Din Productions Presents


Starset, Savage After Midnight

Tuesday, April 17, 2018

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

Concrete Street Amphitheater

Corpus Christi, TX


This event is all ages

Early in 2007, producer Rob Cavallo asked Shinedown frontman Brent Smith about his goals for the band's new album. Smith didn't hesitate.

"I said, 'You know what -- when I'm dead and gone, when everybody in this band has passed or what have you, I want the world to remember this as a record that needed to be made, and that there was a reason for it,' " Smith says. "That was the motivation behind this album."

"And part of the reason it took so long to make!"

Welcome then to THE SOUND OF MADNESS, Shinedown's third album -- and the Florida rockers' boldest effort to date. Like its two predecessors, 2003's Platinum LEAVE A WHISPER and 2005's Gold US AND THEM, THE SOUND OF MADNESS offers a brave and unsparing look into the soul and psyche amidst a fierce musical attack that, even in its quieter moments, vibrate with the passion, energy and focus of a band with high-minded ideals and limitless ambitions.

Smith and company began the recording process for THE SOUND OF MADNESS with the formidable task of following up two massively successful albums that yielded a staggering seven consecutive Top five rock and alternative radio hits that included "Fly From the Inside," "45," the chart topping "Save Me," and a cover of Lynyrd Skynyrd's "Simple Man," along with a reputation as a hot live band with an insatiable appetite for the road. However, after one listen, it's clear that the band didn't shrink from the task. Where THE SOUND OF MADNESS differs most is in its growth; it's the product of a group that has developed an even clearer vision for how it wanted to impact an audience.

"Lyrically, these songs are the most blunt that I've ever written," says Smith, who formed Shinedown with drummer Barry Kerch in 2001 in Jacksonville, Fla. "I feel that on this record I wrote what a lot of people want to say, but they just don't know how to say it -- not that I should tell anyone how to live their lives, but I've had these experiences and these thoughts that are in my head. And I can't believe I'm the only one who feels the way I do. So I just tried to express that in the most artistic and the most honest way I possibly could."
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
Venue Information:
Concrete Street Amphitheater
700 Concrete Street
Corpus Christi, TX, 78401