Misery Will Find You Tour
The Amity Affliction & Senses Fail
Silent Planet, Belmont
Tue Jan 8
Doors: 6:00 pm / Show: 7:00 pm (event ends at 11:00 pm)
Gas Monkey Bar N' Grill
This event is 16 and over
$85 VIP Q&A Experience with The Amity Affliction:
• One general admission ticket
• Intimate Q&A with The Amity Affliction
• Group photo with The Amity Affliction
• One limited silk screen poster
• Early entry
• First access merch shopping
• One signed commemorative VIP laminate
Venue Pre Sale (ALL TICKET TYPES) 11/8 from 10AM-10PM!
$25 Advance/ $28 Day of Show/ $35 Premier Balcony/ $150 Premier Tables
The Amity Affliction
This Could Be Heartbreak is available now via www.theamityaffliction.net
Deeply personal and emotionally wrenching, This Could Be Heartbreak is The Amity Affliction’s most transformative and revealing record yet. Recorded by producer and longtime collaborator Will Putney at Melbourne’s Holes and Corners with additional drum tracking done at Sing Sing Studios, the album finds The Amity Affliction evolving their signature powerful and cathartic song craft. Both ambitious and grand, album standouts “This Could Be Heartbreak” and “All Fucked Up” are equal parts heavy and hopeful, fueled by frontman Joel Birch’s desperation which achieves extraordinary transcendence through radical honesty and absolute power.
This Could Be Heartbreak follows The Amity Affliction’s ARIA platinum-certified #1 album, Let The Ocean Take Me, which proved an to be an international breakthrough for the group. Let The Ocean Take Me marked The Amity Affliction’s second consecutive time topping the ARIA Album Chart following 2012’s gold-certified Chasing Ghosts. More recently, the band released Seems Like Forever, the #1 ARIA gold-certified documentary chronicling The Amity Affliction’s history up through their epic “Let The Ocean Take Me World Tour,” which saw the band performing in front of capacity crowds around the globe, including sold-out shows at New York City’s Irving Plaza and London’s KOKO. Furthermore, the band’s most recent single, “Shine On” came in at #25 on Triple J’s “Hottest 100” of 2016. For more than a decade, The Amity Affliction has confronted the very darkest edges of man’s existence through their music and with Severed Ties, 2008’s full-length debut, and 2010’s ARIA gold-certified follow-up, Youngbloods, The Amity Affliction instantly established themselves as leading force in the heavy music world.
Listening to a new Senses Fail album is a lot like reconnecting with an old friend—although there's a comforting, indefinable familiarity within all of the New Jersey-based post-hardcore quintet's records, each new creation is a fleeting snapshot of the lives of its makers, indelibly capturing the things that meant the most during your mutual time apart. The band's third full-length release, Life ...Is Not A Waiting Room, is no exception. Having the unenviable task of following 2006's crushing Still Searching, the album showcases the face-melting musicianship and soul-baring lyricism that define Senses Fail. Once again produced by helmsman Brian McTernan (Thrice, Circa Survive) and recorded in Baltimore, MD, at his Salad Days studio, Life boasts a towering sound akin to a roundhouse kick to the skull. "This is the most fun we've ever had as a band," says singer James "Buddy" Nielsen. "I think we were feeling a lot less pressure this time around, but you've always got to do your best." The New Jersey-based group formed six years ago and released their debut EP, From the Depths of Dreams, in 2002. 2004's Let It Enfold You—their first full-length—was followed by Still Searching, which debuted at 15 on the Billboard Top 200 chart. To date, Senses Fail have performed multiple worldwide tours and their catalog sales have reached over 850,000, yet the band continue to evolve. Although in many ways Life picks up seamlessly where Searching left off, the new album has very distinct, unique qualities, most notably its lyrical content. While Searching wrestled with issues regarding religion and depression, Life is centered squarely on a crumbling relationship, and the desire to see meaningful change. "A lot of this record is written about the recent break up I had with a long-time girlfriend, the first person I have ever been in love with, and someone I spent a lot of time and shared my transition from kid to adult," explains Nielsen. "The other elements of the record consist of regrets and how they can leave a burning hole in your soul; how the past is something you can't change….There are also bright moments where I find myself coming to terms with those very facts, and in knowing the problem you can then be proactive and change." Life also marks the addition of new bassist Jason Black (formerly of Hot Water Music), who replaces the departed Mike Glita. Meanwhile, guitarists Garrett Zablocki and Heath Saraceno (formerly of Midtown) have grown into one of the most scorching six-string tandems around; Life features more of the nimble harmonies showcased on Searching, but this time the duo took it one step further, with some truly shred-a-riffic leads, such as those heard on "Lungs Like Gallows" and "Garden State." Another rocker, "Wolves At The Door," was so intense that it even garnered a coveted spot within the soundtrack for the best-selling Madden NFL '09 video game. Kicking off with the rich, moody "Fireworks At Dawn," Life roars and pummels its way through the album's 12 tracks without the slightest pause for filler, delivering an absolute haymaker just four tracks in with "Family Tradition," which features the band's signature blend of dark and melodic. Nielsen's words are as insightful as they are meaningful. "I find myself at times doing things to live up to other peoples' expectations, or cutting myself down because I assume that will make me look more humble to the world," says Nielsen. "So this song is one part a reaction to that, and also about following the footsteps of a family member you don't really know, but who has had a huge influence on you." Perhaps the most heart-wrenching moments of all come via the two-part song cycle of "Yellow Angels" and "Four Years," which were inspired by a terminally ill fan named Marcel, who befriended Nielsen at an SF show in Dallas, TX. Nielsen remained in contact with the 18-year-old, who was stricken with cancer of the soft tissue of his face, and endured many painful surgeries and treatments in order to attempt to fend off tumors that were growing in vital areas such as his eyes, nose and throat. When Marcel's mother notified Nielsen of her son's worsening condition, the singer flew to Texas, where he spent a great deal of time with this incredibly courageous young man, during the final days of his tragically short life. "It was one of the most intense and stirring times in my life. The sheer pain this 18-year-old boy was in was mind blowing, yet his optimistic outlook and sense of humor was steadfast," Nielsen recalls. "This kid changed my life and although he is no longer with us, he lives on everyday in the pictures I took with him, to remind myself that life is never as bad as you think it is. So 'Yellow Angels' is my reaction to meeting Marcel and how I needed to live in the moment and love myself and life. 'Four Years,' on the other hand, is about being influenced by such a life-changing [experience] and having to make new decisions about my relationship and what it really was." The album's title is a succinct, encapsulating statement as to its thematic thrust. Life Is Not A Waiting Room is just as much revelation as it is reflection; the sum total of every ounce of pain, fear, hope and joy that the record exudes. "I felt I had been living as if I was waiting for something to happen, but I know that is the wrong way to live—it just doesn't promote any sort of happiness," Nielsen concludes. "The title sums up the direction I want to go in, and what I want to get away from, and it's a cry to everyone else to stop living like I have." Just like the rest of us, Nielsen's struggle is far from over. But one thing is certain: SF have once again delivered their message with both passion and fury. All one has to do is listen with their ears and heart open—just as an old friend would.
Humanity has always had a therapeutic relationship with music. Its ability to shatter man-made walls, create a platform for expression, and illuminate perspectives, has helped ground some and liberate others. We build national anthems out of songs, we immortalize first dances with songs, we cry because of songs. Music—when breathed into with intention, intellect, and purpose—can restore and unify. If you need an example, listen to Silent Planet’s newest album, Everything Was Sound.
Silent Planet—comprised of Alex Camarena, Thomas Freckleton, Garrett Russell and Mitchell Stark—writes with purpose. The LA-based band’s first album, The Night God Slept, gave voice to characters victimized by systemic oppression. The album used historical settings and the characters within it to magnify their marginalized perspectives, resulting in a musical accomplishment outfitted with quality instrumentals, rich storytelling, and a mouthpiece for the silenced. Their second full-length project bears consistent fruit with their first.
Everything Was Sound, the sophomore release on Solid State Records, is unrelenting in its endeavor to marry its sophisticated metalcore sound with the quiet voice of the alienated. The band’s vocalist, Garret Russell, walks us out of their first album’s story and straight into this one: a metaphorical prison housing society’s misunderstood. The panopticon (both a psychological concept and a physical space) is a many roomed, doorless prison equipped with one, concealed guard. Without the ability to see where the guard is looking, the construct effectively controls each inmates behavior. Russell uses this theory (designed by philosopher and social theorist Jeremy Bentham) to represent the societal imprisonment culture places on the mentally wounded. He walks us through nine rooms, with nine varying prisoners, and tells their stories.
“So many people feel completely alone. This album was inspired by the people I’ve interacted with who feel like nobody can or wants to understand them. It’s very evil to leave people isolated like that,” explains Russell. “Our goal is to make people’s stories visible, to give words and to give music to things that aren't often talked about.” Take the track “Panic Room” for example. “God gave me a vision, in a very mystical way, of my friend who suffers with PTSD. I wanted to tell his story in a way that honored him.” Lyrics like, “this is war: A child stumbles from the wreckage holding his salvation - the trigger to cessation - to end us all. I took a life that takes mine, every quiet moment we collapse,” paint a panicked and painful perspective, but one that gave healing to the friend who inspired it. From the song “Understanding Love Is Lost,” about the wreckage of suicide, to “Nervosa,” about the destruction of eating disorders, Silent Planet intentionally introduces us to the struggling souls surrounding us.
And that isn’t all they’re intentional about. The instrumentals, the lyrics, and the artwork are unanimously designed to, in Russell’s words, “challenge intentions, stir the subconscious, and offend assumptions.” Whether it be the enneagram of personality that marks the cover art, the inkblots within the liner notes tethered to each archetype, or the cited sources laced within each song, you’ll feel what Russell says is a “dance between wholeness and oblivion.” The theme weaves itself—through color, word, sound, and design—into all aspects of the project.
Silent Planet’s pursuit is perhaps best stated by the two instrumental tracks within the album—“Tout comprendre” and “C’est tout pardoner”—whose combined titles mean “to understand all is the forgive all.” In the final song, the prisoners escape bondage and unite, planting a new tree of life in the center of the panopticon. “People have been inhabiting inside of their wounds,” explains Russell, “and I believe they can come together to be healed. Step out, see each other, and find freedom in being seen.”
Forecast by Rock Sound Magazine as "Quite Possibly the next great pop-punk band"; BELMONT is poised to rise to the occasion with their debut self-titled full-length album, available now via Mutant League Records.