Trapt “VIP for a Day” Contest

Hurt

If there’s no education like adversity, then Hurt is the smartest band around. On the quartet’s second Capitol album, Vol. II, the sweat and sacrifice is palpable in the dozen potent tracks, which further the dramatic alt-metal meld forged on 2006’s Vol. 1. Singer J. Loren goes so far to say that Hurt’s music has the power to save lives.

“I know that’s not unfounded, because people have written to the band and told me that.” And it’s saved his life—“I’m compelled to do it. I have no other functionality in this life,” he states unequivocally. His goals for the band are equally forthright: “I want to invoke feeling. Period. If listeners feel good, if it compels them to tears… If all you can think about is a song for five minutes at a time, I’m happy to be that distraction. I’ve wasted my whole life to be that.”

While Hurt logged impressive radio success with the Top 15 Active Rock hits “Rapture” and “Falls Apart” from Vol. 1, it’s immediately clear they’re hardly a typical band, as drummer Evan Johns notes: “People say, ‘you’re a rock star with a record deal, buy me a beer,’ but the thing is, we don’t make any money, and we’re not doing it for money. It’s about being able to be heard. To get things across that mean so much to us, and share it with people every day. We won’t take no for an answer. We want this that bad.”

Vol. II’s ‘first single, “Ten Ton Brick,” can actually be considered the third single—if you look at Vol. 1 and Vol. II as a body of work. “I would have released both albums together, but for a young band, that’s too ambitious. These Volumes are not concept albums—my life is not a fucking concept,” declares Loren, his direct personality as intense onstage as off. “Both records are like a collection of short stories. They often intertwine and cross-reference each other between the albums. Some of the songs were written 10 years ago, some this year, but our songs are often situational, and about irony and age-old truths, so I return to themes that are important to me.” For instance, Vol. II’s “Aftermath” is a companion piece to “Ten Ton Brick,” both songs on Vol. II, the pair akin to a “movement” in classical music. Vol. II’s ‘Summer’s Lost” is related to “House Carpenter” on Vol. 1…which the listener can discern by playing “House Carpenter” backward. There’s also a distinct, if non-specific classical influence in Hurt’s singular sound, courtesy of Loren. Growing up in Halifax, Virginia, population 1,300, the singer, who was home-schooled, nurtured his old soul on writers like William Carlos Williams and stringed instruments, especially violin, both of which inform Vol. 1 and Vol. II. The violin remains Loren’s constant companion as he’s moved from couch to couch over the last three years of Hurt’s L.A.-based nomadic life.

Vol. 1, as one critic raved, was “gothic, confessional, soul-searching… Each song ebbs and flows on waves of flattened, heavy guitars, acoustic strums and symphonic samples, which carry whispered vocals, guttural screams and minor fifth harmonies to the forefront, then gently ease them back again.” Vol. II takes that sound and fury a step further, with bassist Josh Ansley and
Paul Spatola (who co-wrote “Ten Ton Brick”) upping the ante instrumentally, the entire band more sure of themselves for their sophomore release, ready to try anything and everything. That experimentation and confidence permeates every layer of the album. “Vol. II sounds a little more like Hurt, which is an intangible thing, but I can say it’s more cohesive; the sound of what I’m stabbing at is more fully realized,” muses Loren. “Odd time signatures, peculiarities–too much of that makes an album sound the same, so we avoided that. There are our harmonies, layers, and lots of stringed instruments, including banjo, dobro and slide resonator guitar. But there’s more of a particular element that is peculilarly indicative of Hurt, and of that I’m happy. Vol. 1 warmed the people up a bit for this album.”

That said, “Vol. II stands alone,” adds Johns, who, as the son of producer Andy Johns (Led Zeppelin, Stones, Joni Mitchell, etc.), nephew of Glyn Johns (the Who, Kinks, Eagles, Faces) and cousin of Ethan Johns (Ryan Adams, Kings of Leon, Rufus Wainwright), knows whereof he speaks. “We really wanted to make sure that was possible. Any good writer–of sitcoms, books or music–if someone walked in at the last minute, you don’t want the art to be totally alien to them. You want to grab them with the last 10 seconds, or the middle 10 seconds. So Vol. II stands alone, but if you look into our past with Vol. 1, you see how they also come together.”

Togetherness was key to Vol. II. Although the sessions were exhaustive, the lineup, together for four years, got along better than they ever had. “Through adversity we’ve done this and I’m really proud of it. When you can’t afford to eat and you work 18 hours a day for six months, I’d call that adversity.” At the production helm (as he was for Vol. 1). was Eric Greedy (Ringo Starr, Black Rebel Motorcycle Club, Barbra Streisand), who, in tandem with Hurt, realized Vol. II in several studios around Los Angeles. While it wasn’t always smooth sailing, that’s what gives Vol. II—and the band members—a discernible audio edge. “Doing a second record, you expect things to repeat themselves, and none of that happened. It was like a whole new playing field,” relates Johns. “We didn’t want to replicate the success of ‘Rapture,’ for instance, on our last record, we wanted to do our own thing, and there were times when we were at each other’s throats. Times we weren’t talking to each other, then the next day we’d be like, ‘I love you man,’ and start work again. We couldn’t have done it if we didn’t care so much. I was breaking cymbals and sticks—you can hear that in a song like ‘Ten Ton Brick’; the frustration is there. The aggression and energy translated onto the record.”

While Loren refers to himself as “a pretty crotchety fellow,” he assures that Vol. II’s songs aren’t all “negative horrible things.” Rather, they’re provocative. As Loren sings in “Summers Lost”: “Would your maker have opened your eyes if he’d preferred them closed?” Or the incandescent “Aftermath,” a band favorite, which is the “closest thing to a love song”: “But the way she lit the room at night / cast the shadows to their gloom, and I still dream of your perfume…” Hurt’s multi-faceted, textural rock strikes a chord, and tours with like-minded artists including Alice in Chains and Staind earned Hurt a rabid fanbase, and garnered Vol. 1 accolades that included “a perfect debut” and “dark, mysterious and powerful.” Hurt gives thanks to those fans with the appropriately titled “Thank You For Listening” that closes Vol. II. Vol. II is the second—and perhaps final chapter—in this phase of Hurt’s musical spewing, as Loren notes: “These albums represent a stage and a process. Not to say there won’t ever be a Vol. III…” And lest you think all Loren’s “hurt” has been vanquished, think again: “If you think I’m bitter now, you should have talked to me before we did these albums.”

Johns, Loren’s foil in the band, has the final say about the adversity that informs the band and its music: “It’s what makes Hurt what it is, and Vol. II what it is, and for that, we’re grateful. “We willingly and gladly took risks to get what we want out of life. Our bank accounts are literally empty, but we are the richest men alive.”

Tantric Heads Back Into Studio! March 2nd

Tantric heads back into the studio March 2nd to begin work on their second upcoming Silent Majority Group release with the all new lineup again. The band will be recording in all of March and April.

Lead Singer Hugo Ferreira stated via the bands MySpace ‘The End Begins‘ was just the beginning of the all new Tantric and we can’t wait to share it all with you once again. We won’t make you wait too long. We promise. We will be talking and keeping you all informed as often as we can with what’s up and how the recording process is coming along.

Red “Roadie for a Day” Contest

CONTAGIOUS TOUR FEATURING TRAPT & RED

Cage Rattle is proud to present “The Contagious Tour” with Trapt, featuring our friends Red, Halestorm, and Inept!

The Tour ignites on March 29th in Maplewood, Minnesota at “The Rock”.  For all the details please visit traptlive.com

Stay Tuned for Cage Rattle announcements, ticket giveaways, and VIP/Roadie for a Day contest!

Tickets On Sale Now at Ticketmaster.com

03.29.09 Maplewood, MN - The Rock

03.31.09 Libertyville, IL - Austin’s Fuel Room

04.01.09 Grand Rapids, MI - The Intersection

04.02.09 Evansville, IN - Woody’s

04.03.09 Flint, MI - Machine Shop

04.05.09 Scranton, PA - Tink’s

04.06.09 Towson, MD - Recher Theatre

04.08.09 Columbia, SC - Headliner’s

04.09.09 Greenville, SC - The Handlebar

04.10.09 Montgomery, AL - Off The Wagon

04.11.09 Jackson, MS - Fire

04.13.09 Houston, TX - Scout Bar

04.14.09 Odessa, TX -Dos Amigos

04.15.09 San Antonio, TX - Scout Bar

04.17.09 Ames, IA - Iowa State University

04.18.09 Richmond, VA - Richmond Raceway Complex

04.20.09 Billings, MT - Shrine Auditorium

04.22.09 Spokane, WA- Knitting Factory

04.23.09 Seattle, WA - El Corazon

04.24.09 Missoula, MT - Wilma Theatre

04.28.09 Traverse City, MI - The Terminal

04.29.09 Chesterfield, MI - New York New York

05.02.09 Lancaster, PA - Chameleon Club

(Hed)pe Robbed

Despite recently having their van and gear trailer stolen in Burbank, CA (Hed)pe is out to prove they cannot be silenced. The thieves made off with thousands of dollars of gear, merchandise and the group’s tour van.

The group is forging on and have announced the second leg of their ‘New World Orphans’ Tour alongside Mower, Dirtball and DGAF will begin March 6th in Petaluma, CA.

With the release of their new album “New World Orphans” (Hed)pe sent the youth of America a call to arms and the respond was heard throughout the music industry.

The group’s new studio album debuted at #72 on the Billboard Top 200 making it the second highest charting release in the group’s career. Since joining Suburban Noize Records in 2006 (Hed)p.e has enjoyed a rebirth of grand proportions.

Mar 06 Petaluma CA @ Phoenix Theatre
Mar 14 Jupiter FL @ Palm Beach International
Mar 15 El Paso TX @ Club 101
Mar 16 Beaumont TX @ Scout Bar
Mar 18 Houston TX @ Scout Bar
Mar 19 San Antonio TX @ Scout Bar
Mar 21 Dallas TX @ Firewater
Mar 22 Tulsa OK @ The Marquee
Mar 23 Sioux Falls SD @ Nutty’s North
Mar 24 Omaha NE @ The Waiting Room
Mar 25 Maplewood MN @ The Rock
Mar 26 Sauget IL @ Pop’s
Mar 28 Mokena IL @ The Pearl Room
Apr 01 Fayetteville NC @ Jesters Pub
Apr 03 Jacksonville NC @ Hooligans
Apr 04 West Springfield VA @ Jaxx
Apr 05 Allentown PA @ Crocodile Rock
Apr 07 Hartford CT @ Webster Theatre
Apr 08 Pittsburgh PA @ Diesel
Apr 09 Cleveland OH @ Peabody’s
Apr 10 Columbus OH @ Al Rosa
Apr 11 Flint MI @ The Machine Shop
Apr 13 Grand Rapids MI @ The Intersection
Apr 14 Louisville KY @ Headliners Music Hall
Apr 15 Poplar Grove IL @ Chubby Rain House of Tunes
Apr 16 Madison WI @ The Annex
Apr 17 Milwaukee WI @ The Eagles Club (The Rave)
Apr 18 Neenah WI @ Revolutions Ballroom
Apr 25 Orlando FL @ Tinker Field
Apr 26 Fort Lauderdale @ FL Culture Room

Evans Blue

The past four years have been a challenging journey for the five members of Evans Blue, pushing them each to their personal brink but ultimately pulling them together. The band will release their third, self-titled album on June 23^rd on Sounds+Sights, the new imprint run by their manager Mari Dew and producer Trevor Kustiak. evans|blue marks the debut of frontman Dan Chandler, a St. Louis singer/writer who was selected after an extensive six-month nationwide search. According to Lauzon, “The transition has been virtually flawless; Chandler is an easy guy to get along with, and he keeps a very open mind when it comes to songwriting, which is refreshing.”

With the addition of Chandler and the energy that he brings to the mix, Evans Blue is writing their best and most diverse collection of songs to date. The new material stays true to the core fans with signature dark and heavy riffs but is simultaneously uplifting. Chandler cites “confusing kindness for weakness,” “love and losing it,” and “finding comfort in difficult times” as some of the recurring themes on the album, but he notes that the beauty of music is that “we all seem to interpret songs or relate to them in our own personal way.”

When asked what fans can expect from the new Evans Blue live show as the band hits the road again this June, Lauzon simply replied, “Nothing less than 100% intensity!” Chandler elaborated, “Definitely expect to see ENERGY! I’ve always been a fan of seeing bands connect and have fun on stage.” The warm-up shows the band played in April and May confirmed it: Evans Blue has evolved, and these five musicians are stronger than ever and ready to take the band to a higher level.

Chandler continues, “I think you just click with some people, and in this case it really feels like there’s a mutual respect for everyone in the group. It feels like I have known these guys longer than I have!” Once broken, the pieces of the Evans Blue puzzle have fallen into place, giving way to the big picture…the best is yet to come.

Evans Blue hit #1 on the Billboard Heatseekers chart in 2006 with The Melody and the Energetic Nature of Volume, which spawned the Top 5 Active Rock single “Cold (But I’m Still Here).” Their second album, THE PURSUIT BEGINS WHEN THIS portrayal OF LIFE ENDS, was released in July 2007 and debuted at #44* on the Billboard Top 200. Since then, the two albums have collectively sold over 650,000 units worldwide.

Contact: Mari Dew (mari@soundsandsights.ca)

www.evansblue.com

M. Shadows of Avenged Sevenfold

Photo Courtesy Lindsey Martin

BLACK LABEL SOCIETY CD/DVD release in April

Good news for BLACK LABEL SOCIETY fans. ZAKK WYLDE and company will release Skullage, a career retrospective, on April 21st. Skullage contains both a CD and a DVD that cull material from the past decade.

The CD features 16 tracks, including such Black Label Society favorites as “New Religion,” “Machine Gun Man” and “13 Years of Grief.” The DVD runs nearly two hours and includes music videos, performance clips and interviews with Wylde.

Black Label Society will kick off a series of U.S. dates March 6th in San Francisco.

SAVING ABEL talk about live gigs

SAVING ABEL are currently out on the road warming up crowds for NICKELBACK and SEETHER. It’s a great triple bill, but Saving Abel singer JARED WEEKS knows that his band always brings out their own fans, no matter who the headliners are.

As much as he loves playing with other great rock acts, he says it’s cool when he knows some people in the crowd are there to see his band, and they know more songs than just “Addicted.” For example, he says “Drowning Face Down” always gets a great response from people who already know the lyrics.

Guitarist JASON NULL also wants pop fans familiar with hits like “Addicted” to know his band’s live show doesn’t always sound like the music on their self-titled album. He explains, “The record is well-produced, but we don’t play to [pre-recorded] tracks or anything like that. We just turn the guitars up really loud and just play rock and roll.”

Nickelback, Seether and Saving Abel will play their next show together tomorrow in Lexington, Kentucky. If you want the ultimate keepsake from the shows, what about a guitar autographed by all three bands? That’s the grand prize being offered in a new contest sponsored by Imeem.com. To enter, just go to Imeem.com/DarkHorseTour. You’ll need to register, join the Dark Horse Tour group and then create a playlist of songs that would be your dream setlist for all three bands on the tour. The contest runs through April 25th, after which one lucky winner gets the guitar.

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