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Fri, Aug 7, 8:00 PM
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There’s an unspoken edict handed down through the ages when it comes to rock bands: there are no rules. Nobody picks up a guitar to be constricted or oppressed. It’s all about feeling free artistically. Now, The Sword—John Cronise [vocals, guitar], Kyle Shutt [guitar], Bryan Richie [bass], and Santiago Vela III [drums]—cut out boundaries since day one. Their style never stood predicated on a trend or a template. They always create what feels right and let the results speak for themselves. When it came time to record the group’s fifth full-length album, High Country [Razor & Tie], Cronise landed at something of a spiritual crossroads. Following the final tour for their critically acclaimed Apocryphon, he holed up in his North Carolina home and eventually began writing new songs. The material began to veer into a different space that at the time Cronise felt was somewhat outside of The Sword’s sphere. “I didn’t even intend for the demos to be Sword songs,” he explains. “But then I realized that I had taken on a sort of limiting view of what The Sword was, and that wasn’t actually what I wanted it to be. I think the new album is more reflective of the music I listen to and where our heads are at collectively. With each of our albums, it’s become less about fury and bombast and more about trying to write good songs. We realized that our music can go wherever we want it to go. There’s no pre-determined course here now, and there never was.” High Country became new territory for The Sword, and they began doing things differently. That approach included more attention to backing vocals and harmonies, implementing more synthesizers and percussion elements, and tuning to E-flat instead of all the way down to C. As a result, the guitars stand out as more vital and vibrant than ever. “I felt like the low tuning had become more of a crutch than a tool,” he says. “It was all a matter of trying to keep things fresh, and not fall prey to habits or expectations. We wanted to break out of any classifications and just put out a good rock record.” Inspired, the boys headed to Church House Recording Studio in Austin, TX to cut High Country with Adrian Quesada of Brownout and Grupo Fantasma producing, Stuart Sykes [The White Stripes] engineering, and J. Robbins mixing. Over the course of four weeks, they hammered out the album’s 15 tracks in the old converted church. Thematically though, Cronise’s head was still in North Carolina. “There are a lot of lyrical themes that run throughout the album,” he explains. “I live out in the mountains, so nature really inspired the whole record. That’s a large part of the lyrics.” The title track and first single “High Country” springs from a transfixing guitar melody into a sweeping refrain, illuminating the group’s inherent dynamics. Over those rolling riffs, the singer paints a thought-provoking topography. “That was actually the first song I wrote that ended up going on the record,” he says. “The title can have quite a few meanings. Physically, it might mean mountains and literal high country, but it can also refer to a plane of being; a place of wisdom and enlightenment.” “Empty Temples” opens with a psychedelic buzz that quickly ramps up into towering guitars and another robust vocal display evocative of rock’s golden age. “It’s loose and swinging, but it has these epic moments,” says Cronise. “Lyrically, it’s about letting go of the past and moving on. You just have faith if you embrace change and be unafraid, and you’ll find where you need to go.” The gathering storm of “Early Snow” eventually gives way to a rapturous horn section, another first for the band, while “Mist and Shadow” stirs up a haze of blues that’s instantly thunderous. “That song is based around riffs written by Bryan, which is a new thing for us. He contributed quite a bit of music to this album, and in many ways it’s our most collaborative work to date.” Both “The Dreamthieves” and “Tears Like Diamonds” have titles inspired by the work of science fiction author Michael Moorcock, though Cronise insists the lyrics have lives of their own. “I’d prefer to let people interpret the songs how they want,” he says, “which is one reason the lyrics aren’t printed in the album sleeve this time. I think they’re pretty intelligible and accessible, and I didn’t want them to distract from the music.” The Sword’s impact continues to expand. 2012’s Apocryphon debuted at #17 on the Billboard Top 200, marking their highest entry on the chart. Since first emerging with 2006’s Age of Winters, the group has been extolled by everyone from Rolling Stone and The Washington Post to Revolver and Decibel. Metallica personally chose them as support for a global tour, and they’ve earned high-profile syncs in movies including Jennifer's Body and Jonas Åkerlund’s Horsemen. However, High Country is the band’s biggest, boldest, and brightest frontier. “I want to make positive, uplifting music,” Cronise leaves off. “High Country has moments of darkness and thoughtfulness, as anything I write probably will. But at the end of the day I want to put smiles on people’s faces.” KNOW BEFORE YOU BUY - Bag Policy: VIEW HERE - Age Policy: 16 and Under with Parent or Legal Guardian - General Admission is Standing Room Only - NO SEATS - Set/Start Times are Subject to Change - Orders in Violation of the Published Ticket Limit are Subject to Cancellation Without Notice - Tickets will be sent via the AXS Mobile ID App. Please download before arrival. - No Covid Protocols For This Event - Venue FAQs & Policies: View Here - No Refunds or Exchanges
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Roomy live music & event venue with a capacity of 4,300, offering touring national & local acts.
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There’s an unspoken edict handed down through the ages when it comes to rock bands: there are no rules. Nobody picks up a guitar to be constricted or oppressed. It’s all about feeling free artistically. Now, The Sword—John Cronise [vocals, guitar], Kyle Shutt [guitar], Bryan Richie [bass], and Santiago Vela III [drums]—cutout boundaries since day one. Their style never stood predicated on a trend or a template. They always create what feels right and let the results speak for themselves. When it came time to record the group’s fifth full-length album, High Country [Razor & Tie], Cronise landed at something of a spiritual crossroads. Following the final tour for their critically acclaimed Apocryphon, he holed up in his North Carolina home and eventually began writing new songs. The material began to veer into a different space that at the time Cronise felt was somewhat outside of The Sword’s sphere. “I didn’t even intend for the demos to be Sword songs,” he explains. “But then I realized that I had taken on a sort of limiting view of what The Sword was, and that wasn’t actually what I wanted it to be. I think the new album is more reflective of the music I listen to and where our heads are at collectively. With each of our albums, it’s become less about fury and bombast and more about trying to write good songs. We realized that our music can go wherever we want it to go. There’s no pre-determined course here now, and there never was. ”High Country became new territory for The Sword, and they began doing things differently. That approach included more attention to backing vocals and harmonies, implementing more synthesizers and percussion elements, and tuning to E-flat instead of all the way down to C. As a result, the guitars stand out as more vital and vibrant than ever. “I felt like the low tuning had become more of a crutch than a tool,” he says. “It was all a matter of trying to keep things fresh, and not fall prey to habits or expectations. We wanted to break out of any classifications and just putout a good rock record. ”Inspired, the boys headed to Church House Recording Studio in Austin, TX to cut High Country with Adrian Quesadaof Brownout and Grupo Fantasma producing, Stuart Sykes [The White Stripes] engineering, and J. Robbins mixing.Over the course of four weeks, they hammered out the album’s 15 tracks in the old converted church. Thematically though, Cronise’s head was still in North Carolina. “There are a lot of lyrical themes that run throughout the album,” he explains. “I live out in the mountains, so nature really inspired the whole record. That’s a large part of the lyrics.
I've known Red Fang for a long time — from before their very humble beginnings in 1972, even. I knew them in the early days when they were grody dirt wizards that you never wanted to see with their shirts off. But there we were in Teeksville, Vermont, at 4 a.m. After literally burning the club to the ground following their poorly attended set, I'm pounding on the door of the cutest little bed and breakfast you've ever laid eyes on with a very drunk and hungry Red Fang demanding a pancake breakfast — topless. In the years since, a few things have changed: The band successfully rescued guitarist David Sullivan from a hoarding situation (featured on the "If The House Is a Rockin'..." episode of Hoarders),bassist/vocalist Aaron Beam received his master's degree in the Smooooth Sciences, guitarist/vocalist Bryan Giles started the world’s first 100-perecent anti-organic farm in his kitchen, and drummer John Sherman has climbed Mt. Everest in the nude, making him only the third person ever to do so. And none of them wets the bed anymore! That's just the stuff that's been on the news. They've also been touring the world like mad, playing to thousands of sweaty, hygienically-challenged maniacs at festivals and non-ventilated venues alike. They've made several award-winning music videos that have lots and lots of views because they're hilarious and awesome. Then this spring, they jogged 14 miles round trip to the studio everyday for 666 days and recorded a new record called Whales and Leeches. I caught up with guitarist Bryan Giles at his neighborhood coffee shop shortly after the band recorded Whales and Leeches and asked him what their influences were while recording the new material. Giles took a slow drink of his perfectly frothed cafe latte and thoughtfully replied, "What are you, a fucking cop?" Looking for a little more insight, I asked how he thought the band had grown since their last record. He replied, "I don't know who the fuck you are, man. If you don't stop bothering me, you're going to be eating that fucking iPad!" It's clear that there's a lot of excitement about Whales and Leeches in the Red Fang camp. You're probably not saying to yourself, "So they kind of have their shit together, big deal! What does Whales and Leeches sound like?" because you're not reading this anymore. You've already started listening to the record, or you've decided you're more concerned with whether Bon Iver is still a thing or not. On the off chance that you're a college paper writer hungry for the red-hot scoop, here's some things to know about their new record that you should already be listening to and forming your own opinions about: The record sounds very excellent and professional, you can tell that they've been practicing their instruments. Their songs sound more thought-out and trippier. Bryan and Aaron sound like they've gotten better at singing. Every song has a riff you like. Mike Scheidt from YOB sings on a song, so you're gonna like that. It sounds more mature, like good cheese or your Aunt Sharon. Do you want me to keep rubbing your ear crotch? Sorry, I'm kind of a tease! You're just going to have to take a few minutes to listen and let Red Fang's filthy hands take the wheel, then come up with your own adjectives and opinions. I think it's a great record and they're going to make folks proud. I hope they don't get all famous and stuck up and then the VH1 special and, oh Christ. When reflecting on what the future might hold for Red Fang, I think drummer John Sherman slurred it best: "wchhy are yooo solllannngmm? Let's maake ths sitchoo-ashun AWESome!" You said it, John. This is definitely the year for Red Fang. - Written by Jared Warren of The Melvins
About
There’s an unspoken edict handed down through the ages when it comes to rock bands: there are no rules. Nobody picks up a guitar to be constricted or oppressed. It’s all about feeling free artistically. Now, The Sword—John Cronise [vocals, guitar], Kyle Shutt [guitar], Bryan Richie [bass], and Santiago Vela III [drums]—cut out boundaries since day one. Their style never stood predicated on a trend or a template. They always create what feels right and let the results speak for themselves. When it came time to record the group’s fifth full-length album, High Country [Razor & Tie], Cronise landed at something of a spiritual crossroads. Following the final tour for their critically acclaimed Apocryphon, he holed up in his North Carolina home an
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