HALF GOD / HALF DEVIL TOUR
In This Moment
Of Mice & Men, Avatar
Saturday, October 21st, 2017
4:00 pmBrooklyn Bowl Las Vegas
$29.50 - $49.00+
This event is all ages
$29.50 General Admission, $32.00 General Admission (day of show)
$49.00 Club Level
All guests must have a valid government/state issued ID for entry to the venue. No refunds.
TICKETS PURCHASED IN PERSON AT THE BOX OFFICE ARE SUBJECT TO A $2 TICKETING FEE.
All general admission tickets are standing room only.
ALL TICKET PRICES INCLUDE NEVADA'S 9% LIVE ENTERTAINMENT TAX
Brooklyn Bowl Las Vegas is excited to offer special room discounts via Caesars Hotels & Resorts for traveling fans. For hotel rooms use promo code: BRB15 at www.caesars.com applicable for rooms at The LINQ Hotel and the Flamingo.
*Advertised times are for doors -- show time not available*
Within a deck of tarot cards, the High Priestess serves as the guardian of the unconscious. In Greek mythology, the old oracles celebrate the Mother Goddess. William Shakespeare posited portentous prescience in the form of MacBeth’s “Three Witches.” On their sixth full-length album Ritual, In This Moment—Maria Brink [vocals, piano], Chris Howorth [lead guitar], Travis Johnson [bass], Randy Weitzel [rhythm guitar], and Kent Diimel [drums]—unearth a furious and focused feminine fire from a cauldron of jagged heavy metal, hypnotic alternative, and smoky voodoo blues.
It’s an evolution. It’s a statement. It’s In This Moment 2017…
“It’s like we’re going into the next realm,” asserts Maria. “I had a conviction of feeling empowered in my life and with myself. I always write from a personal place, and I needed to share that sense of strength. I’ve never been afraid to hold back. Sometimes, I can be very suggestive. However, I wanted to show our fans that this is the most powerful side of myself and it’s without overt sexuality. It’s that deeper serious fire inside of my heart.”
“What Maria is saying comes from deep inside,” Chris affirms. “This time, we had a bunch of ideas started before we hit the studio. There was a really clear direction. It’s different.”
The group spent two years supporting their biggest album yet 2014’s Black Widow. Upon release, it seized their highest position to date on the Billboard Top 200, bowing at #8. Simultaneously, it clinched #3 on the Hard Rock Albums chart and spawned a series of hits such as “Sick Like Me,” “Big Bad Wolf,” and “Sex Metal Barbie”—all cracking 8 million Spotify streams each and topping Rock Radio. Meanwhile, the band’s signature smash “Whore” crossed the 20-million mark.
Furthermore, the title track off In This Moment's 2012 album, Blood, has been certified gold by the RIAA. A remarkable accomplishment, the companion music video for "Blood" has been viewed over 27 million times. Between headline tours, they incinerated stages everywhere from Rock On The Range to Download Festival. In March 2016, Maria and Chris commenced writing for what would become the new record with longtime collaborator and multiple GRAMMY® Award-nominated producer Kevin Churko [Five Finger Death Punch, Ozzy Osbourne] at his Las Vegas compound. Following a high-profile summer 2016 tour with Korn and Rob Zombie, the duo began writing.
Then, Maria visited Salem, MA for the very first time with all of the women in her family quite appropriately during Halloween. “We were really tapping the energy there,” she says. “We were honoring each other. I was seeking inspiration and experience to inspire me in this album. I was trying to find a lot of truth in myself. I loved Salem. I was blown away by how visually beautiful it is. The history of the witch burnings is fascinating. It was a special ceremonial journey.” Galvanized and inspired, Maria and Chris returned to Kevin’s stronghold to complete recording. In an atmosphere of candles, crystals, incense, and a cackling fireplace, they expanded their aural palette once again, welcoming a doom blues bombast into the sonic fold. “We love Black Widow, but it was very electronic,” Chris explains. “This is a little more organic, emphasizing guitars, bass, drums, and vocals. We slowed down the groove a little bit. I got to play some slide guitar, and I’ve never done that. There’s a bluesy side, which we’ve also never had.”
“We always want to grow and evolve,” Maria adds. “It was a chance to get a little more serious.” That progression shines through the first single “Oh Lord.” A minimal drum and handclap echoes as Maria’s wild incantation takes hold. Guitars shiver and shake as the frontwoman delivers an undeniable refrain. “The meaning of ‘Oh Lord’ is central to the album,” she reveals. “I should be able to have a relationship with what I perceive God to be. For me, it’s this strength and light. When I was younger, I felt guilty for thinking of these things. I’m not supposed to touch an oracle card, a tarot card, or these beautiful things, because they’re ‘bad.’ I had these fears in me for a long time like, ‘Is this wrong?’ I realized I don’t have to be afraid anymore.
There’s a lot of learning and an awakening in that one.” Inverting everyone’s favorite Billy Idol nuptial anthem, “Black Wedding” sees Maria walk down the aisle of musical madness with none other than Judas Priest frontman Rob Halford. Cowritten with Stevens, it’s an explosive and enchanting duet. “I can’t believe that happened,” beams Chris. “Maria hit up Rob and asked if he was interested. He jumped right on it. I can’t believe we got him.” “Who doesn’t love ‘White Wedding?’,” laughs Maria. “We wanted to do a spin-off that’s creative. It’s a question-and-answer between me and another voice. The chorus essentially says this isn’t going to be the opposite of a happy ending! You’re becoming empowered by heartbreak.”
Chris breaks out the slide on the raging “River of Fire,” while “Witching Hour” dances around the flames to a new wave-inspired groove and midnight lore as Maria recants, “This idea of me being burned as a witch in a past life for teaching people to be free.” Elsewhere, “Roots” practically opens up the earth with its sheer seismic force. “Sometimes, I have to go through pain in order to forgive and let go,” she adds. “I love to thank the hate in people. It’s that sort of energy. I’ll be okay, hold my head strong, push forward, do what I’ve got to do, and prevail.”
Simultaneously, In This Moment breathe a dark new life into the Phil Collins’ classic “In The Air Tonight.” “We can’t reproduce what he did in a million years,” she says. “It’s one of the best songs ever. We did our own interpretation and made it a little more sinister like our ritual.” The ritual has begun, and In This Moment ignite a brighter fire than ever before here. “When fans hear this, I want them to feel the music, whether they take away sadness, anger, or happiness,” concludes Chris. “As a kid, I remember listening to records and putting them on repeat over and over again. I’d love for the world to listen and absorb this as a piece of work.” Maria leaves off, “I want everybody to be unafraid of who they are and not worry about what the rest of society says. Be strong. Be loud. We love our fans deeply. I hope everybody feels that love and powerful in who they are.”
Within Avatar’s diverse songs, a steady focus on the fluid and organic power of the riff (recalling the thunderous foresight of heavy metal’s original wizards, Black Sabbath) takes flight combined with an adventurous sprit veering off into the astral planes of the psychedelic atmosphere conjured by pioneers like Pink Floyd back in the day.
Avatar has found a footing that combines the best of rock n’ roll, hard rock and heavy metal’s past, present and future into an overall artistic presentation that is thought-provoking, challenging and altogether enchantingly electric. With the grandiose showmanship of American professional wrestling, the snake oil salesmanship of early 20th century vaudevillian troubadours and the kinetically superheroic power of early Kiss, Avatar lays waste to lesser mortals with ease. Whether somebody gets their rocks off listening to Satyricon or System of a Down, they’ll find something suitably deranged here.
“We’re in this weird field, caught in a triangle between extreme metal, rock n’ roll and what can be described as Avant-garde,” confesses Avatar vocalist Johannes Eckerström. The all-enveloping theme park vibe of the band’s music and visual counterpart means that, naturally, “it’s turning into something bigger.”
“I have been in this band for ten years. I grew up in this band,” Eckerström explains. “We’re somewhat veterans on the one hand. But we’re the new kids in the neighborhood in America at the same time.”
Avatar came of age as “little brothers” of sorts of the famed Gothenburg scene that spawned the celebrated New Wave Of Swedish Death Metal. The band’s debut album, 2006’s Thoughts of No Tomorrow, was filled with brutal, technical melodic death metal to be sure but already, “We tried to put our own stamp on it,” the singer assures. While the following year’s Schlacht still contained flourishes of melody, the unrelenting metallic fury reached an extreme peak. “Intensity was very important,” he says, with some degree of understatement.
Where to go for album number three? “We basically rebelled against ourselves,” Eckerström says of 2009’s self-titled collection. “We figured, ‘We can play faster and make even weirder, more technical riffs,’ because Schlacht was cool. But to take that another step would have turned us into something we didn’t want to be.”
Instead Avatar rediscovered their inherent passion for traditional heavy metal and classic rock n’ roll. “We decided to remove some unnecessary ‘look at me, I can play!’ parts and added more groove. We added a whole new kind of melody. It was awesome to be this ‘rock n’ roll band’ for a while. It was refreshing and liberating.”
Black Waltz sees Avatar coming completely full circle, returning to a more aggressive form of heavy metal but incorporating the lessons they learned while jamming on big riffs with album number three. “We finally came to understand what a good groove is all about and what a great fit it was for our sound,” notes Eckerström.
Tracks like the appropriately titled “Ready for the Ride,” the rollicking “Let it Burn” (which dips into some delicious stonerifficness), the anthemic “Smells Like a Freakshow” (a modern day twist of Marilyn Manson and Rob Zombie) and “Torn Apart” are supercharged with a dynamic range of artistic showmanship on a near cinematic scale and it’s all stitched together by a driving bottom end.
While most European metal acts who dare attempt this level of musicianship, showmanship and attention to detail seem content to toil away in the studio and lock themselves away from the crowds, Avatar have excelled beyond their peers thanks in large part to their continued focus on road work. Careening to and fro on tour busses and airplanes around the world like a marauding troupe of circus performers, Eckerström and his mates (guitarists Jonas Jarlsby and Tim Öhrström, bassist Henrik Sandelin and drummer John Alfredsson) have forged the type of musical bond that can only be brought forth from massive amounts of time spent together on the stage, in hotel rooms, in airports and partying at the venue’s bar.
Whether on tour with bands like In Flames, Dark Tranquility or Helloween, playing gigantic festivals like Storsjöyra and Sweden Rock Festival or demolishing South by Southwest, playing live is what it all comes down to for this band. “That is the final manifestation of our art,” Eckerström insists. “Of course an album is a piece of art in itself, but mainly it's a means to reach the higher goal, which is doing these awesome shows. Touring is of the greatest importance.”
“We all just love the pirate’s life,” he admits freely. “Sailing into the city on this tour bus thingy, going to kick some ass, have that party and all the while meeting all of these people, entertaining them, encountering a culture that's not your own. We love that.”
The want for this type of lifestyle goes back to early childhood fascinations for the good-humored singer. Reading about superheroes, watching Hulk Hogan on TV, getting exposed to Kiss – these were the first ingredients for what Eckerström would go on to create with the guys in Avatar and what has culminated now in Black Waltz.
The frontman promises that Avatar will continue to create, to captivate and to experiment. There’s no definitive endpoint in sight. It’s always about the horizon, the journey itself. “As long as you're hungry as an artist, there are higher and higher artistic achievements. I love AC/DC and Motorhead and what they’ve established is amazing, but we don’t want to write albums that are kind of like the album before. We want to travel to a new galaxy, so to speak, every time.”
The goal is always to conquer what came before. “That is what stays with you as a mentally healthy musician. Or maybe a mentally deranged one, I’m not sure,” the singer laughs. And part and parcel to that continued evolution will be the ever broadening expansion of the scope of Avatar’s worldwide presentation: Black Waltz and beyond.
“We have great visions of what we want to do and the things we want to give to people on a stage,” Eckerström promises. “These ideas, these visions, they require a huge audience. They require a lot of legroom to be done, so I want to get into those arenas, basically. I know we would do something really magical if we got the chance. This idea is one of those things that really, really keeps us going.”
Brooklyn Bowl Las Vegas
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