Jan
22

Veil of Maya - The Mother Tour @ HI-FI (RESCHEDULED)

HI-FI

Indianapolis, IN

Tickets

Tickets are not available.

Event Details

VEIL OF MAYA - THE MOTHER TOUR W/ ANGELMAKER, LEFT TO SUFFER, REFLECTIONS, ALLUVIAL @ HI-FI INDIANAPOLIS

VIP M&G 5:30 PM, DOORS: 6:30 PM, SHOW: 7:00 PM

GENERAL ADMISSION, LIMITED SEATING.

AGE RESTRICTIONS: ALL AGES

ALL TICKETS ARE NON TRANSFERABLE AND NON REFUNDABLE. SUPPORT ACTS ARE SUBJECT TO CHANGE.

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Due to vehicle issues, Veil of Maya's Indianapolis show at HI-FI for tonight is now rescheduled to tomorrow, Monday, January 22, 2024, and will include the rest of the artists on the bill. We apologize for the inconvenience; this is our best option vs. being unable to make it tonight and perform.

We look forward to seeing you then!

All tickets purchased for the original date will be honored on the rescheduled date. Please direct any questions to boxoffice@hifiindy.com

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Veil of Maya VIP Experience available here:

https://tix.soundrink.com/tours/hyblk2nuyh1telnlny93zvvhfel5xro6

One (1) General Admission Ticket
Meet & Greet and Photo Opp w/ Veil of Maya
VIP Hologram Poster
Exclusive Veil of Maya Fanny Pack Including:
Veil of Maya Lighter
Veil of Maya Rolling Papers
Veil of Maya Grinder
Early Entry/Early Access to Merch

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About Veil of Maya:

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Underneath a maelstrom of polyrhythmic guitars, sweeping vocals, and shuddering beats, Veil of Mayaencode a ponderous narrative at the core of their sixth full-length album, False Idol [Sumerian Records].This time around, a captivating concept drives the quartet—Marc Okubo [guitar], Sam Applebaum[drums], Danny Hauser [bass], and Lukas Magyar [vocals].

By channeling energy in one direction, force grows exponentially. Veil of Maya harness the individualexperiences and talents of four distinct musicians—Marc Okubo [guitar], Sam Applebaum [drums], DannyHauser [bass], and Lukas Magyar [vocals]—into airtight groove-laden metal accented by fits ofinstrumental virtuosity and vocal catharsis. This approach has endeared them to a devout fan base with
critical acclaim and over 100 million total streams and counting (unprecedented for an outfit thiscrushingly heavy). The Chicago band draw on the strength of their union on their seventh full-lengthoffering, [m]other [Sumerian Records].

About Angelmaker:

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AngelMaker levels listeners with a furious, focused, diverse, and violent extremity. Across a handful of split EPs and other releases, including two full-length albums, the Northern Vancouver seven-piece make their musical intentions clear. AngelMaker creates deathcore of the highest order, injected with blackened thrash, a smattering of power violence, and the urgent ferocity of underground hardcore.

Like genre standard-bearers Black Dahlia Murder, Despised Icon, and Whitechapel, AngelMaker summon the most brutal elements of Floridian death metal and combine it with the coldest permafrost of Scandinavian black metal, without the theatricality sometimes clouding the genres. The brand-new music unleashed by AngelMaker in 2021, crafted in recent months with producer Tim Creviston (Spiritbox, Misery Signals, Vultures), is the band’s most confident and destructive yet.

“We always strive to write music that makes people feel something emotionally intense,” explains singer Mike Greenwood, who shares vocal duties with Casey Tyson-Pearce. The triple-guitar assault of Coton Bennett, Matt Perrin, and Johnny Ciardullo, together with the rhythmic pulse of bassist Code Rideout, makes for a crushingly heavy, unforgivingly brutal, uniquely extreme metal sound.

AngelMaker reveres the old-school 2005–2010 era of deathcore, constantly reevaluating their own material to improve upon it with each release. The music combines with lyrics about personal struggles (fear, loss, sadness, anxiety), worldly ideas and concepts, and fantastical, cinematic themes.

“We are constantly pushing the boundaries of our signature sound, while staying true to the roots in classic deathcore,” says Greenwood. “There’s nothing more satisfying than having someone tell you, ‘This sounds like something I loved when I was growing up and just getting into deathcore.’ Nostalgia is such an intense emotion.”

As the band adapted to the concert-less conditions of the worldwide shutdown due to COVID-19, they crafted a release strategy to ensure their increasingly perfected modern deathcore is heard. The first eight tracks from the new album “Sanctum” appear as two-song “quadrants,” building anticipation for the eventual full-length, and keeping AngelMaker top of mind as a return to the road draws nearer.

The guys were all teenagers when the band formed (half of them even went to the same high school together) and began a decade long streak of independence that continues to this day. 2012’s Decay EP put them on the deathcore map. A three-way split EP with Lament and Isolations arrived the following year.

The band’s dual-vocal and triple-guitar composition allows for new and diverse explorations of extremity, setting AngelMaker both inside and apart from the traditions of the deathcore subgenre. As Greenwood points out, AngelMaker “continues to strive for the freshness of modern extreme music while bearing the coveted torch of the old-school deathcore sound. And if we can write songs that make listeners go through a sort of catharsis, then I think we have done our jobs correctly.” Beyond mere technicality and devastation, AngelMaker trade in emotion, eliciting unique feelings of sorrow, regret, anger, fear, and depression, taking listeners on immersive journeys within the songs.

As the British Columbian ensemble’s first new material in roughly two years seeps out from the underground in 2021, diehards and newcomers alike discover new revelations in their music. Now ten-years strong as an independent, do-it-yourself force, AngelMaker triumphantly stands tall.

About Left to Suffer:

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Left to Suffer is a 5 piece Nu-Deathcore band from Atlanta, GA.

About Reflections:

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“Reflections is a band that is constantly evolving.

Every aspect of the band is filled with its own depth.

From abysmally low tuned guitars playing more notes per second than one can count, to entrancing atmospheric melodies. Fast paced technical drumming, to a steady driving force. And vocals that always deliver a message and are filled, even riddled, with meaning.

For the last decade, the band has continuously pushed their sound and genre boundaries, developing a unique style that has generated some of the most heartfelt, heavy music in the genre.”

About Alluvial:

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More than anything, our pain connects us. Hardship binds us as humans in one shared experience, bringing us closer together. Alluvial examine this phenomenon on their second full-length album, Sarcoma [Nuclear Blast]. The critically acclaimed Atlanta-based quartet—Kevin Muller [vocals], Wes Hauch [guitar, vocals], Tim Walker [bass], and Matt Paulazzo [drums]—plunge into a whirlwind of neck-snapping polyrhythmic riffs, a barrage of double bass, and a dynamic avalanche of screams. After amassing over 2 million total streams independently and receiving the endorsement of MetalSucks, No Clean Singing, and more, the group evolve into a focused and fiery force in 2021 with their latest body of work.

“Sarcoma is a type of cancer that grows from connective tissue in the body,” reveals Wes. “At the end of working on everything, Kevin pinpointed that each song on the record was about the different perils that happen at the hand of one man to another. These perils live in our connections to one another, so Sarcoma became an apt title.”

In 2017, Alluvial initially roared to life on their debut LP, The Deep Longing for Annihilation. “Colony” notably gathered 678K Spotify streams—unprecedented for instrumental extreme metal. Building a fan base, the group toured alongside Animals As Leaders and Veil of Maya.

On the heels of this tour, Wes traded Los Angeles for Atlanta.

“In all honesty, it was an escape,” he admits. “I knew some of my struggles would never leave me, but I felt like I’d have a better chance to reset if I got out of California. The perils of taking refuge in a bottle or the near occupational hazard of drugs in L.A. had hollowed me out and exacerbated my woes. Winston Churchill famously called depression ‘the Black Dog’. The rut with drugs and booze turns the black dog, a longtime bedfellow, into the ruler of your vessel. I’d estimate that the music for Sarcoma started there. As strange and vulnerable as it feels to explain that, it would be dishonest to say otherwise."

As he began to write at home, he took notice of Kevin due to his time in Suffocation. After hearing his vocals on a demo, everything simply clicked, and Kevin joined the band. Fast brothers, it fulfilled a long-term goal. “The Deep Longing for Annihilation was supposed to have vocals, but I couldn’t find the right guy,” he adds. “Some people possess a rare inability to doubt themselves. Kevin can marry that into performances. The day I heard his vocals over the Sarcoma demos was a special one. We’ve become brothers.”

After writing and producing demos at home, Alluvial cut guitars, bass, and vocals with engineer John Douglass in Atlanta. The opener “Ulysses” begins with warm guitar echoes before building towards an ominous crescendo. It quickly crumbles under the weight of a thrash riff and brain-rattling growl.

“I was always in trouble in my small hometown,” he says. “After going to a county jail, I joined the military and took orders as an Equipment Operator bound for the US Naval Mobile Construction Battalions. The enlisted side of the military are all misfits of one kind or another. Because of this, it’s really a continuation of high school. The military continued raising us, for better or worse. In 2005, I deployed to Iraq and convoyed throughout Baghdad for seven months. If you were in Iraq from 03 to 08, it was generally pretty bad. Because of that, I wouldn’t call my experience in Iraq “unique”, it was just a hot time over there. If you convoyed, you were gonna get shot at, and you were gonna deal with IED’s. If you were in a camp, you were gonna get mortared. If you were infantry and you were kicking down doors, god bless you, you were gonna have it the worst out of anyone. ‘Ulysses’ is a glossary of my hindsight on that experience.”

An airy clean intro ignites a bludgeoning groove on “40 Stories,” which remains “loosely based on the story of Conrad Roy who committed suicide at the coercion of his girlfriend.” Maintaining elements of power and conviction throughout, “Sleepers Become Giants” creeps along on whispers and emotionally charged guitar before another cathartic chorus about a combination of depression and the moment “you become a giant, wake up, and do what you’re supposed to be.”

In the end, Alluvial welcome audiences into their world.

“My favorite records have always been places where I could crawl inside and hang out,” he leaves off. “They gave me a way of looking at things and put me in a helpful state of mind, whether I knew it or not. The goal with this album is to hopefully provide a similar feeling.”