Rock and Shock ***Saturday Only*** Feat. Danzig

MassConcerts Presents

Rock and Shock ***Saturday Only*** Feat. Danzig

Superjoint Ritual, Veil of Maya, Prong, Witch Mountain, The Rocking Dead, Doyle, New Years Day, Get Scared, Eyes Set To Kill, Wednesday 13, Byzantine, The Release Symphony, Darksiderz, Hatchet

Sat, October 17, 2015

Doors: 11:00 am / Show: 11:00 am

Palladium

Worcester, MA

$40.00 - $45.00

This event is all ages

THIS TICKET GRANTS YOU ACCESS TO BOTH, THE CONCERT @ THE PALLADIUM AND THE CONVENTION NEXT DOOR AT THE DCU CONVENTION CENTER

 

2nd Stage: 3pm / Main Stage: 4pm / Convention: 11am Doors

 

TICKET STUB + WRISTBAND = RE-ENTRY

Danzig
Danzig
Glenn Danzig is a name that permeates, infects, and ultimately makes strong, the very soul of hard rock in the '90s. Through the legendary punk charge of his pre-Danzig outfits Misfits and Samhain, Danzig formed the backbone of today's mosh movement. Into the deep waves of the Danzig catalogue, and you've got a band that has created high-tension hybrids that are still being pondered and quietly adopted throughout today's metal community. Over eight million records sold, and Danzig is about to unleash a multi-media onslaught that will once again find disciples studying the master.

But first a little history.Danzig's early works took full advantage of what was initially a vital and productive working relationship ith Rick Rubin, resulting in a self-titled 1988 debut and a follow-up in '90 called Lucifuge that together enveloped the man's interest in punk,doom,gothic new wave and an intense California twist on black Satanic metal,culminating in a display of shockingly dark hard rock that sent chills the likes of which today's Norwegian churchburners could never know.

Danzig III: How The Gods Kill dropped in'92, rewriting the books on Sabbatherian doom metal; super charging the genre with molten guitar god riffs, foreboding but poetic lyrics,and above the fray, THAT VOICE. Glenn is a sonorious tenor blessed with the abilityto caress and terrorize all within a few short breaths.As the luck of the draw would have it, Danzig next found himself with an odd, unplanned Hit on his hands; a live version of the debut album's 'Mother' introducing the mainstream to this buffed-up, 'black leather powerhouse'. 1993's Thralldemonsweatlive EP went on to platinum status (following a similarly exalted fate for the debut),and Danzig's commercial legacy was ensured.

Never one to be complacent,Glenn rewired the band's sound into a frosty but intimate affair paradoxically rife with studio wizardry.Danzig 4P hit in '94,Glenn once more confounding the world with a record that would be a critically acclaimed masterpiece,casual but crafted,sinewy and insidious.

As relations with Danzig's label Def American broke down, so did Danzig's relationship with his band.Glenn found himself seeking fresh personnel and a fresh perspective, creating the darkwave industrial rhythms of Danzig 5: Blackacidevil, a record which, once again, was to re-engineer the cutting edge of hard rock in Danzig's imposing,muscle-strapped image.

But harsh circumstances have brewed, distilled, and unleashed a blistering counter punch by the name of Danzig 6:66 Satans Child, a record that is a visceral and aggressive statement of black intent,unafraid to clutch and grab from today's technologies, but more in tune with the frightening power of a well-juiced guitar.

Danzig 6 features essentially the same line-up as its predecessor, but there are a number of fresh pioneers associated with the project. Glenn's co-producer is Peter Lorimer, a remix king who has worked with the likes of Bowie, while engineer Josh Abraham has collaborated with Orgy, Coal Chamber and Korn. And speaking of Orgy, J. Gordon and Amir Derakh have stuck their hands into the pot and mixed fully seven of the record's twelve tracks. What the team has come upwirth is an inspiring and often trance-like Heavy Metal churn that understands the present and predicts the future, a record that re-writes the darkness of doom in the image of millennial technologies.

"Danzig 6 will have no problem living up to the hype, as well as the hyperspeeds at which that hype will spread through the net. One listen will confirm the often Sabbath- like authority of the record, coupled with a portfolio of unique Glenn Danzig voicings that astonish in their range, hue and suggestive malevolence. 'Five Finger Crawl' is a perfect example of Glenn's multiple deliveries within one song, Glenn whispering to a soundtrack of military metal countered with silken melody come chorus time. 'Cold Eternal' is a personal favorite of Glenn's, a song which he simply describes as "really, really sad." A treasure reveals itself within the closing track, '13', on which Glenn captures the classic but only occasional Danzig blues vibe, something that wraps Dylan's 'Ballad Of Hollis Brown', Robert Johnson's deal with the devil, not to mention Elvis and Johnny Cash in a dark blanket of woeful dirge rock that could only come from one band. Elsewhere, it's power chords a' plenty, fraught with drama, supported on a bed of subtle electronics, frighteningly doom-laden but infused with hook and groove

It's unlike any Danzig record you've heard. Not like any two from the catalogue have much in common. Unsurprising, says Glenn. "It comes back to something that I've always said. I don't like doing the same record over and over again. It's like, if I'm not going to do something different, I won't even do a rock record, I'll just do something else, you know; Like my comic book company, or a classical project. But I think the unifying thread is that basic punk rock attitude. I think it shines through on all of them, yes."

If Danzig 6:66 marks a majestic rebirth of the Danzig sound, this synthesis of the man's evil guitar rock and his selective pillaging of industrial conventions, it is a record that is only the beginning of a remarkable two year plan within the Danzig camp. Expect to see a Samhain box set, followed by individual reissues of the records, reissues of the entire Danzig catalogue, plus no less than three new projects cradling the millennium: the second installment of Black Aria, a massive Danzig b-sides collection, and finally a double live album, culled from years spent headlining stages in front of mod hotshots like Korn, Soundgarden, Type O Negative and Marilyn Manson.

It is a sinister time in the tired life of one world ending, and it unmistakably a time for the destructive and redemptive powers of the next century's man in black. Heed the warning: Danzig 6:66 Satan's Child is only the scabbard tip of what we can expect from Danzig throughout the birthing of a new rebel century. It is however, Danzig's soul crusher of a calling card, his coal-fired ebony heart made metal, the siren song soundtrack of two age in collision. Confront it now and feel your lifeblood drain and subsequently replenish truer than ever.

xxxxx -Martin Popoff
Superjoint Ritual
photo & bio coming soon
Veil of Maya
The Chicago based VEIL OF MAYA encompasses the good old American blue collar work ethic and have definitely taken the hard road to success grinding it out on the road through countless tours over the years, but now that backbreaking schedule is paying off tenfold. This quartet are one of the few very bands that can authentically mix elements of progressive metal, melodic death metal, thrash and hardcore brutality together effectively, all while keeping the listener constantly interested with baited breath wondering just what is coming next. This is exactly why they will have a career for years to come.

VEIL OF MAYA's dynamic second full-length album, id, was met with rave reviews and quickly caught the attention of the underground with it's refreshing and unique approach.
Prong
Prong
CBGB's was THE venue of an era; an embodiment of what it meant to be in a band, striving for everything you got. In many ways the birthplace of American Punk and the No Wave movement, one can say the music created there was -at its very essence -- a revolutionary influence, and its corrosive nature has infected millions of people through the years. One in particular, a soundman on the staff, was tainted by the experience, changing him into an iconic corner stone of metal; I am, of course, referring to Prong's very own Tommy Victor.

Dissonant, dark, detached -and at times rather deranged --Tommy Victor, founder and frontman of Prong, always swings his riffs low, hard and squarely at your skull. Victor never did 'happiness' and Prong didn't necessarily give a shit about making the 'feel good album of the year'. For Victor, high-praise is best served in the packed clubs and sweaty mosh-pits he plays in around the world. This is all the proof he needs of a dedicated fan base which never misses the band's shows, and loyally buys albums while 'critics' consistently miss the boat. Every time Prong was ignored by the mainstream -whilst revered through the underground --or ripped off by lesser, spineless musicians who don't have a creative pot of their own to piss in - Prong just got harder, stronger and more pissed off. It fuelled them even more, and drove them even further. This is not your parent's band; this is brutality with no regrets amplified, distorted, and turned up to 11.
Witch Mountain
Witch Mountain
Witch Mountain was founded by guitarist/songwriter Rob Wrong and drummer/manager Nathan Carson in Portland, OR in 1997. In those days, if you didn't wear a cardigan and play sloppy indie-rock on a guitar you bought at a garage sale, you were not going anywhere. But the band was committed to its roots in the Blues, Rock, and Metal. Carson and Wrong shared a love of the Beatles, Black Sabbath, Pink Floyd, Jimi Hendrix, Judas Priest, and the Beach Boys. By the time the Homegrown Doom demo was recorded in '99, the band was already on its 4th bass player (he didn't last long, either).

Since those early days, Witch Mountain's accomplishments read like a laundry list: Three albums for Profound Lore, a single for Scion, a comp track on Adult Swim's metal compilation. Festival performances at Roadburn, Hellfest, Hopscotch, and tours all over Europe and North America with the likes of Nik Turner's Hawkwind, Cough, Lord Dying, Spirit Caravan, Weedeater, were all great successes. Likewise, the major press has levied accolades on Witch Mountain, from Pitchfork to NPR, Spin to MSN, Noisey to Rhapsody. If you can name a band that influenced doom, be it Candlemass or Blue Öyster Cult, Sleep or Diamond Head, Saint Vitus or Uli Jon Roth, Witch Mountain has shared the stage with them.


2015 brings new blood to the group, with vocalist Kayla Dixon taking over for the recently retired Uta Plotkin. Dixon's talent and enthusiasm continues to revitalize the band, which is remarkably far from jaded after nearly 18 years as a unit. Latest album Mobile of Angels won worldwide praise, and placed on most Top 20 Year End lists for metal music in 2014. Now, with latest and greatest bass player Justin Brown (#11, we think…) in tow, the group is set to tour America once more, this time in support of its longtime friends YOB.

Once against the grain in every way, time and culture has cycled the band into a new era where Doom is somehow considered cool, and Witch Mountain is recognized as an organic, unwavering stalwart of the scene.
New Years Day
New Years Day
New Years Day formed in 2005 after bassist Adam Lohrbach left the band Home Grown. Home Grown's final EP, 2004's When it All Comes Down, had diverged from the band's previous style of humorous pop punk and incorporated many emotional elements that Lohrbach carried over into New Years Day. Meeting with vocalist Ashley Costello and guitarist/keyboardist Keith Drover, the three began rehearsing songs that Costello and Lorhbach had written. These songs were heavily influenced by the members' shared emotional experiences, as Lohrbach and Costello had both recently been through difficult relationship break-ups.

The group soon added guitarist Mike Schoolden (formerly of Wakefield) and drummer Russell Dixon and took the name New Years Day.
The band began building a reputation through promotion and posting songs on the MySpace social networking website, and were featured on the MySpace Records Volume 1 compilation CD and in the soundtrack of the video game Saints Row. After considering an offer from the Pete Wentz-run Decaydance Records label, the band signed to TVT Records and released a debut self-titled EP in 2006. Originally referred to as the Razor EP, it was primarily a digital release made available through download services such as iTunes, though CD copies were also available at the band's performances. They also performed at the South by Southwest music festival that same year.

From 2006–2007 New Years Day self-financed and self-produced their debut album My Dear, recorded over an eight-month period at the home of producer Eugene Perreras.[3] The album was released on May 8, 2007 and includes collaborations with members of Reel Big Fish and Motion City Soundtrack. The band's debut music video for the lead single "I Was Right" won an MTVU "Freshman Face" poll and was added to the channel's playlist.

The band started writing new material in early 2009. Around September 2009, NYD posted two new songs on their MySpace page.[8] When asked about a new EP, vocalist Ashley Costello said, "The EP is in its demo phase right now and we are still writing for it and recording it at the same time. The EP should be out in the spring of 2010."

On March 12, 2010, Alternative Press announced that New Year's Day have been added on the Warped Tour's summer dates. New Year's Day released their Japanese debut album called "Headlines & Headstones" on July 2nd, 2010 under Spinning Inc. The album contains music from their first EP, their first LP "My Dear", a Lady Gaga cover and new songs from their upcoming 2nd full-length US album.
Get Scared
Get Scared
We started the band with the motive to not be another mundane closed minded group of musicians. We were all sick of the regurgitated music that was being put out, and unhappy with how Intolerant the music scene had become in our hometown. This gave us the passion to create music that not only went against everything in our hometown scene, but also to make music that truly made us feel whole. The meaning behind the name "Get Scared" is to not hold back in life. Do whatever you are passionate about, get out of your comfort zone and don't be afraid of failure, the only way to fail is to never try at all. Get Scared
Eyes Set To Kill
Eyes Set To Kill
With the release of their highly anticipated third album, everyone is watching Eyes Set To Kill. The Phoenix based group has quickly become one of the most talked about groups in the scene after the group’s two previous efforts garnered them significant critical acclaim. With expectations from fans and critics at peak levels for their upcoming album, “Broken Frames”, Eyes Set To Kill has recorded their heaviest and most aggressive album to date.
Wednesday 13
Wednesday 13
Bolt your doors, seal off your windows, and turn off your radio it's a scary world out there, full of mindless zombies and equally mindless rockstars, self-righteously preaching and self-indulgently whining to the herd. But help is on the way, as Wednesday 13 stands ready to shock the rock status quo out of its brain-dead coma. Equal parts artist, horror and TV addict, and riveting frontman, Wednesday 13 refuses to be your typical messiah. I don't like anyone preaching to me that's why I've never gone to church. says Wednesday. For me, music has always been an escape from real life. Whatever problems I had, I could always go home, put on a record and just escape all of that shit. So in my own music, the only thing I'm serious about is not being serious!

Though best known for fronting the Murderdolls, Wednesday is a rock veteran who's been playing in bands since he was 15-years old. He adopted his stage moniker in 1995, naming himself after Wednesday of The Addams Family and the address, 1313 Mockingbird Lane, of The Munsters. A year later he formed his now-deceased horror-core band Frankenstein Drag Queens From Planet 13, named in the spirit of legendary B-movie director Ed Wood. The band put out four independent albums between 1996 and 2001, and played countless local shows. Frankenstein Drag Queens was Wednesday's baby, and he slaved away for his undead offspring - writing the songs, booking shows, working low-wage jobs (delivering everything from newspapers to furniture), and generally putting all his money and energy into the band.

In 2001, the 'Drag Queens independent releases and loyal underground following caught the attention of national artists, as Wednesday was asked by the (since departed) Murderdolls guitarist Tripp Eisen to join the band. Wednesday started in the bass slot, but his talent and showmanship quickly resulted in a move to the lead vocalist position. It was he and band founder Joey Jordison of Slipknot who collaborated on the writing of the band's debut album, Beyond the Valley of the Murderdolls. The Murderdolls quickly built a fiercely devoted following, through repeated world tours (including 30,000-person shows in Japan, opening slots for Iron Maiden throughout Europe, and other choice tours), and worldwide rock press acclaim and album sales followed. As 2003 came to an end, Beyond had earned silver-status in the UK, sold over 100,000 units in the U.S. alone, and garnered accolades including Kerrang!'s Readers Choice Award Best New Band and Album of 2002 and Metal Hammer's Thank God They're Not Good Charlotte award in 2003. Predictably, the success of the Murderdolls resulted in Wednesday disbanding his first band. But since the Frankenstein Drag Queens' demise, it has ironically won a worldwide cult following. Wednesday can't help but laugh: "In the beginning, the 'Drag Queens were inspired by Ed Wood. In the end, the band was like Ed Wood in that he wasn't popular until after he died either.

Murderdolls, meanwhile, was put on hold in 2003 as Jordison returned to the studio and the road with Slipknot. Wednesday returned home, immediately locked himself in his basement, and emerged with over 100 songs written. In June 2004, he began work on his first solo album, playing all but the drums himself. True to form, Wednesday has stitched together a morgue-full of influences horror films, cartoons, punk and heavy metal into a spook-tacular monster-mosh of an album, Transylvania 90210: Songs of Death, Dying and the Dead. Fans of White Zombie, Rob Zombie, AFI, Alkaline Trio the aforementioned 'Dolls, as well as metal, punk, and horror in general will find the record at once refreshing and outrageous. With his sallow complexion and raven dreadlocks, Wednesday may look like a grim goth at first glance, but the singer/guitarist is more a throwback to the days of Alice Cooper and Twisted Sister, when rock music had no more pretentious aspirations than being over-the-top, escapist fun.

The song I Walked with a Zombie, for instance, was inspired by the 1943 horror movie of the same name. It's one of the first movies that dealt with voodoo, the singer/guitarist explains. But I just went in a totally different direction the song is actually kind of a love song about a zombie.

The song Elect Death for President, meanwhile, was inspired by the TV news. I was watching CNN last year, and I was like 'You know, this is scarier than any horror movie,' Wednesday recalls. I'm not a political person, but it doesn't take a genius to realize that there are problems. So I started making up sarcastic lyrics about a campaign where Death was actually running for president. I felt kind of weird afterwards, like Did I just write a political song? Or not?'

The recording now behind him and the bloody, infectious results commited to tape, the singer/guitarist is burning to sink his fangs into the rock world's throat once again. Despite his writing and performing the record himself, Wednesday 13 is a band, which includes Wednesday on vocals/guitar, Ghastly on drums, Kid Kid on bass and Pig on guitar. Once the record was done, the band immediately hit the road, playing a 16-date club tour of the UK/Europe to warm up the new material. The tour was a great success, drawing thousands of fans and affirming Wednesday's ability to connect with fans, whatever the project.

Growing up a little blonde kid in the middle of the Bible Belt (North Carolina, where he still resides), Wednesday escaped at an early age into a world of creature features and rock gods. I'm the perfect example of what television and rock 'n' roll can do to a kid with no plans to be a doctor or fireman, says Wednesday. I still sort of live inside of a television. My songs stem from movies and things I've seen on TV. It seems natural, then, that each track on Transylvania 90210 is an episode in the outrageously shocking mini-series that Wednesday 13 created. Tune In: Wednesday 13's debut album will be your new guilty pleasure.
Darksiderz
Darksiderz descend upon us from the far reaches of the unknown. He brings a powerful sound of exclusive hard beats that will control both your mind and your body once you step onto the dancefloor. He is a powerhouse behind the decks and in the studio with influences ranging from hard dance to industrial to death metal. He has combined different sounds to spawn a new hard EDM concept and the world will soon know the power of the darkside.
Hatchet
Growing up in the San Francisco area suburbs as young metal heads can make it quite likely to take influence from the pioneers of metal that spanned the area in the 1980's. So it's no surprise that Hatchet describes their sound as "Pure, Uncompromising, Bay Area Thrash Metal".

Since hitting the Bay Area Metal scene in early 2007, Hatchet quickly made a name for itself. They worked hard to gig as often as they could and also not compete with, but group together bands of the like to help strengthen the scene. Focusing on playing with other young starting thrash bands in their area, the fan base grew. Eventually they reached out to the neighboring Los Angeles thrash scene which was also flourishing and invited various bands up to the bay area to diversify their shows, and spread overall thrash metal awareness.

After self-releasing two demos, the band's debut album, "Awaiting Evil", was released in mid-2008 via Metal Blade Records. The album was well-received by thrash enthusiasts around the globe and proved a great beginning for Hatchet. Since the release of the debut, the band has completed 3 full DIY U.S. tours that have helped put them on the map for up and coming thrash metal bands. Unfortunately in this time, the band also saw its share of lineup changes, which stalled overall progress of the group. Throughout the changes, founding member Julz Ramos always had the passion to keep the band going, even moving to take on vocal duties. Now in 2012, the band has never been stronger with its most dedicated, mature, and musically inclined members since its birth.

Their sophomore effort, "Dawn of the End", released on their new label, The End Records, showcases a much more aggressive and professionally oriented band. The group has stated its hunger to hit the road and prove that thrash metal is still a force to be reckoned with.
Venue Information:
Palladium
261 Main Street
Worcester, MA, 01608