JMax Productions


Fear Factory, Nonpoint

Thu, December 19, 2013

Doors: 6:30 pm / Show: 7:30 pm

Grand Sierra Resort

Reno, NV


Megadeth began in 1983 with its roots in thrash metal, a genre that its founder, singer/songwriter and guitarist Dave Mustaine helped pioneer. Mustaine's musical roots began early on listening to AC/DC and Led Zeppelin, and took form in the New Wave of British Heavy Metal when he joined Metallica in 1982. Megadeth emerged in 1985 at the forefront of the thrash/speed metal scene with their seminal debut "Killing Is My Business…And Business Is Good", and continued on a blistering path of albums and tours throughout the decade. The nickname "world's state-of-the-art speed metal band" and the critic-coined "intelligent metal" were often used to describe Megadeth's sound, referring to Mustaine's niche for angry, witty, intelligent lyrics about topics like politics, drugs and war, fused with aggressive, intricate guitar structures and a jazz-influenced rhythm section.

The 90's saw a change in Megadeth's sound with the polished and commercial "Countdown To Extinction" album, which skyrocketed them into multi-platinum success and MTV stardom. The incorporation of this new sound would be a trademark of every release to come, and would eventually earn them 9 Grammy nominations for Best Metal Performance and 7 platinum certifications.

After a brief hiatus early in the 2000's, Mustaine triumphantly returned with a comeback album, a heavy metal festival called Gigantour and a new display of prodigious musicians to back him. The band's legacy continues with 2009's critically acclaimed "Endgame", which debuted at #9 on the Billboard charts and 2010's multi-platinum "The Big Four: Live From Sofia, Bulgaria" featuring the "Big Four" of 1980's thrash metal — Metallica, Slayer, Megadeth and Anthrax.

Megadeth's 13th studio album, "TH1RT3EN" was released on November 1, 2011 debuting at position #1 on The Billboard Hard Rock Albums chart and #11 on the Billboard 200. The album was recorded at Vic's Garage studio in San Marcos, California with producer Johnny K. Megadeth's 14th studio album is in the works and is tentatively due for release in early 2013.
Fear Factory
Fear Factory
With those words begins The Industrialist, a new chapter in Fear Factory's career of ideas and extremes. The follow-up to 2010's critically acclaimed Mechanize, The Industrialist is a vital chapter
in the history of one of the most over-achieving bands in heavy music. It's the Fear Factory machine
at its most confident and passionate, bringing every sonic weapon in its arsenal to the fore.

The shadow of the Los Angeles born band has loomed large, writing the book of industrial metal that has gone on to influence the likes of Rammstein and inform such stalwart noisemongers as Ministry. Fear Factory also merged the idea of melodic vocals erupting from death metal screaming long before it became modern metal's de-riguer. Over the course of a many storied career that's seen the success of five critically acclaimed albums plus a remix ep and album, Fear Factory has had a career of creative and commercial success, selling over three million records worldwide: they've also been plagued by bitter infighting and have emerged from it all in 2012 with a new alloy of aggression.


Mechanize exorcised the demons that came with guitarist Dino Cazares and Burton C. Bell's
reunion after an eight year split that saw Fear Factory recording and performing without Cazares. Those wounds healed, The Industrialist revisits and refines the sweeping melodies and unforgettable songwriting that's also long distinguished Fear Factory.

"There's definitely been an evolution from that record to this one," states Bell. "It's still familiar very familiar and still very Fear Factory but there are elements that we didn't really get to on the last
record for the sake of metal."

Of course, Fear Factory aren't about to lighten up as "Recharger" ignites the album with the same trademark ferocity as Fear Factory classics like "Edgecrusher" or "Replica". Dino's industrial-tinged riffing is all discipline, noise and fury while Burton's trademark vocals bleed with desperation before exploding into enormous melodies. As the frontman screams "The future begins now!" at the top
of "New Messiah," there's no mistaking just who is behind the ten-track apocalypse that is The Industrialist.

"This one is more Fear Factory than anything we've done in years," says Dino. "Collaborating with Burt again was easy, it was like magic. It felt like we were back in our apartment with seven roommates trying to write songs with a drum machine."


Fear Factory's musical and lyrical vision of Future Shock is the beating machine heart of
The Industrialist. While the "story" behind the album is better spelt out in a companion booklet
that comes with a special edition of album, there is a very obvious storyline rooted both in forward thinking science fiction but also in contemporary events including the Occupy Wall Street and Anonymous Movements. "There is a main character who is called 'The Industrialist'," states Burton, referring to the character at the heart of songs like "God Eater: or ""Virus of Faith". "He's a machine that has become self-aware and becomes a catalyst for change. The album has the loose concept
of a murder plot, with the realization that the automaton is becoming more human each day. The
last track on the album "Human Augmentation" is moment where machine becomes human and realizes its own humanity. That's a thought that's very key to the Fear Factory universe."


The Industrialist found Fear Factory in the studio with longtime co-producer and collaborator Rhys Fulber as well as Logan Mader who did additional tracking and digital editing. The process of writing and recording the album was hardly traditional. It was about as intense as it could be with Cazares and Bell constructing The Industrialist in the studio. "Everything that we recorded is fresh and exciting," says Burton. "We didn't demo anything before we recorded it. You can hear the life and the creativity that went into the making of this record as it was being laid down."

Dino is quick to compare The Industrialist to the band's longstanding 1995 classic Demanufacture. "Demanufacture took what we had done before and broke all that down to create something new," says Dino of the album that combined the mechanized Death Metal of Fear Factory's 1993 debut Soul of a New Machine and its then-untraditional follow-up Fear is the Mind Killer, an album of remixes. "We had some of the same intentions on the new record. Break it all down and build it all back up," says Cazares. "It's noisier. It has more Industrial influences. It's more Fear Factory and it just poured out of us."


Cazares and Bell aren't merely proud of the art they've made and continue to create but they also realize the impact Fear Factory has had on multiple generations of metal, industrial, and aggressive music. "We definitely pioneered the combination between melodic and brutal vocals," states Dino. "Syncopated guitar and kick-drum patterns. We were even the first death-grind-industrial band to have remix records!" It is staggering to think that today's Dubstep Metallers to progressive-minded
"D-Jent" bands owe a debt to Fear Factory. "People don't even know where some of these ideas originally came from!" enthuses the guitarist.


Where several side-bands and offshoots have emerged from the Fear Factory fold: Dino's tungsten-timbered metal machine Divine Heresy and Burton's more cerebral Ascension of the Watchers, Fear Factory is the focus. Without exception or reservation. "Being in Fear Factory is survival for me," says the frontman. "It's what still matters most to us."

When the band hits stages worldwide in 2012, it will be some of Fear Factory's most anticipated and charged shows to date. The age of The Industrialist has begun.

As time passed, the chance of a reunion between Bell and Cazares seemed less and less likely. Then in April 2008, a full six years after they had last spoken, Bell, then touring with Ministry, ran into Cazares at the band's Los Angeles show and reopened the lines of communication. "I just said 'hey, how you doing?' and it started from there," Bell says. Not long thereafter Bell and Cazares were jamming again. With bassist Byron Stroud and drummer Gene Hoglan (Dethklok, Strapping Young Lad), Fear Factory was back and ready for action.
It's one thing to be prolific. It's another thing to not only kick maximum ass with every album, but constantly challenge yourself and your audience in the process. In a modern rock landscape littered with lowest common denominator dreck, Nonpoint have risen above the pack with grace and thunder time and time again. And the seventh time's yet another charm for the Fort Lauderdale outfit, as latest full-length Miracle fuses searing hard rock brutality with disarming honesty and introspection.

Together since 1997, Nonpoint still boast three of their four original members: frontman Elias Soriano, bassist Ken 'BASTARD' MacMillan and drummer Robb Rivera. Axeman Zach Broderick makes an auspicious debut on Miracle, dropping ferocious leads at will to offset hammering rhythms and complement Soriano's distinctive narrative voice. (Quips the frontman, "We've been doing this for 10 years, so Zach joining the band was like that new pair of running shoes: they're nice and they're comfortable and they make you feel like you can run a mile longer than you used to be able to.") Most critically, the quartet enlisted longtime Mudvayne pals Chad Gray and Greg Tribbett to produce. Gray appears in the rollicking call-and-response showdown of the title track (the more-than-worthy first single), which recalls the intense propulsion of previous Nonpoint hits "Bullet With a Name" and "Rabia." Not only that, but he inspired Soriano to take album centerpiece "Frontlines"—an originally metaphoric slow-burner anchored by the refrain "on the frontlines, fighting for my life"—to an inspiring new level.

According to Soriano, "Chad said, 'You have family in the military—we all have friends and family in the military. I see these guys out there struggling and they don't get a lot of help when they come back home.' He painted this picture, then said 'Do you think you might wanna define it even more towards being an appreciative song for those soldiers who are dying for us every day?' and I thought, 'Absolutely.' It's the most evolved Nonpoint song we've ever written—some of the softest parts of my voice to the most aggressive parts, and some of the most intricate guitar lines to some of the simplest. And then the message puts the nail in the coffin."

From revelatory acoustic EP predecessor Cut the Cord to deluges of explosive new material and rousing covers of Pantera, Black Sabbath and Phil Collins—"In the Air Tonight" was a breakout hit from Michael Mann's Miami Vice—Nonpoint always seem to be a step ahead of the competition. The only bummer is that "Iron" Mike Tyson sorta reclaimed the latter with his memorable a cappella rendition in The Hangover. For his part, Soriano is magnanimous about the champ's version.

"I felt like 'Iron' was feeling it more than I was," he deadpans. "I never made anybody shut up for the drum fill part. Yeah… I'm gonna throw the baton over to Mike. I mean, come on—you know you feel it when you love it so much it causes you to perform acts of violence."
Venue Information:
Grand Sierra Resort
2500 E. Second St.
Reno, NV, 89595