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The Decibel Magazine Tour ft. At The Gates Live in Portland

Roseland Theater, Portland,

March 29, 2015 @ 7:00 pm


The Decibel Magazine Tour
At The Gates

Sunday, March 29, 2015
Roseland Theater 503-224-2038
8 NW 6th Ave, Portland, OR
7pm (doors open at 6pm). All Ages.
$25.00 advance tix from TicketsWest.
$30.00 at the door.


AT THE GATES mix a ferocious blend of distinct melody and brutal riffs into a sound that is extreme yet remains memorably listenable. Hailing from Gothenburg in Sweden, the five piece have built a solid reputation for delivering greAt albums and frenetic live performances.
Formed in late 1990, the five piece recorded their ‘Gardens of Grief’ EP for the Dolores label, with a line up of Tomas Lindberg (vocals), Anders Bjorler (guitars), Adrian Erlandsson (drums), Jonas Bjorler (bass) and Alf Svensson (guitars). Following prolonged Swedish touring with the likes of Dismember, Bolt Thrower, Massacre and Immolation, AT THE GATES attracted the attention of Peaceville Records and after signing soon produced their debut album titled ‘The Red in the Sky is Ours’. Released in November 1991, the album proved a hit with fans of the burgeoning death metal scene.
European touring with My Dying Bride surrounded the release, before the band issued their follow up, ‘With Fear I Kiss the Burning Darkness’ in August 1993. Replacing Alf with new guitarist Martin Larsson, they had by now built up a reputation for being a hard working touring act, and this was further enhanced by their debut UK show at Nottingham Rock City which was filmed for an MTV Headbangers special. This was followed by a short UK tour with Anathema and Cradle of Filth.
In May ’94, the band unleashed ‘Terminal Spirit Disease’, an album which saw the band gain widespread acclaim. Kerrang! magazine hailed them as the natural successors to countrymen Entombed, although in truth the sound of ‘Terminal…’ had more in keeping with a modern day Carcass. More UK gigs followed, then European dates again with My Dying Bride and Anathema, before the band finally headlined Europe on their own with Seance and Ancient Rites.
In July 1995, the band were snapped up by Earache Records and immediately entered Studio Fredman in Sweden to record their debut for their new label, ‘Slaughter of the Soul.’ Taking the melodic edge further the band delivered a record that displayed all the power and rawness that AT THE GATES had been threatening, creating the most complete sounding album of their career. Keyboards were even added on one track, adding yet another dimension to their sound, and the critics noted its innovation, Kerrang! simply stating: “At The Gates hammer home the point that brutality can be melodic.”
The band embarked on lengthy touring, beginning with a European jaunt with fellow Swedes Unleashed, and continuing into ’96 with a nine date UK headline tour. In the midst of this, ‘Slaughter of the Soul’ was voted Number One album of ’95 by Sweden’s Close Up magazine, and was followed by a nomination in the best Hard Rock category at the Swedish Grammy Awards. In addition, the video for the albums lead cut, ‘Blinded By Fear’ was one of the most played MTV Headbangers Ball clips, so much so that the show was forced to ignore viewers requests and restrain from playing the track each week! The video was eventually nominated at the 1996 Kerrang! awards in the ‘Headbangers Ball Best Video Category.’
Meanwhile, At The Gates continued touring, hitting the States for the first time with two full American tours, firstly with Morbid Angel, then with Napalm Death, interrupted by a five week European jaunt with Napalm Death and Crowbar, further establishing them as a major live force. Quite simply, if you don’t believe melody and brutality can mix, ‘Slaughter of the Soul’ will most definitely prove you wrong.
Then, the unthinkable happened – five tours in under a year took their toll as a split developed in the band, culminating with the writing force of the Bjorler twins opting to leave. Feeling unable to carry the true spirit of At the Gates without its core members, the band called it a day, leaving ‘Slaughter of the Soul’ as a fine memorial. Happily, two new bands have risen from the ashes – vocalist Tomas Lindberg has formed Hide, a more Hardcore influenced outfit, whilst the Bjorler twins Anders and Jonas, together with drummer Adrian have formed The Haunted.


Every Converge album is a milestone in the heavy music community and the band’s latest is the most integral album to date in a catalog that’s celebrated to an almost religious degree by countless fans of punk, metal and hardcore. For the first time in years All We Love We Leave Behind is an album that contains no special guests or outside collaborators and every aspect of the music, production and aesthetics of the album was handled by Converge in order to give listeners an unfiltered glimpse into the creative vision of these Boston-based innovators.

Once again recorded and mixed by guitarist Kurt Ballou at his renowned Godcity Studios in Salem, Massachusetts, All We Love We Leave Behind is a no-frills Converge album that sees the band–which also features vocalist Jacob Bannon, bassist Nate Newton and drummer Ben Koller–eschewing fancy production techniques in order to create seventeen songs that work as a cohesive whole yet can also stand on their own. “There’s no artificial distortion, triggers, or Auto-Tune on this album,” Ballou explains, “it’s all organic, it’s real sounds that capture the way the band performs live.”

As one of the most established acts in heavy music Converge’s ability to write and produce songs is now second nature, a fact that’s obvious upon a cursory listen to All We Love We Leave Behind. “I think we really stepped up our game on this record. The most important thing to this band is that with every album we want to create something that excites us and moves us in some way,” explains Bannon, who also crafted a 50-page book of original artwork inspired by the songs that accompanies the release. “There are a lot of subtle nuances on this record are really special to us and we definitely hit those individually on this record.”

From the classic rock-inflected, guitar tapping madness of “Sadness Comes Home” to the technical acrobatics of “Aimless Arrow” and relentless assault of “Shame In The Way,” All We Love We Leave Behind is an extremely varied album that has enough sonic shifts to captivate each listener’s attention. “It’s always been important for us to have a lot of dynamics in our music because no one wants to listen to a million miles an hour all the time,” Bannon responds when asked about the melodic mid-tempo groove of a song like “Coral Blue.” “I really enjoy that song, it has a lot of twists musically that aggressive songs don’t usually have and that’s something we take pride in.”

Lyrically Bannon approached All We Love We Leave Behind by once again writing about his own personal experiences, however there’s no question that this time around his vocals are more direct and decipherable than they’ve been in the past. “This is a personal record and all of the songs tell their own stories,” Bannon explains. “Every song is rooted in real life, documenting what I have experienced over the past few years.” Correspondingly the title of the album is an apology letter to everything he has had to leave behind in order to his path in art and music. Bannon explains that he feels like it’s important to acknowledge these sacrifices in order to be “a self aware individual.”

“All of our albums are emotional but I feel this is our most potent album to date,” Bannon continues. “For me a songs like ‘Predatory Glow’ and ‘Empty on the Inside’ have a tone and resonance that communicates in a new way for our band,” he adds, chalking up this ability to the fact that the group have become better songwriters by spending so much time on the road and in the studio perfecting their craft. “Success to me is creating something that’s moving and fulfilling and I truly feel both of those things when I listen back and experience this album from start to finish.” Converge have always been the type of band that never fit into one subculture and the band credit that to the fact that since their 2001 landmark album Jane Doe they haven’t had any member changes. “I think because it’s been the same four people for the past five records we’ve been able to really get comfortable with each other and develop our own personality,” Ballou explains. “I don’t listen to much music outside of what we’ve recorded so I think we’re more influenced by our own history of playing together than what’s currently happening in any scene.”

In other words when Ballou explains that Converge is the kind of band who have always existed between worlds, it’s not just lip service. “We don’t have one typical type of listener but they tend to be intelligent people who can make up their own minds about things. That works to our advantage because they’re willing to go on this journey with us and follow along with whatever twists and turns we take them on,” he summarizes. Ultimately All We Love We Leave Behind may not be the most straightforward musical journey you’ll embark on but it’s one that you’ll revisit over and over again to relive prior experiences and simultaneously create new ones. It all begins now.


March 29, 2015
7:00 pm
Event Category:


Roseland Theater
8 NW 6th Ave
Portland, OR 97209 United States
(971) 230-0033

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