If the Monster Energy Outbreak Tour brings anything to the music fans its three up and coming artist that bring energy to the stage, Zero 9:36, Fame on Fire, Garzi. If you have seen Zero 9:36 before you already know what his energy is like, a rapper, singer, and musician with an aggressive style, who has transcended as an artist on this tour, bringing a full band with him this time and finding his place as an artist who can do it all.
Zero opened his set running onto the stage as the lights came up, breaking into a rap but this time he showed his heavy side as he got into the heavier songs on his latest record If you don’t save yourself opening with “I am not,” “Leave the Light On,” and “One by One” sure gave the crowd what they wanted, with his high energy and variety of music.
Supporting the tour is another up and coming band Fame on Fire, a band that is known to the music scene as a band who pushes the boundaries of rock while teetering on the edge of hip hop, heavy music and more.
Playing songs off their debut album Levels as the crowd sang along with “Not dead yet,” “Plastic Heart,” and would not be complete without their version of Linkin Parks “Numb”.
Opening the show was an artist by the name of Garzi, who the crowd knew well and with high energy and a good story behind his journey on this current tour, songs that will be introduced and breakthrough soon “Sick of me,” “Hopeless,” and “Paranoia”.
Garzi is someone who you should not sleep on, this round of Monster Outbreak Tour will for sure have some breakthrough artist soon. For more information on where the Monster Outbreak Tour will be next visit www.monsterenergy.com or any of the artist on tour you can find or stream their music on all streaming platforms.
RIVIUM’S MATTHEW KIICHI HEAFY REVEALS LONG-AWAITED IBARAKI ALBUM RASHOMON
Trivium singer and guitarist Matthew Kiichi Heafy has shared more details about his long-awaited and much-anticipated IBARAKI project.
‘Akumu’ translates to ‘nightmare’ — and with this piece, I encourage the listener to work to find their interpretations of what they feel from the lyrics, music, and the haunting visuals of the music video,” says Kiichi. “I have always been fascinated by Sagazan’s ‘Transfiguration,’ and for years, I have wanted to pay homage to his works with a performance art piece; to finally be able to immerse myself in his style was an intense experience.”
He finishes, “Having Nergal guest in this Ihsahn co-written piece allowed me to combine many of my long-time influences; and when I presented with Nergal of the challenge of translating my lyrics into Polish, it brought the song to another level.”
Last month, Ibaraki offered fans a taste and a tease of the music by sharing the video for “Tamashii No Houkai,” featuring special guest Ihsahn of Emperor fame, who is a core contributor and partner in this project.
Ibaraki were recently selected as one of the most anticipated releases of 2022 by Revolver.
ABOUT IBARAKI: IBARAKI — the name for a terrifying Japanese demon taken from feudal legend and the new project of Trivium’s Matthew Kiichi Heafy — is more than a solo record. It’s the end-result of a journey of an artist finding his voice. Its inspirations include everything from an adoration for the extremes of black metal to the exuberant storytelling of Gerard Way to the adventuresome worldliness of tragic bon viveur Anthony Bourdain. It’s a reflection of Kiichi’s multifaceted interests as well as a profound affirmation of his Japanese-American identity, and one that led him to confront one of his family’s most tragic moments. Like the artist behind it, there is much to the story of Ibaraki and it began with a timid email to one of black metal’s most revered and influential figures.
Kiichi, a fan of black metal before he even started Trivium, reached out to label reps for Ihsahn of Emperor, and the artist personally responded. He recalls, “It was so cool to get that nod and it inspired me to start checking some of his solo stuff. He’d just released his own solo record and I’d never heard anything like it — saxophones, clean singing, jazz chords. It was incredible to me. He’s this non-stop inventor. So I started writing in a totally different way.”
The exposure to Ihsahn’s solo work that would inspire the gradual craftsmanship that would eventually become Ibaraki. It was also the beginning of a friendship and creative collaboration that would eventually compel Ihsahn to take a leap of his own into a newfound role as producer on the project. While much of the material for Ibaraki was assembled over those months and years — as much a songwriting process as an exchange of ideas between friends — it wasn’t until the pandemic that the space was created and the idea could really flourish.
“It was very loose,” says Ihsahn. “We just had rough demos for a very long time because we’re arguably pretty busy people, but suddenly, everything was cancelled and we had time on our hands for the first time, so it was like, ‘OK, let’s do this.’ We never got to work in the same room; he’d track guitars and send them to me, I’d run them through my studio and send them back. It was a new way of working, but it was like he was there on the other side of the glass. Matt is a very, very positive energetic and passionate music fan — we have similar attitudes to music and open mindedness. We hit it off, and it’s been really rewarding to me.”
The creative interactions between the pair are the result of a deep trust borne of a commonality of their experience. “We both started our respective bands when we were 13,” Ihsahn says. “We got signed when we were 16. That’s young, and in essence we both found our path in life at an early age. We’ve talked a lot about that and our different experiences with that, because it’s like we know nothing else.”
While material was primarily written by Kiichi, Ihsahn engineered and produced and contributed some song structures, plus Trivium drummer Alex Bent and bassist Paolo Gregoletto and guitarist Corey Beaulieu contributed to various tracks. Ihsahn’s wife Heidi even sampled some natural sounds from the forest near their home and his entire family. Additional guests include the aforementioned Way and Behemoth’s Nergal.
Ihsahn also encouraged Kiichi to seek out new avenues for lyrical inspiration, namely his Japanese heritage. While an array of stories have been told via the tattoos on his body, such as the specific ancient Japanese story of gods, goddesses, and monsters from the Shinto religion taught to him by his mother, he began pouring the stories into lyrics.
While the rich mythology and folklore of Japan that would give IBARAKI its unique aesthetics and influences, it also provides the artist with the catalyst to contemplate his own identity and to consider how recent tragedies stateside have highlighted the need for better representation in metal.
MEMPHIS MAY FIRE ANNOUNCE NEW ALBUM REMADE IN MISERY
ALBUM OUT JUNE 3 VIA LONGTIME LABEL RISE RECORDS
BAND SHARES VIDEO FOR LATEST SINGLE “MAKE BELIEVE”
Last summer, MEMPHIS MAY FIRE — Matty Mullins (vocals), Kellen McGregor (guitar), Cory Elder (bass), and Jake Garland (drums) — dropped a series of singles, which accumulated nearly 35 million streams combined as fan excitement reached fever-pitch levels. The new material was repeatedly lauded by Revolver, SiriusXM, Loudwire, WSOU, HM, and more. Additionally, each song drop had a philanthropic element and was accompanied by a piece of charity-driven merch that was available at the band’s online store.
Today, the band has announced its seventh album Remade in Misery. The album arrives on June 3 via longtime label Rise Records.
Regarding the process of crafting the new album, Mullins says, “The last nine months have been such a refreshing journey for us. We knew that releasing singles for this long, without any news of an upcoming album, would come with challenges, but we couldn’t be happier with the outcome. We’re finally at the point of announcing the entire body of work, and I can genuinely say we are just as excited now as the day the first single dropped.”
He finishes, “Remade in Misery is undoubtedly a new season for MMF. We have truly rediscovered who we are as a band through these songs, and we can’t wait to bring them to life on upcoming tours.”
Memphis May Fire have also shared the video for the new single “Make Believe,” which finds the band flexing its creative muscles with dynamic flourishes, mechanized samples, and bludgeoning breakdowns.
“Our seventh single has arrived and it’s one of my favorite MMF tunes of all time,” shares Mullins. “‘Make Believe’ feels significantly different from the rest of the singles and it offers a whole new flavor that our fans haven’t heard from us before. The song is about enduring so much pain that you feel like you are losing your grip on reality, questioning everything you’ve ever known, and starting to wonder if life is just a simulation. Having had a lot of success with therapy in my own life, I’m a huge advocate for it and I’m excited to announce that we will be donating 100% of the proceeds from the ‘Not the Same’ tee in our merch store to The Refuge Center For Counseling in Franklin, Tennessee.”
Memphis May Fire will hit the road this spring with Dance Gavin Dance, Volumes, and Moon Tooth. All dates are below.
MEMPHIS MAY FIRE ON TOUR WITH DANCE GAVIN DANCE, VOLUMES, + MOON TOOTH: 4/26 — Spokane, WA — Knitting Factory 4/27 — Garden City, ID — Revolution 4/29 — Wichita, KS — Cotillion 4/30 — Omaha, NE — The Admiral 5/1 — Des Moines, IA — Val Air 5/3 — Ft. Wayne, IN — Piere’s 5/4 — Cleveland, OH — Agora 5/6 — Grand Rapids, MI — The Intersection 5/7 — Milwaukee, WI — Eagles Ballroom 5/9 — Rochester, NY — Main Street Armory 5/10 — Albany, NY — Empire Live 5/11 — Hartford, CT — Webster Theater 5/13 — Richmond, VA — The National 5/14 — Raleigh, NC — The Ritz 5/15 — Columbia, SC — The Senate 5/17 — Ponte Vedra, FL — Concert Hall 5/19 — Knoxville, TN — Knoxville Auditorium 5/20 — Birmingham, AL — Sloss Furnaces ABOUT MEMPHIS MAY FIRE: Memphis May Fire have always made anthems for the broken. The four-piece rock band channels a generation’s worth of angst, frustration, and pain, with a focused blend of gigantic melodic hooks and crushing aggression. Even after topping Billboard‘s Hard Music Albums chart and breaking into radio’s Active Rock Top 20, Memphis May Fire refuse to sacrifice who they are or the people who made them. In fact, Remade in Misery, is the heaviest Memphis May Fire record yet.
A new season unfolds for the band, filled with revitalization and renewal. Stripping things down to their core elements, hearkening back to the days when they created the music their fans most cherish, Memphis May Fire rekindled the spark within to build an inferno of riffs and inspirational words.
The band confronts anxiety, violence, and polarization all over Remade in Misery, strengthened by a foundation of hope and renewal at the heart of the lyrics, which evoke the cathartic bombast of the band’s best-known songs, a return to their roots with the seasoned polish earned through years of touring and making music together.
Memphis May Fire have toured with a vast list of important rock and metal acts that include Killswitch Engage, Sleeping With Sirens, Black Veil Brides, Sevendust, and Atreyu. They’ve co-headlined with Yellowcard and The Devil Wears Prada, regularly appeared on Warped Tour, and at major rock festivals. The band’s previous six albums’ continued relevance is a testament to the energized connectivity between the band and their audience. Their catalog accounts for over 100 million views and millions of streams on fan-favorite songs. “We want people to have songs they can sit down and listen to, or play in the gym, or driving in their car, and know the world is bigger than it seems,” Mullins says. “To know they exist in a world with other people that understand that it is okay to be imperfect. That someone else knows your hurt.”
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