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King Diamond

November 18 @ 7:00 pm - 11:30 pm

$44
King Diamond at the Riviera Theater Monday, November 18, 2019

King Diamond, w/:

  • Uncle Acid and the Deadbeats
  • Idle Hands

@The Riviera Theatre
Monday, November 18
Doors = 6pm
Show – 7pm
Ages = 18+
Tickets’ starting price = $44

King Diamond

Widely regarded as one of the finest vocalists in all of metal (who possesses a multi-octave range), Danish theatrical rocker King Diamond first rose to prominence as a member of gothic black metal group Mercyful Fate before launching a solo career in 1986. Known for his elastic falsetto, distinctive face-paint, occult leanings, femur- and tibia bone-adorned microphone stand, and seminal 1987 concept album Abigail, Diamond is one of late 20th and early 21st century most iconic heavy metal figures, issuing a slew of quality, narrative-driven albums, including Conspiracy (1989), The Graveyard(1996), Abigail II: the Revenge, and Give Me Your Soul…Please (2007), the latter of which earned a Grammy nomination.

Born Kim Bendix Petersen in Denmark on June 14, 1956, the future King Diamond was originally drawn to theatrically based hard rock due to such trailblazers as Alice Cooper, and soon began fronting local bands in the ’70s, including a punk-metal outfit called the Brats. Shortly thereafter, the group mutated into Mercyful Fate, consisting of members Hank Shermann (guitar), Michael Denner (guitar), Timi Hansen (bass), and Kim Ruzz (drums), in addition to Diamond. Diamond, by this time, had developed an interest in the occult, which was reflected in the new group’s subject matter, as the frontman began wearing makeup (which resembled a cross between his hero Cooper and Kiss’ Gene Simmons).

Come the early ’90s, Mercyful Fate was constantly being name-checked as a prime influence by just about every new thrash and death metal band, which led to a re-formation of the original group (save for drummer Ruzz), and such further releases as 1993’s In the Shadows (which included a remake of their early track, “Return of the Vampire,” with Metallica’s Lars Ulrich sitting in on drums), 1994’s Time, 1996’s Into the Unknown, 1998’s Dead Again, and 1999’s 9. By the middle of the ’90s, Diamond began issuing solo albums again (simultaneously with his Fate output), beginning with 1995’s The Spider’s Lullabye, his first for new label Metal Blade. 1996’s doomy The Graveyard found success on the Finnish charts, as did 1998’s bayou-set witchcraft tale Voodoo. Diamond set his ninth studio effort, House of God, in Southern France to pay homage to the conspiracy-theory-rich commune of Rennes-le-Château, and in 2002 he revisited his most famous narrative with Abigail II: The Revenge. The gory Budapest-based Puppet Master arrived in 2003, followed in 2007 by the Grammy-nominated Give Me Your Soul…Please. Diamond’s musical output was put on hold in 2010 after he underwent triple bypass surgery, but he returned to the stage in 2012 with a triumphant comeback show at the annual Sweden Rock Festival. He lent his signature wail to the song “Room 24” on Danish metallers the Volebeats’ 2013 LP Outlaw Gentlemen & Shady Ladies, which landed him another Grammy nomination, and in 2014, Metal Blade issued Dreams of Horror, a career-spanning two-disc set that collected the best of the group’s Roadrunner years (1986-1990) and their years with Metal Blade following their mid-’90s re-formation. (Source)

Uncle Acid and the Deadbeats

Formed by guitarist, vocalist, and visionary Kevin A. Starrs, the band made its debut in 2010 with the lo-fi Vol. 1, which was made up of songs Starrs put on MySpace that gained enough of a following to demand actual release on CD. (It was also reissued in remastered form in 2017 by Rise Above.) Many of the songs on Vol. 1 were recorded with the help of a bassist and drummer, known as Kat and Red respectively, and the album made enough money that they were able to record and release a second record. Done in a friend’s garage, Blood Lust was initially a small-run CD-R before first Rise Above and then Metal Blade reissued it to a wider audience. While making the record, the band split apart and Starrs roped in a new rhythm section of Dean Millaron bass and Thomas Mowforth on drums. Guitarist Yotam Rubinger also joined and the band set about making another album, again with Starrs producing.

This time the budget was a little bigger and the sound was more powerful. Mind Control was released in 2013 on Metal Blade. Their next album was inspired by cheap crime paperbacks and was meant to conjure up a bleak and grimy atmosphere while telling the tale of a serial killer. To help capture that feel, the band headed to Toe Rag Studios to work with legendary engineer Liam Watson. Starrs produced the record and played bass too, since Millar had left the band. Mowforth was also gone, replaced by Rubinger’s brother Itamar on drums. The album, 2015’s The Night Creeper, was a return to a lo-fi metal sound and found them gaining a wider fan base, including some hardcore psych rock devotees won over by their sound and devastating live show.

After the album’s release, the band’s lineup shifted again, with Vaughn Stokes joining on second guitar. Subtract the Rubinger brothers, add Jon Rice on drums, and this is the trio that headed to the legendary Sunset Studio in L.A. to record their fifth album. With the help of engineer Geoff Nealand the same echo chamber Van Halen used in the ’70s, the band laid down basic tracks before Starrs took the music home to Cambridge to finish in his home studio. As with many albums released in the late 2010s, 2018’s Wasteland was a politically charged and dystopian album, fueled by Starrs’ massive guitars and the lo-fi, Sabbath-in-a-tin-can punch of the band. (Source)

Idle Hands

Conceived in the summer of 2017 by singer/songwriter Gabriel Franco after the dissolve of his former band Spellcaster, Idle Hands initially began as a creative outlet for a musically frustrated Franco.

With the help of Sebastian Silva, and soon after Colin Vranizan, the team was able to put together a rough studio recording of their first song “Blade and the Will” in early 2018. This track was shopped to labels with no success, but did warrant a small interest from the underground music community.

Within a matter of months, the band had acquired a European booking agent, and signed to Germany based Eisenwald records, as well as securing support slots for bands the likes of Paradise Lost, Tribulation, Uada, Jag Panzer, Midnight, Haunt & Gaahls Wyrd. Critics raving the release as a unique blend of old school Heavy Metal, Goth, New Wave and Post Punk genres. 2 Music videos were filmed for By Way o Kingdom, and I Feel Nothing, the EP’s melodic closing track, with the band being nearly struck by lightning during the production of the latter. Shortly after it was announced that the band would be making appearances at the prestigious European festivals Keep It True XXII in Germany & Muskelrock in Sweden respectively. During this period the band received accolades in notable metal publications Kerrang!, Decibel, Metal Injection and Metal Hammer among others as well – Including #1 newcomer of the year in Deaf Forever magazine, further cementing their position in the modern heavy metal frontier.

Now back stateside, Summertime is writing time and the preparation for summer festivals at Psycho Las Vegas supporting Opeth, Electric Wizard, Corrosion of Conformity, among others, and Vancouver Island Metal Fest with heavy metal stalwarts Eternal Champion. USA and Canadian tour dates are confirmed for late 2019 and to be announced soon. There is no break in sight. The bands future is not in Idle Hands… (Source)