Black Label Society

www.blacklabelsociety.com

Black Label Society

Hatebreed, Butcher Babies

Wed, January 7, 2015

7:00 pm

$38.49 - $1,540.00

This event is all ages

Black Label Society
Black Label Society
Black Label Society bandleader Zakk Wylde wields his guitar like a Viking weapon,
bashing out thick riffage and squeezing out expressive squeals as if the glory of his
Berserker brotherhood depends upon every single note, which of course, it does.
Charismatic beast and consummate showman, Wylde puts his massive heart and
earnest soul on display with unbridled, unchained, animalistic passion in Black
Label Society, whether it’s a crushingly heavy blues-rock barnstormer or a
piano-driven ode to a fallen brother. Each Black Label Society album is another
opportunity to top the one before it, but like AC/DC or The Rolling Stones, BLS isn’t
here to reinvent the wheel. If it ain’t broke, don’t fix it. It’s a brand we can trust.
Mighty missives like “Damn the Flood,” “In This River,” “Stillborn,” “My Dying Time,”
“Queen of Sorrow,” and “Blood is Thicker Than Water” have amassed millions of
downloads and streams. They are the soundtracks to sweat soaked revelry, jubilant
evenings that descend into bewildering mornings, and adrenaline fueled sports.
Grimmest Hits, the band’s tenth full-length studio album and follow-up to Billboard
Top 5 entries Catacombs of the Black Vatican (2014) and Order of the Black (2010),
Black Label Society submit new anthems like radio single “Room of Nightmares,” the
bluesy “Seasons of Falter,” and Southern-fried “The Day That Heaven Had Gone
Away” to the BLS faithful; 12 unstoppable tracks to add to that lifestyle soundtrack.
While members of esteemed rock and metal institutions like Alice In Chains,
Metallica, Type O Negative, Clutch, Danzig, and Megadeth have passed through the
band’s ranks, Black Label Society has consistently been defined by Wylde’s
unmistakable voice and signature guitar sound and the steady rumble of bassist
John DeServio. BLS is rounded out, in the studio and onstage, by guitarist Dario
Lorina (since 2013) and powerhouse drummer Jeff Fabb (since 2012).
This is as much a band as it is a symbol of strength, honor, commitment, and diehard
“society,” as evidenced by the legions of supporters who proudly donned the Black
Label Society colors years before motorcycle culture was back in fashion.
Black Label Society are vigilant keepers of the hard rock n’ roll flame, protecting its
sonic characteristics and vibe while engaging in reverent study of its chief
architects. Given that Wylde’s kids’ are named Hayley Rae, Jesse John Michael
(named after his Godfather, John Michael “Ozzy” Osbourne), Hendrix Halen, and
Sabbath Page, it’s clear that he takes his study of rock n’ roll’s greats very seriously.
To many, Wylde is synonymous with pinch harmonics as much as Chuck Berry
dreamt up the duck walk. Zakk’s signature Les Paul Bullseye guitar hangs in the
Rock N’ Roll Hall of Fame. His infamous leather bellbottoms hang in the Grammy
Museum. His handprints are on Hollywood’s Rock Walk of Fame. He’s performed the
National Anthem at major sporting events. He wrote the 2013 Major League
Baseball theme for ESPN. He even momentarily joined Axl Rose, Slash, and Duff in
Guns N’ Roses. He is a playable character in the Guitar Hero games.
A lifelong disciple of Black Sabbath and the longest serving guitar-shredder for the
Ozzman himself, Wylde co-wrote modern Ozzy Osbourne classics like “No More
Tears,” “Mama I’m Coming Home,” “Road to Nowhere,” and “Miracle Man.” Together
with Ozzy bassist Blasko and drummer Joey Castillo (ex-Queens Of The Stone Age),
Wylde pays faithful tribute to the forefathers of metal as frontman for Zakk Sabbath.
Before he graced the cover of every meaningful guitar magazine on the planet, Zakk
Wylde was a kid in New Jersey who picked up his instrument before he’d even hit
high school. He was still a teenager when he got his demo tape into Ozzy’s hands.
Together with the man he affectionately calls “the Boss” (and whose wife and
manager, Sharon, he calls “Mom”), Wylde was part of the biggest selling album of the
legendary Black Sabbath singer’s solo career, No More Tears, as well as the
double-platinum Ozzmosis, and earned a Grammy for the live recording of “I Don’t
Want to Change the World.”
One part invading horde and all parts traveling carnival party, Black Label Society
traverses the world powered by caffeine and cacophony. BLS engages and inspires
audiences everywhere they go, on every radio dial they burn, inviting all comers to
join in and participate in their brotherhood and sisterhood of hard rock and vigor.
Now ten studio albums deep, with solo records, Ozzy shows, and Zakk Sabbath tours
all kicking ass simultaneously, Black Label Society rides ever forward, fist held high.
Hatebreed
Hatebreed
An institution can be relied on. Its foundations don’t shake due to the winds of change or tides of trends—no matter how volatile, omnipresent, or tenuous.With steadfast determination, drive, and dedication, Hatebreedcement themselves as one of heavy music’s strongest institutions on their seventh full-length offering and very first for Nuclear Blast worldwide, 2016’s The Concrete Confessional. Since 1994, the Connecticut quintet—Jamey Jasta [vocals], Chris Beattie [bass], Wayne Lozinak [guitar], Frank Novinec [guitar], and Matthew Byrne [drums]—has risen to the ranks of hardcore and heavy metal elite with a GRAMMY® Award nomination, main stage slots on festivals, and countless fans worldwide. 2013’s The Divinity Of Purposeearned their highest entry on the Billboard Top 200, bowing at #17 with impressive first-week sales in excess of 17,000. When it came time to return to the studio after two years on the road, Jasta and his cohorts clung to the bedrock on which their legacy stands firm.“There’s nothing better than loud amps in the face, cranked up riffs that hit you right in the chest and lyrics that spark a new thought and give you a charge,” he declares. “That’s our musical DNA. We could just be who we are. We don’t need to incorporate whatever the trend is. We can just be Hatebreed. There are some new highlights to the game, but you know it’s us.”The Divinity Of Purposebrought them to new areas of the globeas the headlinedfestivals in the UK, Finland, Norway, Germany, andEastern Europe andlanded a slot on Ozzfest Japan. They would perform at Poland’s Woodstock in front of 400,000 people. Stateside, the band supported longtime friends Black Label Society in the winter of 2015 and then got the opportunity to bedirect support to Slipknot on a Spring 2015 run in between festival appearances at Rock On The Range, Welcome To Rockville, and more as well as Motörhead's Motörboat with Slayer and Motörhead.“Riding into this album, I realized we could play with bands of every genre nearly anywhere without deviating from who we are,” continues Jasta. “The Motörboat was another real career highlight. We played this exclusive event with some of our chief influences. We got to literally chart new territory.”Returning home in the Fall of 2015, they entered the studio with longtime producer Zeuss [Rob Zombie, Soulfly]. Immediately, they channeled the spirit that’s long defined their signature sound. By January, the record was mixed by Josh Wilbur [Megadeth, Lamb Of God] andprimed for ignition.“We had a really good vibe in the studio,” he says. “The record is a snapshot of this time for us.”It also reflects what’s going on outside. The opening track and first single “A.D.” fuses together torrential thrashed-out guitars, double bass drums, and Jasta’s immortal growl before an incendiary lead. The singer dissects what the American Dream means in a climate of upheaval. “Fight fire with fire, you’ll see everyone’s burning,” he screams. Think of it as “Vote With A Bullet” or “Holy Wars...The Punishment Due” for the Instagram age.
“It’s a mirror of both sides of the story whether it’s what you believe in the media or what you actually see,” he explains. “Musically, it came together quickly. It’s about all of the frustrated feelings that come out when I turn on the news. So much of our attention is focused on the wrong areas. People want to one-up each other with better clothes and cars, and it’s all bullshit. Nobody goes to the grave with any of that stuff. It’s not all instant gratification. What exists on the phone and computer isn’t what exists in real life. What is the American Dream anymore?”The machine gun chug of “Looking Down The Barrel Of Today” proves equally uplifting and undeniable. “I wanted something to get crowds pumped up,” he admits. “So many fans will tell us, ‘Your records help me get through my life.’ I needed to encourage this cyclical power to get up and face the day. You either make the best of today, or you’re done in by it.”“Something’s Off” carries an ominously lyrical bass line into a guttural chant, showcasing Jasta’s chilling vocal dynamics in the process. “I’ve written songs about depression, alcoholism, and falling back into destructive patterns,” he says. “However, I never felt like I could really put my finger on what anxiety is. It’s not just social anxiety but this unexplained feeling of unease, like I’m in a fog. I’ve felt it occasionally since I was in grade school. You can’t control when it happens. Heavy music has kept that beast at bay—in addition to exercise and experiences with my family. I had to confront it directly in the lyrics here.”Elsewhere, “Remember When” and “Slaughtered In Their Dreams” juxtapose visceral lyricism with a searing sonic backdrop as chaotic as it is catchy. Through and through, The Concrete Confessionalis classic Hatebreed.In order to transfer this message to the masses, the band inked a global deal with Nuclear Blast. “They’re world-renowned mainstays in the metal community,” he smiles. “We get to be in the company of career bands we look up to.”Hatebreed have come a long way from the East Coast’s storied nineties underground scene. Their journey has seen them achieve a 2005 GRAMMY® Award nod in the category of “Best Metal Performance” for “Live For This,” sell over 1.2 million records, and land a #1 debut on Billboard’s DVD Chart with 2009’s Live Dominance. Moreover, they’ve annihilated audiences from Mayhem Fest to OZZfest Japan and Download Festival to Wacken, Hellfest, and beyond.Now, The Concrete Confessionalfits right into the bold, bloody, and beating heart of the Hatebreed institution.“The title had to be something that was heavy and hard, but also vulnerable and honest,” Jasta leaves off. “Heavy music is this cleansing, therapeutic, and cathartic experience for so many. You’re there, the guitars are crushing you, and someone’s screaming their head off—sharing their pain and aspects of their life through words, poetry, or songs. There’s nothing like it. You confess you have negative thoughts, and you purge them. For however long you’re at the show, there are no bills to pay, issues to deal with, or problems holding you back. You can be free.”
Butcher Babies
Butcher Babies
Taken at face value, GOLIATH is the monstrous debut from one of the most exciting bands to emerge from the Los Angeles metal scene since System Of A Down turned the city on end nearly twenty years ago. But scratch beneath the surface and the haunting story behind GOLIATH blurs in and out of horrific focus, examining the ruins of an American culture obsessed with apocalyptic carnage. GOLIATH was born in the bleak wasteland where the more savage your act, the more celebrated you become - and in a world where the miserable feel obliged to retaliate, the BUTCHER BABIES shatter the dementia with molten fury and unbridled sonic bliss.

Hailing from the City Of Angels, the BUTCHER BABIES offer redemption from the overplayed underground, exorcising demons with a visceral sound matched only in scope by their explosive stage show. Frontwomen Carla Harvey and Heidi Shepherd, guitarist Henry Flury [Amen], bassist Jason Klein [Azdachao] and drummer Chris Warner [Scars of Tomorrow] juxtapose brutal, aggressive riffs with beautiful melodies that wail with anguish and hope for redemption.

The band signed a worldwide deal with Century Media Records in December 2012, and a month later hit the road with Marilyn Manson on what proved to be one of the new year's most talked about tours. The run was a return to form for Manson and a call to arms for the BUTCHER BABIES, who honed their razor-sharp riffs and soul-searing vocals in front of live audiences as a source of manic pre-production. Only days after wrapping the tour in the City Of Sin, the band was in an L.A. studio with producer Josh Wilbur [Gojira, Lamb Of God, Hatebreed] recording the debut album that has the metal community buzzing.

The eleven-track opus chronicles the story of the forsaken as they transform into GOLIATH - monsters that society has built, and monsters that turn to society for retribution. Suddenly opening track "I Smell A Massacre" is more than just shock rock, casting a cautionary tale to anyone in screaming distance. And once it sinks in that GOLIATH is more than just a figment of our imagination, the rest of the album becomes all the more real.
Venue Information:
London Music Hall - CA
185 Queens Ave.
London, ON, N6A 1J1
http://www.londonmusichall.com/

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