Gas Monkey Live Presents
Carpenter Brut, Alien Weaponry
Wed Dec 12
Doors: 6:30 pm / Show: 7:15 pm (event ends at 11:30 pm)
Gas Monkey Live!
$39.50 - $800.00
This event is all ages
LIMITED $15 (GA) Gas Monkey Live Pre Sale 6/6-6/7 from 9AM-10PM (or until sold out)!
Blabbermouth Pre Sale 6/6-6/7 from 9AM-10PM! Use Code: WARGASM
All tickets on-sale 6/8 @ 10AM!
$39.50 Advance/ $45 Day of Show/ $70 Premier Red Room/ $300 Premier Tables/ $800 Premier Cabanashttps://www.gasmonkeybarngrill.com/event/1709912/
Jourgensen then signed to Sire/Warner Bros. Records in 1985. Ministry's second album "Twitch" was produced by Adrian Sherwood and had a more menacing sound reflecting Jourgensen's interest in the international EBM (electronic body music) scene of the time. Ministry's third album, "The Land Of Rape And Honey" (1988,) was both a natural evolution of their aesthetic and a sharp break with previous pop tendencies and, with the arrival of Paul Barker and other new members, Ministry's sound developed into a crossover between EBM, industrial, and heavy meta. Their experimentation with heavy metal was then continued with the following "The Mind Is A Terrible Thing To Taste" (1990), where the guitar began to take on much more importance to their sound. Ministry's breakthrough album, "ΚΕΦΑΛΗΞΘ" (1992), was a very dark, powerful, and violent album, that saw the band moving further into thrash metal while still retaining elements of industrial music and noise. The following records "Filth Pig" (1996) and "Dark Side Of The Spoon" (1999) showcased a much more straightforward heavy metal sound, to lower sales than previous records. The band released their first best of collection entitled "Greatest Fits" (2001) and were then dropped by Warner Bros. Records.
In 2003, the band then moved to Sanctuary Records and released "Animositisomina". Paul Barker left the band in January 2004, leaving Jourgensen to put together a new line-up for "Houses Of The Molé". After the 2004 Evil Doer Tour, there was yet another change in personnel with Prong founder Tommy Victor on guitar and Paul Raven (who had also played in Prong and in Killing Joke) on bass. In may, 2006, Ministry released "Rio Grande Blood" which was quickly followed by what was announced as their final album, "The Last Sucker", in 2007, and a collection of covers entitled "Cover Up" in 2008.
Despite Jourgensen's claim that the band was over, 2010 saw another collection, mixing covers and remixes, entitled "Undercover". Following a serious illness, Al Jourgensen decided to restart the band with Mike Scaccia and two new Ministry albums followed, "Relapse" in 2012 and "From Beer To Eternity" 2013. Scaccia's death in 2012 had apparently brought a final, definite end to the band with the 2013 album until early 2017 when Jourgensen began working on a new album, tentatively titled "AmeriKKKant."
Listening to his home-made EPs, however, one would rather bet on a metalhead background, a crush for Dario Argento and a force-fed religious education.
This would explain his penchant for the occult, his passion for kitsch sounds and his adoration for all kinds of enjoyment.
Carpenter Brut pays tribute to the post-hippie/pre-AIDS culture that then set the basis of electro and metal to give us a unique, violent and crazy 80s revival sound.
Members are: Lewis de Jong – Guitar/Vocals; Henry de Jong – Drums; Ethan Trembath - Bass
Thrash metal band Alien Weaponry “deserve to be the next big thing” according to Swedish music blogger Viktor Edstrom. And he’s not the only one who thinks so. Since they released their third single ‘Rū Ana te Whenua’ in mid 2017, fans, bloggers, the music industry and the media worldwide have raved about Alien Weaponry’s unique blend of thrash metal and their native language, Te Reo Māori.
In September 2017, they signed with German management company das Maschine, and in February this year, they announced a three-album deal with Austrian-based Napalm Records, which will see their music promoted and sold internationally.
They have featured in publications as diverse as UK based Metal Hammer and i-D magazines to National Public Radio (NPR) and The Atlantic in the USA. The video for Rū Ana Te Whenua has had a million views on Facebook and over 100,000 on YouTube; it spent 2 weeks at no. 1 on Spotify’s NZ Viral chart, and hit no. 2 on the iTunes global metal chart (just behind Iron Maiden’s ‘Run to the Hills’).
In their home country, New Zealand, the three teenagers from the tiny town of Waipu in Northland recently won the prestigious APRA Maioha award for their song ‘Raupatu’ – a no punches pulled commentary on the 1863 act of parliament that allowed the colonial government to confiscate vast areas of land from the indigenous Māori people.
A couple of months later, they took their places among NZ’s musical elite as nominees at the Vodafone New Zealand Music Awards.
They will release their debut album (which already has hundreds of pre-sales via their fully funded Indiegogo campaign) in mid 2018; and a few weeks later they will hit the stages at the world’s biggest metal festivals, including Wacken Open Air, Metaldays, Summer Breeze and Weltturbojugentag.
With their blonde flailing locks and Viking appearance, the trio laugh off confused and occasionally angry reactions to their use of New Zealand’s native language, Te Reo Māori, in about half their songs.
“People say things like, ‘They’re white, why are they singing in Māori?’” says guitarist/lead singer Lewis de Jong (15). “But Henry and I are actually of Ngati Pikiāo and Ngati Raukawa descent.”
“We used to go to a kura kaupapa Māori (full immersion Māori language school) when we were younger,” adds his brother, drummer Henry (17). “And that’s where we invented the term ‘Stealth Māori’. There were a couple of other kids there like us, with blonde hair, but the colour of our hair doesn’t make us any less Māori.”
While singing waiata and performing haka were a daily routine at school, also ingrained in their early learning were stories of New Zealand history told to them by their father – giving rise to songs like ‘Raupatu’, ‘Urutaa’ (about an early Māori -European contact incident which resulted in an outbreak of sickness; and the subsequent revenge – the burning of the ship The Boyd and the massacre of its crew); and ‘Rū Ana te Whenua’ (which tells the story of the mighty battle at Pukehinahina/Gate Pa in 1864 where their ancestor, Te Ahoaho, lost his life).
The band’s English material is equally hard-hitting, with songs like ‘Rage,’ ‘Holding My Breath,’ ‘Hypocrite,’ and ‘PC Bro’ addressing everything from a schoolyard punch-up to teenage mental health issues, and the hypocrisy of teachers, the media and reality TV shows alike.
“We listened to all sorts of music when we were younger,” says Lewis, “but we were drawn to thrash metal because it’s quite complex music, and it is a great vehicle for expressing real stories and emotions.”
“It also works with Te Reo Māori,” adds Henry. “Both the musical style and the messages have a lot of similarities with haka, which is often brutal, angry and about stories of great courage or loss.”
Early musical influences included Metallica, Anthrax, Rage Against the Machine and the Red Hot Chilli Peppers; with current favourites including Lamb of God, System of a Down, Gojira and Trivium. The brothers wrote their first song together when they were 8 and 10 years old and the band’s name was also decided then – inspired by the movie District 9.
Bass player Ethan Trembath (15) met Lewis while they were honing their unicycling skills at the local circus school in Waipu, Northland, where the de Jong brothers moved to in 2012. He scored the job in Alien Weaponry because he could play the ukulele and (at age 10) he was the first one of their friends who could reach the end of the bass guitar. Now, he is the world’s youngest and New Zealand’s only Spector bass endorsed artist.
Gas Monkey Live!
10110 Technology Blvd
Dallas, TX, 75220