This fall Canada’s Art of Dying make a long-awaited appearance in Idaho with a pair of shows on September 24th at Diamondz in Jerome and in Boise at The Knitting Factory. The latter is a special Free show presented by 100.3 The X. Joining the band will be Children 1:83 and Letters from the Fire. Local talents Mindspank (Jerome) and We Were Giants (Boise) will kick off the shows. Tickets for the Diamondz show are only $15 in advance. Tickets for Boise can only be won by listening to The X.
About Art of Dying:
There is an old saying which claims that great art is 90% perspiration and 10% inspiration. The truth though is that exceptional creativity is nurtured by a complexly brewed combination of unswerving dedication and God-given talent. It’s a fact no better illustrated than by the history of Vancouver’s hard-rock icons Art of Dying and their talismanic frontman Jonny Hetherington. From hours busking on the corners of frozen streets to gatecrashing some of North America’s biggest venues, to writing and recording records of truly earth-shattering proportions, the trajectory of the quartet’s career has astonished both fans and industry insiders alike. Art of Dying will have brand new music in tow on their 40+ US headlining tour as they have just released their new album Nevermore. The video for the track “Torn Down” can be viewed below.
“Torn Down is about believing in yourself, plain and simple. Sometimes it’s hard to dig deep and find your pilot light in the darkness, but it’s there.”, says Art Of Dying singer Jonny Hetherington. “I came across Amanda and Jonah’s (Amanda Todd and Jonah Mowrey) stories on YouTube and they really affected me. In a way, they both inspired this song.
“Unfortunately we lost Amanda. I hope ‘Torn Down’ can be a beacon to those who find themselves at the end of their rope.”
Now, with two critically-acclaimed and widely-played major label albums under their belts, Art of Dying are returning with new independent extended player Nevermore, their most imperious effort to date.
“After wrapping up an extremely difficult record (Rise Up, 2015, Eleven Seven Music) with David Bendeth (Bring Me The Horizon, Breaking Benjamin, Of Mice and Men), we have circled back to our roots on Nevermore“, states guitarist Tavis Stanley “working with long time collaborator and producer Mark Holman.”
“A lot of the lyrical content on this album is about overcoming adversity,” continues Hetherington. “About taking yourself beyond where you thought you could go… about stepping away from toxic relationships.” Take the second track “Torn Down” for example, a grinding anthem that deals with seeking out and reaffirming your inner pilot light even in the darkest of moments. “All or Nothing” the opening song, boasts a freight train of a riff that screeches off the tracks into a chorus that throws caution to the wind, screaming GO FOR IT – “there’s no next time!”. The title track, “Nevermore” is a self empowering victory speech disguised as an emotional ballad. If you’ve ever had to muster up the courage to walk away from an abusive relationship, this is your song.”
Indeed, if Nevermore is about one thing above all else, it is a study on the power of human will and the uplifting capacity of one’s own self belief. This is rip-snorting rock ’n’ roll that will smash your self-doubt into a million pieces. It’s a record for the believers, for the die hards, for those sick of getting torn down, but also those who realize they are strong enough to get back up.
About Children 18:3
On the right side of the stage you see David, lead vocalist, songwriter, and guitarist. Chopped black hair around piecing eyes that bleed black mascara. Sleeveless, torn, jean-jacketed, a vision of a classic era, spirit of ’77. On the left side of the stage Lee Marie swings her bass high above her platinum blonde maelstrom, supported by white high-heels. She screams with lipstck-laden vocal yelps and finger-points to the sky. And behind, Seth twirls his sticks and bashes in rhythm to complete the whirlwind that is…Children 18:3. Then come the sounds, cutting your face like glass shrapnel. You hear classic song structure, guitar crunch, and fast driving beats. Just the right blend of melody and muscle, exchanged between the male and female voices onstage, to make this bit more universal than simple two-dimensional aggression. You hear songs, not just riffs with outfits. Rock songs you can grab a hold of, yet completely raw in presentation. And finally, the words are defiant, poetic, and communal. Just the type of thing a starving musical climate needs: A reminder of everything that was once right about punk and rock n’ roll.
The band is currently touring in support of its fourth studio effort, Come In. Rumor has it the new album and current tour will be the farewell for Children 18:3 so catch them while you can.
About Letters From the Fire
“These are our stories our trials and tribulations. This is who we are.”
That’s Mike Keller, the guitarist/founder behind the Bay Area rock powerhouse Letters From the Fire, explaining his band’s moniker. Ostensibly lifted from an old lyric, the phrase now serves as both a reminder of the band’s sometimes turbulent origin—as well as a rallying cry as the group moves forward and (re)introduces themselves to the music world. While Letters From the Fire has existed for a bit, the group only recently solidified a lineup that best represents Keller’s original vision (the band is rounded out by Alexa Kabazie, Cameron Stucky, Clayton Wages and Brian Sumwalt).
The band found a modicum of early success doing national tours with the likes of Fuel, Trapt, Non Point and Pop Evil, recording with former Evanescence guitarist Ben Moody and scoring a few rock radio hits (“Zombies in the Sun,” a cover of “Eleanor Rigby”).
But singer changes abounded… until they met Alexa Kabazie.
“We heard about this singer from Kyle Odell, this producer we were working with,” says Keller. “She was killing it on the demos we heard. We had to fly to North Carolina just to see if she could do it in person. She nailed the audition literally on the first try. Two weeks later, we already had seven songs ready to go. She’s a star in the making.”
With Kabazie now helping out on melody and lyrics, the band shifted gears. “She was all over the heavy stuff,” says Keller. “We actually scratched a lot of stuff and wrote around her voice. It’s interesting what she brings, because we’re not really like In This Moment or Halestorm or anything you’re hearing in rock right now.”
You can hear the band’s new focus on Worth the Pain, 13 new songs that offer a beguiling mix of melody and heaviness. Along the way, the album offers twists and turns: The slow piano build of “At War” gives way to the harsher realm of “Control,” while the heavy groove of “Last December” co-exists near the perfect mix of pop and aggression in “Mother Misery.” Throughout, Kabazie sounds both defiant and reflective, stating “I’ve been a soldier in every battle except my own” and, in the title track, simply stating “Thank you for walking away.”
There are wounds here. “The record is full of stories,” says Keller. “And this is the first time I really felt something lyrically when we were writing the record. Alexa actually says what she means. Her songs actually have helped me get through a lot of my own personal shit.”
The first single, “Give In to Me,” a pummeling mix of electronics and heavy guitar, centers around a person who has an addiction that gives into their dark side. To compliment the song, the video features a mysterious stranger torturing a prisoner, who (Fight Club-esque spoiler alert) ends up being themself. Check it out below: