Wednesday 13

The Vanguard and Bros. Houligan Presents...

Wednesday 13

Once Human, Gabriel and The Apocalypse, Fist Of Rage

Fri, July 7, 2017

Doors: 7:00 pm / Show: 7:00 pm


Wednesday 13
Wednesday 13
Bolt your doors, seal off your windows, and turn off your radio it's a scary world out there, full of mindless zombies and equally mindless rockstars, self-righteously preaching and self-indulgently whining to the herd. But help is on the way, as Wednesday 13 stands ready to shock the rock status quo out of its brain-dead coma. Equal parts artist, horror and TV addict, and riveting frontman, Wednesday 13 refuses to be your typical messiah. I don't like anyone preaching to me that's why I've never gone to church. says Wednesday. For me, music has always been an escape from real life. Whatever problems I had, I could always go home, put on a record and just escape all of that shit. So in my own music, the only thing I'm serious about is not being serious!

Though best known for fronting the Murderdolls, Wednesday is a rock veteran who's been playing in bands since he was 15-years old. He adopted his stage moniker in 1995, naming himself after Wednesday of The Addams Family and the address, 1313 Mockingbird Lane, of The Munsters. A year later he formed his now-deceased horror-core band Frankenstein Drag Queens From Planet 13, named in the spirit of legendary B-movie director Ed Wood. The band put out four independent albums between 1996 and 2001, and played countless local shows. Frankenstein Drag Queens was Wednesday's baby, and he slaved away for his undead offspring - writing the songs, booking shows, working low-wage jobs (delivering everything from newspapers to furniture), and generally putting all his money and energy into the band.

In 2001, the 'Drag Queens independent releases and loyal underground following caught the attention of national artists, as Wednesday was asked by the (since departed) Murderdolls guitarist Tripp Eisen to join the band. Wednesday started in the bass slot, but his talent and showmanship quickly resulted in a move to the lead vocalist position. It was he and band founder Joey Jordison of Slipknot who collaborated on the writing of the band's debut album, Beyond the Valley of the Murderdolls. The Murderdolls quickly built a fiercely devoted following, through repeated world tours (including 30,000-person shows in Japan, opening slots for Iron Maiden throughout Europe, and other choice tours), and worldwide rock press acclaim and album sales followed. As 2003 came to an end, Beyond had earned silver-status in the UK, sold over 100,000 units in the U.S. alone, and garnered accolades including Kerrang!'s Readers Choice Award Best New Band and Album of 2002 and Metal Hammer's Thank God They're Not Good Charlotte award in 2003. Predictably, the success of the Murderdolls resulted in Wednesday disbanding his first band. But since the Frankenstein Drag Queens' demise, it has ironically won a worldwide cult following. Wednesday can't help but laugh: "In the beginning, the 'Drag Queens were inspired by Ed Wood. In the end, the band was like Ed Wood in that he wasn't popular until after he died either.

Murderdolls, meanwhile, was put on hold in 2003 as Jordison returned to the studio and the road with Slipknot. Wednesday returned home, immediately locked himself in his basement, and emerged with over 100 songs written. In June 2004, he began work on his first solo album, playing all but the drums himself. True to form, Wednesday has stitched together a morgue-full of influences horror films, cartoons, punk and heavy metal into a spook-tacular monster-mosh of an album, Transylvania 90210: Songs of Death, Dying and the Dead. Fans of White Zombie, Rob Zombie, AFI, Alkaline Trio the aforementioned 'Dolls, as well as metal, punk, and horror in general will find the record at once refreshing and outrageous. With his sallow complexion and raven dreadlocks, Wednesday may look like a grim goth at first glance, but the singer/guitarist is more a throwback to the days of Alice Cooper and Twisted Sister, when rock music had no more pretentious aspirations than being over-the-top, escapist fun.

The song I Walked with a Zombie, for instance, was inspired by the 1943 horror movie of the same name. It's one of the first movies that dealt with voodoo, the singer/guitarist explains. But I just went in a totally different direction the song is actually kind of a love song about a zombie.

The song Elect Death for President, meanwhile, was inspired by the TV news. I was watching CNN last year, and I was like 'You know, this is scarier than any horror movie,' Wednesday recalls. I'm not a political person, but it doesn't take a genius to realize that there are problems. So I started making up sarcastic lyrics about a campaign where Death was actually running for president. I felt kind of weird afterwards, like Did I just write a political song? Or not?'

The recording now behind him and the bloody, infectious results commited to tape, the singer/guitarist is burning to sink his fangs into the rock world's throat once again. Despite his writing and performing the record himself, Wednesday 13 is a band, which includes Wednesday on vocals/guitar, Ghastly on drums, Kid Kid on bass and Pig on guitar. Once the record was done, the band immediately hit the road, playing a 16-date club tour of the UK/Europe to warm up the new material. The tour was a great success, drawing thousands of fans and affirming Wednesday's ability to connect with fans, whatever the project.

Growing up a little blonde kid in the middle of the Bible Belt (North Carolina, where he still resides), Wednesday escaped at an early age into a world of creature features and rock gods. I'm the perfect example of what television and rock 'n' roll can do to a kid with no plans to be a doctor or fireman, says Wednesday. I still sort of live inside of a television. My songs stem from movies and things I've seen on TV. It seems natural, then, that each track on Transylvania 90210 is an episode in the outrageously shocking mini-series that Wednesday 13 created. Tune In: Wednesday 13's debut album will be your new guilty pleasure.
Once Human
Once Human
Evolution is not just the title of Once Human’s sophomore release, it’s an armor-plated declaration. Having made waves with their 2015 debut, The Life I Remember, the band have dramatically progressed beyond the melodic death metal sound of that release into something more complex, emotional, distinct, and devastatingly heavy. “Having been focused on recording, producing and developing bands, I had not picked up the guitar out of passion for twelve years but as soon as I started writing with Lauren (Hart, vocals) I fell in love with what we were making, and I wanted to play in the band and get back on stage,” states guitarist Logan Mader, whose name will be familiar to metalheads not only for his production and/or mixing work on records from the likes of Gojira, Fear Factory and Devildriver, but also as the original guitarist in Machine Head and his late 90s stint in Soulfly. “Our first record was getting the ball rolling, but now it’s as if we’re a totally different band. We really found our sound and our identity, it’s quite unique and I think what we’re doing is really on fire.”

With the lineup rounded out by drummer Dillon Trollope, bassist Damien Rainaud and guitarists Skyler Howren and recent recruit Max Karon, everything about Evolution makes it clear that this is a band pushing itself to deliver something that truly stands apart. With the intensity and range of Hart’s roar having drastically increased, she unleashes it across complex and constantly shifting time signatures, and thick, contorted riffs that land with sledgehammer force. However, this is not only about bludgeoning the listener into submission, the violence often juxtaposed with eerie atmospherics and dark melodies to create something with great depth. “Paragon”, for instance, is equally destructive and unsettling without having to attack at 300bpm, while “Dark Matter” is built to intimidate, unnerve and destroy, and the intense closer “Passenger” has an urgency to it that is riveting. “It was a challenging record to write,” Mader admits. “We spent a lot of time writing and rewriting and rearranging, the content itself is strenuous to perform, and I had to push myself to the limits to get it to where it is. I think the result is that all of the parts of all of the songs really make you feel something.”

Dealing with music that carries so much emotional weight, Hart had to raise herself to a standard she had never previously worked at when it came to penning the lyrics, and she openly admits to being intimidated. “The music is so intelligent, and initially I felt like I could not possibly come up with something sufficiently intelligent to do it justice. Frankly stating that she deliberately "Turned off the world" and avoided the constant turmoil by not reading about current affairs, this blunted the emotional impact of the lyrics she penned for the band’s debut. “I did not want to see the world for what it was or let it in. I did not want to feel that anger and anxiety. I always thought ignorance was bliss.. but ignorance is just ignorance, and no good writer will come from that. So, I dug deep to induce a huge reality check in order to face myself and the world.”
With every track Hart earnestly tackles her chosen subject matter without flinching. Though she elects to not go into too much detail so that listeners may interpret her lyrics as they wish, she still covers a lot of ground. She not only looks at the very real problems in the world but also events from her personal life, and in the case of “Gravity” and “Passenger” she delves into more philosophical territory, pondering the meaning of life. “Now, I want to use my voice and my mind in the best way I can. I really challenged myself, and hopefully what I have written will challenge peoples’ minds in return.”

With Mader handling production and mixing duties, tracking the record ran smoothly, though again Hart had to dig so much deeper when it came time for her to step into the vocal booth. Knowing her weaknesses performance-wise from their debut album, she worked very hard to develop her voice, and held nothing back when it came time to deliver. “I was really inspired by Randy Blythe on Lamb of God’s VII: Sturm Und Drang (2015). He was so real and raw, and from that seemed to find new voices for his album. Screaming with tone, the highs and the lows, the cleans, you truly feel each line from him, and I wanted to do that too. I wanted to make people feel what he made me feel. In order to do that, I had to be honest and truly believe what I was signing. It had to come from a real place in my soul. Whatever the song was about, I would find that place emotionally and then I’d get into the booth and sing.”
While every record Mader has produced is a labor of love, his passion was so inflamed by Evolution that he “ate, slept and breathed” the album every moment of the months spent working on it. When it came to mastering, he elected to hand these duties off to the one and only Jens Bogren, who has left a profound mark on records from Amon Amarth, Fleshgod Apocalypse and Soilwork, to name but a few. “I’m a huge fan of his work. He’s got this amazing studio with a lot of great analog gear, and I wanted to have his stamp on it, and hopefully inject it with some of the analog sound that I love.”

The first song most will encounter will be lead off single “Eye Of Chaos”, which is a hell of a way to grab the attention of both those new to the band and their followers. Bringing together all of the elements that make the album so compelling, it has an immediacy that is undeniable. “Even as an instrumental piece of music it gave off that ‘holy-shit-this-is-amazing-and-giving-me-goosebumps’ feeling!” Mader enthuses. “It’s also one of the more straightforward arrangements, so it’s a little easier to wrap your head around, and we felt it was a really good reintroduction, showing people where we’re going with this record.” Thematically, it tackles a very dark and sober issue, that of children raised to be soldiers, a story that moved Hart upon encountering it. “These are children born and taught to kill at a very young age, the loss of innocence after the first kill, and the numbness to the concept of death that follows, something unimaginable to most of us. For them, life has no value, and their eyes completely lose their light.”
Armed with this track and the eight others comprising Evolution, Once Human intend to build on the groundwork laid down by the two tours they did in support of their debut, and make it damn clear that this is a band to be taken seriously. “It’s only been a little more than a year since we put out our first record, but we were so driven by the new sound that we forged that we needed to get back into the studio and capture it,” Mader states. “It was also important to prove to people that this is a real band. It’s not just a project I felt like doing on a whim, this is a band that’s going to have a full career, and now we’re really getting started.”
Gabriel and The Apocalypse
Gabriel and The Apocalypse
Hailing from the colorful and music inspired streets of Minneapolis, Minnesota comes the unique blend of Metal/Rock/Industrial that is Gabriel And The Apocalypse. The band delivers a fierce yet beautiful array of female fronted aggression that will give their predecessors a run for their money.

The brainchild of vocalist Lindy Gabriel, Gabriel And The Apocalypse independently put out 2 releases which were backed by numerous national support tours around the United States. Their intense and and professional style videos also paved the way for the group to become an underground sensation.

It was this self produced success that led GATA to ink a deal with Pavement Entertainment to which they immediately began work on their new album "The Ghost Parade". This new release (available October 7, 2016) is sure to propel the band to new heights with major worldwide distribution and exposure. To kick off the album's release GATA will tour with horror rock favorite Wednesday 13 throughout the month of October. The group plans on a heavy and extensive touring cycle to follow.

According to Lindy, "The Ghost Parade" is a concept record that brings you on a music roller coaster ride. From in your face songs like "March of the Dolls" to stripped down emotional songs like" Behind the Sun", this record still maintains a taste of the usual GATA anthems on politics and world issues but as a whole it is more personal. I feel as a writer and lyricist it is more abstract & poetic. I feel more exposed and vulnerable. It's honest. It flows and twists through different waves and moods from beginning to end.

Creative, Original, Visual, Artistic, Strong……the definition of GABRIEL AND THE APOCALYPSE
Fist Of Rage
Fist Of Rage
Fist of Rage first hit the Tulsa music scene in 2007. Quickly becoming a local favorite, they released their first album entitled "Womb of Hypocracy" in 2008. By 2011, Fist of Rage became a driving force in the regional music scene and released their sophmore album entitled "Fear". This propelled F.O.R. on to headlining spots in the regional music scene including one of the biggest outdoor music festivals, ROCKLAHOMA. Refusing to rest, Fist of Rage has continued to push forward, sharing the stage with rock legends such as George Lynch (Dokken, Lynch Mob), Steven Pearcy (Ratt), Hell Yeah, The Cult, Hinder, Buckcherry, LIT, Powerman 5000, Saliva, and rising stars Crooked X, Psychostick, and Texas Hippie Coalition as well as cameos with music legends such as Vinnie Paul, Dave Sabo of Skid Row,Drowning Pool, and the host of VH1s "That Metal Show", Eddie Trunk.
In 2013 they released a 3 song "preview CD" of the upcoming full length album featuring award winning producer Beau Hill, who has worked with bands such as Ratt, Warrant, Kix, and several movie soundtracks including The Lost Boys. With the band firing on all cylinders, there's no telling what the future has in store for them. So put on your gloves, get your fists in the air, and step into the ring for another round.
Venue Information:
The Vanguard
222 North Main Street
Tulsa, OK, 74103