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The Summer Slaughter Tour 2017
August 22 @ 12:30 pm - 11:30 pm$27.50
The Summer Slaughter Tour, 2017
- The Black Dahlia Murder
- Dying Fetus
- The Faceless
- Slaughter to Prevail
- Rings of Saturn
- Betraying the Martyrs
- Lorna Shore
Doors open at 12:30 pm
Tickets = $27.50
The Summer Slaughter Tour, 2017’s Featured bands’ info:
The Black Dahlia Murder:
It’s still million mile-per-hour death metal, but when you invest so much thought and emotion into what you’re creating, you end up with a record that does stand out, and we can hold our heads up high and say yeah, this is our best work.”
Since 2001, the Michigan quintet, The Black Dahlia Murder, have focused their efforts on writing music that embraces all the finest qualities of melodic death metal yet does not shackle them, giving them room to constantly evolve and grow as musicians. With Abysmal the band has once again progressed while retaining the signature sound that has won them their devoted legion of fans, and making it clear that their best is not in their past. “I still love Everblack and everything we achieved when touring it, and in fact going into that record we faced a massive challenge in following up Ritual (2011), which had also been huge for us. Having two records in a row connect with fans in such a way was amazing, but definitely piled on the pressure going into this new one, because we don’t want to let them down, and we don’t want to let ourselves down. But we learned a lot in making those two records, and we brought that into Abysmal. We know we can take people’s heads off playing super fast, but that doesn’t always give listeners something to really chew on. We’ve learned to focus on creating some drama, interesting dynamics, and most importantly really investing time in thinking about how different parts of songs will make you feel.” While crushingly violent, Abysmal is certainly a long way from being a two-dimensional blast-fest. Often evoking potent melancholy or icy unease, tragedy and apocalyptic gloom also insinuate into the songs alongside the all-out fury, for make no mistake, while this record boasts a variety of dark and atmospheric moods the band have perhaps never sounded so downright pissed. The likes of “Re-Faced” and “Threat Level Number Three” are purpose built to incite chaos, and some of the fastest material the band has ever unleashed explodes from the likes of opener “Receipt”, “Asylum”, and the haunting title track. This can largely be credited to drummer Alan Cassidy, who joined the band in 2013. “With both Alan and Max (Lavelle, bass) new to the band there was a lot of speculation ahead of dropping Everblack, and though we knew we had a great record it was nice to prove the naysayers wrong. This time out Alan was really able to stamp his identity on the record, and yeah, there was a point where Brian (Eschbach, guitar) said level with me dude: just how fast can you go? And Alan unleashed this thing and we were like okay, let’s go faster than we’ve ever gone then!” Strnad laughs. “But it’s not just that, he’s injected so much style into everything. He writes really interesting fills, and he cares about having variety and really speaking with what he’s doing, and he was involved with the song writing more than any other drummer has been in a long time.” Strnad is just as keen to sing the praises of Lavelle, who also made a more substantial contribution to the record than he did to its predecessor. “We look back on every record and say we need more bass, and Max is a really prevalent part of things live, so we wanted to have that come across more, and he totally nailed it. It’s definitely a dirtier bass sound than we’ve ever had too, which sounds more wild, more live, and adds to the punch.” Guitarists Eschbach and Ryan Knight bring a cavalcade of riffs to the table, upping the stakes in technicality, melody, and sheer blunt force trauma, letting intoxicating flavors of black metal and NWOBHM creep into the vicious assault, and Knight’s soloing is at a point where Strnad believes his name should rightfully be thrown in amongst the genre’s most prominent shredders. “With every album we allow a bit more time for him to solo and just totally own it, and when he nails it he’s really at that Megadeth Rust In Peace level. I do think he deserves to be spoken about in the circles of great metal guitar players. Marty Friedman should buy Ryan a beer, I think, and I genuinely don’t see that as something really out of the ballpark.”
While his lyrical inspiration remains primarily rooted in horror and the macabre, on Abysmal the theme of hell is prominent, whether it be a literal hell, figurative, or personal one. “Stygiophobic”, for instance, which is a slower, crunchy, doom-inflected dirge, sees him focusing on those who are irrationally afraid of hell. “These people spend their every waking moment thinking of going to hell, and every time they go to sleep they see all their friends burning in hell, and this obsession has become a debilitating psychological condition, which is awful, and interesting.” Alongside this, on the scathing “Threat Level Number Three” Strnad goes inside the mind of a “recidivist rapist molester, who has been chemically castrated, focusing on his internal dialogue as he’s trying to reenter society.” He explores more fantastic subjects, such as the cruelty and violence of Vlad The Impaler – the inspiration for Bram Stoker’s Dracula – in the more melancholic “Vlad, Son Of The Dragon”, and he also reflects on issues that have affected him more personally, allowing himself some form of catharsis, most notably on “Receipt” and the title track. However, while despair, isolation, and thoughts of suicide haunt these songs, on burly closer “That Cannot Die Which Eternally Is Dead” he pushes the band’s perseverance in the faces of those who might consider counting them out. “What I’m saying in that song is that we can’t be stopped by normal means. No matter what kind of challenge or roadblock we face we’ll just keep coming, and I think by now our fans know that.”
In tracking the record, the band re-enlisted producer Mark Lewis (Cannibal Corpse, Whitechapel) and former bass player Ryan Williams, who also helped engineer Everblack, their intent to get away from the overt sonic sterility affecting far too many contemporary metal albums. This is a prominent factor in why the record sounds as angry as it does, the band focusing on capturing a raw, live sound that doesn’t always strive for absolute perfection. “We wanted a sound that would show we’re actually human beings, and not just computers playing death metal. We were not going to resample the drums, sound-replace or quantize anything. We didn’t want to have the exact same drum sound as every single freaking band seems to have right now, and that’s why essentially going backwards was going forwards for us. The guys have the chops to do it, so it’s not like we need to lean on Pro-Tools to make an album, and I think it’s the most energetic thing we’ve done since the very first record, Unhallowed (2003), which had a similar live feel.” As always, artwork was of great importance in expressing the band’s vision, and this time they turned to Russian artist Daemorph, who is known for his work in the brutal death metal community. “Again, I was a little unsure quite how we would follow up Everblack, because the artwork Nicholas Keller did was incredible. But we told Daemorph we wanted something that really looked like hell, and he went above and beyond. The first time I saw it I was like yep, that’s hell, and I know I definitely don’t want to go there!”
At this stage in the game, with typically modest aspirations, Strnad is more interested in maintaining their longevity than shifting records, and if the band never gets any bigger than they are right now he will “die happy a hundred times over”. However, this does not mean there is anything even vaguely resembling an end in sight. “We’re still young at heart and I feel like the evolution of the band still has a long way to go. I don’t see a ceiling on what we can do, and there will be no end. It’s just going to be a constant ongoing fight to make better music and be a better band, and it’s always going to be time to kick ass.”
Though forever doomed, commercially speaking, by their controversial name, Maryland’s Dying Fetus endured beyond most observers’ wildest expectations. Formed in the waning days of death metal’s glorious heyday (1991, to be exact) by John Gallagher (guitar/vocals), Nick Speleos (guitar), Brian Latta (guitar), Jason Netherton (bass), and Kevin Talley (drums), Dying Fetus combined their death metal with hardcore influences in order to develop their own form of American grindcore. But while pioneering bands like Napalm Death and Carcass had taken the U.K. and Europe by storm, this subgenre never really caught on in America, and had been utterly buried by grunge by the time Dying Fetus released their 1995 debut, Infatuation with Malevolence, which, admittedly did little more than collect their old demos into a single package.
Purification Through Violence After downsizing to a quartet with Speleos’ departure, the band truly began to hit its stride with a slew of increasingly confident and inspired releases, including 1996’s Purification Through Violence, 1998’s Killing on Adrenaline, and 2000’s Destroy the Opposition. All the while, their notoriety continued to grow steadily within the extreme metal underground, as did their audience, thanks to a ferocious live presence and incessant touring at home and abroad with similarly aggressive bands like Kataklysm, the Crown, and Behemoth. Between road jaunts, the band kept itself busy by re-releasing an expanded version of its debut in 1999 and the Grotesque Impalement EP in 2000, but trouble was just around the corner.
Stop at Nothing Midway through 2001, Gallagher was handed resignation letters from the other members of the group, who proceeded to join forces in a new project called Misery Index, and thus left the future of Dying Fetus very much in doubt. But to everyone’s surprise, Gallagher wasted no time hiring an entirely new lineup consisting of vocalist Vince Matthews, guitarist Mike Kimball, bassist Sean Beasely, and drummer Erik Sayenga. A new single entitled “Vengeance Unleashed” was recorded to support the band’s touring commitments, which included that year’s Wacken Open Air Festival, after which Dying Fetus entered the studio to prepare their fifth album, 2003’s eagerly awaited Stop at Nothing. The blistering War of Attrition appeared in 2007, followed three years later by Descend into Depravity — both of them on Relapse. Arriving in 2012, Reign Supreme became their first to reach the main Billboard album charts. In 2017 the band issued its ninth studio long-player, Wrong One to Fuck With, again via Relapse.
The Faceless was formed in Encino, California by guitarist Michael Keene and bassist Brandon Giffin in 2004. They released their debut album Akeldama in 2006 and toured extensively with bands such as Necrophagist, Decapitated, Nile, and The Black Dahlia Murder. After touring, drummer Brett Batdorf left the band during the recording of Akeldama. Former drummer Nick Pierce, recorded the instrumental song, “Akeldama” the name of the debut album. The band went through several fill-in drummers before adding current drummer Lyle Cooper to their line-up.
The Faceless released their second full-length album, Planetary Duality, in November 2008. The album debuted at number 119 on the Billboard 200.
In January 2009, the group announced a North American tour with Meshuggah and Cynic; and in February 2009, another North American tour, with Cannibal Corpse, Neuraxis and Obscura; then toured the US with In Flames, Between The Buried And Me, and 3 Inches Of Blood; then a co-headlining tour with Dying Fetus. The band were confirmed to tour Europe as part of the Bonecrusher Fest in Spring 2010 alongside The Black Dahlia Murder, 3 Inches Of Blood, Necrophobic, Obscura, Carnifex and Ingested. Prior to their performance at California Metalfest IV, founding member and bassist Brandon Giffin announced that he would no longer be in the group. They also announced that they would be playing in the 2010 Summer Slaughter Festival along with such bands as Decapitated, All Shall Perish, Decrepit Birth, and others.
In May 2011, The Faceless guitarist Micheal Keene confirmed via Facebook that Geoff Ficco, vocalist on the Eidolon Reality demo, would be replacing Derek Rydquist as the vocalist for the Faceless. In April 2011, The Faceless were joined by Evan Brewer of Animosity.
The Faceless are working on a new album that is to be released in 2012. Guitarist Michael Keene has said via Twitter that he hopes to finish the album before the band leaves for the 2012 Metal Alliance Tour.
In March 2012, founding guitarist Steve Jones left The Faceless and was replaced by Wes Hauch. This leaves Michael Keene as the last founding member still in the band. Keene stated that “he’s moved in a different direction than us and we wish him good luck in his ventures.” Keene has also stated that the addition of Wes Hauch gave the band some fresh energy, praising Hauch to be “one of the best guitar players I’ve ever had the privilege of playing with, he’s really amazing”. The band is hoping to include a song that Hauch has written for the 2012 album.
The Faceless, along with Cannibal Corpse, Goatwhore, Between The Buried And Me and others will take part in the 2012 Summer Slaughter Tour, during which the new studio album is also set to release. The album’s title has been revealed as Autotheism, first revealed as a working title by Keene in a YouTube interview, later confirmed in the band’s second studio update. As of July 9th, 2012 Autotheism is finished, due out on August 24th through Sumerian Records.
Upon its formation in 2006, the band then featured 6 members, and performed at local venues in the Chicago area.
Carrol gathered Chicago guitarist Andrew Mikhail, vocalist Marquis Green, drummer Michael Southcomb and bassist Kevin Hare to form Oceano’s first full line-up in 2007. After a year, Southcomb and Hare parted ways with the band. They were soon replaced by drummer Daniel Terchin and bassist Jason Jones. Oceano signed to Earache Records in 2008 after gaining a notable local following. Oceano recorded their full debut album Depths in late 2008, releasing it worldwide on April 20, 2009.
Jeremy Carrol was fired from the band in January 2009, due to personality conflicts between members. On February 3, 2010 their lead guitarist, Andrew Mikhail, departed from the band.
Oceano was a part of the 2011 Summer Slaughter Tour in North America alongside co-headliners Whitechapel and The Black Dahlia Murder.
In January of 2012, a rumor spread that the band was disestablishing, which was confirmed as false by Earache. Instead, an announcement was made that the band is actually going on a short hiatus after their performance at the New England Metal And Hardcore Festival due to vocalist, Adam Warren, becoming a father. After some time spent away from the band, however, Oceano decided not to disband, and to continue touring. They also revealed that they had begun writing their next album, due by early 2013.
Rings of Saturn
The otherworldly triumvirate known as Rings of Saturn made their presence known in the late Fall of 2009, posting a track entitled ‘Abducted’ online for the world to take notice. The goal was to indoctrinate the metal masses using the world’s most massive social networks to their advantage, and the project has been a huge success. From the launch of the first track to the unleashing of the virus known as ‘Embryonic Anomaly’ in the following months, it didn’t take long for the Aliencore infection to spread, creating a loyal following of ‘minions’ who’s devotion to the band was immediate and remains steadfast.
‘Embryonic Anomaly’, which was Produced, engineered, mixed and mastered by Bob Swanson at Mayhemenness Studios in Sacramento, CA and features artwork by Tony Koehl (The Black Dahlia Murder, Dismal Lapse), was initially made available directly from the band to ensure that their ‘minions’ continued to be fully engaged. However, demand for the product increased and eventually required a larger pipeline for distribution, thus a deal was made to have ‘Embryonic Anomaly’ available exclusively at select locations of the well established company known as Hot Topic. Demand continues to grow as the band continues to gain support.
And now the final phase is near completion. Unique Leader Records, home to a dominant force of the Underground Death Metal Elite, has agreed to unleash ‘Embryonic Anomaly’ on an unsuspecting planet on March 1st, 2011. The date has been set and you have been warned…
Adding to their list of accomplishments, Rings Of Saturn have managed to impress members of Tennessee’s extreme metal titans, Whitechapel (Metal Blade) as well as Northern California shredders, Conducting From The Grave (Sumerian), gaining praise and positive support from both bands.
The album is now complete, but their work is far from over. On top of continuing to heavily promote ‘Embryonic Anomaly’, Rings of Saturn have also been rehearsing feverishly in order to prepare themselves for the road, and will be making their live debut this Summer.
Betraying the Martyrs
Based out of Paris, France, Betraying the Martyrs temper the punishing brutality of deathcore with melodic flourishes pulled from symphonic and progressive metal, giving it a theatricality that feels distinctly European. Formed in 2008, the band, which at the time was made up of singer Eddie Czaicki, guitarists Fabien Clévy and Baptiste Vigier, bassist Valentin Hauser, keyboardist Victor Guillet, and drummer Antoine Salin, would self-release its debut EP, The Hurt the Divine the Light, in 2009. A lineup change in 2010 would see Betraying the Martyrs parting ways with Clévy and Czaicki, recruiting guitarist Lucas D’Angelo and singer Aaron Matts to bolster their ranks for the release of their full-length debut for Sumerian Records, Breathe in Life, in 2011. Drummer Salin would eventually leave the band the year after the album’s release, but Mark Mironov stepped in to replace him that same year. Their sophomore album, Phantom, arrived in 2014
The group consists of vocalist Tom Barber, guitarists Adam De Micco and Connor Deffley, bassist Gary Herrera and drummer Austin Archey. The band’s first EP entitled Triumph, released in 2010, carried a distinct metalcore sound before leading into the band’s progressively heavier style into deathcore. The band’s second EP Bone Kingdom was the first to carry their current deathcore sound and was released in 2012. Maleficium, the band’s third EP, reached number 3 on the iTunes Metal Chart and was the first non-digital only Lorna Shore release.
The band distances and disregards themselves from release prior to Maleficium and considers the EP the “rebirth and true starting point of their career”. Lorna Shore followed the release of Maleficium by opening the Carnifex’s Die Without Hope tour featuring I Declare War and Here Comes The Krake. Since then, before releasing their debut album they have toured with acts such as The Black Dahlia Murder, Upon A Burning Body and Within The Ruins.
Psalms, their debut, full-length album is set to release on June 9 through Density Records. The album was produced by Fit For An Autopsy guitarist Will Putney at The Machine Shop.
With the purpose of transcending genre norms and limitations through storytelling and marvelously dramatic song composition came the formation of Warforged. The five-piece death metal act utilizes menacing guitar work, eerie acoustic textures, massive walls of dissonance, and crushing drums to weave a horrifyingly beautiful ambience that fans of any genre or dark musical expression can connect with. Cinematic in scope – everlasting in vision and concept: behind the noise, Warforged maintains a firm grasp on professional work ethic and will continue to build lasting relationships with their fans.
“To put it simply, if nobody told me Warforged’s Essence of the Land EP was a debut I would have just assumed it was written by a band that’s been playing together for quite some time. The ideas are just too good, the meshing between musicians is too perfect and the experimentations with outside sounds fits too damn well. Warforged might be time travelers is what I’m telling you.” – Metal Injection
“Warforged will be the face of American neo-tech death. Count on it. Essence of the Land isn’t a mere EP, or a mere first glimpse, it’s a powerhouse mission statement.” – No Clean Singing
“It’s hard to pin point exactly why Warforged are managing to put together such convincing and captivating work, even on their first proper release. Maybe it’s their insistence on taking influence from all realms of death metal, with progressive, blackened and technical ideas all slotting in seamlessly with their sound — never quite revealing their full hand and always promising that little bit more. And as the dying notes of the atmospheric closer ‘Tainted Heart‘ fade away, you’ll find yourself wanting to explore the hidden depths of the swamp once again.” – Heavy Blog is Heavy
Slaughter to Prevail
A globe-spanning deathcore trio that blends punitive extreme metal with blackened, groove-blasted grindcore, Slaughter to Prevail was founded in 2014 by U.K.-based shredder Jack Simmons, and Russian vocalist Alex Shikolai and drummer Anton Poddyachy. The group dropped their debut EP, Chapters of Misery, in 2016 which garnered a mountain of YouTube views and downloads via the punishing single “Hell.” A record deal with Sumerian was inked shortly thereafter, and in 2017 they issued their full-length debut, Misery Sermon.
- August 22
12:30 pm - 11:30 pm
- Event Category:
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- Abysmal, Betraying the Martyrs, black metal, Chicago shows, Concord, Concord Music Hall, death metal, Dying Fetus, Heavy Metal, Lorna Shore, metal, Oceano, Origin, Rings Of Saturn, Ritual, Slaughter to Prevail, Summer Slaughter, The Black Dahlia Murder, The Faceless, Warforged, Who's playing in Chicago?
- Concord Music Hall
2047 N. Milwaukee Ave
Chicago, IL United States + Google Map