Magical Broadway Favorite "Pippin" Returns to the StageBursting with one showstopping number after another, "Pippin" is the hip, anachronistic fairy tale featuring fabulous music from three-time Oscar-winning composer Stephen Schwartz ("Wicked"). The musical follows the son of Charlemagne, leader of the Holy Roman Empire, as he struggles to find meaning in his life. On his journey, Pippin samples the glories of the battlefield, the wisdom of a grandmother, the intrigues of political power, the pleasures of the flesh and simple farm life -- all as part of his quest to find where he fits in. It's a magical, musical fairy tale that is just as entertaining and thought-provoking as when it debuted 40 years ago. Get swept away in the fanciful, moving "Pippin" when it descends on the Firehouse Theatre in Farmers Branch.
New England post-hardcore group Vanna have spent the last several years on a personal journey, and it's the experience of living on the road that has helped them to discover who they truly are. After years of relentless touring and musical growth, the band has found balance with A New Hope, both literally and figuratively.
Since the bands formation in 2004 Vanna ??? Chris Preece (vocals), Nick Lambert (guitar/vocals), Evan Pharmakis (guitar/vocals), Shawn Marquis (bass) and newcomer Chris Campbell (drums) ??? have built a strong following based on their killer live shows, which helped garner attention from Epitaph Records. The band signed with the label in 2005 and released their debut EP, The Search Party Never Came, the following year. With the EP's release came extensive touring until it was time to release their full length album, Curses, in 2007. Signaling growth sonically from the EP, Curses highlighted the band's metalcore side establishing them as one of the most interesting up-and-coming bands in the post-hardcore scene.
After almost two years of touring in support of Curses, the band returned to their roots and entered the studio with producer Steve Evetts (Every Time I Die, Story of the Year) to record A New Hope. With widening musical vision and hard-won experience under their belts, Vanna tackled the writing and recording of A New Hope with an added perspective and understanding.
"The writing and recording process naturally becomes more dialed and decisive with each record," explains Preece. "This record was approached with more of a group mentality. We talked a lot about what we liked and disliked about our last two releases, and each one of us were able to express ourselves in every step of the process."
"Steve Evetts was honestly just a great fit for us," adds Pharmakis. "For me personally it was great because I feel my relationship with the producer is important. If we mesh well it shows in the recording. The more comfortable you are the better you perform, the better you can concentrate and the better ideas you come up with as a team, as far as harmonies and melody ideas. And Steve was a great mentor. Chris Preece and I really meshed our lyric and vocal ideas together in a different way on this album and it worked out great. We definitely got to show a more melodic side on the record. I'd like to think this new record is like the perfect mix between our last two releases but with the sound we always wanted...and the skill it took time to earn."
The result of their collaborative efforts are twelve smartly written tracks that highlight the band's musical evolution, balancing the perfect fusion of emotive rock and perilous hardcore.
"Into Hell's Mouth We March," the first song released from A New Hope, rips the album open with the group's finest mix of melody and hardcore yet. While fans will appreciate Vanna's signature mix of weighty breakdowns and uplifting choruses, they'll also hear a progression in song-writing, gang vocals and more melodic singing from guitarist/vocalist Evan Pharmakis which makes for a much more accessible sound. Anthemic tracks like the first single "Safe To Say" and "We Are Nameless" bring the goosebumps, pushing with trashing guitars and pulling with captivating melody until you are chanting alongside the dueling vocalists.
"I feel like A New Hope is a fresh start," says Pharmakis. "This is exactly where we want to be, and I couldn't be happier with the direction of our music. This is Vanna, we are finally Vanna."
As Vanna looks forward with A New Hope, they continue down their unpredictable path of self discovery, continually growing and evolving with new purpose and A New Hope.
On June 16, Fleet Foxes will release Crack-Up (Nonesuch Records), its long awaited and highly anticipated third album. Crack-Up comes six years after the 2011 release of Helplessness Blues and nearly a decade since the band's 2008 self-titled debut.
All eleven of the songs on Crack-Up were written by Robin Pecknold. The album was co-produced by Pecknold and Skyler Skjelset, his longtime bandmate, collaborator, and childhood friend. Crack-Up was recorded at various locations across the United States between July 2016 and January 2017: at Electric Lady Studios, Sear Sound, The Void, Rare Book Room, Avast, and The Unknown. Phil Ek mixed the album, at Sear Sound, and it was mastered by Greg Calbi at Sterling Sound. Fleet Foxes is Robin Pecknold (vocals, multi-instrumentalist), Skyler Skjelset (multi-instrumentalist, vocals), Casey Wescott (multi-instrumentalist, vocals), Christian Wargo (multi-instrumentalist, vocals), and Morgan Henderson (multi-instrumentalist).
Fleet Foxes' self-titled debut made a profound impact on the international musical landscape, earning them Uncut's first ever Music Award Prize, and topping numerous "Best of " lists, including Rolling Stone's 100 Best Albums of the 2000's and Pitchfork's 50 Best Albums of 2008. Fleet Foxes is certified Gold in North America and Platinum in both the UK and Australia. The follow-up album Helplessness Blues was met with the same critical praise as its predecessor (MOJO five stars, Rolling Stone four stars, Pitchfork Best New Music); that album debuted at No. 4 on the Billboard Top 200, went Gold in the UK, and earned the band a GRAMMY nomination.
Former Vinnie Vincent Invasion members Mark Slaughter and bassist Dana Strum formed Slaughter with guitarist Tim Kelly and drummer Blas Elias in 1988 in an attempt to cross over to pop audiences. Their metal style's main focus is on catchy melodies and Mark Slaughter's impressive vocal range, particularly his somewhat nasal falsetto. Their first two studio albums sold quite well until their style fell out of favor with the alternative explosion. The group struggled throughout the 1990s, and on February 5, 1998, Kelly died in an auto accident; his final recordings appeared a year later on Eternal Live. Still, the band managed to regroup without him, releasing Back to Reality in 1999 with new guitarist Jeff Blando.
Mark Slaughter - vocals
Jeff Blando - guitar/vocals
Zoltan Cheney - drums
Dana Strum - bass
Guitarist Timothy Patrick "Tim" Kelly died tragically on February 5, 1998 as a result of an auto/truck accident.
Marty Friedman???s new album,WALL OF SOUND,which will be released on August 4th, 2017 expands and destroys any conventional notions of instrumental music. It was produced by Friedman, engineered by Paul Fig (Ghost, Rush, Alice in Chains) and mixed by Jens Bogren (Lamb of God, Opeth).Legendary Queen producer, Mack, came on board to handle the mixing on two tracks, Streetlightand For a Friend, which Friedman proclaimed ???an honor for me, for sure???. Regarding the writing and recording process on WALL OF SOUND, Friedman responded with this, ???It's a challenge to evolve album after album, especially on your 13th solo album. Not only as a songwriter but it is imperative to do new things on my instrument as well. Luckilythis is a challenge that I love. You will find this hard to believe when you hear the density and sheer amount of guitar coming at you from all directions, but in fact all of the final guitar tracks on "WALL OF SOUND" were done in 9 days.??? He continues, ???This furious and productive pace was made possible by over a year of making demo after demo and spending more time listening and living with the music rather than just playing it.I had lived with the songs for so long and edited and re-cut them so many times, that by the time I got to the actual recording studio, it was like I had been playing the whole album on tour for a year already. I learned to do this from making INFERNO.??? ???This is why a lot of artists` debut albums are so strong-because they have had so much time to reflect on and fix the music, and also more importantly, attach real life experiences to the songs. I feel like I have a debut album here.???Once again, Friedman assembled an incredible and diverse group of musicians to record and guests on WALL OF SOUND. His core recording band is made up of Anup Sastry, a modern whiz kid sharing drum duties with uber-veteran Gregg Bissonette, and Japanese bassist Kiyoshi who is undisputedly the most aggressive female bassist on earth.Guests include Jinxx of Black Veil Brides, Shiv Mehra of Deafheaven and Jorgen Munkeby of Shining lends his voice to the only non-instrumental track on the album. Friedman comments on the guests:???Jinxx from Black Veil Brides and I wanted to do something that would shock his fans and my fans. I arranged a monster of a tune called "Sorrow & Madness" based on a melody that Jinxx wrote on the violin. I took his sweet melody and added so many twists and turns that it became a mammoth of Martyisms in tandem with a large side of Jinxx that has yet to be heard by his fans. We are both very proud of what happened.??? ???I think Deafheaven is the one truly heavy band that comes to mind when people ask me to recommend something that`s not Japanese! I was super excited to work withShiv from Deafheaven. We wrote "Pussy Ghost" together and it is one of the most aggressive songs I have ever played, while at the same time evoking grotesquely beautiful moods that I have never felt before. One thing I learned from making "INFERNO" is that when you have a guest, let them come up with music first. Let it be their baby, so they are personally invested in the song. Then arrange it and do it my way, then add more things together. This gives you a final song that really sounds like both of the people put their heart and souls into the music, as opposed to one guy doing everything and the guest just blasting out a solo somewhere.??????Jorgen from Shining also guested on "INFERNO" and when we finished that song we immediately started talking about what we would do next. For those who don`t know Shining, they are like a steroided out and "genius level musicianed out" version of Nine Inch Nails for the 21nd century, with a charismatic singer/composer (Jorgen) and a wicked sense of melody, that hits me in the gut on every song. "(Just Gimme) Something To Fight" is the one vocal track on the record and it kills. Even after finishing this song we have started working on more new things for who knows what...???Marty Friedman released his first solo album, Dragon???s Kiss, on the influential Shrapnel Records. His tenure with Cacophonyand Megadethhave created some of the most memorable music and jaw dropping guitar solos ever heard. He???s received gold and platinum awards from throughout the globe and continually pushes the boundaries of music. Fluent in Japanese, Friedman currently resides in Japan where he is a fixture on Japanese television and was recently appointed a Japanese Heritage Ambassador to promote the countries upcoming Olympic games.
A Live One is a Phish tribute band based in Austin, TX, sharing the joy of Phish where Phish rarely treads.
A Live One began in December of 2010 by guitarist Josh Pearson and drummer Dan McGreevy of the band Moving Matter. As time turned elastic, the line up evolved to Wesley Haynes on keyboards, Andy Harn on Bass and Alan Eckert on drums. Being huge fans of Phish and heavily influenced by them, the band found it very exciting recreating their music. Soon realizing the difficulty of the music, A Live One rises to the challenge, striving to create a similar experience to the real thing, on a much smaller scale
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Rock Legends Deep Purple & Alice Cooper With The Edgar Winter BandGet ready to sing your praises to the gods of rock and witness history in the making as Deep Purple, Alice Cooper and special guest The Edgar Winter Band take the stage of Starplex Pavilion in Dallas. Together with Led Zeppelin and Black Sabbath, pioneering rock band Deep Purple made up what came to be known as the "unholy trinity of British hard rock and heavy metal" in the early to mid-'70s, with chart-topping hits on both sides of the pond like "Smoke on the Water," "Highway Star," "Space Truckin'" and "Hush." Their latest album, "Infinite", features 10 all-new tracks inspired by the raw, boundary-pushing spirit of the '70s. A larger-than-life performer and master showman, Cooper combines hot, heavy metal melodies ("School's Out," "I'm Eighteen") with true theatricality. His energetic stage shows often incorporate horror-movie imagery, stage blood and more in a feast of the macabre. See these legendary rockers perform a mix of old favorites and new hits at this epic concert.
Dog Party! Catchy melodies, tight harmonies, fuzz pedals and big drums; what more could you possibly want in a rock and roll band? Formed in 2007 by sisters Gwennie and Lucy Giles, the duo draws influence from the classic sounds of the Ramones as well as contemporaries Ty Segall to synthesize their own unique style. Careful listeners will also notice a nod to bands like Cub and Tiger Trap, the former of Sacramento, CA lineage as well.
Following 2013's breakthrough Lost Control album, the Giles sisters got the attention of Burger Records, who co-released the follow up album Vol. 4 with Asian Man Records. The duo celebrated its release by touring with Swimmers that summer, after extensive touring that had already taken them through Germany, Switzerland, Austria, Italy, France, and multiple times across the Unites States.
The energy of their newest record, 'Til You're Mine, owes a debt of influence to the old Bikini Kill footage they both have absorbed, and also Sex Bob-omb ??? that's right, the fictional band from the cult comic book series Scott Pilgrim vs. the World. They have an uncanny ability to incite nostalgic awe in older audience members, while fueling the fire of frenzied dancing in the younger ones.