepoint precise metallic instrumentation, and stadium-size hard rock hooks, All That Remains cut right to the chase on their ninth fulllength album, Victim of the New Disease [Fearless Records]. In fact, the quintet—
Philip Labonte [lead vocals], Oli Herbert [lead guitar], Mike Martin [rhythm guitar],
Jason Costa [drums], and Aaron Patrick [bass, backing vocals]—perfect their patented
pummeling by wasting no time or energy at all.
“We just try to trim away all of the fat,” exclaims Labonte. “It’s easy for metal
bands, ourselves included, to get self-indulgent and write parts for the sake of parts.
Unless an idea makes a song better, there’s no reason to put it in. We always put the
song first. That’s how you stick with people. If you just write good songs, everything
else will be okay.”
That philosophy cemented the Massachusetts group as one of this century’s most consistent purveyors of heavy music with a bulletproof canon of arena-worthy anthems.
All That Remains’ discography is highlighted by Top 10 Active Rock radio hits such as
their first number one “Stand Up,” “Two Weeks,” “What If I Was Nothing,” and more.
Averaging 1 million monthly listeners on Spotify (an unprecedented feat for a metal
band in any era), cumulative sales eclipse 1 million albums worldwide. Not to mention, they’ve earned five consecutive Top 10 debuts on the Billboard Top Rock Albums
Chart and four in the Top 5. Most recently, 2017’s Madness spawned the smash cover
of Garth Brooks’ “The Thunder Rolls,” which trended on VEVO and generated 21 million plus total views and 8 million Spotify streams in under a year’s time. In addition
to packing houses as a headliner, they’ve practically burned down the stage everywhere from Rock on the Range to Welcome to Rockville.
When it came time to commence writing for what would become Victim of the New
Disease, the boys decided to go back to square one. All That Remains holed up in the
Chicopee, MA rehearsal space they’ve occupied since 2010 and dove into writing
alongside an old friend producer Dan “DL” Laskiewicz [Unearth, The Acacia Strain].
“We were trying to focus on what we do best,” the frontman continues. “We wanted
to be heavy. We didn’t want to go to L.A. and work on a record out there again like
we did with Madness. We wanted to do it where we were comfortable at home. That
method has always done really well for us. We got together in the old practice space
and hammered out riffs, ideas, and songs that resonated with us.”
For the first time, the band recorded proper demos complete with music and lyrics,
marking “the most striking difference” between previous releases. With “DL” behind
the board as producer and mixing courtesy of Josh Wilbur [Lamb of God, Gojira], they
delivered a striking, succinct, and sharp collection of ten anthems.
“We decided to throw a curveball,” grins Labonte. “...And do the the heaviest record
since For We Are Many in 2010! It was the perfect way to follow-up Madness where we
did some different styles and songs and even covered a country song. People might’ve
expected something more experimental, but throwing curveballs is what we do.”
All That Remains kick down the door on Victim of the New Disease with the deadly
barrage of opener “Fuck Love.” Chainsaw-sharp riffing and guttural growls roared as
the musicians make good on this heavy promise.
“We’ve started a few records with something that really kicks hard,” he goes on. “You
take your heaviest song and say, ‘This is how we’re going to set the tone for the rest
of the album. Here you go.’ ‘Fuck Love’ is the most aggressive song we’ve done in a
while. It’s burner. We dig beginning with a shocker.”
Meanwhile, the first single “Everything’s Wrong” hinges on an energetic groove that
builds towards an immediately chantable chorus still underscored by muscular double
“If we get a good hook, we like to make sure it’s maximally exposed,” says the singer.
“We want something you’ll hum later with lyrics you might be able to relate to. However, for the first time, we got to leave the double bass in!”
Then, there’s “Just Tell Me” [feat. Danny Worsnop]. On the hypnotic anthem, Labonte
locks into an unbreakable harmony with Worsnop, adding another dimension to the
“We’ve been friends with Danny for a long time,” he continues. “We loved what he
did. He wanted to do something more chill, and I think he hit a homerun. If you’re
into rock ballad songs, you’ll appreciate it.”
Everything culminated on the visceral and vital “Victim of the New Disease,” which
hints at “how some ideas don’t work out—and continue not to work out, but we keep
trying them” over a fiery and focused four-on-the-floor riff.
In the end, All That Remains uncompromisingly tread the same path they’ve trodden
for nearly two decades and delivered a definitive body of work on the way
“This band is my life,” Labonte leaves off. “It’s twenty years of being a musician.
We’ve been able to weather some storms in the music industry, survive, and come out
thriving. We didn’t just ride a trend; we built a real career out of writing songs. We
don’t have a look or a gimmick. We have five dudes who write songs.” — Rick Florino,
September 2018
Since their formation in Massachusetts during 1998, All That Remains have built an
undeniable legacy upheld by airtight songcraft, knifepoint precise metallic instrumentation, and stadium-size hard rock hooks. As a result, they’ve outlasted trials, tribula-
tions, and trends to stand tall as as one of this century’s most consistent purveyors of
heavy music with a bulletproof canon of arena-worthy anthems. All That Remains’
discography is highlighted by success at Active Rock including radio hits in the top 10
such as “Two Weeks,” “What If I Was Nothing,” and their first number one “Stand
Up,”. Averaging 1 million monthly listeners on Spotify (an unprecedented feat for a
metal band in any era), while cumulative sales eclipse 1 million albums worldwide.
Not to mention, they’ve earned five consecutive Top 10 debuts on the Billboard Top
Rock Albums Chart and four in the Top 5. Most recently, 2017’s Madness spawned the
smash cover of Garth Brooks’ “The Thunder Rolls,” which trended on VEVO and generated 21 million plus total views and 8 million Spotify streams in under a year’s time.
In addition to packing houses as a headliner, they’ve practically burned down festival
stages everywhere from Rock on the Range to Welcome to Rockville.
In 2018, the quintet—Philip Labonte [lead vocals], Oli Herbert [lead guitar], Mike Martin [rhythm guitar], Jason Costa [drums], and Aaron Patrick [bass, backing vocals]—
perfect their patented pummeling by wasting no time or energy at all on their ninth
full-length album, Victim of the New Disease [Fearless Records]. — Rick Florino, September 2018
Dubstep/metalcore-crossover producer from Sydney, Australia.
Big Beat/Dubstep/Drumstep/Electro House DJ & producer from Evansville, Indiana, USA.
Sullivan King
Bass music producer from Los Angeles, United States.
Bronx-raised rapper. Member of the D.I.T.C. crew and Showbiz & A.G. duo.
Founded by Karl Sanders (guitars, vocals), Chief Spires (bass, vocals) and Pete Hammoura (drums) in 1993, NILE released their first EP »Festivals Of Atonement« (1995) through their own label, Anubis Records. The band’s second EP »Ramses Bringer Of War« was released via Visceral Productions. Dallas Toler-Wade (guitars) joined the band in time to support the release of their first album »Amongst The Catacombs Of Nephren-Ka« (1998), with NILE touring the US as support of the famous MORBID ANGEL, and Europe as support for VADER and SIX FEET UNDER. The debut was followed up by two other blasting records - »Black Seeds Of Vengeance« (2000) and »In Their Darkened Shrines« (2002). Drummer George Kollias joined the band in 2004, becoming the 4th legendary drummer to occupy the drum throne of NILE. Several long months of intense songwriting and pre-production by the band culminated with the release of their paramount album »Annihilation of The Wicked« (2005). NILE’s continuing success led the band to signing with the record label par excellence Nuclear Blast; releasing NILE’s NB label debut finally in 2007, called »Ithyphallic«. A two month long blitzkrieg tour as support on Ozzfest in the USA brought the band to the attention of a much wider, diverse audience; gaining new NILE fans across a wide demographic and expanding the band into new touring opportunities worldwide.

After releasing their remarkable follow-up albums »Those Whom The Gods Detest« (2009) and »At The Gate Of Sethu« (2012), NILE are ready to unleash their new, eighth bone-crushing masterpiece to the masses now - »What Should Not Be Unearthed«.

The band had only one goal for their new record: “The goal for the new record was sheer epic brutality,” guitarist Karl Sanders jokes, but then he answers seriously: “Really though, the focus this time around is on brutal Heavy Metal riffing and songwriting; kind of like of an »Annihilation Of The Wicked« approach but very streamlined to achieve maximum destructive impact. So we believe that we have a truly crushing disc to bring to metal fans. Although »Unearthed« is still full of the kind of undeniable musicianship people have come to expect from us over the years, it’s the songs themselves that will hit listeners over the head this time around.”

The production of »What Should Not Be Unearthed« was handled by the band at Sanders‘ own Serpent Headed Studios. All the tracking was done there too, except for the initial drum tracking, which was done with Bob Moore at Soundlab in Columbia. “It all went fairly smooth, although as we all know, no record is without its share of challenges,“ the guitarist tells. “Overall, though, I can say that this time around the recording/composing/rehearsing was a rewarding and enjoyable experience, and the band worked together as a team with a level of consistence and confidence in a way I’ve not seen since the golden early years of working with original NILE drummer Pete Hammoura.“ After all recordings were done, Neil Kernon in Chicago did the final mix of »What Should Not Be Unearthed«.

The artwork was created by Michal “Xaay” Loranc. “I excavated the theories of an elder ancient civilization which could give the origin to ancient Egypt,” Xaay starts to tell about the background of the cover. “That's why you can find a new ingredient in the band imagery, pointing at some higher obscure intelligence, eroding and covered with time. That trace of a dismal legacy is resembled in the outer structure which radiates from the block, sealing the unknown, and it's only an adumbration of what we will meet, once it is removed. The pyramid-shaped seal in the center doesn't contain a recipe for some camel stew or a pharaoh's dining menu. An experienced eye will notice hieroglyphs taken from the 'Book Of The Dead', or the Seven Islands of Amentet glyph - depicting the ancient underworld, and describing the elder reign of God-kings, which had ended circa 9850 B.C. (perhaps some similarity with that of Atlantis?).” But the main thing of the artwork is a winged scarab sign in the exact center: “We all know this most common Egyptian artifact giving protection... so the message is pretty clear... I hope it may become another fine element in band's repository for the NILE themed tattoos. To sum it up: This album is definitely not a box of candies. Keep in mind that opening the package means you will deal with the deadliest essence…”

Once again, the title and the lyrical themes of NILE’s album are heavily inspired by old Egypt and archaeology: “'What Should Not Be Unearthed' is somewhat like the idea that what if archaeologists accidentally dug up something, so old and unimaginable in its implications of the origin of humanity that it rocked the foundations of modern civilization,” explains guitarist Karl Sanders and continues: “As if everything we all believed to be true about humans, our history, and our place in the universe were shown to be so horribly wrong by these new discoveries that it drove the general population to madness and despair. It‘s a classic Lovecraftian sort of idea. Basically, this song grew out of the concept - of the many recent excavations in Egypt containing fantastical discoveries.

In the track 'The Rape Of The Black Earth,' there is a line referring to looters (both recent and in ancient days): “Unearthing What Should Not Be Unearthed”; in other words, digging up stuff that would have best been left undisturbed, unviolated, left for eternity to rest in peace”. Sanders asked himself: “What would be if they were to dig up something so awful and unbelievable that completely fucked up everything we thought we knew about history, science and mankind?” But he realized that this has already happened: “By the end of the 1800’s and the turn of the century into the 1900’s, the minds of our public consciousness had already been raped by the first discoveries of dinosaurs; with the obvious implication that the earth was ruled by other than man LONG before any Adam and Eve were around . Charles Darwin had given us his theory of evolution - which pretty much forever fucked up the idea that God had created humanity. This was also the time of the great Egyptologists - many unbelievable ancient things were being unearthed and in the news every day.

The work of English archaeologist Howard Carter provided the concept of the “Curse of the Mummy’s Tomb”. The discoveries of the remains of early humans caused an explosion of the field of paleontological anthropology. Around the globe, modern warfare brought about a scale of mass death and destruction heretofore undreamed of. The miracle of electricity was spreading through all the cities of the modern world, and advances in science and medicine were granted god-like powers to mortal doctors. Even the questioning of the very existence of God was spreading like a mind-blowing cancer throughout the civilized world.”

“In 2015, even little kids watch dinosaurs on Saturday morning cartoons. School kids are taught evolution at a young age now. We use electricity as easily as water,“ Sanders states. But these things weren’t that normal a century ago. The guitarist and vocalist adds: ʺIn the early 1900’s, this shit was fucking up people‘s minds left and right. The concept that man evolved from monkeys was sheer blasphemy that shook the foundations of people’s beliefs in a catastrophic way that we just don’t get anymore with our modern perspective. In the 1930’s, the public consciousness was reeling, in a way we just don’t appreciate now that these ideas have become commonplace. So that's more or less the framework for »What Should Not Be Unearthed«.“

Altogether, Karl Sanders says: “Sethu and Ithyphallic - while full of incredible musicianship and unique songwriting approaches - were not ever intended to be definitive NILE records. They were representative of where we were and how we felt as a band and as musicians at those points in our careers.”
“Unearthed is somewhat reactionary in that aspect; it‘s a record that we are confident NILE fans will love,” the guitarist promises and closes: “In that respect, some of these tracks will be instant NILE classics and fan favorites: If someone can listen to tracks like 'Call To Destruction' or 'Evil To Cast Out Evil' and somehow NOT feel that intoxicating, empowering rush of metal adrenaline and feel compelled to raise the horns in metal, I would be genuinely shocked.”

Karl Sanders | guitars, vocals
Dallas Toler-Wade | guitars, vocals
George Kollias | drums
Lee Harrison – guitars
Pete Sandoval – drums
Sam Molina – bass/vocals

Before legendary death metal drummer Pete Sandoval recorded Morbid Angel’s first
album, 1989’s Altars of Madness, he performed on two demos and a split album with his
original band Terrorizer. Today, the group’s 1989 full-length debut World Downfall is
still considered a pinnacle for death metal and grindcore, featuring impossibly fast blastbeats and double-bass drumming along with a blitzkrieg attack by late guitarist Jesse
Pintado (Napalm Death), and ex-vocalist Oscar Garcia (Nausea). The 1989 lineup was
rounded out by Sandoval and then-fellow Morbid Angel bandmate David Vincent on
Over the next 23 years, Sandoval took time between Morbid Angel albums to continue
working with Terrorizer, recording two more cataclysmic full-lengths, 2006’s Darker
Days Ahead and 2012’s Hordes of Zombies. And now, another six years down the
burning highway, Terrorizer are back with Caustic Attack, their heaviest and most
eclectic album to date.
Terrorizer started working on Caustic Attack in 2014, but before they could lay down a
single bar of music, Sandoval had to make sure he was healthy enough to work on a new
album – which was far from a sure thing. Rewind to 2009 when Sandoval’s suffered a
severe back injury caused by decades of Olympic-class death metal drumming. After
seeing different doctors and exploring his options, Sandoval opted for invasive surgery to
repair the deteriorated discs between interlocking vertebrae in his spine.
By 2013, Sandoval was feeling pretty good, so he got together with multi-instrumentalist
Lee Harrison, who played on Malevolent Creation’s 1989 demo a year before giving birth
to metal veterans Monstrosity. which have released five full-length albums to date. In
2007, Lee joined up with fabled Crimson Glory singer, Midnight, with whom he worked
until the vocalist died in 2009. Lee has also played guitar with Obituary on tour in South
America in 2012. Now, he’s deadly serious about his role in Terrorizer, but at first
playing with Sandoval was more like a hobby.
“We started playing some songs just for fun,” Sandoval explains. “We did some of the
World Downfall songs, and then we learned a few cover songs and we did our first show
as a party. That’s how everything started.”
Feeling confident and comfortable again behind the kit, Sandoval invited Sam Molina,
who played with Harrison in Monstrosity, to join them on bass, and the trio started
working on songs for Caustic Attack.
A violently explosive album for increasingly turbulent times, Caustic Attack is the sound
of a world nearing apocalypse. The songs conjure images of warplanes on bombing runs,
giant tanks obliterating small villages and the endless rattle of machine guns mowing
down everyone in sight.
Sandoval has long been known as one of the fastest players in death metal – the pioneer
of blast beats -- and he doesn’t hold back on Caustic Attack. At the same time, even the
fastest songs are tighter and more precise than Terrorizer have ever been thanks to
veteran producer Jason Suecof, who's painstaking method of recording showcases
Sandoval and his team at peak capacity.
The proof is in the pummeling. There are flesh-shredding grindfests like “Turbulence,”
“Caustic Attack” and “Poison Gas Tsunami,” each of which swoops down, destroys and
depart in under-two-minutes. Then, there are the nearly five-minute-long tracks,
including “Infiltration” – which slows to a thunderous breakdown before ramping back
up to hyper-speed – and “Wasteland,” a global conflagration with undeniable guitar
hooks and a lethal mid-song chug that reveals previously unexplored diversity and depth.
“The songs are memorable so a lot of the riffs will stick in people’s heads,” Sandoval
says. “We used lots of microphones to record the album, and Jason really knows how to
place them to get the best results, so the album came out very real as opposed to
mechanical sounding. Every song is its own adventure and is different from the previous
"We spent almost 2 days just getting the tones, trying different drums and changing
cymbals around," continued Sandoval. "The first Terrorizer had a real live feel because it
was recorded so quickly and we wanted to capture that more than the 2nd and 3rd albums
Harrison wrote most of the riffs for Caustic Attack at his home studio, and by July 2013
Terrorizer were working together as a full band. They started jamming on one of
Harrison’s songs and after a couple of preliminary efforts, they clicked into gear. From
that point on, there was no stopping them. “Once we got warmed up we were just writing
song after song,” Harrison says. “We were playing together every week, coming up with
the songs and playing everything on the album.”
In Addition to playing bass, Molina wrote the lyrics, and he remained true to the content
of the band’s catalog, addressing troubled times and contemporary catastrophe. "I tried to
write lyrics to match the aggression of the music," Molina says. "I would write the lyrics
on my own and then I would get with Lee and work out the patterns. I tried to not just do
one paragraph and repeat it 3 times. We would have 3 different parts to make it more
challenging and add more depth."
In March 2016, Terrorizer recorded a pre-production demo, then in July, they entered the
studio with Suecof. The only minor hitch in the process was deciding whether or not to
include guitar solos.
“The original Terrorizer didn’t have solos, so we took the same approach,” Harrison says.
“It was just riff after killer riff. That was an interesting challenge for me – to keep the
music fresh without relying on solos. But the great thing about not having solos is it
allows us to keep a dense sound as a three-piece. When you put leads in there, you need a
second guitar or else the bottom falls out. Staying a three-piece makes it easier to travel
and tour, and we didn’t want to mess with that formula.”
Now that Sandoval is devoting all of his time and effort to Terrorizer (he left Morbid
Angel in 2013), he plans to tour extensively and then record another album. The six-year
curse is officially broken.
“It feels so great to be back playing every day,” Sandoval says. “I worked really hard on
my recovery and all that work is really paying off now because when I play these songs I
feel the same way I did in 1990 or 2000. I feel young again and I can play with no
problem. And that’s hard to do because this new album has a lot of changes, double-bass,
fast blast beats. You name it.”
It’s a combination of all of our styles,” adds Harrison. “Some of it includes the kinds of
beats Pete played with Morbid Angel and a lot of it will be familiar to Terrorizer fans.
But we didn’t want to limit the album to what Terrorizer was in 1989. There’s probably a
little bit of what I do in Monstrosity in there and some stuff that’s a little more
experimental, but overall, I tried to keep it really old-school but with a big production.”
“It’s very fresh, extreme and brutal,” Sandoval says. “There’s a lot of changes in tempos
and a lot of new ideas. It’s modern and dark, but it’s very fast and has some of the
craziest Terrorizer songs so far.”
This spring the band will launch a tour opening for Nile and when that’s done Terrorizer
plan on continuing their path of destruction until the end of time. Prepare for a caustic
attack on a city near you.
- by Jon Wiederhorn
Saving Vice
Saving Vice
Saving Vice is an American metalcore band from New England founded by bassist Robbie Litchfield. Litchfield soon added guitarist Zach Racicot and vocalist Chase Papariello. It wasn't until later on that the band included the final pieces of their lineup - vocalist Tyler Small, guitarist Cody Grant and drummer Sam Whelton. Since their official debut in early 2017, Saving Vice has shared the stage with acts like Through the Eyes of the Dead, Unearth, Convictions, It Lies Within, Tear Out The Heart and The Devil Wears Prada. The group’s high energy live performances, catchy choruses, and hard-hitting riffs aided by the chemistry created by the dual vocalists helped them make their mark on the local New England scene.

Vocals / Tyler Small
Vocals / Chase Papariello
Guitar / Zach Racicot
Guitar / Cody Grant
Bass / Robbie Litchfield
Venue Information:
261 Main Street
Worcester, MA, 01608