Queensryche will join Judas Priest next spring when it continues its “50 Heavy Metal Years Tour.”
The next leg of the tour, which previously saw Sabaton join Judas Priest as support, is scheduled to launch March 4 in Peoria, IL and to run through April 13 in Hamilton, Ontario, CA. Tickets are available here.
Queensryche talked about joining the tour in a prepared statement.
“We are very excited to be supporting the mighty Judas Priest in celebration of their 50th Anniversary Tour!,” the statement reads. “This is a wonderful pairing, and we look forward to bringing you all a truly eventful experience.”
Queensryche’s upcoming dates with Judas Priest are in support of its latest album, The Verdict (2019).
The bands’ upcoming tour schedule is noted below.
QUEENSRŸCHE TOUR DATES:
March 4 – Peoria, IL – Peoria Civic Center
March 6 – Denver, CO – The Mission Ballroom
March 7 – West Valley City, UT – Maverik Center
March 9 – Everett, WA – Angel OF The Winds Arena
March 10 – Portland, OR – Moda Center
March 12 – Oakland, CA – Fox Theater – Oakland
March 13 – Las Vegas, NV – Zappos Theater at Planet Hollywood
March 15 – Los Angeles, CA – Shrine Auditorium
March 16 – Phoenix, AZ – Arizona Federal Theatre
March 18 – Irving, TX – The Pavilion at Toyota Music Factory
March 20 – Cedar Park, TX – HEB Center Cedar Park
March 21 – San Antonio, TX – Freeman Colikseum
March 23 – Nashville, TN – Nashville Municipal Auditorium
March 25 – Alpharetta, GA – Ameris Bank Amphitheater
March 27 – Charleston, WV – Charleston Civic Center Coliseum
March 29 – Philadelphia, PA – The Met
March 30 – Newark, NJ – Prudential Center
April 2 – Mashantucket, CT – Foxwoods Resort Casino – Grand Theater
April 4 – Lowell, MA – Tsongas Center At UMass Lowell
April 7 – Halifax, NS – Scotiabank Centre
April 10 – Quebec City, QC – Centre Videotron
April 11 – Laval, QC – Place Bell
April 13 – Hamilton, ONT – FirstOntario Centre
More information on Queensryche’s upcoming live dates with Judas Priest is available along with all of the band’s latest news at:
Independent rock band Lord released its latest record this week. Its new covers compilation, Undercovers Vol. 1 released Friday through Dominus Records. The 23-song (yes, 23 songs) comes less than a year after the trio released its then latest EP, Chaos Raining, and approximately two years after the release of its then latest new album, Fallen Idols. This latest compilation stands out from so many other compilations already released this year in part because of its featured songs. This will be discussed shortly. The band’s take on the songs makes for its own share of interest and will be discussed a little later. The songs’ sequencing puts the finishing touch to the record’s presentation. When this element is considered along with the other noted items, the record in whole proves that while it is largely a space filler between albums, is still a positive addition to Lord’s catalog.
Lord’s new covers compilation, Undercovers Vol. 1 is a positive new presentation from the longtime independent hard rock band. The record’s appeal comes in large part through its songs. The songs are important to note in that they are not just a bunch of songs that the band recorded specially for this compilation. Rather, they are mostly covers that the band has recorded throughout its life and has only now made available together. Simply put, they were brought together as a way to entertain the band’s fans in lieu of a live recording and even new live dates while promoters and venue heads decide their next steps for live music. They are not just some random space-filler used to appease contractual obligations.
Bassist Andy Dowling explained the songs’ collection during a recent interview.
“Covers have been a big love of ours since the early days of Dungeon right up to and including now,” said Dowling. “Over the years in Lord these tracks have ended up on limited edition releases, bonus tracks in isolated parts of the world and other weird and wonderful places. These songs have been scattered over so many different places that even we struggle ourselves to remember where on earth all of these songs can be found.”
“While bands around the world continue to navigate these uncertain times, we thought this would be the perfect opportunity to release this collection of cover songs, as well as new recordings, to keep the LORD machine moving while we continue to write new music,” he added.
Additionally, Dowling pointed out that two of the songs featured in the compilation — Savage Garden’s ‘To the Moon and Back’ and Judas Priest’s ‘Reckless’ – were the only songs specially recorded for the compilation. Those two songs are only a small portion of the 23 (yes, 23) total songs featured in this recording, and are important because they are a highlight of the diversity in the collection. The band also took on The Police (‘Message in a Bottle’) here, as well as songs from Bon Jovi, Helloween, Metallica, and Little River Band just to name a handful of other acts featured in the compilation. The short and simple is that the bands covered here come from a wide range of genres. From hard rock –Metallica, Iron Maiden, Judas Priest, Anthrax – to classic rock – Little River Band – to 80s hair rock – Bon Jovi – to prog – Queensryche, Symphony X – to mainstream pop and rock – The Police, Savage Garden – Lord takes on music from so many influences. That diversity in the bands and music featured here helps to build the band’s reputation and at the same time, perhaps even introduce audiences to music to which they might not have otherwise listened. If for no other reason, that diversity in the bands and songs will keep audiences engaged and entertained. It is of course just one of the elements that make this recording so interesting. The band’s performance of said songs adds to the record’s interest.
Lord’s take on The Police’s ‘Message in a Bottle’ is just one example of the importance of the band’s performances. Lord’s take on the classic song is interesting in that while it stays largely true to its source material, it essentially amps up that original in a sort of 80s power metal style work. That updated take — complete with machine gun-fast bass drum work, melodic guitar lines, and operatic vocals – shows that the song strangely enough works just as well in this case as in the original presentation. It is not one of those woks that hits listeners in its first listen, either. Rather, it will grow on listeners with each listening, highlighting its longevity.
The band’s take on a-ha’s ‘The Sun Always Shines on TV’ is yet another example of the band’s performances here. In the case of this performance, the band has opted more for an 80s hair metal style performance that makes for quite the contrast against a-ha’s keyboard-driven original composition. There is the slightest touch of a power ballad early on in the original composition, what with the string arrangement, but that soon gives way to the band’s more familiar new wave approach, which is more present throughout the song. Lord’s take on the song, as noted, is more of an 80s hair power ballad type work. It gives a-ha’s original quite the unique new identity in this case with its amped up take on the song. Where it ends up standing with listeners will be left for those audiences to decide. That aside, it definitely makes for its own interest.
W.A.S.P. is another of the bands whose work is covered in this compilation. In this case, Lord took on the band’s hit song ‘Wild Child.’ In this case, the stylistic approach taken by Lord is largely the same as that of W.A.S.P. The difference is that Lord’s cover is actually an improvement on the original. It would seem here that is more due to the production. The production makes the song sound so much fuller and richer here than the original. It makes the song sound more modern with a throwback feel. To that end, it is yet another example of the impact of the band’s performances here, and the importance thereof. When it is considered along with the other performances noted here and the rest of the record’s featured performances, the whole of those performances makes for even more engagement and entertainment. It is just one more example of what makes this compilation worth hearing. The sequencing of the songs featured in this compilation rounds out its most important elements.
The sequencing of Undercovers Vol. 1 is important to examine because of its role in the record’s general effect. The record starts in contemplative fashion with its cover of Savage Garden’s ‘To the Moon and Back’ but very quickly after, it picks up with its take of Iron Maiden’s ‘Judas Be My Guide.’ It is not even until the record reaches its midpoint in its take of Cutting Crew’s ‘(I Just) Died In Your Arms’ that the album’s energy even remotely pulls back. From that point on, the compilation’s energy remains relatively high, even as the band takes on what are some otherwise reserved songs. Even in those cases, the band manages to amp up those songs, including their energies. So overall, the sequencing ensures that the album’s energy remains relatively high throughout its 100-minute (one hour, 40 minute) run time. That the record’s energy remains relatively high, and even gives a break point roughly halfway through ensures that the record will run fluidly throughout, ensuring even more, listeners’ engagement and entertainment. When that certain engagement and entertainment is considered with the impact of the band’s unique performances and the variety of songs featured here, that whole makes the compilation overall, its own standout presentation. Add in the fact that this compilation marks the first time that the band has ever united the previously recorded covers in one setting, and the compilation gains even more appeal. It shows that this was not just some randomly recorded presentation used to appease contractual obligations. Between this and everything else noted, the record in whole proves to be a covers collection that is actually worth hearing.
Lord’s new covers compilation Undercovers Vol. 1 is an interesting presentation that rockers and even pop music fans alike will find worth hearing at least once. That is due in part to the songs featured in the recording. The band does not just take on a bunch of hard rock and metal songs here, though there are a lot of those songs featured here. The band also takes on songs from pop and pop rock acts, such as Savage Garden, The Police, a-ha, and even Kylie Minogue. That variety in itself makes for reason enough to hear this presentation. That only two of the songs featured here were specially recorded for the compilation shows that this was not just some randomly thrown together presentation that was made to appease any contractual obligations for the band. Rather, it was a way for the band to bring together so many of the covers that it has recorded over the course of its life. That makes the presentation more special in itself. The band’s performance of the featured covers makes for its own appeal. That is because they give those originals their own unique identities from one to the next. The songs’ sequencing rounds out the most important of the compilation’s elements. That is because it ensures the record’s pacing remains stable throughout while also constantly giving listeners something interesting rather than redundant. Each item noted here is unquestionably important in its own way to the whole of the compilation’s presentation. All things considered, they make the record a work that despite being a covers compilation, still a presentation that is worth hearing, and at least once at that. Undercovers Vol. 1 is available now through Dominus Records.
More information on Undercovers Vol. 1 is available along with all of Lord’s latest news and more at:
Nova Rex bassist Kenny Wilkerson has launched a new effort to help raise money for a nonprofit agency that assists people who have autism.
Wilkerson recently released a new cookbook titled Rockin’ Recipes for Autism Volume 1. The 127-page book features recipes from well-known rock and metal artists and acts, such as Stone Sour, Ozzy Osbourne, and Queensryche.
A portion of proceeds from book sales will benefit the nonprofit agency We Rock For Autism. The organization, formed in March 2014, provides music therapy for those with autism, raises awareness about autism through concerts, and even provides sensory-friendly movie screenings for autistic audiences.
The band announced Friday that it will re-issue its self-titled 1990 debut album Dec. 18 on CD and digital platforms. Famed producer ZEUSS (Lamb of God, Hatebreed, Queensryche) handled the album’s re-mastering and re-mixing.
A vinyl release will follow the re-issue’s CD and digital re-issue on Jan. 8 alongside a limited edition digipack re-issue. The re-issue is meant to celebrate the album’s 30th anniversary. Pre-orders are open.
Guitarist Jon Schaffer said in a prepared statement, he was looking forward to the album’s re-issue.
“This 30 year old debut classic has been remixed and remastered from the original 2 inch tapes by Zeuss, and it sounds fantastic,” he said. “It has a modern touch and still retains the dynamics of the original release. This is a big step forward sonically and visually. We’re excited to have our exclusive artwork and blood red vinyl version at www.icedearthmerch.com.
In celebration of the album’s forthcoming re-issue, the band debuted the re-mastered take of the record’s lead single ‘Written on the Walls‘ Friday.
Early this moth, veteran hard rock outfit Queensryche debuted the music video for its latest single, ‘Portrait.’ The finale from the band’s 2019 album The Verdict, the song takes listeners back to Queensryche’s early days through its musical and lyrical content. While it is another strong representation of the band’s album, it is only one of the album’s most notable entries. ‘Inner Unrest,’ which comes late in the album’s 44-minute run time is just as important to the album’s presentation as any of the record’s other entries. ‘Light Years,’ which comes early in the album’s presentation, is another notable addition to the LP, and will be addressed a little later. ‘Propaganda Fashion’ also is worth examining in looking at the bigger picture of The Verdict. When it is considered along with the other noted works and the rest of the album’s compositions, the whole of the record proves to be another enjoyable offering from one of the rock realm’s most respect acts.
Queensryche’s most recent album The Verdict, the band’s 15th full-length studio recording – is another strong offering from the veteran band, which is in the midst of the latest leg of its tour in support of said album. The album boasts a variety of strong points throughout the course of its nearly 45-minute run time, not the least of which is ‘Inner Unrest,’ which comes late in the album’s run. The musical arrangement at the center of ‘Inner Unrest’ is a work that will take listeners back to the days of the band’s 1994 album Promised Land. That is evident through the combination of front man Todd LaTorre’s vocal delivery and the talents displayed by his band mates – guitarists Michael Wilton and Parker Lundgren, drummer Scott Rockenfield and bassist Eddie Jackson. The group’s combined work makes the song a composition in whole that that is everything Queensryche fans have come to expect from the band throughout its decades-long life. The arrangement’s heavy, yet melancholy approach does an applause-worthy job of illustrating the song’s lyrical theme of someone dealing with PTSD.
The song’s lyrical content puts forward a strong message about mental health; more specifically PTSD. LaTorre sings in the song’s lead verse, “Hear the voices in your head/Do they speak of grand delusion/Moral truths to comprehend/The soul’s contusion/The scarred reunion/And you can dream/Can you feel me/Can you feel me.” The song’s subject seems to be asking someone in this verse, if that person realizes what is going on in that person’s mind or is that person wrapped up in his/her own self. LaTorre continues in the song’s second verse, “Colors change from black to red/I’ll never remember/Still you search for the meaning/Strange lies hypnotize me, you know/I’ll never surrenderAnd you still scream for madness/And you dream/Can you feel me/Can you feel me/Fantasy, dreaming/Can you feel me.” He continues in the song’s third and final verse, “There are many truths behind these eyes that you see/On one side love and laughter/The other darkened disbelief/Searching for the sunset clause in my relief/Sincerely Mr. Post-traumatic looking for some peace.” The song does a good job of illustrating what someone dealing with PTSD must go through daily, as is evidenced here. The song’s very lead verse paints a picture of a person fighting with so many thoughts both good and band. The mention in the song’s second verse of that person searching “for the meaning” and the “strange lies” hypnotizing that person, goes a long way to imagine the person fighting that inner battle, racking his or her brain in the process, virtually pulling his or her hair out of his/her head. That message, coupled with the powerfully engaging musical arrangement at the center of the song makes this work a unique presentation in itself and just one example of what makes The Verdict such a strong new offering from Queensryche. It is just one of the album’s most notable entries. ‘Light Years,’ which comes early in the album’s run, is another positive addition to the LP.
‘Light Years’ offers listeners a full-on prog-metal presentation in its musical arrangement that is grounded largely in the aforementioned dual guitar approach of Wilton and Lundgren. The pair’s collective work is as good as any heavy prog-metal opus that Dream Theatere guitarist John Petrucci has ever crafted with his band mates. Rockenfield’s work behind the kit here strengthens the song’s presentation even more with his solid time keeping. Jackson’s work on the bass is the cherry on top of this musical sundae, giving it that last needed touch. The combination of each musician’s line makes the whole of the song a work that is arguably one of this record’s strongest entries if not its absolute strongest. Of course the song’s musical arrangement is only a portion of what makes the song stand out. Its lyrical content adds even more to its impact.
LaTorre sings in the song’s lead verse, “Light-years and shadows/You’ll never see the end of day/Distant horizon/Far beyond the past you cannot save/Whispers/No silence/Echoing the sounds from far away/Sequenced pariahs/Following the footsteps to your grave/Pulling me down the undertow/It’s dragging me now/I’m paralyzed/Beyond the distance is out of reach/There’s no more I can take.’ This verse is repeated almost identically for a second time with only minimal change in the second verse. What LaTorre and company are trying to convey through this content is anyone’s guess. It comes across as perhaps the song’s subject addressing the issue of living in the present versus the past or even the future. This is inferred as LaTorre makes note of light-years and shadows never seeing “the end of day” and the distant horizon being “far beyond the past that you cannot save.” It is almost as if this is the song’s subject noting the past is gone and the future is too far ahead to be concerned about, so it is better to be in the present. This is entirely this critic’s own interpretation and should not be taken as gospel. As LaTorre sings in the song’s chorus, “Beyond the distance is out of reach/There’s no more I can take” seems to hint at this even more. The added note from the song’s subject that “There’s no more I can take” adds even more to the thought of someone who is struggling to decide which way to look. Once more, this is entirely this critic’s take on the song’s lyrical content. Regardless of right or wrong, this song’s lyrical content is certain to generate plenty of discussion, as is its musical content. Keeping all of that in mind, the song in whole proves itself to be another important addition to The Verdict. It is not the last of the album’s most notable entries. ‘Propaganda Fashion’ is worth examining just as much as the other songs noted here.
‘Propaganda Fashion’ is another work that takes listeners back to Queensryche’s heyday through its musical arrangement. From the dual-guitar attack to the solid time keeping to the low-end and vocals, every element of this song takes listeners back to the days of Hear in the Now Frontier with its driving, melodic rock arrangement. It is perhaps the album’s most radio ready song at least in regards to its musical arrangement. That catchy arrangement couples with the song’s sociopolitical commentary in its lyrical content to make the song in whole that much more engaging for listeners.
Jackson talked about the noted commentary in a recent interview, saying, “Lyrically it surrounds a political message used to persuade an audience, in order to make something appear more powerful, meaningful or real than it actually is.” That statement is illustrated as LaTorre sings in the song’s lead verse, “Lightning (charging with a vengeance)/Strikes you (spreading like fire)/Takes you down, down, down/Sell me what’s real/Become desensitized/Pushing their own point of view/Lies/Shoving it down, down your throat/Lies.” LaTorre continues in the song’s second verse, “System (no communication)/Broken (poisoned mother*******)/Spins you round, round, round/Media persuasion/Speeches and names/Paved by the ones with the crown.” He adds in the song’s third and final verse, “Tonight your freedom dies/The scars to prove it/No reason or rhyme/The twisted web of lies/Just take your time and hurry up/You’re free to do what you’re told.” These are some pretty straight forward statements made through these verses and considering what is going on now across the political spectrum, they are fully relatable for listeners. Regardless of which side of the aisle one sits on, it applies on both sides. Keeping that in mind, it makes the song stand out that much more. When it is coupled with the song’s radio ready and accessible lyrical content, the song in whole stands out even more. When the song is considered along with the other works noted here and the rest of the album’s works, the record in whole shows that much more why it is such a strong new offering from one of rock’s most respected names.
As already noted, Queensryche is in the midst of the latest leg of its world tour in support of The Verdict. Audiences will get to hear all three of the songs noted here and others Sunday in Charlotte, NC and Wednesday in Huntsville, AL. The remaining dates on the band’s current live run are noted below.
QUEENSRYCHE “THE VERDICT TOUR” 2020 with John 5:
February 22 – Charlotte, NC – The Underground*
February 25 – Huntsville, AL – Mars Music Hall
February 26 – Atlanta, GA – Buckhead Theater*
February 27 – Orlando. FL – Plaza Live
*without John 5
More information on Queensryche’s tour is available online along with all of the band’s latest news at:
Queensryche debuted the video for its latest single this week.
The band debuted the lyric video for its new single for ‘Inner Unrest‘ Thursday. The song is featured in the band’s 2019 album The Verdict. The song’s musical arrangement is classic Queensryche throughout. Its lyrical content tackles a very heavy topic, as front man Todd LaTorre explained in a recent interview.
“‘Inner Unrest’ is an abstract characterization loosely based on the struggles dealing with PTSD; the inner and external battles one must fight daily,” he said.
Queensryche will launch the next leg of its ongoing tour in support of The Verdict Jan. 17 in Ft. Lauderdale, FL. The tour is scheduled to run through Feb. 27 in Orlando, FL and to feature performances in cities nationwide, such as Charlotte, NC; Austin, TX and Anaheim, CA. The tour’s schedule is noted below.
QUEENSRYCHE “THE VERDICT TOUR” 2020 with John 5:
January 17 – Ft Lauderdale, FL – Culture Room
January 18 – St Petersburg, FL – Jannus Live
January 19 – Jacksonville, FL – Florida Theatre
January 22 – Austin, TX – Emo’s
January 23 – Houston, TX – House of Blues
January 24 – San Antonio, TX – Aztec Theater
January 25 – Dallas, TX – House of Blues
January 28 – Phoenix, AZ – Marquee
January 29 – San Diego, CA – Music Box
January 30 – Anaheim, CA – House of Blues
January 31 – San Francisco, CA – Slims
February 1 – Sacramento, CA – Ace of Spades
February 4 – Portland, OR – Crystal Ballroom
February 5 – Seattle, WA – Neptune
February 7 – Denver, CO – Ogden
February 8 – Kansas City, MO – Knuckleheads*
February 9 – St Louis, MO – Delmar*
February 12 – Grand Rapids, MI – 20 Monroe
February 13 – Detroit, MI – St Andrew’s Hall*
February 14 – Pittsburgh, PA – Roxian Theatre
February 15 – Sayerville, NJ – Starland Ballroom
February 16 – Boston, MA – Big Night
February 19 – Glensdale, PA Keswick Theatre
February 20 – Baltimore, MD Baltimore Sound Stage*
February 21 – North Myrtle Beach, SC – House of Blues
February 22 – Charlotte, NC – The Underground*
February 25 – Huntsville, AL – Mars Music Hall
February 26 – Atlanta, GA – Buckhead Theater*
February 27 – Orlando. FL – Plaza Live
*without John 5
John 5 and Eve To Adam will serve as support for the band’s upcoming dates.
More information on Queensryche’s upcoming tour, new single, album and more is available online at:
Rock fans had a lot of reason this year to raise their horns. From January right up to this month, rock music fans received lots of strong new offerings this year. That includes both mainstream and independent acts. Buckcherry’s new album Warpaint, which came out early this year, proved to be everything that audiences have come to expect from the band. DuG Pinnick’s King’s X side band KXM also released a new record this year — Circle of Dolls — that was a step up from its predecessor. 80s rockers L.A. Guns even produced its own strong new effort in The Devil You Know while prog rock star Neil Morse’s Jesus Christ: The Exorcist developed its own fans, too. Between those albums and so many others, rock fans had a lot to be happy about. It made creating the list of this year’s top new rock records quite difficult to arrange.
This year’s list, like others from Phil’s Picks, features the Top 10 picks as well as five honorable mention titles for a total of 15 titles. The list was compiled from consideration of the titles’ overall musical and lyrical content. That content taken into consideration made this list anything but easy. No offense was meant to any of the band featured on this list. With that in mind, here is Phil’s Picks 2019 Top 10 New Rock Albums.
Queensryche debuted the video for its latest single this week.
The band debuted the lyric video for its new single ‘Bent.’ The song is taken from the band’s most recent album The Verdict, which was released in March through Red Music and Century Media Records.
Front man Todd LaTorre talked about the song’s musical arrangement and lyrical content in a recent interview.
“‘Bent’ is a lyrical conglomerate of social injustices and societal struggles infused with progressive musicality,” LaTorre said. “Snippets of thought provoking subject matter take you on a journey of up tempo hard rock/metal riffs with melancholic melodies and atmospheres.”
Queensryche is on tour in Europe promoting its new single and The Verdict. Mirrorplain and Firewind are serving as support for the first portion of the tour, which runs through August.
After completing the first leg of that tour, Queensryche will take some time to rest and recharge before heading back out across Europe in November. Firewind will serve as sole support on the second half of the tour. The tour’s schedule is noted below.
QUEENSRYCHE “THE VERDICT EUROPEAN TOUR”
w/ Firewind, Mirrorplain
July 25 – Berlin, DE – SO36
July 26 – Rottenburt-Seebronn, DE – Rock of Ages *+
July 27 – Szekesfeherva, HU – Fezen Festival+
July 28 – Ljubljana, SL – Kino Siska
July 30 – Munchen, DE – Free & Easy Festival
July 31 – Aschaffenburg, DE – Colos-Saal
August 2 – Wacken, DE – Wacken Open-Air*+
August 3 – Eindhoven, NL – Effenaar
August 4 – Paris, FR – Petit Bain*
August 6 – Pinarella di Cervia, IT – Rock Planet
August 7 – Pratteln, CH – Konzertfabrik z7
August 9 – Kortrijk, BE – Alcatraz Festival+
August 10 – Leeuwarden, NL – Into The Grave Festival*+
August 11 – Walton-on-Trent, UK – Bloodstock Open Air Festival*+
August 13 – Norfolk, UK – Waterfront, Norwich*
August 14 – London, UK – o2 Islington Academy*
August 15 – Saarbrücken, DE – Garage*
August 16 – Dinkelsbuhl, DE – Summer Breeze Festival*+
August 17 – Essen, DE – Turock Festival*+
* FIREWIND do not appear
+ MIRRORPLAIN do not appear
QUEENSRYCHE “THE VERDICT EUROPEAN TOUR”
w/ Firewind
November 15 – Thessaloniki, Greece – Fix Factory Of Sound
November 16 – Athens, Greece – Fuzz Club
November 19 – Krakow, Poland – Kwadrat
November 21 – Telfs, Austria – RathausSaal Telfs
November 23 – Stockholm, Sweden – Fryshuset Klubben
November 24 – Gothenburg, Sweden – Tradgarn
November 25 – Oslo, Norway – Tradgarn
November 26 – Copenhagen, Denmark – Pumpehuset
December 4 – Mannheim, Germany – MS Connexion
December 5 – Dornbirn, Austria – Conrad Sohm
December 6 – Geiselwind, Germany – Christmas Bash
December 7 – Oberhausen, Germany – Ruhrpott Metal Meeting
* FIREWIND do not appear
Queensryche’s video for ‘Bent‘ is just its latest video to debut from The Verdict. The band most recently released the video for ‘Light Years‘ in March. That video was preceded in January by the video for ‘Dark Reverie,’ and that video by the video for the album’s lead single ‘Man The Machine.’
More information on Queensryche’s new single, video, tour dates and more is available online at:
To keep up with the latest sports and entertainment news and reviews, go online to http://www.facebook.com/philspicks and “Like” it. Fans can always keep up with the latest sports and entertainment news and reviews in the Phil’s Picks blog at https://philspicks.wordpress.com.
Fates Warning and Metal Blade Records have reunited.
The veteran progressive rock band announced this week that it signed a new deal with Metal Blade Records. Most recently, the band was signed with InsideOut Music, which released the band’s most recent recordings, Theories of Flight (2016) and Live Over Europe (2018).
Front man Ray Alder addressed the reunion in a recent interview.
“All of us in Fates Warning are happy to announce that we are back with Metal Blade Records,” Alder said. “Metal Blade has been there for us since the very beginning, and we are proud to call them part of our family. The journey begins again, and we cannot begin to say how excited we are to work together once more. A big thank to our fans for sticking with us through all these years. We could not be here today without all of you. That is a fact. Thank you, everyone. Here’s to making some new memories.”
Fates Warning was signed with Metal Blade Records from its inception, releasing albums through the label until 2013, when it released Darkness in a Different Light through InsideOut Music. Theories of Flight followed in 2016. The band’s 1998 live recording Still Life was also released via Metal Blade Records, as was the band’s 2017 live recording Awaken The Guardian Live.
Courtesy: InsideOut Music
Fates Warning is scheduled to join Queensryche on the road starting March 2 as a support act for Queensryche as it tours in support of its new album The Verdict. That album is currently scheduled for release March 1 via Century Media Records. The tour’s current schedule is noted below.
Fates Warning tour dates w/ Queensryche
Mar. 2 – The Plaza Live – Orlando, FL
Mar. 3 – Culture Room – Ft. Lauderdale, FL
Mar. 4 – Jack Rabbits Live – Jacksonville, FL *
Mar. 5 – Masquerade – Atlanta, GA
Mar. 7 – Sound Stage – Baltimore, MD w/ The Cringe
Mar. 8 – Sellersville Theater – Sellersville, PA *
Mar. 9 – Irving Plaza – New York, NY w/ The Cringe
Mar. 10 – Palladium – Worcester, MA w/ The Cringe
Mar. 12 – Bogarts – Cincinnati, OH
Mar. 13 – Diesel – Detroit, MI
Mar. 14 – Concord – Chicago, IL
Mar. 15 – The Rave – Milwaukee, WI
Mar. 16 – Medina Entertainment Center – Medina, MN
Mar. 17 – The Royal Grove – Lincoln, NE *
Mar. 19 – The Shrine – Tulsa, OK *
Mar. 20 – House of Blues – Dallas, TX
Mar. 21 – House of Blues – Houston, TX
Mar. 22 – Aztec – San Antonio, TX
Mar. 23 – El Rey – Albuquerque, NM
Mar. 24 – House of Bards – Tucson, AZ * w/ Push, DIRTNAP, Tribulance, Fire By Rank
Mar. 26 – The Marquee – Tempe, AZ
Mar. 27 – Observatory – San Diego, CA
Mar. 28 – The Fonda Theatre – Los Angeles, CA
Mar. 29 – Slim’s – San Francisco, CA
Mar. 30 – Ace of Spades – Sacramento, CA
Apr. 1 – The Dip – Redding, CA *
Apr. 2 – Crystal Ballroom – Portland, OR
Apr. 3 – Neptune – Seattle, WA
*=Fates Warning only
Once Fates Warning wraps its tour, it will start work on its 13th full-length studio recording, which will be released in 2020 via Metal Blade Records. More information on that album is available online now along with all of Fates Warning’s latest news at:
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Fates Warning announced a new slate of live dates this week.
The veteran progressive metal band officially announced Thursday, that it is joining Queensryche for the band’s tour in support of its forthcoming album The Verdict, which is currently scheduled for release on March 1 via Century Media.
Queensryche recently made the announcement of the tour along with announcements of its new videos, which feature music from The Verdict. The tour is currently scheduled to launch March 2 in Orlando, FL. and run through April 3 in Seattle, WA.
The tour’s schedule, which features performances in cities, such as Dallas, TX; Baltimore, MD and Detroit, MI, is noted below.
FATES WARNING – Live 2019:
Sa March 2nd – Orlando, FL – The Plaza Live – w/ Queensryche
Su March 3rd – Ft. Lauderdale, FL – Culture Room – w/ Queensryche
Mo March 4th – Jacksonville, FL – Jack Rabbit’s *
Tu March 5th – Atlanta, GA – Masquerade – w/ Queensryche
Th March 7th – Baltimore, MD – Sound Stage – w/ Queensryche
Fr March 8th – Sellersville, PA – Sellersville Theater *
Sa March 9th – New York, NY – Irving Plaza – w/ Queensryche
Su March 10th – Worcester, MA – Palladium – w/ Queensryche
Tu March 12th – Cincinnati, OH – Bogarts – w/ Queensryche
We March 13th – Detroit, MI – Diesel – w/ Queensryche
Th March 14th – Chicago, IL – Concord – w/ Queensryche
Fr March 15th – Milwaukee, WI – The Rave – w/ Queensryche
Sa March 16th – Medina, MN – Medina Entertainment Center – w/ Queensryche
Su March 17th – Lincoln, NE – Royal Grove *
Tu March 19th – Tulsa, OK – The Shrine *
We March 20th – Dallas, TX – House of Blues – w/ Queensryche
Th March 21st – Houston, TX – House of Blues – w/ Queensryche
Fr March 22nd – San Antonio, TX – Aztec – w/ Queensryche
Sa March 23rd – Albuquerque, NM – El Rey – w/ Queensryche
Su March 24th – Tucson, AZ – House Of Bards *
Tu March 26th – Tempe, AZ – The Marquee – w/ Queensryche
We March 27th – San Diego, CA – Observatory – w/ Queensryche
Th March 28th – Los Angeles, CA – Fonda – w/ Queensryche
Fr March 29th – San Francisco, CA – Slim’s – w/ Queensryche
Sa March 30th – Sacramento, CA – Ace of Spades – w/ Queensryche
Mo April 1st – Redding, CA – The Dip *
Tu April 2nd – Portland, OR – Crystal Ballroom – w/ Queensryche
We April 3rd – Seattle, WA – Neptune – w/ Queensryche
* FATES WARNING headline show
The Cringe will also serve as support during the tour.
Fates Warning’s tour with Queensryche is in support of its latest live recording Live Over Europe, which was released June 29, 2018 via InsideOut Music. According to Fates Warning front man Ray Alder, the tour is also in support of the band’s most recent full-length studio recording Theories of Flight, which was released July 1, 2016 via InsideOut Music.
To keep up with the latest sports and entertainment news and reviews, go online to http://www.facebook.com/philspicks and “Like” it. Fans can always keep up with the latest sports and entertainment news and reviews in the Phil’s Picks blog at https://philspicks.wordpress.com.
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