Born of Osiris
Thu, Dec 5
Doors: 6:00 pmShow: 6:30 pm
THURSDAY, DECEMBER 5th at 6:30 PM, 6:00 PM Doors, 5:30 PM Reserved Dining Doors
TICKETS: $18.00 - $27.00 --- All Ages
ENJOY DINNER DURING THE SHOW - We have daily specials and great BBQ!
General Admission tickets are standing room only.
Reserved Seating Tickets at Dining Tables and Booths include admission to the show. If your party does not occupy all the seats at a Table or Booth, you may be seated with other guests. You must arrive at or before the time assigned to your table or booth, or your seat may be given away. Waitress service will be available approximately 30 minutes after you are seated. Please allow an additional 30 minutes for your food to arrive. *All Reserved Seating Tickets are subject to a requested food minimum of $9.00 per guest.
Please note: If our parking lot is full, please park in the Walmart parking lot closest to Advance Auto.
“Simulation Theory” posits that reality and existence as we know them to be are merely a computer simulation. Of course, The Matrix explored such a possibility in 1999, while Elon Musk espouses this hypothesis as gospel for 2019. Regardless of the theory’s truth, humanity still thrives under the weight of all-encompassing technology and daily cyber advancements. Born Of Osiris preserve such humanity within a torrent of destructive polyrhythmic riffing, chaotic vocal transmissions, and synth disarray. The Chicago quintet—Ronnie Canizaro [lead vocals], Joe Buras [keys, synthesizers, vocals], Lee McKinney [guitar], Nick Rossi [bass], and Cameron Losch [drums]—perfect that approach on 2019’s aptly titled, The Simulation [Sumerian Records].
“When you listen to the record, I hope you investigate where you see yourself and the future going in terms of technology and artificial intelligence,” exclaims Buras. The musicians architected a beacon to transmit such a message since their 2007 emergence. Not only have they performed on stages with Judas Priest, Rob Zombie, Bring Me The Horizon, and more, but they also landed four consecutive entries on the Billboard Top 200, including A Higher Place 2009], The Discovery , Tomorrow We Die Alive , and Soul Sphere . Additionally, they garnered features from Guitar World, Brave Words, Metalsucks, and MetalInjection, to name a few. By looking back, the group made a major leap forward. They spent 2017 performing their breakthrough 2007 debut, The New Reign, in its entirety on the road. By the time the guys hit the studio with Nick Sampson [Asking Alexandria, Of Mice & Men] who produced vocals while McKinney produced and engineered the entire record instrumentally, the vision crystallized for their next evolution.
“Under The Gun” upholds that sentiment, while “Silence The Echo” steamrolls forward amidst a flurry airtight guitars and a percussive maelstrom. “That one dives into silencing negative thoughts,” he elaborates. “We all feel down sometimes,
but you silence those thoughts and keep moving.” In the end—whether a simulation or not—Born Of Osiris confidently embrace the future with open arms and deliver their boldest output yet. “There’s the technological side to the music, but there’s also a message of being patient and persevering,” he leaves off. “We’ve redefined our sound on this one. Everything is coming together. We’re brothers in this. It’s a new chapter for Born Of Osiris.”
A faceless entity travels through time and bears witness to man’s effect on the Earth as celestial and eternal beings known as “The Ascendants” ponder whether or not to save the planet. This story powers Oceano’s fourth full-length album and first for Sumerian Records, Revelation. Picking up where 2015’s critically acclaimed Ascendants left off, the Illinois band—Adam Warren [lead vocals], Scott Smith [lead guitar], Chris Wagner [bass], and Matthew Kohanowski [drums]—expand their patented deathcore punch with intriguing atmospherics and a thought-provoking narrative that’s as deep as it is dark.
“All of the songs are the recollections of a separate being as he travels through a portal of alternate timelines,” explains Adam. “Each track is another revelation that he’s viewed. ‘The Ascendants’ have been watching society grow and lightly influencing it but allowing humans free will for the most part. In turn, what they’ve seen is humanity basically deplete the planet to a near state of destruction. In these vignettes, they are deciding whether or not it’s worth their intervention and subsequent salvation. The traveler carries this message.”
Oceano’s ability to encode such a transmission within the framework of tight, taut, and technical heavy music remains a key to their success since 2006. Over the past decade, the group has ignited a diehard fan base. Ascendants would cumulatively amass over 3 million Spotify plays, while the quartet received features from Alternative Press, Metal Hammer, Metal Injection, Brave Words, and more. They shared the stage on marathon tours with the likes of Suicide Silence, Whitechapel, Acacia Strain, and many others. Fan favorite cuts like “District of Misery” went on to generate 3.8 million YouTube views and counting as the diehard faithful continued to grow.
The boys raise the bar yet again with Revelation. In 2016, they entered The Nook Recording Studio with producer and longtime collaborator Nicholas Nativo in New Lennox, IL. Tirelessly pushing to progress, they emerged with Revelation.
“The Nook has become like our second home,” says Adam. “It’s where we recorded Ascendants and actually the place I did my first recordings with Oceano. It holds a cool history. The rebirth of the band began there. I think we captured some of that spirit all over again.”
The first single “The Great Tribulation” bursts out of the gate with neck-snapping riffs, cataclysmic screams, and a reprieve of aural darkness. “This is one of the final revelations as far as the story goes,” he elaborates. “Certain humans have earned their place on a supplemental planet, and the music is chronicling their experience. This is the first human colony since the destruction. It’s basically the first true new frontier since the Americas were discovered. The song is technically where our next album will pick up!”
Meanwhile, the title track focuses on a moment of awareness for the narrator, breaking the proverbial fourth wall. “This is his realization that he’s experiencing these revelations and has taken it upon himself to become a prophet for humanity,” adds Adam. “He’s seen enough to gauge that there’s importance to it all.”
At the end of the day, Oceano espouse an urgent message that continues to elevate them within the landscape of heavy music.
“I hope when people hear this album they connect with my lyrics and the message behind it all—which is to be more aware of our environment and how to preserve it,” he leaves off. “That was the key thing that I had on my mind even since the last album. I want to instill a positive movement in our world, fans, and whoever stumbles upon the album.”
The inception of Car Bomb started as early as the year 2000, when two bands, Neck and Spooge, shared the same rehearsal space underneath a butcher shop in Rockville Center, New York. Jon recalls, “We called it the Dungeon. It was a hot and muggy cement basement with no windows. Basically, a hole in the earth created for slaughtering animals...but ‘metal’ bands got to jam down there – go figure!!” The two bands found themselves frequenting the other’s rehearsals and developed a mutual respect for their music. Greg and Mike wanted Neck to break out of the conventional and over saturated hardcore scene by being different. Greg recollects, “We all really dug what Faith No More did, so we tried to emulate that, except heavier and more progressive.” With three releases on various labels and five years of shows up and down the east coast, Neck had established themselves as one of Long Island’s most unique and brutal acts. On the other side of the Dungeon, bassist Jon and drummer Elliot were a part of Spooge, a more technical and stylistic band. Influences of Zappa and early Mr. Bungle can be heard throughout their complex and at most times hilarious epics.
Despite the fact that both bands had broken out of the traditional molds of metal and hardcore, the need to play heavier and more complex music drove Jon to seek out other musicians. In 2002, he recruited Greg to play in a project that would develop into Car Bomb. Jam sessions commenced and would continue for eighteen months with various lineup changes. Mike and Elliot were eventually added to the group and rounded out the final line up. In early 2004, Car Bomb’s first recording began in the house that Greg and Jon currently occupy. With this recording completed, Car Bomb focused on getting their music out to as many people as possible. Their tireless efforts saw them handing out thousands of promotional demos at hundreds of shows in the greater New York City area and the annual New England Metal and Hardcore Fest.
The band’s self-sufficiency also saw them compiling a three-song sampler that they would mail out to labels and magazines world-wide. The sampler was met with favorable reviews, being described by long-standing metal magazine, Metal Maniacs as “technologically-advance Godzilla-like abacus laying waste to everything in site; post-apocalyptic, industrialized chaos in it path, swarms of rabid calculator-creatures swarming all survivors; this ain’t some indie-rock pocket-protector-core reiterating blues scales too fast. Supreme tech-metal explosiveness comes to life with this NYC outfit”.
In 2006, Car Bomb began work on their first new material since the release of their self-titled demo. Blistering tracks “M^6” and “Pieces of You” came together effortlessly and laid the groundwork for what will be the band’s first full-length record, Centralia. The band’s confidence in the track “M^6” lead them to approach a good friend and director Jeremy Jackson (UNEARTH, CANNIBAL CORPSE, AS I LAY DYING, BRIAN POSEHN) to shoot their first-ever music video on location in New York City along with the Filmcore crew in the late summer of 2006. Car Bomb also made plans to release “M^6” and “Pieces of You” on a split 7” with New Jersey’s Burnt By The Sun through Relapse Records. Through the 7” dealings, Relapse caught a glimpse of what would be Centralia’s vicious blast of wildly technical and progressive modern metal and signed the band in the Fall of 2006.
To some, it’s a religious experience—it means to find oneself through worship and embracing a higher power. To others, it’s rejuvenation by rest; a means of recovery and repair. To others still—and to the guys of RVNT—it means to undergo a state of self-improvement and betterment that transcends the acts of a God or a good night’s sleep. To be reborn is to take the successes and failures of one’s past, to take the good with the bad—combine bitterness, betrayal and anger with invigorating energy and bold, boundless creativity to make something thoroughly new and original, free of constraints set by homogeny or routine.
Emerging out of the hot and humid Virginia heat in early spring of 2014, RVNT instantly captured the ears and eyes of many with their breakout music video for the single “Vain.” With mere minutes of material released, the quintet’s penchant for punishing aggression, powerful, catchy hooks and grisly, gnashing grooves earned them a dedicated following in days. Not only did the likes of “Vain” capture the attention of heavy music enthusiasts from around the world, it captured the attention of US-based record label We Are Triumphant—who signed the band and announced the release of their debut EP, Vulnerable, later that same year.
In 2018 RVNT parted ways with We Are Triumphant, and again looked to how they could challenge both themselves as songwriters and their fanbase as listeners. “Bad Habits” their first post-label single was released in February of 2018 and includes the same heavy-hitting, grinding syncopation that RVNT is known for, while also expanding the band’s sound to include even more dynamics of discordant melodies and refrains.