In This Moment

HALF GOD / HALF DEVIL TOUR

In This Moment

Starset, VIMIC, Little Miss Nasty

Sunday, June 25, 2017

Doors: 5:30 pm / Show: 6:30 pm

Abilene Civic Center

Abilene, TX

$31.00

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."
Starset
Starset
Transmission received. Starset’s new sonic codex, Vessels, builds upon a schema where
futurism has become fact and imagination is opportunity. The sophomore release from Starset’s
aural architect, Dustin Bates, is a data-stream-rendered-in-sound where Bates’ plaintive howl
becomes the deus-ex-machina in an age of information overload - the wail of a ghost in an
increasingly complex yet ultimately human machine.
Starset’s 2014 Razor & Tie debut, Transmissions introduced not only Starset but also The Starset
Society, a shadowy, anonymous-like group of real-world rooted scientists admonishing the
dangers of technology and dystopia gone amuck. Now, just a mere two years later, we are seeing
Bates’ scientific speculation become science fact. While fully fleshed-out in his recently selfpublished
novel, The Prox Transmissions, Bates’ lyrical themes of exo-planet discovery and
colonization, coupled with the impact of rapid advances in technology including 3-D printing,
are proving Starset a truly visionary multi-media collective.
While Transmissions was indeed a landmark album, selling in excess of a quarter million
combined albums, streams and downloads, and propelled by singles including the unforgettable
“My Demons” (which spent an unprecedented 43 weeks scaling rock charts), Bates approached
Vessels with a singular intent on pushing boundaries.
Once again produced by Rob Graves (Halestorm, Red) and mixed by Ben Grosse (Breaking
Benjamin, Filter) the results speak for themselves. From atmospheric opener, “Back To The
Earth” to the driving hooks of the album’s first single, “Monster” to the catchy, nearly
progressive moments of “Frequency,” Bates has succeeded in escaping the gravity of formula
radio rock. Instead, he has reimagined his genre-defying vision as an arena where Hans Zimmer
interfaces with Radiohead and Trent Reznor.
Where Transmissions’ over-arching concept focused on a message from the planet Prox a future
haven from a dying Earth, Vessels splits its narrative into an interconnected interzone of four
separate dangerous visions. From a return to Prox to an admonishment of the dangers of genetic
engineering to a near future where advances in artificial intelligence defy convenient notions of
love, life and death, Bates (who is a PhD candidate in electrical engineering and has done
research for the US Air Force) has engineered an aural anthology that will challenge the Starset
faithful while delivering on the first album’s powerful promise.
In addition to shattering convention on record, Starset’s live “demonstrations” are slaked on that
same alloy of ambition, technology and raw emotion. With over 300 shows logged to date, Bates
and his helmeted-and-pressure-suited crew (bassist Ron DeChant, guitarist Brock Richards and
drummer Adam Gilbert) have distinguished themselves touring with the likes of Breaking
Benjamin and In This Moment, while igniting audiences on major US festivals including Rock
On The Range. However, it was four planetarium performances in 2015 including Boulder,
Colorado’s Fiske Planetarium and Long Island, New York’s Vanderbilt Museum Planetarium
that brought Starset’s live promise into laser-enhanced, telescopic focus.
What began as a near-planetary collision of sound, vision and iconoclastic ideologies inspired by
the likes of Nikola Tesla and Ray Kurzweil (AKA: The Father of Singularity) has taken a bold
step forward with Vessels. Starset’s message has been received and downloaded. Transmission
complete.
Venue Information:
Abilene Civic Center
1100 N 6th St.
Abilene, TX, 79601
http://www.abilenetx.com/city-hall/departments/community-services/civic-center