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Friday, April 6

Jonathan Davis of Korn


6:30 p.m. Doors, 7:30 p.m. Show

All ages welcome

$35 advance, $40 day of show

Jonathan Davis of Korn

Music heightens the senses, conjures catharsis, and unlocks other levels of consciousness.
Just ask Korn frontman Jonathan Davis.

Throughout his storied career, he's unleashed his demons night after night on stage, sharing an escape with audiences of millions. However, Davis does something that he's never done before on his 2018 solo debut.

"This time, I'm pulling something out of the audience," he grins. "I've bared my soul for so fucking long I thought it'd be really cool to pull listeners in a different direction for once. I'm taking them out of that dark place and into somewhere that's spiritual, positive, and makes them really think! It's just art. I've changed lives with Korn, but I wanted to open minds with this shit."

The new music represents a natural step for the Bakersfield, CA singer, songwriter, composer, producer, and multi-instrumentalist. A true original, the overpowering figure he casts behind that H.R. Giger-made microphone remains just as iconic as his signature scream does. His output in Korn encompasses two GRAMMY® Award wins, worldwide sales of 40 million-plus, and countless sold out shows in nearly every corner of the globe. Throughout over 20 years in music, his presence coursed through film scores to popular video game franchises, and official remixes for the likes of Steve Aoki and more. Along the way, he lent his voice to tracks for everyone from Linkin Park to Tech N9ne.
Throughout this whirlwind, Davis quietly compiled ideas for what would become this solo effort beginning back in 2007. Writing and recording on the road, he personally played guitar, keys, and anything else he could get his hands on. Moreover, the music was primarily record live.

Numerous times, it felt like fans might experience this music, but it was never the right time.

That changes now.

"This is how fate would have it," he explains. "Deals would come and go. Then, we'd do a Korn record and a tour. There was no time for me to do this. All of the stars finally aligned. Velvet Hammer believed in it. Sumerian Records came to the fold. It's like an extension of where I was at on the Queen of the Damned shit mixed with rock, early goth, new romantic, and everything I love. It's going to take you on a journey."

That journey bears a resemblance to the Ganzfeld Experiment. Often studied in universities and replicated on YouTube, the parapsychology test involves a combination of a split ping pong ball, red light, and white noise that can spark natural hallucination without any drugs. Loosely inspiring the album's own trip, Davis breathes life into the role of "The Teacher," as if assuming his own tarot card.

"During the experiment, some people see shit, some people have out-of-body experiences, and some people think there's someone else in the room," he goes on. "To me, it shows there's something else out there other than religion, consumerism, and all of that. There's a level of enlightenment I want to achieve. With all of the bullshit going, everyone is stuck on their fucking cell phones. This takes us way out of that."

The music does as well. Siphoning his love for Dead Can Dance, Bauhaus, The Cure, and Andrew Lloyd Weber into a twisted pastiche, the songs comprise a tableau of divine darkness. On the lead single "What It Is," ominous piano keys bleed into a slow-burning verse before thick guitars snap towards an expansive and engaging refrain punctuated by his dynamic vocals.

"No matter how hard you try to fight bad things in your life, life will be what it is," he admits. "It's up to you to accept that, combat it, and move forward, or it's up to you to be in denial. Then, it becomes a thorn in your side until you finally deal with it. This is it. Just deal with it."

The six-minute "Basic Needs" tempers a hulking groove with a breakdown played live by percussive instruments from Japan, India, and beyond.

"It's a fucking love song about what I need to survive," states Davis. "I don't need fucking money, fame, or anyone to pat me on the back. Basic needs are all it takes."

As always, he makes a primal connection by doing what he does best in the end.
"I've always got to be different," he leaves off. "Once again, I'm doing something I haven't heard before. This is my swan song. It's my fucking masterpiece up to this point."
If that sounds familiar, it's just because Jonathan Davis once again rewrote the rule book.

- Rick Florino, January 2018


Experimentation precedes evolution. In chemistry, disparate elements clash, collide, collate, and combine into new formulations. The same goes for music. The most influential artists push the envelope by burning boundaries and fusing styles in ways the world has yet to hear.

Palisades perfect that approach on their self-titled third full-length album [Rise Records]. Igniting the nexus of rock, electronic, and alternative music, the New Jersey five-piece -Louis Miceli [lead vocals], Xavier Adames [lead guitar, backing vocals], Matthew Marshall [rhythm guitar], Brandon Elgar [bass], and Aaron Rosa [drums]-summon an aural palette akin to Skrillex and Hans Zimmer teaming to re- produce Hybrid Theory for the 22nd century.

This signature sonic science opens up a gateway into Palisades...

"We were going through a lot of hardships, and we wrote something deeply emotional and, above all, real," Lou admits. "It's our more mature side. We may have flirted with that aspect in the past, but it was time to finally dig in. We tried to find out who we are. We didn't pull any punches. We were true to ourselves and held nothing back. It's a coming-of-age moment."

"There were a lot of changes in our lives," Xavier elaborates. "We chose to create songs that defined our sound in the future. It's big, dark, powerful, and moving."

"This is our statement to the world," adds Matt. "It's a genuine reflection of who we are; it's just us."

This collective identity has quietly crystallized since the group's emergence in 2011 with the fan favorite I'm Not Dying Today EP. Along the way, they released their 2013 full-length debut Outcasts followed by Mind Games in 2015. On the latter, Palisades teamed with chart-dominating underground hip-hop sensation blackbear for "Player Haters' Ball," which eventually amassed over 1.8 million Spotify streams and counting. "Bad Girls" clocked over 1.4 million as the 2016 single "Fall" closed in on 3 million. Simultaneously, they earned praise from the likes of Alternative Press, New Noise Magazine, and many others between joining Warped Tour and crisscrossing North America on treks with The Color Morale, Like Moths to Flames, Famous Last Words, and Letters From The Fire, to name a few.

However, the musicians collectively decided to up the ante for record number three.

"Everything had to flow like one movement," explains Matt. "We tried our best to combine all of our emotions, conflicts, and tastes. We didn't just want a bunch of songs we liked, we wanted a collection of music we loved."

"Ever since we were younger, we always strived to make an album of this caliber," agrees Aaron. "We really found what we wanted to do with our influences of hip-hop, electronic, and rock. We fine-tuned everything we were adept at, pushed ourselves even more, and realized not only what, but who we could be as a unit. It's the personification of everything we've gone through together and as individuals."

After demoing a host of ideas at Xavier's attic studio, the boys retreated to Los Angeles in late 2016 to record in Hollywood with "Fall" producer Brandon Paddock [The Used, Set It Off, Volumes]. It would also mark their first collaboration with new member Brandon Elgar.

"Brandon's attitude, vision, and voice are amazing assets," continues the drummer.

In just two months, they emerged with the 11 anthems comprising the album. Among those, the single "Let Down" amassed 1 million Spotify streams in a few months' time, while impacting regular rotation on SiriusXM OCTANE, taking the #1 position for five weeks. A mélange of swirling electronics, dancefloor grooves, and jagged riffs, the track drops from a wild crescendo into an undeniable chant, "Cuz you're a let down, let down."

 "We tried to write a Flume-inspired rock song," exclaims Matt. "That sort of production comes in so big and aggressive, but no one ever puts guitar chords to it. That's what we did while calling out everyone who had left us high and dry at the time."

"There was a lot of darkness around us during this record," says Lou. "Many people that we thought we could count on ended up letting us down. You move on, but it definitely cast a shadow on the way we felt. Those lyrics were written in that headspace. It's something identifiable and real."

From the ominous glitch snap, driving percussion, and schizophrenic "serenity and rage" delivery of "Through Hell" to "Hard Feelings," which showcases the interplay between Brandon and Lou as "Aggression" carries a corrosively catchy balance of haunting instrumentation and hypnotic melodies. It snaps into a rapid fire attack with a barrage of distortion and energy that's as overpowering as it is otherworldly.

Ultimately, Palisades encase an uplifting message within this aural alchemy.

"No matter where you are in life or what hardships you've gone through, you can overcome anything," Matt leaves off. "If you give your all and try your hardest, you can be whoever you want to be. That's a big thing for us. We took a leap of faith and trusted ourselves here. We've heard it all. We're letting fans know they're not alone in the struggle. They can overcome too. If you listen to our music and it helps you, we have already succeeded on levels that we never imagined."

"When people listen to Palisades, I hope they walk away with a connection," concludes Lou. "This is every side of who we are."