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Chicago Open Air 2019
May 18 @ 2:00 pm - May 19 @ 11:30 pm$100
Chicago Open Air 2019
@SeatGeek Stadium (formally known as Toyota Park)
Saturday, May 18 – Sunday, May 19
Doors = 2:00 pm
Open Air FAQs
Tickets = Start at $100
Saturday, May 18:
-System of a Down
Sunday, May 19:
-In This Moment
-The Black Dahlia Murder
Taking their name from director Neil Blomkamp’s 2009 sci-fi horror film District 9, New Zealand power trio Alien Weaponry deliver a whiplash-inducing amalgam of kinetic thrash and tribal, hook-driven groove metal that leans hard on the members’ Maori heritage. Founded in 2010 by teenage brothers Lewis (guitar, vocals) and Henry de Jong (drums), the group sports a similar trajectory to Brazilian thrash/groove legends Sepultura, another siblings-headed unit that blurred the lines between sonic might and cultural heritage. Descendants of the Ngati Pikiāo and Ngati Raukawa tribes, the band often utilizes the traditional Māori haka war dance in its music.
The group originated in Auckland — the de Long brothers were just eight and ten years old at the time — and became a trio in 2013 after moving to the small town of Waipu and adding bassist Ethan Trembath. They released their debut EP, The Zego Sessions, independently in 2014, followed by a New Zealand tour with alt-metal heavyweights Devilskin. More regional success followed in 2016, with the band winning both the national finals of the intermediate and high-school music competitions Smokefreerockquest and Smokefree Pacifica Beats. In 2017, they released a pair of singles ahead of the arrival of their full-length debut. The resulting Tu was released via Napalm Records in 2018, and debuted at number five on the New Zealand albums chart. (Source)
An Ohio-based metalcore unit with a punk edge, Beartoothwere originally formed by frontman Caleb Shomo as an alternative creative outlet during his time as lead vocalist for Attack Attack! Signaling a departure from Attack Attack!’s heavily produced electronicore, Beartooth’s debut EP, 2013’s Sick, delivered a sonic gut-punch that felt both raw and rooted, a sound that the band would continue to explore on future full-length releases like Disgusting, Aggressive, and Disease.
The band’s founding lineup included guitarist Taylor Lumley, bassist Nick Reed, and drummer Brandon Mullins. They signed with Red Bull Records in 2013 and released their debut EP, Sick. Rhythm guitarist Kamron Bradbury (City Lights) joined the fray in 2014, just as Beartooth issued their first LP, Disgusting. Before the follow-up, Reed and Mullins parted ways with the band, replaced by Oshie Bichar and Connor Denis, respectively. In 2016, Beartooth released their sophomore effort, Aggressive, featuring the anthemic title track. It debuted atop the Billboard Alternative chart and at number 25 on the Billboard 200. A year later, an expanded deluxe edition of the album was issued, featuring acoustic and live versions recorded in London and their hometown of Columbus, Ohio.
The group’s third studio effort, 2018’s punishing Disease, used frontman Shomo’s battle with depression as its catalyst. It also marked the debuts of ex-Like Moths to Flames guitarist Zach Huston, who replaced outgoing shredder Taylor Lumley, and former session/touring drummer Connor Denis. (Source)
Evoking the frantic fury of metalcore progenitors like Converge, Code Orange are a metal band based out of Pittsburgh, Pennsylvania. Formed in 2008 as Code Orange Kids while its members were still in high school, the band originally formed as a more traditional punk outfit before exploring the realm of heavier music. By 2012, the lineup of Eric Balderose (guitars/vocals), Reba Meyers(guitars/vocals), Joe Goldman (bass), and Jami Morgan(drums/vocals) announced they were signing on with Deathwish, the label of Converge frontman Jacob Bannon. That same year, Code Orange made their menacing full-length debut with Love Is Love/Return to Dust. A sophomore effort, I Am King, followed in 2014. The band’s Kurt Ballou-produced sophomore LP, I Am King, dropped in 2014 and debuted on the Billboard 200 at 96, peaking at number ten on the Top Hard Rock Albums chart. In October of 2016 the band released a new single, “Forever,” in anticipation of the release of its third studio album, Forever, which arrived early the following year via Roadrunner Records. In 2018 the band issued the digital EP The Hurt Will Go On, which included the single “The Hunt” (feat. Corey Taylor).
Los Angeles-based trio the Fever 333 inject their raucous hybrid rap-rock sound with politically charged lyrics similar to forebears Rage Against the Machine, with additional touches of Public Enemy, Black Flag, and Linkin Park. Abrasive, aggressive, and energetic, the three-piece outfit features frontman Jason Aalon Butler (ex-LetLive), guitarist Stephen Harrison (the Chariot), and drummer Aric Improta(Night Verses). With full support by producers Travis Barker (blink-182) and John Feldmann(Goldfinger) — who signed the band to their More Hi-Hat label — the Fever 333 made their debut in 2017 with fiery live shows and grassroots organization to promote their message of “community, charity, and change.” This socially conscious spirit was woven into early tracks like the visceral “Hunting Season,” the genre-blurring trap-metal “Walking in My Shoes,” and the fiery “We’re Coming In.” (Source)
Swedish melodic metal outfit Ghost (formerly known as Ghost B.C. in the United States) delivers tongue-in-cheek sonic sermons centered on horror imagery, the occult, and occasionally Satanic themes. Over surprisingly accessible heavy metal-cum-pop-driven hard rock, the bandmembers originally maintained a strict vow of anonymity, both on record and on-stage. Obscuring themselves with cloaks and heavy makeup, the band is fronted by lead singer Tobias Forge, first known only as Papa Emeritus, whose anti-Pope appearance was recognizable with skull-faced makeup, cardinal robes, miter, and thurible. Subsequent incarnations of this alter ego appeared with each album, as Forge changed from Emeritus II and III into Cardinal Copia for 2018’s Prequelle.
Formed in 2008 in Linköping, Ghost began playing underground shows and sharpening their sound. Given their occult ritual-styled performances, their popularity with metal fans in their home country flourished. In 2010, they issued a three-track demo, followed by the single “Elizabeth,” and both quickly sold out. Their debut album, Opus Eponymous, on Rise Above Ltd., defied expectations with a surprisingly welcoming melodic sound, weaving together ’60s psychedelia, ’70s doom, and ’80s New Wave of British Heavy Metal, and their reputation spread. They took to the road, touring internationally. For a short while, they were urged to take the Ghost B.C. moniker in the U.S. to disambiguate. Though it was a tad confusing, it didn’t hurt their reputation for wildly theatrical performances, and their identities remained cloaked in mystery. (Ghost eventually reverted their name without the “B.C.” suffix in late 2015.)
After a wait of over two years, Ghost issued the single “Secular Haze,” followed by their sophomore album, Infestissumam, in January 2013, and the band debuted Papa Emeritus II. Infestissumam caused plenty of controversy during the recording process. Begun in Nashville, its Satanic themes caused it to be boycotted by virtually every backing chorus — an important aspect of the album. These vocals had to be recorded in Hollywood. The critical and fan acclaim was nearly universal, however, and the release increased their profile across the globe and won them many fans who didn’t necessarily claim heavy metal as a favorite style. The album debuted on some charts at number one. Later in the year, they released a covers EP, If You Have Ghost, produced by Dave Grohl.
A festival tour followed in 2014, including appearances at Coachella, Lollapalooza, and Rock on the Range. The band re-entered the studio later that year. In May of 2015 it was announced that Papa Emeritus II had been fired and was succeeded by his younger brother (by three months), Papa Emeritus III, adding to the band’s shtick. A new single, “Cirice,” was issued in May of 2015, followed in August by their third album, Meliora, on Loma Vista Recordings. It was produced by pop heavy-hitter Klas Åhlund (Katy Perry, Usher, Kesha, Madonna) and mixed by Andy Wallace. Album single “Cirice” scored a Grammy for Best Metal Performance in 2016, months before a deluxe reissue added two new songs and a handful of covers, including one of the Eurythmics “Missionary Man.” Those bonuses were also released as a separate EP, Popestar, which was followed by a tour of the same name.
In 2017, a new crop of legal issues hit the band. Previously, the identities of Ghost’s musicians remained a secret. However, when frontman Tobias Forge was sued by former bandmembers Simon Soderberg, Mauro Rubino, Martin Hjertstedt, and Henrik Palm over royalties, the shadow of anonymity disappeared. After the year-end release of live album Ceremony and Devotion, Forge moved forward with other musicians. For the next project, Forge introduced a new identity, Cardinal Copia, who became the face of their fourth effort, 2018’s Prequelle, which was produced and recorded by Tom Dalgrin. Unlike previous efforts, this date abandoned the occult and left the Satan worship kitsch behind, instead focusing on their own brand of sinister arena rock — in a deliberate attempt, as Forge explained in an interview, “…to sound like the best 1970s band you never heard….” In addition to sweeping, radio-friendly hard rock swagger, they also employed funk basslines and disco beats, fat horns, and analog synths. Their songs readily referenced themes and tragedies from the Dark Ages of European history, including an anthem about the Bubonic plague. Prequelle debuted in the Top Three of the Billboard 200 upon release, their highest charting effort to date. (Source)
Taking their name from the original Japanese pronunciation of Godzilla, French death metal quartet Gojira have risen from utmost obscurity during the first half of their career to widespread global recognition in the second, including regular mention among the genre’s leading new-millennium upstarts. Originating from the town of Bayonne on France’s southernmost Atlantic Ocean coastline, Gojira recorded the first in a sequence of almost yearly demos in 1996, gradually honing their sound until the year 2000, when bandmembers Joe Duplantier (vocals/guitar), Christian Andreu (guitar), Jean-Michel Labadie (bass), and Mario Duplantier (drums), felt ready to record their first album, Terra Incognita, relying solely on their own devices. And despite its independent status, the aptly named LP made significant waves with its unpredictable blend of death, thrash, groove, progressive, and math metal — recalling bands as diverse as Pantera, Meshuggah, Suffocation, and Sepultura.
Still, it took several years (and a curious detour into soundtrack music on 2003’s Maciste All Inferno EP) for the metal world to catch on, and even Gojira’s second album, The Link, had to be released through the tiny independent Boycott Records before being reissued by Listenable. (This was followed by 2004’s The Link Alive live album and corresponding video set, whose audio component was limited to 500 copies — a parting shot for Boycott.) Now finally gathering steam, Gojira saw their third full-length, From Mars to Sirius, enter the French charts at number 44, while collecting the most enthusiastic reviews of their career — a level of acclaim that led, in turn, to numerous key European festival appearances, and lengthy European and North American tours with Obituary, Hatesphere, Children of Bodom, and Machine Head, to name but a few.
By the end of the long promotional cycle for From Mars to Sirius, Gojira were widely acknowledged as a force to be reckoned with, on-stage and in the studio, and their much anticipated fourth LP, The Way of All Flesh (released stateside by Prosthetic Records), made a strong showing by debuting at number 138 on the American charts in October 2008. The extensive touring schedule that Gojira then undertook meant that fans would have to wait nearly four years for the band’s next studio album, although they did get the expansive The Flesh Alive video set to tide them over. In 2012, the band moved up to the big leagues, signing to major-label Roadrunner for the release of L’Enfant Sauvage (“The Wild Child”), inspired by the Truffautfilm of the same name. It earned wide critical praise, as well as a Top 40 showing on the U.S., Canadian, Swedish, and French charts. Long years of touring and occasional recording — including another live album, Les Enfants Sauvages — were followed by the release of Gojira’s sixth album, Magma, released on Roadrunner in 2016. (Source)
In This Moment
Born of a chance meeting and the innate musical rapport established between vocalist Maria Brink and lead guitarist Chris Howorth, In This Moment quickly grew from local cult favorites performing in Los Angeles clubs to a MySpace phenomenon before landing a deal with Century Media. Along the way, the group was fleshed out by rhythm guitarist Blake Bunzel, bassist Jesse Landry, and drummer Jeff Fabb; embarked on several U.S. tours with the likes of Diecast and 36 Crazyfists; and gradually honed its melodic metalcore songwriting for the recording of the 2007 debut album Beautiful Tragedy, which was supported via the band’s inclusion in the Hot Chicks of Metal Tour, featuring Lacuna Coil and Within Temptation, among others. Debuting at the number 37 slot on the Billboard Top 200, The Dream arrived in 2008, followed by A Star-Crossed Wasteland in 2010 and the electro-charged Blood in 2012. The group’s fifth studio long-player, 2014’s Atlantic-issued Black Widow, marked In This Moment’s major-label debut. In June 2017, the band dropped the single “Roots” in anticipation of the release of its sixth full-length, Ritual, which arrived the following month. (Source)
Bruised and bloodied, Knocked Loose opens up the pit with a brutal sound that falls between hardcore punk and metalcore. Led by screaming frontman Bryan Garris, the Oldham County, Kentucky quintet is also composed of guitarists Isaac Hale and Cole Crutchfield, bassist Kevin Otten, and drummer Dylan Isaacs. In 2011, Garris, Otten, and Hale joined with drummer Jared Barron (Concealer, Greyhaven) for an early incarnation of the band (a teenaged Garris honed his early vocal skills by practicing in various area bands with Barron). Later, they enlisted Isaacs as permanent drummer. Their first EP, Pop Culture, was released on Little Heart in 2014, quickly followed by a split EP with Louisville quintet Damaged Goods. Knocked Loose’s debut LP arrived in 2016. Laugh Tracks (Pure Noise) debuted on the Billboard 200 and in the Top 50 on six separate side charts. (Source)
Offering a complex form of metal that combined the sweeping adventurism of math rock, the oddball tempos of experimental jazz, and the stunning brutality of thrash metal, Meshuggah raised the bar for metal bands everywhere upon their debut. The roots of Swedish metal band Meshuggah were planted in 1985; originally named Metallien, the founding lineup included frontman Roger Olofsson, guitarists Peder Gustafsson and Fredrik Thordendal, bassist Janne Wiklund, and drummer Örjan Lundmark. After a few demos made the rounds, Metallien broke up and Thordendal continued the band with a different lineup and a different name. The original lineup of Meshuggah also included vocalist Jens Kidman, guitarist Johan Sjögren, bassist Jörgen Lindmark, and drummer Per Sjögren. A handful of demos followed before Kidman left the group to form a new outfit Calipash, with guitarist Torbjörn Granström, bassist Peter Nordin, and drummer Niclas Lundgren; the surviving members of Meshuggah soon disbanded, and when Granström left Calipash, Thordendal assumed guitar duties in the new band.
Kidman and Thordendal then agreed to reclaim the Meshuggah name, and in 1989, the band released a three-song mini-LP. After signing to Nuclear Blast (and swapping Lundgren for new drummer Tomas Haake), they issued the full-length Contradictions Collapse in 1991. Second guitarist Mårten Hagström was recruited for 1993’s None EP, followed two years later by Selfcaged; in the interim, however, the group was forced to maintain a low profile — first Thordendal severed a finger in a carpentry accident, then Haake injured his hand in a mysterious grinder mishap. Destroy Erase Improve appeared later in 1995, and won over critics with its heady tempos and abstract approach. In 1997, Meshuggah returned with The True Human Design EP; that same year, Thordendal’s side project, Special Defects, released their LP Sol Niger Within. Meshuggah reunited for 1998’s Chaosphere, a thunderous album that was unbearably dense in its songwriting and scope. Several successful tours followed, and their incredible abilities were starting to be recognized by mainstream music magazines, especially those dedicated to particular instruments.
Once they left the touring circuit, Meshuggah were surprisingly quiet, cooking up new material for a few years while a rarities disc marked the time. But in the summer of 2002, they released Nothing, a masterpiece of atmosphere that added psychedelic touches to their ever-tightening sound. Unique in almost every way, the album didn’t make much of a mainstream impact but had metal fans banging their heads to 7/4 tempos and esoteric lyrics. A good word from Ozzy Osbourne’s son Jack scored them a spot on the annual Ozzfest tour, where they flourished on the second stage, often stealing the show with their original and savage math metal. After a brief break, Meshuggah released the I EP in 2004. Composed of a single epic track, the complex arrangements of I were just a hint of what was to follow. Their next album, Catch Thirty-Three, was released the following year and proved to be their most ambitious to date. A remastered re-release of Nothing with a bonus DVD arrived in 2006. The same year, Meshuggah returned to the studio to record the album that would become obZen, their sixth, which was released in March of 2008 in advance of a world tour that began in the United States with the band in the opening slot for Ministry’s final jaunt before moving to Europe, Asia, and Australia as a headliner. Their seventh album, Koloss, was issued in 2012 followed by the single and video for “I Am Colossus” and “Pitch Black” b/w “Dancers to a Discordant System (Live),” the following year. The Ophidian Trek, live audio and video packages were released in 2014. In the summer of 2016, the band and Nuclear Blast released 25 Years of Musical Deviance, an anniversary vinyl boxed set limited to 1,000 copies. It was a precursor to the band’s new studio offering, The Violent Sleep of Reason, in the fall. (Source)
System of a Down
System of a Down struck a balance between ’80s underground thrash metal and metallic early-’90s alternative rockers like Jane’s Addiction. Their dark, neo-gothic alternative metal earned a cult following in the wake of the popularity of such like-minded bands as Korn and the Deftones. Vocalist Serj Tankian, guitarist Daron Malakian, bassist Shavo Odadjian, and drummer John Dolmayan formed System of a Down in Southern California in the mid-’90s. They quickly earned a strong following in Los Angeles, largely based on strong word of mouth. A three-song demo began circulating through metal collectors, and their fan base soon spread throughout not only America, but Europe and New Zealand. (Source)
The Black Dahlia Murder
Detroit’s the Black Dahlia Murder, named for the infamous 1947 slaying of 22-year-old Elizabeth Short, aka the Black Dahlia, actually sounds like they should live in Scandinavia, where much of the frenetic brand of death and black metal that inspires them originated. Formed in January 2001, the Black Dahlia Murder followed their six-song What a Horrible Night to Have a Curse demo with the four-track A Cold-Blooded Epitaph EP, which was released on their own Lovelost Records. Having already made a number of acclaimed concert appearances (e.g., the Milwaukee Metal Fest), the group — comprising vocalist Trevor Strnad, guitarists Brian Eschbach and Jon Kemppainen, bassist David Lock, and drummer Cory Grady — signed with Metal Blade in 2003 and was soon recording its debut album, Unhallowed. The 2005 release Miasma and 2007’s Nocturnal kept death metal as the group’s foundation, though the band began exhibiting an increasingly melodic streak that came to fruition on 2009’s brutal but majestic Deflorate. The group’s fifth studio album, Ritual, arrived in the summer of 2011, followed by Everblackin 2013, which was greeted with almost universal acclaim. After a year touring, the Black Dahlia Murder went back into the studio. They re-enlisted producer Mark Lewis (who worked on 2011’s Ritual) and former bass player Ryan Williams, who helped engineer Everblack. They emerged with Abysmal, released in the fall of 2015, and followed it with a grueling schedule of touring for more than a year playing headline and festival support gigs across the United States and Europe. It took its toll. Later in the year, guitarist Ryan Knight amicably left the band, and was replaced by Brandon Ellis(Arsis, ex-Cannibal Corpse). In 2017, TBDM commenced work on a new album with bandmembers working separately in different metro Detroit-area studios with various engineers — including former bassist Williams and Joe Cincotta. In the end, Ellis emerged as an important new songwriter as well as guitarist. The finished album, Nightbringers, was issued in October of 2017 through Metal Blade. (Source)
The Prodigy navigated the high wire, balancing artistic merit and mainstream visibility with more flair than any electronica act of the 1990s. Ably defeating the image-unconscious attitude of most electronic artists in favor of a focus on frontmen Keith Flint and Maxim Reality, the group crossed over to the mainstream of pop music with an incendiary live experience that approximated the original atmosphere of the British rave scene, even while leaning close to arena rock showmanship and punk theatrics. Yet it was always producer Liam Howlett whose studio wizardry launched the Prodigy to the top of the charts during the late-’90s electronica boom, spinning a web of hard-hitting breakbeat techno with king-sized hooks and unmissable samples.
Despite electronic music’s diversity and quick progression during the ’90s — from rave/hardcore to ambient/downtempo and back again, thanks to the breakbeat/drum’n’bass movement — Howlett modified the Prodigy’s sound only sparingly; swapping the rave-whistle effects and ragga samples for metal chords and chanted vocals proved the only major difference in the band’s evolution from its debut to its worldwide breakthrough with third album The Fat of the Land in 1997. Even before the band took its place as the premiere dance act for the alternative masses, the Prodigyhad proved a consistent entry in the British charts, with over a dozen consecutive singles in the Top 20.
Howlett, the prodigy behind the group’s name, was trained on the piano while growing up in Braintree, Essex. He began listening to hip-hop in the mid-’80s and later DJ’ed with the British rap act Cut to Killbefore moving on to acid house later in the decade. The fledgling hardcore breakbeat sound was perfect for an old hip-hop fan fluent in uptempo dance music, and Howlett began producing tracks in his bedroom studio during 1988. His first release, the EP What Evil Lurks, became a major mover on the fledgling British rave scene in 1990. After Howlett met up with Keith Flint and Leeroy Thornhill(both Essex natives as well), the trio formed the Prodigy later that year. Howlett’s recordings gained the trio a contract with XL Records, which re-released What Evil Lurks in February 1991.
Skipping to early in 2015, the group announced its sixth studio album, The Day Is My Enemy. Preceded by the single “Nasty,” the album featured guest appearances from Sleaford Mods and Flux Pavilion. Soon after, Howlett announced his intention to stop releasing albums and only put out EPs, with the promise that new music would arrive the following year. However, no EP ever materialized. Instead, years passed until 2018, when the Prodigy announced that they had signed to BMG Rights Management and would, after all, release another album. This seventh set was heralded by the singles “Need Some1” and “Light Up the Sky.” Accompanied by guest artists Ho99o9and Barns Courtney, No Tourists appeared that November and marked a return to a more synth-driven, less “rock,” though no less aggressive sound. (Source)
Tool’s greatest breakthrough was to meld dark underground metal with the ambition of art rock. Although Metallica wrote their multi-sectioned, layered songs as if they were composers, they kept their musical attack ferociously at street level. Tool didn’t. They embraced the artsy, bohemian preoccupations of Jane’s Addiction while they simultaneously paid musical homage to the relentlessly bleak visions of grindcore, death metal, and thrash. Even with their post-punk influences, they executed their music with the aesthetic of prog rock, alternating between long, detailed instrumental interludes and lyrical rants in their songs.
Tool had a knack for conveying the strangled, oppressive angst that the alternative nation of the early ’90s claimed as its own. So, Tool were able to slip into the definition of alternative rock during the post-Nirvana era, landing a slot on the third Lollapalooza tour in 1993, which helped their first full-length debut album, Undertow, rocket to platinum status. By the time the band delivered its belated follow-up, Ænima, in 1996, alternative rock had lost its grip on the mainstream of America, and Tool’s audience had shaped up as essentially metal-oriented, which meant that the group and the record didn’t capture as big an audience as their first album, despite debuting at number two on the charts. After a co-headlining slot with Korn on Lollapalooza ’97 wrapped up, Tool remained on the road, supporting Ænima until well into the next year.
During the band’s usual extended hiatus between albums, Maynard James Keenan decided to use his downtime productively by forming a side project, dubbed A Perfect Circle. The band’s 2000 debut, Mer de Noms, was a surprise hit, while the ensuing tour was a sold-out success as well. With Tool breakup rumors swirling, the band put the speculation to rest by re-entering the recording studio and issuing the stopgap B-sides/DVD set Salival late the same year. Finally, May 2001 saw the release of Tool’s third full-length release, Lateralus, which debuted at the number one position on the Billboard album chart and became the band’s biggest hit. After the obligatory several-year sabbatical to pursue other projects, the group returned with another chart-topper, 10,000 Days, in 2006. (Source)
Brutally hardcore at heart, Boston-area outfit Vein incorporate whatever is necessary from other genres — including pure screamo, drum’n’bass, and late-’90s metal — to concoct an extreme and sometimes uncomfortable blend of heaviness. After years recording demos and short sets, they made their official debut in 2018 with Errorzone.
Hailing from the suburbs near Andover, Massachusetts, vocalist Anthony DiDio met drummer Matt Wood at a show in Haverhill in 2010. They soon linked up with bassist Jon Lhaubouet and guitarists Jeremy Martin and Josh Butts, forming Vein in 2013. Influenced by American hardcore acts like Converge and Botch as well as ’90s alt-metal stalwarts Deftones and Korn, the quintet recorded a self-titled demo, self-released in 2013. The next year, another self-released effort, Terrors Realm, arrived. Around this time, they began laying down tracks for their eventual debut full-length. In the meantime, they issued 2016’s A Release of Excess Flesh, a split 7″ with Virginia screamo band .Gif from God, and 2017’s four-track Self-Destruct EP.
In 2018, Vein released their official debut, Errorzone (Closed Casket Activities), which was produced by Will Putney. Packed with frantic explosions and melodic surprises, the caustic Errorzone included the single “Virus://Vibrance.” (Source)
- May 18 @ 2:00 pm
- May 19 @ 11:30 pm
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