Coheed and Cambria -- NO TRANSFERS / WILL CALL ONLY / 2 TIX MAX

Coheed and Cambria -- NO TRANSFERS / WILL CALL ONLY / 2 TIX MAX

Coheed and Cambria (9:15 PM)

Aeges (8:30 PM)

Thu, October 4, 2012

8:00 pm

$35.00

Sold Out

This event is all ages

****PLEASE BE ADVISED OF THE FOLLOWING STIPULATIONS FOR THIS SHOW****

- No transfers -- ticket purchaser MUST attend the show -- NO EXCEPTIONS.
- Will call only
- 2 ticket MAX per order, household, credit card, address. All violators will have their order cancelled without notice.
NO EXCEPTIONS-NO EXCEPTIONS-NO EXCEPTIONS

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Coheed and Cambria - (Set time: 9:15 PM)
Coheed and Cambria
Over the past 10 years, Claudio Sanchez and his group, Coheed and Cambria have distinguished themselves as among the most gifted storytellers in rock. Sanchez’s ‘The Amory Wars’ narrative—spun out across their five previous studio albums which together have sold over 2 million copies in the United States alone—is a good vs. evil science-fiction epic that's become to Coheed and Cambria fans something like what The Wall and Quadrophenia were to previous generations. And the tale might soon reach an even wider audience, as Mark Wahlberg recently announced that he and Stephen Levinson of Leverage Productions will turn Sanchez’s The Amory Wars into a big-screen live-action feature film.
Now, after nine months in the studio, Coheed and Cambria seize on the momentum this October with their release, ‘The Afterman: Ascension,’ the first volume of a remarkable new double album collectively called ‘The Afterman.’ Volume two, titled ‘The Afterman: Descension’ will follow in February 2013.
True to Coheed's restlessly exploratory nature, the nine-track Ascension finds the New York-based band—singer-guitarist Claudio Sanchez, founding guitarist Travis Stever, bassist Zach Cooper and drummer Josh Eppard—staking out exciting new ground. "With all of our older albums, my thing was always figuring out how to fit my life into the Amory Wars concept," Sanchez says. "I knew where each one sat in terms of the story. Whereas with this one, I allowed my life—my experiences and what I was going through—to frame the concept."
In ‘The Afterman,’ celebrated cosmonaut/astronomer Sirius Amory embarks on a journey in which he makes arguably the greatest scientific discovery ever known to mankind. However, the death of his wife upon his return causes him to realize what was truly important to him just slipped right through his hands, and his only mission now is to make amends.
The first volume, Ascension charts Sirius’ sci-fi journey into the stars of the alternate universe known well by Coheed fans as “Heaven’s Fence.” Upon entering “the Keywork,” the blue gaseous energy force that powers these worlds, Amory stumbles upon the Afterlife. In his first confrontation with a soul, “Domino the Destitute” possesses Sirius, who is forced to relive the frenetic events that had occurred in Domino’s waking life. The second volume, ‘Descension’ follows Sirius’ return to his home planet after a long absence and the negative effects that follow.
Sanchez points to a specific catalyst for the two discs: the death of a close friend of his wife’s. “She found out about it through Facebook, which is the most impersonal way to receive this intensely personal news,” he remembers. “Later that night, I sat down and just started writing a song”—it became the album’s title track—“from the point of view of her experience. Everything else followed from there.”
Though shrouded in this epic tale, ’Ascension’ is really about Sanchez’s personal life outside the concept. As in “Subtraction” he describes the challenges posed by a touring life in which “I’m always going away for long stretches and coming back home,” and Sanchez even admits “Domino the Destitute” was subconsciously written about the recent departure from Coheed of former bassist Michael Todd.
Self-produced by the band with Michael Birnbaum and Chris Bittner (who both helmed the band’s first three albums), Sanchez credits the expansive musical vibe of the album—which moves from the lullaby-like strains of “The Hollow” to the driving, riff-heavy “Mothers of Men” to the deeply funky “Evagria the Faithful”—to the freedom he had while writing over the course of the last two years. It’s a freedom, he points out, that came as a result of the band’s working independently for the first time in many years. “When you write a record in a month and a half, you have the same mentality throughout the entire process,” he says. “But when you allow yourself time, your mindset changes and that influences your creativity. It gives you dramatic ups and downs, and I think that’s invaluable.”
Coheed’s line-up transforms, as well, on’ Ascension,’ with the addition of Cooper and the return of the band’s original drummer, Josh Eppard. “When I sit down at the drum set to demo a song, Josh is who I emulate,” says Sanchez. “There’s a symbiotic understanding between the two of us: I play guitar with a lot of percussion, and he’s a very melodic drummer. I can’t even describe what a pleasure it was to see him walking down the driveway toward my house again.” Says Eppard of his reunion with the band: “The way Claudio writes has always felt like home base to me. I knew we could do something special from the first time we played together.”

On The Afterman: Ascension they’re still doing it.
Aeges - (Set time: 8:30 PM)
Aeges
With the decline of Western civilization comes a new pilgrimage of musicians looking to carve out their fates from the wreckage of the past. ÆGES are the new breed of California’s creative drifters. Founded by former Seattleite Mark Holcomb (Undertow, Shift) and Chicago-raised Larry Herweg (Pelican, Tusk), ÆGES grew out of a temporary hiatus for their other band, San Angelus. Holcomb and Herweg continued writing new material and forging into heavier terrain. Another transplant, Kemble Walters (The Rise, The Blank Faces, Juliette and the Licks), who grew up in Indonesia, had met Herweg while on tour in Chicago. With both Herweg and Walters now living in LA, they began to play music together. Herweg noticed the similarities between Holcomb and Walters playing and writing and knew the two had to meet each other. Holcomb and Walters hit it off instantly in person and in the rehearsal space. The final piece to the puzzle was the sole California native, bassist Tony Baumeister (16, Cutthroats 9). Converging in Southern California across state lines and international waters, ÆGES use their world-wise musical expertise to rebuild the archetype of the heavy rock band. There’s a definite element of desert rock in ÆGES sound--the low-tuned guitars, the sludgy sun-baked riffs, the deceptive pop hook buried in the molasses-thick instrumentation. Yet the diverse backgrounds of the band members create a unique blend of perspectives and a resultantly fresh sound. The common sonic thread between the four individuals in ÆGES--their tenure in bands that explored the darker side of hardcore—manifests itself in the aggressive tonalities of their sound. But their divergent paths, both geographical and musical, broadened the emotional palette beyond the angst of their earlier bands. Their debut EP, “Roaches”, is set for release via Hawthorne Street Records (Pelican, The Life and Times, Sweet Cobra) on April 19th, 2011. The new millennium ushered in a new, revitalized era of artistic integrity for LA. We saw it in the age of the acid-hazed ‘60s, the age of the nihilistic Regan-era punks, and the current age of abandoned archetypes of a failed economy. It’s creative optimism in a time of hopelessness. It’s the music of ÆGES
Venue Information:
Troubadour
9081 Santa Monica Blvd
Los Angeles, CA, 90069
http://www.troubadour.com/

All lineups and times subject to change