Vans Warped Tour - Presented by Journeys
The Acacia Strain, The Adolescents, After The Burial, The Alarm, Alestorm, American Authors, Andy Black, Anti-Flag, The Ataris, Attila, Bad Cop / Bad Cop, Bad Omens, Barb Wire Dolls, Beartooth, Being As An Ocean, Big D And The Kids Table, Blessthefall, Boston Manor, Candiria, Carnifex, CKY, Counterparts, Courage My Love, Creeper, Dance Gavin Dance, Emmure, Farewell Winters, Feeki, Fire From The Gods, Fit For A King, Futuristic, The Gospel Youth, GWAR, Hands Like Houses, Hatebreed, Hawthorne Heights, Hundredth, I Prevail, Jule Vera, Knocked Loose, Memphis May Fire, Microwave, Movements, Municipal Waste, Neck Deep, New Years Day, Our Last NIght, Sammy Adams, Save Ferris, Separations, Sick Of It All, Silent Planet, Silverstein, Sonic Boom Six, Stacked Like Pancakes, Stick To Your Guns, Street Dogs, Sworn In, Sylar, Too Close to Touch, Trophy Eyes, Valient Thorr, War on Women, Watsky, The White House, William Control
Sun, July 16, 2017
Doors: 11:00 am / Show: 11:00 am (event ends at 8:00 pm)
Merriweather Post Pavilion
This event is all ages
Attention: Parking at MPP for 2017 has Changed! All ticketholders NEED to pre-select parking (or decline parking) once tickets have been bought. Once you’ve completed your ticket transaction, you’ll receive an email with link to select your FREE parking. Please do so in advance so you have a parking lot ticket when you arrive for the show.
Note to ridesharers, walkers, bussers, carpoolers & cyclists: If you have made other transportation arrangements, there's no need to select parking.
Please click HERE to view your parking options for this show
No refunds or exchanges.http://www.impconcerts.com/event/1449052/
FREE PARENT TICKET IS BACK!
Over our 22 years on the road, the Vans Warped Tour has always tried to adapt and change with our fan base. We are now in the very unique position to be able to have fans as young as 13 and as old as 40-45 (shout out to the '95 vets!)
We have tried to strike the balance, but this year we admit, we tipped too far. So now we are re-working the Parent Program instead of eliminating it entirely.
1 ticket = 1 parent
(1) parent (age 28 and older) will be permitted to accompany a child (under the age of 16) with a PAID TICKET to the event for FREE. This is a
wristband; the tour reserves the right to deny entry.
To get the PARENT WRISTBAND the morning of the show, the PARENT must bring their photo ID, the child they are accompanying, and the PAID ticket to the yellow guest list tent by the main gates
NO EXCEPTIONS - if you do not have all 3 items listed above, we will not provide you with a wristband.
- No switching parents out halfway through the day
- No older siblings permitted to act as the accompanying adult
- If you have a non-parental appointed legal guardian, please bring any available documentation the day of the show and we will work with you!
ALREADY BOUGHT A TICKET? - If you are a parent that already bought a ticket and are unable to find another use for it (ie. your child's friend); please bring the paid ticket with you to the yellow guest list tent the morning of the show.
If you have specific questions or concerns, please email email@example.com
The Adolescents signed with Frontier Records in January 1981 and recorded the Blue Album the following month. From start to master, the album was done in four days. The album started hitting the stores in April. Rikk was relieved from the band just as the album was being released, and was replaced by Pat Smear (formerly of the Germs and destined for Nirvana & Foo Fighters). This line up lasted until the end of June when Pat left.
We were planning our first tour for late summer through the fall and Pat couldn't tour. He was replaced by Casey's roommate Steve Roberts. This line up recorded the "Welcome to Reality" EP in July, which was eventually released in October 1981.
Unfortunately the "Classic" Adolescents broke up in August 1981 just before our first ever tour was getting under way (oddly enough, we'd never made it out of California). Not too bad for a band that was only together a year and 8 months! After the break up, Tony formed the Abandoned, Steve & I joined Legal Weapon, Casey formed D.I. and Rikk joined Christian Death after his departure.
After the break up in August 1981 we all did various things, D.I. being the most consistent of all our individual endeavors. After he did his solo album in '83, Rikk joined D.I along with our younger brother Alfie Agnew of Almost 21. This was in my opinion the best version of D.I., the "Ancient Artifacts, Horse Bites, Team Goon" era. That line up ended when the Adolescents reformed in April 1986.
The reformed Adolescents started out with the original "Blue Album" line up. Shows were plentiful and we started working on a new album. By the time the recording of the album was coming up Casey and I left the band. Casey wanted to keep D.I. going, and I lost interest. Sandy Hansen took Casey's place and my younger brother Alfie took mine. They recorded the "Brats in Battalions" album in the late summer, a couple of weeks after me and Casey split.
progression is exactly what the crushing new AFTER THE BURIAL delivers with
pinpoint precision. This highly anticipated new offering is quickly going to raise the
bar for all others within the metal genre as this group effectively unleashes a frenzy of
jaw-dropping dual guitar dynamics that is backed by a captivating energy and groove
resulting in an overall unrelenting output of punishment. ATB is
hell-bent on forging their own unique path within the extreme metal genre and they
are well on their way to that very goal.
This is an extreme metal hybrid that is a voracious assault on all the senses forcing
your brain to fire on all cylinders in order to process the amount of material that is
currently being pounded into your ears. This is thinking man’s metal and it’s not for
the weak minded.
The tech-wizardry is amped way up, the breakdowns are massive and face-melting
and the vocal delivery is the most devastating yet. Already lauded for their technically
impressive yet well structured style of songwriting, AFTER THE BURIAL certainly
takes things up a notch or two with this newest outing.
AFTER THE BURIAL 'Dig Deep' is out February 19, 2016 world-wide.
From humble beginnings playing shows to farm animals in a field somewhere in Eastern Scotland, Alestorm have evolved into an international party machine hellbent on conquering album charts and festival stages throughout the world, with their infectious brand of 'Pirate Metal' and their dashing good looks. Somehow they've managed to convince hundreds of thousands of people from New Zealand to Argentina to Lithuania and everywhere inbetween (except Paraguay), that it's cool to wear a pirate hat and sing stupid songs about getting drunk and stealing ships. So prepare your spleens, because Alestorm are coming to kick ass and chew gum. And they're all out of ass.
Also, they have a giant inflatable duck. Does your band have a giant inflatable duck? No. I didn't think so.
ALESTORM IS: Christopher Bowes - Vocals & Keytar Máté Bodor – Guitars
Gareth Murdock – Bass
Elliot Vernon – Keyboards Peter Alcorn – Drums
ANDY BLACK's music is a reverently classic yet defiantly modern shot of melodic adrenaline across the bow of pop music and pop culture. It's reminiscent of the smartest and biggest hits of the past with a forward thinking observational heft, born from what is quickly becoming one of the most distinctive voices in modern rock music. Cinematic in scope, ambitious in concept, yet down-to-earth in execution, the ANDY BLACK album carves a brash new place for a bold new singer, using all the tools of pop craftsmanship and lush arrangements available.
Songs like "We Don't Have to Dance," "Put the Gun Down," and "Homecoming King" are readymade anthems embodying all that it means to be young, to be an outsider, to champion oneself and one's loved ones with a vulnerable but unashamed urgency. A living, breathing, walking tale of ambition and perseverance, the man behind ANDY BLACK (who fans around the world already know as Andy Biersack) grew up in the Midwest and moved to Hollywood at 18 to pursue his passions in the creative arts and the art of rock n' roll.
Biersack has graced the covers of Alternative Press, Revolver, and multiple other relevant publications around the globe as frontman for the band he founded, Black Veil Brides. Across four well-received albums and countless tours, BVB has flown the flag for aggressive hard rock, earning multiple Kerrang! and Golden Gods awards, to boot. Created in Southern California with mega-producer John Feldmann, Biersack's adventurous debut under the ANDY BLACK moniker features a rogue's gallery of hitmakers and alt-rock icons, all united in substance and spirit upon a singular line of melodic assertiveness and stylistic daring.
Feldmann's contirbutions to rock and pop have contributed to close to 40 million in album sales, working on Modern Rock and Active Rock classics from Panic! At The Disco, The Used, Good Charlotte, and Hilary Duff, to name a few.
Seamlessly finishing each other's creative sentences and fluent in one another's artistic shorthand in the studio, the pair labored to execute Biersack's ANDY BLACK vision with exhilarating swiftness. Many of the folks the duo enlisted to contribute are veterans of previous Feldmann records, including Ashton Irwin (5 Seconds Of Summer), Joel Madden (Good Charlotte) and Rian Dawson (All Time Low). Gerard Way of My Chemical Romance and Fall Out Boy vocalist/guitarist Patrick Stump were among the album's participants, as well.
The ANDY BLACK album is as decidedly personal for Biersack as his work in Black Veil Brides is outspoken, taking a further step outward with its intimate confessional vibe and galvanizing populism. Having toured the world, battled personal demons great and small, lost a good friend to sudden death, and grappled with the highs and lows and everything in between of his young career, Biersack has more to say than ever and it's even more relatable than before.
The mixture of the Golden State and the Heartland pumping through the veins of the man who assembled the ANDY BLACK persona and his resulting dark pop rock album – music which lives somewhere between early U2, the most pensive yet spirited work of Bruce Springsteen, and English proto-punks-turned-pop-icons like Adam Ant and Billy Idol – is something truly unique and powerful. It's not unlike the best of America itself: charismatic, creative, and dedicated.
ANTI-FLAG burst through the concrete wall of apathy like a proverbial desert flower. American Spring is an empowering, energetic antidote to the crippling cynicism that infects even the most dedicated of rabble-rousers. Co-produced by AWOLNATION's Kenny Carkeet, Jim Kaufman and the band, Anti-Flag's tenth studio album is both a shot across the bow of the political discourse and creatively challenging.
American Spring is a stylistic leap forward that captures the essence of their dense catalog while conjuring a fresh new sound. Anti-Flag's commitment to high caliber neo-punk music remains as strong as their devotion to raising awareness. "I hope this record can be an encouragement to people to never give up," declares Justin Sane, guitarist/vocalist and cofounder of Anti-Flag. "I know that music changed my life."
American Spring is the next natural step in a career that produced activist-punk classics like For Blood and Empire (2006), The Terror State (2003), and Underground Network (2001), and inspired international audiences to learn more about the Occupy movement, the anti-war movement, and the idea that "socialism" isn't a dirty word.
Drawing inspiration equally from political thinkers like Howard Zinn and Cornel West as from The Clash and The Dead Kennedys, Anti-Flag got going in earnest in 1993, a year before massive records by Green Day, The Offspring and Rancid pushed punk back into the spotlight. Anti-Flag hail from Pittsburgh, site of the Homestead Steel Strike in 1892 (one of the most serious labor disputes in history), Hill District riots in the wake of Martin Luther King's assassination, in a state that helped birth abolitionism.
Anti-Flag attacks the issues head on. Anti-poverty and social justice coalition Oxfam projects the world's wealthiest 1% will own more than 50% of the world's wealth by 2016, a fact tackled in "The Great Divide." "There's a class war going on. The rich are waging it on the poor and they're winning in a staggering wave of crushing defeats, over and over again," says Sane. "Most wealth is concentrated in about 200 corporations, which are owned and run by a really small group of people. We're living in occupied territory. When the Germans in World War II occupied the French they had a resistance. It's up to all of us living in corporate occupied territory to be the resistance."
As detailed by the essays in the American Spring liner notes, Anti-Flag's lyrics are as socio-politically minded as ever, but through the lens of deeply personal experience. Drummer/cofounder Pat Thetic's uniquely identifiable rhythms and the dual vocals of Sane and bassist/vocalist Chris #2 ensure each song retains the sound Anti-Flag has established, even as Sane and longtime guitarist Chris Head unleash their heaviest riffs.
"Sky is Falling" is one of the darkest Anti-Flag songs ever recorded, capturing the oppressive feeling of its subject matter, drone strikes. "All of the Poison, All of the Pain" lashes out against nihilism, offering empathy to artists who've lost themselves to hopelessness across the generations, but urgently insisting to keep up the fight. "The Debate is Over" owes a debt to Naomi Klein's This Changes Everything: Capitalism vs. The Climate. There's no more arguing to do about climate change. It's real. It's here.
Chris #2 ended a relationship that consumed a huge portion of his life during the writing for American Spring. When he watched the events in Ferguson, Missouri unfold on television, he immediately felt the same rage he had hearing a not guilty verdict after a year and a half of court hearings surrounding the murder of his own sister. On American Spring, he's connected his personal life to the bigger political picture like never before.
"I felt torn up, vulnerable, and unsure of my identity. I'd never had that experience before. So whenever I started looking at the politics of the world, I couldn't help but connect each thing that was happening to something that had happened in my life."
Punk icon Tim Armstrong (Operation Ivy, Rancid, The Transplants) guests on "Brandenburg Gate," a song Chris #2 envi-sioned as akin to Billy Bragg's "Socialism of the Heart" meets The Clash. "I've wanted to write a song with that sort of groove ever since I've known I can write songs."
"Without End" confronts the false doctrine of perpetual war, dismantling the idea that a military "victory" can be had over concepts like "terror," topped off with a blistering solo from Tom Morello of Rage Against The Machine.
The entire band shares a strong point of view when it comes to compromise, to surrender, to giving up on the promise of a better world. Chris #2 flies the flag for optimism in the face of cynicism in songs like "To Hell with Boredom" and "Believer," which declares: "Don't give up / don't give in / there's no peace in the end / the war worth raging is right here." Sane rails against apathy on "Low Expectations."
"We're coming up on a Presidential election where the choice could be between Hilary Clinton and Jeb Bush. So I get why people feel frustrated," says Sane, pointing specifically at the "corporatocracy" described by former CIA operative John Perkins in Confessions of an Economic Hitman. "We can count on whomever gets elected to placate the banks, Wall Street, oil interests, and the military industrial complex."
Unthinkable income inequality, militarized police, neo-colonialism, corporate oligarchy, apocalyptic environmental de-struction, loss of privacy and individual liberty, crackdowns on whistleblowers, perpetual wars on the tightening grip of mainstream media, the prison industrial complex, fascism and extremism of all stripes– there's plenty to feel defeated about today. But as "Believer" proclaims, that means justice is up to "Just Us."
"Change happens one person at a time. It takes time. But it's important for those ideas to be out there," Sane insists. "It's impossible to connect with every single person. When you're putting an idea out there, you're just hoping it will resonate with enough people that it has some kind of ability to affect their lives. But change does happen in incremental steps. The first part of being involved is being aware. Then beyond that, there are steps we can all take to become a more active part of progressive resistance."
Yes, thankfully there remain those whose resilience is assured, who fight harder against adversity and difficult odds. They are the proud torchbearers for progressive collectivism, radical change, and a free expression with heavy social responsibility. They are the artists with the talent to create works worthy of their message. Bessie Smith, Woody Guthrie, MC5, Bad Religion, Boogie Down Productions, The Clash – and after more than two decades, Anti-Flag carries the tradition forward, injecting the underground and the mainstream with politically charged, deliberate, smart-but-no-less-visceral neo-punk.
Honest stories and organic sounds, chock full of heart, sincerity and beautiful mistakes. Played loud and recorded to analog tape.
Sixteen years of traveling the world, several broken down vans and five full length studio albums. The Ataris album "So Long, Astoria" included the tracks "In This Diary" and "The Saddest Song" and sold upwards of 850,000 copies earning the band it's first gold record.
The Ataris' singer/songwriter Kristopher Roe released his first full length solo acoustic album "Hang Your Head in Hope" in November 2011.
All songs were recorded in one take, no edits, no overdubs, using vintage 1940's ribbon microphones and a 1948 Gibson J-45 guitar.
The album contains familiar tracks stripped down as well as a several brand new songs which will later appear on The Ataris forthcoming
album "The Graveyard of the Atlantic" in actual full band arrangements.
"Hang Your Head in Hope" is available FREE of charge only from The Ataris' Bandcamp page. http://theataris.bandcamp.com/ Donations are welcome and very much appreciated.
The Ataris are currently finishing up vocals for their new album "The Graveyard of the Atlantic" Two brand new tracks from the album are available also available exclusively on our Bandcamp page. The album will be released on the Gainesville, Florida label Paper + Plastick. An actual release date will be announced here once the vocals have been completed and the remaining songs are mixed.
That is ALL.
Thank you. See you all on tour.
It’s been far too long since a heavy metal band could get the party started the way Attila can. Drinks will be pounded down, blunts will be blown, panties will be thrown, and everyone will have the time of their lives once the Atlanta quintet’s sixth full-length album, Guilty Pleasure [Artery Recordings/Razor & Tie], pipes through the speakers. Hell, you don’t even have to admit you love it—hence the title—but we know you will (or at least your girlfriend will)…
2013 became a landmark year for the group—Chris “Fronz” Fronzak [lead vocals], Chris Linck [guitar], Nate Salameh [guitar], Kalan Blehm [bass guitar, backing vocals], and Sean Heenan [drums]. Their fifth offering, About That Life, snatched #22 on the Billboard Top 200, #5 on the Independent Chart, #4 on the Hard Music Chart, and #5 on the Rock Chart, moving over 14,200 copies first week. In the midst of sold out headline shows around the States, the band began working on what would become Guilty Pleasure at the end of the year. This time around, Fronz possessed a clear vision that included embracing seven-string guitars, adopting lower tunings, and nodding to turn-of-the-century classics from Slipknot, Korn, and Limp Bizkit.
“We’re never going to write the same album twice,” he declares. “We’re always going to maintain our sound and style, but we bring something new to the table for our fans to keep it fresh and interesting. Lyrically, I expanded. It’s not all about partying and being crazy. I touched on some real shit. I dropped some knowledge. I wanted to be more real because I owe it to our audience. The songs are more meaningful.”
Once again, the boys retreated to the studio with Joey Sturgis [Asking Alexandria, Of Mice & Men] in Michigan. Together, they amped up everything across the board.
“It’s a heavier and more fun Attila,” smiles Fronz. “It’s rap metal at its finest. There are elements from our older albums as well as new flavors.”
That’s apparent on the first single “Proving Grounds”. The guys ignite an atomic hook bolstered by succinct riffing and a percussive slam. “’Proving Grounds’ are areas that the government would test nuclear and atomic bombs,” he goes on. “Anyone can relate to this because we all have doubters. You have to take that doubt and leverage it do better. Proving people wrong is the ultimate satisfaction.”
On “Rebel”, Fronz spits incendiary bars over a barrage of chugging jackhammer guitars. Everything culminates on an anthemic refrain that’s equally ballsy and blistering.
“It’s about being yourself, doing what you love, and not giving a fuck about what authorities, parents, or people tell you that you’re supposed to do,” he proclaims. “That’s an important message. You can’t always live by the rules. If you really want to do something, you just have to do it. I want to encourage kids to use their ambition and do what they love.”
Then, there’s “Horsepig”. Boasting brash delivery and another sizable groove, it’s a special one for Fronz as it proved to be a family affair. “My three-year-old son actually named that song,” he admits. “One day, I showed him a flashcard of a warthog. He knew what it was, but he wanted to change the name to ‘Horsepig’ since a warthog looks like a horse and a pig. Later that day, we wrote the song, and I had to use the word he invented for its title.”
Along the way, Attila have turned “party metal” into a bona fide art form. Formed in 2005, they’ve continually clawed their way towards heavy music domination. In addition to being a headliner on Warped Tour 2014 and touring alongside everybody from Suicide Silence to Asking Alexandria and Memphis May Fire, these mayhem mavens have sold over 100,000 records to date. They’re preaching a new kind of gospel too…
“Our generation is killing rock ‘n’ roll by writing all of this pussy-ass music,” he leaves off. “This kind of music is about breaking the rules and pushing the limits. That’s what Attila has done and we will continue to do. We’re breaking rules. We don’t give a fuck if people like us or not. We’re doing what we love and having the time of our loves. The world needs that. We’re happy to be your outlet. Have a fucking blast. We’re your Guilty Pleasure.”
In early 2014, Sebastian announced his departure from his former band. For the following year, Sebastian would focus all of his time and energy towards getting the new project on it's feet; writing and recording an EP, seeking out management and label support, and along the way recruiting his long-time best friends guitarist Nicholas Ruffilo, bassist Vincent Riquier, second guitarist Joakim "Jolly" Karlsson, and drummer Nick Folio.
In the spring of 2015, now partnered with proper management, the band landed a recording contract with indie label top-dog Sumerian Records. Soon after, Bad Omens set out to record their very first full length record with award winning heavy music producer Will Putney in Belleville, New Jersey. Now residing in Los Angeles, CA, Bad Omens have been met with significant praise from the public after the release of their debut single "Glass Houses." A taste of what's to come while remaining loyal to the genre itself, Bad Omens doesn't leave one stone unturned and are truly a relentless new force to be reckoned with.
The four-piece/female-fronted Barb Wire Dolls first formed at The Ikarus artist commune on the island of Crete in 2010 in a remote mountain village by songwriters Isis Queen (vocals) and Pyn Doll (guitar), later adding drummer Krash Doll and a female bassist. With Greece in political turmoil and bankruptcy, allowing no real opportunities for musicians, fate and destiny intervened when LA's world famous 106.7 KROQ radio DJ Rodney Bingenheimer (the first to play Ramones, Blondie, Guns N' Roses, Nirvana) discovered the band and started playing the bands' demo EP non stop on KROQ's influential airwaves. Bingenheimer invited the Greek band to perform in Hollywood, and within weeks Barb Wire Dolls sold everything they owned and moved to Venice Beach in Los Angeles to chase their dream. Then something magical happened...
Barb Wire Dolls became the first Greek rock band to ever perform in the USA: "Grecian imports Barb Wire Dolls have taken the Sunset Strip by storm" declared the Roxy Theatre as the bands' debut show in America at the legendary venue sold out. "Barb Wire Dolls are the most important punk invasion to the U.S. since the Sex Pistols" announced PMP as the word spread rapidly about Barb Wire Dolls, who subsequently ignited and spearheaded a totally new music scene on the once-wild streets of LA. "There is a buzz on the streets of LA, it's loud, it's nasty and it's hitting the region like a tornado. The music they played is so refreshing and full of an energy the punk scene needs desperately" writes Big Wheel magazine while Guitar World credits the band as "The Return Of Punk".
"I was in shock and awe after watching the living spirit of rock 'n' roll embody itself through Pyn's guitar and Isis's performance and voice…Isis Queen has the most incredible voice. I swear the purity of her voice vibrated my entire body. They embody the true spirit of punk…they are the real deal."- Tom Zutaut/A&R mogul
Starting in January of 2012, Barb Wire Dolls hit the road hard touring relentlessly first back and forth across America, and next all over the world. The band with a grassroots approach, created a loyal fan base consisting of punks, metal heads, and street rockers of all ages, proudly calling themselves the 'Street Generation'. With integrity, scorching anthems, and a sense of urgency, Barb Wire Dolls' themes of unity against the outside world and "inner-anarchy" struck a responsive chord with the global rock community as did their sheer emotive power on stage. By keeping true to their punk ideals, the band became the biggest DIY success story in decades, selling out club dates globally, headlining major festivals, and receiving international critical acclaim for their raging-guitar, hook-filled classic debut album 'Slit'.
Two days — that's all it took for Barb Wire Dolls to record their debut 'Slit', and to satisfy the gritty punk rock taste they craved, the band turned to Nirvana noise guru Steve Albini to record live and direct to 16-track 2" analog tape at his Electrical Audio studio in Chicago. Barb Wire Dolls resuscitated the exhilaration and abandon of 1970's punk with some grunge stylings on 'Slit', ignoring anything the genre had to offer post-1989. In early 2013 the band received wide critical acclaim and embraced a hail of hype as critics across the globe took their first liberating listen. "Slit is the best punk rock record since Nirvana's "Bleach" (Music + Riots), "Literally paralyzed by the absurd power...'Slit' will stand the test of time. 9 out of 10 Stars" (Ox Fanzine), "Top Ten of the Year" (Maximum Rocknroll), and Heavy Hard Metalmania writes "A pure massive H-bomb, a nuclear sound wave, probably the best punk album of the last two decades".
As much as Nine Inch Nails, Smashing Pumpkins, The Cure or Foo Fighters (particularly on that first album) are considered “bands,” they brazenly exhibit the precision focused passion of a specific person; often a person bursting at the seams with something to say. BEARTOOTH began and in many ways continues to be such an artist, bubbling forth from the psyche, soul and complex emotions buried in multitalented instrumentalist and songwriter, Caleb Shomo.
Beartooth shares equal inspiration with brutal metalcore as with old-school punk like The Ramones and the bombastic theatricality of Queen. The end result is a back-to-basics hardcore stomp that would get the crowd moving at a Hatebreed or Terror show, interspersed with a steadfast determination to give equal importance to anthemic choruses.
“I made the whole thing by myself,” Shomo says of Beartooth’s debut album, Disgusting. “The entire record, front to back, is literally a reflection of my thoughts and my mental well-being at the time. The album captures every end of the spectrum musically and lyrically. I know this may sound strange, but I didn’t write these songs for anyone. I wrote just to write. All of the songs came about because I love writing Beartooth songs. That’s it. I won’t record a song unless I love it, unless I believe in it. I won’t do it any other way.”
Beartooth began as a way to blow off steam and add another dimension to Shomo’s genre-hopping creative output. He and his hometown friends started jamming; hanging out in his Columbus, OH basement studio and playing music for fun. They released an EP, Sick, and then hit the road, touring North America and Europe with genre titans August Burns Red, Memphis May Fire, The Word Alive and Of Mice & Men, among others. In between support slots the five-piece headlined everything from basements to club shows, building a strong and devoted following. The EP’s accompanying music videos for “Go Be the Voice” and “I Have a Problem” (both live and traditional) quickly accumulated over 1 million views, and set the stage for the band’s next endeavor, Disgusting.
While he’s still a very young guy, Shomo has lived a lifetime in music already. He had already dabbled in a project with Escape The Fate cofounder Max Green and Craig Mabbit (Blessthefall/The World Alive/Escape The Fate) when he was called up to play keyboards for Attack Attack! at the tender age of 15. The band incited polarizing dialogue around the world, as some jaded critics mocked the group’s “crabcore” while a new generation of fans followed the band’s every move. Shomo found himself thrust into the front man role following a series of lineup changes. The band’s self-titled sophomore effort debuted at #1 on Billboard’s independent chart.
Shomo was handling all of the vocals, programming and production duties by the time the third Attack Attack! album, This Means War, broke into the Top 10. The record sold 17,000 copies in its first week, debuting at #8 on the Billboard Top 200.
Battling the same type of depression, anxiety and overindulgence as many of his fans, Shomo bowed out of Attack Attack! to get himself together, and the songs on Disgusting reflect that struggle.
The closing track, “Sick and Disgusting,” is so personal that Shomo has trouble listening to it. It an intense exploration of the mental health issues he’s struggled with, not dissimilar from the raw truth found on Korn’s eponymous debut, or Reznor’s open confessions of drug addiction scattered throughout NIN. It’s a song where Shomo just hit “record” and let it all pour out.
“I almost didn’t put it on the record because I felt embarrassed about people hearing it,” Shomo confesses. “It is really intense for me personally. It’s hard to explain but suffice it to say, it’s a song about a lot of mental health things I’ve dealt with. If people listen to it and understand where I’m coming from and respect it, great. If other people think I sound like an idiot because I start crying in a song, I really don’t care. I know how much I put into that song emotionally. It’s one straight take, all the way through. I realized I’d be shorting myself if I didn’t put it on the record.”
Alternatively, a track like “Beaten in Lips” is written from Caleb’s experiences outside his own world: he wrote it from the perspective of abused kids with nowhere to turn. “I was just thinking about it one day, about how absolutely ridiculous it is that some parents abuse their children,” he explains.
The album’s opening track, “The Lines,” hits a lighter note. “We have been playing that song live before the record comes out. It’s just a fun jam. I wanted to write riffs that people can jump around and get wild to. People can sing at shows and have fun. I want people to sing along so they feel as much a part of the show as we are. I love doing house shows, shows without barricades, floor shows.”
There’s a beautiful authenticity in Beartooth’s music, which is the result of Shomo’s simple intention: to write songs for the sake of writing songs. There is nothing calculated, nothing crafted for mass appeal. It’s simply the truth of his experiences and emotions.
“Red Bull has been backing whatever I want to do musically which has been really refreshing,” Shomo says. “There isn’t any pressure to write certain types of songs or to have a certain sound. I don’t go into my basement thinking, ‘OK, I’ve got to write a pop song’ or ‘I’ve got to write a heavy song.’ The songs are what they are and are allowed to be whatever comes out of me. Beartooth ends up having a lot of dynamics that way, a lot of diversity. I never want to make a record that becomes boring.”
Big D and the Kids Table front man David McWane has said, “There are people who want to be in a band and then there are musicians.” Once in a while a group comes along that makes music simply because they have no other choice – they are addicted musicians. For the past fifteen years Boston’s Big D And The Kids Table has proven just that, regardless of the band’s poverty. McWane describes the group as – “We’re modern American gypsies,” And you can feel that sense in their wildest record yet – For The Damned The Dumb & The Delirious.
“The person who put it best is [Warped Tour founder] Kevin Lyman”, McWane explains. “A friend once asked him if we were a ‘big band’, and Kevin replied, ‘I’ll tell you this…they’ve been around for 14 years and each year they’re extremely relevant.’
“Our new record is by far our best yet,” says McWane. “It’s a bomb! Our energy writing it was incredible. As friends, we had a blast; as musician’s, we knew exactly what we wanted to craft; and as tour mates, we were all on the same page, writing songs that would make the coming tour a slaughtering battle on stage. We love energy, and that’s what we packed these explosive songs with.”
For The Damned The Dumb & The Delirious is filled with driving ska-punk bangers, leaping off the stage thrash, seedy dub and topped off with a lot of that good ol’ fashion working class, Boston bar room beer toasting anthems. It’s gritty, bratty and raw – confident, witty and fun.
“I personally prefer shows where you have to prove yourself,” McWane adds when asked which of the band’s thousands of live performances stick out in his head. “The Warped Tours, Reading & Leads, and the Dropkick Murphys tours that we did were exciting because you had to prove yourself. The feeling is similar to when your band first starts out; you get that first-show anxiousness,” he continues. “When you play shows where everyone loves you, then it turns more into entertaining—and that can be fun, but that’s not where I personally come from,” he elaborates. “I like the underdog shows more because they add spice and kick.” Armed with a record as youth driven, honest speaking, furious and fun as For The Damned The Dumb & The Delirious, Big D will undoubtedly get the opportunity in sweaty clubs all over the world, to step up to the plate and prove themselves all over again
“We want to wake up the masses with this record, remind them that they’re more than just alive; and make their Mondays into Saturday nights. Lovers of our sound better get ready ‘cause no one’s gonna help them in the front row of this coming tour. If you wanna relax – head to the back.” – says McWane
While classic hard-hitting tracks like “Up In Flames” and “Against The Waves” provide seamless confections of heavy guitar riffs, flawless screams, and everything fans love about blessthefall, the band take it up a notch when tracks like “Dead Air” and “Condition // Comatose” showcase impeccable songwriting abilities and Bokan’s powerful, bone-chilling vocals.
Known for their explosive live show, blessthefall recently wrapped up their cross-country trek on the Main Stage of the Vans Warped Tour. Wasting no time, the band will hit the road again in October to spend the latter part of their year touring in support of To Those Left Behind with Stick To Your Guns, Emarosa, Oceans Ate Alaska, and Cane Hill - adding to an already impressive touring history that includes runs with As I Lay Dying, Avenged Sevenfold, Bullet For My Valentine, August Burns Red, Every Time I Die, and Asking Alexandria.
Michael MacIvor: Bass
John LaMacchia: Rhythm / Lead Guitar
Danny Grossarth: Drums / Percussion
Julio Arias: Rhythm Guitar
Born in Brooklyn, NY, the name Candiria is synonymous with the kind of experimentation and genre-bending more often associated with freeform jazz and progressive rock than hard/metalcore music. Their original fan base, predominantly rooted in the well-knit NYHC second wave (Merauder, Madball, Burn, etc.), took to Candiria's balanced integration of aggressive unusual time signature'd dissonance with hip-hop, jazz (early bop as well as late period fusion), dub, and abstract psychedelic experimentation straightaway, a testament to the band's skillful musicianship and intelligent sonic aesthetic.
Releasing four critically acclaimed and fan adored albums over the course of six years, the band would in 2002 face its biggest challenge, as both band and individuals. While driving through Batavia, NY, touring in support of their latest release, their van was subject to an accident whose physical and psychological repercussions deeply informed each of their decisions to follow. Upon recovery, their appropriately titled 2004 release 'What Doesn't Kill You…', retained components of the band's earlier fractal aesthetic while introducingmelodic choruses and clean singing alongside the guttural and triple-timed vocalizations the band historically employed and perfected.
Candiria would spend the years following 'What Doesn't Kill You…' recovering from their injuries, losing and replacing personnel, tied up in legal disputes, and individually engaging in new musical projects that would serve to enlarge the creative scope of each band member. In retrospect, this period should be regarded as a phase of reconsideration, realignment, and renewal. It is with this perspective in mind that Candiria has written and recorded their latest album, 'While They Were Sleeping', a concentrated demonstration of their relentless desire to explore and expand upon an aural palette whose depth and breadth has always challenged the complacency of remaining static in an ever-changing world.
'While They Were Sleeping' is a concept album conceived by the band's lead vocalist Carley Coma. Telling the tale of a failed musician who rises up against a monarchy in New York City, 'While They Were Sleeping' aims to encapsulate a vision of the contemporary world, in all of its riotous and tech-driven complexity. Ambitious as such an idea may seem, it is part of Candiria's natural development, and has given birth to some of the band's proudest and most challenging moments.
One of those moments comes early on in the album, just prior to the halfway mark of 'Mereya', when the band deftly shifts gears from a pummeling assault of well-knit propulsive rhythms into tenor sax-laced jazz percussion patterns heightened by Coma's introduction of a scat-singing that skillfully combines the styles of world renown vocalists Jon Hendricks and Jimmy Scott. Bassist Mike MacIvor recalls it as an experience wherein the history of the band's determination to push themselves beyond their known limits crystallized: "At first, I wasn't a fan of the idea, but as we went through the recording process, I realized that if you're doing something that makes you uncomfortable, strikes you as weird, or even induces nausea, then you have to do it. That is what Candiria is all about."
And so much more, as the conception and formation of 'While They Were Sleeping' would prove. "I was unafraid to be completely honest, and approach the band as a new entity", says Coma. It's with this kind of openness that for the first time he created songs centered on character development, a notion he became interested in and studied with the aid of Robert McKee's classic book 'Story: Style, Structure, and the Principles of Screenwriting'. Spending just over a year working on the story, prior to the consideration of its musical accompaniment, Coma states: "I wanted to learn about creating characters. and how one could make that happen." This thoughtfulness would be fusedto current events, as the song 'The Whole World Will Burn' demonstrates. Written both as a response to the Ferguson riots,and as a means of propelling the story's plotline, it serves as an example of Coma's extensive aspirations for this project.
"I had some skepticism", says guitarist John LaMacchia, in reference to the idea of a concept album. A completely new idea for the band, he was unsure of how to approach the writing of music whose main goal is to serve a narrative that had been carefully contemplated and constructed. Encouraged by Coma's spirit of unguarded writing, LaMacchia notes that the foundation of the recording process was rooted in a feeling of union: "Having faith in one another, giving each other space to present and pursue individual ideas, then uniting them into a whole." Adding to this already healthy dynamic is the inclusion of new drummer Danny Grossarth, and new rhythm guitarist Julio Arias, both of whom bring a fresh fire and energy to stage and studio alike.
Recorded at Spaceman Sound by Tom Tierney and Alex Mead-Fox, it was of primary importance to Candira that they retain a distance from the compartmentalized, disinfected, and essentially whitewashed production qualities heard throughout much of contemporary music. As a band that has always operated from a working class perspective, capturing an organic aesthetic was essential. The proof of this can be heard on tracks as dissimilar as 'The Cause', an experiment in electro-discordancy that lures the listener in with a seemingly innocuous riff whose rhythm coils in on itself until stuttering to an end, and 'Opaque', a track of transcendent significance for both this album and the band.
'Opaque' was conceptually intended as a sparsely decorated composition. However, its fruition took on auditory dimensions Candira had heretofore never investigated. If the song has a point of reference in the band's canon, it is an oblique one that MacIvor deftly elucidates "In the same way that our fans weren't ready for a song like 'Observing Highways' (from their debut album 'Surrealistic Madness'), they won't be ready for 'Opaque'. What we're always trying to do as a band is paint a picture that hasn't been seen; looking for a sound that hasn't been heard." This emphatic ambition, coupled with an unwavering confidence in one another, has allowed them to create a concept album that is completely off the musical grid, will defy expectations, and establish a new standard in Candiria's willfully driven evolution.
Throughout 2016, Candiria have played several shows in the New York City area with musical compatriots and veterans of the scene such as Sick of It All, Poison the Well, and Killswitch Engage, as well as more recently formed boundary pushing outfits like Death Grips, Shabazz Palaces, Netherlands, and Moon Tooth. 'While They Were Sleeping' will be released on October 7th, 2016, with a full U.S. tour to follow.
Bio by Aaron Gettler
In 2005, vocalist Scott Lewis had a chance meeting with like-minded, gifted drummer Shawn Cameron. Having both played in a countless number of bands over the years that just didn’t seem to fit, the connection between the two was felt instantly. Together, they began a search to fill the musical void that had existed in each of their lives. They quickly formed a group and hit the road. CARNIFEX, being the serious-minded musicians that they are, hit the road hard. Refusing to be another “here today, gone tomorrow” trend, CARNIFEX let nothing stop them from perfecting their live show, touring relentlessly, and writing brainsick, yet intelligent, songs. Having endured everything from tour cancellations, van breakdowns and inevitable line-up changes, that “magical fit” was solidified by the end of 2007. Scott and Shawn were complemented by the intensity of guitarist Cory Arford. Bassist Fred Calderon rounded out the furious unstoppable juggernaut.
The non-stop touring and methodical songwriting eventually resulted in CARNIFEX selling over 15,000 copies of their first full-length album, Dead in My Arms, with little publicity. Not surprisingly, industry types started to notice; however, none as quickly as Victory Records. Having spent a lot of time writing during the previous year, CARNIFEX was primed to get into the studio to begin the masterpiece that is The Diseased and the Poisoned. Zeuss (UNEARTH, SHADOWS FALL, HATEBREED) at Planet Z Studios was a natural choice for producer, and they entered the studio rapidly and intently.
CARNIFEX is something musically unique. What really makes CARNIFEX stand out from the throngs of other hard rock acts currently scouring the planet are their savage live performances. Their declaration to make every night an experience for fans rather than just a show has proven to be the most appreciated trait of the band among fans. But you can keep your pyrotechnics and other special effects at home CARNIFEX relies solely on the power of their music. “Every night, we strive to play extremely tight. Sometimes it can be difficult to make such an intense show so interactive, but we make sure that
everyone is getting involved,” says Lewis.
In 2008, CARNIFEX proudly delivered the The Diseased and the Poisoned to the metal masses. Intriguing and armed to the teeth with an arsenal of blast beats, machine gun riffs and vocals exorcised from the deepest pits of hell, The Diseased and the Poisoned is the soundtrack to your worst nightmare. Having sold 28,000 copies in the U.S. alone, this record was a huge success, solidifying their spot in the American Death Metal realm.
In 2010, CARNIFEX released Hell Chose Me, taking a darker and more blasphemous approach to their already visceral sound. Musical growth and a higher level of aggression coupled with themes of despair and isolation make for an abrasive new record. Blood curdling screams, guttural growls, bottom heavy baselines, and razorsharp guitar riffs make for dark and brutal work.
After a short hiatus, CARNIFEX is back stronger than ever and with a new home. “Signing with Nuclear Blast is a career defining moment for CARNIFEX,” states Lewis. “To be aligned with the largest metal label on earth is a true honor. This world-wide deal signals a turning point for us as a band and individuals. Together with Nuclear Blast you will see CARNIFEX like you have never seen us before. Prepare yourself for an album that crushes any and all expectations. An album that will stand as the definitive mark for modern metal.”
Die Without Hope marks the long awaited return of the band, with their fifth full-length album and Nuclear Blast debut. 10 tracks and over 35 minutes of crushing metal that no fan of heavy music can deny. Recorded at Audiohammer Studios in Sanford, FL and produced by the esteemed Mark Lewis (ARSIS, THE BLACK DAHLIA MURDER, WHITECHAPEL, DEVILDRIVER, DEICIDE, SIX FEET UNDER), San Diego's finest metal export deliver an album that stands as a definitive cornerstone for modern death metal. Since their formation, CARNIFEX has proven time and time again that their die-hard fan base combined with their DIY work ethic is unmatched; Die Without Hope is no exception.
CARNIFEX’s relentless touring schedule begins with an extensive 5 week headlining tour February 21st though March 29th. Taking the band through all of North America. Followed by a direct support slot to
a major band in April, which includes an appearance at the 2014 New England Metal and Hardcore
In October 2011, Counterparts released The Current Will Carry Us via influential independent label Victory Records. The sophomore LP saw the band pursuing a more raw, straightforward sound, and achieving a new level of honesty through their lyrics. Tossing any idealistic rhetoric aside, TCWCU offers listeners an extremely introspective listening experience that depicts the band in their most sincere, vulnerable state. While the album marks a clear thematic departure from its predecessor, its unrestrained aggression makes an emotional impact that's even more genuine. The record's reception easily exceeded the expectations of the band members, landing them a selection as one of Alternative Press' "100 Bands You Need To Know In 2012" and solidifying plans for the group's first ever expedition into Europe, in which they would bring their unforgettable live presence to listeners who'd spent years anxiously awaiting the opportunity.
If there's one thing that's abundantly clear about Counterparts' career, it's that none of the success – the building of an incredibly passionate and supportive fan base – has come about without a great deal of struggle and sacrifice. Like many bands who strive to do things on their own terms, Counterparts have had to face adversity in many different forms, including being stricken down by legal sanctions, having their touring vehicle obliterated, and having to cope with the ill-fated return of a founding member. Counterparts' story, while perhaps still in its infancy, has been one of a constant battle to find stability in an increasingly unpredictable music landscape. Nonetheless, the band have consistently proven themselves to be steadfast in the face of any impediment that comes their way. After years of dutiful exertion, the band are finally entering an era in which the future looks bright, and they've been able to reach this plateau without once compromising any aspect of their art. Through sheer hard work and dedication, Counterparts have been able to overcome innumerable obstacles in order to hold on to their elusive dream. Armed with heart and hope, Counterparts plan on spreading their music and message as far and wide as humanly possible in the coming years.
Courage My Love is all of these things.
The Kitchener, Canada band consists of twin sisters Mercedes Arn-Horn (vocals, guitar) and Phoenix Arn-Horn (drums. vocals) with their friend Brandon Lockwood (bass).
Call them a power trio, pop-punk, alternative metal. As you wish. They grew up on it all. But while you are jumping around and banging your head with abandon, don't miss the message: They have no appetite for destruction. They do not seek to destroy. No, Courage My Love is here to uplift, inspire.
Becoming, the band's new EP, produced by Chris Perry in Toronto, is eight tracks bled out of Courage My Love during a period of exciting changes. "Our first EP For Now came out when we were 17," explains Mercedes. "When you're our age, a lot can happen in two years." Yes, many good things. Like heavy rotation on MuchMusic/MusiquePlus, more than 4.3 million YouTube views, headlining tours of Canada and America, and being on Alternative Press Magazine's list of the '100 BandsYou Need to Know' in 2012. "Before we went on tour we'd never been away from home," says the guitarist. "You meet all these new people, and you learn about yourselves. We've all grown a lot. That was the inspiration for Becoming."
Opening track "Skin and Bones" captures the fear and longing of leaving something behind. "We're too old to die young," they sing over thunderous beats, the heart of the matter. Hard- knocking first single "You Don't Know How" cranks it up, intense and defiant: "Find out I'm strong enough on my own now." By the time the EP closes with the haunting ballad "Dark Wood, Dark Water," about finding the one thing that pulls you out of the darkness, Courage My Love's mission is clear: rock out, be happy, stay true.
For this next generation of musicians, that means truly embracing social media. With their popular DIY podcasts, 6-part spoof reality TV show 'The Unreal Lives of Courage My Love' and viral videos, Courage My Love not only connect with fans, they reveal more of their true selves. It's all part of what they do best. "This whole band is about being yourself," says Phoenix. "You don't need to play by the book to be successful. Being a girl isn't that big of a deal in music anymore. You don't need to have a certain look. Break the rules, stand apart."
Oliver Burdett - Guitar.
Ian Miles - Guitar.
Will Gould - Vocals.
Sean Scott - Bass.
Hannah Greenwood - Keys.
Dance Gavin Dance is a six-member post-hardcore/experimental band from Sacramento, California. They were formed out of the dissolution of several other bands including Farewell Unknown, Ghost Runner on Third and Atherton. Jonny Craig and Sean O'Sullivan joined in 2005 and early 2006 to complete the line-up.
They self-released their first EP, "Whatever I Say Is Royal Ocean," during the summer of 2006. Shortly afterwards, they were approached and then signed by Rise Records and the EP was re-released with the Rise and Victory labels on November 14th, 2006. Their full length CD, titled "Downtown Battle Mountain," is due on May 15th.
Dance Gavin Dance will be touring starting in May with Alesana, Drop Dead Gorgeous and A Day to Remember as well as The Devil Wears Prada and At the Throne of Judgment. Most recently, guitar player Sean O'Sullivan has left the band for personal reasons as listed on their myspace. He was replaced by the merch guy.
Just over a year after the highly successful Gallows hit shelves, the world is at the mercy of Emmure once again. It’s with an almost-unspeakable sense of volatility that the band has stormed back in a warpath full of fresh topics that didn’t get their due on the first record. This new time bomb, The Respect Issue, is making up for lost time.
While the album is not Gallows part deux, Palmeri didn’t want to stray too far from the unhinged chaos and “uncompromising, brutal honesty” of the first album and those who connected with it. Guitarists Ben Lionetti and Jesse Ketive still shred with the same furor, Joe Lionetti bashes skins in a familiar urgency, and bassist Mark Davis lays down the foundation with seasoned precision. Now, the tracks are shrouded in a crushing wet blanket that takes The Respect Issue to a darker, yet more illuminating, level of metal advancement.
Just when one has the most notorious metal live acts out of Connecticut pegged, a curveball is thrown to keep fans wanting more. The mosh-drenched anthems provide a soundtrack for the most intense, unforgettable shows ever witnessed, and has been the integral part to Emmure’s rabid fan base. “If it weren’t for the great tours we’ve done, I don’t think we would have had even a fraction of the success we’ve had,” Palmeri said of jaunts with bands such as Darkest Hour, August Burns Red, and Misery Signals.
This much-anticipated record will not only meet the expectations of those craving it, but is the kind of metal record to draw in every kind of music aficionado. The movement Emmure started with Goodbye to the Gallows will not be repeated with The Respect Issue – it will be escalated. Say you heard of them last year, because their world domination is only a breakdown away.
That's what Fire From The Gods deliver on their Rise Records debut, Narrative.
Speaking from a platform cast in heavy metal power, hip-hop consciousness, and even a little reggae spirit, the Austin, TX quintet—AJ Channer [vocals], Jameson Teat [guitar], Drew Walker [guitar], Bonner Baker [bass], and Richard Wicander [drums]—urge for change through conveying a story that's both personal and universal.
That story stems directly from AJ's life. Born in the Bronx to a single mother of Jamaican descent, he spent his childhood moving between London, New York City, Los Angeles, Norfolk, and even Ghana where he attended middle school. Drawing from this diverse experience, he speaks with unmitigated honesty about the state of the world.
Tyler, Texas based newcomers FIT FOR A KING just might represent how that metaphor applies to a band. By forging ahead on their own path, making music well beyond their years, making it from the heart, and laying waste to their peers in the process, FIT FOR A KING have created a thing to marvel at - an impressive independent campaign that exemplifies the way "the game" should be played by an upstart band.
The hotly tipped metalcore band has been elbowing its way onto the national scene as a full-time touring outfit, cultivating fans at an alarming clip with a crushingly heavy, artful take on the genre that gives subtle tips of the hat to bands as diverse as THE ACACIA STRAIN, CIRCA SURVIVE and LINKIN PARK. The band's passionate music, coupled with an explosive live show, has made FIT FOR A KING a sensation in the independent music scene.
Following several years of relentless DIY touring and a well-received, independently released album (2011's Descendents), FIT FOR A KING are reaping the benefits of their hard work. Last July the industrious group was signed by Solid State Records, who quickly ushered the band into the studio to record their label debut Creation/Destruction, and take their already surging career to new heights.
Recorded with esteemed producer Andreas Magnusson (OH, SLEEPER, HASTE THE DAY, BLACK DAHLIA MURDER), Creation/Destruction is at once the fulfillment of a longtime dream for FIT FOR A KING, and just the first step in what is sure to sure to be an incredible journey for a band with massive potential.
"Words cannot even express how excited we are to join the Solid State family," vocalist Ryan Kirby says. "We grew up listening to Solid State bands and for us to actually be on this label is the best feeling we've had as a band. We'd been waiting and holding off on labels for so long until we felt we had the right one, and we absolutely do."
"We can definitely feel the momentum starting to build. Our fans were super excited for us and we have seen a big increase in the growth of our fan base in the past six months," Kirby continues. "Longtime fans can expect a more energetic, hard hitting album with the same passionate lyrics that we like to bring to the table. And what some fans may not expect is just how heavy and dark this album gets lyrically and musically."
Like a future-star athlete ready to prove his worth after a high draft position, FIT FOR A KING are ready to deliver with the release of Creation/Destruction. Sports metaphors notwithstanding - this is a band that knows how to play the game the right way and one that will be converting fans nightly.
Start filling out those Rookie of the Year ballots now.
Similar to: Dizzy Wright, Chiddy Bang, Childish Gambino
Futuristic is a Hip-Hop artist originally from Illinois but based out of Arizona who uses his humor, intelligence, and real life experiences to make music that's like no one else's. At the age of 21 he has already managed to gain a huge following across the United States and share the stage with some of the games biggest names. His trademark phrase "I had to do it" and his cocky but funny flow makes him distinguished while his depth and story telling makes him relatable to fans. His movement WTF (We're The Future) is bringing people together and giving them a positive message to relay to others, which led to the success of his first major project "Dream Big". Dream Big, released in February of 2012 included the 3 hit singles "Fuck you Mean" "I Got Sauce" and "La La La" who's YouTube views combined for over 400,000 in the first 6 months selling singles and albums in all 50 states. The success of "Dream Big" led Futuristic on a 9 show mini tour through the West coast and Midwest where his impeccable stage presence and extreme charisma excited fans and earned him new ones. His most recent project "Chasing Down A Dream" dropped 2/19/2013 and quickly moved to #28 on the iTunes Hip-Hop charts and #86 on billboard with the lead single "Don't Mind If I Do" selling thousands of copies & accumulating over a Million views on YouTube.
In the beginning…
GWAR is part of an ancient order of warriors known as the Scumdogs Of The Universe who were banished from space and sent to planet Earth for a scandalous array of cosmic crimes. Once on Earth, the Scumdogs fornicated with apes and thus, through bestial sexual mutation, the human race was born. A crime far too great for their extraterrestrial ruler/maker — The Master — to discount, the Scumbogs were incarcerated in ice, deep beneath their hulking temple in the wastelands of Antarctica. Here they lay dormant for millions of years, controlling the will of the humans they’d spawned through mental telepathy. With little effort and great results, they brought about war, disease and injustice. Earth was on a path to self-destruction before GWAR had ever played a note…
Days grew into weeks, weeks into months and month into years. According to legend, the advent of ‘80s hair metal ultimately led to the Scumdog’s reawakening and GWAR’s inevitable rise. “Because of their overuse of hair spray, a huge hole was burned into the ozone above our temple,” vocalist Oderus Urungus recalls thoughtfully. “Our ice began to thaw.” Just then, intergalactic fugitive gangster/music mogul Sleazy P. Martini, fleeing the wreckage of his helicopter (which was shot down by the IRS) stumbled upon the Scumdogs’ tomb. Martini’s gold chains, shiny suit and slick pompadour inadvertently redirected the sun’s rays and accelerated the melt. The defrosted Scumdogs instinctively prepared to destroy Martini but guitarist Balsac, The Jaws Of Death, swayed by a prophecy about the pre-eminence of whomever freed them, convinced the ‘dogs otherwise. Martini eventually taught the aliens to play instruments, got them hooked on crack and set them on the road in the form of a heavy metal band. GWAR was born. The band immediately embarked on a 25-year (and counting) assault on the Earth, the goal being the ultimate disintegration of all humankind. “We are intent on the actual melting of the entire planet,” Urungus, who is approximately 43 billion years old with a penchant for melting things, boldly clarifies.
As Earth's only openly extraterrestrial band, GWAR has since witnessed, inspired and is indeed directly responsible for many of the most destructive events in Earth’s recent past. It is no coincidence that since the second coming of GWAR, this world’s has slipped ever closer to the apocalypse. As immortal heavy metal warlords who put on the greatest show in history, GWAR exact reverence in each and every land they pillage, their brain-draining, ear-searing, eruption of blood, guts, savage lust and gastric juices a ritual every human must endure.
Bringers of gore, torture and amoral humiliation, GWAR has hurt feelings, fought off throngs of alien attackers and caused billions of dollars in property damage yet despite their generally anti-social behavior, GWAR — and their awe-inspiring collection of CDs, EPs and videos — has inspired a planet-wide legion of followers, a sure sign that an Earth-bound takeover is imminent.
Two-and-a-half decades later…
Many have tried to replicate the debilitating sounds and psychological trauma that defines the cosmic collective. No one has succeeded, nor will they, for GWAR is an unconquerable galactic battalion of rage and destruction, who are as loved as they are feared.
“We are immortal gods, forged in the fires of the Universe's creation,” proclaims Urungus loudly. “The endless wars and scores, the utter majesty that is GWAR, is unmatched, our supremacy eternal! Undying yet not undead, we are Kaos-Demons from far beyond the Kretek Nebuli. Proficient in all gravities, we are the SCUMDOGS OF THE UNIVERSE! This gives us quite an edge over most bands.”
“We are great, they are not,” adds bassist Beefcake The Mighty. “The few intelligent humans out there who recognize quality have followed us from the beginning and will continue to do so until rewarded with death at our hands. The rest of Earth's sheep exist only for our amusement.”
Join the members of GWAR — Urungus, Beefcake, Balsac, drummer Jizmak Da Gusha and guitarist Flattus Maximus — as they mark the 25th year of their re-awakening on planet Earth with new album, Lust In Space, coming August 18th. Recently resigned to powerhouse label Metal Blade Records after an eight-year/two-record absence, GWAR’s latest long player promises to be their most sonically devouring, instrumentally challenging offering to date. A head-jarring, teeth gnashing Molotov cocktail of chronic chaos, songs like “Let Us Slay,” “The UberKlaw,” “Where Is Zog?” and the title track, will silence any remaining skeptics for all eternity.
“When Lust in Space drops in August, the world shall be forced to its knees in total surrender,” Urungus predicts, from the band’s Antarctic stronghold. “The release marks the 25th anniversary of our thawing-out, and we proclaim a two-year celebration to herald this brain-melting event! The event is so colossal that the idea of a more traditional, one-year celebration seemed completely inappropriate...this one is longer...and bigger! The new shit rocks.”
“I feel rage that GWAR has been around for 25 years, kicking ass and making other people rich, and there still isn't a proper GWAR movie, video/computer game or sex aid,” Dave Brockie, Urungus’ alter ego chimes in. “We haven't even been to Asia yet. Even though we recorded an album there…in the future. There are still countless doors we must break down to attain everything that can and must be achieved by GWAR, and the 25th Anniversary is the perfect time to do just that! Break things!”
“I find it quite annoying that we're still stranded here on Earth after 25 years,” snaps Beefcake in closing. “We are meant for so much more. It is quite fortunate for you though, is it not? Is it you who are our captive audience, or are we your captive gift of awesomeness? Think about that!”
GWAR: Master's of metal and lords over Earth! Bow down and obey. Lust In Space is upon us.
The closing of 2011 saw the band sign to American record label Rise Records, with their highly anticipated debut album 'Ground Dweller' subsequently announced to be released worldwide on March 13th.
HLH traveled to the USA in 2010 and 2011 to record 'Ground Dweller' with Cameron Mizell of Chango Studios (Woe, Is Me, Sleeping With Sirens, Oceana). The subsequent single releases, 'This Ain't No Place For Animals', and ʻLion Skin (feat. Tyler Carter and Jonny Craig)' earned the band over 5,000 independent single sales via iTunes during 2011, and their most recent single 'Antarctica', released on Youtube through Rise Records, has amassed almost 200,000 views in its first month. Along with the band's self-produced acoustic versions of 'Lion Skin' and ʻThe Sowerʼ, their YouTube channels have seen over three quarters of a million views, growing daily.
Boasting a dedicated and fast-growing international fanbase, built through years of personally managing their social networks and independent promotion and touring, Hands Like Houses will release their hotly anticipated debut album 'Ground Dweller' on March 9th in Australia (March 13th worldwide through Rise Records). Buoyed by exceptional online pre-order numbers for a debut release, the record is well on track to break into the Billboard Top 200 and Heatseeker charts in the US in its first week.
To date, the band has supported a number of notable acts from Australia and around the world, including The Getup Kids (USA), As Tall As Lions (USA), The Getaway Plan (AUS), Dream On Dreamer (AUS), Break Even (AUS), Hopes Die Last (ITA) and Tonight Alive (AUS). Their 2011 touring schedule saw the band play 50+ shows across Australia and Europe, impressing audiences with a sound and stage presence beyond their standing.
Since forming in 2006 between high school friends, the band has evolved and grown to a dedicated and close-knit group. As So Long Safety, the band was nominated for 2 MusicOz awards in 2008, in the Schoolies and Music Video categories. Their singles 'Lion Skin' and 'Antarctica' have seen weekly rotation on Triple J, Australia's largest alternative radio station, as well as regular play on local and internet stations including Western Australia's The Pit FM.
2012 will see Hands Like Houses add to their list of local, national and international supports, beginning with Pushover 2012 in Melbourne Australia in support of Parkway Drive, Tonight Alive, 360 and others, before embarking on their first leg of US touring in the northern Spring/Summer to promote the release of 'Ground Dweller'.
With steadfast determination, drive, and dedication, Hatebreed cement themselves as one of heavy music's strongest institutions on their seventh full-length offering and very first for Nuclear Blast worldwide, 2016's The Concrete Confessional. Since 1994, the Connecticut quintet—Jamey Jasta [vocals], Chris Beattie [bass], Wayne Lozinak [guitar], Frank Novinec [guitar], and Matthew Byrne [drums]—has risen to the ranks of hardcore and heavy metal elite with a GRAMMY® Award nomination, main stage slots on festivals, and countless fans worldwide. 2013's The Divinity Of Purpose earned their highest entry on the Billboard Top 200, bowing at #17 with impressive first-week sales in excess of 17,000. When it came time to return to the studio after two years on the road, Jasta and his cohorts clung to the bedrock on which their legacy stands firm.
"There's nothing better than loud amps in the face, cranked up riffs that hit you right in the chest and lyrics that spark a new thought and give you a charge," he declares. "That's our musical DNA. We could just be who we are. We don't need to incorporate whatever the trend is. We can just be Hatebreed. There are some new highlights to the game, but you know it's us."
The Divinity Of Purpose brought them to new areas of the globe as the headlined festivals in the UK, Finland, Norway, Germany, and Eastern Europe and landed a slot on Ozzfest Japan. They would perform at Poland's Woodstock in front of 400,000 people. Stateside, the band supported longtime friends Black Label Society in the winter of 2015 and then got the opportunity to be direct support to Slipknot on a Spring 2015 run in between festival appearances at Rock On The Range, Welcome To Rockville, and more as well as Motörhead's Motörboat with Slayer and Motörhead.
"Riding into this album, I realized we could play with bands of every genre nearly anywhere without deviating from who we are," continues Jasta. "The Motörboat was another real career highlight. We played this exclusive event with some of our chief influences. We got to literally chart new territory."
Returning home in the Fall of 2015, they entered the studio with longtime producer Zeuss [Rob Zombie, Soulfly]. Immediately, they channeled the spirit that's long defined their signature sound. By January, the record was mixed by Josh Wilbur [Megadeth, Lamb Of God] and primed for ignition.
"We had a really good vibe in the studio," he says. "The record is a snapshot of this time for us."
It also reflects what's going on outside. The opening track and first single "A.D." fuses together torrential thrashed-out guitars, double bass drums, and Jasta's immortal growl before an incendiary lead. The singer dissects what the American Dream means in a climate of upheaval. "Fight fire with fire, you'll see everyone's burning," he screams. Think of it as "Vote With A Bullet" or "Holy Wars…The Punishment Due" for the Instagram age.
"It's a mirror of both sides of the story whether it's what you believe in the media or what you actually see," he explains. "Musically, it came together quickly. It's about all of the frustrated feelings that come out when I turn on the news. So much of our attention is focused on the wrong areas. People want to one-up each other with better clothes and cars, and it's all bullshit. Nobody goes to the grave with any of that stuff. It's not all instant gratification. What exists on the phone and computer isn't what exists in real life. What is the American Dream anymore?"
The machine gun chug of "Looking Down The Barrel Of Today" proves equally uplifting and undeniable. "I wanted something to get crowds pumped up," he admits. "So many fans will tell us, 'Your records help me get through my life.' I needed to encourage this cyclical power to get up and face the day. You either make the best of today, or you're done in by it."
"Something's Off" carries an ominously lyrical bass line into a guttural chant, showcasing Jasta's chilling vocal dynamics in the process. "I've written songs about depression, alcoholism, and falling back into destructive patterns," he says. "However, I never felt like I could really put my finger on what anxiety is. It's not just social anxiety but this unexplained feeling of unease, like I'm in a fog. I've felt it occasionally since I was in grade school. You can't control when it happens. Heavy music has kept that beast at bay—in addition to exercise and experiences with my family. I had to confront it directly in the lyrics here."
Elsewhere, "Remember When" and "Slaughtered In Their Dreams" juxtapose visceral lyricism with a searing sonic backdrop as chaotic as it is catchy. Through and through, The Concrete Confessional is classic Hatebreed.
In order to transfer this message to the masses, the band inked a global deal with Nuclear Blast. "They're world-renowned mainstays in the metal community," he smiles. "We get to be in the company of career bands we look up to."
Hatebreed have come a long way from the East Coast's storied nineties underground scene. Their journey has seen them achieve a 2005 GRAMMY® Award nod in the category of "Best Metal Performance" for "Live For This," sell over 1.2 million records, and land a #1 debut on Billboard's DVD Chart with 2009's Live Dominance. Moreover, they've annihilated audiences from Mayhem Fest to OZZfest Japan and Download Festival to Wacken, Hellfest, and beyond.
Now, The Concrete Confessional fits right into the bold, bloody, and beating heart of the Hatebreed institution.
"The title had to be something that was heavy and hard, but also vulnerable and honest," Jasta leaves off. "Heavy music is this cleansing, therapeutic, and cathartic experience for so many. You're there, the guitars are crushing you, and someone's screaming their head off—sharing their pain and aspects of their life through words, poetry, or songs. There's nothing like it. You confess you have negative thoughts, and you purge them. For however long you're at the show, there are no bills to pay, issues to deal with, or problems holding you back. You can be free."
As one of the first bands to utilize social networking to gain a fan base, Hawthorne Heights developed a huge MySpace following that became a catalyst that would launch them from underground heroes to international superstars. As the voice of a genre, the band became regulars on MTV, their signature hit Ohio Is For Lovers the anthem for the new wave of "emo". Their debut album The Silence In Black And White soon went Gold, and with their second album If Only You Were Lonely, the band scored Victory Records' biggest ever debut, landing at #3 on the Billboard 200 in 2006. The band appeared on Conan O'Brien and Jimmy Kimmel, and became magazine cover stars, sending sales of The Silence… to Platinum status. It was the dream many bands hope for, but few seldom achieve, and Hawthorne Heights were living it.
Sadly, as with every success story, the good times came at a cost. In November 2007, while in the midst of legal disputes, tragedy struck within the Hawthorne Heights family. Casey Calvert, the much loved guitarist and resident "screamer" of the band lost his life while on tour due to an accidental overdose of medications prescribed by his doctor and dentist, which proved to be lethal combination. The effects on the band were evident, both personally and musically, and the decision to carry on was the toughest they would ever have to make.
On August 5 2008, Hawthorne Heights return with Fragile Future, a brand new album. Although the sound is still distinctly Hawthorne Heights, the music, as with the band, has understandably evolved.
"After spending the last 2 years in a deep dark place, we decided to try to find the bright lights again with Fragile Future," noted singer J.T. Woodruff. "We, as a band, noticed that everyone has tremendous ups and downs, so we wanted this record to communicate that. We chose the title Fragile Future, because it sums up the current state of our band, as well as what is going on in the outside world. We must all make good choices to create a better situation in our lives."
"With the loss of Casey, and no plans to replace him, we've had to make some obvious changes to our sound on this record," added drummer Eron Bucciarelli. "Originally there were less screams planned for this record than the second one, but sadly we never got the chance to do even that. This forced us to take a creative approach to certain songs. We've beefed up the guitars in parts, added gang vocals, choirs and all sorts of effects to still capture some of the energy that Casey brought."
With their trademark strong melodies and hooks still intact, Hawthorne Heights have broadened their sound to emerge with a collection of 12 deliciously genre-free songs that will set the airwaves alight across the world. Hawthorne Heights may have already set on the path to global domination, but with the release of Fragile Future, the road in front of them will lead them to the biggest, most impressive heights of all.
The three teenagers that make up Jule Vera met in 2010 and formed a group with a few other members to play local shows, one of which was a Battle of the Bands contest judged by the grammy nominated band After Edmund. The band won the contest because of the originality of one of their songs, which put them into contact with After Edmund frontman Mitch Parks, of Taken Productions. The band went on to record an EP with Parks, which brought three specific members of the group together, forming a totally new band with a better sound and better songs. The three decided to call the new band Jule Vera, and started playing shows from their upcoming EP in April 2013. Jule Vera's debut EP will release Fall 2013.
Following well-received releases on both Trustkill & Bullet Tooth, domestic/international touring success (featuring the band’s first visit to Japan) and a tag as one of Revolver Magazine’s “Top 25 Under 25,” we’re left with only one certainty; members Matt Mullins (vocals), Kellen McGregor (guitar), Ryan Bentley (guitar), Cory Elder (bass), and Jake Garland (drums) are headed somewhere fast.
In fact, it’s safe to say that MEMPHIS MAY FIRE are “Sleepwalking” no longer. Their latest effort, “Between The Lies,” boasts an elevated aggression that tastefully combines elements of melodic metal, southern rock, and electronics amidst a platform of carefully crafted songwriting. Existing solely in the digital realm, this EP is clearly an indication of things to come in terms of its unique dynamics & cross-genre experimentation.
Fast forward to 2011 and MEMPHIS MAY FIRE have now partnered with Rise Records as an outlet for their musical creativity. This move continues to broaden the band’s reach and welcomes a new world of possibilities within the scope of their burgeoning career. MMF’s high-octane live show acts as a testament to their ever-increasing identity and always leaves the audience wanting more. Expect their RISE debut to enter your lives later this spring alongside a massive touring cycle that is sure to reach your doorstep. Critics beware; MEMPHIS MAY FIRE are not only here to stay, they’re paving the way.
Their debut record Stovall is simultaneously dynamic and emotionally powerful while still maintaining a poetic edge. Its somber but optimistic mood is flawlessly encapsulated by the lyrics, "you should have known this day would come/I guess if you're gonna be stupid, then you gotta be tough."
$12 advance | $15 day of show
Doors: 7pm | Show: 8pm
For Fans Of:
Havok, Anthrax, D.R.I., Nuclear Assault, Iron Reagan, Toxic Holocaust, S.O.D., Suicidal Tendencies, Exodus, Sodom
So what happens when a band's riotous reputation catches up with them? Precautionary measures are taken and they - of course - get banished, only this time, it's into space! When the greedy ship captain hordes the food rations, the crew kicks into survival mode, commit mutiny, and devour their captain skewing the story into a horrific yet fantastic cannibalistic voyage into space that cult movies are made of.
The Fatal Feast, the fifth studio album by Richmond, Virginia's speed metal punks MUNICIPAL WASTE, not only ponders the type of moral dilemma faced in the title track but also tackles earthly issues that consistently plague humanity ("Covered In Sick/The Barfer," "Repossession," "Standards And Practices," "12 Step Program," "Crushing Chest Wound"). These 37 minutes of new music consolidate the best of everything the band's got to offer: their utmost respect for headbang-inducing riffs, their trademarked aggression, their tongue-in-cheek sense of humor, and their talent for extracting meaning out of the absurd.
Rising from the squalor of a cursed punk house for their live debut at a New Year's Eve keg party welcoming in 2001, founding members Ryan Waste and Tony Foresta quickly embraced a DYI ethic to spread the word about their band and graduated to booking shows out-of-state and even in Mexico. After a self-titled EP and the Waste 'Em All debut album in 2003, bassist Phil "LandPhil" Hall and former Melt Banana drummer Dave Witte were ushered into the fold. This line-up went on to record three full-length albums for Earache Records (2005's Hazardous Mutation, 2007's The Art Of Partying, and 2009's Massive Aggressive), earning such accolades throughout their career as "MUNICIPAL WASTE do it so well that any track could squeeze comfortably between D.R.I. and Gang Green on a mix tape" from Spin Magazine, "No band sound more authentic," from Alternative Press, "A gold standard" from Decibel magazine, and "Undeniably the best at what they do," from Outburn magazine. Visually, the band also delivered, as evidenced by the success of the devil-may-care and often outrageous attitude of their videos which have all become fan-chanted anthems at their live shows. The fact is, no one could argue against MUNICIPAL WASTE's reputation as the ultimate feel-good party band.
Dedicated to keeping the spirit of the 1980's cross-over scene alive, it was with their uncontrollable mirth and succinct songs that lead MUNICIPAL WASTE to reap the rewards of their hard work. By the time they signed with new label Nuclear Blast in 2011, they had proven themselves as die-hard road warriors who could tour & perform with bands outside their genre such as Suicidal Tendencies, The Casualties, 7 Seconds, Circle Jerks, Sick Of It All, GWAR, Lamb Of God, Children Of Bodom, and At The Gates and win over their crowds. Here they are 11 years later and their rabid fan base – which includes fans of metal, punk, and hardcore - continues to expand.
With artwork by Justin Osbourn of Slasher Design, 2012's The Fatal Feast is the first MUNICIPAL WASTE album to feature contributions from invited guests. Steve Moore of Zombi penned the intro to the title track and the spacey "Waste In Space," John Connelly of Nuclear Assault's vocals grace the album's title track, and former singer Tim Barry of Richmond punk legends Avail jumps in on "Standards And Practices."
Aptly hailed as "an interstellar thrashterpiece" by Decibel magazine, MUNICIPAL WASTE's The Fatal Feast debuted at #3 on the Billboard Heatseekers chart. Not bad for a band from Virginia, eh? Space may be a noiseless vacuum for amateurs who don't travel with their own P.A. system, but seasoned veterans of extreme situations MUNICIPAL WASTE always know better than to leave home without it!
Even for those that have traced the quintet's rise, it might be hard to fathom that it was only September of 2012 in Wrexham, North Wales, when hometown friends Ben Barlow and Lloyd Roberts recorded and uploaded a handful of tracks and a quickly shot video to YouTube.
At that time, Roberts was a guitarist with melodic hardcore band Spires, whilst Barlow was a local skater kid and bedroom musician; the project that the twosome dubbed as 'Neck Deep' was intended as a piece of casual fun, a musical homage to the likes of New Found Glory, Blink 182 and Sum 41 - the classic pop punk they had both grown up with.
Neither could have expected what came next.
Online praise for the songs snowballed while play-counts rocketed, and it was clear to Barlow and Roberts that Neck Deep needed to be more than an online enigma. So, after picking musicians from the lineup of Roberts' band Spires and from within the local music scene, Neck Deep - the band - was born, with guitarist Matt West, bassist Fil Thorpe-Evans and drummer Dani Washington fleshing out this real world incarnation.
By the time the band played their London debut at Camden's Barfly in December 2012 (their second ever show), the quintet already found themselves facing crowd singalongs that surpassed any reaction they could have ever anticipated. Meanwhile, online attention for their self-recorded debut mini album Rain In July had spread internationally, with anthemic lead track A Part Of Me inspiring particular acclaim from an ever increasing, worldwide pool of fans.
Neck Deep kicked off 2013 as they meant to go on, releasing a three track E.P, A History Of Bad Decisions, for free download, and hitting the road in its support. Respected media outlets were now catching on too, with the likes of BBC Radio 1 to Rock Sound magazine, and from Kerrang! Radio to Alternative Press (who dubbed them as ones to watch and made them 'band of the week'), excited to throw their hats in the ring in support for the band. And, after a last minute band holiday to the US to visit Florida's amusement parks saw the band playing an impromptu house show and a near sold out headline show (with only 48 hours notice) to crazed audiences of fans singing every last word, it was clear that Neck Deep had rapidly become much more than a flash in the pan, one hit wonder.
Not ones to waste momentum, the band returned from these few months of live activity creatively supercharged, and set about writing and recording the material that would become their debut full-length album. Initially, the ever pro-active quintet had plans to self-release their full length, but when Hopeless Records came knocking, the band knew there was no other choice to make; this was a label that embodied many of the values the fivesome held close as individuals and creatives, and boasted a roster the young musicians not only admired and respected, but which they had grown up enjoying as fans.
After a long, hot summer slaving away in the home studio of frontman Barlow's older brother, Seb Barlow - the very same studio where the band tracked Rain In July and A History Of Bad Decisions - the Neck Deep debut album, Wishful Thinking, was born.
A record that simultaneously belies their youth and yet radiates it from every audio pore, Wishful Thinking offers the listener a relentless array of anthemic hooks, intelligent songwriting and Barlow's trademark sharp witted, introspective and determinedly honest lyricism.
In little over 12 months, Neck Deep have won a lot of people over. Suffice to say - with Wishful Thinking set for a January 14, 2014 release - this is only the very beginning. Just think where they could be in another 12 months.
The group soon added guitarist Mike Schoolden (formerly of Wakefield) and drummer Russell Dixon and took the name New Years Day.
The band began building a reputation through promotion and posting songs on the MySpace social networking website, and were featured on the MySpace Records Volume 1 compilation CD and in the soundtrack of the video game Saints Row. After considering an offer from the Pete Wentz-run Decaydance Records label, the band signed to TVT Records and released a debut self-titled EP in 2006. Originally referred to as the Razor EP, it was primarily a digital release made available through download services such as iTunes, though CD copies were also available at the band's performances. They also performed at the South by Southwest music festival that same year.
From 2006–2007 New Years Day self-financed and self-produced their debut album My Dear, recorded over an eight-month period at the home of producer Eugene Perreras. The album was released on May 8, 2007 and includes collaborations with members of Reel Big Fish and Motion City Soundtrack. The band's debut music video for the lead single "I Was Right" won an MTVU "Freshman Face" poll and was added to the channel's playlist.
The band started writing new material in early 2009. Around September 2009, NYD posted two new songs on their MySpace page. When asked about a new EP, vocalist Ashley Costello said, "The EP is in its demo phase right now and we are still writing for it and recording it at the same time. The EP should be out in the spring of 2010."
On March 12, 2010, Alternative Press announced that New Year's Day have been added on the Warped Tour's summer dates. New Year's Day released their Japanese debut album called "Headlines & Headstones" on July 2nd, 2010 under Spinning Inc. The album contains music from their first EP, their first LP "My Dear", a Lady Gaga cover and new songs from their upcoming 2nd full-length US album.
Our Last Night has perfected the mixture of melody and might. Not content to rest on the laurels of scene ornamentation or status quo presentation, Our Last Night have worked hard to capture the spirit of song-craft that drove their initial inspiration to get themselves on the road. The Age of Ignorance springs forward with the radio-ready-meets-fist-shaking bombast of Rise Against, the earnest power of Taking Back Sunday, the immediate urgency of Underoath and the instantly memorable catchiness of New Found Glory.
The heavy power cherished by Our Last Night supporters who discovered them on The Ghost Among Us (2008) and We Will All Evolve (2010) remains throughout this new set of songs while the band progresses forward with new bravery into increasingly broadminded territory.
Lead vocalist Trevor Wentworth has developed a set of pipes worthy of his brother, Matt, the band's principal songwriter who previously handled the clean vocals by himself. The brotherly duo are in their finest form yet on The Age Of Ignorance, powering forward with confident, exuberant and empowering vocals that soar and soar.
Guitarist Colin Perry, bassist Alex "Woody" Woodrow and drummer Tim Molloy are all in top form as well as Our Last Night weave songs together that twist and turn in only the smartest and most sensible of ways. These aren't random riffs thrown together to show off with a bunch of unintelligible bellowing on top. It's quite the opposite. Our Last Night operates with deliberate, delicious purpose.
Our Last Night manages that elusive band's dream: exceeding their fan's expectations while chasing their own creative muse. And producer David Bendeth (Breaking Benjamin, Paramore, Set Your Goals), who mixed the their last album and handled all production on this one, elicited topnotch performances with his mentorship.
Tracks like "Fate" and "Liberate Me" burn with a fire to incite any crowd into dance floor pandemonium while the record alternately explores heavy duty electronics and acoustics to dazzling effect. Certainly fans of melodic post-hardcore like Saosin or Finch will find something to admire as they explore the Our Last Night catalog.
It's not often one would associate Vans Warped Tour and Linkin Park in the same sentence but Our Last Night manages to straddle that delicate line with grace and skill throughout their third album. It's not so much a shift away from their past as it is a full embracing of the strongest elements of their tried and true sound through the exploration of the furthest reaches of each extreme. The melodies are bigger and brighter than ever while the intensity level is also raised in equal measure at the same time.
So many truths are hidden from view in modern life. Government secrets, medicinal cures, the keys to sustainable living, you name it. Locked away and tightly guarded these simple but essential building blocks remain obscured. It's a time when human connection can be so hard to achieve just as it's become more important than ever. The Age Of Ignorance overall is acutely aware of this lyrically and in terms of vibe, tackling the bigger questions head-on with the title track, drawn from late nights documentary viewing. This is a heady band with vision and forethought who hearken back to the days when a lyric sheet was really worth ponder and study.
That Our Last Night hails from the somewhat culturally isolated state of New Hampshire is certainly worth noting. Not many bands have made it to a national level from their scene. They were able to interconnect with neighboring New England locales but it's still something of a minor miracle how far the quintet has come in just a few short years. One of the keys to their success has been their steadfast refusal to surrender to easy formulas or tired scene clichés.
Our Last Night puts a focus on songwriting as a craft and the resulting achievement is 36 minutes of pure expression that is The Age of Ignorance. It is as much to be heard as it is to be experienced. The band's aim is nothing short of a total connection with the crowd. When the listener truly feels something, the goal has been reached.
The band formed after the dissolution of a number of Southern California bands. With Monique Powell as manager, front person, and co-songwriter, the band began to book shows around Southern California to a great underground response.
Financed by Powell's sister, the band released their debut EP "Introducing SAVE FERRIS" on Powell's label, Starpool Records, in 1996. They ended up selling close to 20,000 copies of their EP out of the trunks of their cars, with huge support from Orange County independent record shops and fans. That year, Powell provided vocals on the Reel Big Fishsong "She Has A Girlfriend Now" on their album "Turn the Radio Off" (Mojo).
With Powell as manager and lead, and as favorites of KROQ radio's legendary Rodney on the Rock, SAVE FERRIS created a presence on LA's KROQ radio, possibly being the first unsigned band to do this in LA alternative radio history. Later that year, the National Academy of Recording Arts and Sciences gave the band a Grammy showcase award for best unsigned band, earning them a recording contract with Epic Records (SONY).
1996 Jonathan Halperin
The band released their debut full-length album for Epic in 1997. "It Means Everything" featured several re-recorded tracks from the EP, several new songs, and, on Powell's urging, a cover of Dexy's Midnight Runners' "Come on Eileen," which the band released as their first official single, and what was to become their most successful single. The band also released "The World is New" as a single which was featured in the film "The Big Hit" starring Mark Wahlburg. Olympic medal winner Tara Lipinski used "The World is New" in her debut program as a professional skater in the nationally telecast 1998 Skate TV Championships.
The band toured extensively in support of "It Means Everything", opening for bands such as Sugar Ray, The Offspring, and Reel Big Fish. In April 1998, they made their television debut on HBO's music series "REVERB" and made an on-screen appearance in the cult classic teen film, "10 Things I Hate About You". The album sold over 400,000 copies, and spawned three Top Ten hits in both Japan and Mexico. With two singles in the Billboard top 100 and full rotation on alternative radio all over the world, SAVE FERRIS has managed to go Platinum internationally.
Winter 1998 saw the departure of their drummer. After a thunderously successful main stage tour with the Vans Warped Tour, the band began writing their follow-up to "It Means Everything". The appropriately-titled "Modified" was released in October 1999. The album saw the band moving away from their ska-punk roots and into pop-punk territory. The band toured nationally with the band "Lit", of hit single "My Own Worst Enemy" fame. SAVE FERRIS continued to tour in support of "Modified" throughout 2000 and 2001. In August and September 2001 the band did a short tour of the UK. Winter 2002, SAVE FERRIS had the rare opportunity to play front and center at the nationally broadcast Winter Olympics Snowboarding Championships in Salt Lake City, Utah.
Ska Summit 2003 poster
Still fronted by their original lead singer, SAVE FERRIS has been through a number of changes in their musical lineup through the years…
Powell self-financed what she called the "For the Fans" SAVE FERRIS US tour in 2003. On March 29, 2003 at Ska Summit 2003 in Las Vegas, SAVE FERRIS played on the main stage to a thunderously positive response.
Other appearances of note Ms. Powell has made: "Mayor of the Sunset Strip" film, "Roswell" network television show, "The Conan O'Brien Show", "Politically Incorrect with Bill Maher", MTV's Loveline with Dr. Drew, the "Keenan Ivory Wayans" show, and the "Late Show with Craig Kilbourne".
The sold out Pacific Amphitheater at the Orange County Fair 7/27/13 marked the first appearance of SAVE FERRIS in ten years. Keep an eye out for Save Ferris' return to a town near you soon, as well as a new EP, due out Summer of 2016…
Doubtlessly the band's hardest hitting effort to date, 'Based On A True Story' easily meets the high quality of its predecessor and offers tons of soon-to-be-classic hardcore hymns like 'Dominated', 'Long As She's Standing', 'The Divide' and 'Lowest Common Denominator. It features the most catchy and powerful material the band has ever written. It's astonishing to see the band still boiling with rage at a world gone wrong and successfully transforming this natural and honest aggressiveness into hardcore hits. Two decades of experience as skilful songwriters, endless touring, plus an undying hardcore spirit make SICK OF IT ALL anno 2010 sound stronger and more determined than ever. 'Based On A True Story' is undeniable proof that the quartet is simply unstoppable and unrivalled within the hardcore scene in terms of quality and sheer impact.
Formed during 1986 in Queens, the band released their first self-titled EP on Revelation Records and began to accumulate a strong local following by playing famous clubs like CBGBs ('A Month Of Sundays' actually pays tribute to these glorious days at this legendary venue). Soon after, the band released their first full-length record 'Blood Sweat And No Tears' on In-Effect Records. Often revolving around politics, social injustices and life on the streets of New York, the band wore their heart on their sleeve and made no apologies, often including threads of positivity. When their second album 'Just Look Around' was released in 1992, it was a benchmark for the band and the New York hardcore scene, and kicked off their globe-trotting expansion with tours in Europe, South America and Japan. They released their breakthrough album 'Scratch The Surface' in 1994 on Atlantic, followed by the seminal album 'Built To Last' in 1997. After releasing three albums on Fat Wreck Chords, as well as a live album and a collection of rarities, the band took on the challenge to push themselves further. 'Death To Tyrants' was the band's first cooperation with Century Media and was mixed by renowned metal producer Tue Madsen (The Haunted, Heaven Shall Burn, Dark Tranquillity,) adding a refreshingly heavy edge to the band's trademark NYHC sound. 'Death To Tyrants' was extremely well received by media and fans alike and followed up with three years of relentless touring.
The new album was also recorded with Tue Madsen, this time at Starstruck Studios in Copenhagen in Copenhagen, Denmark, resulting in a massive metallic heaviness which increases the punch and drive of the new opus. Craig Ahead (bass) comments: "The end result of our three and a half weeks in the studio is something that we are all very proud of. An album that is pure SICK OF IT ALL and will stand up against any of our previous work and I believe raises the bar to a new standard. I hope you enjoy our offerings. We look forward to its release so we can again stomp the world. See you on tour!" To walk the talk, the band plays a European tour with Dropkick Murphys in January/February 2010, followed by a UK run with AFI in April. More festival shows and touring activities are in the works.
'Based On A True Story' is another sonic statement that SICK OF IT ALL are an institution of hardcore. Their longevity and conviction has kept the band's reputation untarnished and legendary. As Metal Hammer (UK) puts it: "SICK OF IT ALL – despite their ever-increasing age and fierce competition – are still the finest spokesmen for hardcore's social conscience and values", and this new release will allow them to maintain this leading position for many years to come!
That album, The Night God Slept will be released via Solid State Records (Fit For A King, Demon Hunter) on November 10th. Co-produced by the band's guitarist Spencer Keene and Daniel Braunstein (formerly of the band Volumes) musically it contains some of the most frenetic metal-core put to tape. However as possessed of tremolo picked guitar fury and double-bass attack, there is a balance of melody, moodiness and ambient sections making it a well-rounded and well-paced auditory experience.
Though using aggressive and energy inducing riffs in their music, Silent Planet brings a fresh insight and message of openness as a band. Lyrically, Russell (a self-professed 'history nerd' who holds a Master's Degree in clinical psychology) acts like a theosophist who seeks to understand the bonds that unite humanity and the divine. On The Night God Slept and their previously released Lastsleep (1944-1946) EP the main lyrical thrust is songs through the eyes of women protagonists throughout history.
Spanning from the dawn of time ("First Mother" Lillith) to the bombing of Hiroshima Japan ("Darkstrand" Hibakusha) to the modern day crisis of Sex trafficking in America ("XX" City Grave), the validity of these tales are reinforced by Russell's choice to add source footnotes that further the literary experience of the album by citing historical and literary references.
Speaking on this direction Russell says "we see a lot of cultural misogyny in music, certainly in heavy music. Women in heavy music are caught in a binary - they are either written as a 'good' moral, ideal woman or a 'bad' sinful, tempting woman - but almost never written from their own perspective. What links all of the women in our songs is that they ultimately have to make difficult decisions under the systemic oppression of their coercive ruling forces. Forces which include government, authority figures and the society they live in."
Though a voracious researcher, Russell admits that working at a counseling center for the past year gave him new insight into other people's struggles to tackle these subjects. "I interacted with many different people of gender and sexual orientation who certainly represent people who are part of our music scene and the same age as our audience. I believe everyone has their own narrative to tell and hopefully giving these characters a voice can open people's minds and invite new thoughts into our scene."
Rounded out by Alex Camarena (drums), Thomas Freckleton (guitar, keys), Igor Efimov (bass) and Mitchell Stark (guitar) geographically Silent Planet includes natives of California, Russia and Canada within their ranks. Originally forming in 2009, the band's debut EP, Come Wind, Come Weather, which was produced by Matt Goldman (The Chariot, Underoath) was released in 2012. Since 2013 Silent Planet has completed several national tours including with such notables as Sleeping Giant, Impending Doom, Fit For A King, Gideon and Phinehas.
Still unsigned at the beginning of 2014, the Lastsleep EP was initially recorded just to have something new to sell on tour while writing this full-length album. However the reaction to the material was staggering and reached far beyond those who already knew of the band. Examples of this include HM Magazine's Editor In Chief, David Stagg giving the EP a perfect five star review and calling it "a perfection of the metalcore genre" and not hearing anything like it since "some random band called August Burns Red released Messengers." Also impressed was Solid State Records, who stepped in to add the band to their roster and bring their musical message to the masses.
On November 10th, hear the band that is shaping up to be a major voice in modern metal-core.
Silverstein has played more than 1500 shows in 34 countries, and have been a staple on many festivals and tours. They have been a part of Vans Warped Tour, Take Action!, Taste of Chaos, Rock Am Ring (Germany), Soundwave (Australia), Give it a Name (UK), and also co-founded the Scream It Like You Mean It tour in 2010.
Since 2003, Silverstein has remained consistent releasing full length albums every 2 years. They burst on the scene with When Broken Is Easily Fixed (2003) which would shape the scene to come with its dynamic approach of mellow clean tones contrasted with screaming and heavily distorted riffs. In 2005, their sophomore and best selling release Discovering The Waterfront was critically and fan acclaimed with more structure and melody, but still keeping the emotion Silverstein had become known for.
In 2007, the band worked with legendary producer Mark Trombino and released Arrivals & Departures. Sticking to a more stripped down rock sound that went against the slick sampled tones of many bands at the time, the album had 2 of their biggest songs, and a video in heavy rotation on MTV. 2009 brought back 'Discovering' producer Cameron Webb and a return to the bands early sound with A Shipwreck In The Sand, a high concept album that also tackled some political topics for the first time. The album brought a number of guest vocalists including Liam Cormier (Cancer Bats), Lights, and Scott Wade (Comeback Kid).
After a departure from Victory Records in 2010, the band came right back in 2011 with their 5th full length Rescue on indie giant Hopeless Records. With new producer Jordan Valeriote at the helm, the album featured some of the bands best performances and songs ever, with songs like "Forget Your Heart", "Burning Hearts", "The Artist" and "Sacrifice" all being successful singles.
Never a band to rest for long, Silverstein also released Short Songs in early 2012, a "mini album" featuring 11 original songs and 11 covers all under 90 seconds long. This release took the band back to their punk rock and hardcore roots and was a huge critical success garnering extremely positive reviews.
With a new full length release and lots of touring planned in 2013, SIlverstein shows no signs of slowing down.
After thee studio albums and various EPs Sonic Boom Six has grown into what NME describes as simply, the most exciting live punk band in the country. SB6's third album 'City of Thieves' was met with significant critical acclaim across the UK rock press from Kerrang! to the NME to Big Cheese! with Rock Sound proclaiming this isn't good, it's way beyond that and deep into the realms of something special. Even Music Week picked up on the buzz, observing finally, their time has come. Add to this support an established and loyal grassroots following plus radio play from Radio 1's Mike Davies and Nick Grimshaw and Bruce Dickinson at Radio 6 and the band's profile blasted skywards across 2009 culminating in the Boom opening the Main Stage at Reading/Leeds 2009… no mean feat for a band still so passionately hands-on about every aspect of their business.
Over the last five years, Sonic Boom Six's live show has been honed on headline tours across the UK, Europe, Japan and the US as well as support to acts such as The Levellers, Reel Big Fish, Less Than Jake, Bad Brains and Big D and the Kid's Table. No strangers to the festival circuit, SB6 has graced the stage at shows including Glastonbury, Wicker Man, Guilfest, Fusion (D), Rockade (D), Mondiali (IT), Rock Im Dorf (A) and the Lock-Up and Main Stages at Reading/Leeds. The Boom's DIY spirit extends to the band's own record label Rebel Alliance Recordings. As well as releasing SB6's own material RAR has a growing roster of artists who share their outlook and commitment to unique, forward-thinking underground music including rising stars Random Hand, The Skints, Dirty Revolution and more. Laila and Barney are also members of Suicide Bid, the ongoing dub-punk collective who are beginning work on their third full-length. A continuation of the community spirit at the heart of band's ethos, SB6 curate the Ruff and Ready package tour which provides a collective platform for some of the most intensifying underground bands around showcasing such acts as The King Blues, Mouthwash, Chris Murray and more.
Sonic Boom Six's latest release 'Rude Awakening' is a celebration of the story so far. With songs culled from across their back catalogue, (the track-listing fits the simple criteria of the band's favourite twelve songs to play live) it's the perfect introduction to The Boom on one handy slab of wax. SB6 accompany the release with a full UK tour and continue through 2010 with tours of the France and Germany to support the record. May 2010 will see Sonic Boom Six's first headline tour of the US, with taking Riverside, California's Knock-Out along for the ride.
The token with this group is their live performance. Concert venues and music patrons alike should be prepared for the stage to shake, the crowd to be wild and unpredictable, and the show to be a deliberate fusion of spontaneity and precision. Their community fan base – the #PancakeNation – is hungry for their band to grow. Stacked Like Pancakes epitomizes a tough DIY band despite a meaningless band name, and are rightfully on the rise to claim an international stage of their own.
Bursting at the seams with a vibrant energy and overall positivity comes this Orange County sensation, who provide a message of hope and that could serve as the soundtrack to the new hardcore/punk revolution. Visionary Jesse Barnett (vocals) was originally inspired to form a band that would provide him with a medium to project his view points and reflect his musical influences and he continues to do just that to this very day bringing a stable of accomplished musicians on board. STYG blends melody, heaviness, and sincerity into one solid sound that will cater to fans of Comeback Kid, Ignite and Rise Against.
After four full-length albums, a number of worldwide tours and legions of diehard followers the band has come full circle and in 2012 delivers the most important effort of their already stellar career. The much anticipated new album, Diamond, encompasses what STYG is all about and sees their songwriting develop and mature to ultimately craft their definitive release, which ultimately delivers a message of inspiration that anyone can relate to.
Barnett states: "The new album, Diamond, is an insight to the way we view the world through our eyes. All the good and all the bad. This is an amazing place we live in. There is so much mystery about our existence and it fascinates the hell out of us. The pain people go through, the good that people do and the gods that people are willing to kill and die for. It's all who we are as a whole and its important for us to understand this. What's inside of you is what is happening outside in the world. How we can look at everything thats going on around us and think that we are at a complete disconnect from it, is beyond me.
"We also try to live the words we speak. It's become more and more important to me as we have moved forward through this band's life, that we do the things we are saying. We try to give back any moment we can. This band has become more than just a band for me. I very much try to be the words that I write. I'm not a perfect. I am far from it, but what helps me more than anything is when a kid comes to me and says 'hey man my life was a wreck and I was in a downward spiral and this bands music has picked me up'. This is what helps me because I know what thats like and I have bands that have done the same things for me so to be that band for someone else is an honor.
"I feel like this band has progressed through its life like I have through mine. Every person on this earth is searching for things trying to find out who they are, where they belong and ways that they can express themselves. With the new album, not to sound to generic, we really took inventory of our music and for me at least I took inventory of my life, my flaws and mental vices. This is me trying to let it all go and find whats truly important to me and that is my friends, family and all of humanity. Society interests me in ways that I previously never knew. The things that people endure and the stuff people bounce back from and the ways we progress through science and technology amazes me. I love this world even though here are absolutely shitty things about it. I'm trying very hard to change my view and always trying to find ways to give back as much as possible."
In 2012, STICK TO YOUR GUNS gives to the world a diamond that shines bright and exudes a proclamation of hope and inspiration that could even impact the most cynical.
You know, Mike McColgan could leave it at that. Few bands can sum themselves up so succinctly and accurately and truthfully in a paragraph. They have to resort to hyperbole and clichés and any other public relations gimmick to make themselves interesting. With Street Dogs, you get truth -- real feelings, uncontrived sentiments -- and music that is as gritty and unwashed as their name.
Street Dogs is McColgan's first project post-The Dropkick Murphys, which he co-founded, singing on the EP Boys on the Docks and LP Do or Die, two of punk rock's modern classics. He left the band in 1998 to fulfill his lifelong dream as a member of the Boston Fire Department. "I have no misgivings, no regrets…and there are no bad feelings," he says proudly. "I still talk to those guys.
Street Dogs formed in 2002 when they recorded the acclaimed Savin Hill album on Crosscheck Records. The band has been touring constantly since and building a following on rapid word of mouth. They've recently finished a successful jaunt with Flogging Molly in the US and the UK.
We are a group of dudes from Lake County, Illinois as of March 2011.
We play music that will turn your ears to shit.
ALL LYRICS ARE ON:
Too Close To Touch, which also includes guitarists Mason Marble and Thomas Kidd, bassist Travis Moore and drummer Kenneth Downey, officially came together in late 2013, but its members have been playing together since 2012. In the past two years, they've focused on refining their songwriting and growing at their own pace, decisions that have no doubt paid off for them. "We take our songs really seriously," says Mason. "If we're not happy with something, it goes in the trash, and we start again. We just started keeping songs that we liked and writing more and more, and the more that we did it the more confident we became in the songs." Just as important to the band is their aesthetic. Taking cues from the 1975, Walk The Moon and the Neighbourhood, they've refined it to a look that's mixes indie and classic cool, all while remaining 100-percent them. Too Close To Touch began to grow in popularity thanks to their DIY work ethic, buzz on social media and impressive demos, which caught the eyes (and ears) of Epitaph founder Brett Gurewitz.
The band, who already have tours with Emarosa and A Lot Like Birds under their collective belt, will release their full-length debut in early 2015. However, longtime fans and first-time listeners will be able to get a taste of their new material when their self-titled EP is released digitally Oct. 21. From the fast-paced rock opener "The Deep End" which showcases Keaton's varied vocal range to "Perfect World" with its biting verses and sing-along ready chorus to the powerful, emotionally raw closer "You Won't Listen," it's clear Too Close To Touch have found the one thing many bands spend years searching for: balance. Dark and light. Soaring vocals and guttural screams, dark lyrical content and pop-ready melodies. All combine to create a sound that is unique and exciting yet relatable. "Every song has its own personality and its own emotions to it," Mason says. "If you're looking at a picture or watching a movie, you feel a certain way. We really want to bring out all the emotional aspects of our songs." Adds Keaton, "First impressions are everything. You've really got to kick the door down and really have that explosive start."
Since 2005 they did two full summer stints on the Warped Tour, and played huge festivals like Download in the UK, Sonisphere in Spain, Hellfest in France, Graspop in Belgium, and Roskilde in Denmark just to name a few. They put out six full length records and two seven inches in that time. And just so you don't think we're blowing smoke, look them up! This is only the cusp of the feats of greatness this hard working, sweat drenched band has accomplished. And that's just SO FAR!! Take it from any of their legion of fans all over the world known as the Thorriors:
"My God they're striking. All Hail Thorriors!" - Wayne Kramer, MC5.
War On Women formed in 2010 by several veterans of the Baltimore rock scene, including members of AVEC and Liars Academy. Describing their sound as "thrash rock meets riot grrrl", War On Women write songs too inventive and too loud to be overshadowed by their equally powerful messages. The band's furious live sets capture all of the brevity and intensity of hardcore punk with another level of lyrical and musical sophistication. War On Women's songs attack sexist attitudes and institutionalized patriarchy women everywhere still face in the 21st century with humor, intelligence, righteous anger and monster riffs.
The band released their debut EP, Improvised Weapons, back in 2012 on Exotic Fever Records and played alongside punk rock staples Propagandhi, Jello Biafra & The Guantanamo School of Medicine, Murder City Devils, The Menzingers and countless others in support of it. The EP was well received by fans and press alike, with Against Me!'s Laura Jane Grace singing the band's praises and PopMatters calling them "heavy enough to feel like an injection of lead into the backbone". Now, War On Women are excited to release their debut full-length album that was recently recorded with J. Robbins at the Magpie Cage. These new tracks are a natural progression for the band and a little more polished than their previous efforts, while remaining as blistering as ever. Vocalist Shawna Potter has ¦plenty of material to pull from when it comes to writing lyrics, considering the pervasive sexism in modern America", she commented.
Merriweather Post Pavilion
10475 Little Patuxent Parkway
Columbia, Maryland, 21044