Metallica, My Chem + Limp Bizkit to Headline 2021 Aftershock Fest

Feel the rumble? That’s the sound of the Aftershock Festival returning to Sacramento’s Discovery Park for the fall of 2021! Festival organizers Danny Wimmer Presents have announced the 2021 dates and lineup, including headliners Metallica, My Chemical Romance and Limp Bizkit.

The 2021 event expands to four days with Limp Bizkit headlining the all-new Thursday bill on Oct. 7. They’ll be joined by Parkway Drive, Testament, Hatebreed, Exodus, Knocked Loose and Fit for a King.

Though they missed out on 2020 due to the pandemic Metallica are back to headline two of the nights (Friday and Sunday) while the highly anticipated My Chemical Romance reunion leads the Saturday festivities. Check out the daily lineups below.

Thursday, October 7: Limp Bizkit, Parkway Drive, Testament, Hatebreed, Exodus, Knocked Loose, Fit for a King

Friday, October 8: Metallica, Rancid, Volbeat, SEETHER, +LIVE+, Skillet, Suicidal Tendencies, Avatar, Pop Evil, Butcher Babies, Des Rocs, Ayron Jones, Crobot, Cleopatrick, Ego Kill Talent, Crown Lands, UnityTX, Contracult Collective

Saturday, October 9: My Chemical Romance, The Offspring, Machine Gun Kelly, Gojira, ?? ??? (TBA reunion), Anthrax, Killswitch Engage, Asking Alexandria, Body Count, Badflower, Thursday, L7, Atreyu, Bones UK, South of Eden, The Black Moods, Another Day Dawns, American Teeth

Sunday, October 10: Metallica, Social Distortion, Rise Against, Mastodon, Pennywise, The Pretty Reckless, Black Veil Brides, Steel Panther, Yelawolf, Grandson, From Ashes To New, Alien Weaponry, LAW, The Blue Stones, The Contortionist, Higher Power, Creeper, The Cold Stares

Rancid said, “We can’t wait to play at Aftershock 2021 with our Bay Area brothers Metallica. We first played with them on the Lollapalooza tour in 1996 along with the Ramones and later down the road we toured across South America together. It’s gonna be wild, see ya in the pit!”

Passes are on sale now and can be purchased for only $20 down. Payments will then be spread out over the next nine months, beginning in December.

Festivalgoers are encouraged to buy early and save since 3-Day and Single Day pass prices will increase in the coming weeks. 4-Day passes are very limited and there will be no single day passes sold for Thursday night. Passes for Aftershock have sold out for five years straight.

General Admission and VIP Aftershock passes start at following prices:
● Single Day General Admission: starting at $119.50 + fees
● Single Day VIP: starting at $249.50 + fees
● 3-Day General Admission (Friday, Saturday, Sunday): starting at $329.50 + fees
● 3-Day VIP (Friday, Saturday, Sunday): starting at $599.50 + fees
● 4-Day General Admission (Thursday night, Friday, Saturday, Sunday): starting at
$379.50 + fees
● 4-Day VIP (Thursday night, Friday, Saturday, Sunday): $674.50 + fees

Head to the Aftershock 2021 festival website here to get your tickets.

Also, new in 2021 is the exclusive Aftershock’s 10 Days of Shocking Giveaways which launches Friday, Oct. 23, 2020 and will include the opportunity to win amazing prize packs from festival sponsors, along with passes to Aftershock 2021. Visit the festival website and follow on social media for more details.

Aftershock 2021 Trailer

2021 Aftershock Festival

Danny Wimmer Presents

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20 Years Ago: Limp Bizkit Explode With ‘Chocolate Starfish’

The year was 2000, nu metal was starting to dominate radio and Limp Bizkit were “rollin’, rollin’, rollin'” with plenty of momentum as they made the jump from supporting their Significant Other album to working on what fans would come to know as Chocolate Starfish and the Hot Dog Flavored Water.

“We had this huge record to follow up,” guitarist Wes Borland told Louder Sound. “There was pressure, but we didn’t feel insecure or like we couldn’t follow it. We felt really confident going in, and I knew what I wanted to do. I knew it was gonna be different from Significant Other – and better.”

The band lined up Terry Date to join them in producing the album, got some assistance from Scott Weiland and John Abraham on a number of tracks and had Swizz Beatz oversee production for a second version of “Rollin’,” subtitled Urban Assault Vehicle that featured guest rappers DMX, Method Man and Redman. Simply put, Limp Bizkit were able to call the shots and were in a position to land just about anyone they wanted for the record.

They had also been accepted for working hip-hop into their harder rock song. Fred Durst recalled, “People were either high on the emotion of things being fresh and exciting in terms of new sounds and urban music coming into heavy music, or they were rebelling against that. People who liked different kinds of music got what they wanted for the first time. It was that one moment in time when the planets lined up and we all got to share that moment together. It meant something to a big group of people who had never been heard before. It was special.”

“It was really good,” says Borland. “We were all [recording] in the same room and we wrote songs and recorded them as we went. I don’t even remember how many weeks we recorded for, but I just remember there was one day that came where we were listening to everything we had, and Fred [Durst] goes, ‘I think we’re done.’”

Bassist Sam Rivers reflects to Rock Sound, “It was all such a blur. The writing process was probably the funniest time I’ve had in my life; parties every night and no pressure. It was so much fun.”

The fun even spilled out onto the title for their album, which combined a pair of “in jokes” for the band. “Chocolate Starfish” came from Durst, who used the colorful term for a part of the anatomy to refer to how some people were viewing him at the time. Meanwhile, Borland had a joke about the taste of a certain water product that carried over as well. “It was my version of Sergeant Pepper’s Lonely Heart’s Club Band. I was the asshole, and the other guys could be the dicks,” said Durst.

That said, it wasn’t all fun and games as success started to impinge on the good times a bit. “There were definitely good times, but the record company were piling on pressure, chasing the dollars,” said Durst to Rock Sound, later adding, “It was an interesting time in my life. There was all this negativity in the press, my idols and people in great bands, Trent Reznor and different people talking shit about me.”

But, as Borland stated, tension was nothing new for the group. “There was some conflict going on, and tension to a certain extent, but that was just the way it always went. When it came to that album, the writing process was actually pretty easy,” said the guitarist. Producer Terry Date added, “I wouldn’t say that the atmosphere was volatile, but everyone involved was intense. There were a lot of strong personalities. You had to be on your A-game.”

On Oct. 17, 2000, Limp Bizkit released Chocolate Starfish and the Hot Dog Flavored Water to the masses, and the response was far beyond what the group was expecting. The album debuted at No. 1, selling over one million copies the first week (1,054,511 to be exact). That still remains the largest first week debut for a rock album since the Nielsen Soundscan era began in 1991. The record would then spend a second week at No. 1 as well.

“I never thought Limp Bizkit was gonna be as large as it was,” said Borland. “Then the record sold a million in the first week. It was just ridiculous. There was a point in which things got so big that I don’t remember them getting bigger.”

Limp Bizkit, “Take a Look Around”

Limp Bizkit had a terrific lead into the record though, which could explain some of the monster success. The group had recorded “Take a Look Around” for the Mission: Impossible 2 soundtrack, with the song dropping in May of 2000 to support the blockbuster film. The track, which found the band nicking a bit of Lalo Schifrin’s Mission: Impossible theme riff with their own stamp on it, hung around and enjoyed big success for most of the summer. It hit No. 15 on the Mainstream Rock Tracks chart, No. 8 for Modern Rock Tracks and helped pave the way for a big opening of the forthcoming record. Later on during the album cycle, the track would also receive a Grammy nomination for Best Hard Rock Performance.

A week out from the album’s release, Limp Bizkit doubled down, hitting fans with a pair of new songs — “My Generation” and “Rollin’ (Air Raid Vehicle).” Both tracks enjoyed successful runs.

Fred Durst was clearly having some fun with “My Generation.” A highly percussive open from John Otto and wah-ing bass and guitars from Rivers and Borland set the head-bobbing pace, while Durst offered a number of musical references throughout, including The Who’s “My Generation” (the song is not a direct cover), Guns N’ Roses’ “Welcome to the Jungle,” Spice Girls’ “Move Over” and nods to the films One Flew Over the Cuckoo’s Nest and Titanic. The bouncy rocker was the less successful of the two tracks, hitting No. 33 on the Mainstream Rock chart and No. 18 for the Modern Rock Tracks chart, but it still enjoyed significant play on MTV, where Durst and the band were becoming huge stars.

Limp Bizkit, “My Generation”

As for “Rollin’ (Air Raid Vehicle),” it went on to become one of the band’s most beloved hits. The song peaked at No. 4 on the Modern Rock Tracks chart, No. 10 for Mainstream Rock, but it was the video for the song where the band truly made their mark. Realizing they were reaching an over saturation point to some extent, the band decided to poke fun at their public image. “There were red caps everywhere, and look at Wes at the beginning of the video with his grills in,” said Durst. “How the hell did people not realize we weren’t being serious? We thought it was hilarious.” The video even opens with two special guests — actors Ben Stiller and Stephen Dorff — who had shot Zoolander with Durst.

Durst would later reflect on the immense scrutiny during this period, “I always had to have that red cap. Every time I’d step off the bus or do an interview, it was for that red cap guy. I never put me out there. People were feeding off that persona, and it was a frenzy. People hated, but people needed it — everyone wanted something out of that guy. He was my Tyler Durden side, a way of dealing with it. It was a product of being really damaged, I think.”

Limp Bizkit, “Rollin’ (Air Raid Vehicle)”

The album then yielded two more radio songs — “My Way” and “Boiler” — with the former rising to No. 4 on the Mainstream Rock Chart and No. 3 for Modern Rock Tracks. The latter ended up hitting No. 30 on the Mainstream Rock Tracks chart.

Limp Bizkit, “My Way”

But, as radio and MTV had Limp Bizkit on heavy rotation, the burn factor started to take place, and the inevitable backlash started to occur.

The singer recalled to Rock Sound, “Somehow we’d found this moment in time where we were the big thing for a second. It confused the hell out of everyone. I didn’t think about myself as a celebrity back then, but everyone wanted a piece of me.”

He added to Louder Sound, “I felt like I was a target, public enemy No. 1. I didn’t know how to deal with it. Wherever you went, it felt like eyes were on you and like your life isn’t your own anymore. You sort of think, ‘Fuck all these people’. If people had to find out every last detail of your life and what you jerk off to at night, people might hate you, too.”

Borland too saw the change and admits the intensity at the time in the eye of the storm. “I just think it took a lot of people time to get over how annoyingly in everyone’s face we were for that period,” he explained. “When you’re that overexposed, where no one can get away from you and you’re like, ‘Uh, I’m so sick of seeing this person all the time.’ Now, people can enjoy the band for what it is.”

As the anniversary of the Chocolate Starfish album comes around again, there does seem to be a shift in how the record is viewed. Once the poster for the overexposure of the early 2000s nu metal album, a generation that were first turned onto music during this time period have re-embraced the record two decades later as a highlight from their youths.

“We had no idea what some of those tracks would do for us. I have no idea how it happened in retrospect. It was just one of those incredible things,” says Borland. “That record was our titan. We’ll never play a show without drawing heavily from Chocolate Starfish… and that’s the way it should be.”

“Limp Bizkit was insane; it still is,” concludes Durst to Rock Sound. “We’ve just learned to accept it as it comes.”

The 30 Best Rock Albums of 2000

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The 66 Best Hard Rock Songs of the 21st Century

The end of grunge, the emergence of nu metal and pop punk and Y2K was upon us. It seems like yesterday the 21st Century started, but here we are with nearly two decades worth of amazing hard rock songs. In this list, we’ll run through 66 of the tracks that have left an indelible imprint on the century so far.

In many ways, the year 2000 marked a bit of a rebirth in the rock world, launching the careers of such acts as Linkin Park, A Perfect Circle, 3 Doors Down, Disturbed and Papa Roach, and things only grew from there.

Bands such as Evanescence, Fall Out Boy, My Chemical Romance, Five Finger Death Punch, Paramore and many others sprouted up in the years ahead, ensuring a healthy mix of rock music carrying the torch through the first 20 years.

You also had holdover acts such as Nine Inch Nails, Korn, Deftones, Creed and Red Hot Chili Peppers continuing their amazing runs in the new century.

Enjoy this trip down memory lane as we revisit the 66 Best Hard Rock Songs of the 21st Century. And be sure to check out the 66 Best Metal Songs of the 21st Century here.

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That Time Rage Against the Machine Bassist Protested Limp Bizkit

There was a time once when tuning into the MTV VMAs wasn’t guaranteed to give you a totally predictable awards show. There was a time when there was a little bit of mystery and danger about what would unfold that night, given the nature of celebrity and ego back in the ’90s. This danger came to a real head at the VMAs on Sept. 7, 2000, which saw Rage Against the Machine‘s Tim Commerford climb up the show’s set to protest Limp Bizkit beating them out for Best Rock Video.

The year 2000 represented a kind of turning point in popular rock music, fully representative of the shift in trends and ideals for the genre. Back in the early ’90s, politics and sincerity were at the forefront of the genre. Hip-hop would mesh with rock music to become a form of protest, allowing for acts like Red Hot Chili Peppers, Faith No More, Living Colour to set a stage for Rage Against the Machine to conquer. Rage’s message gave listeners the tools to adopt politics into their daily lives, making big ideas easily digestible. It transmitted a level of anti-authoritarianism usually reserved for hardcore punk bands into the mainstream, allowing them to become one of the most relevant acts of the ’90s.

For many, nu-metal marked a noted shift in message, keeping the anger but losing its politics. Limp Bizkit were the poster children of the genre, with frontman Fred Durst as the perfect target for criticism. Despite there being a level of satire of ultra-male bravado in Limp Bizkit’s work, Durst would ultimately blur the lines between parody and reality, becoming a character.

Limp Bizkit and Rage Against the Machine hence were two sides of rock music’s coin when the 2000 VMAs rolled around. Rage’s video for “Sleep Now in the Fire” was directed by documentarian Michael Moore, and showed the band performing outside of the New York Stock Exchange, while police officers attempt to get them to stop, the excitement forcing the building to shut down. The live performance shots were inter-spliced with a parody of Who Wants To Be a Millionaire, adding darkly humorous facts about inequality in the world. The highly political video faced Limp Bizkit’s “Break Stuff,” which featured a number of Limp Bizkit fans mouthing the words to the song, along with cameos from celebrities.

In an interview years later, Commerford spoke on the event, saying, “We were up against Limp Bizkit, one of the dumbest bands in the history of music. We’re up against them and their singer made the video. So it was Limp Bizkit vs. Rage, Fred Durst-directed video vs. Michael Moore. And I’m sitting there with Michael and I’m like, ‘Hey man, if that camera doesn’t come over here, I’m climbing up that structure and I’m gonna sit there like a f—ing gargoyle and throw a wrench in this show.’ And he’s like, ‘Tim, follow your heart.’”

The climb visibly shocked everybody in attendance. Onstage, Fred Durst was confused, jokingly yelling at him to jump, and turning around saying, “Anyways, this is pretty phat,” pointing at Tim saying, “This guy is rock n’ roll. He should be winning the award.” And then in typical Durst fashion says, “This guy’s a p–sy cause he won’t jump.” MTV cut quickly to the next award to try and calm things down, hosts Marlon and Shawn Wayans cracking up at the whole thing. Commerford would eventually get down, and was arrested by police, having to spend a night in jail afterwards.

Rage members Zach De La Rocha and Tom Morello urged Commerford not to do it, and were disappointed in his actions. A month after the events, De La Rocha announced his departure from the band, saying in a statement, “I feel that it is now necessary to leave Rage because our decision-making process has completely failed. It is no longer meeting the aspirations of all four of us collectively as a band, and from my perspective, has undermined our artistic and political ideal.” It marked the end of Rage Against the Machine for a long time, with the band reuniting in 2007 and performing sporadically through 2011.

Commerford moved on to playing in Prophets of Rage with Morello, Rage drummer Brad Wilk, Public Enemy’s Chuck D and Cypress Hill’s B-Real before reuniting with Rage again at the end of 2019. Limp Bizkit are still active.Commerford still has no love for the Bizkit, saying, “I do apologize for Limp Bizkit. I really do. I feel really bad that we inspired such bulls–t.”

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