Monster Mash Festival 2015

Monster Mash


Main Website: Monster Mash Festival



This year Tempe Beach Park located in Tempe, AZ will be hosting the Monster Mash Festival with a huge lineup to show for it.. Here is the low down for who will be attending and what days they will be playing..


Friday: October 30th

East Stage:



Formed in 2010 with a spirit of adventure that saw Susan Tedeschi and Derek Trucks shelve their equally successful solo careers, Tedeschi Trucks Band, an 11-piece tour-de-force, has quickly become the vanguard of modern roots music. Thrilling audiences worldwide with its transcendent live performances and award-winning albums, the group enlists dual drummers, two vocalists, a three-piece horn section, bass, and a multi-instrumentalist keyboard player for what is a greater-than-the-sum-of-its-parts collective.

In just five years, Tedeschi Trucks Band has toured extensively throughout the U.S., Canada, Australia, Europe, and Japan, with top-bill performances at both The New Orleans Jazz and Heritage Festival and the venerable Newport Jazz Festival, co-headlining tours with B.B. King and The Black Crowes, and playing to packed houses in the world’s most celebrated venues from Red Rocks Amphitheatre and the Beacon Theatre to the Hollywood Bowl and Royal Albert Hall.  TTB’s debut release Revelator, produced at the couple’s Swamp Raga home studio, earned both a Grammy Award and multiple Blues Music Awards while 2011’s dynamic live follow-up, Everybody’s Talkin’, delivered a double-disc classic reminiscent of legendary concert recordings like Mad Dogs and Englishmen and The Allman Brothers Band’s At Fillmore East, and its sophomore studio effort, 2013’s Made Up Mind, was hailed by Rolling Stone as “equal parts Stax and Muscle Shoals without dilution of either.” With guitarist Derek Trucks’ departure from The Allman Brothers Band at the end of 2014, the band has fully dedicated itself to expanding its legendary live performances with an increasing repertoire of original blues-soaked roots rock and an astounding range of cover songs, featuring an intimate acoustic segment as well as new material the band has been working on for their next album.

Emerging as one of the most respected guitarists of his generation, Trucks led his own Grammy Award-winning Derek Trucks Band for over 15 years, as well as a concurrent 15-year stint with the The Allman Brothers Band, prior to the Florida native’s teaming with wife Tedeschi. In addition to touring with both Eric Clapton and Carlos Santana, the slide guitar virtuoso was voted #16 of the top 100 Guitarists of All Time (Rolling Stone – November 2011) by a panel of fellow musicians and industry experts, the youngest musician to make the list.

No stranger to center stage herself, singer-guitarist Susan Tedeschi started playing in bands in her hometown of Boston.. Her combination of blues, Southern soul, and gospel together with her passionate, awe-inspiring vocal prowess has resulted in a prolific solo career full of award-winning records, six Grammy nominations, and a devoted following.  In addition, she has collaborated in the studio with numerous artists including Los Lobos, Buddy Guy and Herbie Hancock. Blessed with a voice that ranges from powerful R&B belters to gentle ballads, Tedeschi is a talented guitarist as well, her style alternately recalling post-war electric blues and Hendrix-inspired rock.

As easily capable of shining as individuals as they are as an 11-piece ensemble, Tedeschi Trucks Band values its powerhouse sound over spotlight.  Sharing a level of respect and camaraderie rarely found in rock and roll, TTB has found a magical combination that delivers nightly an unforgettable, can’t-miss concert experience, hailed by critics as “a deeply skilled groove machine,” (Los Angeles Times) that displays “a peerless brand of musical alchemy as easily cool and consoling as white hot and ascendant.” (Relix) For these musicians and their audiences, more is indeed more.



John Fogerty is a true American treasure, one of popular music’s all-time greatest singers, guitar players, and songwriters.  His remarkable career began in his hometown of El Cerrito, California, soon earning massive popular and critical success with the one and only Creedence Clearwater Revival.  As leader of CCR, Fogerty forged a distinctive, groundbreaking sound all his own, equal parts blues, country, pop, rockabilly, R&B, swamp boogie, and Southern fried rock ‘n’ roll, all united by his uniquely evocative lyrical perspective.

After Creedence Clearwater Revival called it quits in 1972, Fogerty embarked on what would prove to be an equally impressive solo career.  Among its many highlights are 1975’s John Fogerty – featuring the rollicking ‘Rockin’ All Over The World’ – and 1985’s #1 phenomenon, Centerfield.  With its trio of timeless hit singles, including ‘The Old Man Down The Road,’ ‘Rock And Roll Girls,’ and the irresistible title track, the multi-platinum collection marked Fogerty’s glorious return to the forefront of modern rock ‘n’ roll.

1997’s Blue Moon Swamp earned Fogerty further acclamation, as well as a Grammy Award for ‘Best Rock Album.’  Among his many other honors are induction in the Rock & Roll Hall of Fame and the Songwriters Hall of Fame, the BMI Pop Music Awards’ prestigious ‘BMI Icon,’ and Performance Magazine’s ‘Theater Tour of the Year’ Award.  In addition, Fogerty and ‘Centerfield’ were honored during the 2010 National Baseball Hall of Fame Induction Ceremonies – the first time the National Baseball Hall of Fame has immortalized a musician or song as part of the annual ceremonies.

In 2013, Fogerty released Wrote a Song for Everyone, a testament to the fact that the songs written by John Fogerty over the past forty-five years continue to speak in a powerful way to generations of music makers and music lovers.

SANTANA: 10:15-11:45PM


For forty years and as many albums later, Santana has sold more than 100 million records and reached more than 100 million fans at concerts worldwide. To date, Santana has won ten GRAMMY ® Awards and three Latin GRAMMY ® Awards.  He won a record-tying nine GRAMMYs for a single project for 1999’s Supernatural (including Album of the Year and Record of the Year for “Smooth”) as well as three Latin GRAMMYs. He has also received the Billboard Century Award (1996), was ushered into the Rock and Roll Hall of Fame (1998), received the Billboard Latin Music Awards’ Lifetime Achievement honor (2009), and was the recipient of the Kennedy Center Honors Award (2013). Among many other honors, Carlos Santana has been cited by Rolling Stone as #15 on their list of the “100 Greatest Guitarists of All Time.” And, with the 2014 release of Corazón, Santana surpassed the Rolling Stones and, along with Barbara Streisand, is one of only two music acts in Billboard history to score at least one Top Ten album for six consecutive decades from the 1960s on. Earlier this year, Santana released his first ever Latin Music album entitled Corazón on RCA/Sony Latin Iberia, featuring superstar collaborative performances by Latin Music’s finest. The album is certified U.S. Latin Double Platinum and was the top selling Latin Music album in the United States for six consecutive weeks. Santana is currently headlining a multi-year residency at House of Blues at Mandalay Bay Resort in Las Vegas. This fall, Carlos Santana will release his memoir “The Universal Tone: Bringing My Story to Light.” It’s a profoundly inspiring tale of spiritual commitment and musical fearlessness that does not balk at finding the humor in the world of high-flying fame, nor at speaking plainly of Santana’s personal revelations, and the divine and infinite possibility he sees in each person he meets.


Saturday: October 31st

West Stage:



With Our Arms to the Sun is a rock band formed in the desert of Arizona.

The music is cinematic and expressive with elements of conceptual album rock. The band has earned a small cult following on the internet for their unique progressive music, spiritual and philosophical insights, and their ability to make people feel.
Being an independent band, With Our Arms to the Sun has made some big waves releasing 3 albums in under two years, touring on their own, as well as selling music in several countries internationally.  Founded by three brothers, Joseph Breckenridge Jr, Josh Breckenridge, and Joseph Leary have a long 15+ year history of being creative together.

The newest album “A Far Away Wonder” features drums that were engineered by Aaron Harris of the bands ISIS and Palms. The CD gives a glimpse into the heavier and progressive yet cinematic direction the band is headed in and ushers in a modern take on the concept album.

East Stage:



Los Angeles-based rock band ÆGES’ second full length album, Above & Down
Below, expands on the their unique foundation of 90’s post-hardcore meets
pummeling desert-rock. Described by tastemaker hard-rock blog MetalSucks as
“so goddamned hooky, you could hang your coat on it,” the band takes another
step forward with this collection of twelve songs that are as diverse and
individual as they are seamless and flowing. It’s an especially admirable
feat when you consider how busy the band has stayed since releasing their
debut full length, The Bridge, in 2012 (dubbed by one journalist as “one of
the most promising debuts in recent memory”).

“Above & Down Below” is a raging and radio-friendly collection of driving
intensity. Switching from gut-rattling Helmet-inspired assaults of muscular
riffage that few could accomplish, Aeges bring a dark swagger that oozes
bleak realism. Catchy and frantic, Aeges’ ability to alternate seemlessly
from anthemic singalongs to gruff-throated screams is unparalleled, and AADB
is filled to the brim with stark, (at times) lyrically bone-chilling and
(always) technically mature hits, making the bands’ latest one of the best
hard rock sophomore releases of the decade so far. AADB closes with a
cathartic serenade that starts with an acoustic open-letter to the world,
and ends in a furious array of stringed instruments, heavy distortion and
shredding that is as hauntingly beautiful as it is expertly crafted.

In between playing shows around the country with Coheed & Cambria, Silver
Snakes, Pelican, Big Business and many others, as well as writing “AADB,”
the band also found time to further expand their catalog by releasing the
Southern Comfort 7″ and the Bad Blood split 7″ with friends and
Seattle-based alt-rock project Dust Moth. Aeges also made a successful
inaugural appearance at the annual SXSW Music Festival this past March,
embarked on a three week tour of the western US in November with noise rock
trio The Cutthroats 9, and blew minds at one of the country’s most diverse
and heralded festivals, the Fun Fun Fun Fest in Austin, Texas.

Says front-man Kemble Walters of the new album (in a recent sit-down with
Alternative Press Magazine), “The themes of the record are rather dark,
focusing on the more animalistic nature of the human race and how we see
religion, friendship and trust. We’re extremely proud of the lyrical content
on the album. Each song has a definitive meaning to each of us but is
written in a way that allows the listener to interpret it to best suit their
current situation.” The chemistry of the newly revamped lineup has taken
ÆGES’ songwriting to new levels, not seen since the groundbreaking debuts
from genre pioneers long since passed.

“Above & Down Below” was mixed and mastered by Matt Hyde (Deftones, Slayer).


West Stage:



The Color Before the Sun, the eighth studio album from progressive post-hardcore visionaries Coheed and Cambria, finally sends this band of space cadets crashing down to Earth. After traversing the outer limits of science fiction over seven acclaimed albums and more than 20 comic books, founder and songwriter Claudio Sanchez is ready to explore his emotions nakedly, plainly and unabashedly. No conceptual framework, no galaxy of characters, no seven-minute epics, no places for the band, as he quips, to “put a laser beam on it.”

“I kind of want people to know that Coheed can write that sort of record,” says Sanchez. “I’ve always said in the past that there’s never been a limitation on the band. It makes no sense to me to draw a line in the sand and never cross it.”

While the most conceptually abstruse Coheed records have always had a foundation in reality, The Color Before the Sun marks the first time Sanchez is exposing his raw feelings, narrated from his own perspective — the anxiety of fatherhood, the disorienting feeling of losing a home, the reflections had during early-morning walks. His own story is told through big, bright, driving, colorful songs that beam like power-pop, crunch like vintage ’90s emocore and float with the expansive feel of space-rock.

Recorded by Grammy-nominated producer Jay Joyce (Cage the Elephant, Eric Church) at Nashville’s Neon Cross Studios, Sun also marks the first time Coheed has ever recorded their music live in the studio — Sanchez playing alongside guitarist Travis Stever, drummer Josh Eppard and bass player Zach Cooper with minimal overdubs.

“Again, it was that exposed honesty,” says Sanchez. “I wanted the blemishes to create the charm…. Let those accidents just happen, let’s not microscope it.”

The concise, 10-song Sun follows Coheed’s sprawling, two-part opus Afterman: Ascension and Afterman: Descension. Both Top 10 debuts, they serve as a “punctuation mark” to the seven-album Amory Wars saga that included 82 minutes of music and a hardcover coffee table book. Around the time of those records’ completion, Sanchez and his wife left their cozy, secluded home in New York’s Hudson Valley for a more nomadic life, attempting to find their place in the world. After travelling to California, Florida and Paris, they ultimately fell in love with Brooklyn, leaving their quiet home for a cramped brownstone in Park Slope. Used to working in solitude, Sanchez instead found himself writing music in the middle of a railroad apartment.

“Normally…I need to kind of get into my own head and create these characters,” says Sanchez. “So I felt very exposed. I knew that our neighbors could hear me. At one point somebody had asked if a woman was in the apartment singing, and I was like, ‘Aaaah!’ I think that subconsciously leaked into the music that I actually created. I kind of gathered this collection of songs that very much chronicled the situation I was feeling there. I didn’t understand who I was, what I wanted to be. I was writing these songs that weren’t part of a formula. It just felt foreign.”

During the process, he also discovered his wife was pregnant with his son, Atlas, and the anticipation of being a father started to influence his songwriting. The tender acoustic ballad “Ghost” has Sanchez pondering what type of parent he will be; the explosive, deceptively triumphant “Atlas” anticipates what life will be like leaving his first-born son when he goes on the road; “Here to Mars” is a simple, hard-chugging love song to his wife.

The destroyed home on the album cover is no metaphor. The tenants who had rented Sanchez’s house upstate had abandoned it, leaving some demolished floors, the residue of a colony of plants and the stench of marijuana. It’s speculated that the home where Coheed and Cambria created their last four records — writing upstairs and rehearsing in the basement — was totaled after the residents turned it into a grow-house. Songs on Sun deal with the transient feeling of Sanchez not knowing whether to stay on the “island” of a Brooklyn block, or in the comforting country confines of his home, whether destroyed (“Colors”) or intact (“Island”).

Though never leaving our own solar system, The Color Before the Sun, may be Coheed and Cambria’s most important saga — a story that’s sketched less like an explosive Image Comics title and more like an introverted Drawn and Quarterly book, less like Todd McFarlane and more like Adrian Tomine.

“That’s always sort of been the reason for the concept, was that it was a curtain to hide behind,” says Sanchez. “I always found it very hard to be that heart-on-your-sleeve songwriter. Maybe it’s the fear of judgment or whatever. I felt like if I could just hide behind these fictitious characters, then nobody will judge me. They’ll judge the work, but it won’t stain me. It’s almost like trying to distance myself from the art, whereas this time I’ve sort of embraced it and allowed it to be me.”

East Stage:

PRIMUS: 8:15-9:30PM


In the summer of 1971, Primus’ Les Claypool was a couple months shy of his eighth birthday when David L. Wolper’s Willy Wonka and the Chocolate Factory debuted in movie theaters; based on the Roald Dahl book, Charlie and the Chocolate Factory.  Like many people of a certain age and temperament, the movie became a perennial favorite that Claypool would come back to repeatedly, throughout different stages of his life, taking something different away from it each time.

So it seemed equal parts genius and obvious when he decided to throw a Willy Wonka-themed Primus show on New Year’s Eve last year.  During the second set, Primus performed the soundtrack in its entirety.  “Of the 23 or so New Years shows, I don’t think we’ve ever had a better combination of elements,” Claypool reflects, seven months later.  “It felt good.  It felt like we needed to be doing this.”

It felt so good, in fact, that he decided to take Primus into the studio to prepare the soundtrack for an album release.  Claypool admits that he’s always, “in some way, wanted to be Willy Wonka,” and, also, that he’s always wanted to work a cover of “The Candyman” — a memorable number from the film’s soundtrack — into Primus sets.  “Hell, I’ve been doing the line from the boat ride on stage since the ‘80’s,” then Les sings, ”There’s no earthly way of knowing, which direction we are going…”

“Larry Lalonde and I were discussing the next project for the band and one thought I had was to take on some kind of sacred cow and twist it into something of our own. Being that the whole Wonka thing was a massive part of my childhood,” Claypool explains,  “It just seemed like the perfect thing for us to sink our teeth into, in part because those tunes are all so strong.”

The project would’ve worked with almost any of Claypool’s diverse musical ventures, but he knew from the start that he wanted to bring Wonka straight to his flagship band.  “There’s excitement right now in the Primus world,” he explains.  Two years after releasing an album of new material, Green Naugahyde, the Primus machine has a full tank and is running hot.  “There’s this reinvigoration here,” says Claypool.  Beginning on New Year’s, drummer Tim “Herb” Alexander returned to the lineup, following a three-year hiatus (during which the baton was passed to Jay Lane).  Reunited with Claypool and guitarist Larry “Ler” LaLonde, the trio was able to capture the classic Primus sound and honor the spirit of Willy Wonka as seen through Claypool’s H.G. Wells style, creative-vision goggles.

“The recording is about my early perception of the original Willy Wonka and the Chocolate Factory film,” says Claypool.  “The notion wasn’t so much to go in and redo the soundtrack note for note as much as it was to utilize the classic elements of the music yet try to reflect some of the darker undertones of the Roald Dahl books, because when you read those books, there is an eerie and somewhat menacing aspect implied.” 

In order to get the full depth that he envisioned for the music, Claypool called up two celebrated players from his multi-band roster — Mike Dillon and Sam Bass.  “Otherwise, it would’ve been the ‘Wynona’s Big Brown Beaver’ version of Willy Wonka,” he says.  “I don’t think it would’ve carried as well. With the added ingredients of marimba, vibraphone, tabla and various strings, we were able to bring some depth to the sonic landscape and really shift the mood around.  It gets dark and creepy yet maintains that notion of innocence.”  This reinforced version of Primus (featuring the Fungi Ensemble after Les’s last solo band) set about recording what would become Primus and the Chocolate Factory at Claypool’s home studio, Rancho Relaxo, in Sonoma County, California, during the early months of 2014.

“The whole thing just unfolded,” says Claypool, who produced the album himself.  “It was a very easy and pleasant project.  It wasn’t like we sat and scratched our heads… Every song was all wrapped around how I would interpret the vocals, for the most part, because that was the most challenging thing.” 

For example, Claypool took on the character of Grandpa Joe on the song, “Golden Ticket.”  But rather than try to emulate the voice of Jack Albertson,  (Grandpa Joe from the original film), he affected an almost comical, deep vibrato that brings to mind an aging Elvis impersonator lounge singer… with a wobble. “And then it just fell into place,” he says.

Some of the album’s finest moments were inspired by the same motivation that has driven Primus’ entire career: “I spent the last 20-some odd years just trying to make Larry LaLonde laugh,” says Claypool.  “The majority of Primus music is me trying to crack him up and him trying to crack me up.”  So when LaLonde humorously captured a Rockmaninoff melody that Wonka briefly performs in the movie, Claypool rebranded the track “Lermaninoff” in Larry’s honor and even snuck in a surprise vocal… without informing the guitarist.  “That’s been the foundation of most of our career,” says Claypool.  “Just trying to one-up and impress each other, and if I can make Ler piss with laughter, I win.”

The result is an album that Claypool enjoys listening to, as a fan.  “One of the things that I’m most impressed with and that I’m most drawn into, on the recording, is Tim’s percussion,” he says.  In order to achieve the effect he was going for, Alexander built a drum station that Claypool describes as both “a pile of percussion” and a “huge circle of things to bang on” so dense that Alexander then had to create a door just to enter and exit the thing.  “Tim was able to produce these amazing sounds and he does these things that we’ve all loved about him over the years,” says Claypool.  “But it’s not your traditional drum kit or rock playing.  It’s very orchestral.”

With the album drop scheduled for October 21, Primus plans to tour the Chocolate Factory beginning the very next day.  “We’re going to do some touring with it and we put together this pretty abstract stage production,” says Claypool, “We’re going to take it out there, around the planet, and see what happens. And, in light of the record business being gutted by the internet, we’ve made some PRIMUS brand chocolate bars to peddle as well.”  

Of course, Claypool realized that it was risky business to adapt a cinematic classic that is so close to so many people’s hearts.  And, naturally, he realized that it was dangerous waters to swim in the wake of Gene Wilder, who portrays Willy Wonka in the original film.  The band pulls it off by making something that is truly their own, without taking anything away from the movie.  When asked about the fairly recent Tim Burton attempt at bringing the Roald Dahl story to the screen Claypool comments, “Look, I love me some Tim Burton, when he writes his own stuff, and I respect what Johnny Depp has done over the years.  Hell, Ed Wood is one of my favorite films, but that (Charlie and the Chocolate Factory) is just unwatchable and believe me I’ve tried…twice as a matter of fact,” Les continues, “Even my kids hated it”. 

“Our project is an homage to Gene Wilder and David L. Wolper’s, Willy Wonka and the Chocolate Factory and the effect it had on me in my youth,” spouts Les, “Now we get to sell PRIMUS bars and hang out with demented Oompa Loompas. Plus to top it off, it gives me an excuse to wear a purple, velvet waistcoat and brown top hat for the next 18 months.”  

East Stage:

TOOL: 10-11:45PM


Sunday: November 1st

West Stage:



With “INTO THE WILD LIFE” Halestorm reach deep within and conjure their most engaging and eclectic songs to date. On “INTO THE WILD LIFE” they push their musical boundaries further than we’ve seen thus far in their catalog, crafting songs that rise from a whisper to a scream and back again, proving that there’s no limit to creativity. And nothing will stop them from realizing their artistic vision.

On “Sick Individual,” which opens with a drum solo and blends into a dramatic rock anthem, Hale sings, “I’m doing this thing called ‘whatever the f— I want, want, want.’” The attitude- laden lyric encapsulates the vibe and versatility of the record. Shards of metal, passages of pop and reams of rock – both classic and contemporary — abound throughout “INTO THE WILD LIFE,” the exuberance of which is only matched by the band’s passion and confidence.

“On the last record, we hit all these crazy milestones,” Hale says. “All of a sudden the world was aware of us so we celebrated unabashedly.” Indeed, “Freak Like Me” and “Love Bites (So Do I)” both reached #1 on Active Rock charts, making Halestorm the first ever female-fronted band to top the format’s airplay ranking. In addition, the band won a Grammy for Best Hard Rock/Metal Performance for “Love Bites (So Do I).” The accomplishments didn’t stop there. Hale collaborated with “America’s Got Talent” star Lindsey Stirling on the EDM song “Shatter Me” and performed with country maverick Eric Church at the CMT Awards, demonstrating her versatile vocals mix with any genre. On top of that, Hale was honored by Gibson Guitars, which celebrated her accomplishments by creating a Lzzy Hale signature Explorer guitar.

“All of the attention was amazing and fueled our confidence,” Hale says. “So we decided to throw everything we were used to out the window and just go for it.”

Indulging every whim, Halestorm wrote songs that pulsate, pound and soar, as well as confessional, heartstring-tugging tunes and everything between. “Amen,” grooves to a chain- gang shuffle and sparse keyboards, featuring a verse reminiscent of Fleetwood Mac and a chorus that has more in common with Joan Jett. Then there’s “Mayhem,” a confrontational blast of adrenaline that builds from echoey seduction to full-blown euphoria.

“To me, this album is about independence and the bravery it takes to step into the unknown,” Hale says. “It’s not like we strayed from what we are, it’s just a lot more of what we are.”

In addition to experimenting with previously unexplored styles, Halestorm took an equally bold approach to recording. Instead of tracking all the instruments separately and then tweaking them later, Halestorm recorded everything live in the studio with the help of producer Jay Joyce (Cage the Elephant, Eric Church).

“It was literally the four of us in a circle in this church playing everything the same way we do onstage,” Hale says. “We had to play everything over and over again until we were all riding the same wave. Without making a live record, we wanted to capture the kind of chemistry and energy we have in concert.”

After Halestorm recorded the songs, Hale went back and redid some of her vocals to maximize their emotional intensity. And Joyce applied the same rigorous standards to her final vocal takes as he did to the band’s initial recordings. “If I wanted to do something over again, I strapped on the guitar and sang all the vocals from start to finish,” Hale says. “In the beginning I said to Jay, ‘Hey, if I don’t quite hit that note we can just fix it, right?’ And he said, ‘No, that’s not what you guys said you wanted. You gotta do it all over again.’”

As frustrating as the process sometimes was, by the end of every final take Halestorm were ecstatic. “It really brought out the best in us because we had to trust ourselves and literally be ‘on,’” Hale says. “It was hard, but the results were so much more rewarding because we didn’t try to compromise, and I feel like the excitement of that shows through all over the record.”

Instead of recording in a major studio in Los Angeles or New York, Halestorm created “INTO THE WILD LIFE” in East Nashville, and when they weren’t at the studio they soaked in the musical culture of the legendary city. “I’m sure a Southern bug crawled into my ear just from hanging out there for a while,” Hale says. “There are a lot of great musicians there, for sure, as well as a lot of great classic rock. That was a big part of this album. While we were doing it, I was listening to a lot of the same stuff that first got me inspired. I went back and listened to a lot of Black Sabbath and Alice Cooper and some Zeppelin. Our attitude was, ‘Let’s immerse ourselves in the things that got us excited in the first place. Instead of trying to reinvent the wheel we

said let’s be the wheel and be the best wheel we can be.’”

The first single from “INTO THE WILD LIFE” is “Apocalyptic,” a bluesy belter about a turbulent relationship and amazing chemistry between the sheets. While Halestorm alluded to sex and decadence in past songs like “I Get Off” and “Love Bites (So Do It),” on “Apocalyptic” and “Amen” Hale drops the metaphors and tells it like it is. “I wanted some songs were a little confrontational and sexual,” Hale says.

The more acoustic-based songs on “INTO THE WILD LIFE” are just as revealing as the rockers. In the confessional folk-pop number about love gone wrong, “What Sober Couldn’t Say,” Hale sings, “Heading for a blackout, hurting like hell/finding my way to the bottom of the bottle.” And on “Dear Daughter,” she starts with spare, delicate piano chords and builds into a poignant ballad filled with pearls of wisdom: “Dear daughter, hold your head up high/there’s a world outside that’s passing by.”

“The last album cycle we did was the first time my mother didn’t come with us; for a long time both of my parents were working for us,” Hale says. “As soon as your parents are gone, at first there’s a stage where you go, ‘Whew, nobody’s going to tell me what to do!’ And then you think, ‘You know what? If it wasn’t for my parents’ support we would have never started the band as early as we did. And we probably wouldn’t have gotten to this point.’”

With “INTO THE WILD LIFE,” Halestorm have developed as a band without compromising their identity. From the start, they’ve had the conviction and songwriting skill to appeal to fans of both Heart and Metallica. Now, they’ve stretched their musical boundaries even further to come up with an album that exhibits a sheer joy for whatever style of music they chose to embrace.

“Doing this album reminded us that being in a band is still magical. And four people that actually love each other and can rock out with each other can experience this refreshing kind of creative freedom,” Hale says. “At the end of the day, we can laugh and turn to each other and say, ‘Look, guys. We are still here! For whatever reason, we still dig each other and we still love making music together.’ And now we can go out there and do whatever the hell we want.” 


East Stage:

Ghost: 3-4PM



A decadent and hash­addicted poet once wrote “What matters an eternity of damnation to someone who has found in one second the infinity of joy?” This is the only choice that matters. The devil’s fall came only after his great rebellion, a single and simple act of looking into the face of authority and saying, “I am glorious.” This was Satan’s ecstasy, but he embraced it knowing the punishment. Are you ready then, to join Papa Emeritus III in the pit, to proclaim your own splendor, feeling your wings melt as the last breath of the exclamation leaves your mouth?

Rock and roll exists in two worlds: the sacred and the profane. In the first, it harkens back to a time when people worshipped their gods by wearing masks, dancing, and often in the throes of ecstatic intoxication. In the second, rock exists in the here and now, as an expression of rebellion, sex, power, and even fame. In the realm of the sacred, the ego is destroyed when the god is seen face to face. In the profane, ego is the energy that get things done. This is the eternal spiritual conflict: the will of the gods versus human will. Those who can keep a foot in both the sacred and the profane can change the world.

The world since he was last seen has changed. Called Moloch by some, the great industrial machine has been grinding away, grinding everything and everyone down in the process. Spies are everywhere. Their eyes are behind the screens of your televisions and devices, their ears attentive to every frequency in the air. Everything is mediated, pre­packaged, and pressure sealed, your lives preordained. From the cradle to the grave, the world moves along as if there is free will, but this is the grandest illusion. There is no power beyond that which the all­seeing eye controls. The gods are all dead. Even art is pure commodity. But some still fight, quietly at first, but soon they will rise and make the glorious noise of the ancients, donning their masks, these nameless ghouls led by Papa Emeritus III.

Above the shining city of Meloria, dirigibles float like angels, ever watchful. Under the streets Papa Emeritus III is gathering his new flock. He is a shepherd of black sheep, the sewers are his cathedral. Here in the darkness they follow the path of the hero’s journey, the necessary travel to the underworld to become transfigured, to become something new. The journey is always painful, and some are left behind, but you cannot turn back to see what has been sacrificed. Along the way, his followers try to name him their god, but Papa Emeritus III teaches that he is only the mask, the voice.

Myth and legend are mostly dead, but some still remember the old tales of those who tried to defy the gods. It was said they stole the fire heaven, or called themselves equal. One figure was considered so prideful he was imprisoned in a pit where he gathered a legion to plan a great rebellion. Now they are merely stories to scare children, to remind them that defiance is a sin. Papa Emeritus III will steal your breath, the parents say. He will unscrew your hands and feet. He will take your eyes.

Then one night, on the high floor of a gleaming skyscraper, whose lights are controlled to come on and off with the rising and setting of the sun, something happens. A sole window is illuminated, a tiny fist raised to heaven. And then comes sound of a beat of a drum, the strained crackle of an amplifier, and the thick chord of a guitar.

It begins with a call to “Cirice,” the once proud goddess reduced to a whore and bringer of the apocalypse is reborn. The song is a love letter to all those who have been cast out, a reminder of the divine nature in all of us. Made of star stuff, how could we be born in sin? Behind the lie of our own damnation is the truth of Papa’s love. Submission won’t be easy, but on the other side is liberation.

The hardest part will be the fall. It will mean climbing down from the gleaming skyscrapers where everything is mediated, where experience is in the streets and not in the virtual reality of our devices. Going from “The Pinnacle to the Pit” is not the punishment it was meant to be. It is freedom to struggle against injustice, to march with crowns and scepters. Here in the pit, we are all royalty now.

Papa Emeritus III is not here to lead. His journey is your own. “Majesty” is not the state that only belongs to him. He is merely the mask, the path into the fire where he has already been. The method is exactly as it has always been, down on our knees, imploring the gods, but Ghost will sound your arrival with voice, and string, and drum. The world is about to be electrified. You can fall or you can jump.


Due in stores worldwide on August 21, 2015

Ghost is a 6­ piece rock band that was formed in Sweden in 2008.

In 2010, they released a 3 ­track demo followed by a 7″ vinyl titled “Elizabeth,” and later their debut full­ length album Opus Eponymous. The album was widely praised and increased their popularity significantly.

Their second album Infestissumam was released in 2013. Bolstered by a fight with the Catholic Church over a hamburger, Ghost’s pursuit to highlight the hypocrites and champion the individual reached a global audience. The was also certified Gold in Sweden.

For each album, a Summoning is held to present a new singer and 1 frontman for the band at an undisclosed location in Lincopia, Otrogathia. Papa Emeritus III, the singer for the Meliora chapter of Ghost, was revealed via a paid advertisement on VH­1 Classic on May 20, 2015 during a late night broadcast of Caddyshack. A technologically adept fan captured the moment on their phone and uploaded to a popular video­sharing web site.

Meliora will be released worldwide on August 15, 2015. To help you understand the music, the Clergy enlisted A Ghoul Writer to describe the 2 3 music. Please enjoy the following illuminations on the 10 songs of Meliora.


The idea for this album was since the beginning of writing to make a “futuristic / pre­apocalyptic” sounding record. This song was the first song written that was intended for the album and is meant to strike a sort of technicolor horror chord with it’s almost Ed Wood­ish sci­fi introduction theme.

Lyrically, this is meant as a hallucinogenic trip into the spheres of devils and demons, guided by the green muse. Think 1929, just before the crash. A New York night sky with searchlights. An office inside the Empire State Building. A bigwig sipping absinthe before jumping of the ledge of the observation deck. Facefirst into the pits of hell.


We always have had a craving for a truly stomping riff based song, Led Zeppelin style. Something that would sound great coming out of a car stereo standing at an american high school parking lot.

Lyrically, it deals with the classic tales of Icarus and Lucifer to illustrate how most ambitious souls are ultimately, according to popular belief, facing the fall.


CIRICE (pronounced Sa-reese)

Initially this song was meant as complete doom track, with an even longer intro part (see “DEVIL CHURCH”). Since we already had some other songs that had those big choruses we figured that this might be a song where we intentionally left that out… But on a coffee break the chorus just came out of nowhere and we failed with our chorus­less doom track and ended up with a somewhat heavy power ballad instead.

Lyrically, it is a simulation of the relationship between an religious authority (be it church or sect) versus the little person who can not tell empathy from pure manipulation. All disguised as a love song.


Early on in the pre­production we were quite clearly in need for some kind of interlude in between what sounded like a couple quite intense songs, thus we lifted in a lead theme from another song that is not on this album (which we, as we often do ­ leave for later). So the first half of this song is a spiderlike creeping little piece from a song called “RATS”, which you will know about within a couple of years.


This is the oldest song on the record, written about 8 years ago (back in 2007) and originally not intended for Ghost. We have always prided ourselves for being bold and for trying to think outside the box when it comes to how our songs are supposed to sound, but this felt a bit too far out and not as something that would fit. However, after one dazed evening in the company of friends (other musicians, from the swedish band In Solitude and dutch The Devil’s Blood) back in 2010, where we played demo songs for each other we also listened through the rough demo of this song, originally entitled “Lei è” (she is). Selim from The Devil’s Blood was really insistent that the song should be recorded as a Ghost song and we had to change our minds. And we did, with a little help from our friends. We did try to make a demo of it for Infestissumam​but it never really got to a state where we felt comfortable with it and we decided to put it aside and make better use for it in the future.

Sadly, our friend Selim committed suicide a few years later and inspired us even further to realize the song for this album.

Lyrically, it’s a Romeo & Julietesque inspired love song where one of the lovers is guiding them both over the edge in the belief that will be someplace beautiful somewhere else where their love can prosper without the threat of the outside world. It’s a song about faith and devotion.

Selim Lemouchi (1980­-2014)


The idea for this song was in the mix already by the recording ofOpus Eponymous​, but we never really got it right and just left it for a better day. Once the theme for this new album came up a couple of years ago, and some more “urban nocturnal sky” elements where added, it made perfect sense to give it another shot for this album.

Lyrically, it’s about the only god the modern person really trust (and worship); Mammon.

Google him.


Not unlike “FROM THE PINNACLE TO THE PIT”, this was a song that was based upon an actual riff rather than building riffs around a more vocal driven basis of a song (which often is the case within Ghost songwriting).

Lyrically, it’s on one hand a hymn about the dark lord of the underworld. On the other hand it paints a picture of a swarm of people, whom in a world of complete disaster, idolizes an authority that is clearly looking down upon them. How to love something that hates you back.


This little instrumental piece was originally written as the first part of “CIRICE”, but as that song grew longer and longer (and better) we decided to separate the two tracks, so that “DEVIL CHURCH” wouldn’t be regarded as the fat of one song but rather stand on it’s own as an autonomous piece of music.


Another riff based song. Also the third song on the album that has a chorus with 5 bars rather than the conventional 4, which has sort of been the theme of the album. By adding an easily understandable vocal line, you can complicate things underneath which we always like to do.

Lyrically, it is a lament for the modern woman or man who spends their life thinking that they possess that little extra something that make them excel above any responsibility for the wellbeing of the rest of the world.


Primarily, the basic structure of this song was written on a piano backstage at the Grand Sierra Resort in Reno, Nevada during our tour together with Mastodon and Opeth. The somewhat economical guitar riffing probably comes from the fact that it was written on claviature, which usually means (from a guitarist point of view) that you penetrate the song from a different angle than you would have if you’d written it on your main instrument.

Lyrically, this song is where the ambitious modern person is at his or her hour of dying… Or perhaps at one of those crossroads in life where it feels as though you are facing the end. Like Satan talking to Jesus in the garden of Getsemene, the listener is spoken to by someone close…


West Stage:

Puscifer: 4-5PM


Jerome, Ariz., July 28, 2015 – Puscifer, the Arizona-based outfit helmed by Maynard James Keenan, return with the electro-rock band’s third full-length album, Money Shot, on Oct. 30 via Puscifer Entertainment.  Rolling Stone offers the first sounds and imagery from the new album with the video for “Grand Canyon”.

“It’s extremely satisfying to witness simple conversations and ideas transform into completed sonic landscapes. And to have these stories go above and beyond the initial ideas makes my grumpy heart swell 3 sizes,” said band ringleader, Maynard James Keenan.  Puscifer celebrates the concept of creativity, invoking the audience “to create something with every breath drawn.” That sentiment takes center stage as Money Shot unfolds over its 10 songs. 

Money Shot was produced by guitar player, programmer Mat Mitchell and Keenan with some additional awesome sauce coming from the one of a kind, bad ass Carina Round. “It’s such a pleasure to work on music with so many creative individuals.  The intermix of influences and ideas made for an album I’m really proud of,” added Mitchell. Additional participants include Carina Round, Juliette Commagere, Devo Keenan, Tim Alexander, Jon Theodore, Jeff Friedl and Matt McJunkins, with Adam Rothlein directing the “Grand Canyon” video.

Puscifer’s previous studio albums, the tongue-in-cheek V is for Vagina (2007) and the Spaghetti western-flavored Conditions of My Parole (2011) both debuted in the Billboard Top 30.  Puscifer was born in 1995 during Keenan’s participation in Laura Milligan’s Hollywood-based, underground variety stage show, Tantrum.  The outfit’s first television appearance came via Mr. Show.  The multimedia troupe has morphed over its now 20-year history into a band that creates and blends insightful, captivating music coupled with jaw-dropping imagery and the more-than-occasional Kaufman-esque comedy.  


East Stage:

Deftones: 5:15-6:15PM


Since Deftones’ Inception, the multiplatinum, Grammy-Winning alternative rock band from Sacramento, CA have quietly been pursuing two paths, delivering songs defined by churning, double-fisted aggression while also testing the boundaries of music by incorporating elements of psychedelia and shoegaze.

The Los Angeles Times wrote of Deftones, “Hard rock thrives on conflict and chaos, and no band has found more beauty and soaring aggression within those ingredients than Deftones.” Deftones have released seven albums to date and have sold over 10 million albums worldwide.

Comprised of vocalist/guitarist Chino Moreno, guitarist Stephen Carpenter, keyboardist/samplist Frank Delgado, drummer Abe Cunningham and bassist Sergio Vega, are currently working on their eighth studio album to be released in 2015. 


West Stage:

Rob Zombie: 7-8PM


As a rock n’ roll icon and filmmaker with a unique vision, Zombie has a reputation for stretching the boundaries of both music and film. Already from Zombie in 2015 is a new concert album, Spookshow International Live, via Zodiac Swan/T-Boy/UMe. Selected and sequenced by Zombie from shows recorded during last year’s touring around the world, the album is a blistering set of 19 live performances. Zombie has achieved great solo artist success with several multi-platinum and gold albums. Zombie has sold more than fifteen million albums worldwide, and is the only artist to experience unprecedented success in both music and film as the writer/director of six feature films. Zombie’s Halloween, released in 2007, earned the No. 1 spot at the box office in its opening weekend. In 2013, Rob Zombie released his fifth solo album, Venomous Rat Regeneration Vendor featuring the hit “Dead City Radio”. And last year, Zombie released his first concert film, The Zombie Horror Picture Show and his annual Great American Nightmare ultimate Halloween events successfully scared and entertained scores of people in Scottsdale, Arizona and Villa Park, Illinois. Rob Zombie is currently in production for his seventh feature film, 31, one of the year’s most anticipated horror movies, is also working on his next studio album, to be released this year via Zodiac Swan/T-Boy/UMe. 


East Stage:

Linkin Park: 8:20-9:50PM


What is a “Hunting Party?” On the most basic level, it is, quite literally, a group of dudes getting together to kill shit. Fittingly, it is the title of Linkin Park’s sixth studio album, due out June 17th on Machine Shop Recordings / Warner Bros Records.

The sum of a career dedicated to brain-melting innovation and expert craftsmanship, The Hunting Party finds Linkin Park reaching into their childhoods in order to realize their future. After setting the template for rock that incorporated hip-hop influences with Hybrid Theory and Meteora, LP shifted gears completely with the polychromatic Minutes to Midnight, only to subvert expectations again by releasing the largely electronic, apocalyptic A Thousand Suns and 2012’s Living Things, which melded songwriting structures of folk with the harder edges of electronica and rock and roll. The direction the band was trending towards suggested that The Hunting Party would follow in this electronic-tinged vein. But then again, Linkin Park has always loved a good surprise.

Multi-instrumentalist/vocalist Mike Shinoda explains the origin of the album, “I made some ‘alternative pop’ demos that sounded like they would fit in with what radio is currently playing.  But then I came across a blog piece entitled “Rock Sucks Right Now and its Really Depressing.” It got me thinking…I ended up writing a response to it, and realized that what I had been working on wasn’t really what I wanted to be making.” Frustrated by the over-abundance of soft indie and pop on “rock” radio, Shinoda decided to lead the band in a harder-edged direction, innovating by reverting to the ethos of music that inspired them to become a band in the first place.

“When I think of myself at 15,” Shinoda says, “I think of emotions being so raw and illogical. It hadn’t been watered down by experience. I liked music that was lyrically or sonically offensive—whatever would piss my parents off. We had to get back in touch with that in order to make this record.” As such, elements of hardcore punk, thrash metal, and the hip-hop pioneers like Kool G Rap and Big Daddy Kane were incorporated as influences on the record. “War” is perhaps the hardest-edged song Linkin Park has ever set to tape, while “Rebellion,” featuring a guest appearance by System of a Down’s Daron Malakian, ricochets from vocal interplay from Shinoda and lead singer Chester Bennington to a martial stomp and vocal freak out from Bennington.

“We had to figure out how to reimagine that in a postmodern way,” says guitarist Brad Delson. “We had a punk rock attitude of, ‘I don’t give a fuck, this is what I want to make.’” Essentially, he says, “we wanted to do something progressive and that only we could do,” continuing, “I think one of the successes of the record is that those attitudes congealed.” Indeed, the album is the sound of trained professionals performing an armed assault on their material, featuring the type of performances that seem like they require technical acumen as well as sheer aggression and physical stamina. The best of both worlds, indeed.

While Linkin Park has never been afraid to explore their influences, on The Hunting Party they actively engage in conversation with them—hip-hop legend Rakim lends a searing 24-bar verse to “Guilty All the Same,” while Helmet’s Page Hamilton carries the chorus of “All for Nothing.” Rage Against the Machine guitar virtuoso Tom Morello helps sculpt the amorphous “Drawbar,” in addition to the aforementioned guest spot by Malakian on “Rebellion.” Working with legends such as these is the physical manifestation of the band’s manifesto, as if the band’s inner 15-year-olds wrote the wish list of collaborators.

Being a band with a united sonic vision on its sixth album has its advantages. “There’s an intimacy and an energy when we play together that I think this record captures,” says Shinoda of the album. Indeed, the album’s approach helped sculpt its sound: the album is the band’s first self-produced endeavor, and their first to rely heavily on analog tape recording, minimally altered. It’s the sound of old comrades making music together in a room. Notes Shinoda, “The process of recording to tape and preserving the best performances was definitely one of the things that gives The Hunting Party its sound.”

By combining obsessive craftsmanship with a willingness to let go of the steering wheel, Linkin Park manage to capture their ever-innovative spirit and imbue it with a defiance and hunger seldom seen in bands working on their sixth album. Though some fans believe The Hunting Party to be something of a “prequel” to their debut Hybrid Theory, Delson explains, “It’s not a return to a style or sound; it’s a return to an ethos and inspiration—one that predates us coming together as a band.  It’s the result of a hunger for music that we’re not hearing anyone doing.”


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