Between the Buried and Me: Colors 10th Anniversary

Sold Out: Between the Buried and Me: Colors 10th Anniversary

The Contortionist, Polyphia, Toothgrinder

Thu, October 12, 2017

Doors: 6:00 pm / Show: 7:00 pm

This event is all ages

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Between the Buried and Me
Between the Buried and Me
Grandiose, dynamic, heavy, melodic, technically challenging: these are all words that fall equally short when trying to describe Between the Buried and Me's sonic offerings. When tasked with explaining the band's previous effort, The Parallax II: Future Sequence, Decibel Magazine claimed that the album "offers more substance than most bands put forth in entire careers" and Metal Hammer simply stated that it was "utterly captivating." Where does a burgeoning progressive act go from there? The answer is found in their seventh full-length album, Coma Ecliptic. Spanning just over an hour, the album stands as a significant step in the evolution for the group as a whole, as well as the individual musicians: vocalist / keyboardist Tommy Rogers, guitarists Paul Waggoner and Dustie Waring, bassist Dan Briggs, and drummer Blake Richardson.

Tommy Rogers posits: "Coma Ecliptic is a new life for BTBAM. Throughout the process we worked harder than we ever have and really pushed the BTBAM sound to a new identity. In a world of repetition, I'm very proud to be a part of something that is extremely rewarding, as well as frightening. When you don't push yourself you will never know what the outcome is. The outcome is Coma Ecliptic."

What is Coma Ecliptic? It can be interpreted as a modern rock opera, and another ambitious concept album from a band that has completely mastered that format. Dan Briggs comments: "Spending the last year immersed in a world of Quadrophenia, Operation Mindcrime, The Wall- as well as Sondheim and Lloyd Webber musicals, Stravinsky and Mussorgsky symphonic suites; writing an over the top, dramatic and forward thinking rock opera was the most natural thing to do." The story follows the wanderings of an unidentified man, stuck in a coma, as he journeys through his past lives. Each song is its own episode in a modern day, sort of The Twilight Zone-esque fashion. The unidentified man enters each world and is offered a choice: stay, or move on to the next in search of something better, something more "perfect." The man does find his ideal life, but then is offered the ultimate choice of life or death. He chooses life and wakes up to his own actual reality. It's at that moment he realizes that he had been in a coma - everything that happened had been dreams and false memories. After awakening, we find the man outside finally experiencing reality, and he sees what he has been missing: the world is beautiful, the air is fresh, and the people appear to be happy, and then he falls over dead. The take away from this is to make the best of your life. People are constantly searching for something better without taking the time to appreciate the things they have. What we need may already be here, and is hopefully real. We may all be in a coma in another life.

Musically, Coma Ecliptic boasts a series of emotive peaks and valleys that drive the narrative along with the lyrics. Tracks such as "Memory Palace", while sounding wholly unique, clearly have a distinct BTBAM flavor to which fans have grown so attached. "The Coma Machine" brings to mind prog in the most classic sense; think YES and King Crimson passages with the added layer of modern metal heaviness. "Dim Ignition" highlights Rogers' continuing development as a keyboardist, but don't fret, there's still plenty of speed, technically challenging guitar, bass, and drum runs, and quirkiness throughout. What makes these parts work is the interplay of the heavy and technical with the simpler, almost cinematic, soft passages; that is the power of Coma Ecliptic. The listening experience is a journey, and when "Life in Velvet" brings the album to a sudden, triumphant end, fans will surely be reaching for the replay button. But what does the band think? Rogers adds: "If you asked me what this record sounds like, I would tell you BTBAM. With every listen I still find new exciting moments that each member has put into these songs. After all these years we still push each other to try new things and push our individual skills to the next level. It is an absolute thrill to write with such an inspiring group of people." Briggs continues: "Writing with a focus on storytelling and just crushing melodic themes set the tone early on before we were even in the rehearsal room together. Put your velvet capes on and get ready for a journey!"

Coma Ecliptic was recorded in January and February of 2015 with longtime Between the Buried and Me producer Jamie King at the Basement Recordings in North Carolina. Drums and piano were recorded with King and Kris Hilbert at the Fidelitorium. Final mixing and mastering was placed in the capable hands of Jens Bogren (Opeth, Katatonia, Amon Amarth, Devin Townsend) at Fascination Street Studios in Sweden.

Between the Buried and Me began their journey in the year 2000 in North Carolina. Over the past 15 years, they have released seven full-length albums, an EP, a live album, a covers album, and a blu-ray/DVD. Their current lineup has been consistent since 2005, and they have taken full advantage of a stable and productive group of musicians. Each of their albums since that year have debuted on the Billboard Top 200 chart: Alaska (2005) at #121, The Anatomy Of (2006) at #151, Colors (2007) at #57, The Great Misdirect (2009) at #36, The Parallax: Hypersleep Dialogues EP (2011) at #54, and The Parallax: Future Sequence (2012) at #22. Additionally, the band's first-ever Blu-ray release, Future Sequence: Live at the Fidelitorium debuted at #2 on the Billboard Top Music Video Charts, impressively ahead of video releases from progressive legends Dream Theater and YES. Consistency and growth in an epoch of shrinking music sales is indicative of the supreme impact the band has had across the heavy and progressive music landscapes.
The Contortionist
The Contortionist
The Contortionist represents fearlessness in musical expression, designed to please artist as much as audience. This band makes progressive metal music, anchored in the heavy sounds that first drew the individual players to the stage, yet unmoored by convention or
expectation.

On Clairvoyant, the band’s distinctive fingerprints remain, even as their atmospheric flourishes broaden to encompass ever-richer textures and mine the beauty of simplicity.

For the entirety of their career, The Contortionist has proven capable of being been equally at home on tour with Deftones, Periphery, or Between The Buried And Me, thanks to their dynamic combination of metal’s blunt precision with the adventurous spirit of prog-rock
heroes like Rush and King Crimson. The Contortionist integrates seemingly disparate worlds to create their own sound, with a focus on tone, vibe, color, and atmosphere.

The band’s first two records, Exoplanet (2010) and Intrinsic (2012), are monstrously heavy,though no less ambitious than their newer and more expansive creative declarations. The character of The Contortionist’s sound expanded greatly with Language, the 2014 monolithic album that introduced the band’s current lineup of vocalist Michael Lessard, keyboardist Eric Guenther, and bassist Jordan Eberhardt alongside co-founding members Cameron Maynard (guitar) and brothers Robby Baca (guitar) and Joey Baca (drums). In it’s
5/5 review, Substream praised the album as being akin to “a journey through a dream state.” Prog Metal Zone was similarly kind, awarding the album 10/10 and remarking on its propulsive drum rhythms, ambient keyboards, fusion, and “astonishingly inventive flight(s) of
musicality.”

Clairvoyant, which reunited the band with producer Jamie King (Between The Buried And Me, Through The Eyes Of The Dead), takes the best elements of The Contortionist’s past and reshapes them as the band follows their individual creative muses toward the future.

The Contortionist ultimately prove to have as much in common with the psychedelic experimentation of later Opeth or Tool and even the textured melodicism of Sigur Ros as they do technical heavy music, but they’ve never sacrificed urgent impact. Critics and fans
admire their intelligent approach to the crushing riffs of tech-metal, which becomes more vibrant with elements of ambitious post rock and jazzy / fusion-infused virtuosity. Even when angular riffs, odd time signatures, and devastating breakdowns give way to hypnotic,ethereal, and trancelike musical meditations, The Contortionist are never lacking in total power.

In whatever The Contortionist endeavors to do, there will always be a great amount of thought, attention to detail, and shared love of musicality. They have committed to never surrender to the path of least resistance, always challenging themselves and their audience.

This is art for art’s sake. The Contortionist ease through the doors of perception with grace where possible and smash through the boundaries with absolute force when necessary.
Polyphia
Polyphia
Blending technical, weaving instrumentations with hip-hop, jazz and R&B influenced grooves, Polyphia has created a massively impressive sound that is all their own. At an average age of just 21-years old – Polyphia has established themselves early on as a force to be reckoned with and as a band that holds a truly unimaginable amount of potential.

The Dallas, TX-based instrumental outfit has just re-released their debut full-length, Muse, on Equal Vision Records. The album was originally self-released as an independent artist and is now available as a re-mastered, re-packaged release through the label. The new and improved release also makes Muse available at physical retail locations for the first time. Muse was produced by Nick Sampson [Of Mice & Men, Asking Alexandria] and is also available streaming in full at Polyphia.merchnow.com.

Upon its initial release last September, the full-length self-titled landed on several Billboard Charts including: No. 5 on Internet Albums, No. 6 on Hard Rock Albums, No. 13 on Independent Albums, No. 22 on Top Rock Albums, No. 71 on Top Current Albums, and No. 76 on Top 200.
Toothgrinder
Toothgrinder
Heavy music can be like a painting in the right hands. When executed correctly, splashes of ethereal soundscapes color technical, tight, and taut brutality, yielding a portrait that’s as aggressive as it is alive. In keeping with that approach, it might seem like Toothgrinder’s paintbrush is literally on fire after just one listen to their full-length Spinefarm Records debut, Nocturnal Masquerade. These five musicians—Wills Weller [drums], Jason Goss [guitar], Matt Mielke [guitar], Matt Arensdorf [bass], and Justin Matthews [vocals]—certainly know how to create combustible artwork.
“The album’s overall theme is this dark, eerie charade through the night,” explains Justin. “You could think of it as this torturous and fun carnival adventure. At the same time, it’s personal.”
The delicate balance of guttural guitar gnashing, polyrhythmic stop-start percussion, and the most delightful vocal schizophrenia this side of the Mississippi fuels this midnight waltz. It’s an amalgam the group has unlocked over the past few years beginning with a string of independent demos, their Schizophrenic Jubilee EP, and tours supporting the likes of Periphery, The Faceless, After The Burial, The Contortionist, and more. However, in April 2015, they honed and focused this attack, spending an uninterrupted month in a Maryland studio with producer Taylor Larson [Darkest Hour, Capture The Crown, Periphery], creating what would become Nocturnal Masquerade.
“The writing process was a lot different than past projects,” he goes on. “Those were very leisurely and without any urgency. With this album, we set a deadline to get something going. So, we sat down and put 100 percent of our focus into it. The pressure and concentration really helped us in a way. It motivated us to put out our best material.”
Nocturnal Masquerade commences with the budding explosion of “The House (That Fear Built),” which relays a relatable emotion. “That song was about the turning point for me where I really wanted to get out of my town, experience new things, and live my own life,” admits Justin. “I had this urge to do something different.”
Immediately after, the grinding freight train of “Lace & Anchor” derails on a haunting refrain, which sees Justin “dig deep to pull something out that I wanted to talk about but was afraid of.” “Blue” offers a mid-album rumination on “overcoming obstacles in your way” with a bombastic break and deliberate smash. “Diamonds for Gold” enlists the vocal talents of Periphery frontman Spencer Sotelo, expanding the boundaries and then destroying them in a hypnotic twin harmony.
Justin continues, “Spencer wanted to do a verse on one of the songs, and that one was perfect. It’s about trading in something you have that’s untouchable for something less. It’s like selling yourself to the devil.”
Now, Toothgrinder continue a home state tradition of breaking musical barriers, originally perpetuated by New Jersey stalwarts such as Catch 22 and Dillinger Escape Plan.
Venue Information:
Trees
2709 Elm Street
Dallas, TX, 75226
http://treesdallas.com/