Venom Inc

13th Floor Entertainment Presents Venom Inc

Venom Inc

Goatwhore, Toxic Holocaust, The Convalescence, AUTUMN'S END, SaintBreaker

Thu, September 21, 2017

6:00 pm

Club Red

Mesa, AZ

$22.00 - $99.00

Tickets at the Door

This event is all ages

Venom Inc
The Demolition Man, Mantas and Abaddon...back and more Venomous than ever...it;s time things got straight....got real.
Goatwhore
Goatwhore
Over the course of nearly 15 years and an incalculable amount of tour miles, New Orleans' own Goatwhore have inadvertently established themselves as one the most diligent and consistently ferocious bands of the 21st century. Forged in fire by ex Acid Bath/Crowbar guitarist Sammy Duet in '97, their storied legacy follows a dramatic —and often traumatic — series of lineup shifts, injuries, haunting
s, natural disasters and an assortment of other mishaps large and small. But, driven by a blood oath to heavy metal and perhaps the powers of Satan himself, Goatwhore forever persevere.

Their journey began with the bestial Serenades To The Tides Of Blood demo and subsequent Eclipse Of Ages Into Black debut full-length unleashed over a decade ago. Then a five-piece comprised of Duet, Soilent Green vocalist Ben Falgoust, guitarist Ben Stout, bassist Patrick Bruders and drummer Zak Nolan, the band's stanch DIY work ethic, rigid tour schedule and the bludgeoning force of songs like "Invert The Virgin" and "Desolate Path To Apocalyptic Ruin" quickly spawned a maniacal cult following. By 2003, Goatwhore had systematically harvested a legion of followers possessed by the band's profound maze of unhallowed lyrics, Celtic Frostian rhythms, and blackened bayou swagger. Catastrophe–brewed sophomore release, Funeral Dirge For The Rotting Sun, bore a slower, broodier brand of apocalyptic menace; onethat trailed a near-fatal van crash that left Falgoust temporarily paralyzed and the future of the band in disarray. Against all medical odds, Falgoust regained use of his legs and the band, now a four-piece with Duet taking on full guitar responsibilities, quickly returned to their rightful place on the road. Seemingly drawn to bouts of misfortune, A Haunting Curse found the revised Goatwhore lineup of Duet, Falgoust, drummer Zack Simmons (ex-Nachtmystium) and bassist Nathan Bergeron, fleeing the debilitating floodsof Hurricane Katrina. Delayed but undeterred, Goatwhore's first Metal Blade offering proved their most volatile yet. Relentless in speed, precision and barefaced animosity, Goatwhore had traveled well-beyond the confines of conventional black metal with a thrashier end product that fully-embraced their long-avowed Hellhammer and Venom devotion without ever plagiarizing it.

Released in 2009, the sinistral Carving Out The Eyes Of God hit with titanic urgency. Hailed among the year's most worthy metal albums by fans and critics nationwide, Goatwhore's fourth long-player shattered mainstream conventions. The recordbroke Billboard Top 200 ranking in at #190, debuted on the Billboard Hard Music chart at #33, the Billboard Top New Artist (Heatseekers) Albums chart at #16, and the Billboard Top Independent Albums chart at #34. Decibel magazine declared the production,"the band's tightest, most guitar-driven offering to date. An unholy smorgasbord of rigid tempo shifts, gargantuan hooks, blasting black mass anthems, and Falgoust's soot and venom snarl…," while Outburn compared it to, "a modern day, 'roid-injected sword fight between Celtic Frost and Venom." High traffic web portal Blabbermouth crowned the production "…one of 2009's purest metal albums…nefariously black and sadistically thrashing in a way that is uniquely Goatwhore," while MetalSucks proclaimed Carving Out The Eyes Of God "the catchiest album Goatwhore have ever released." Furtheralbumtriumphs included a spot on the 2010 edition of Ozzfest and two performances at the annual SXSW music conference enabling the horned collective to deliver their sadistic hymns of religious treachery to an even broader sect of listeners.

For the next two years, the band maintained an infamously unyielding tour cycle, leveling cities throughout the US, Canada, Europe and Australia with their universally praised live rituals. Further educating the potentially unversed, "Apocalyptic Havoc" appears on the Xbox 360/PlayStation 3 game soundtracks for Splatterhouse and more recently, Saints Row 3, while the video for the song was featured in an episode of Last Call with Carson Daly. And as if to close out a near perfect run of riotous adventures, Goatwhore was named Best Hard Rock/Metal Artist of 2010 at The Big Easy Awards last April, a deserving honor based on performance throughout the year.

In 2012, Goatwhore again raise their cloven hoofs in salutation to Blood For The Master. Now featuring Duet, Falgoust, Simmons and bassist James Harvey, who joined the goaty ranks in 2009 following the departure of Nathan Bergeron, the record finds Louisiana's notorious metal horde at their most unified. Recorded and mixed at Mana Recording Studios in St. Petersburg, Florida with longtime friend/producer Erik Rutan, who worked with Goatwhore on both Carving… and A Haunting Curse, the ten-track, 38-minute Blood For The Master is epic in sound, mind and execution.

Released through Decibel Magazine's flexi series, and later posted online for the masses to absorb, a cover of Motöhead's "(Don't Need) Religion" was presented as an album teaser in October. An appropriately infernal rendition of an often neglected classic, the song served as the perfect precursor to an album prevalent in its hailstorm of fist-pumping, heathen anthems and rhythmic devastation.

Exhibiting a labyrinth of moods and meticulous tempo shifts, Blood For The Master is streamlined without ever rendering itself predictable. As memorable as it is menacing, the band's fifth full-length quite literally writhes under the weight of its own deviant heaviness. Led by the traditionally iconoclastic sermons of the leather-throated Falgoust, and made whole by its mammoth guitar tone, unconditional drum/bass battery and Duet's intermittent snarls of wrath, the record again challenges god's legitimacy/authority while further exploring the ritual of death. Conveyed with a poetic, near occultish grace, songs like violent opener "Collapse In Eternal Worth," "Embodiment Of This Bitter Chaos," and "In Deathless Tradition" finds Falgoust, dubbed "one of the best live and recorded singers in metal history," by notable Canadian website Hellbound, in full domination mode. "I always have a lot of words," he elaborates. "I don't like repeating things but I've started doing more chorus-verse-chorus stuff. I started letting the music breath more."

"It's not like the new songs are a drastic change," Duet noted in an early interview with Decibel Magazine. "It's like an experimentation on how much more metal we can get – I mean actual metal; the roots of heavy metal. But not in a way that it sounds like power metal or anything like that. It's like an extremely metal version of us."

"I thought this was a lot harder to write just because we didn't want to repeat ourselves," he further notes. "I mean, we could have easily gone and written another Carving Out The Eyes Of God but we didn't want to do that. There are still elements on the new album that we wouldn't normally do, but it definitely still sounds like us."

"It's definitely harder at this point," Falgoust agrees of the writing process, "because you start to get to the point where you're a little older and more conscious about your ideas and everything; you become more anal about things. I'm still getting used to it, but I really like it. I like the flow. When we write, we try to think of it in a live approach. A lot of people write records but they never really focus on playing it live but that's so important. We can do all of these songs live, which is something we did with Carving… as well."

"I think sometimes we get slighted for stuff" Falgoust continues on where the band now fits within metal's ever expanding pantheon of subgenres. "Whatever terms people decide to lock us into— black metal, death metal, black death metal, everyone's gotta have some kind of little blanket. It's almost like a social standing. To me, it's all just straight heavy metal."
Toxic Holocaust
Toxic Holocaust
Portland metal punk assailants, Toxic Holocaust, were formed by Joel Grind in 1999 to pay homage to the raw days of metal and punk. Influenced by bands like Discharge, Venom, Slayer and G.B.H. - Toxic Holocaust create the perfect marriage of punk angst and metal aggression.

Toxic Holocaust's first full-length album, 'Evil Never Dies,' was released in 2003, followed by 'Hell on Earth' two years later. Both records featured mainman Joel Grind writing all of the music and playing all of the instruments, performing with a band only during their raucous live assaults. After achieving a massive underground following thanks to embracing a DIY attitude and extensive self-booked tours in Australia, Japan, Europe, Brazil, Canada, and the US, Toxic Holocaust signed to Relapse Records. In 2008, Toxic Holocaust put out their Relapse debut, 'An Overdose of Death.' The album was recorded by Jack Endino (High on Fire, Zeke, Dwarves) at Soundhouse Recording and was the first record where Joel Grind opted to work with another musician - Donny Paycheck of Zeke. The album went on to receive numerous accolades including Revolver calling the album, "Equal parts nuclear reactive riffage and Repo Man punk attitude!"

At the end of 2010, Toxic Holocaust entered the studio again, this time at Dexters Lab. The band recorded with Toxic Holocaust/Kingdom of Sorrow drummer and engineer Nick Bellmore (Hatebreed, Phantoms, Full Blown Chaos). This album, titled 'Conjure and Command' was much darker than previous albums. "....sweetly redolent of thrash, d-beat, and raw sewage, the album simmers with tar-thick riffage, staggering breakdowns, and a corroded dose of self-loathing. If this is what Toxic Holocaust's next decade is going to look like, bring it on" opined The Onion's A.V. Club.

Following the devastating tsunami in Japan, Toxic Holocaust teamed up with Midnight for a benefit split 7".with the proceeds entirely going to the Red Cross relief efforts for victims of the tsunami disaster. Fast forward to 2013 and after almost 15 years in existence, Toxic Holocaust released a 22-track anthology that collected rarities and tracks from vinyl-only splits with the likes of Municipal Waste, Midnight, and others.

Now Toxic Holocaust's latest album, 'Chemistry of Consciousness,' will be released in October 2013. It was self-recorded by Joel Grind and Nick Bellmore, mixed with Kurt Ballou (Converge) at GodCity Studio and mastered by Brad Boatright (Sleep, From Ashes Rise, Nails) at Audiosiege Engineering. If there's one thing the punks and the metal heads could agree on in 2013, it's that Toxic Holocaust's Chemistry of Consciousness is a rager of a record destined to top any worthwhile best of 2013 list.

Toxic Holocaust continue to road-dog across the world, having toured with Municipal Waste, Napalm Death, At the Gates, Danzig, Satyricon, English Dogs, The Casualties, and Gwar, to name a few, followed up by an impending European tour that will run throughout June.
The Convalescence
The Convalescence
The Convalescence formed in late February 2011 in Toledo,OH as a side project for various local musicians, After releasing pre production clips The Convalescence signed with Ohio independent label Enthral Entertainment to release a debut EP titled "Memories" in May 2011. The band went on to do multiple tours and festivals in support of the EP including The Northwest Ohio Metalfest, Bludgeonfest with Mobile Deathcamp, The Lone Wolves Tour with Winterus, The All Freaks Halloween Ball, The Road to the Metalfest Tour, and The Northern Wisconsin Metalfest. After completing pre production on their first full length album "Unmasking The Betrayer" The Convalescence went on to do The Winter Wipe Out Tour with The Black Order before recording the album at Metro 37 Studios in Rochester Hills,MI. Following with several tours and festivals through the remainder of 2012 and 2013 in support of the new release including The SkeleTour with Tides Of War and Mercia, The MonsTour, The For The Fans Tour with Kleos, The EradicaTour with Erimha, The See You LayTour with Along Came A Spider and Fallen Captive, Toledo Deathfest, Alcoholacaust 1 and 2, Toledo Metalfest, The Age Ov The Gods Festival, Do You Like It Heavy? Fest, and Summer Pit fest as well as sharing the stage with other national acts such as All Shall Perish, Carnifex, Fleshgod Apocalypse, Conducting From The Grave, The Contortionist, Mushroomhead, King Conquer, Abiotic, The World We Knew, Erimha, Along Came A Spider, The Bunny The Bear, Neurotic November, In Dying Arms, Kingdom Of Giants, Reformers, and many more. The band has recently signed with Ferocious Records and has just finished up recording a new album titled "The Process" and will be touring extensively throughout 2014 in support of this new release.
AUTUMN'S END
AUTUMN'S END
The multi-faceted face of human emotion is known by many: situational, individualized, universal, unending. Within its matrix, you will be led to music by your need for expression, for that dismal joy of validation, and to seek the sound of your internal landscape set to melody. Only in music can you afford to drown yourself in an exploration of what is really staring back at you in the mirror; only you can ultimately choose to descend into the cartography of your own hopes and despairs. Those who are there to guide you through your consciousness must be highly responsible and well-versed in both pessimism and optimism. Eager to share their authentically haunted expertise is Phoenix’s AUTUMN’S END.

The desert is a place of extremes where you are taught the true meaning of a mile. Spawned in Arizona in 2002 by former N17, Mission 66, Rorschach Test, and clinician guitarist & vocalist Chris Cannella, the approach to music-making taken by AUTUMN’S END was simple: utilize any approach which serves the song best - whether electric or acoustic - because wanting to be the next Rob Zombie is nowhere on the agenda. With the blending of naked aggression, unapologetic melodies, and death metal/clean vocals, AUTUMN’S END seeks to restore the damage done to the metal scene by the homogenization of metal’s sound and return to a performance-driven, organic-sounding metal whose roots lie with heritage albums such as Megadeth’s Peace Sells… But Who’s Buying?, Slayer’s Reign In Blood, and Celtic Frost’s To Mega Therion.

After a few lineup changes, Cannella ultimately solidified the lineup with Rude-T, Tanner Crace and Former band mate Jason Kowalski of N17 and Hogjaw. Technically each member was also in N17 at one time or another. Thrown into their cauldron of influence & inspiration were Johnny Cash, New Model Army, Savatage, Opeth, Meshuggah, Fields Of Nephilim, Skinny Puppy, and Neurosis (to name but a few). All these guys needed to launch their musical alchemy was the sweat of perseverance and the heat of a live stage. The result? A new extention of their eclectic death metal sound on a new technical level.

Spanning the various seasons of human emotion, from the quiet introspection censed indignation chilling regret and galloping triumph every emotion is genuine and credible. With their ability to document the spectrum of humanity’s trajectories, uniformities, and deviations, members of AUTUMN’S END are nothing short of being musical poet laureates of our time.

The fruits of AUTUMN’S END’s work ethic don’t stop there. Through the years, their live exorcisms have opened for national touring bands such as Krisiun, Arsis, Arch Enemy, Hate Eternal, Vader, Machine Head, Korn, Fear Factory, Danzig, Body Count, and Eyes Of Fire to name a few. They’ve attained endorsements with ESP guitars and basses, Mesa Boogie, DR Strings, A&S Cases, Dunlop Picks and pedals, all without being signed to a constant label. Cannella even conducted North American & European guitar clinics for Jackson and the late Homebrew Electronics since 2002.

We are the sum of our experiences. We are the ones who shape our futures with the blood in our own hands. Few are the ones who choose to tell themselves a story different from the one everyone else repeats. AUTUMN’S END stand among those rare musicians who can create a soundtrack rich with the complexity of the human condition and have it creatively reflect the sonic representations of humanity’s chaos, fury, and collective agonies.
SaintBreaker
Formed in the summer of 2013. Has had the honored privilege of sharing the stages with the likes of:

Exhumed
Toxic Holocaust
D.R.I.
Iron Reagan
Battalion of Saints
Negative Approach
Mammoth Grinder
War Master
Ghoul
Exmortus
Warbringer
P.L.F.
Full Of Hell
Noisem
Fuck The Facts
Master
Fissure
King Parrot
Witchaven
Opposition Rising (ex-Toxic Narcotic)
Cannabis Corpse
Steel Bearing Hand
Ramming Speed
Excruciating Terror
Phobia
Chest Pain
Communion of Thieves
Venue Information:
Club Red
1306 W. University Dr
Mesa, AZ, 85201
http://www.clubredrocks.com/