BEGIN:VCALENDAR VERSION:2.0 PRODID:-//Find Local//findlocal.community//EN CALSCALE:GREGORIAN METHOD:PUBLISH BEGIN:VTIMEZONE TZID:America/Indiana/Indianapolis BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:-0400 DTSTART:19700308T020000 RRULE:FREQ=YEARLY;BYMONTH=3;BYDAY=2SU END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:-0500 DTSTART:19701101T020000 RRULE:FREQ=YEARLY;BYMONTH=11;BYDAY=1SU END:STANDARD END:VTIMEZONE BEGIN:VEVENT UID:e2919392-ed2c-48da-9124-df9b9a78d591@findlocal.community DTSTAMP:20261012T002407Z DTSTART;TZID=America/Indiana/Indianapolis:20261101T180000 DTEND;TZID=America/Indiana/Indianapolis:20261101T200000 SUMMARY:Mushroomhead & Fear Factory DESCRIPTION:Mushroomhead is one of the most unique and adventurous altern ative metal bands working today. Known for their stunningly theatrical l ive show and artsy masks\, this innovative band has forged new ground in the rock world and influenced many other bands to push the envelope and bring art into rock. Formed in the early-1990s in Cleveland\, Ohio\, th e band’s combination of metal\, rock\, and atmospheric elements has stru ck a chord with thousands of fans worldwide. Mushroomhead have been perf orming incognito since 1993\, when drummer Skinny founded the band. The band was meant to be a side project\, so they wore masks to go unrecogni zed\, but after only a few shows they developed a rabid and loyal fan ba se in Cleveland. Mushroomhead released their 1995 self-titled debut albu m independently\, and it went on to become an underground hit. This was history in the making because the band really had no proper distribution . Superbuick followed in 1996 and M3 in 1999\, all released via an under ground street effort. After the band felt its image and hyper-melodic\, heavy style of music was being diluted by other bands jumping into this space\, the band started to change their look to reflect nothing out the re. After a brief stint on Eclipse Records\, a move to Universal Records saw the release of XX (a combination of the past independent releases) in 2001 and XIII in 2003. The band’s last album sold over 200\,000 units in the USA alone. Mushroomhead released Savior Sorrow for the pioneerin g rock label\, Megaforce Records (Metallica\, Anthrax\, Ministry\, Warre n Haynes\, Bad Brains) in 2006. Mushroomhead released “Beautiful Stories for Ugly Children” in the Fall of 2010\, and it debuted at #44 on Billb oard charts. It can be said that Mushroomhead’s musical ascendance was a singular\, original aesthetic of eight guys decked out in matching jump suits and artsy masks\, playing unbelievable\, unsettling music. No othe r band was wearing masks and jumpsuits and purveying this type of ultra- melodic\, ultra-dynamic music at the time – Mushroomhead sounded like no thing else. The band’s merging of metal\, atmospheric elements\, rock\, and theatrics mixed with a punk DIY attitude has inspired and spawned ot her bands. Even though Mushroomhead’s music is rock-leaning in thought\, the group remains firmly committed to pushing the envelope and trying n ew things. Influences range from the driving rhythms and breakneck turns of Pantera\, to the dark melodies of Faith No More\, to the atmospheric stylings of Pink Floyd\, but all done in Mushroomhead style. One can’t overstate the size of the Fear Factory boot print on the neck of heavy m etal. Unleashing influential albums with devastating anthems for over 30 years\, Fear Factory is widely recognized as both crucial and innovativ e in extreme metal circles. Fear Factory manufactured\, demanufactured\, and remanufactured a sound that reverberates across several subgenres. They perfected an explosive blend of staccato paint-stripping riffs\, in dustrial-tinged drums\, electronic flourishes\, and a scream/sing dichot omy\, all of which became staples in heavy music ever since the group fi rst emerged in L.A. Fear Factory headline major festivals\; earned sever al awards from the international sales charts\; toured with legends like Black Sabbath\, Slayer\, Iron Maiden\, and Metallica\; performed at thr ee Ozzfests\; and influenced generations of bands who achieved multiplat inum success. But it’s the group’s commitment to unrelenting extremity a nd creative authenticity that ensured its place in heavy metal history\, from the touchstone masterpiece Demanufacture to the similarly dominati ng Genexus. Fear Factory records are cinematic in scope\; sonic landscap es\, echoing the dystopian post-apocalyptic futures found in classic sci -fi literature and films\, from Ray Bradbury to Blade Runner. Aggression Continuum\, the tenth studio album\, is the culmination of three decade s of unforgettable songs\, performances\, and forward-thinking storytell ing concepts\, while simultaneously rebooting Fear Factory onto a brilli ant and excitingly unpredictable new path. Like the liquid metal T-1000 in the Terminator franchise or the Academy-Award winning reboot of Mad M ax\, Aggression Continuum is a turning point where what “was” transforms into what will be. It’s Fear Factory’s own Fury Road. Aggression Contin uum features guitarist\, songwriter\, and cofounder Dino Cazares\; drumm er Mike Heller\; and vocalist\, lyricist\, and cofounder Burton C. Bell. It was produced and engineered by Damien Rainaud (DragonForce\, Once Hu man)\, with keyboards by Igor Khoroshev (ex-Yes)\, and programming on tw o songs from longtime collaborator Rhys Fulber (Front Line Assembly). Ag gression Continuum was mixed by A-list rock and metal producer Andy Snea p (Megadeth\, Killswitch Engage\, Trivium)\, who also mixed the album’s critically-acclaimed predecessor\, Genexus. The 1992 arrival of Soul of a New Machine introduced Fear Factory to the world. It was the same year as the L.A. Riots\; Sinéad O’Connor tearing up a picture of the Catholi c Pope on T.V.\; an E. coli outbreak\; Dr. Dre’s The Chronic\; and the l aunch of the first Mortal Kombat video game. Unrest\, paranoia\, seethin g contempt for the powerful elite\, and a rejection of mindless consumer ism powered songs that proved both timely and timeless. Cazares\, alread y a young veteran of the local thrash metal scene\, combined his love fo r death metal and grindcore with a precision picking attack. Bell’s pion eering blend of death metal howls and soaring melodic singing was simila rly revelatory in metal. Years before computerized drum samples were ubi quitous in metal\, Raymond Herrera’s powerhouse and authentic performanc es\, combined with Dino’s almost mechanical-sounding style of riffing\, begged the question: “Are these men or machines?” Fear Factory intertwin ed their sound\, art\, and themes\, warning of a potential technocratic apocalypse\, creating a soundtrack of impending dread. The 1993 remix E. P. Fear is the Mindkiller began a career-long partnership with Fulber\, the mastermind of industrial icons Front Line Assembly\, and mixer Greg Reely. Fear is the Mindkiller’s combination of man and machine was the g ateway to the futuristic masterpiece which followed. Demanufacture stunn ed the scene when it emerged in 1995. During the Demanufacture sessions\ , Cazares butted heads with Colin Richardson over the album’s creative d irection\, which led to the producer’s firing. Reely was re-enlisted to mix the album\, which cemented Demanufacture as a groundbreaking classic . “Demanufacture was so far ahead of its time that bands are still faili ng to rip it off convincingly today\,” wrote Metal Hammer\, before the r ecord arrived on vinyl for the first time in 2020. As Kerrang! declared in an anniversary retrospective on the album\, “Demanufacture was so inn ovative that it sounds as fresh today as it did then\; a blistering coll ision of metal and hardcore that easily rivals any of its peers. In shor t\, a masterpiece.” Decibel Magazine inducted the album into their Hall of Fame\, alongside massively influential classic releases from Metallic a\, Slayer\, Scorpions\, and Judas Priest. Demanufacture was certified G old in Australia and Silver in the United Kingdom. It even cracked the T op 10 in Billboard’s Heatseekers chart in the United States\, a minor mi racle for a record so extreme. Producers added “Zero Signal” to the Mort al Kombat film soundtrack (alongside KMFDM\, Orbital\, and Type O Negati ve)\, which was certified platinum by the RIAA for sales in excess of 1 million copies. Cazares performed both guitar and bass on Demanufacture. The addition of Christian Olde Wolbers in the live setting cemented the “classic” lineup of Dino\, Raymond\, Burton\, and Christian. This versi on of the band supported Demanufacture on the road\, delivering unstoppa bly energetic performances on several worldwide tours. Among them: treks with Sabbath\, Maiden\, Megadeth (as part of a package that included a young Korn)\, and Ozzy Osbourne\, including an appearance at the very fi rst Ozzfest in 1996. (Fear Factory would go on to participate in Ozzfest again in 1997 and 1999.) The groundbreaking remix album Remanufacture – Cloning Technology arrived in 1997\, well before modern metal bands nor malized doing “reimagined” versions of songs (let alone still new songs) . A then-29-year-old Thomas Holkenborg aka Junkie XL handled several of the songs\, years before his hit remix of “A Little Less Conversation” b y Elvis Presley and blockbuster film scores including Deadpool\, Batman v Superman: Dawn of Justice\, Zack Snyder’s Justice League\, and Godzill a vs. Kong. The continuing evolution of the group’s cinematic sound mani fested on Obsolete\, a full-blown concept album (crafted in part at Vanc ouver’s legendary Armoury Studios) with the lyrics presented in screenpl ay format in the CD booklet. The presence of Fulber’s production and key boards\, together with Reely’s mixing\, loomed even larger than before. Cazares used 7-string guitars\, tuned down to A standard. Wolbers used a n upright bass on “Edgecrusher.” The Vancouver Symphony Orchestra perfor med on “Resurrection” and “Timelessness.” (The band reached out to Sarah McLachlan to add guest vocals to “Timelessness\,” but after hearing the ir music\, she respectfully declined.) The album went gold in America\, the UK\, and Australia\, but was as uncompromising as ever\, further per fecting Fear Factory’s formula. “Descent” broke into the Mainstream Rock Top 40 in the United States. A cover of the ‘80s hit “Cars\,” recorded as a B-side with guest vocals from Gary Numan himself\, entered the Top 20. They toured with Slayer and on the Ozzfest mainstage. They headlined in Europe and North America\, where they took System Of A Down and Stat ic-X (featuring future bassist Tony Compos) as support. The band continu ed making inroads into other media\, including video games. Herrera was an innovator there\, hand-delivering Fear Factory music to game designer s well before it was the norm. They even performed on the MTV/WCW Beach Brawl during Spring Break 1999\, which featured Kid Rock. In 2001\, Fear Factory entered the Mainstream Rock Top 40 again\, with “Linchpin” (whi ch later became their biggest song in the streaming era)\, from their fo urth album\, Digimortal. Fulber produced\, with mixing handled by Mike P lotnikoff (P.O.D.\, Papa Roach\, Mudvayne). The record entered the Top 1 0 in Australia\, Top 20 in Canada\, and Top 40 in the U.S. on the back o f successful tours in Japan\, Australia\, New Zealand\, Europe\, and Nor th America. But despite the success\, all was not well within the camp. Digimortal boasts many of the band’s signatures – the riffs\, the electr onic flourishes\, the postmodern thematic material\, the vocals. It cont ains monstrous songs but record label pressure to deliver a more commerc ial album caused turmoil within the band during the writing process. Bel l exited the band for the first time in 2002\, causing Fear Factory to d isband. (A press release noted the singer’s desire to move away from agg ressive music into something closer to “indie rock.”) The same year\, Co ncrete\, a collection of recordings made in 1991 with producer Ross Robi nson (Slipknot\, Korn\, The Cure)\, was issued by Roadrunner Records. Th e breakup of Fear Factory proved to be short-lived\, as the band made th eir live return in January 2004\, but without Dino. Wolbers switched to guitar\, with Byron Stroud filling the bass position. The reconstituted band toured behind Archetype\, Fear Factory’s first album without its fo unding guitarist\, with Slipknot and Lamb Of God. Released the following year\, the follow-up to Archetype was panned\, including by members of the band. Transgression wandered far into alt-rock territory\, but Bell defended the effort. In 2007\, Bell teamed with Ministry for several son gs and a tour. He seemingly left Fear Factory again in 2008\, telling on e interviewer he was tired of violent music. While away from Fear Factor y\, Dino founded the extreme metal outfit Divine Heresy\, releasing two acclaimed albums. Bleed the Fifth (2007) featured a then-unknown Tommy V ext on vocals. Metal Hammer declared that Cazares\, described as a pione er\, “has hit the bullseye” with the group. Singer Travis Neal replaced Vext for the band’s awesomely brutal second album\, Bringer of Plagues ( 2009). Dino’s Spanish-language deathgrind band with future Fear Factory bassist Tony Campos\, Asesino\, released Corridos de Muerte (2002) and C risto Satánico (2006). After Cazares and Bell reconnected at a 2008 Mini stry show\, the singer suggested Dino rejoin the band. Later\, Bell told Dino that the other guys weren’t interested in Bell’s suggested changes to Fear Factory\, which would also include a switch in management and r ecord label. This led to a legal dispute over the name\, with Burt and D ino on one side\, and Raymond and Christian on the other\, ending in a s igned settlement agreement which split the trademark between the singer and guitarist. 2010’s Mechanize featured Dino\, Burton\, Stroud (though Cazares tracked the bass)\, and legendary metal drummer Gene Hoglan (Dea th\, Testament\, Dethklok)\, with Fulber and Reely returning as producer and mixer\, respectively. It was universally hailed as a return to form \, with many in the press and on social media calling it the band’s best since Demanufacture. Songs like “Powershifter\,” “Fear Campaign\,” and “Final Exit” stood confidently alongside the best of their older materia l. Bonus tracks included re-recorded versions of Soul of a New Machine’s “Martyr” and “Crash Test.” “Archetype and Transgression were controvers ially written and recorded without founding guitarist Dino Cazares\, the main victim of 2002’s acrimonious split\,” wrote BBC Music. “The recons tituted Fear Factory may have featured three-quarters of the classic lin eup\, but without Cazares\, they were fatally flawed. With Cazares back\ , however\, the band are back on track\, as Mechanize forcefully demonst rates.” Other critics agreed. Blabbermouth\, in a 9/10 review\, said\, “ One of Fear Factory’s most outstanding qualities has always been their a bility to create gigantic hooks that penetrate the ears\, latch onto the brain and refuse to let go. Mechanize offers a wealth of those moments. ” The critical sentiments were echoed tenfold by fans. The revitalized F ear Factory toured the world anew\, even supporting the mighty Metallica in Australia\, New Zealand\, Japan\, and parts of Europe. The momentum continued with The Industrialist (2012)\, Fear Factory’s return to the c oncept album. Cazares again performed all guitars and bass\, Bell sang\, with Fulber and Reely producing and mixing. In lieu of a full-time drum mer\, the band elected to program drums. As Bell put it\, the story invo lved a sentient automaton. “What was meant to help man will eventually b e man’s demise.” They returned to the music charts\, including in Finlan d and Hungary. The band supported the album at festivals and tours with a live lineup comprised of Dino\, Burt\, Matt DeVries (bass) of Chimaira \, and Mike Heller (drums). Heller’s contributions to the tech/death met al genre are many\, including his role with Malignancy. Heller made his recorded debut on Genexus (2015)\, Fear Factory’s first album with Nucle ar Blast Records\, where they were signed by A&R legend Monte Connor\, t heir longtime ally\, who gave the band their first record deal at Roadru nner in 1991. Dino and Burt co-produced the album with Fulber. Sneap han dled mixing duties. Genexus marked another high point. “Fear Factory wer e way ahead of the game when they released their classic Demanufacture a lbum 20 years ago\,” wrote The Guardian in a four-star review. “Genexus demonstrates how firmly tethered to the cutting edge Fear Factory remain . The best-sounding album of their career by some margin\, this is a pre cise and vicious rush of syncopated kick drums\, sci-fi keyboard surges\ , and eerie but infectious vocal hooks\, all underpinned by Dino Cazares ’ flawless attack. Fear Factory exude real authority\, resulting in thei r finest album in two decades and a timely reminder that when man and ma chine collide\, the outcome can be both joyous and devastating.” The alb um cycle took Fear Factory to India for the first time. In 2015\, Tony C ampos became the band’s bassist. They joined what turned out to be the l ast Soundwave Festival tour in Australia (alongside Faith No More\, Soun dgarden\, Slipknot\, and The Smashing Pumpkins\, among others)\; the pro moter defaulted on payment to several artists\, including Fear Factory. The band closed the year with a European tour celebrating the 20th anniv ersary of Demanufacture. (In an effort to settle ongoing litigation\, He rrera and Wolbers were invited to participate\, but the parties could no t agree on terms.) By 2017\, new material was in the works from Bell and Cazares. In the Spring of that year\, Bell told an interviewer that the songs that would eventually become Fear Factory’s tenth album were “eve n stronger than Genexus\, because it just seems even tighter. We’re on a groove\, and it’s kicking ass.” However\, behind-the-scenes\, legal dis putes with the ex-band members continued. Back in 2011\, Bell filed Chap ter 7 bankruptcy\, but neglected to declare his 50% ownership in the Fea r Factory trademark as an asset in his bankruptcy filings. As a result\, Bell lost his rights to the trademark\, and the courts put it up for au ction. Various third parties (as well as the ex-members) sought to purch ase the rights\, which Bell could no longer legally possess. Dino sought to obtain it\, so they could continue Fear Factory together. In 2016\, Cazares filed for bankruptcy of his own. Through that process\, he was a ble to retain his half of the trademark and purchased the remaining 50% owned by the courts at auction. In 2020\, Cazares raised money online to have Heller record live drums to replace the programmed drums originall y completed for album number ten in 2017. The funds also went toward emp loying the A-list mixing services of Sneap\, to enlist Fulber to handle programming on two tracks\, and toward producer Damien Rainaud. Aggressi on Continuum\, the tenth Fear Factory album\, arriving during the band’s 30th anniversary\, fills Cazares with enormous pride. Bell moved on fro m Fear Factory\, citing his desire to focus on more melodic projects and frustration with all of the various members\, past and present\, as his reasons for his final exit. Should Aggression Continuum prove to be his true last performance as the frontman of Fear Factory\, it’s a more tha n worthy farewell\, demonstrated by the unstoppably definitive and disti nctive attack of songs like “Recode\,” “Disruptor\,” and “Purity.” With the once-contested legal rights to the Fear Factory name now securely in his possession\, Cazares knows how much the group’s music means to the fans and is boundlessly optimistic about what’s ahead. The riffs\, conce pts\, and passions remain\, as Fear Factory celebrates its past\, presen t\, and future. “Fear Factory ushered in an entirely new strand of metal when they emerged from the sweatboxes of L.A. in the early 90s\,” obser ved Metal Hammer. “The ongoing soap opera can’t detract from this uncomp romising band’s frequently stellar legacy.” Exiting a tumultuous 2020 wi th the new album and a reinvigorated sense of stewardship\, band leader Cazares is determined to persist and persevere. Whatever may come\, Fear Factory will be there\, a soundtrack to humankind’s uncertain times ahe ad.\n\nTickets: https://thevogue.com/events/mushroomhead-fear-factory-11 -01-2026-indianapolis\n\nhttps://findlocal.community/event/e2919392-ed2c -48da-9124-df9b9a78d591 LOCATION:Vogue Theatre - IN\, 6259 North College Ave.\, Indianapolis\, IN 46220 URL:https://findlocal.community/event/e2919392-ed2c-48da-9124-df9b9a78d59 1 STATUS:CONFIRMED SEQUENCE:0 END:VEVENT END:VCALENDAR