Hurt

Hurt

Righteous Vendetta, Torch The Wagon, SERIS ~ Farewell Show (The Penguin and Pineapple's Last Dance), Clara Finn

Tue, June 11, 2013

Doors: 7:00 pm / Show: 7:30 pm

$8.00 - $126.00

This event is 18 and over

Hurt
Hurt
"We wanted this to be a record of extremes," HURT frontman J. Loren says of the band's sixth album The Crux. "We wanted it to be its own musical world that the listener can step into, and then return to again and again, and find something new to discover every time."

Indeed, The Crux marks a vibrant creative rebirth for HURT, which has already earned a reputation as a band with a penchant for bold musical invention and unsparing lyrical insight. The new album finds the quartet—singer/lyricist/violinist Loren, guitarist Michael Roberts, bassist Rek Mohr and new drummer Victor Ribas—staking out exciting new musical territory to deliver a personally charged song cycle. The music's hard-rock punch is matched by Loren's carefully crafted, vividly introspective lyrics, which explore the darker margins of the human condition and tackle thorny issues of spirituality and self-knowledge.

The album, produced by Roberts and the band and mixed by John Kurzweg (Puddle of Mudd, Godsmack), offers 11 riveting examples of HURT's distinctive mix of sonic impact and subtle dynamics, as manifested in the songs' multi-layered instrumental settings as well as Loren's distinctive violin textures and expressive string arrangements. New songs "How We End Up Alone," "So When," "Eden," "Links and Waves," and "Numbers" (which gained significant pre-album airplay when a demo version was released to radio) incorporate soaring, anthemic choruses and spare, pensive passages and evocative widescreen soundscapes.

The Crux—HURT's first release on the Dallas based independent label Carved Records—decisively demonstrates how the band, after weathering personnel shifts and a split with a major label, has emerged intact as a dynamic, self-contained unit creating music on its own uncompromising terms.

"It was really important for us to get this right, so we took our time and put everything we had into it," Loren says. "I think it's the closest that we've ever come to capturing what we've been trying to capture since the band started."

The restless spirit that drives The Crux has been a constant throughout HURT's dozen-year career. Loren grew up steeped in classical music in rural Virginia, and was composing classical pieces by the age of 10. He was 15 when he formed the first lineup of HURT by cutting demos of his original songs and playing many of the instruments himself on the band's early recordings.

HURT's self-titled, self-released 2000 debut album and its 2003 followup The Consumation garnered considerable word-of-mouth attention, and the band's grass-roots success and growing reputation as a live act helped to win them a deal with Capitol Records. HURT's two Capitol albums, Vol. 1 (2006) and Vol. II (2007) plus the re-issue of The Re-Consumation (2008), a reworked, expanded edition of their earlier indie release—saw the band substantially expanding its national audience, spawning such rock radio anthems as "Rapture," "Falls Apart," "Ten Ton Brick," "Wars" and "Numbers." Tours with some of rock's biggest acts, including Staind, Three Days Grace, Alice in Chains, Seether and Breaking Benjamin, helped to further broaden HURT's uncommonly loyal and devoted fan base.

Despite their growing success, HURT's transition from D.I.Y. self-reliance to the mainstream music-industry machine proved to be an uncomfortable one in some respects, and by 2009, HURT was back in independent territory. True to form, the band chose to forge ahead and continue making music without corporate life support, and the band rose to the occasion to create the raw, unadorned Goodbye to the Machine, recorded quickly and with a minimum of production frills. That album helped to set the stage for the creative leap of The Crux.

"We put three years of work into The Crux," Loren notes. "We wrote and recorded Goodbye to the Machine really quickly. After that, I swore to myself that we wouldn't rush it the next time. So as Goodbye to the Machine was coming out, I began working on The Crux, and I decided that I would put my whole heart and soul and life into it.

"The first goal with this project was to return to the sound that people knew and loved about the band," he says of The Crux. "The next goal was to do a lot of self-exploration. There were a lot of ideas thrown around, and we stripped down every song idea and worked on those from scratch. It was a long process, but it was very satisfying. You really have to mess with things and experiment and push yourself. It was very much like working on a classical piece, fine-tuning it to make sure that it was as effective as it could be."

True to Loren's intention of putting his all into the project, the birth cycle of The Crux proved to be a personal challenge as much as a musical one. "What you're hearing on this record is definitely what I was feeling when I was making it, and what I was feeling is not the best place to be," he asserts. "I found myself displaced, to the point where I was unable to even talk to my family. I had broken just about every bond I could and I was at my lowest point, and there was nothing left for me to do but to work on this album. But sometimes that's where the best things come from. I think that everyone in the band actually delved into some form of insanity during the making of this album, and we had to pull together as a team and bring each other out of it. We were working on things in such depth that we all went a little crazy.

"This new iteration of the band is something that I'm very proud of," Loren continues. "These are the finest musicians I've ever worked with, and we've regained the sense of brotherhood that the band had in the beginning, with everyone united to achieve a common goal. That feeling is the best place to be, because I couldn't really open myself up if I didn't trust everybody in the group."

Prior to The Crux's release, HURT road-tested their new material and reinvented many of their older songs with their first all-acoustic tour, which allowed the band to reconnect with its fans in an intimate setting. The ability to pursue such projects is just one manifestation of the flexibility that comes with HURT's new independent status—a status that's much better suited to the band's iconoclastic nature.

"Being independent again has been incredibly liberating," Loren states. "I know that we're a hard band to classify or put into an easy genre, but I don't really care. If you're going to do something that's from the heart and from the soul, you can't betray it for the sake of convenience. You just have to do your best and be as honest as you can, and then hang up your hat for the night, try to get some sleep, and try to be even better the next day.
Righteous Vendetta
Righteous Vendetta
For many in the heavy music scene, Righteous Vendetta needs little introduction. With two full length records under their belt along with numerous tours with a show history just over 800 shows in the past 4 years, Righteous Vendetta has amassed fans in the US and abroad while honing their performance skills to a fine edge. The Wyoming-based group's tight, technical brand of metalcore has earned them a great deal of respect as well as publicity, with features in publications such as HM, Amp, Hails and Horns, and AP. Most recently, they embarked on a European tour with veterans Spoken and Inhale Exhale, hitting half a dozen countries across central and eastern Europe. Meanwhile, Righteous Vendetta's single 'This Pain' spent 15 weeks in the top 20 on Billboard's Christian Rock chart, achieving commercial success rarely seen by bands who cut their teeth in the hardcore and metal scene, while also signaling a new creative direction for the band's upcoming release. Look for new material from Righteous Vendetta in spring 2013.
Torch The Wagon
Torch The Wagon
The spark that started the blaze happened on the summer solstice of 2008 when Torch the Wagon rose from the ashes of the previous bands the members had been in. The fire has only gotten hotter as Torch the Wagon continues to burn up the local scene playing some of Denver's hottest venues.

Torch the Wagon was formed by Jeff Simeral, the drummer from the popular local band Stepshort, and Jeff Johnson, a fresh newcomer to the Denver scene. The two Jeffs toiled day and night to build the finest wagon the world had ever seen. After 40 days and nights of devoted labor, the wagon was built. They then immediately set the wagon ablaze and recorded the resulting glorious inferno, creating their debut EP, "Longest Day of the Year".

Jeff Simeral (lead vocalist and rhythm guitar) electrifies crowds with his magnetic charisma and raw sex appeal. Jeff Johnson (lead guitar and backup vocals) is a charming devil destined from creation to ignite your soul with his red-hot guitar licks and suave sophistication. Mat Bell puts the bass in your face like it's some kind of race. Spencer Perkins lowers the boom with his hard-hitting, face-crushing drums of fury.

Torch the Wagon's music is a diverse, decadent blend of grunge, punk, stoner rock, and classic rock, and influences include such bands as Nirvana, Queens of the Stone Age, Fu Manchu, Stone Temple Pilots, Soundgarden, and many, many more, which means that Torch the Wagon isn't just for anyone – it's for everyone. Their passion for all things rock shines through in their energetic, sizzling live shows. The only thing they can't do is disappoint.

So listen to Torch the Wagon, and remember:

"We aim to please, and we never miss." – Torch the Wagon
SERIS ~ Farewell Show (The Penguin and Pineapple's Last Dance)
SERIS ~ Farewell Show (The Penguin and Pineapple's Last Dance)
Seris - a Denver-based math-metal quartet with ambitions far exceeding the Denver local.

Drummer Robert Jepsen (ex-Downtied) first teamed-up with guitarist Scott Beckman (ex-Saoshyant), and began formulating the musical concepts of an odd-time and rhythm-based project in early 2009. Bassist Cody Goodman, then-bassist of Congress of the Crow, joined the two as a dynamic addition to the initial incarnation, and the trio spent several months fine-tuning their sound while patiently awaiting the perfect front man. That "front man", to the trio's surprise, came in the form of a charismatic and versatile front woman. Vocalist Melati Olivia, known in the local scene for her performances with Choke the Word, became the last piece to the puzzle, and the voice to bridge the gap between an uncompromising, poly-metric brutality and a beautiful-yet-powerful accessibility. The result of this combination is a modern style of metal whose musicality and technicality blend seamlessly into a focused and emotionally-provocative sound. Avid lovers of Tool, Meshuggah and early Mudvayne alike have a new band to which they can pledge their unwavering allegiance.

Ambitious right out of the gate - recording their first demo at Colorado's most premiere recording studio, the Blasting Room (Rise Against, The Flobots, and Tickle Me Pink) and coupled with playing their first shows at Denver's elite theaters, Seris will no doubt garner positive local attention, and will use Denver as a jumping board to the national level.

Stay tuned. They're gonna be big!
Clara Finn
Clara Finn
Members: Imkong Yaden- Guitar Keegan Spangenberg- Vox Vojtech Novak- Drums Cisco ocampo- Bass

Bio: Clara Finn is a powerful Denver rock band that delivers heavy grooves with strong melodies at high energy levels. The band is currently playing live shows in the Denver area while recording their first release.
Venue Information:
Herman's Hideaway
1578 South Broadway
Denver, CO, 80210
http://www.hermanshideaway.com/