Five Finger Death Punch

Five Finger Death Punch

Trivium, In This Moment

Wed, May 9, 2012

Doors: 7:00 pm / Show: 8:00 pm

$29.50 Advance - $35 Day of Show

Sold Out

This event is all ages

All seating is general admission at table & chairs arranged around an open floor. Table reservations are available for groups of 4 or more for an additional fee by contacting The Cotillion at (316) 722-4201.

Facebook Comments

Five Finger Death Punch
Five Finger Death Punch
EVERYONE HAS TWO CHOICES—EVOLVE OR DIE.
It’s that simple, and that maxim holds true for every species. Either you can change with the tides or get swept away in their wake. Either you can grow or you can stagnate. Either you can stand out or simply be another face in the crowd. With their third album, American Capitalist [Prospect Park], Five Finger Death Punch—Ivan Moody [Vocals], Zoltan Bathory [Guitar], Jason Hook [Guitar], Jeremy Spencer [Drums], and Chris Kael [Bass]—morph into the melodic heavy metal machine that they’ve been moving towards since their 2007 debut, The Way of the Fist. Not only is their sound bigger; it’s better. Not only has the music become more intricate; it’s become more infectious. Not only are they more direct; they’re more dangerous.

AMERICAN CAPITALIST
Evolution gave birth to American Capitalist. Since their formation in 2006, Five Finger Death Punch continue to progress in the face of all odds and opposition. Darwin himself would be impressed at their list of accolades. The Way of The Fist and 2009′s War is the Answer have both surpassed Gold status. Those two albums have spawned seven consecutive top ten singles at Active Rock Radio with “Bad Company” peaking at #1 and “Far From Home” hitting #2. Other tracks have appeared on the hit game Splatterhouse and NBC’s Criminal Minds, with a brand new track set to appear on Madden 2012. The group has graced the cover of Revolver, Metal Hammer, and numerous other tastemaker publications as well as performing on Jimmy Kimmel Live. They’ve massacred stages all over the world- everywhere from Download Festival, Rock am Ring and Rock im Park to Mayhem Festival. This was all via independent label and management company Prospect Park. Along the way, they’ve amassed a diehard, devout fan base fondly referred to as “Knuckleheads.”
Right now, they’re gearing up for the next phase of their evolution—the reign of American Capitalist.
“This record crystallizes the sound of Death Punch,” says Bathory. “The band has really come into its own. Everyone contributed to the music, and this is what we are capable of as a unit.”
Whether it’s the anthemic riff beat down of “Back for More”—featured on the Madden NFL 2012 soundtrack—or the ominous bass, gnashing guitars, and hypnotic vocals of “Generation Dead”, each element enthralls. Five Finger Death Punch are about to seize their spot at the top of the musical food chain.
The assault commences with first single “Under and Over It”. A propulsive thrash stomp from Bathory and Hook rolls into Moody’s sharp lyrical jabs. The singer announces, “Did you hear the one about me being a punk? Did you hear the one about me being a drunk? Did you hear the one about me giving a shit, ‘cause if I ever did I don’t remember it.”
Dispelling any and all rumors, the song targets shit-talkers of all kinds and silences them once and for all with a cataclysmic chorus.
“It’s a statement that puts all of the bullshit to rest,” declares Moody. “There’s a dry sense of humor in the lyrics, and the song shows another side of the band. In the past, I’ve stuck to writing about relationships or personal issues. I wanted to lash back a little bit on this album.”
Bathory affirms, “For every fan, there’s a hater. The overall message is to fight for your survival and success, but there’s a little sarcasm in there too.”
In early February 2011, the band retreated to “The Hideout” in Las Vegas, NV with producer Kevin Churko [Ozzy Osbourne] to record. Until June, each member brought numerous ideas to the table, encouraging the expansion of their collective sound. Before entering the studio, Moody hunkered down in his grandparents’ cabin in the mountains of Colorado. It was the perfect spot for him to truly dig inside of for lyrics. In addition, he penned tunes on the road while relocating to Nevada and at night in his new abode. He wasn’t going to hold back at all, and as gut-wrenching as the process was, the results are glorious.
“When I write, I quarantine myself,” he reveals. “I shut everybody out, and I made it a point to deliver so much emotionally. Around midnight every night when the world shuts down, I would turn on my studio equipment, crank the songs as loud as I could, and get deep.“
“Deep” is an understatement when it comes to cuts like the deft, divine, and deadly “Coming Down”. A violent energy courses through the verse after an airy acoustic intro. Another visceral buildup crashes into one of Moody’s bleakest melodies. “The song came at one of those points where you feel like you’ve done so much and you’re given so little in return for it,” he recalls. “You’re trying to please the whole world, and you’ve got to pull back and realize that, at the end of the day, it has to be about you first and foremost. Otherwise, you’re useless to anyone else.”
Then there’s “If I Fall.” It’s another pummeling canvas for the band to bleed over, complete with a piano bridge and sledgehammer of a hook. Bathory adds, “On that song, we purposefully merge musical landscapes. Classical guitar and full blown heavy metal collide. It’s about creating a complex journey of visualization, emotion, and feeling with every song.”
“Menace” and “100 Ways To Hate” bludgeon and batter with every note, while “Everything” sees Moody allowing fans closer than ever via a harrowing and hypnotic tale of his own past. He continues, “There’s so much honesty in this album. Instead of writing about metaphors, I went straight for the jugular.”
The album’s very title holds an important message. Bathory explains,
“America adopted a form of capitalism that closely resembles the dynamics of nature. Darwinism and capitalism share many similarities. You get your shot at greatness, and it’s up to you to take it or not. You can be a zebra or join the lion pride. You have to rebel against your circumstances, laziness, and mediocrity—not the system. The best will make it, and that notion is genetically embedded within our fabric. If we were all equal, evolution wouldn’t exist. The human spirit encourages us to excel.”
That same spirit has pushed Five Finger Death Punch to develop a formidable stage show for the ages to accompany these songs live. For Bathory, the show is of paramount importance: “I want to interpret this record visually and make it as big and crazy as possible.”Ultimately, Five Finger Death Punch is making music for the lions. Bathory goes on,
“This music is for survivors. People listen to different bands to get into a certain mood. I want people to fucking feel like lions when they listen to this. Here you go brother, go kill it.”
Moody concludes, “I literally laid every ounce of blood I had on the street with this one. We are a people’s band. Our fans admire and understand us because of who we are. We’ve never tried to be anybody else. We’re Five Finger Death Punch.”
Trivium
Trivium
With their fifth full-length album, In Waves, Trivium make a crucial statement.

It's a statement about writing their own rules about what it means to be a contemporary metal band. It's a statement that encompasses boundary-defying music, moods, movement, and visuals. It's a statement that's emblematic of their evolution. It's a statement that's going to impact anyone open to it.

While on the road in 2009, the first rumblings of In Waves began. Trivium vocalist and guitarist Matt Heafy had already started pondering the direction the band would take for their fifth offering. So far, they'd excelled at the standard hallmarks of the genre, and he wanted to do something new.

Each one of their albums—Ascendancy (2005), The Crusade (2006), and Shogun (2008)—garnered unanimous critical and fan acclaim. Ascendancy cemented the band's place in the metal-verse, selling over half-a-million copies worldwide.

Shogun debuted at #23 on the Billboard Top 200 and in the top 100 in 18 other countries. All over the globe, they rose to the ranks of metal elite, sharing the stage with everyone from Iron Maiden and Slipknot and dominating festivals such as Download, Rock Star Energy Drink Mayhem Festival and OZZfest. They'd done everything the way that a metal band is supposed to. However, even with all of this success, Heafy and his cohorts guitarist Corey Beaulieu, bassist Paolo Gregoletto, and drummer Nick Augusto had gotten frustrated with the state of metal and yearned to break out.

"In my opinion, this album really was a response to what we've ever done as a band and everything we're seeing in contemporary music," declares Heafy. " We want to take metal a step further. We're not going to tell anyone what In Waves means. We want to put imagination and creativity back in the mind of the listener."

Trivium let the music do the talking this time around. The title track and first single hinges on a pummeling polyrhythmic guitar groove that breaks into one of the band's most infectious choruses just before a haunting guitar melody sails off into the distance. Rather than simply modifying their sound, they expanded it with elegant sonic textures and crushingly calculated chaos. The technical prowess is tempered by a melodic sensibility often unexplored by bands in this genre.

About the song, Gregoletto explains, "To me, the 'In Waves' riff is what anger and hopelessness I felt would sound like if emoted musically. It was the first riff I wrote after we got off the road for Shogun, and it's inspirationally somewhere in between the technicality of Meshuggah and the straightforward groove of Sepultura, but it channels a new intensity. After that song, we weren't afraid to push ourselves out of familiar territory anymore."

"It was the turning point for the music," Heafy reveals. "It's got the simplest chorus we've ever had, and it meant something different to each of us. There's minimalist spin."

However, that simplicity breeds complexity as each song takes on a life of its own. "Inception of the End" drops from a speedy thrash air raid into an anthemic arena-filling refrain, while vocal harmonies climb alongside schizophrenic screams on "Watch the World Burn." "Of All These Yesterdays" takes flight on a propulsive hum and an off-kilter solo. Everything culminates during "Leaving This World Behind," which pairs a classically influenced acoustic guitar with a chilling scream and an orchestral, electronic undercurrent. "Built to Fall" shatters an off-time riff with a hyper-charged hook that sees Heafy channeling a new charisma.
(continued above)

The entire album moves and shifts like one fluid entity. Heafy adds, "There was a conscious effort to tie everything together. Since we pulled back on so much of the musical complexity, it was about the song and we were able to connect on a basic level. It wasn't about trying to insert another big word in the lyrics or another solo. We weren't worried about showing how technical or brutal we could sound. It was about making something great. When I simplified the lyrics, they were able to be translated into multiple definitions, expanding the album to a multi-purposed work of art."

In order to paint this aural pastiche, the band retreated to Paint It Black Studios in Altamonte Springs, FL with production triumvirate Colin Richardson [Machine Head, Bullet for My Valentine], Martyn "Ginge" Ford and Carl Bown in early 2011. The band had already conceived the vision for the album over two years of writing and volleying visual concepts around, so recording allowed the band to continue to experiment. Surprisingly, Heafy didn't turn to his iPod for inspiration though.

"On this record, my influences weren't music," he explains. "My influences were film and directors like David Lynch, Lars Von Trier, Paul Thomas Anderson, and Christopher Nolan. It was also the idea of modern art. I used to not get modern art and museums. I went to The Louvre four years ago and it got me into classical art. Then I started getting into modern art. I like modern art because it completely disregards all of the pre-set rules. Contemporary art can be anything. There is no right or wrong. That encouraged me on In Waves. We made the music we wanted to make."

In order to keep pushing the envelope, Trivium experimented with a myriad of sounds and textures, employing everything from cardboard tubes, fire extinguishers, napkins, and out-of-tune pianos to make sounds. Working with new drummer Nick Augusto in the studio also helped facilitate the process. Beaulieu exclaims, "Nick's a fantastic drummer, and he soaked everything up really quickly. We moved at such a fast pace together and we were able to accomplish a lot more in a short amount of time. It was a very creative, fast-moving, and enjoyable experience. Having that positive environment with Nick made it a lot more fun and it made the songs better."

However, the songs will ultimately continue to get better as their vision comes into clearer focus. Heafy sums it up best. "If a CD is like the soundtrack to a movie, In Waves is the entire film. It's everything. It's the soundtrack, the visuals, and the packaging. It's a full-on visual experience rather than being the standard format. The whole purpose of art is to inspire creativity and other art. No one made the album we wanted to hear yet so we made it ourselves. It's time to take metal to another place and bring in new people."
In This Moment
In This Moment
One group that has definitely paid their fair share of dues is the Southern California based quintet IN THIS MOMENT who, through hard work, resiliency and an undying worldwide touring schedule have propelled themselves to the top of the heap of the metal pantheon. They have now returned with their most dynamic and focused offering, which quickly proves that this unit has greatly matured well beyond their years.

IN THIS MOMENT spent the early part of 2010 at The Wolve's Den studio once again with acclaimed producer Kevin Churko (Ozzy Osbourne, Five Finger Death Punch) recording A Star-Crossed Wasteland, an album hailed by Alternative Press as "One of The Most Anticipated Releases of 2010."

The group are extremely excited to be performing on this summer's much anticipated Rockstar Mayhem Tour playing on the Mayhem Festival Stage alongside Korn, Rob Zombie and Atreyu. This tour will mark the start of the group's official, massive worldwide touring cycle.

Chris Howorth (guitars) further states: "The writing process for A Star-Crossed Wasteland was different than on our previous records. This time we had more of a plan and we knew we wanted to write darker heavier songs while still keeping our melodic side. We started working on new music last August right after Warped Tour ended and wrote continuously for five months to get as many song ideas on tape as possible. We ended up with about 15 demo songs. Once we got into the studio with Kevin we dissected everything again to make sure everyone was happy with the arrangements and then started tracking.

"For us, using Kevin Churko was a no brainer, we had such a great experience making The Dream that we didn't even consider using anyone else. I've said it before and I will say it again, Kevin is the man. He is like the Gandolf the Grey or Yoda of producing. He has so much knowledge and is so creative musically we feel like magic happens when we work together.

"I am extremely happy with the end result. We made a record that shows who we are and what we are really about. We feel like it's our defining statement. We really put a lot of effort into making sure the guitars were massive and the drums were slamming while still retaining the depth and melodic layers in the songs. Vocally and lyrically Maria was very emotional and coming from a darker place than on previous albums, and she really poured her heart out and as usual you can tell that it's 100% genuine."

One always hears the same old adage growing up: "believe in your dreams, because dreams really do come true." Well, this statement perfectly defines the life of IN THIS MOMENT's frontwoman, Maria Brink, who always believed that she would become a rock star, and overcome all of the obstacles that stood in her way while having to escape an overall non-positive environment.

Brink, an Albany, NY native, refused to let any of this deter her from achieving her lifelong goal and soon embarked for Los Angeles to begin her musical career. After a number of odd jobs and failed creative partnerships her life soon took a sudden turn upon meeting guitarist Chris Howorth in 2005, as the two immediately realized that they had something special together. This union would soon be rounded out by Jeff Fabb (drums), Blake Bunzel (guitars) and Jesse Landry (bass) to form IN THIS MOMENT, who just three years later performed to a sold-out crowd at the renowned Madison Square Garden opening for Ozzy Osbourne, ultimately proving dreams do come true.

Their invigorating mixture of metal and hard rock quickly caught the attention of metal and hard rock fans alike. The diversity and depth was refreshing and simply undeniable. In 2010, they continue to carve out their own unique and exhilarating chapter in the hard rock genre, laying the foundation for an extremely bright future. Original bassist Jesse Landry left the band after Warped Tour in 2009 to pursue non music related endeavors but Kyle Konkiel quickly joined the fold and instantly became a perfect fit. This group is collectively defined by their undying belief in themselves and this confidence and strength is conveyed perfectly through their new material.

For IN THIS MOMENT, the dream was always to become a worldwide phenomenon and that is something that will never fade, especially with this new effort. If you haven't heard of IN THIS MOMENT, it won't be long until you do because this band is at the brink of greatness.