Municipal Waste / High On Fire

K-UTE Radio Presents

Municipal Waste / High On Fire

Toxic Holocaust, Haunt

Sun, November 18, 2018

6:00 pm

Metro Music Hall

Salt Lake City, UT

$26 ADV / $30 DOS

This event is 21 and over

Municipal Waste
Municipal Waste
So what happens when a band’s riotous reputation catches up with them? Precautionary measures are taken and they - of course - get banished, only this time, it’s into space! When the greedy ship captain hordes the food rations, the crew kicks into survival mode, commit mutiny, and devour their captain skewing the story into a horrific yet fantastic cannibalistic voyage into space that cult movies are made of.

The Fatal Feast, the fifth studio album by Richmond, Virginia’s cross-over kings MUNICIPAL WASTE, not only ponders the type of moral dilemma faced in the title track but also tackles earthly issues that consistently plague humanity (“Covered In Sick/The Barfer,” “Repossession,” “Standards And Practices,” “12 Step Program,” “Crushing Chest Wound”). These 37 minutes of new music consolidate the best of everything the band’s got to offer: their utmost respect for headbang-inducing riffs, their trademarked aggression, their tongue-in-cheek sense of humor, and their talent for extracting meaning out of the absurd.

Rising from the squalor of a cursed punk house for their live debut at a New Year’s Eve keg party welcoming in 2001, founding members Ryan Waste and Tony Foresta quickly embraced a DYI ethic to spread the word about their band and graduated to booking shows out-of-state and even in Mexico. After a self-titled EP and the Waste ‘Em All debut album in 2003, bassist Phil “LandPhil” Hall and former Melt Banana drummer Dave Witte were ushered into the fold. This line-up went on to record three full-length albums for Earache Records (2005’s Hazardous Mutation, 2007’s The Art Of Partying, and 2009’s Massive Aggressive), earning such accolades throughout their career as “MUNICIPAL WASTE do it so well that any track could squeeze comfortably between D.R.I. and Gang Green on a mix tape” from Spin Magazine, “No band sound more authentic,” from Alternative Press, “A gold standard” from Decibel magazine , and “Undeniably the best at what they do,” from Outburn magazine. Visually, the band also delivered, as evidenced by the success of the devil-may-care and often outrageous attitude of their videos which have all become fan-chanted anthems at their live shows. The fact is, no one could argue against MUNICIPAL WASTE’s reputation as the ultimate feel-good party band.
Dedicated to keeping the spirit of the 1980’s cross-over scene alive, it was with their uncontrollable mirth and succinct songs that lead MUNICIPAL WASTE to reap the rewards of their hard work. By the time they signed with new label Nuclear Blast in 2011, they had proven themselves as die-hard road warriors would could tour & perform with bands outside their genre such as Suicidal Tendencies, The Casualties, 7 Seconds, Circle Jerks, Sick Of It All, GWAR, Lamb Of God, Children Of Bodom, and At The Gates and win over their crowds. Here they are 11 years later and their rabid fan base continues to expand.

With artwork by Justin Osbourn of Slasher Design, 2012’s The Fatal Feast is the first MUNICIPAL WASTE album to feature contributions from invited guests. Steve Moore of Zombi penned the intro to the title track and the spacey “Waste In Space,” John Connelly of Nuclear Assault’s vocals grace “Unholy Abductor,” and singer Tim Barry of Richmond punk legends Avail jumps in on “Standards And Practices.”

For fans of metal, punk, and hardcore, MUNICIPAL WASTE’s The Fatal Feast is already being hailed as “an interstellar thrashterpiece” by Decibel magazine. Space may be a noiseless vacuum for amateurs who don’t travel with their own P.A. system, but seasoned veterans of extreme situations MUNICIPAL WASTE always know better than to leave home without it!
High On Fire
High On Fire
It was the late, great novelist and caffeine enthusiast Honoré de Balzac (1799-1850) who said, “Power is not revealed by striking hard or often, but by striking true.” And yet High On Fire have managed to do all three. Since the Oakland power trio’s inception in 1998 they’ve released six earth-splitting albums, each seemingly more unstoppable than the last. Forever haunting the halls of the Iommic Temple—the band’s own philosophical monument to Black Sabbath riff master Tony Iommi—High On Fire have become legends in their own time. As bong-huffing genre music rises and falls around them like so much windborne detritus, guitarist/vocalist Matt Pike, drummer Des Kensel and bassist Jeff Matz comprise the all-seeing eye of a perpetual riff-storm, always looking toward a future in which The End is always near.

After unleashing one of the most momentous debuts in the history of heavy music with 2000’s The Art Of Self-Defense, High On Fire doubled down in 2002 with the absolutely punishing Surrounded By Thieves, an album that even notoriously finicky music website Pitchfork rated an 8.8 out of 10. “Surrounded By Thieves pushes drones to its limits, with a crushing wall of bass tones guaranteed to alter heart rhythms and weaken building infrastructures,” they gushed, before adding the obvious disclaimer: “If you’ve never experienced street drugs, it’s a safe bet you probably won't enjoy this album.”

And the hits just kept on coming: High On Fire’s 2005 album, Blessed Black Wings, was named one of the top 50 albums of the 21st century by prominent UK music weekly Kerrang! In 2007, the band’s Death Is This Communion ranked # 3 on Revolver magazine’s year-end list, while landing the # 4 spot in Total Guitar. That same year, Matt Pike was named one of rock’s “New Guitar Gods” by Rolling Stone.

Fast forward to 2012 and High On Fire’s new album, De Vermis Mysteriis. Produced by Converge guitarist Kurt Ballou at God City Studios in Salem, MA, the record marks the next devastating chapter in High On Fire’s gloriously unhinged metal saga. “It’s a fuckin’ awesome album,” Pike enthuses. “I think it’s kind of a cross between the experimentation of Death Is This Communion and the driving darkness of Blessed Black Wings. There’s plenty of thrashy stuff, but there’s also a lot of Sabbathy doom-type stuff.”

“We didn’t try to plan it all out this time,” he adds. “We kind of waited ’til we were on the spot and had to do something. We had the basic skeletons of the songs—we were prepared—but there was a lot of improvisation. There’s a lot of soul on this one, and it’s got a rollercoaster kind of feel.”

The album’s title (translation: “The Mysteries of the Worm,”) is a nod to a fictional grimoire conceived by the late, great Psycho author Robert Bloch in 1935 and later incorporated into horror master H.P. Lovecraft’s renowned Cthulu Mythos. “It’s a concept record, a little bit,” Pike offers. “I got this idea about Jesus Christ and the Immaculate Conception: What if Jesus had a twin who died at birth to give Jesus his life? And then what if the twin became a time traveler right then? He lives his life only going forward until he finds this scroll from an ancient Chinese alchemist who derived a serum out of the black lotus—which is actually in Robert E. Howard’s ‘Conan’ stories—and then he starts traveling back in time. He can see the past through his ancestors’ eyes, but his enemies can kill him if they kill the ancestor that he’s seeing through at the time. Basically, he keeps waking up in other people’s bodies at bad times. It’s kinda like that old TV show Quantum Leap. Kurt actually pointed that out to me after I told him the idea. But whatever—time travel is a killer concept.”

“Most people won’t even get it, so I’m explaining it now—once,” he concludes. “After this, I’m done telling the story to people. So please make sure this gets printed.”
Toxic Holocaust
Toxic Holocaust
Toxic Holocaust is an American Thrash Metal band from Portland, formed in 1999 by Joel Grind.
Haunt
Haunt
Old school metal band from Fresno, California.
Venue Information:
Metro Music Hall
615 W 100 S
Salt Lake City, UT