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UID:fe882d2e-a7f5-45a3-9b39-ade6bb4acf4f@findlocal.community
DTSTAMP:20261012T002219Z
DTSTART;TZID=America/Indiana/Indianapolis:20261101T180000
DTEND;TZID=America/Indiana/Indianapolis:20261101T200000
SUMMARY:Mushroomhead & Fear Factory
DESCRIPTION:Mushroomhead and Fear Factory with special guest Nine Treasur
 es at The Vogue in Indianapolis on Sunday\, November 1\, 2026! Mushroomh
 ead Listen | Watch Mushroomhead is one of the most unique and adventurou
 s alternative metal bands working today. Known for their stunningly thea
 trical live show and artsy masks\, this innovative band has forged new g
 round in the rock world and influenced many other bands to push the enve
 lope and bring art into rock. Formed in the early-1990s in Cleveland\, O
 hio\, the band’s combination of metal\, rock\, and atmospheric elements 
 has struck a chord with thousands of fans worldwide. Mushroomhead have b
 een performing incognito since 1993\, when drummer Skinny founded the ba
 nd. The band was meant to be a side project\, so they wore masks to go u
 nrecognized\, but after only a few shows they developed a rabid and loya
 l fan base in Cleveland. Mushroomhead released their 1995 self-titled de
 but album independently\, and it went on to become an underground hit. T
 his was history in the making because the band really had no proper dist
 ribution. Superbuick followed in 1996 and M3 in 1999\, all released via 
 an underground street effort. After the band felt its image and hyper-me
 lodic\, heavy style of music was being diluted by other bands jumping in
 to this space\, the band started to change their look to reflect nothing
  out there. After a brief stint on Eclipse Records\, a move to Universal
  Records saw the release of XX (a combination of the past independent re
 leases) in 2001 and XIII in 2003. The band’s last album sold over 200\,0
 00 units in the USA alone. Mushroomhead released Savior Sorrow for the p
 ioneering rock label\, Megaforce Records (Metallica\, Anthrax\, Ministry
 \, Warren Haynes\, Bad Brains) in 2006. Mushroomhead released “Beautiful
  Stories for Ugly Children” in the Fall of 2010\, and it debuted at #44 
 on Billboard charts. It can be said that Mushroomhead’s musical ascendan
 ce was a singular\, original aesthetic of eight guys decked out in match
 ing jumpsuits and artsy masks\, playing unbelievable\, unsettling music.
  No other band was wearing masks and jumpsuits and purveying this type o
 f ultra-melodic\, ultra-dynamic music at the time – Mushroomhead sounded
  like nothing else. The band’s merging of metal\, atmospheric elements\,
  rock\, and theatrics mixed with a punk DIY attitude has inspired and sp
 awned other bands. Even though Mushroomhead’s music is rock-leaning in t
 hought\, the group remains firmly committed to pushing the envelope and 
 trying new things. Influences range from the driving rhythms and breakne
 ck turns of Pantera\, to the dark melodies of Faith No More\, to the atm
 ospheric stylings of Pink Floyd\, but all done in Mushroomhead style. Fe
 ar Factory Listen | Watch One can’t overstate the size of the Fear Facto
 ry boot print on the neck of heavy metal. Unleashing influential albums 
 with devastating anthems for over 30 years\, Fear Factory is widely reco
 gnized as both crucial and innovative in extreme metal circles. Fear Fac
 tory manufactured\, demanufactured\, and remanufactured a sound that rev
 erberates across several subgenres. They perfected an explosive blend of
  staccato paint-stripping riffs\, industrial-tinged drums\, electronic f
 lourishes\, and a scream/sing dichotomy\, all of which became staples in
  heavy music ever since the group first emerged in L.A. Fear Factory hea
 dline major festivals\; earned several awards from the international sal
 es charts\; toured with legends like Black Sabbath\, Slayer\, Iron Maide
 n\, and Metallica\; performed at three Ozzfests\; and influenced generat
 ions of bands who achieved multiplatinum success. But it’s the group’s c
 ommitment to unrelenting extremity and creative authenticity that ensure
 d its place in heavy metal history\, from the touchstone masterpiece Dem
 anufacture to the similarly dominating Genexus. Fear Factory records are
  cinematic in scope\; sonic landscapes\, echoing the dystopian post-apoc
 alyptic 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 decades of unforgettable songs\, performan
 ces\, and forward-thinking storytelling concepts\, while simultaneously 
 rebooting Fear Factory onto a brilliant and excitingly unpredictable new
  path. Like the liquid metal T-1000 in the Terminator franchise or the A
 cademy-Award winning reboot of Mad Max\, Aggression Continuum is a turni
 ng point where what “was” transforms into what will be. It’s Fear Factor
 y’s own Fury Road. Aggression Continuum features guitarist\, songwriter\
 , and cofounder Dino Cazares\; drummer Mike Heller\; and vocalist\, lyri
 cist\, and cofounder Burton C. Bell. It was produced and engineered by D
 amien Rainaud (DragonForce\, Once Human)\, with keyboards by Igor Khoros
 hev (ex-Yes)\, and programming on two songs from longtime collaborator R
 hys Fulber (Front Line Assembly). Aggression Continuum was mixed by A-li
 st rock and metal producer Andy Sneap (Megadeth\, Killswitch Engage\, Tr
 ivium)\, who also mixed the album’s critically-acclaimed predecessor\, G
 enexus. The 1992 arrival of Soul of a New Machine introduced Fear Factor
 y to the world. It was the same year as the L.A. Riots\; Sinéad O’Connor
  tearing up a picture of the Catholic Pope on T.V.\; an E. coli outbreak
 \; Dr. Dre’s The Chronic\; and the launch of the first Mortal Kombat vid
 eo game. Unrest\, paranoia\, seething contempt for the powerful elite\, 
 and a rejection of mindless consumerism powered songs that proved both t
 imely and timeless. Cazares\, already a young veteran of the local thras
 h metal scene\, combined his love for death metal and grindcore with a p
 recision picking attack. Bell’s pioneering blend of death metal howls an
 d soaring melodic singing was similarly revelatory in metal. Years befor
 e computerized drum samples were ubiquitous in metal\, Raymond Herrera’s
  powerhouse and authentic performances\, combined with Dino’s almost mec
 hanical-sounding style of riffing\, begged the question: “Are these men 
 or machines?” Fear Factory intertwined their sound\, art\, and themes\, 
 warning of a potential technocratic apocalypse\, creating a soundtrack o
 f impending dread. The 1993 remix E.P. Fear is the Mindkiller began a ca
 reer-long partnership with Fulber\, the mastermind of industrial icons F
 ront Line Assembly\, and mixer Greg Reely. Fear is the Mindkiller’s comb
 ination of man and machine was the gateway to the futuristic masterpiece
  which followed. Demanufacture stunned the scene when it emerged in 1995
 . During the Demanufacture sessions\, Cazares butted heads with Colin Ri
 chardson over the album’s creative direction\, which led to the producer
 ’s firing. Reely was re-enlisted to mix the album\, which cemented Deman
 ufacture as a groundbreaking classic. “Demanufacture was so far ahead of
  its time that bands are still failing to rip it off convincingly today\
 ,” wrote Metal Hammer\, before the record arrived on vinyl for the first
  time in 2020. As Kerrang! declared in an anniversary retrospective on t
 he album\, “Demanufacture was so innovative that it sounds as fresh toda
 y as it did then\; a blistering collision of metal and hardcore that eas
 ily rivals any of its peers. In short\, a masterpiece.” Decibel Magazine
  inducted the album into their Hall of Fame\, alongside massively influe
 ntial classic releases from Metallica\, Slayer\, Scorpions\, and Judas P
 riest. Demanufacture was certified Gold in Australia and Silver in the U
 nited Kingdom. It even cracked the Top 10 in Billboard’s Heatseekers cha
 rt in the United States\, a minor miracle for a record so extreme. Produ
 cers added “Zero Signal” to the Mortal Kombat film soundtrack (alongside
  KMFDM\, Orbital\, and Type O Negative)\, which was certified platinum b
 y the RIAA for sales in excess of 1 million copies. Cazares performed bo
 th guitar and bass on Demanufacture. The addition of Christian Olde Wolb
 ers in the live setting cemented the “classic” lineup of Dino\, Raymond\
 , Burton\, and Christian. This version of the band supported Demanufactu
 re on the road\, delivering unstoppably energetic performances on severa
 l worldwide tours. Among them: treks with Sabbath\, Maiden\, Megadeth (a
 s part of a package that included a young Korn)\, and Ozzy Osbourne\, in
 cluding an appearance at the very first Ozzfest in 1996. (Fear Factory w
 ould go on to participate in Ozzfest again in 1997 and 1999.) The ground
 breaking remix album Remanufacture – Cloning Technology arrived in 1997\
 , well before modern metal bands normalized doing “reimagined” versions 
 of songs (let alone still new songs). A then-29-year-old Thomas Holkenbo
 rg aka Junkie XL handled several of the songs\, years before his hit rem
 ix of “A Little Less Conversation” by Elvis Presley and blockbuster film
  scores including Deadpool\, Batman v Superman: Dawn of Justice\, Zack S
 nyder’s Justice League\, and Godzilla vs. Kong. The continuing evolution
  of the group’s cinematic sound manifested on Obsolete\, a full-blown co
 ncept album (crafted in part at Vancouver’s legendary Armoury Studios) w
 ith the lyrics presented in screenplay format in the CD booklet. The pre
 sence of Fulber’s production and keyboards\, together with Reely’s mixin
 g\, loomed even larger than before. Cazares used 7-string guitars\, tune
 d down to A standard. Wolbers used an upright bass on “Edgecrusher.” The
  Vancouver Symphony Orchestra performed on “Resurrection” and “Timelessn
 ess.” (The band reached out to Sarah McLachlan to add guest vocals to “T
 imelessness\,” but after hearing their music\, she respectfully declined
 .) The album went gold in America\, the UK\, and Australia\, but was as 
 uncompromising as ever\, further perfecting Fear Factory’s formula. “Des
 cent” broke into the Mainstream Rock Top 40 in the United States. A cove
 r of the ‘80s hit “Cars\,” recorded as a B-side with guest vocals from G
 ary Numan himself\, entered the Top 20. They toured with Slayer and on t
 he Ozzfest mainstage. They headlined in Europe and North America\, where
  they took System Of A Down and Static-X (featuring future bassist Tony 
 Compos) as support. The band continued making inroads into other media\,
  including video games. Herrera was an innovator there\, hand-delivering
  Fear Factory music to game designers well before it was the norm. They 
 even performed on the MTV/WCW Beach Brawl during Spring Break 1999\, whi
 ch featured Kid Rock. In 2001\, Fear Factory entered the Mainstream Rock
  Top 40 again\, with “Linchpin” (which later became their biggest song i
 n the streaming era)\, from their fourth album\, Digimortal. Fulber prod
 uced\, with mixing handled by Mike Plotnikoff (P.O.D.\, Papa Roach\, Mud
 vayne). The record entered the Top 10 in Australia\, Top 20 in Canada\, 
 and Top 40 in the U.S. on the back of successful tours in Japan\, Austra
 lia\, New Zealand\, Europe\, and North America. But despite the success\
 , all was not well within the camp. Digimortal boasts many of the band’s
  signatures – the riffs\, the electronic flourishes\, the postmodern the
 matic material\, the vocals. It contains monstrous songs but record labe
 l pressure to deliver a more commercial album caused turmoil within the 
 band during the writing process. Bell exited the band for the first time
  in 2002\, causing Fear Factory to disband. (A press release noted the s
 inger’s desire to move away from aggressive music into something closer 
 to “indie rock.”) The same year\, Concrete\, a collection of recordings 
 made in 1991 with producer Ross Robinson (Slipknot\, Korn\, The Cure)\, 
 was issued by Roadrunner Records. The breakup of Fear Factory proved to 
 be short-lived\, as the band made their live return in January 2004\, bu
 t without Dino. Wolbers switched to guitar\, with Byron Stroud filling t
 he bass position. The reconstituted band toured behind Archetype\, Fear 
 Factory’s first album without its founding guitarist\, with Slipknot and
  Lamb Of God. Released the following year\, the follow-up to Archetype w
 as 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 songs and a tour. He seemingly left Fea
 r Factory again in 2008\, telling one interviewer he was tired of violen
 t music. While away from Fear Factory\, Dino founded the extreme metal o
 utfit Divine Heresy\, releasing two acclaimed albums. Bleed the Fifth (2
 007) featured a then-unknown Tommy Vext on vocals. Metal Hammer declared
  that Cazares\, described as a pioneer\, “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 death
 grind band with future Fear Factory bassist Tony Campos\, Asesino\, rele
 ased Corridos de Muerte (2002) and Cristo Satánico (2006). After Cazares
  and Bell reconnected at a 2008 Ministry show\, the singer suggested Din
 o rejoin the band. Later\, Bell told Dino that the other guys weren’t in
 terested in Bell’s suggested changes to Fear Factory\, which would also 
 include a switch in management and record label. This led to a legal dis
 pute over the name\, with Burt and Dino on one side\, and Raymond and Ch
 ristian on the other\, ending in a signed settlement agreement which spl
 it the trademark between the singer and guitarist. 2010’s Mechanize feat
 ured Dino\, Burton\, Stroud (though Cazares tracked the bass)\, and lege
 ndary metal drummer Gene Hoglan (Death\, Testament\, Dethklok)\, with Fu
 lber and Reely returning as producer and mixer\, respectively. It was un
 iversally hailed as a return to form\, with many in the press and on soc
 ial media calling it the band’s best since Demanufacture. Songs like “Po
 wershifter\,” “Fear Campaign\,” and “Final Exit” stood confidently along
 side the best of their older material. Bonus tracks included re-recorded
  versions of Soul of a New Machine’s “Martyr” and “Crash Test.” “Archety
 pe and Transgression were controversially written and recorded without f
 ounding guitarist Dino Cazares\, the main victim of 2002’s acrimonious s
 plit\,” wrote BBC Music. “The reconstituted Fear Factory may have featur
 ed three-quarters of the classic lineup\, but without Cazares\, they wer
 e fatally flawed. With Cazares back\, however\, the band are back on tra
 ck\, as Mechanize forcefully demonstrates.” Other critics agreed. Blabbe
 rmouth\, in a 9/10 review\, said\, “One of Fear Factory’s most outstandi
 ng qualities has always been their ability to create gigantic hooks that
  penetrate the ears\, latch onto the brain and refuse to let go. Mechani
 ze offers a wealth of those moments.” The critical sentiments were echoe
 d tenfold by fans. The revitalized Fear 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 (20
 12)\, Fear Factory’s return to the concept album. Cazares again performe
 d all guitars and bass\, Bell sang\, with Fulber and Reely producing and
  mixing. In lieu of a full-time drummer\, the band elected to program dr
 ums. As Bell put it\, the story involved a sentient automaton. “What was
  meant to help man will eventually be man’s demise.” They returned to th
 e music charts\, including in Finland and Hungary. The band supported th
 e album at festivals and tours with a live lineup comprised of Dino\, Bu
 rt\, Matt DeVries (bass) of Chimaira\, and Mike Heller (drums). Heller’s
  contributions to the tech/death metal genre are many\, including his ro
 le with Malignancy. Heller made his recorded debut on Genexus (2015)\, F
 ear Factory’s first album with Nuclear Blast Records\, where they were s
 igned by A&R legend Monte Connor\, their longtime ally\, who gave the ba
 nd their first record deal at Roadrunner in 1991. Dino and Burt co-produ
 ced the album with Fulber. Sneap handled mixing duties. Genexus marked a
 nother high point. “Fear Factory were way ahead of the game when they re
 leased their classic Demanufacture album 20 years ago\,” wrote The Guard
 ian in a four-star review. “Genexus demonstrates how firmly tethered to 
 the cutting edge Fear Factory remain. The best-sounding album of their c
 areer by some margin\, this is a precise and vicious rush of syncopated 
 kick drums\, sci-fi keyboard surges\, and eerie but infectious vocal hoo
 ks\, all underpinned by Dino Cazares’ flawless attack. Fear Factory exud
 e real authority\, resulting in their finest album in two decades and a 
 timely reminder that when man and machine collide\, the outcome can be b
 oth joyous and devastating.” The album cycle took Fear Factory to India 
 for the first time. In 2015\, Tony Campos became the band’s bassist. The
 y joined what turned out to be the last Soundwave Festival tour in Austr
 alia (alongside Faith No More\, Soundgarden\, Slipknot\, and The Smashin
 g Pumpkins\, among others)\; the promoter defaulted on payment to severa
 l artists\, including Fear Factory. The band closed the year with a Euro
 pean tour celebrating the 20th anniversary of Demanufacture. (In an effo
 rt to settle ongoing litigation\, Herrera and Wolbers were invited to pa
 rticipate\, but the parties could not agree on terms.) By 2017\, new mat
 erial 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 “even stronger than Genexus\, because it
  just seems even tighter. We’re on a groove\, and it’s kicking ass.” How
 ever\, behind-the-scenes\, legal disputes with the ex-band members conti
 nued. Back in 2011\, Bell filed Chapter 7 bankruptcy\, but neglected to 
 declare his 50% ownership in the Fear Factory trademark as an asset in h
 is bankruptcy filings. As a result\, Bell lost his rights to the tradema
 rk\, and the courts put it up for auction. Various third parties (as wel
 l as the ex-members) sought to purchase the rights\, which Bell could no
  longer legally possess. Dino sought to obtain it\, so they could contin
 ue Fear Factory together. In 2016\, Cazares filed for bankruptcy of his 
 own. Through that process\, he was able to retain his half of the tradem
 ark and purchased the remaining 50% owned by the courts at auction. In 2
 020\, Cazares raised money online to have Heller record live drums to re
 place the programmed drums originally completed for album number ten in 
 2017. The funds also went toward employing the A-list mixing services of
  Sneap\, to enlist Fulber to handle programming on two tracks\, and towa
 rd producer Damien Rainaud. Aggression Continuum\, the tenth Fear Factor
 y album\, arriving during the band’s 30th anniversary\, fills Cazares wi
 th enormous pride. Bell moved on from Fear Factory\, citing his desire t
 o 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 frontm
 an of Fear Factory\, it’s a more than worthy farewell\, demonstrated by 
 the unstoppably definitive and distinctive attack of songs like “Recode\
 ,” “Disruptor\,” and “Purity.” With the once-contested legal rights to t
 he Fear Factory name now securely in his possession\, Cazares knows how 
 much the group’s music means to the fans and is boundlessly optimistic a
 bout what’s ahead. The riffs\, concepts\, and passions remain\, as Fear 
 Factory celebrates its past\, present\, and future. “Fear Factory ushere
 d in an entirely new strand of metal when they emerged from the sweatbox
 es of L.A. in the early 90s\,” observed Metal Hammer. “The ongoing soap 
 opera can’t detract from this uncompromising band’s frequently stellar l
 egacy.” Exiting a tumultuous 2020 with 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 soundtrac
 k to humankind’s uncertain times ahead.\n\nTickets: https://thevogue.com
 /events/mushroomhead-fear-factory-11-01-2026-indianapolis\n\nhttps://fin
 dlocal.community/event/fe882d2e-a7f5-45a3-9b39-ade6bb4acf4f
LOCATION:The Vogue\, Indianapolis\, IN
URL:https://findlocal.community/event/fe882d2e-a7f5-45a3-9b39-ade6bb4acf4
 f
STATUS:CONFIRMED
SEQUENCE:0
END:VEVENT
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