KREATOR – Tickets – Come and Take It Live – Austin, TX – October 30th, 2017

KREATOR

Come and Take It Productions presents...

KREATOR

1349, Goatwhore, Tombs

Mon, October 30, 2017

6:30 pm

Come and Take It Live

Austin, TX

$28.00 - $32.00

Tickets at the Door

This event is all ages

** This event is ALL AGES, however, anyone under the age of 21 will be charged an additional 'minor surcharge' at the door. **

Kreator
Kreator
Thrash Metal (Heavy Metal) band from Essen, Germany.

Formed in 1982 as Tormentor, the band changed the name to Kreator in 1984 after the departure of singer Paul Terozza.

Current line-up:

Christian "Speesy" Giesler: Bass
Jürgen "Ventor" Reil: Drums
Miland "Mille" Petrozza: Vocals, Guitar
Marco Minnemann: Drums live member
Sami Yli-Sirniö: Guitar

Former/Past members:

Roberto "Rob" Fioretti: Bass [1982-1992]
Andreas Herz: Bass [1992-1995]
Joe Cangelosi: Drums [1994-1996]
Thomas "Tommy" Vetterli: Guitar [1996-2001]
Frank "Blackfire" Gosdzik: Guitar [1989-1996]
Jörg "Tritze" Trzebiatowski: Guitar [1986-1989]
Michael Wulf: Guitar [1986], died
1349
1349
1349 rose from the ashes of Alvheim in 1997, counting Ravn (vocals & drums), Tjalve (guitars), Seidemann (bass) and Balfori (guitars). Balfori quit shortly after due to musical divergence. In early '99 the band found Archaon whose speed and technique took their music to a new level of intensity and brutality.

Come spring 2000, 1349 decided to record a new promo showcasing the new material, and Frost of Satyricon was asked to lay down the drum tracks to get the speed required. Holycaust Records offered them a deal and released the new promo as an eponymous MCD. By early 2001, the band felt they had enough killer songs for afull-length album – "Liberation". Hearing this material, Frost was so impressed that he asked to join and became a permanent member of the band. Recorded and mixed at Gordon Studios, Liberation blended old school soundscapes with warp-speed hysteria. 1349 signed with Candlelight Records in 2003 and released their debut full-length album in april 2003, then marched unstoppably forwards with the following releases "Beyond the Apocalypse" in 2004 and "Hellfire" in 2005.

In between recordings 1349 spent a lot of time on the road and have over the years toured with Celtic Frost, Gorgoroth and Carcass, to name a few, as well as performing at festivals like Wacken, Summer Breeze, Hellfest and SXSW. Guitarist and founding member Tjalve left in 2006 to focus his musical efforts on his band Pantheon I. Four years after the release of "Hellfire", 1349 decided to unleash a quite different monster upon the unsuspecting masses and "Revelations of the Black Flame" saw 1349 return to Studio Studio Nyhagen with Tom G. Warrior co-mixing the album along with Ravn. Released May 25th 2009 on Candlelight Records, Revelations... saw 1349 explore the slower, darker and more ambient side of black metal, while still retaining the spirit of aural hellfire. An even deeper darkness was added to the sphere of 1349...it became evident that from here, it was gonna get scary.

2010 was a year when 1349 really started to flex muscles. With new cooperation partner Indie Recordings as the chosen label, 1349 unleashed their latest aural assault DEMONOIR, filled to the brim with abyssic darkness and hellish energy. This release - by far their most brutal to this date - showed that the band had gotten capable at blending a deeper and more sinister darkness with extreme intensity and venomous aggression, another proof of the band's innovative take on Black Metal.

The year also saw 1349 playing some one-off European shows, coming to Finland for the first time, as well as touring the US with Cannibal Corpse and later co-headlining with Triptykon. Several high-profile festivals such as Wacken and Summer Breeze were once again given a lethal dose of Hellfire.

2011 started with a showcase at By:Larm and followed with festival appearances at Hellfest, Roskilde, Party-San, Brutal Assault and Bloodstock. The year was topped of with an infernal concert at Oslo's big rock stage, Rockefeller, and a UK and Ireland tour.

2012 brings 1349 to places dark and strange; be warned, and be ready...
Goatwhore
Goatwhore
Over the course of nearly 15 years and an incalculable amount of tour miles, New Orleans' own Goatwhore have inadvertently established themselves as one the most diligent and consistently ferocious bands of the 21st century. Forged in fire by ex Acid Bath/Crowbar guitarist Sammy Duet in '97, their storied legacy follows a dramatic —and often traumatic — series of lineup shifts, injuries, hauntings, natural disasters and an assortment of other mishaps large and small. But, driven by a blood oath to heavy metal and perhaps the powers of Satan himself, Goatwhore forever persevere.

Their journey began with the bestial Serenades To The Tides Of Blood demo and subsequent Eclipse Of Ages Into Black debut full-length unleashed over a decade ago. Then a five-piece comprised of Duet, Soilent Green vocalist Ben Falgoust, guitarist Ben Stout, bassist Patrick Bruders and drummer Zak Nolan, the band's stanch DIY work ethic, rigid tour schedule and the bludgeoning force of songs like "Invert The Virgin" and "Desolate Path To Apocalyptic Ruin" quickly spawned a maniacal cult following. By 2003, Goatwhore had systematically harvested a legion of followers possessed by the band's profound maze of unhallowed lyrics, Celtic Frostian rhythms, and blackened bayou swagger. Catastrophe–brewed sophomore release, Funeral Dirge For The Rotting Sun, bore a slower, broodier brand of apocalyptic menace; one that trailed a near-fatal van crash that left Falgoust temporarily paralyzed and the future of the band in disarray. Against all medical odds, Falgoust regained use of his legs and the band, now a four-piece with Duet taking on full guitar responsibilities, quickly returned to their rightful place on the road. Seemingly drawn to bouts of misfortune, A Haunting Curse found the revised Goatwhore lineup of Duet, Falgoust, drummer Zack Simmons (ex-Nachtmystium) and bassist Nathan Bergeron, fleeing the debilitating floods of Hurricane Katrina. Delayed but undeterred, Goatwhore's first Metal Blade offering proved their most volatile yet. Relentless in speed, precision and barefaced animosity, Goatwhore had traveled well-beyond the confines of conventional black metal with a thrashier end product that fully-embraced their long-avowed Hellhammer and Venom devotion without ever plagiarizing it.

Released in 2009, the sinistral Carving Out The Eyes Of God hit with titanic urgency. Hailed among the year's most worthy metal albums by fans and critics nationwide, Goatwhore's fourth long-player shattered mainstream conventions. The record broke Billboard Top 200 ranking in at #190, debuted on the Billboard Hard Music chart at #33, the Billboard Top New Artist (Heatseekers) Albums chart at #16, and the Billboard Top Independent Albums chart at #34. Decibel magazine declared the production, "the band's tightest, most guitar-driven offering to date. An unholy smorgasbord of rigid tempo shifts, gargantuan hooks, blasting black mass anthems, and Falgoust's soot and venom snarl…," while Outburn compared it to, "a modern day, 'roid-injected sword fight between Celtic Frost and Venom." High traffic web portal Blabbermouth crowned the production "…one of 2009′s purest metal albums…nefariously black and sadistically thrashing in a way that is uniquely Goatwhore," while MetalSucks proclaimed Carving Out The Eyes Of God "the catchiest album Goatwhore have ever released." Further album triumphs included a spot on the 2010 edition of Ozzfest and two performances at the annual SXSW music conference enabling the horned collective to deliver their sadistic hymns of religious treachery to an even broader sect of listeners.

For the next two years, the band maintained an infamously unyielding tour cycle, leveling cities throughout the US, Canada, Europe and Australia with their universally praised live rituals. Further educating the potentially unversed, "Apocalyptic Havoc" appears on the Xbox 360/PlayStation 3 game soundtracks for Splatterhouse and more recently, Saints Row 3, while the video for the song was featured in an episode of Last Call with Carson Daly. And as if to close out a near perfect run of riotous adventures, Goatwhore was named Best Hard Rock/Metal Artist of 2010 at The Big Easy Awards last April, a deserving honor based on performance throughout the year.

In 2012, Goatwhore again raise their cloven hoofs in salutation to Blood For The Master. Now featuring Duet, Falgoust, Simmons and bassist James Harvey, who joined the goaty ranks in 2009 following the departure of Nathan Bergeron, the record finds Louisiana's notorious metal horde at their most unified. Recorded and mixed at Mana Recording Studios in St. Petersburg, Florida with longtime friend/producer Erik Rutan, who worked with Goatwhore on both Carving… and A Haunting Curse, the ten-track, 38-minute Blood For The Master is epic in sound, mind and execution.

Released through Decibel Magazine's flexi series, and later posted online for the masses to absorb, a cover of Motöhead's "(Don't Need) Religion" was presented as an album teaser in October. An appropriately infernal rendition of an often neglected classic, the song served as the perfect precursor to an album prevalent in its hailstorm of fist-pumping, heathen anthems and rhythmic devastation.

Exhibiting a labyrinth of moods and meticulous tempo shifts, Blood For The Master is streamlined without ever rendering itself predictable. As memorable as it is menacing, the band's fifth full-length quite literally writhes under the weight of its own deviant heaviness. Led by the traditionally iconoclastic sermons of the leather-throated Falgoust, and made whole by its mammoth guitar tone, unconditional drum/bass battery and Duet's intermittent snarls of wrath, the record again challenges god's legitimacy/authority while further exploring the ritual of death. Conveyed with a poetic, near occultish grace, songs like violent opener "Collapse In Eternal Worth," "Embodiment Of This Bitter Chaos," and "In Deathless Tradition" finds Falgoust, dubbed "one of the best live and recorded singers in metal history," by notable Canadian website Hellbound, in full domination mode. "I always have a lot of words," he elaborates. "I don't like repeating things but I've started doing more chorus-verse-chorus stuff. I started letting the music breath more."

"It's not like the new songs are a drastic change," Duet noted in an early interview with Decibel Magazine. "It's like an experimentation on how much more metal we can get – I mean actual metal; the roots of heavy metal. But not in a way that it sounds like power metal or anything like that. It's like an extremely metal version of us."

"I thought this was a lot harder to write just because we didn't want to repeat ourselves," he further notes. "I mean, we could have easily gone and written another Carving Out The Eyes Of God but we didn't want to do that. There are still elements on the new album that we wouldn't normally do, but it definitely still sounds like us."

"It's definitely harder at this point," Falgoust agrees of the writing process, "because you start to get to the point where you're a little older and more conscious about your ideas and everything; you become more anal about things. I'm still getting used to it, but I really like it. I like the flow. When we write, we try to think of it in a live approach. A lot of people write records but they never really focus on playing it live but that's so important. We can do all of these songs live, which is something we did with Carving… as well."

"I think sometimes we get slighted for stuff" Falgoust continues on where the band now fits within metal's ever expanding pantheon of subgenres. "Whatever terms people decide to lock us into— black metal, death metal, black death metal, everyone's gotta have some kind of little blanket. It's almost like a social standing. To me, it's all just straight heavy metal."
Tombs
Tombs
Formed in 2007, Brooklyn-based experimental metal outfit TOMBS blends bleak, post-punk minimalism with the ferocious attack of sludge and traditional black metal. Over the course of
the last nine years, TOMBS have established themselves as an act that's as committed to consistency as it is to growth, developing smoothly (but never predictably) over the course of
their career. 'All Empires Fall', the band's forthcoming 2016 EP, is a commanding, crushingly heavy release, one that invokes the kind of grandeur and magnitude its title suggests, and one
that affirms TOMBS as one of the leading lights of American – and international – black metal.

The group's dark proto-industrial sounds were first developed as a collaboration between Mike Hill (Anodyne), Dominic Seita, and Justin Ennis, and put to wax in the form of a two-song EP
simply entitled 'Tombs' (on Hill's now-defunct label Black Box Recordings.) By the time TOMBS had partnered with Relapse Records and unleashed their first proper full-length,
2009's 'Winter Hours', Seita and Ennis had been replaced with Carson James and Andrew Hernandez respectively. Two years later, the band's sophomore outing 2011's 'Path of Totality' featured prominently on many critics' year-end metal lists, including at Pitchfork, Brooklyn Vegan, Decibel Magazine (where it was named album of the year), NPR, MetalSucks,
and many more. 'Path of Totality''s follow-up, 'Savage Gold' (2014), also found widespread critical acclaim and garnered numerous year-end list mentions. In addition to their highly lauded releases, TOMBS have become revered for their captivating live shows and have toured extensively with an array of artists as eclectic as their sound, trekking throughout North America and Europe with groups ranging from Eyehategod, Pelican and Isis to Wolves In The Throne Room, The Secret, Ulcerate and most recently 1349. TOMBS have also
appeared at renowned festivals across the globe, including Roskilde Festival in Denmark, Roadburn in The Netherlands, and Psycho California & Maryland Deathfest in the US.

Never content to rest on their laurels, TOMBS have continued to evolve following the release of 'Savage Gold'. 2015 saw the band welcome new drummer Charlie Schmid and keyboardist
Fade Kainer (Batillus), allowing the group to vastly expand its live sound and elaborate on previous experiments in the studio. The group's first release with the new lineup, 'All Empires
Fall', was recorded at Applehead Studios in New York and brought to life by renowned producer Sanford Parker (Minsk, Twilight, Yob). Clocking in at 24 minutes long, 'All Empires Fall' is a succinct synthesis of the innovation that first put TOMBS on the map and of the quintessential black metal ferocity that drives the band's experimentation.
Venue Information:
Come and Take It Live
2015 E Riverside Dr, Bldg 4
Austin, TX, 78741
http://www.comeandtakeitproductions.com/