In This Moment: HALF GOD/HALF DEVIL TOUR – Tickets – Iron City – Shows – Birmingham, AL – May 2nd, 2017


Sold Out: In This Moment: HALF GOD/HALF DEVIL TOUR

Motionless in White, Avatar, Gemini Syndrome

Tuesday, May 2nd 2017

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

Iron City - Shows

Birmingham, AL

$35.00 - $40.00

This event is all ages

In This Moment
In This Moment
Nature counts the black widow spider amongst its most fascinating and dangerous anomalies. The female arachnid often devours its mate after copulation. It's both a delicate and dangerous predator. In This Moment isn't all that different from this enigmatic beast. Led by frontwoman Maria Brink, the Los Angeles hard rock outfit strikes with a seductive metallic bite on their aptly titled fifth full-length album, Black Widow. "Black Widow is a metaphor for this innocent young girl whogets infected with life, traumas, experiences, and the balance of light and darkness," explains Maria. "She becomes this poised and powerful creature. That's the album." "We went into this with the title Black Widow," says lead guitarist Chris Howorth. "It fits the image of Maria as this powerful heroine. If you think of the boys in the audience watching our stage show, she's like the black widow pulling them all in." The record, the first for the band on Atlantic Records, picks up where the group's 2012 breakthrough, Blood, left off. That album saw In This Moment debut at #15 on the Billboard Top 200, their highest chart position to date, and eventually sold over 250,000 units in the U.S. alone. It also spawned the single "Blood," which rose to #9 on the Mainstream Rock and Active Rock Songs charts. A sold out headline tour,HELLPOP, followed, as well as appearances at the Uproar Festival anRock On The Range, and jaunts with Shinedown and Papa Roach. After the whirlwind of Blood subsided, Maria and Chris retreated to Las Vegas in February 2014 to begin working on what would become Black Widow with longtime producer Kevin Churko [Ozzy Osbourne, Five Finger Death Punch]. While writing and recording in the studio, Maria and Chris both tapped into the fearless ethos that characterized Blood, inciting their next creative evolution in the process. "It's almost like I was growing up in this industry," Maria admits. "I swear I went from a girl to a woman. I used to hold myself back, and I had all of these fears. I woke up one day and realized it doesn't matter what anybody thinks. We have to do what we want to do. When I did that, I was freed. We could do this big grandiose show, and we could make the music we wanted. It began with Blood. That's where we started to come alive and figure out who we really are. We let go of any walls and limitations. Black Widow is us doing what's in our hearts." "Black Widow is a progression from the last record," Chris affirms. "That opened up the floodgates for us. There were no boundaries. We could just go for it. We weren't afraid of any ideas. We didn't worry about anyone's opinion. We approached the music with that attitude."
Their boundless approach shines through in album opener "Sex Metal Barbie." Tempering an industrial crunch and sexually charged synths with gnashing riffs and hauntingly hypnotic vocal delivery, the track instantly transfixes, calling out haters who hide behind keyboards. "People can be so cruel on the Internet," she sighs. "I actually don't read anything negative about me or the band anymore. I don't let myself get sucked into that. In the end, music comes down to someone's personal perception of what they love. It's not meant for everyone. I wanted to empower myself with that online negativity somehow. I literally went on these sites and read mean things and rumors about me. I wrote them down and transformed them into lyrics for the song. I turned it all around." "That was the second song we did," the guitarist recalls. "It came from Maria saying, 'What about building a metal song around a cool hip-hop beat?' Everything was constructed piece by piece, and it was very experimental. Once we finished the song, we felt like we had something special. It was a catalyst for more music." Ultimately, that connection with fans is what drives the band. "Their loyalty is incredible," declares Maria. "It comes down to us doing this for ourselves and our fans. We owe it all to them, and we're excited for everybody to experience this. This is who we are, and it's for them."
Motionless in White
Motionless in White
Motionless In White aren't just a band, they're a way of life. Since 2005 this Scranton, Pennsylvania based metalcore act have cultivated a hardcore following via their Gothic-inspired aggression and imagery and that buzz is set to reach a fever's pitch with the release of their third full-length Reincarnate. Fronted by malevolent mastermind Chris Motionless, Motionless In White are back with their strongest collection of songs yet, it seems as if there's no stopping the act when it comes to what they can accomplish.
In fact in many ways this album marks a rebirth for a band who have spent nearly a decade in the trenches—and correspondingly songs like the massive-sounding title track are essentially a call to arms letting the world know that Motionless In White are back and stronger than ever. "I'm very proud of this band because we've spent years cultivating this sound and image and we've gone through hell and back to get to this point," Chris explains. "I think the fans who just listened to us for specific surface reasons are gone and everyone who has stuck with us has formed a really special connection with all of us because they are the ones that relate to the music instead of following trends or what's popular," he adds.
Like old-timey carnival ringmasters, AVATAR invites miscreants, tattooed ladies, blue-collar workers, metalheads, rock fanatics and listeners of all stripes to their party. The theatrical metal-n'-roll vaudevillian visionaries have infiltrated Rock Radio and the hearts and minds of those thirsty for creative innovation, inescapable melodic hooks and a sense of dangerous revelry all wrapped up in deliciously subversive hit songs.

The eleven tracks on HAIL THE APOCALYPSE join a rich catalog filled with cred-building artistic peaks and commercial breakthroughs alike, following in the tradition of larger-than-life bands like Rammstein, System of a Down and Rob Zombie who have conquered the airwaves without sacrificing their brilliant uniqueness and unfettered expressionism. Working from the playbook of Alice Cooper, Kiss and like minded phantoms of rock, Avatar delivers a postmodern party, electrifying the mainstream and underground alike.

Produced by longtime collaborator and two-time Grammy nominee Tobias Lindell, mixed by Jay Ruston, and mastered by Paul Logus. Hail the Apocalypse serves as ample evidence why Avatar is welcomed at Download UK, Rock on the Range and on tour with rock radio hitmakers, like label mates Pop Evil.

"Bloody Angel" and "Hail the Apocalypse" are new anthems for the ages, precision heat-seeking missiles targeting a cultural landscape primed and ready for fresh songs to champion from a band with a giant persona to rally behind. Breaking into America on tour with Sevendust, conquering their native Europe in arenas with Avenged Sevenfold and Five Finger Death Punch, Avatar shocked the world with the Top 30 commercial rock radio success of "Smells Like a Freakshow" and "Let it Burn."

Nobody was more amazed when Avatar devilishly polluted the commercial airwaves with their last album, Black Waltz, than band cofounder Johannes Eckerström. "Sweden is a smaller country. In terms of airplay, there isn't much room for heavier stuff and we aren't typical radio material. So, to me, with all due respect, isn't radio where you go to hear Lady Gaga songs? To hear we were Top 30 in America, it was like, 'Say what?!'"

Avatar puts equal emphasis on their visual presentation, stage presence and overall creative coherence, giving fans more than a killer live show and hit songs. Avatar is a work of art.

Hail the Apocalypse was recorded live at Karma Sound Studios in Bang Saray, Thailand. Bands like Bullet For My Valentine have made records there, enveloped in a trippy/exotic locale not unlike Killing Joke making a record inside an Egyptian pyramid back in the day. The band then went on to Tobias Lindells' studio in Patong, also in Thailand to record vocals and guitar solos. The studio is located in a house owned by a horror movie buff that includes a swimming pool decorated like Castle Grayskull.

The plane ride over inspired an unexpected turn in the creation of Hail the Apocalypse. After they had become sufficiently buzzed from the plane's bar, the band synched up their video screens to take in "Sound City," Dave Grohl's documentary love letter to the famed studio where seminal albums from the likes of Nirvana, Metallica, and Slipknot were made.

"After the documentary was over, we looked at each other and said, 'We should totally record this album live.' We were planning to do it in a more modern way, track-by-track, to a click track. But we said, 'Screw it! Let's do this live, the old-fashioned studio way.'"

Avatar didn't see much sunlight while in Thailand, opting instead to put their collective nose to the grindstone and work hard on what has become a hard rock masterpiece.

"The band was in a room staring at each other instead of staring at the floor. It was a great experience. Our producer rents a house from a guy who is a big horror movie fanatic. So when I did my vocals, I had big statues of Leatherface and Predator starring me down. And then there was that skull fountain in the pool! It was the perfecting setting. Here we were in this tropical environment, and yet death was everywhere."

Black Waltz began a momentous climb for Avatar both in terms of their career and in terms of their evolving sound. Hail the Apocalypse follows suit, building on the strengths of the last album while blowing down the doors off even the highest of expectations.

"When we did that music video for the title track on the last album, that's where we came up with the face paint and everything around it," the band's frontman explains.

"Something really clicked on a much deeper plane than we expected when I got my face paint. I saw myself in the mirror and I was awakened. We've been riding on that ever since. It's hard to even put it into words. We've played together for ten years; we've started to evolve a certain groove together, while still rooted in extreme metal."

Avatar came together at a young age, wrapping their heads around the New Wave of Swedish Death Metal that surrounded them in their native country and sharpening their chops. In short order, the technical melodic death metal of Thoughts of No Tomorrow (2006) and the even more intense Schlacht (2007) gave way to the classic rock n' roll and traditional heavy metal style of their self-titled third album, which demonstrated Avatar's ability to craft catchy songs with memorable hooks was equal to their technical proficiency. The group toured with metal luminaries In Flames, Dark Tranquility and Helloween, among others, as they steadily built a profile in the worldwide underground.

The ensuing word of mouth success around Black Waltz brought an increasingly diverse swath of newcomers to Avatar's shows, as they toured the U.S. supporting gold-selling rockers Sevendust and fellow Europeans Lacuna Coil. That tour included the band's first ever casino gig. "We had always said, if we ever play in a casino, we are going to take the payment for the show and put it on red at the roulette table," Eckerström says, laughing. "We finally got an opportunity to do that and guess what? We actually won!"

The string of good fortune continues, as Avatar gears up to conquer the world with Hail the Apocalypse. The virtuoso side of their earliest rumblings remains intact, enhanced with momentous strength by songwriting chops, gigantic hooks and a sense of groove. Hail the Apocalypse is not only the best album in the Avatar catalog, it's one of the most diverse hard rock records of the modern age, catapulting Avatar above the pack.

Avatar's music is challenging, daring, but altogether captivating, boasting Charlie Chaplin's winking silent movie flair for the dramatic and Marilyn Manson's dark merging of the commercial and the macabre, but still rooted in heavy music for its own sake.

"We are doing something that I strongly feel is lacking," Eckerström says. "This is metal music made by metal heads for metal heads. It's honest, intense and full of integrity."
Gemini Syndrome
Gemini Syndrome
Formed in 2010 around the talents of former Otep vocalist Aaron Nordstrom, drummer Steele Medina, guitarists Rich Juzwick and Mike Salerno, and bass player Alessandro Paveri, Los Angeles-based, mainstream metal quintet Gemini Syndrome spent their formative days opening for bands like Nonpoint and Murderdolls on the Sunset Strip. As their reputation within the L.A. hard rock scene grew, so did their audience, and soon after the release of their 2011 debut EP, the band inked a major-label deal with Warner Bros. with plans for a debut long-player. The resulting Lux, which has drawn comparisons to bands like Disturbed, Stone Sour, and System of a Down, was released in 2013. Following a switch to Sony-affiliated Another Century Records, they began working with Canadian father-and-son duo Kevin and Kane Churko to produce their follow-up, Memento Mori, which was released in August 2016.