As Lions, Darke Complex, Caliber Theory
Wed, April 19, 2017
Doors: 7:00 pm / Show: 8:00 pmTrees
This event is all ageshttp://www.treesdallas.com/event/1436418/
today who have that. But I think that feeling is coming back around again."
P.O.D. (Payable on Death) certainly has the right to talk about passion in music. Passion has been front and center since the band formed in 1992 in San Diego, CA, and all the way up to the release of their eighth and latest record, Murdered Love. Over the last two decades, the group has sold over 10 million albums (including 2001's triple platinum record Satellite), garnered four No. 1 music videos, three Grammy nominations and over a dozen rock
radio hits, including "Southtown," "Alive," "Youth of the Nation" and "Goodbye For Now." Music trends have come and gone, but P.O.D.'s fanbase has seemingly only grown stronger.
Still, after the release of 2008's When Angels & Serpents Dance, the band took a lengthy hiatus. "You can blame me," says Sandoval. "The record business was changing, and we all wanted to get back to our personal lives and families.
When we do P.O.D., we want to enjoy what we're doing, and not to do it to pay the bills or tour just to tour." Fortunately, the time off served the band, and Sandoval, well. "Yeah, I got in a good place again. P.O.D. means so
much to us and our fans – there's a lot of love for what we do. I wanted to keep inspiring and encouraging people."
The band initially reconvened with a few jam sessions and the intent to put out a hardcore, Bad Brains-style EP and tour a little bit. But the initial recordings were strong enough to convince the group to tackle a new album. "By taking a break, we kind of got back on the same page," says guitarist Marcos Curiel. "Now, everyone has the same attitude going forward, the same feeling we had when we did those first two first two big albums The Fundamental Elements of Southtown and Satellite."
The most startling aspect of Murdered Love lies in its diversity and the band's songwriting having penned every track on the album. The opener "Eyez" might be the band's heaviest song yet, with a cameo by Hatebreed's Jamey
Jasta. It contrasts sharply with "West Coast Rock Steady," a playful hip-hop ode to their San Diego roots featuring Sen Dog of Cypress Hill. Meanwhile, "Panic & Run" is full-tilt punk, "Bad Boy" brings a funky swagger and first single "Lost in Forever" ties it all together with an equal mix of aggressiveness and melody.
"The band is a fusion of all our musical passions," says Curiel. "We can jump from punk to reggae to rap to metal. And funk -- people forget we had a little funk on our first few indie releases. So on a few songs here, we took it
back. The whole process was really organic."
Lyrically, the record finds P.O.D. at its most thoughtful and introspective as the band contemplates their lives and the world around them. On "Lost in Forever" Sandoval shows a mixture of hope and unease to questioning the
cruelty of man, as the band also does in the brutal title track "Murdered Love." "It's about people who have died when all they brought was love" explains Curiel. The sparse, catchy "Beautiful," contemplates the afterlife while
the teeth-rattling album closer "I Am," finds Sandoval opening with the vivid line: "I am the murderer, the pervert, sick to the core" and never lets up. It's the band at its darkest and most confrontational.
"I had been doing a lot of outreach to kids, talking at a lot of schools," says the singer. "I see what they go through – suicide, rape, addiction –and that song is just about being vulnerable and honest. They're wondering if they're screw-ups, if they're deserving of love and compassion. "
The band recorded Murdered Love with Grammy-nominated producer Howard Benson (Kelly Clarkson, My Chemical Romance, Daughtry), a long-time friend of the group and the man behind three of its biggest records. "He's family," says Sandoval, then laughs. "He has the power to choose who he wants to work with, and I think he wanted to go back and make a real rock record."
To promote the record, the band has already set up a late spring/early summer headlining tour, as well as hitting a number of festivals and larger shows this year. "It seems like there's Warriors in every city," says Curiel, noting the band's affectionate nickname for their diehard fans. "They're loyal. And it's great, because we'll see people who loved us around the Satellite era bringing their kids." Given the closeness between the band and their fanbase, it's no surprise that P.O.D.'s new logo was the result of an online contest with their fans.
In the end, Murdered Love showcases a band at its most energetic and vital, nearly two decades after its debut. Sandoval agrees.
"This is the best record we've ever done," says the singer. "And that can only come from what we've put into this. We're the same four down-to-earth guys we were when we were putting out indie records. There's an honesty and
an underdog vibe to everything we do that you can definitely hear in our music."
Those five musicians—Austin Dickinson, guitarist and keyboardist Conor O’Keefe, guitarist Will Homer, bassist Stefan Whiting and drummer Dave Fee—first revealed that grand ambition in 2015, playing sold-out shows in their native England, where they garnered plenty of positive press and a growing and devoted fan base. That lead to a U.S. record deal and a trip to New Jersey to record with, Dickinson says, “an absolute hero of ours,” award-winning producer David Bendeth (Of Mice & Men, Paramore, Bring Me The Horizon). From there, the band headed to Las Vegas and worked with Kane Churko (Five Finger Death Punch, Disturbed, In This Moment). “That was an amazing experience,” the singer says. “Not only is Kane hyper talented, he’s also a young guy—our own age. So we were all on the same wavelength.
“In general, the sessions were just great,” Dickinson continues. “Every day was an adventure into exploring the possibilities that lay in front of us. And I think you can hear it in the songs. There was a shit-ton of fun that went into them, and I hope that shines through.”
As much as there was an upbeat vibe permeating the recording sessions, when it came to his lyrics, Dickinson found himself drawn to more serious matters. There’s the title track, the epic and evocative “Aftermath,” in which Dickinson asks: “What have we created / what have we become?” as guitars churn and crash around him. “It’s one of our biggest-sounding songs, and it has some of my favorite riffs in it,” Dickinson says of the track. “Conceptually it's about trying to navigate your way out of disaster, be it personal, collective, or in the case of the video, a war zone,” he continues. “I think it's relatable and applicable to a lot of situations, which is why I wanted to write about it. The song means a ton to us, and we really hope our fans enjoy it as much as we did making it.”
Another track, the crushing “Deathless,” targets internet culture’s obsession with image. “These days there’s a lot of competition to get sort of meaningless recognition, or to be seen with a certain group of people,” Dickinson says. “It’s kind of like the high-school locker room got broken open on a global scale. There’s this sort of weird online pecking order. And it’s funny how you can manipulate life and its assets to seem much more important and much more amazing online. But in reality you can quite literally be this sort of waste that’s just hooked in and enslaved by your own devices.”
Pulling back the curtain and “Letting go” would be an apt description of what happens when As Lions bring their music to the stage. Says Dickinson, “performing live for me has always been like a weird form of therapy. You’re stepping outside of the thing you carry around all day—it’s like taking a bag off your back and chucking it down. I want to be able to do that for everyone that’s watching us as well. I want the fans to feel like they’re on that stage living these songs and having a great time. Because we’re having a great time. The way we perform, we just go nuts—absolutely fucking mental!”
As Lions are ready to roar, bringing Aftermath and their incendiary live show to fans everywhere. As for any modest goals they may have in this regard? “Just complete and utter world domination,” Dickinson says with a laugh. “But we don’t talk about that.”
Matthew Cox rhythm guitar started the vision of Caliber Theory around 2008. As he paired with Justin Pruett (drummer) formerly of "Hopeless Romantica" and "Alexa Reigns" they soon began jamming and recruited Andrew Fox (Lead Guitar) the trio harnessed their craft writing and pushing each other to create a sound infused by their various influences, as most bands do. Breaking Benjamin, Killswitch Engage, Chevelle, Memphis May fire, Atryeu, Mudvayne, Slipknot, Incubus, and even REO speed wagon and Journey.
After months and years even John Nunez formerly of "Kaustic" joined the fray on bass to blend a unique jazz influenced power groove sound.
Lastly the vocal piece was found after several missed opportunities with others Jared Bishop formerly of Dallas powerhouse "Shund" auditioned and Caliber Theory was whole.
The five feverishly began writing and headed straight to the Studio. Produced by Jason Schauer at "Sound Haven Studio" CT had their first demo CD. Ryan Ray of "Adakian" over saw the singing portion of the demo, and it was Mixed by Travis Wyrick out of Tennessee. Wyrick had produced such major acts as P.O.D., Red, 10 years, Flyleaf, and Pillar.
CT currently is gigging all over the DFW metroplex being featured at Curtain Club, Trees, Rail Club, and Clicks in Tyler.
Their Demo is in heavy rotation on many internet radio stations such as Krave Radio, 81x, 365 radio, and Q102.
You can find their music for purchase and listening pleasure on iTunes, Google, Spotify, CdBaby, Reverbnation, and many more.
Their hit single "Waking Up" has recently had a video shot for it that can be searched on YouTube simply Caliber Theory Waking Up.
CT doesn't have fans they have family that have dubbed them selves The CT Nation.
Their shows are highly energetic and include tons of crowd interaction.
2709 Elm Street
Dallas, TX, 75226