10 Years, Æges

Tuesday, November 28

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


This event is all ages

Absolutely no refunds - no exceptions.

Tickets available at the door.

Lineups and times are subject to change.

No re-entry.


Multi-platinum recording artists Chevelle is made up of Pete Loeffler (vocals, guitars), brother Sam Loeffler (drums), and brother-in-law Dean Bernardini (bass). Inspired by the lurching riffs of Helmet and the soft/loud vocal styling of Tool, the Chicago-based trio's aggressive, heavy sound is all about mounting tension exploding into raw guitar bursts.
10 Years
10 Years
Based in Knoxville, TN, 10 Years is an alternative hard rock band with an incomparable sound that is destined to create an island of its own. Formed three years ago, 10 Years created a strong underground following with their independent release Killing All That Holds You. In 2005, 10 Years signed with Republic/Universal Records, entered the studio with producer Josh Abraham (Staind, Velvet Revolver) and recorded their debut album The Autumn Effect.

The Autumn Effect has arrived just in time to counteract the cynicism and to take rock music to its next logical destination. "Humanity is slowly shutting down," says the band's frontman Jesse Hasek, who points to the current rock scene as a prime example of this lack of community. "Music is supposed to be about intensity and feeling, but there's no thinking behind the music that's out there today. We want people to think, to feel emotions again. We're always plugged in, or connected to something, part of the machine, but the more we plug in, the less human we become."

10 Years has evolved from a wake of high school metal bands, to the more melodic, heavy fusion of The Autumn Effect. "Less is more," the band says of their sound, and nowhere is that more apparent than the summer radio hit, "Wasteland." The title track swirls as an intrepid soundscape with an influx of modern aggression, from a whisper to a scream that could fill a stadium, from strum to angst and back again. Sledgehammer riffs propel the cosmic "Empires," while the sun-drenched "Prey" builds into a heavy metal gape, the perfect combination of breezy pacing and humid undertones. Melody marches through "Waking Up" and "The Recipe" is an exhilarating blitz of frenetic energy, while "Half-Life" kicks the ears in, each track exhibiting a new, distant depth of 10 Years' that seamlessly stretch them, morphing into a progressive realm far beyond the scope of modern flash-in-the-pan comparisons.

The Autumn Effect resonates as much lyrically, as it does musically. "Prey," for instance, was inspired by the band's move to Los Angeles to record their debut album, and Hasek's observation that people in L.A. drive cars worth more than some of the houses in their Tennessee hometown. "Empires" is about this generation of people who are addicted to material possessions and rely upon these possessions to satisfy all the needs of life. "The Recipe" is about how casual consumption of lust with random strangers devalues and destroys the ability to love. "We are living in an individualistic ego driven society that celebrates fame, lacks ambiguity that is incapable of deep sustained attention with no discontinuity between life and art. "Seasons to Cycles" is about people who build walls to separate themselves from others. In building walls we lose contact with people and we don't realize these same walls confine the growth of relationships. Whether we're talking about love, substance abuse, temptation, or whatever, all the songs are about life, and the emotions that we all go through," says Hasek. "Life is an organic process of growth and decay, and it is unavoidable in nature."

Over the course of the past year, 10 Years has opened for the likes of Velvet Revolver and Static X, more than holding their own, while making new fans all along the way. 10 Years offer more than just music and words they deliver a mission statement... Just call The Autumn Effect the soundtrack to our new and improved lives, a signpost to a future where we're more than just cogs in the machine, but vibrant beings that can touch the God within.
In ÆGES (pronounced “ages”), ambitious rock n’ roll soundscapes and
melodies the size of mountains are the electrifying result of four men
from diverse musical backgrounds united by their shared love of loud
guitars, big drums and catchy songs. Since joining forces in Downtown
Los Angeles, guitarists/vocalists Kemble Walters and Cory Clark,
drummer Mike Land and bassist Tony Baumeister have concocted a
thrilling sound that’s both nostalgic and forward thinking.
ÆGES has made the improbable marriage of massive extremes their
hallmark, steering beyond the simple combination of sonic crunch and
melodic hooks into a hypnotizing and enchanting lane occupied by
pioneering acts like Queens Of The Stone Age and Soundgarden.
The group has earned accolades from respected outlets like
BrooklynVegan, Decibel, Exclaim!, MetalSucks, Guitar World,
and Alternative Press; shared stages with Tool, Coheed & Cambria,
Thrice, Buckcherry, FLOOR, and Local H; and joined tastemaker festivals
like Fun Fun Fun
Fest, Power Of The Riff, and South By Southwest.
The interplay between Walters and Clark in particular is an absolute
standout all over Weightless, the most fully realized work from ÆGES
thus far. The duo’s separate screams, blending harmonies, jagged duels
and unrelenting passion simply blow the doors down.
Weightless is as fierce and chaotic as it is earnest and atmospheric.
For their first album with Another Century, ÆGES worked with veteran
rock producer Bob Marlette (Black Sabbath, Shinedown, Rob Zombie,
Seether) and mixer/Saosin guitarist Beau Burchell (The Bronx, Emery,
Middle Class Rut), with additional production on a couple of the
Weightless tracks handled by the band themselves.
The Bridge (2012) was a guitar driven affair whose singular focus
gave way to the even bigger sonic tapestry found onAbove & Down
Below (2014), cementing ÆGES as four players with distinctive strengths
that combine to make something virtually unrivaled today, as clearly
evidenced by every single song on Weightless.
The new record from ÆGES takes listeners on a journey to a place
somewhere between The Green Albumby Baroness,Colour & The
Shape by Foo Fighters, and Superunknown by Soundgarden.
Weightless is fully charged by powerful guitars, pounding drums, rich
melodies, and delays veering between dense and sometimes sparse.
Massive sonic heft, magical melodies, odd - time signatures and raw
power cohabitate with transcendent catchiness throughout, as various
combinations of sonic strength and spacey noise build tension that is
both organic and dramatic, earning each of the album’s biggest moments
with authentic earnestness. ÆGES has mastered the slow psychedelic
jam as well, intertwining all of these elements with desert rock, flashes of
prog, and thick guitars that ebb and flow.
ÆGES is prone to experiment with dissonant sounds without the
pretensions of art - rock; they swing for the fences with unabashedly huge
vocal hooks, without the vapidity of pop rock. This is a band with
unstoppable potential, owing much to the fact that they can shake the
earth with grandiose bombast without the boundaries and limitations of
hard rock, hardcore - punk or any associated subculture.
With nothing tying ÆGES down, their future is truly Weightless.