Events at this location
Doors: 6:00pm Time and freedom breed invention. Without compromise, GRAMMY® Award-nominated quintet Periphery—Misha Mansoor [guitar, programming], Jake Bowen [guitar, programming], Matt Halpern [drums], Spencer Sotelo [vocals], and
Time and freedom breed invention. Without compromise, GRAMMY® Award-nominated quintet Periphery—Misha Mansoor [guitar, programming], Jake Bowen [guitar, programming], Matt Halpern [drums], Spencer Sotelo [vocals], and Mark Holcomb [guitar]—enliven, enlarge, and expand the outer reaches of their signature progressive alternative metal on 2019’s Periphery IV: HAIL STAN [3DOT Recordings]. For the first time in a 13-year career, the group devoted an entire year to crafting the nine tracks comprising the album.
As a result, it sees them not only tread new territory, but conquer it.
“We finally spent a year on a record,” says Jake. “We’ve never been able to do that. The quality and pacing of the work show we really took our time with this one. That’s an important note about this. We really got to do everything we wanted to do in the space we had to do it.”
Adds Mark, “We’ve been learning how to do this as we go along. We cleared our schedules and made this one happen. We removed restrictions, boundaries, and deadlines. We chased freedom. We went to the extreme and took off a whole calendar year—15 months between shows. It pushed us to create the record we wanted to.”
They certainly earned such latitude. Most recently, Periphery III: Select Difficulty solidified their position at the forefront of modern heavy music. Opener “The Price Is Wrong” received a 2017 GRAMMY® Award nomination in the category of “Best Metal Performance.” Meanwhile, the album tallied 35 million cumulative streams and marked their third consecutive debut in the Top 25 of the Billboard Top 200. It represented the apex of a tireless decade-long grind. Along the way, the band graced the covers of Guitar World, Revolver, Modern Drummer, Bass Player, and more in addition to attracting acclaim courtesy of Rolling Stone, Alternative Press, and more. In addition to selling out countless headline shows, they stand out as the rare act who can share the stage with everyone from Deftones to Dream Theater. Not to mention, they launched a summer camp of their own, “Periphery Summer Jam.”
As the musicians commenced work on Periphery IV in late 2017, the circumstances differed from the outset. This time around, they operated as an entirely independent outfit, recording it as the first Periphery release for their own 3DOT Recordings. Additionally, Misha had recently moved to Texas, and it would be their introductory experience tracking outside of Maryland. The setting “breathed life into the music,” as Jake explains.
The band open up the proceedings with the 16-minute “Reptile.” Exemplifying a penchant for progression, it twists and turns through moments of bludgeoning groove, intricate fret fireworks, and melodic reprieve wrapped in what Marks calls a, “more saturated, aggressive, and darker tone than on the last albums.”
“Who begins a record with a 16-minute track?” he asks with a laugh. “We could finally do that, because we call the shots with our own label. It felt liberating. There were no rules.”
Elsewhere on the record, with its incendiary chant and frenetic sensory assault, “CHVRCH BVRNER” might be “the most spastic Adderall-driven song we’ve ever written,” as Mark describes it.
“Sentient Glow” began as an idea Spencer actually sang on during his audition for the band, making for a special full circle moment. The near ten-minute closer “Satellites” saw the musicians sit together in a room with practice amps in the center and perform face-to-face—a technique implemented on “Lune” from Periphery III: Select Difficulty. They bulldozed a path for the album with the single “Blood Eagle.” It takes flight on a full steam chug of thick riffing and airtight percussion as the vocals cut like a guillotine.
“It’s the most unrelenting, uncompromising, heavy, and pissed-off song on this thing,” grins Mark. “A ‘Blood Eagle’ was a style of Viking torture. It fits the vibe!”
The slow trudge of “Garden in the Bones” offsets a hypnotic vocal performance from Spencer and a lush clean guitar bridge. The frontman’s voice exorcises raw emotion from pockets in between the distortion.
Through taking their time, Periphery arrive at a new level in the end on HAIL STAN.
“When people hear certain songs, they’re not going to expect them,” Mark concludes. “It would be amazing if we become known for that sort of unpredictability. All of our favorite artists embrace freedom and follow their own muses. It’s tangible when a band embodies that quality. I hope we do too.”
“I can’t imagine life without these guys,” Jake leaves off. “This is the tightest family you can imagine. We’re doing what comes naturally together. We love it now more than ever.”
september 26, 6:00 pm - september 27, 12:00 am
254 E Hastings St, Vancouver, BC V6A1P1
Doors: 6:00pm For some it was all of the live energy, for others it may have been the massive sleeper success of their 2016 LP but whatever
For some it was all of the live energy, for others it may have been the massive sleeper success of their 2016 LP but whatever it may be, Knocked Loose’s arrival in the general public consciousness transcends metal and hardcore and into a new arena entirely.
Due on August 23rd, 2019 via Pure Noise Records, A Different Shade of Blue is the mammoth and hotly anticipated follow-up to their 2016 debut, the head-turning Laugh Tracks. Recorded by producer Will Putney, the new LP was approached slower and more methodically than the band’s last smash effort, abandoning the previous “live in studio” recording approach for something more deliberate. Under Putney’s direction, the band cranked out twelve new tracks that deal with all manner of anger, especially loss in lieu of absence. Vocalist and lyricist Bryan Garris initially felt blocked heading into the studio but eventually found catharsis, as well as some of his most intensely personal lyrics to date.
Forged on musical bonds built at an early age, Knocked Loose came together in the small yet relatively formidable hardcore / punk scene of the greater Louisville, KY area– the same that gave birth to bands ranging from Slint to Breather Resist to Endpoint to Coliseum. And though said scene was relatively strong, a lack of available bands, touring parties and scarcity of gigs forced diversity– mixing genres and challenging young ears with new ideas, approaches and styles. That diversity – death metal bands mingling with youth crew, screamo on the same bill as Am-Rep-style bands and on and on– created the basis of Knocked Loose musically and the genesis for their approach, an amalgam of heavy influences that never commits to any singular style but maintains a loyalty to the hardcore tradition.
While A Different Shade of Blue reflects the diverse musical influences and backgrounds of Knocked Loose, it also ups the ante. On the new effort, the quintet come harder with a more fine-tuned approach toward songwriting, riffs that would make Trey Azagthoth blush and an added level of vein-bulging fury to tie it into one nasty package. Featuring guest vocals from Emma Boster of Dying Wish and Keith Buckley of Every Time I Die, A Different Shade of Blue is not only a step forward for the band, but for hardcore as we know it. While some musical influences are easily identified–Pantera, Hatebreed, Obituary and more– the band’s palette and canvas has expanded by leaps and bounds, incorporating Gothenburg-style death metal (At the Gates, early In Flames), slam metal (Devourment,
Dying Fetus), blood-thirsty thrash (Sodom, Kreator), black metal (Craft) and the mind-boggling complexity of latter noisy hardcore like Snapcase and Bloodlet. Spanning twelve tracks, including the massive single “Mistakes Like Fractures” which reared its ugly head in April via 7” single, A Different Shade of Blue clocks in at a lean and mean 37 minutes, grabbing the listener by the throat from the jump and slowly tightening that grip for the duration.
Knocked Loose is the obvious evolution to decades of bands like Integrity, Disembodied, Botch and others– total and complete integration between metal and hardcore into a singular, seamless entity. Since its inception, hardcore has evolved from the germ of “Slayer actually has punk parts” to crossover to the addition of everything from death metal to rap to shoegaze. Knocked Loose is the proverbial fish walking on land– the end of the evolution, and possibly the apex of the metallic hardcore punk movement thus far. Ably combining the teeth-clenching hatred of a hardcore band with the unmitigated technicality and ferocity of metal, Knocked Loose have conceived state of the art hatred– a true melting pot of ideas that combines pit-ready riffs, memorable songwriting and deviously clandestine melody into a boiling-over pot of vitriol.
Since 2016’s Laugh Tracks, Knocked Loose, comprised of the young Cole Crutchfield (rhythm guitar), Bryan Garris (vocals), Isaac Hale (lead guitar), Kevin Otten (bass) and Kevin Kaine (drums), have taken a huge leap, moving from upstart hardcore-influenced favorites to bonafide key figures of the genre. Their debut offering was a revelation, taking the world by storm and establishing the band as a major force within metal, hardcore and beyond. Following the well received effort, Knocked Loose hit the road and hard. The band is quick to single out turning point tours such as Warped Tour 2017, a stellar showing at This is Hardcore 2018, headlining gigs over the legendary Terror and Australia/Japan tours as crucial to their growth, and while that may be partially true, the real key component to their success lies beneath all of that– a strong attention to excellent songwriting and a near-undying work ethic.
Knocked Loose have doubly proven their ability to write a cohesive and compelling record, and the band is looking forward to proving themselves yet again at live gigs across the globe, fan by fan. It’s this single-minded, borderline-stubborn attitude to take the songs directly to the people that has driven this band from the get-go.
october 8, 6:00 pm - october 8, 11:00 pm
254 E Hastings St, Vancouver, BC V6A1P1
Doors: 7:00pm We’re Kero Kero Bonito, a band from London, England. We met on an internet forum in 2013; singer Sarah was born in Nagoya to a
We’re Kero Kero Bonito, a band from London, England. We met on an internet forum in 2013; singer Sarah was born in Nagoya to a Japanese mother and British father, before moving to Kenilworth, UK at the age of 13, while producers Gus and Jamie have been friends since school.
We shared our pop universe on Intro Bonito (mixtape, 2014), Bonito Generation (album, 2016) and singles like “Flamingo” and “Trampoline”. In 2017 we returned to the suburbs that made us and started rehearsing with guitar, bass and drums.
We introduced our new style with TOTEP in February 2018, and our second album Time ‘n’ Place was released October 2018. Signposted by the songs “Only Acting” (pop-punk noise) and “Time Today” (chipper Casiotone melancholy), Time ‘n’ Place is our response to indie-rock history.
Artist Website: http://kerokerobonito.com/
october 25, 7:00 pm - october 26, 12:00 am
254 E Hastings St, Vancouver, BC V6A1P1