Local Love Presents: Return of the Metal Fest


 To provide a safer environment for the public and significantly expedite fan entry into our venues, Rialto Theatre & 191 Toole have instituted a clear bag policy as of March 1st, 2022. The policy limits the size and type of bags that may be brought into our venues. The following is a list of bags that will be accepted for entry: Bags that are clear plastic or vinyl and do not exceed 12in x 6in x 12in One-gallon clear plastic freezer bags (Ziplok bag or similar) Small clutch bags, approximately 5in x 7in All bags subject to search. Clear bags are available for sale at the box office.



Local Love returns to 191 Toole with a hard hitting lineup of some of Tucson’s heavier bands.
















SWARM OF SERPENTS is a solo project of Melodic Black Death Metal that is born in early 2011 by Malleus Serpent,influenced by European and American bands of the same scene. in 2017 SWARM OF SERPENTS ceases to be a solo project and it is decided integrate phospor on guitar and vocals, jorheim on bass and summanus on drums with the purpose of doing live shows and record the next EP.




Then When is a power trio that melds early progressive hard rock with alternative and metal to create a unique style of original music that is heavy, melodic, and intense.

Veterans of the stage, Then When thrive from the ethereal connection between themselves, the music, and the audience.





 To provide a safer environment for the public and significantly expedite fan entry into our venues, Rialto Theatre & 191 Toole have instituted a clear bag policy as of March 1st, 2022. The policy limits the size and type of bags that may be brought into our venues. The following is a list of bags that will be accepted for entry: Bags that are clear plastic or vinyl and do not exceed 12in x 6in x 12in One-gallon clear plastic freezer bags (Ziplok bag or similar) Small clutch bags, approximately 5in x 7in All bags subject to search. Clear bags are available for sale at the box office.




Ferocious and uncompromising in their execution, CARCASS’s ability to intricately dissect the innards of death metal, and display them for us to sonically understand has been their point of excellence for over three decades. Last December (2019) the band released their first single in over 5 years “Under The Scalpel Blade,” followed by a 4 song EP entitled Despicable (October 2020), setting a potent precedent for the full length album to come in 2021: TORN ARTERIES. With the album title itself referencing an old demo created by original drummer Ken Own back in the 80’s, TORN ARTERIES sits as a bookend on the modern side of the CARCASS discography, connecting directly back to where everything began over 30 years ago.


The album artwork also rings reminiscent of the grotesque photography that appears on classic CARCASS album covers like Reek Of Putrefaction of Symphonies of Sickness. Artist Zbigniew Bielak traveled outside his normal wheelhouse to bring forth a time lapsed set of photos showing vegetables shaped like a heart, rotting over time upon a white plate. This form of artwork was influenced by Japanese Kusôzu, meaning: ‘painting of the nine stages of a decaying corpse.’


It’s very clean, white, which we’ve never done before,” explains Vocalist and Bassist Jeff Walker, “it doesn’t look evil, or typically death metal, but I like how clean it is; almost like a coffee table book.” This new album presents images, lyrics, and sounds that so distinctly scream CARCASS, but ferry us into a new era of production, songwriting, and art all together.


I think as our 7th album, it does stand out from the others both sonically and stylistically,” explains Walker. “You can definitely tell that it’s CARCASS; when you drop that needle on the vinyl, when you hear that guitar tone, you can tell it’s Bill Steer, but each album is always a product of its time.


The general approach to writing hasn’t changed much over the years for CARCASS.There’s no real designed method,” analyzes Walker, “no one’s writing a song, coming in the room, and saying: ‘this is how the song goes.’ A lot of these songs are written around a rhythm, or an idea: have we ever had a song with this type of intro? Have we ever had a song with this type of drumming? If we didn’t care, we’d do the same generic, verse-chorus song writing bullshit, but we don’t want to repeat ourselves. We’re always trying to remain creative and have a valid purpose in what we’re doing.”


With TORN ARTERIES, each track stands unique from the rest in its approach to guitar, bass, vocals and drumming, along with all the finer details. Filthy and dominating guitar work creates thick layers of tone and melody, piling on top of each other like the weight of dead flesh in tracks like “Kelly’s Meat Emporium.”


The working title for Kelly’s was originally ‘Stock Carcass,’” laughs Walkerwe knew that one was a real meat and potatoes track for the album.” Meanwhile the elevated speed and catchy beat in “Dance of Ixtab” tell a robust and airier story, one that is certain to get a reaction from live crowds. “We built this song around the beat,” explains Walker, “we had an approach to each song that was a definite idea. It’s all about ‘what haven’t we done before?’”


Curious about the lyrics? CARCASS bets you are, but don’t expect them to be an easy puzzle to solve. Over the years metalheads the world over have referenced CARCASS’s complex, bizarre, and gore filled lyrics with affection, humor, and fascination. This time around will require fans to actually purchase the physical album, and closely examine the artwork in order to place the lyrics in their proper order. “I’d rather people spend time actually going through the record, listening to it, taking the words out as they hear them, and from there try to draw their own conclusions of what the lyrics are, instead of delivering them on a plate,” chuckles Walker.


Recording and Production for TORN ARTERIES wasn’t as simple as sitting down for a few weeks and knocking it all out, but rather spread out over the course of approximately 1 year bouncing back and forth between England and Sweden. Initially, drummer Daniel Wilding did session work in Sweden at Studio Gröndahl with David Castillo while guitars were recorded at The Stationhouse with James Atkinson in Leeds, England. Eventually needing some form of residential location to finalize vocals, bass, and other guitarwork, the band headed back to studio Gröndahl in Sweden to continue work in a very relaxed atmosphere with Castillo. “There was no real big plan to do it this way, the process just organically grew on its own,” says Walker.


Most will find that the only real struggle when indulging in TORN ARTERIES is fighting the desire to start it over the second it finishes. It covers substantial new ground for a band with such a reputation, while still retaining that addictive, time honoured CARCASS sound that has come to represent the face of true death metal.

Attila – Rage Fest Tour


ABOUT Attila


Attila is an American metalcore band from Atlanta, Georgia, formed in 2005. They have released eight full-length albums. Though their original formation was in 2005, the band did not start touring full-time until around 2010.


ABOUT THE He Is Legend


“We’re a rock band at the heart of it all,” exclaims He Is Legend frontman Schuylar Croom. “We live for the hour on stage every night. Right now, we have this newfound positivity when it comes to our music and group. We’re really inspired. We pulled a gem out of two years on the road, ups, downs, and crazy things going on.”
That gem arrives in the form of the group’s sixth full-length and second for Spinefarm Records, White Bat. The quartet—Schuylar, Adam Tanbouz [lead guitar], Matty Williams [bass], and Jesse Shelley [drums]—positioned themselves to make such a statement since forming in 2003. Bolstered by a cult fan base, their discography encompasses I Am Hollywood, Suck Out the Poison, and the seminal It Hates You. 2014’s Heavy Fruit notably garnered praise from the likes of Alternative Press, Revolver, New Noise, and Ultimate Guitar, among others. MetalInjection bestowed a glowing 9-out-of-10-rating upon the crowdfunded Few in 2017, describing it best, “Let’s cut right to the chase: He Is Legend is one of the most underrated and under-appreciated bands in all of metal.” Along the way, the boys would share the stage with everyone from Killswitch Engage and Sevendust to Gwar and Underoath.
This longevity and brotherhood set the stage for the next chapter.

“Matt, Adam, and I have been in a band for upwards of 17 years,” the vocalist continues. “Jesse and I have become the fastest of friends in the past three years. Everybody brings what they bring to the table. Nobody worries about what one ingredient is going to do to the dish. They all work together. This is super He Is Legend. It sounds like a mixture of all of our albums together. It has a moodiness and heaviness we haven’t ventured into in a while. It’s conceptual. More than the content and concept, the music is representative of what we are now.”

This time around, the musicians diligently worked across the country. Jesse recorded drums in Atlanta at Glow in the Dark Studios with Matt Goldman. Guitars and bass would be tracked at Warriorsound with Al Jacobs. Meanwhile, Schuylar ventured out West to reteam with Mitch Marlow for vocals in Los Angeles.

Inspired by Michelle McNamara’s true crime classic I’ll Be Gone In The Dark, he wandered around the shadiest and most shadowy corners of the city of angels. Getting into a menacing mindset for the concept, he visited the grave of Walt Disney, canvased mausoleums, went to the Museum of Death, and “sat in crazy seedy little bars, wrote, and got into this headspace—like preparing for an acting role.”

He inhabited the lead role with the intensity and preparation of a method actor, baring his fangs on the first single and title track “White Bat.” A barrage of thrashed-up guitars and psychological vocal bludgeoning, it takes flight on a visceral, violent, and vibrant chant. Within two months’ time, it closed in on 1 million Spotify streams and introduced the record with teeth.

“White Bat is a moniker for this fictional killer,” he admits. “It’s his calling card. The name has a ring of finality to it, which I dug. It came out of nowhere. It sums up this era of He Is Legend, which is in-your-face—dare I say Far Beyond Driven-style—but still rock ‘n’ roll. The character is battling his own demons and trying to figure out if his life is being led through fantasy, or if he’s actually doing these things. On the other side of the coin, a White Bat is a rare breed. That’s as much as I’ll say about the concept,” he cuts himself off as if keeping a secret…

Whether it be the ominous clean guitar and swamp conjuration of “Uncanny Valley” or the rip-roaring rage of “Eye Teeth,” White Bat spreads its wings with a raw sense of recklessness. Powered by a raucous riff, “Burn All Your Rock Records” explodes as a clarion call, while everything culminates on the sludge ‘n’ roll goth daydream of “Boogiewoman.”

“At one point when I was in the desert, I had written a poem,” he recalls. “The first lines about everything being brown and remaining trapped in an area stuck with me for a long while. Right before going to L.A., I went through my notebooks and jotted down some one-liners on a yellow legal pad I wanted to use. I knew this had to be the closer. Lyrically, I like the wordplay of these different syndromes such as Stockholm Syndrome. They conjure imagery of someone standing by through the most heinous of things.”

In the end, the quartet are much more than rock band.

They’re He Is Legend.

“We’ve never felt more typecast as ourselves,” Schuylar leaves off. “This is probably the best depiction of what our music sounds like. We wrote a record for big stages. We found this life and essence like, ‘Here we are. This is the band in its purest form.’ We’re fucking back. We’re here. It’s time to rock.” – Rick Florino, February 2019


ABOUT Islander


A throwback to the emotional alt-metal of bands like Deftones, Glassjaw, and Far, Greenville, South Carolina’s Islander merch driving metal with soaring emo to create their ripping sound. Made up of singer Mickey Carvajal, guitarist Andrew Murphy, bassist Chris Doot and drummer Eric Fraizer, the band was founded in 2011. In 2013, Islander were signed to Victory Records, where they released their debut EP, Pains., later that year. Continuing to build hype, Islander went into the studio with Alkaline Trio and Silverstein producer Cameron Webb to record their full-length debut Violence and Destruction. The album arrived in 2014, with the band setting out on the 2014 Mayhem Festival to support it. Early 2016 saw the release of a new single, “Darkness,” in anticipation of the band’s sophomore studio long-player, Power Under Control, which dropped later that August.

 Islander released Violence & Destruction (2014) and Power Under Control (2016) with Victory Records.


ABOUT Crown Magnetar


Crown Magnetar came on the scene in 2016. Shortly after, we released our debut EP “The Prophet of Disgust” (2017). Over the course of several cross-country tours, we’ve had the pleasure of opening for such national acts including: Thy Art is Murder, Whitechapel, Carnifex, Spite, Suicide Silence, Oceano, and so many more.


ABOUT Friends In Hell


During times of hardship where every member was going through their own personal “HELL” three members Cody, Noah, and Tobias started writing music in their bedroom. Though shortly after decided to take the leap to make their little songwriting project into a full fledged band called Friends In Hell during the early half of 2019. One year later came their debut EP They Follow Me, which was released in August of 2020. Friends In Hell is a Tucson, AZ based Metalcore/ Deathcore/ Hip-Hop infused band. They consist of screaming vocals Noah Dwaileebe, rhythm guitarist and backing vocals Cody Arbizo, and bassist PJ Lester, drummer Berkie Allen, and lead guitarist Toni Holguin.