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| Sunday, August 15, 2010 at Washington County Fairplex |
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(click for full-page printable poster)
GENRES
Hip Hop
Indie Rock
Metal
Pop
Punk
Rock
Ska
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KUFO Presents
The Vans Warped Tour 2010
Alkaline Trio
Anti - Flag
Reel Big Fish
I Can Make A Mess Like Nobody's Business
Anarbor
Face To Face
Artist Vs. Poet
Dropkick Murphys
AM Taxi
Emarosa
Every Time I Die
The Dillinger Escape Plan
Fake Problems
Riverboat Gamblers
Alesana
Never Shout Never
Andrew W.K.
Breathe Electric
Mayday Parade
Bring Me the Horizon
Breathe Carolina
The Summer Set
Fight Fair
Emmure
The Cab
VersaEmerge
In Fear And Faith
Automatic Love Letter
Hey Monday
The Casualties
Haste The Day
Of Mice and Men
Closure In Moscow
Parkway Drive
The Reverend Peyton's Big Damn Band
Iwrestledabearonce
We Are The In Crowd
Eyes Set To Kill
Pierce The Veil
The Rocket Summer
The Word Alive
Disco Curtis
Set Your Goals
Mike Posner
Confide
Whitechapel
The Pretty Reckless
After Midnight Project
YouMeAtSix
Far From Finished
Attack Attack!
Everclear
The Adolescents
Agent Orange
Jack Grisham & The West Coast Dukes
Assorted Jelly Beans
Green Jelly
The Untouchables
Left Alone
Cobra Skulls
Burning Empires
Sunday, August 15, 2010
Washington County Fairplex 503-648-1416
873 NE 34th Ave, Hillsboro, OR (MapQuest)
12pm (doors open at 11am). All Ages.
$30.50 advance tix from TicketsWest.
$36.50 at the door.
ABOUT ALKALINE TRIO--
"Save me from myself/Save me from this hell." "Help Me"
Love. Alcoholism. Depression. Fire. Drugs. Blasphemy. Death.
Those are the usual song topics covered by Alkaline Trio through their previous five albums, starting with 1998's now-classic Goddamnit on pioneering indie Asian Man Records through 2005's Crimson, the band's last album for Vagrant Records.
Since being formed in 1996 in McHenry County, Illinois, a suburb northwest of Chicago, Alkaline Trio has built a loyal following. The band has sold more than a million records, not by garnering a lot of radio airplay, but by forging an intense relationship with their fan base through relentless touring and, of course, a connection to their music.
With Agony and Irony, the band's debut for Epic Records, produced by Josh Abraham [Linkin Park, Slayer, Atreyu, 30 Seconds to Mars] at his L.A.-based Pulse Recording, singer/guitarist, Matt Skiba, singer/bassist, Dan Andriano and drummer Derek Grant insist they have found a light at the end of the tunnel.
Forsaking the wide-screen production of Crimson for a streamlined return to punk basics with an eye towards the anthems of '80s new wave stalwarts like Billy Idol, The Cars, Pat Benatar, Gary Numan and, yes, Def Leppard ("The stuff Mutt Lange did with them is amazing," says Matt), the songs on Agony and Irony trace a journey towards salvation. The concept was sparked by the likes of Dante's Inferno (the spoken-word intro on the album) and Joy Division's Ian Curtis (a longtime fan of Curtis, Skiba penned the first single, "Help Me," after being blown away by the recent Anton Corbijn biopic, Control).
"There's a heavy theme of duality, light and dark, life and death, on the album," says Matt, adding, "we tried to make it all about the individual songs, and we really took the time to craft each one in the studio."
"We felt it was time to reassess everything we'd done," adds Derek. "We went in without any preconceived notions and didn't record in a linear fashion. We kind of jumped all over the place which, for three guys with attention deficit disorder, was perfect."
"Help Me" is a cry for salvation spurred by Skiba channeling the tragically doomed Curtis, who hanged himself on the eve of Joy Division's first U.S. tour, leaving behind a grieving wife, a baby daughter and stunned band mates.
"Anton Corbijn's film was so brilliant at capturing the moods and emotions of the time," says Matt, "especially the reactions of the people who loved him. People call suicide the easy way out, a cowardly thing to do. I think that's a terrible thing to say because you don't know what someone like Ian or Kurt Cobain has been through to reach that point. Thankfully, they're still here in the music they left behind, which continues to inspire us."
"I Found Away" and "Into the Night" both came out of Matt's recent discovery of Transcendental Meditation, which helped him develop a new-found ability to not fear death, but accept it as a part of life. "Meditation helped me get over a great deal of anxiety I didn't even realize I had," he says.
Dan's "In Vein," with its gurgling riffs and martial beat, and "Love Love, Kiss Kiss," a cynical, gnarled punk-rock anti-love song, offer a pair of the ink-black meditations for which Alkaline Trio have become known since Skiba started the band back in 1996 in a Chicago suburb.
With its Who-like guitar break, "Calling All Skeletons" is about opening yourself up totally to your loved ones, featuring a lyrical nod to legendary L.A. punk band The Minutemen's classic album Double Nickels on a Dime, echoing past shout-outs to Skiba faves Big Black and Naked Raygun.
"Over and Out" starts out with an ominous Joy Division/New Order dance-floor pulse and a tip of the cap to classic punk bands the Clash, Sex Pistols and the Ramones, with a storyline that incorporates the military history of Matt's family, whose parents both served in Vietnam, his mom as a triage nurse in the DMZ. A U.S. News and World Report story he read about a wife waiting in vain for her husband to return from Iraq, where he died in battle, inspires the refrain: "Over and out/She sang/As the telephone rang/There's no pain/In answering no more."
Andriano's "Ruin It," with a spaghetti western flavor provided by drummer Grant, harks back to the more elaborate production of Crimson, announcing: "So this is what I'm looking like these days/I'm all grown up/And full of hate."
"We're truly thrilled with this album," says Derek. "And we have so many songs left over, that we're anxious to get back in the studio and record more. It's an exciting time for us. In many ways, a fresh start, on a new label."
Andriano insists, despite this being their first album for Epic Records, the band made the album they wanted to make. "Everyone has been so supportive," he says. "It's really been a positive experience. All they said during the entire recording process was, 'Keep up the good work!'"
Now relocated from their Chicago home, with Skiba in Los Angeles, Grant in Indianapolis and Andriano in St. Augustine, FL, Alkaline Trio are poised and ready for what they see as two years of non-stop touring.
Each of the band's last two Vagrant releases, Good Mourning (#20) and Crimson (#25), have cracked the upper reaches of the U.S. album charts.
And things are already off to a great start, with the first single, "Help Me," generating 70k plays in just a single day on MySpace. The album cover is by renowned British designer John Yates, who created memorable sleeves for the Dead Kennedys, among others, during his 10 years at Jello Biafra's legendary punk label Alternative Tentacles.
Agony & Irony answers that question as only Alkaline Trio can, with 11 rip-roaring punk-rock anthems that take us on a spiritual trip to hell and back.
"We've taken a major step in our growth," nods Skiba. "A bigger one than we've ever taken up until now."
The seventh full-length Anti-Flag release (and first on Side One Dummy)
starts off fast and furious with "Sodom, Gomorrah, Washington D.C.
(Sheep in Shepherd's Clothing)" as Chris #2 takes aim at those who use
the Bible to control the masses, spitting out the lyrics with an
urgency that makes his voice crack. If the album's second track, "The
Economy is Suffering...Let It Die," isn't nearly as reckless, it's just
as impassioned, recalling the more melodic moments on those first two
albums by The Clash, as Justin Sane weighs in on the government
bailouts of 2008, asking "Where are all the bailouts for the homeless
and the poor?" It's just the sort of question bands like Anti-Flag were
born to ask. And there are plenty of those moments on "The People or
the Gun." Before they're through, in fact, they've fired off a number
of their most explosive political broadsides from the punk-rock
trenches yet.Read More...ยป
They may have lost their old arch nemesis in January, when he handed
down the Oval Office to Barack Obama, but the Bush administration's
legacy should keep these guys in songs for years, from the War in Iraq
to what his friends have done to our economy.They string together
timely quotes from Woody Guthrie and Joe Strummer on "The Gre(A)t
Depression," an anthem that rocks like the moodier side of punk, and
sing the praises of a workers revolution in "When All The Lights Go
Out," serving notice that "We are not human resources. We are human
beings."
As Sane explains the real-world inspirations fueling Anti-Flag's best
effort yet, "We find ourselves as survivors of eight years of George W.
Bush's reign with a celebrity hype vs. hope complex, and an immense
amount of work to do. These songs are just the beginning. It is not a
song, a record, a t-shirt, or a band that changes and shapes the world.
It's community and union. Our band writes songs to build community and
union, to create awareness and preparedness for when the students and
workers of the world push to level the playing field and bring
equality." So which side are you on? The People or the Gun?
After fulfilling their two-record contract with a major, RCA Records,
the band built a studio in Pittsburgh, Pennsylvania, their hometown, to
cut their first release for SideOneDummy. By having their own studio
and not having to work on any schedule but their own, they feel they're
able to create statements and music that is relevant and timely -- on
their own terms. This is the fourth time an Anti-Flag album was born in
Pittsburgh (three in a shithole, the other at Mr. Smalls Studios),
which could explain why they feel those four albums -- the others were
"Die For The Government," "A New Kind of Army" and "The Terror State" --
all share a similar soul.
As much as Pittsburgh has defined them, though, they've always done
their best to take their message to the world at large. They've toured
extensively in Russia, Scandinavia and Europe (in addition to the
U.S.A., of course). They've appeared on the Big Day Out festival tour
in Australia with Rage Against the Machine, Billy Bragg, Arcade Fire
and Bjork. They were the only band to play two sets each day at the
Leeds and Reading Festivals in England (rocking the main stage and the
BBC Lock Up Radio Stage for a total of four sets in 35 hours). They
they've headlined Rhein Kultur, the biggest free festival in Germany,
taking their message to 50,000 Germans. Closer to home, they nearly got
their heads kicked in by cops while performing two shows in Minneapolis
around the RNC, one on the steps of the state capital, the other at the
Target Center with Rage Against The Machine.
So what do they do for an encore? Take it up a notch. "With Russia,
Estonia, Latvia, the U.K., the Warped Tour and South America already on
our schedule, we plan to visit and tour more of the world than ever on
this record," says drummer Pat Thetic. "It's become a main priority to
put the emphasis of our band and every show we play on community,
whether it be canned food drives for local food banks, raising money to
build wells in Africa, which we did on our U.S. tour, or clothing
drives for the homeless on our Canadian tour."
In addition to raising funds for those who need it most, they've
created the non-profit organizations Military Free Zone (combating a
provision in the No Child Left Behind act that invades students'
privacy for Military Recruitment purposes) and Underground Action
Alliance (a networking site for social justice). As Chris #2 says,
"This is an extension of what our vision of punk rock is, was, and will
always be."
ABOUT REEL BIG FISH--
One of the brightest moments in Reel Big Fish's lengthy career occurred roughly a decade ago, when the ska-punk band inked its major label deal (at the time, with Universal/Mojo) and subsequently released its second and most successful album, Turn The Radio Off. The second important milestone in Reel Big Fish's career came nearly a decade later, in early 2006, when the act learned that they were finally dropped from the label's roster (which had now morphed into Jive Records) after years of begging to be cut loose. Now, while most bands would've viewed such action as severe impediment in furthering one's musical career, Reel Big Fish simply celebrated the fact that the group finally received its wish to be cut free from its contract - something the band had been begging its label to do since Cheer Up was released. After all, being the only active ska-punk act on a roster that featured pop sensations Britney Spears and the Backstreet Boys didn't really make the act feel that much more welcomed. And when the Backstreet Boys reunited, Reel Big Fish happily predicted their major label days were numbered. "It's like 'Reel Big Fish, hundreds of dollars, Backstreet Boys, billions of dollars - even if it's a failure, let's go with the Backstreet Boys,'" says vocalist/guitarist Aaron Barrett of his former label's decision. When word came in via phone from band management during Reel Big Fish's 2006 Deep Freeze tour stop in Salt Lake City, happiness was instantly in the air. "That was the most excited the band has been in ten years," recalls Barrett. "I've never seen the guys smile that big!" The first fruits of the group's newfound emancipation have finally arrived in the form of a live double-CD and DVD set, titled Our Live Album is Better Than Your Live Album, a full decade after the release of Turn The Radio Off. After nagging the band's former label to release a live album to no avail, Reel Big Fish will finally be self-releasing its first official live full-length via licensing deals with Rykodisc/CD Baby. Digital distribution will be licensed via Rock Ridge. Produced by Barrett, the tracks on both audio CDs were recorded over a seven-day period of the band's West Coast stint on the Deep Freeze tour in January 2006. The shows were seen as a bonus for attendees, who were subsequently treated to longer, two-and-a-half hour sets by the band, of which Barrett jokingly says, "there was a lot of talking, so it was probably more like 20 minutes of actual playing time." The audio discs feature a total of 30 songs, including an unreleased track written during the sessions of We're Not Happy 'Til You're Not Happy, "So Much For Rock N' Roll," and a cover of The Cure's "Boys Don't Cry." As for the rest of the album's tracks, Barrett notes that they're simply part of a greatest hits collection, performed in a live setting. In fact, Barrett suggests that the album is really the band's chance to re-commit their songs to disc once more - and hopefully with better results this time around. "Basically the live album is just an excuse to re-record everything," he adds. "That's where we've always felt most comfortable. When we're on stage, we just feel better about playing." And because most Reel Big Fish fans end up becoming lifelong devotees of the group after attending a live show, Barrett hopes that his act's latest release will simply open more doors to those just discovering his act for the first time. "It's an easier way to get into us so you don't have to buy a whole bunch of albums, just this one," he says. "also, Jive still owns all our other albums so this is our way of taking our music back!"
The accompanying DVD features 20 songs filmed from a live show in April 2006 at The Alley in Fullerton, Calif. The professionally shot and edited multi-camera shoot was directed by Jonathan London and features plenty of performance footage interspersed with the band's typically witty stage banter. Additionally, several special DVD features include practice footage, a small documentary regarding overdubbing, interviews with band members and a photo gallery. Looking back on Reel Big Fish's career, Barrett sees the present as an opportune time to release a live recording of the act, since he feels the band's live performances have improved remarkably throughout the years. "It sounded like a train falling down a hill," says Barrett of hisband's earlier years. "But the train's now like the bullet train inJapan. It's smooth, there's no noise and Mt. Fuji is outside thewindow!"On the task of having to assemble the newly independent act's latestwares, Barrett says, "I've never worked so hard on an album. Now thatthere isn't a record company, we have to do everything. But I like thatwe have our hands in everything that goes on. it's a whole lot of work but there is more satisfaction in knowing we did it all ourselves."
Band members' other projects
Scott Klopfenstein and Dan Regan are also members of The Littlest Man Band. Aaron Barrett and John Christianson are also members of The Forces of Evil (now defunct), along with former members of Jeffries Fan Club and other Orange County ska musicians. Before they were members of Reel Big Fish, Aaron Barrett, Scott Klopfenstein, and Grant Barry were members of a band called The Scholars. Scott Klopfenstein was also a member of a ska band called the Nuckle Brothers.
ABOUT I CAN MAKE A MESS LIKE NOBODY'S BUSINESS--
6 months in the making and six years since the release of the last record, ever-evolving artist Ace Enders sets a release date for I Can Make A Mess Like Nobody's Business. The new record entitled "The World We Know" is the follow-up to 2004's self-titled record. This release marks the end of an era for Enders, and the start of a new decade fresh off west coast independent Drive-thru records.
The record is the first of a series of three bundles of music that will come out this year, each of them appropriately considered "albums." The first release will be available everywhere digitally including Itunes with a presale on Amazon and signed copies available on tour. The second record will be released immediately preceding the Van's Warped tour and the third will be released in late fall. Another touch that makes this record completely different, it's one 40 minute song. That's right -- although the record consists of a standard amount of songs, the record never really stops, the songs continue into each other. It's a vision that Ace has had for awhile and is finally able to do with a record outside of the standard riggers of the record label system. Ace comments, "I certainly have no problem with people buying songs instead of albums, but with this project, much like the last Mess record, I want it to be about the experience."
On the new record, Enders has something a bit different than his recent records -- back to the basics. Fans of songs like The Early November's "Ever So Sweet," "Sunday Drive," and any of the I Can Make A Mess songs from 2004, will likely embrace this record. "This is a record meant to listen to when you're alone with your headphones on," comments Ace when speaking about the new music. Enders would admit that the first record was about growing up, and not a lot has changed, "The World We Know" is a social commentary on continuing to grow up, how things change, and the changes in life with the birth of his new child in late 2009.
ABOUT I CAN MAKE A MESS LIKE NOBODY'S BUSINESS--
Check out I Can Make A Mess Like Nobody's Business on tour all year at www.myspace.com/icmam and the first release in 6 years on March 23rd.
ABOUT ANARBOR--
They say trees that grow the tallest are usually those with the strongest roots. If that's true up-and-coming Phoenix, AZ pop-rock band Anarbor will likely see great heights. Guitarist Mike Kitlas and singer/bassist Slade Echeverria have been friends since kindergarten, giving the band a foundation beyond just making music and playing shows. Mike and Slade met Greg in middle school and spontaneously decided it would be fun to form a band. Guitarist Adam Juwig, whom they met through a friend, and was added to the mix shortly thereafter. "From that moment on we were like 'Okay you play the drums, you play the guitar, you sing,'" Mike explains. "We just picked our roles and then two months later we all had our instruments and we were jamming."
Although Slade says it "took a while" for the group to get good at their instruments, Anarbor was solidified in a real band with big plans. Once high school rolled around, the band found a balance between music and their devotion to completing their education, sometimes skipping school to play shows around the West Coast with bands like My American Heart, The Rocket Summer and The Higher and trekking to Austin for the South by South West Music Festival. "We would unfortunately have to sacrifice some time at school to get to those events, but in the end it was worth it," Mike says. "It's amazing some of us made it through school. We were absent a lot."
But they made it through and instead of stressing over college applications, the members of Anarbor spent their senior year of high school showcasing for record labels. The band began playing shows in LA, attracting the attention of numerous record companies, particularly Hopeless, who signed Anarbor shortly before they were fitted for their cap and gown. And now, as their former classmates pack boxes for college, Anarbor has packed their van and headed out on the road in support of The Natural Way, their new four-song release.
The band recorded the new songs in June with producer Mike Green (Paramore, Good Charlotte, The Higher). Although it's only four songs the release offers a tantalizing taste of what's to come when Anarbor settles down to record their debut EP in a few months, revealing a band that hopes to break the musical mold and come at rock songs from a new angle. Their new song "Love Instead" is propulsive and dynamic, combining a large range of musical tastes and influences to create something wholly unique that resonates with the band's genuine nature, while "Right There With You" is an edgy, memorable track that doesn't exactly sound like the product of a bunch of recently graduated teenagers. It's just enough to make you wonder what's to come.
"We want our music to stand out," Slade adds. "We're trying to do it our own way. And we want to show people that you don't have to fit into the mold of what's popular at the moment."
ABOUT FACE TO FACE--
Southern California punks Face to Face formed in 1991, originally comprised of singer/guitarist Trever Keith, drummer Rob Kurth, and bassist Matt Riddle. Debuting early the following year on the Dr. Strange label with Don't Turn Away, the trio was quickly snapped up by Fat Wreck Chords, which reissued the LP soon after. Adding second guitarist Chad Yaro, Face to Face toured relentlessly in the months to follow, recording a series of singles and compilation tracks collected in 1994 as Over It. When the song "Disconnected" became a local hit thanks to steady airplay on Los Angeles station KROQ, the group's profile grew considerably, and 1995's Big Choice sold in excess of 100,000 copies. In the wake of Riddle's exit, bassist Scott Shiflett signed on for Face to Face's major-label debut, a self-titled release issued on A&M in 1996. The adventurous Ignorance Is Bliss followed in mid-1999 on the Beyond label, featuring new drummer Pete Parada.
The following year saw Face to Face returning to their core sound with Reactionary, released on the band's own label, Lady Luck Records, through BMG-distributed Beyond. Through a promotion with MP3.com, Face to Face allowed fans to shape the set list for Reactionary by downloading snippets of the songs and voting which ones should make it onto the album. Nearly two million votes were received during a six-week period. Reactionary was released on June 20, 2000. The cover album Standards & Practices, which featured the band's own rendition of songs by the Smiths, the Pogues, Fugazi, the Jam, and others, was issued on Vagrant in early 2001. That year also saw Keith and Shiflett join Viva Death, which released its eponymous debut in September 2002. Meanwhile, Face to Face had joined the Dropkick Murphys for a split EP, and How to Ruin Everything, the band's sixth studio album, had appeared in March 2002.
In fall 2003, Face to Face disbanded after 13 years and six albums. Two years later, the retrospective Shoot the Moon: The Essential Collection was released on Keith's Antagonist Records. The reunited band will release a new record in Summer 2010.
ABOUT ARTIST VS. POET--
Everyone has a favorite fix: that one thing that gets the blood coursing through your veins and the endorphins firing in your brain. For Artist Vs Poet, that fix is music. Their debut album Favorite Fix, set for release on March 2nd, 2010, is aptly named, as it features each member's individual passion, creativity and love for music taking shape in the form of upbeat songs that will inevitably become their fans' favorite fix, too.
Produced by Produced by Zack Odom and Kenneth Mount (All Time Low, Mayday Parade, Cartel) and Mike Green (Paramore, Breathe Carolina), Favorite Fix contains twelve undeniably catchy, uber-melodic tunes, including the title track from the Damn Rough Night EP. Enlisting the help of Forever The Sickest Kids' Austin Bello, whose vocals are featured on "Damn Rough Night", and The Maine's John O, who collaborated on first track "Car Crash", the album has been given a new dimension. Singer Tarcy Thomason describes writing and recording Favorite Fix as "a blast... The subject matters are deeper, the music is better and it's the most diverse thing we've done to date. There is something on this album for everyone, and I mean that."
In the fall of 2007, singer Tarcy Thomason sat in his Dallas, TX home realized he had been missing making music, and decided it was time to do something about it. "I had not been in a band for a few months and it was driving me crazy, so I posted a MySpace bulletin, asking to get together and make some music with someone," Thomason said, recalling the band's humble beginnings. When Craig Calloway responded, the two hit the studio, bringing in Joe Westbrook on drums. They started playing local shows, gaining bass player Jason Dean and completing their line up after discovering Joe Kirkland on YouTube. Artist Vs Poet was born, and didn't waste time in getting on the radar of the industry.
Just a year after forming, the band was snatched up by Fearless Records, who released their acclaimed debut eponymous EP in November 2008. The band quickly captured the hearts of a fast-growing army of fans, gaining 3 million total plays and 50,000 friends on MySpace, and the EP going on to sell over 12,000 copies. The media soon followed in backing the band, with Alternative Press naming them one of their 100 Bands You Need to Know, while their video for "Runaway" won MTVU's 'Freshman 5', and their songs were featured on MTV's The Real World and Parental Control. The band released their second EP Damn Rough Night while on tour with Forever The Sickest Kids and The Rocket Summer in December 2009, and Alternative Press noted: "The four ultra-catchy songs on this EP offer irrefutable evidence that it is possible to write quality, radio ready pop-rock songs in 2009". The EP hit #9 on the iTunes Alternative Chart, and #98 on the overall chart.
With an enviable resume already in their hands, and a whole year of touring ahead of them, including a full summer on Vans Warped Tour 2010, Artist Vs Poet is ready to wow crowds across the country. Their mission is a simple one: to reach as many people as possible with their music. "To make people smile and take something that is worthwhile and life lasting from this is our main goal," Thomason said. With an album as grin-inducingly infectious as Favorite Fix? Consider it mission: accomplished.
Artist Vs Poet's new album Favorite Fix is set for release on March 2nd, 2010.
ABOUT DROPKICK MURPHYS -
THE POWER OF YOUR EXAMPLE IS FAR GREATER THAN WHAT YOU SAY!
Dropkick Murphys formed in 1996 in Boston, MA. The band was originally just a bunch of friends looking to play music for fun. We started playing in the basement of a friend's barbershop and our goal was to blend the musical influences we had grown up with (Punk Rock, Irish Folk, Rock, and Hardcore) into one loud, raucous, chaotic, and often out of tune mix that we could call our own.
To our surprise people seemed to liked it and we began to record music and tour constantly. To date we have released over ten singles, two EP CD, and four Full Length albums and have had the good fortune of being able to play across a large portion of the world. We are truly grateful to the many friends and bands that have helped us out and supported us along the way in the US, Canada, Europe, U.K. Ireland, Scandinavia, and Australia as well as the many countries we look forward to playing in the next century.
The bands' main goal is to play music that creates an all for one, one for all environment where everyone is encouraged to participate, sing along, and hopefully have a good time. In the true spirit of punk rock we view the band and the audience as one in the same; in other words our stage and our microphone are yours.
In addition to hopefully bringing people together for a good time, we hope to share some of our experiences and beliefs in working class solidarity, friendship, loyalty and self- improvement as a means to bettering society (i.e. You can preach till you're blue in the face but if you're lying in the gutter no one's gonna listen. If you pick yourself up by the bootstraps and live your life to the best of your ability you may set an example that others will follow).
Thanks for the support!
ABOUT AM TAXI--
With a blend of old-school punk, world beat and modern pop influences, Chicago-based AM Taxi combines experience with exuberance on their Virgin Records debut, We Don't Stand A Chance due out early 2010. The band was formed almost two years ago--with the encouragement of Sublime producer Miguel Happoldt--by longtime Windy City bandmates and pals, singer/songwriter Adam Krier, drummer Chris Smith and bassist Jason Schultejann. The trio began writing and recording and produced their first EP, Runaway Songs. Shortly after, they were joined by brothers John and Luke Schmitt on guitar and keyboards. AM Taxi began establishing a rep as a dynamic live outfit with headlining performances at local clubs like the Metro and soon after recorded their second EP, The Good, The Bad And The Fed Up.
Entering an Austin studio with producer Mike McCarthy (Spoon, Patty Griffin, And You Will Know Us by the Trail of Dead), AM Taxi proceeded to record a major-label debut that reflects the group's diverse influences. From the Springsteen-by-way-of-The Hold Steady, "Fed Up," and the heart-on-the-sleeve Replacements-like confessional, "The Mistake" to the Police-inspired world beat of "Dead Street" and the Clash-esque reggae pulse of "Charissa," the group has one foot firmly planted in the classics and one right here, right now in the present.
"We wanted someone who could capture the way we sounded live," says Krier about the choice of McCarthy. "What made Mike stand out was how he still records bands that way. He still uses reel-to-reel and we recorded majority of the album live in studio. We weren't so interested in making a record that sounded current, as we were something that could be classic."
Pointing to personal favorites like Pacific Northwest Nuggets-style garage bands like the Wailers, the Sonics and Paul Revere and the Raiders, the British Invasion bands, soul greats Sam Cooke and Otis Redding, Two-Tone bands The Specials and the Selecter or Alt-Country acts Wilco and Ryan Adams, AM Taxi were not afraid to experiment with their sound.
"Our motto in the studio was, 'If it ain't broke, break it.' We'd try things from every possible angle," says Krier. "We're not re-inventing the wheel here. It's just classic rock songwriting with present-day arrangements. Ever since I was a kid, I've been attracted to the honesty of bands like the Replacements and the Clash, who are completely opposite, actually. One would go out of their way to shoot themselves in the foot and the other wanted to take over the world. But both told the truth."
That ability to tell it like it is comes through in Krier's writing and in AM Taxi's musicality. Taking their inspiration from his touring around the US with several of his previous bands, songs like "Dead Street" and "Shake, Rattle And Stall" explore the restlessness he encountered along the way or, as Krier puts it, "Wherever I went, people were trying to get out of where they were."
There are also songs about things everyone can identify with, like a couple in which no matter how much he messes up, she takes him back ("Charissa") or New Year's resolutions gone bad ("Champagne Toast").
"I try to write songs about things people can relate to," nods Adam. "For me, the best music, at the end of the day, is therapeutic. That's always in the back of my mind a little when I'm sitting down to write."
And now, AM Taxi--short for American Taxi, so-called because they're all about moving across the US towards their destination--gets ready to hit the road... hard. They've already been out on the road with the likes of Sum 41 and The Ataris, while opening for The Offspring at Summerfest in Milwaukee, so they're more than up for the task.
"Our goal is to take that 45 or 60 minutes and let people get away for a little bit," says Adam. "And maybe even convert some of 'em to AM Taxi fans. And, if they dig what we're doing, maybe they'll check out some of the stuff that influenced us."
Take one listen to AM Taxi's debut, We Don't Stand A Chance and you can hear that same reverence for the past and hope for the future, a band that can cut across any number of age or genre demographics. Take the ride... they promise not to leave the meter running.
Emarosa is a post-hardcore band from Lexington, KY, affiliated with Rise Records. Founded in 2006, the band underwent several lineup changes before settling on the sextet of Jonny Craig (vocals; formerly of the Rise Records-affiliated band Dance Gavin Dance), ER White (guitar), Jonas Ladekjaer (guitar), Will Sowers (bass), Lukas Koszewski (drums), and Jordan Stewart (keyboards). This lineup recorded the band's seven-track debut EP, This Is Your Way Out (2007), released by Standby Records. They switched to Rise Records for their full-length album debut, Relativity (2008). The album proved popular in the post-hardcore underground, selling well enough to break into the Billboard 200 albums chart and also register on the Top Heatseekers chart.
ABOUT EVERY TIME I DIE--
Apocalyptic meteor showers. Merciless and indiscriminant retro-viral transmission. Political espionage. Systematic elimination of multi-cultural nation-states, Every Time I Die and rampant corporate funded ecocide.
Only one of these phrases is exempt from the nightmarish mural that American culture has fashioned with its pitiless hands and titled "Reality", which we display indefinitely in the halls of our nations consciousness. That phrase is "apocalyptic meteor showers", as it is actually part of a piece we call "The Future" which will be publicly showcased at a later date. The rest are insisting the attention of our population every minute of every waking hour, whether it be through subjective media coverage, unashamed domination of our city landscapes, full U.S tours with other metal/hardcore acts or corrupt lobbying geared towards steel industry tycoons by self-righteous right wing tyrants. Yet, there is hope of eliminating a majority of these pestilences with the advent of a broader social consciousness and a communal willingness to accept the responsibilities that come with utopian freedom. Every Time I Die, however, is not included in this aforementioned majority of curable social ailments, as the awareness which will hopefully one day eradicate most of these foes is the very fodder upon which Every Time I Die thrives.
Born in the winter of 1998, Every Time I Die quickly garnered local acclaim by releasing a four song self titled demo. Playing shows with friends in Victory Records own Buried Alive, vocalist Keith Buckley, guitarists Andy Williams and Jordan Buckley, drummer Michael Novak and bassist John McCarthy set off through New York State and parts of Canada on a short tour, where they were scouted by Chris Logan of Goodfellow Records and offered an opportunity to put out the five song E.P entitled "The Burial Plot Bidding War". Though a somewhat inexperienced and coarsely recorded release, it established the foundation of gritty, unrequitedly heartfelt and chaotic music that Every Time I Die would build upon with architectural precision.
After replacing John McCarthy with fellow Buffalonian Aaron Radaczyk, Every Time I Die signed with Ferret Records and, following a fluctuating and often brief routine of touring, recorded Last Night In Town at Zing Studios with Adam D- drummer and now guitarist of the renown metal act Killswitch Engage. Drawing inspiration from a spectrum of musical predecessors, the band found itself producing a compendium of musical tastes and talents, fusing a genuine and infectious rock n' roll attitude with meticulously crafted guitar work, defined and punishing drums, intricately woven bass lines and darkly sarcastic and unorthodox lyrics. What they were in the midst of producing would later be hailed as "one of the top five best cd's of 2001" by the online hardcore dignitaries at Lambgoat and acclaimed in magazines such as Revolver and Alternative Press for its refreshing interpretation of what hardcore music has become and would hopefully evolve into.
Once the C.D was released in March of 2001, Every Time I Die immediately enlisted in an East Coast tour with headliners Killswitch Engage and whetted their appetite for a touring schedule that would commit them to the relentless roads of North America for over two years. Joining forces with bands like Trustkills Poison The Well, Eighteen Visions and American Nightmare, Every Time I Die had done almost everything within the first year of their freshmen release that such a young band could hope to accomplish. In the summer of 2002, after once again replacing their bassist with current member Steve Micciche, they were part of a brief Warp Tour stint, two full U.S tours with Bleeding Through, Norma Jean and Hopesfall, and helped to promote the artwork of the much acclaimed Derek Hess by co-headlining one of two stages at a yearly festival in Cleveland known as HessFest. Since then they have played Hellfest in Syracuse N.Y for three years in a row, South by Southwest in Austin, Texas and Furnace Fest in Birmingham, Alabama. In fact, it was their performance at New York's CMJ fest, which earned them the opening spot for the traveling road show of Jackass's Steve-O. Recently, they have toured Canada and some of the East Coast with two of the biggest hardcore/metal bands in the world, Converge and The Dillinger Escape Plan.
Their admirable work ethic, their unique blend of southern rock and technical "noise core" and their contagious personalities which are teeming with cynical humor and a refreshing lightheartedness have helped Every Time I Die amass a fan base of all ages across the country. Their indefinable musical compositions cater to enthusiasts of emo, metal, hardcore and rock n' roll alike without compromising its sincerity or energy. Their live performances are an emotional catharsis as well as an inspiring interaction between the band and their audience. But more so, it is an undeniably memorable exemplification of what happens when a group of five individuals dedicate their lives to their craft in the hopes of inscribing a timeless quote written with the universal language of music.
ABOUT DILLINGER ESCAPE PLAN--
At first glance, Option Paralysis seems like a highly inappropriate title to describe the constantly evolving output of The Dillinger Escape Plan. But once you're faced with the cumulative power and vision of guitarist Ben Weinman, vocalist Greg Puciato, bassist Liam Wilson, guitarist Jeff Tuttle and new drummer Billy Rymer, you'll wonder--right after you pick yourself up off the floor--why more bands don't achieve similar force-of-nature status.
"The title Option Paralysis represents being in a situation where you have so many choices you can't decide, and end up being frozen," says founding member Weinman about the mindset permeating the band's fifth full-length album. "Back in the early days when I started to discover music, go to shows and find out about new bands, there were 'filters' from various circumstances -- geography, economic status, etc - which deeply affected how a band sounded and what they stood for. Now, everyone is going through the same filter--namely computers and the internet--and everyone has the same circumstances: Everybody's seeing the same thing for the first time at the very same time, simultaneously all over the world. That very system is negatively affecting art and has created a situation where everything is influencing itself and art is not based on struggle, personal scarcity or unique and personal inspiration. This cultural revolutions is a big part of what determines our mission. We're not listening to any of the bands around us for some kind of input as to what we should sound like. At this point, we're using our own accomplishments as a measurement of what we need to do next."
From their early days in the late-'90s as short-haired Rutgers, New Jersey, college students delivering hyper-complex thrash to audiences of boorish long-haired surly metalheads, to performing with Nine Inch Nails on the pioneering electronic band's farewell shows, the Dillinger Escape Plan have merely one prerogative: to go forward in ALL directions simultaneously. Their groundbreaking 1999 debut full-length, Calculating Infinity, is inarguably the essential technical-metal talisman for the 21st century, melding hardcore's blinding rage with a musical vision that made most progressive-rock bands sound positively lazy by comparison. Irony Is A Dead Scene, the band's 2002 collaboration with Mike Patton, maintained their patented extremity while exploring electronic textures. The 2004 follow-up, Miss Machine, (the first record to showcase frontman, Puciato) was a distillation of the band's work thus far, while including jaw-dropping flirtations with mainstream metal ("Unretrofied") that further enforced Dillinger's desire--and ability--to take their music wherever the hell they wanted. 2007's Ire Works had the band finding inspiration from underground glitch and breakcore electronica, as well as indigenous music genres, in a world seemingly overrun with metalcore bores and screamo trend-hoppers. The Dillinger Escape Plan's unerring sweat equity has consistently found resonance with listeners on both sides of the stages the band trod upon.
Option Paralysis marks the beginning of another trajectory in the DEP mythology. After aligning themselves with the renowned Relapse label for most of their career, the band entered into a deal with the French label SEASON OF MIST to put out OPTION PARALYSIS, tagging their new PARTY SMASHER INC label. "We signed a pretty traditional record deal with them for one record," explains Weinman. "What's exciting is that Michael [Berberian, SOM label founder] is a really big music fan and has a great understanding of how we operate. He was totally aware of the possibilities and limitations of working with a band like us--he's not expecting pop hits--and he's been extremely enthusiastic to dive right in and make it work for everyone."
Produced by Steve Evetts, Dillinger's new music is positively abundant with possibilities. Drummer Billy Rymer, whom Weinman describes as "young and hungry," now occupies the engine room that powers the band. Frontman, Puciato has always had a knack with a bellow that could make reciting a grocery list seem like an exhortation to open the mouth of Hell. But feeling some of the lyrics on Paralysis, you can't positively determine if the singer is handing down indictments ("Farewell, Mona Lisa") or feeling emotionally wounded. "This record is concept driven but there is still a very emotional and personal aspect to his lyrics," says Weinman soberly. "He's going through transitional stages in his life right now." Nothing so eloquently supports that statement than the six and-a-half-minute "Widower," where the band are joined by veteran David Bowie keyboardist Mike Garson for an aural excursion that incorporates piano-trio jazz, tender balladry and anthemic power. While there's no shortage of DEP plasma-balls on Paralysis ("Room Full Of Eyes," "Good Neighbor"), the band keep things fresh with the math-rock/free-jazz convergence of "I Wouldn't If You Didn't," the electro-tweaked "Chinese Whispers" and the closing "Parasitic Twins." The latter track sports lead vocals courtesy of guitarist Tuttle, as well as Beach Boys-styled harmonies and a major-key Weinman solo that's more Clapton (ca. Derek And The Dominos) than calculus crush. Clearly, this is not your older brother's Dillinger Escape Plan. "We're just trying to make music we can be stimulated by," says Weinman about the assorted directions and sonic vistas on Option Paralysis. "We consider ourselves songwriters, which is kind of odd when you consider the kind of band most would consider us."
As passionate about their craft as ever, DEP are looking to ramp up things even more in 2010, with a planet-beating touring campaign that includes basement shows, a stint on the main stage at this summer's Vans Warped Tour, a performance at the legendary Cochella festival, and various points in between. But after 12 years of deliberately challenging themselves, as well as the preconceived notions of critics and the strict genre-specific zealots of the world's underground music scenes, the big question remains: What is the mission of the Dillinger Escape Plan? It's a question Weinman addresses with equal parts melancholy, unwavering determination and humor. "I've been trying for a while to have someone explain that to me," he says, laughing. "Seriously, Option Paralysis represents why we're here and why we're still making music. We started at a time when there wasn't all this access to the larger world. Our only goal was to make a small dent in the scene that we were in. The fact we've made it this far and that we're still relevant is really special to me. I feel that it is extremely important for bands like us to continue to represent the ethic and attitude that was present during a time that doesn't exist anymore."
"That," he says, pausing to smile. "And I have to pay my mortgage somehow..."
ABOUT FAKE PROBLEMS--
Originally planned as a solo outing for vocalist/guitarist Chris Farren, Fake Problems hail from the Southern coastal vacation town of Naples, FL. Occupying the space between alt-country, folk, and indie pop with an added dose of punk D.I.Y. appeal, Farren ultimately got together with some high-school buddies -- bassist/vocalist Derek Perry, guitarist Casey Lee, and drummer Sean Stevenson -- to go at it as a full band. The guys played around locally, burning their own CDs and screening their own shirts, eventually booking tours outside of their hometown. Fake Problems first documented their sound on the 2005 album Watching the Bull Get the Matador, though it had some electronic undertones rather than just the twangy country-folk-rock (which could evoke images of early Against Me! alongside Whiskeytown) later releases would showcase further. The enthusiastic quartet toured around with O Pioneers!!! during 2006, as the Spurs & Spokes 7" arrived via Sabot Productions that August. Sabot then issued the roundup EP Spurs & Spokes | Bull > Matador that fall; the release compiled their summer EP with four re-recorded tracks from Fake Problems' then out of print debut. The band continued touring around the southeast U.S. and readied its next album, How Far Our Bodies Go, with producer Rob McGregor (Hot Water Music, Against Me!). Early 2007 dates opening for Against Me! led into the record's April appearance.
ABOUT RIVERBOAT GAMBLERS--
"To The Confusion Of Our Enemies", the new record from Riverboat Gamblers, derives it's moniker from the favorite hell raising toast of Frank Sinatra's; because a man without enemies is a man without character and if you stand up for anything, someone is going hate you. The Austin-by-way-of-Denton Gamblers have cultivated a fanatical and even somewhat celebrity following with their rowdy, energetic live shows. Shows that have led to broken teeth, lacerated body parts, thousands of dollars in medical bills and support slots with Flogging Molly, Hot Water Music, Burning Brides, and MC5.
Originally formed in 1997, the Gamblers built a local following and busted out of the Denton TX college scene in 2001 on the back of their self-released 7" single "Jenna Is A No Show". With that the band began to take the show from the dives bars and house parties of UNT on to the rest of the country. Austin punk legend Tim Kerr produced their self titled debut album which was released on the D.C. based Vile Beat Records. A couple years later, despite rabid major-label interest (in part derived from an explosive set at 2003's South by Southwest festival), released their second album "Something To Crow About" through San Francisco's Gearhead Records later that year.
With the momentum from all the positive press received from "Something to Crow About" in magazines such as Spin and Alternative Press, Riverboat Gamblers again hit the road awing crowds from New York to San Francisco continuing to earn pages of press for both shows played and shows cancelled due to injuries (who can forget that shot posted all over the internet of Mr. Lillard's bloody face and crushed front teeth after taking a microphone to the face).
In 2004 the Gamblers toured the US with MC5 and then Burning Brides with 28 dates through Europe in between. They kicked off 2005 opening for Flogging Molly, found a new label with Volcom Entertainment and spent the rest summer on the Vans Warped Tour. After the end of their summer trek on Warped Tour the Gamblers began production on their fourth full-length album "To the Confusion of Our Enemies" with Andrew "Mudrock" Murdock's studio, The Hobby Shop, in Highland Park, CA that was released on April 25th 2006.
Following the release of "To the Confusion of Our Enemies" the band hit the road with acts like X, Rollins Band, Joan Jett, Eagles of Death Metal, and Dead To Me and racking up the more praise from the press, including Spin Magazine, who put the band at #15 on their list of The Best 25 Live Bands Right Now, and Rolling Stone who claimed the Gamblers as one of the top five Bands that Broke Through at the 2006 SXSW Festival.
With the beginning of 2007 the Riverboat Gamblers are gearing up for another heavy year of touring that will kick off in February with a US and Canadian tour with Against Me!.
ABOUT ALESANA--
Moments before stepping out onto the stage at a sold-out show in Helsinki, Finland, Alesana, comprised of frontman/vocalist Dennis Lee, vocalist/guitarist Shawn Milke, guitarist Patrick Thompson, drummer Jeremy Bryan, bassist Shane Crump, and guitarist Jake Campbell, took a moment to reflect on the last five years. "Remember our first practice space?" asked a nostalgic Dennis. "Look how far we have come. I don't know about you guys, but I'm about to rock the faces off a bunch of Finnish kids. Let's do this!" Getting set to release third album The Emptiness, Alesana's devoted international fanbase is living proof that the right combination of talent, creativity, hard work and dedication to fans can go a long, long way.
Forming in November of 2004, Alesana's debut full-length record On Frail Wings of Vanity and Wax was released on Fearless Records in 2006. The album, produced and recorded by Kit Walters, was built around a dynamic, emotionally charged, three guitar attack. It was a sound the band defined as their own, and one they expanded on with second album Where Myth Fades To Legend. This time working producer Steve Evetts (Senses Fail, Every Time I Die, Dillinger Escape Plan), the band entered the big time, achieving acclaim in the U.S. and across the globe, building a huge fanbase overseas.
Expect the unexpected in every way possible when experiencing the band's new album The Emptiness. The band's third and finest effort, produced by Kris Crummett (Emarosa, Dance Gavin Dance), finds the explosive sextet at their most creative. "Ever since day one Dennis and I have wanted to write our own story," notes Shawn. "Having always incorporated story telling into our music, we felt that the third record was the perfect opportunity to do just that." Packaged with a 13-page short story and intricate album art, The Emptiness offers the listener a theatrical-like experience that stretches beyond the expected nuances of a rock record. Polished with much of the same dynamic that made On Frail Wings of Vanity and Wax a fresh and addictive success, The Emptiness combines killer hooks with an added depth, thanks to the incorporation of a live string quartet. The record perfectly blends together the distinctive Alesana sound with a new maturity and ferocity that will have peers, critics and fans alike turning their heads.
Alesana has always focused a great deal of their attention on having an energetic and memorable live show, and the 2010 sees the band expand on the raw, honest intensity of their on stage performances more than ever. Having completed tours with Chiodos, Silverstein, The Devil Wears Prada, A Day To Remember, Bayside, Mayday Parade, Drop Dead Gorgeous and Fear Before, the band is ready to continue hitting the road hard and strong. "Touring and playing shows for the fans is what its all about," says Dennis. "We've made some great friends and had the privilege of sharing the stage with not only awesome bands, but good guys as well. It is a really special thing when you can share your passion and art with people everyday for a living. There isn't a minute that goes by that we are not eternally grateful for the opportunities we've been given."
With the creativity of their lyrics, the passion of their music, and the energy of their live show, Alesana's next chapter is set to be the band's biggest yet. "The Emptiness is much more than just a record for us, and hopefully the fans as well," notes Shawn. "It is an adventure, much like seeing a Broadway play. Read the story, listen to the music, get lost in the artwork. Enjoy it on every level possible. We have never had this much fun doing a project, ever."
The Emptiness hits store shelves January 26th, 2010 courtesy of Fearless Records.
ABOUT NEVER SHOUT NEVER--
Never Shout Never is a one-man band featuring Christofer Drew Ingle, a Missouri native whose songs straddle the border between emo and acoustic singer/songwriter fare. A product of the digital age, Ingle originally built a fan base by posting his bright, soul-baring music to the Internet. After averaging over 15,000 online plays a day, he made Never Shout Never legitimate in 2008 by releasing his first recording, the Yippee EP. The Hot Topic clothing chain featured Yippee in its stores, and an appearance on MTV's TRL helped promote it. Several months later, Ingle entered the recording studio with veteran producer Butch Walker to record a full album, What Is Love?, which cracked the Top 40 upon its release in early 2010.
ABOUT ANDREW W.K.--
Not just a party animal but a party guerrilla, Andrew W.K. burst onto the scene with a hybrid of metal, pop, and dance that parodied and paid tribute to the cheesiest, sleaziest aspects of all three styles. The California-born, Michigan-bred W.K. -- the initials stand for everything from "White Killer" to "Women Kum" to "Wilkes-Krier," the surnames of his mom and dad -- began classical piano lessons at age four and moved on to playing in Detroit punk and metal bands, including the Pterodactyls. By age 17, W.K. was recording his own material. After moving to New York City a year later, his friends passed his demos on to various labels, including Bulb, who released W.K.'s debut EP, Girls Own Juice, in early 2000 and that fall's Party Til You Puke EP. The buzz around W.K.'s hedonistic, so-dumb-it's-smart rawk resulted in a gig opening for the Foo Fighters as well as deals with Island/Def Jam in the U.S. and Mercury in the U.K.; his first major-label release was 2001's anthemic Party Hard EP.
In particular, the U.K. fell in love with W.K.'s ironic trailer-trash look and sound, inspiring critical raves from NME and Kerrang! as well as hysteria at his live shows; he was hospitalized after a fan head-butted him as he crowd-surfed at his London debut at the Highbury Garage. The full-length I Get Wet arrived in late 2001 in the U.K. and in spring 2002 in the U.S., where his "It's Time to Party" was used in a TV commercial for the travel website expedia.com. Andrew W.K. also gigged extensively that spring, both on his own and as part of an MTV 2 package tour. He returned in 2003 with The Wolf, a bigger, lusher album than his debut that earned mixed reviews. The following year, W.K. hosted an advice show on MTV 2, Your Friend, Andrew W.K. He also maintained his busy tour schedule, and released the concert film Who Knows? in early 2006. Andrew W.K.'s third album, Close Calls with Brick Walls, was released in Japan and South Korea that summer, and was issued in the U.S. as a vinyl-only album by Load Records in 2007. That summer, he also appeared as a guest star on Kathy Griffin's television show My Life on the D List. That year, he also produced the Lee "Scratch" Perry album Repentance.
Andrew W.K.'s career only became more eclectic as the 2000s drew to a close. In 2008 alone, W.K. founded a Manhattan club, Santo's Party House; performed with the Calder String Quartet; and released One-Shot Game: Covers, a collection of J-pop cover songs, and I Will Change Your Life, an anthology of his advice columns for Japanese music magazine Rockin' On. He also became a member of the group Current 93, contributing bass, piano, guitar, and vocals to their 2009 album, Aleph at Hallucinatory Mountain and performing on the band's tour that spring. Around that time, W.K. released Damn! The Mixtape, Vol. 1 and his Cartoon Network live-action demolition show Destroy Build Destroy premiered. He also became a frequent guest on the Fox News show Red Eye and appeared on the VH1 series The Great Debate. In late summer 2009, his album of "spontaneous solo piano improvisations," 55 Cadillac, was released by the Skyscraper Music Maker label, which also planned to give Close Calls with Brick Walls a U.S. release on CD. Around that time, W.K. also released Gundam Rock in Japan, which featured his versions of the music to the classic anime Gundam to commemorate the series' 30th anniversary. Close Calls with Brick Walls finally appeared on CD in wide release in 2010 as a set with Mother of Mankind, a disc of rarities and previously unreleased tracks.
ABOUT BREATHE ELECTRIC--
Born in the Chicago suburban basement of brainchild Grant Harris in 2007, Breathe Electric was created with you--the listener and soon-to-be biggest fan--in mind. They know the melodies you want to hear and have no qualms with delivering them through heaps of hook and catchy sing-a-long choruses. The strong minds of Japan have already tapped into this resource with an album release, as have many Hot Topics across America. Breathe Electric knows that you love to dance; they encourage it, using both electronic and acoustic drum beats for maximum boogie potential (MBP). Since you enjoy an energetic live show centered around smiles and MBP, the band is likely on their way to your town right now. So be a good host and go visit your new friends. After all, they are thinking of you.
ABOUT MAYDAY PARADE--
Mayday Parade resulted from the merger of two popular Tallahassee local bands, Kid Named Chicago and Defining Moment, which helped the newly minted melodic rock unit amass a quick buzz around its hometown scene upon forming in the mid-2000s. The sextet was comprised of vocalist Derek Sanders, vocalist/guitarist Jason Lancaster, bassist/vocalist Jeremy Lenzo, drummer Jake Bundrick, and guitarists Alex Garcia and Brooks Betts. Playing some dates on the 2005 Warped Tour, along with random shows alongside bands like Armor for Sleep, the Rocket Summer, the Starting Line, and Emery, the band hooked up with Fearless Records in August 2006, releasing its debut EP, Tales Told by Dead Friends, three months later. Lancaster left Mayday Parade in March 2007.
ABOUT BRING ME THE HORIZON--
Fronted by a floppy-haired clothing designer who looks quite a bit like an emo version of Saturday Night Live's Andy Samberg and sings in an unusually high-pitched vocal style suggesting that the Darkness' Justin Hawkins was a key unacknowledged influence, Bring Me the Horizon aren't the average deathcore band. The group was formed in Sheffield, England, during 2004; singer Oliver Sykes, guitarists Lee Malia and Curtis Ward, bassist Matt Kean, and drummer Matt Nicholls originally established their own label, Thirty Days of Night, to release their debut EP, This Is What the Edge of Your Seat Was Made For, in 2005. Upon signing to the higher-profile label Visible Noise (Lostprophets, etc.), the EP was reissued the following year. Bring Me the Horizon's full-length debut, Count Your Blessings, was released in October 2006.
ABOUT BREATHE CAROLINA--
Colorado-based electro/screamo duo Breathe Carolina formed in 2006 around the talents of Kyle Even and David Schmitt. The Denver group's blend of synth-based beats and melodic screaming first appeared on the public radar in 2007 with the self-released Gossip EP. It was followed in 2008 by the band's first full-length for Rise Records, It's Classy, Not Classic, which featured all of the tracks that appeared on Gossip with six new additional songs. The duo has toured relentlessly, sharing the stage with contemporaries such as the Secret Handshake, Millionaires, and Brokencyde.
ABOUT THE SUMMER SET--
Co-founded by brothers John and Stephen Gomez, the Summer Set took shape in 2007 in Scottsdale, AZ. The Gomez siblings rounded out their lineup with guitarist John Montgomery, drummer Jess Bowen, and vocalist Brian Dales, and the teenagers chose their band's name after opening an atlas and happening upon the town of Somerset, NJ. Despite the East Coast reference, Arizona proved to be the Summer Set's muse, and the group took inspiration from such local acts as Jimmy Eat World and the Format while composing its own emo-pop songs. After gathering a modest audience on MySpace, the Summer Set began playing local shows and issuing several EPs while still in high school, eventually signing with Razor & Tie shortly after graduation. Released in 2009, Love Like This marked the group's official debut.
ABOUT FIGHT FAIR--
Spawned from the infamous San Diego State University infamous party scene FIGHT FAIR's members came together with a wide range of influences from pop-punk, screamo, hardcore, emo and more. As lead vocalist Alex Bigman describes the bands sound "a sound that is uplifting and positive while maintaining the aggressive sound we grew up with. Mainstream appeal while gaining respect from underground listeners."
ABOUT EMMURE--
There's little to be said about EMMURE that wasn't bestowed upon them with their first release, Goodbye to
the Gallows. The band has kept its patented hellbrand of unbridled metal partnered with lyrics of revenge and
issues with the opposite sex. What no one expected was that for one of the heaviest bands to blast Victory Records in recent years, things were about to get a lot weightier, and that was something to get people talking
again.
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.
"As a band, after a while you start to thirst for self expression, and I personally had a lot of demons to fight," said vocalist Frankie Palmeri. "I feel I've gotten some closure
on some topics that I touched on Gallows, and The Respect Issue is definitely a page turned for me."
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.
"The Respect Issue is titled perfectly based on the lyrics, which are very raw and cut to the core on a lot of
things..
The point is simple -- show no
respect, get no respect,"
Palmeri said. "It has a lot to do with letting go of things or people that bring you down in life. We wanted to make a heavy and dark record, but also a fun record."
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 Signal s.
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.
ABOUT THE CAB--
On the battleground of Las Vegas' Liberty High School in 2005, a fierce war rages on. Sworn enemies Alex DeLeon and Cash Colligan are fighting valiantly for the affections of the same girl. With such an intense hatred brewing between the two high-school juniors, no one could predict that they would soon bury the hatchet and join forces in Colligan's garage in order to bring their musical minds together.
But it happened. However after posting a Myspace demo of songs they wrote together, newly crowned vocalist DeLeon and bassist Colligan realized that they needed a full band to completely realize their musical vision. Luckily they were able to find drummer Alex Johnson, who brought a pop-punk and rock sensibility informed by bands like Blink-182 and Jimmy Eat World. Combined with the duo's love for Justin Timberlake and Michael Jackson, this allowed The Cab to finally begin to take their music in an exciting new direction that would reconcile all of these eclectic influences. "I think people like to categorize bands by attaching them to a specific scene, but I don't want to be thought of as a certain kind of band," explains DeLeon. "I want to cross over to other communities and have as many people hear us as possible," he continues. "I never want to be contained to one group."
The Cab's lineup was completed with the addition of pianist Alex Marshall and guitarist Ian Crawford. Although they started out as a twosome, these two building blocks were the final step to solidifying the band's formula for something impressive--and according to their masses of fans, it was working. In fact, The Cab was already gaining an impressive fanbase through local shows, even without a professional recording. "That's when it really hit us," states DeLeon. "This was what we really wanted to do."
Eventually the band passed a demo onto Panic At The Disco's Spencer Smith and in the span of only a few months, the band found themselves inking a deal with Decaydance/Fueled by Ramen and writing their debut album Whisper War. Produced Matt Squire (Cute Is What We Aim For, All Time Low), The Cab's debut makes good on DeLeon's aspirations. Additionally, The Cab are already seeing the fruits of their labor: "I'll Run" was written within hours of their first rehearsal as a full band and it has garnered nearly 500,000 plays on Myspace. The band was also recently featured on Blender Magazine's "Hot List" and Alternative Press Magazine's "Bands You Need To Know" issue. "We're doing something different, and we can't wait to get it out there to as many ears as possible," Cash adds.
From final exams and graduation to rocking the stage with the likes of Fall Out Boy and Panic At The Disco, it's easy to see that a promising future lies in store for The Cab--and their debut disc turn the heads and impress rockers and pop aficionados alike. "We have some songs that sound like Michael Jackson songs and some songs that sound like traditional pop rock songs with a little bit of soul, but overall the record has a lot of different styles to it," explains DeLeon.
It's true. From the unapologetically soulful pop jam "Bounce" and "High Hopes In Velvet" to guitar driven pop-punk anthems like "Take My Hand" and "ZZZZZZ," Whisper War is a collection of upbeat songs that are so instantly infectious that you'll have the album imprinted on your brain after just a few cursory listens. "Right now this town is for the taking," DeLeon sings on the album's final track "The City Is Contagious," and when you think about it, that same attitude can be applied toward the songs on Whisper War and the band's imminent worldwide domination.
So how do The Cab feel about their whirlwind success story so far?
"I don't know if it's sunk in to me yet," DeLeon responds. "A couple of years ago, I was a kid going to local shows and waiting for hours to see Fall Out Boy and it's so surreal being signed by the people I look up to," he summarizes. "Everyone over there has been so welcoming and it really is like one big family; we couldn't ask for anything more."
ABOUT VERSAEMERGE--
For some people creating music is a choice, but for others it's what they were born to do. VersaEmerge clearly fit into the latter camp.
VersaEmerge was formed by guitarist/vocalist Blake Harnage back in high school and the band instantly experienced regional success selling out their first ever gig and gaining critical acclaim in their local music scene, it wasn't until VersaEmerge solidified their line-up--which currently includes guitarist Jerry Pierce, vocalist Sierra Kusterbeck and bassist Devin Ingelido--that things really started happening for this dedicated group of teenagers. "When Sierra first tried out for the band we didn't know what to expect," Harnage explains, adding that the then sixteen-year-old female vocalist lied about her age in order to land an audition. "She's always been amazingly talented, but now she's learning how to use that talent to its full potential."
While most of us were studying for tests and trying to sneak into R-Rated movies, VersaEmerge were busy crafting a brilliant EP of original material called Perceptions that attracted the attention of Fueled By Ramen. It's not difficult to see why: Songs like the midtempo rocker "Clocks" showcase the band's ability to create multi-layered sonic textures that serve as the perfect backdrop for Kusterbeck's powerful vocals while melodic anthems like "Past Praying For" add a welcome layer of depth and musicianship to the typical pop-punk paradigm. In addition to listening to everything from Bjรถrk to Thrice during their free time, the band have toured with artists in nearly every genre and taken a little bit from each of these varied experiences in order to come up with something completely unique and unprecedented when it comes to their own music.
"We've gone on tour with everyone from dance-pop to metal bands," Harnage explains with a laugh. "I guess people seem to think that we can play with pretty much anyone." The band will soon be touring with We The Kings and Chiodos' Craig Owens. More recently the band spent time refining their new material and releasing their debut EP for Fueled By Ramen with James Paul Wisner (New Found Glory, Underoath). "I think we're getting closer to finding our sound," Harnage explains when asked about the band's yet-to-be-released material. "It's dark and eerie, but at the same time it's powerful and something that people can really relate to."
Ultimately VersaEmerge are just excited to hit the road and get their music out to people on a larger scale than ever before--and they realize that right now is finally their chance to make that dream a reality. When you consider the palpable excitement showcased by fans at the band's incendiary live performances and the positive feedback from blogs and Web sites all over the world, it's difficult to imagine how 2009 couldn't be the year that VersaEmerge become the breakout band that everyone will be talking about. "We're just thankful to have this opportunity," Harnage acknowledges. "There's no way that we're going to blow it."
ABOUT IN FEAR AND FAITH--
Formed in 2006 in San Diego, CA, In Fear & Faith wasted little time establishing a hometown audience with their blend of furious instrumentation, electronic flourishes, and screamo vocals. Members Tyler McElhaney, Mehdi Niroomand, Noah Slifka, Cody Anderson, and Ramin Niroomand also embraced elements of heavy metal, and the resulting hybrid helped earn them a contract with Rise Records. Your World on Fire, the group's debut effort, was subsequently released in early 2009.
ABOUT AUTOMATIC LOVE LETTER--
ampa, FL-based emo/punk-pop collective Automatic Loveletter feature drummer Daniel Currier, bassist Sean Noll, guitar players Joe Nelson and Tommy Simms, and lead vocalist/guitarist Juliet Simms. The latter Simms has lent her formidable voice to records by All Time Low, Cartel, and Lovehatehero. The group's debut EP, Recover, was released in 2007. The band plans to release its full-length debut -- produced by Matt Squire (Panic at the Disco, Boys Like Girls) -- on Epic in 2008.
ABOUT HEY MONDAY--
Led by powerhouse vocalist Cassadee Pope, Hey Monday lace their infectious emo-pop with alt-rock guitars and slick studio production. The band formed in West Palm Beach, FL, where Pope was first discovered at a regional music conference. Although still in high school, the singer drew attention from A&R execs with her voice, which recalled the radio-ready wails of Avril Lavigne and Paramore's Hayley Williams. She then formed a band with fellow teenagers Jersey Moriarty (bass), Elliot James (drums), and guitarists Mike Gentile and Alex Lipshaw. Shedding their original name (Blake) in favor of Hey Monday, the group won over A&R exec Jay Harren, who signed the band to Columbia Records. Hey Monday then entered the recording studio with S*A*M & Sluggo, the production team behind albums by Metro Station and the Academy Is..., and readied the release of their debut record. Hold on Tight arrived in October 2008 under a joint partnership with Columbia and Pete Wentz's vanity label, Decaydance.
ABOUT THE CASUALTIES--
There is at least one punk band that could care less about the radio. And at a time when punk has steered either into sugary pop or full on Nu metal territory, there is at least one band flying the flag for traditional street music.
That band is... The Casualties!
You've seen them on Warped Tour, you've seen their name emblazoned on patches and the backs of jackets everywhere. But what you need to HEAR is the urgency in their old-school revivalist sound and their earnest and forthright lyrics.
Their new album, Under Attack, produced by Bill Stevenson [former member of the seminal punk bands Black Flag, Descendents and All] is the latest salvo against the status quo and a slab of pure punk power that should make the group's heroes in bands like Discharge proud to call them peers.
Nostalgic and yet forward thinking at the same time, this is the band's hardest record in every sense of the word. "Everybody is making softballs to get on the radio, but what we're doing right now is saying, 'fuck that, radio is fucking dead,'" proclaims longtime guitarist Jake.
"We're taking it to the next level. As musicians we've improved, but it's not showing-off improved. It\\\'s still the same hardcore punk rock. There are still sing-a-longs. But it\\\'s just a much harder record." "We would say it's our usual hardcore punk but with a touch of thrash."
And that devil-may-care attitude busted its way into the lyrics, too. While The Casualties are quick to point out they're not a "political band" per se, they are outspoken true believers in right and wrong and saying what's on their mind at all times. And right now, like most people, a lot of political issues are forthright in their thoughts without forgetting the working class.
"System Failed Us... Again" is an indirect commentary on the aftermath of Hurricane Katrina. "We can't take care of the poor in our own country but we're fighting all these wars for money than anything else. It's so obvious that it's ridiculous," fumes Jake. "I think even the people who don't look too much into politics can see it."
Ah yes, the war. "We feel the country is under attack, but from our own country's power," Jake says about the album's title track. "The extreme terrorist are wrong, but we shouldn\\\'t be over there, because the whole thing fucking stinks." And really, what's to be done? From the band's perspective, peaceful protests haven't helped much at all. That's the message behind "No Solution, No Control."
"Without Warning" is another topical song, addressing the fear and apprehension about global warming. "There's no second chance. We've got to make some changes. And we're offering our opinion, whether those changes happen or not."
And there's more than just the worldwide landscape to contend with. There is also the elitist culture of celebrity that permeates much of rock music. "V.I.P." is about overrated people in overrated back stages with elitist attitudes.
"We\\\'re not rock stars," Jake promises. "We\\\'ve always been a band against that. People are talking about bands like us paying our bills, they think we\\\'re rich or something. There is no rich lifestyle going on here. We\\\'re just keeping our heads above the water, you know?"
And keeping with the music biz theme, "Fallen Heroes" is about bands that turn into parodies of themselves, endlessly reuniting and tarnishing their integrity in the process.
"When we're out here touring, we're really into it and doing it because we love it. Some bands are just shells of what they used to be."
Under Attack also boasts songs that are sure to reinvigorate even the band's longest-running fans. Songs like "On City Streets" are anthems for the people who have followed The Casualties since 1990, when Jorge and an entirely different lineup cranked out their first 7".
Jake joined three years later before the second EP, and follow-up album, For The Punx, which marked Meggers debut with the band in 1997. Classic records like Underground Army, Who's In Control (which was Rick's debut), Stay Out Of Order, Die Hards and 2004's On The Front Line came after, ensuring the band's place in punk history.
And even with their newfound fire for social commentary, The Casualties mission remains the same: to be themselves and to play hardcore punk rock that is too often overlooked.
"We're not trying to be an ultra left political band or anything," Jake says. "Sometimes everybody agrees on something because it's right. It's not a bandwagon it's a fact. Some bands say they are Republican for shock value. It's like, grow the fuck up."
ABOUT HASTE THE DAY--
New beginnings, they can be both exciting and terrifying. Take for instance the last year in the life of the Indianapolis based band Haste the Day. Since forming in early 2001, the band has maintained the same 5 members, both brothers and friends, and have toured all over North America and Europe as both headliners and direct support for bands like Bleeding Through and From First To Last among others.
In late 2005 long time vocalist Jimmy Ryan announced he was leaving the band to focus on his new marriage. History tells us that regardless of who writes the band's material, the vocalist is always the face and the first impression to the outside world. It isn't often a band can successfully triumph over a vocalist exit but Haste the Day never considered giving up. "I had no doubt we'd continue," states guitarist Jason Barnes now a year past Ryan's exit. "When he told us, we wondered who we would replace him with but there was never any consideration to stop."
The band, featuring the aforementioned Jason Barnes along with bassist Mike Murphy, rhythm guitarist Brennan Chaulk and his brother, drummer Devin Chaulk, were about to leave on their first European tour. With only days ahead of them, there was little time to audition vocalists. After years of performing Haste the Day had gotten to perform along side a lot of local bands and one vocalist stood out. Denver native Stephen Keech was flown to Indianapolis in January 2006 and his trial by fire began as the band headed to Europe. Just out of high school, Keech was inexperienced in the life of a full time touring musician. "I was scared," he elaborates. "Excited but scared. So many people loved Jimmy. But the crowds were so encouraging to me as the new guy. They let me know I had big shoes to fill but they were with me."
Fast forward a year and Haste the Day have performed over 200 shows and, for the second time, are about to enter Garth Richardson's Warehouse Studio to record their third full length, "Pressure the Hinges". Indicative of the last year, the record title reflects the band's desire to adapt to challenge and to push themselves both musically and personally. "The material on this record is a quantum leap above the last two records," explains the band's lead guitarist Jason Barnes. "It is still Haste The Day but we consciously made and effort to try and not be influenced by anyone in the same genre we are. We wanted to write songs that were based on straight ahead rock & roll but still heavy. We wanted melodies influenced by bands like AC/DC and Def Leppard rather than the bands we've toured with."
A casual listen to album tracks like "Stitches" and the title track, "Pressure the Hinges", affirms what the band's guitarist has been saying is true. Mixing a rich blend of both musical and strong vocal melody, "Pressure the Hinges" is a dramatic step forward for the band. Each track incorporates the riffing and breakdowns Haste the Day has long been known for. But along side the ferocity are striking melody lines only hinted at on the band's previous full length, "When Everything Falls".
With a brand new full length behind them, Haste the Day are gearing up for a full 2007 that will take them all over the country again. New beginnings aren't always easy to take in stride but to some, quitting isn't an option. "Pressure the Hinges" is verifiable proof that vision and brotherhood can pull anyone through what might seem like the bleakest of times to create some of the best moments in their lives.
ABOUT OF MICE AND MEN--
After recording "Someday Came Suddenly" and touring some with Attack Attack Austin left the band. After leaving, Austin decided to start something new on his own. He asked one of his best friends Jaxin Hall from New Zealand, to join him and be apart of whatever he did next. The two, got their friends in Though She Wrote, to help them write and record the song "Seven Thousand Miles for What?" they had been working on. The next day they posted it and made this myspace. Five days later the inevitable happened. They joined up with the two people that had stood by them since day one. Rise and Artery were always considered family, and after hearing the song, they accepted us into theirs.
Solidifying the line up with Valentino Arteaga from Lower Definition on drums, Shayley Bourget from Chapters and Covette on guitar and vocals, and Phil Manansala from A Static Lullaby on guitar, Of Mice & Men have already recorded their debut album to be released in February 2010 and have hit the road nonstop!
ABOUT CLOSURE IN MOSCOW--
When people think of environments that foster America's best music imports, they usually think of the UK or perhaps Canada. They most certainly don't think of Australia as a breeding ground for transcendent musical talent, but a closer look reveals that the opposite is indeed true. From the Living End to Kylie Minogue, and INXS to AC/DC, the land down under has actually given America some of its most notable and influential musical acts of the past few decades. And now, with Australia's music scene finding renewed strength and momentum, Melbourne's Closure in Moscow seem poised to be the next big band to make the jump from the Outback to the Great Plains.
Getting their start in 2006, Closure in Moscow - vocalist Christopher DeCinque, guitarists Michael Barrett and Mansur Zennelli, bassist Brad Kimber, and drummer Beau McKee - banded together as high school friends, and in their relatively short time together, have quickly outgrown their youthful origin. After sharing the stage with bands of increasing cachet, the band signed to Taperjean Records in Australia (Copeland, Limbeck, As Tall As Lions), and released their debut EP, The Penance and the Patience shortly thereafter. Recorded with producer Kris Crummett (Kaddisfly, Fear Before the March of Flames, The Devil Wears Prada), the work lived up to its dubbing as an "albumette," proving to be an epic and comprehensive twenty-five minutes of artistic expression. Alternating between explosive, progressive rock anthems and deep, hypnotic compositions, the group's entry onto the scene was well timed, executed, and received, garnering fan and critical acclaim alike, and paved the way for the next step in the band's meteoric rise.
In order to make a full-fledged career out of their music, the guys in Closure knew that a move to the United States was inevitable and necessary. After an initial deal with an American label fell through, the group signed to Equal Vision Records in November of 2008. The placement pleased both everyone at the label, and in the band, with frontman DeCinque declaring, "We'd known EVR as a label with a great reputation and prestigious roster of bands, so we know it's going be a sweet relationship between us." The band has since made the physical move to the states, and once again teamed up with Crummett on their new record, which seemed all but pre-destined. "There was no decision involved...it was always going to be Kris again. Musically he is on the same page as us, which really helps and makes things exciting," says Kimber. The band/producer team put that synergy to work, and came out with the troupe's debut LP, which has since been christened First Temple.
As most music fans reluctantly acknowledge, harder progressive rock groups tend to lose either their edge or experimental spirit as they develop their popularity, but fans of Closure in Moscow need not fret, as First Temple takes everything that made the group's EP so compelling, and fleshes it out with impressive bombast and ambition. Going into the studio with a laser-sharp focus, the group "walked in with 12 songs, came out with 12 songs," remarks Barrett, and the end result of the band's labor reflects this "all killer, no filler" attitude. Adding trumpets, piano, pedal steel, double bass, and bongos to the mix on the offering, the work embodies the bold sense of artistry that has propelled acts like The Mars Volta and Coheed and Cambria to international fame. At once wildly inventive yet immediately accessible, First Temple is sure to both retain and recruit fans. From the frenetic energy of "Kissing Cousins" to the Asian-inspired guitar riff and infectious hook of "Sweet#hart," and the propulsive energy of "A Night at the Spleen" to the brooding atmospherics of "I'm a Ghost of Twilight," it is remarkably evident this Australian quintet have succeeded in their goal of having no two songs sounding alike.
Following CIM's barn-burning sets at 2009's SXSW in Austin, Texas, the band is now ready to set the rest of the country on fire with the release of First Temple on May 5th, and subsequent performances at this year's Bamboozle and Bamboozle Left festivals. Beyond that, Closure in Moscow has "some big plans in the works for the future, but mainly will be touring the U.S constantly for the foreseeable future," according to Kimber.
Be sure to catch Closure in Moscow while you can, because after conquering Australia, and with a killer debut album like First Temple, America can't be far behind.
ABOUT PARKWAY DRIVE--
It would be a crime to classify Parkway Drive as simply another band to alloy Hardcore and metal genres into a sound more parody than paragon.
Basically because, they do it with a passion that will make you feel like you've been kicked in the throat. Come to think of it, if you've been lucky enough to see them live, you probably have been.
The Byron Bay boys have had an exceptional 2006, taking their brand of punishing, metallic hardcore to the masses, both in their home country of Australia and internationally. Touring the US, UK and Europe relentlessly throughout 2006, Parkway Drive returned back to Australia, where they toured as part of the Rockstar Taste Of Chaos Festival, being the only local band on the national tour.
It's been a quick rise for the five-piece, who formed in 2003. Relentless touring has been the key to their success- the band left no corner of the country unvisited in their quest to build a following. Finding favor with both the hardcore and metal scenes, by the time they released their Don't Close Your Eyes EP in 2004, Parkway Drive's fan base was already massive.
In 2005, their debut full-length, Killing With a Smile, established Parkway Drive as one of Australia's most viable musical exports. Produced in the USA by Killswitch Engage guitarist Adam Dutkiewicz, the album stood up to the frontrunners of the international metal core genre. The band recently inked a US deal with Epitaph, who unleashed Killing With A Smile on the US public in August, 2006.
2007 is shaping up to be the bands biggest year to date including the follow up release to "Killing With A Smile" due out in October, US and European tours as well as a month long stint on the Vans Warped Tour.
ABOUT REVEREND PEYTON'S BIG DAMN BAND--
Reverend Peyton's Big Damn Band is a three-piece outfit that plays a combination of roots music and alternative country that is also heavily influenced by country blues. At its center is Josh Peyton (vocals, guitar), who grew up listening to his father's blues-rock albums. After receiving an electric guitar and amp when he was 13, Josh formed his first band with his brother Jayme Peyton on drums and a friend playing bass. A friend who recognized the blues influences in Josh's playing recommended that he study earlier blues artists, which in turn led to Josh's discovery of country blues. The young guitarist's career was nearly derailed, however, after a performance at his high-school graduation left his hands in extreme pain. Doctors who examined Josh diagnosed him with tendonitis and gave him a grim prognosis -- as a result, he abandoned music for a year before undergoing surgery to correct the problem. While recovering, Josh met Breezy, the woman who would become his wife. After comparing notes on musical influences, Breezy bought a washboard and began writing songs with Josh and Jayme. The trio began touring and eventually decided to make music a full-time endeavor. They released their first album, The Pork 'n' Beans Collection, in 2004. It was followed by albums released on a yearly basis, including The Big Damn Band Sampler in 2005, Big Damn Nation in 2006, and The Gospel Album in 2007.
ABOUT IWRESTLEDABEARONCE--
Existing at the point where metal collides with all other genres, Iwrestledabearonce are an example of the bold experimentation that has been keeping metal fresh and exciting. The Shreveport, LA, group, consisting of Krysta Cameron (vocals), Stephen Bradley (guitar), John Ganey (guitar), Mical Montgomery (drums), and Dave Branch (bass), combines the spastic fury of the Locust, the math wizardry of the Dillinger Escape Plan, and the metal-electro experimentation of Genghis Tron into one easy to swallow tablet. In 2007 the group released its bedroom-recorded self-titled EP. After extensive touring, Iwrestledabearonce signed with Century Media and released their debut full-length, It's All Happening, in 2009.
ABOUT WE ARE THE IN CROWD--
Sometimes things just feel and sound right. We Are The In Crowd, the foursome from Poughkeepsie, NY formed in 2009 and caught the interest of independent label, Hopeless Records early on. The band, made up of Tay Jardine (vocals), Jordan Eckes (guitar/vocals), Mike Ferri (bass), and Rob Chianelli (drums), used their talent and ingenuity to propel themselves into the hearts of many. Instead of relying on image and sugar-coated, meaningless lyrics, We Are The In Crowd focused on one goal. "We really try and tell a story," says vocalist Taylor Jardine.
To begin that story, We Are The In Crowd recorded their debut Hopeless Records' single, "For The Win". Using a unique combination of both male and female vocals, Taylor and Jordan have created honest, emotional pop rock songs that embody everything that you want to say but don't know how. "Our lyrics are straightforward, we write about situations that we go through, and it really resonates with fans." This honest depiction of young adult trials and tribulations has helped We Are The In Crowd gain a rabid fan base that hangs on every word and every chord, just waiting to hear the next chapter in their story.
ABOUT EYES SET TO KILL--
Formed in 2004 by sisters Alexia and Anissa Rodriguez, Arizona's Eyes Set to Kill set out to create their own take on the screamo genre. To fill out the lineup, vocalist and guitarist Alexia Rodriguez and bassist Anissa Rodriguez recruited vocalist and synth player Brandon Anderson, guitarist Greg Kerwin, and drummer Caleb Clifton. The group combines the driving emotion of Thursday and Thrice with technical hardcore reminiscent of Walls of Jericho and Poison the Well. The result is a fusion of the heavy and the melodic, with Alexia Rodriguez's vocals soaring high over the thunder of chugging guitars and Anderson's tortured screaming, creating a sound that expands the boundaries of the genre, moving away from the screamo blueprint. The year 2006 was a busy one, with the group self-releasing the EP When the Silence Is Broken the Night Is Torn as well as playing dates on the Vans Warped Tour. In 2008 the band released its full-length debut, Reach, on Breaksilence Records, and set out on a nationwide tour in support of Otep.
ABOUT PIERCE THE VEIL--
In the past few years, Equal Vision Records has signed some of the punk underground's most groundbreaking acts including Circa Survive, Fear Before The March Of Flames and Chiodos. The latest edition to this elite group of artists is San Diego, California's Pierce The Veil, a progressive post-rock quartet whose debut A Flair For The Dramatic incorporates elements of fractured hardcore, prog-rock and metalcore into a unique amalgam of heavy music that's bound to turn heads and blow minds.
Born out of the visionary minds of two brothers, A Flair For The Dramatic seeks out something new with the intent to illuminate their eclectic influences. In order to do this, the Fuentes brothers locked down their home studio in San Diego and began writing the eleven distinctive and disparate tracks that would eventually encompass their full-length debut, A Flair For The Dramatic.
Recorded By Casey Bates (Portugal The Man, Gatsbys American Dream) in Seattle, Washington Pierce The Veil's debut is a labor of love that the band put every ounce of creativity into. "We basically drove our RV up onto Casey's front yard and stayed there for two months," the band's frontman Vic Fuentes explains with a laugh. "I'm the biggest perfectionist and I'll do a part over and over a hundred times in the studio before it sounds right to me. I'm just glad that Casey was so patient with me," he adds. "He brought our record somewhere that I never imagined it could go."
It's true. From the jaw-droppingly schizophrenic and striking opener "Chemical Kids And Mechanical Brides" to upbeat melodic rockers like "Drella" and acoustically tinged quasi-ballads like "Falling Asleep On A Stranger," A Flair For The Dramatic incorporates nearly every style from the rock cannon without that sounding hackneyed or clich'd. This unique album is difficult to compare or reference to any other. Your best bet is to just let the music on A Flair For The Dramatic speak for itself.
"Lyrically, this was a very surprising record for me because I never thought I would write songs about relationships," Vic explains when asked about the overall theme of the disc. "It just kind of so happened that I had a couple things happen recently relationship-wise that just came out in the writing and I'm really glad it did because every word in every line feels like it has a lot deeper meaning," he continues, citing his father as his musical teacher and biggest influence when writing the band's debut disc.
However despite Pierce The Veil's technical complexity, their music doesn't need to be overanalyzed or intellectualized, it simply needs to be listened to. And at the end of the day, the band who recently got finished up a successful tour with Poison The Well and Portugal The Man are content knowing that they made the best album that they possibly could. "When I sang the very last line we needed to record, in that moment I knew there was nothing else I could have done or put into this record," Vic beams. "I knew we put in everything we had into it and that was an amazing feeling."
Hopefully, you'll agree.
ABOUT THE ROCKET SUMMER--
"There's a common theme on this record," says Bryce Avary, the frontman, songwriter and multi-instrumentalist behind The Rocket Summer. "Wanting to do greater things for the world, and not just trying to be a rock'n'roll star. I think we all have that desire but our issues and daily life get in the way. These songs are about trying to overcome that."
Talk with Avary for even five minutes and you'll discover a young man who is the complete opposite of today's rock star. He's confident, but humble. His attitude is undeniably positive in a genre that perpetuates misery and self-loathing. And he sees the bigger picture -- who he is now, what it took to get there and where he wants to go.
He's also freakishly talented. Do You Feel, his third full-length record and first major label release, is similar to his previous work in that he wrote and performed the entire album himself . It's rock guitars, sunny pop and a cavalcade of pianos. It is also possibly the most energetic and upbeat album you'll hear all year.
The ambition and drive that's so apparent on the record have always been a part of Avary's personality. The Texas native initially fell in love with music around the age of 12. "Originally, all I listened to was bands like Superchunk and Built To Spill, indie rock. Over time, I found myself just loving anything that's a well-written song, anything that touched my soul. It could be indie, Brit-rock, country, it didn't matter.
"Growing up, I was kind of a nerd, so I had a lot of time on my hands," he says, laughing. "So I got sort of obsessed with different instruments." After performing solo at a few cafes and house parties around Dallas/Ft. Worth, Avary decided to record his first album. There was only one problem.
"I didn't have a band at the time," he says. "So I recorded everything on my own, but it was really out of necessity. Which is fine: I'm kind of a freak in the studio. I get consumed with making music, seeing songs from beginning to end. It's probably best that no one is in there."
So at the tender age of 16, Avary put out a self-titled EP as The Rocket Summer. A local Dallas indie-rock radio show, "The Adventure Club," started playing tracks from the record, which caught the ears of indie stalwarts The Militia Group. Two more records, Calendar Days and Hello, Good Friend followed, along with the fans, who sing along to every word of every song. Soon, Avary found himself headlining mid-size concert halls.
Throughout all of The Rocket Summer records, one thing remains constant: the vision. "Hope is a huge part of this and I want people to feel connected to that."
That attitude remains for Do You Feel, the first album The Rocket Summer recorded for Island Records. Avary recruited producer Jim Wirt (Incubus, Jack's Mannequin) to co-produce the release with him. "I actually didn't know much about him at first," Avary admits. "But then I heard some of the records he did, and I realized how good he was with mixing things like piano and heavy guitars. Plus, he's so positive and gets really excited about music." He laughs. "And he's not a jerk."
As with Avary's past work, Do You Feel is full of guitar-fueled power pop, piano-laced ballads and big, big choruses. The horn-driven "So Much Love," the first single, marks a bit of a departure, and one of the rare times Avary collaborated with other musicians. "We got the horn section from Stevie Wonder's Songs In The Key of Life," he says. "I love that album, so it was an honor to work with those guys."
Although many of the songs are uplifting, Avary doesn't shy away from controversy. On "A Song is Not a Business Plan," Avary calls out the industry and some of his music peers for looking at music as pure commerce. "It is one of the few bitter songs on the record," he admits. "I wrote it the day we had to cancel our whole Canadian tour because my van died -- it was one of those days where I felt beat-down, working hard for what we believed in, yet still sitting there, broke down and smoking at the side of the highway! I got over it, but it felt good to get it out. I think the bottom line is to stay true, even if it means I'll stay in the van a little longer. It'll all work out."
In addition to expressing himself with words, Avary is committed to action. He is passionate about the charities Invisible Children (www.invisiblechildren.com) and To Write Love On Her Arms (www.twloha.com).
There's no denying that he's on his way to making a difference in the music world. "I do think there's something special about The Rocket Summer, something people can feel connected to," he says. "I hope, if you come see the band, that you come away from it feeling connected and accepted in a way you haven't before..."
ABOUT THE WORD ALIVE--
Sometimes a sweeping change within an entity is all that is needed for all the cards to fall into place. In the case of metal-hardcore outfit The Word Alive, by gaining a dynamic new vocalist, it was just the catalyst the group needed to take their next steps forward in their burgeoning career.
Feeling a bit stagnant in their progression beforehand, the addition of vocalist Tyler Smith (ex- Greeley Estates, In Fear and Faith) catapulted the band's ambitions to the forefront. With this initiation, their goals and aspirations were much more a reality, and they set to work on what would become their forthcoming debut EP, Empire.
"Once I joined we all felt we had a chance to do something special and we've worked hard to make that happen ever since," Smith said. "We are all positive that we have something different, and that helps motivate us to work harder."
Recorded with producer Andrew Wade in Ocala, FL, and to be released July 21st on Fearless Records, Empire is an intimately personal album for Smith, whose impassioned lyrical subjects range from dissolving relationships to the struggles he was battling privately. Enhanced by furious guitar wizardry courtesy of shredders Tony Pizzuti and Zack Hansen, as well as rapid-fire drumming brought to life by Tony Aguilera, the EP is a non-stop sonic assault that is at once powerful and unpredictable.
"We all feed off of each other really well," Smith said. We take a little bit of everything we like and put it together to try and give the listener at least something to grasp onto when they hear a song for the first time. We consider ourselves a metal band who enjoys singing a lot. As much as we love being brutal, we love being referred to as 'epic' and 'beautiful'. It works for us."
Since joining the Fearless family with the objective of "taking our band to a whole other level," The Word Alive are intending to achieve that design with the upcoming release of Empire, as well as anticipatory stretches of roads and shows. Smith said the touring experience has been a priceless endeavor, a test that will show their compatibility on stage, as well as their staying power. Despite several trials and tribulations while traversing the country (blowing tires, striking wildlife), their premiere trek has shown the quick rise and admiration of the band. Beginning with a sold-out night for their first out-of-state show on their first-ever tour, the Phoenix natives are reaching fans nationwide with their incendiary stage presence and bombastic music.
We hope to just keep touring, touring, touring... we couldn't be happier or more appreciative to be on tour right now," Smith said. "I think despite having some of the worst luck in the early beginnings of being a touring band yet never missing a show, we always have a positive attitude and that will make us a stronger band,
For a band with the chance to begin cutting its teeth in the touring world, and with an explosive new EP on the near horizon, change has never looked so good as on The Word Alive.
ABOUT DISCO CURTIS--
Being in a band can mean anything these days. But for some, the underlying passion of the last 50 years still holds true: Music can bring people together. Disco Curtis thrives on this notion, but they also take it a couple of steps further. It's their unshakable enthusiasm for both the music and their fans that compliments their memorable pop/rock-tinged rock style. Their debut EP, Play With Fire, Get Burned, is music for the masses, pure and simple.
The Dallas, Texas-based foursome originally came as kids, where a young Howe and Novak first bonded over playing piano and drums, respectively. As the fast friends grew older, various band incarnations came and went, but upon syncing up with Garrett Perales, and later on Brendan Barone, the initial making of Disco Curtis began to take shape.
Howe and Co. quickly took to MySpace for a unique marketing plan. Plugging a photo, and quickly following that with releasing a song at a time, interest about the band slowly took shape until the fearless foursome set out on the road for tours with the likes of Boys Like Girls and Forever the Sickest Kids. Disco Curtis credits their MySpace fanbase as being the key to making it all come together.
Plucking from their influences (Say Anything, Dashboard Confessional, All-American Rejects, Blink-182) with the skilled craftsmanship of their musical upbringing, Disco Curtis' genre-blending rock sound is undeniably fresh -- chock full of Howe's savory and honest lyrics about love and self-introspection, which come alive on tracks like the propulsive "Incendiary Devices" and "Surprise Me." Novak's full-throttle delivery, and Perales' barreling riffage on "Breaking Hearts" is tightly woven, but it's the crush-worthy anthem "Ashley" that showcases Disco Curtis' on the spot likeability.
"The main thing about writing a song is that it can't be forced," says Howe. "I can't make something up in a song or else it's not real to me. If it's not real to me, how can I make it real to someone else?"
The Disco Curtis name is somewhat of an homage to a fellow disco legend and drummer named Curtis. The mysterious impresario, who also resides in the band's native Dallas, used to perform with various disco artists throughout the 1970s, wearing a paper bag over his head. Decades later, this mystery man who loves that disco beat, has become a mentor and a friend to Disco Curtis.
"We've known him for years," Howe explains. "When it came down to naming our band, Disco Curtis came to our head because we spent a lot of time with him last summer. He's been a big influence on us. "
"No matter what kind of song it is, he always puts a disco beat on it," Novak adds. "As a joke, we started calling him Disco Curtis."
The band's overall mission is pretty basic: keeping communication open between them and their fans. "No matter what, we're never going to change the way we treat our fans and the ways we invest time in them, just like the way they invest time in us," Novak says. "Regardless of what changes, we always want to have true relationships with our fans. That is our golden rule."
Such a mantra was definitely put to the test during the band's first-ever tour this past October, where they performed acoustic shows at select Hot Topic locations across the U.S. "Honestly, I can't think of a better way of developing the band and helping us get started than Hot Topic," Novak says. "It was a really cool experience for us."
Disco Curtis is wide-eyed for what's in store for 2010. While plans to write and record a host of new material are already in the works, Disco Curtis' debut video for "Ashley" is set for a January 6th release. They'll also be spending the winter months prepping for their appearance on second half of the annual Vans Warped Tour, with dates slated for July 20th through August 15th. The Play With Fire, Get Burned EP is currently available for download via iTunes.
ABOUT SET YOUR GOALS--
This isn't their first rodeo, you know? In fact, Bay Area pop-punk band Set Your Goals have been rocking crowds from coast to coast since 2004. Maybe you've seen them on tour with New Found Glory or perhaps it was Paramore or Gorilla Biscuits? Warped Tour? In the five years Set Your Goals has been a band they've already achieved what most bands only dream about: toured the world, gained huge respect from their peers (see above) and achieved massive credibility among their wide-spread legion of fans.
So what separates Set Your Goals from all the other bands you might ask? For one, they have no gimmicks. They don't need to wear flashy neon, dress up like white kids at a 50 Cent concert or sing about getting wasted to melt their listeners' faces. Instead they channel positivity through their lyrics and let the music speak for itself. The band is changing the game and blazing trails with their unique style that's influenced by '90's skate punk and melodic hardcore. No trendy haircuts or cheesy breakdowns here, just straight up head bobbling pop-punk like it's never been played.
Avoiding the sophomore slump like it was the plague, Set Your Goals come out guns-a-blazing on their new album, This Will Be The Death Of Us, the follow-up to their fan-coveted debut Mutiny. The band has always had one foot in the hardcore world and the other in the pop-punk world, so naturally haters will speculate that the band has lost their hardcore edge or their style has changed, but the music begs to differ. This Will Be The Death Of Us is balls-to-the-wall non-stop furious pop-punk like only Set Your Goals knows how to do.
From the galloping drum beat and Joe Saucedo's driving bassline to the ripping riffs of the title track, which features guest vocals from Vinnie Caruana from I Am the Avalanche, detractors will be discredited from the get-go. "look closer," is a soaring, fast paced sing-along and "the fallen" is a scorching punk rock track showcasing duel vocalists Matt Wilson and Jordan Brown's flawless delivery as they trade off singing duties.
While This Will Be The Death Of Us has the definitive Set Your Goals sound, they aren't afraid to keep it fresh and try new things. For example, "gaia bleeds (make way for man)," featuring Turmoil's Jon Gula, takes things to a whole new level with Audelio Flores and Dan Coddaire's Motorhead-ish riffs and Mike Ambrose's tightly knit double kick over gang vocals that will blow the doors off your mom's grocery getter, and the soon to be fan favorite "the few that remain," an insanely addictive song that features longtime Set Your Goals fan Hayley Williams of Paramore adding some gutsy vocals. The band finishes off the album with the 90's skate punk influenced "our ethos: a legacy to pass on" featuring fist-pumping guest vocals from New Found Glory's Chad Gilbert.
This may only be the band's second album, but you wouldn't know it. Set Your Goals has already proven their longevity and dedication to the music through relentless touring and their classic debut, and with the release of This Will Be The Death Of Us it further cements them as one of the pop-punk greats.
ABOUT MIKE POSNER--
Most college boys spend their free time playing beer pong and hooking up with hot chicks. But Southfield, Michigan-bred producer/singer/songwriter Mike Posner, 21, doesn't let the hedonistic side of life at Duke University (where he's currently a senior, majoring in both sociology and business) derail him from his musical dreams. At 13, he started making beats and networking with other musicians via Internet message boards. In January 2009, Posner holed up in his dorm room and wrote, produced and recorded every track on his debut mixtape, A Matter of Time. The mixtape hit the Web in March, sparking a months-long label bidding war, where J Records emerged the victor. Even with all his musical accomplishments, Mike hasn't abandoned his studies just yet, as evidenced by his hustle during finals week this semester. "Thursday and Friday I performed in Detroit. Saturday I performed at the University of Dayton. I had three finals on Tuesday, a show at Duke Wednesday, did a song with Wale and 9th Wonder Thursday, and Friday I had a meeting with Jay-Z." While Mike works toward graduation, he is recording a new mixtape slated for a fall release, his debut album, as well as touring every weekend.
ABOUT CONFIDE--
Confide was formed by Joshua Plesh, Aaron Van Zuthpen, Billy Pruden, Jason Pickard and Jeffrey Helberg. They were in the same youth group and wanted to start a hardcore band. Two EP's were recorded in this formation: Innocence Surround and Introduction.
In the end of 2006, drummer Jason Pickard left the band and was replaced by John Paul Penton. Joshua Plesh also left the band. Ross Kenyon (who was fronting Penknifelovelife at that time) contacted Jeffey Helberg through the internet and told him he wanted to sing in an American band because his girlfriend lived there.
After being in the States for three months, Ross was forced to move back to England and John decided to quit the band.
In July Ross moved back to California and Arin Ilejay joined the band on the drums. In this formation they recorded Shout The Truth and their videoclip for PlayIf We Were A Sinking Ship.
In March 2009 two new members were introduced to the band: Joshua Paul and Joel Piper. Aaron and Arin left the band because they wanted a normal life off the road.
With Joel taking over the clean vocals, they re-recorded Shout The Truth and also a cover of The Postal Service's 'Such Great Heights'. They also recorded a videoclip for that song.
In August 2009 Billy Pruden, bassplayer and founding member, left the band to do Biblical studies to move into full time ministry. He was replaced by Trevor Vickers.
Vickers was introduced on their national headliner tour 'Thriller Tour' with Agraceful. They also recorded a video for 'I Never Saw It Coming' in September.
In December 2009 the band recorded their new album with Joey Sturgis (Asking Alexandria, The Devil Wears Prada, Attack Attack!). The album is set to release in May 2010.
ABOUT WHITECHAPEL--
Formed in 2006 by Phil Bozeman, Brandon Cagle, and Ben Savage, tech-heavy Knoxville, TN-based death metal outfit Whitechapel (named for the London neighborhood where the notorious Jack the Ripper disposed of most of his victims) blend grindcore, hardcore, and black metal into an unholy trinity of audio violence. The band's 2006 self-produced EP led to a European record deal with the Siege of Amida label, a distribution deal with Candlelight, and eventually a signing with Metal Blade for 2008's full-length This Is Exile. The current lineup includes Bozeman on vocals, Savage on lead guitar, Gabe Crisp on bass, Kevin Lane on drums, and dual guitarists Alex Wade and Zach Householder.
ABOUT THE PRETTY RECKLESS--
The Pretty Reckless is a New York, U.S. based post-grunge band since 2009, fronted by lead singer Taylor Momsen, most famous for her co-starring role in the CW teen soap, Gossip Girl. Momsen describes the band as being influenced by Hole, Nirvana, and Joan Jett. The band opened for Australian sister duo The Veronicas at U.S. gigs in Spring/Summer 2009. They are signed to Interscope Records. Their debut album was supposed to be released in the fall of 2009. It is now being released on June 22nd.
ABOUT AFTER MIDNIGHT PROJECT--
After Midnight Project's rhythmic, punk-inspired hard rock began taking shape in 2004, when vocalist Jason Evigan, drummer Dan Morris, bassist TJ Armstrong, and guitarists Spencer Bastian and Christian Meadows held their first practice in Los Angeles. By 2007, After Midnight Project's touring ethic and introductory EP (The Becoming) had earned them a contract with Universal Motown, and the band decamped to the record studio to work on a full-length album. Let's Build Something to Break marked their major-label debut in August 2009, and the group supported its release by joining the Warped Tour that summer.
ABOUT YOUMEATSIX--
Often abbreviated YMA6 or YM@6, You Me at Six are a pop/rock outfit that formed in Surrey, England, in 2005. They quickly released an EP at the time, entitled We Know What It's Like to Be Alone, but it would be their subsequent live work and recorded output after signing with Slam Dunk in 2007 that would earn the band quite a bit of success, including a nomination from Kerrang! for Best British Band in 2008. With a more "screamo" sound as their foundation, You Me at Six slowly built a buzz around themselves in 2006-2007, playing larger and larger venues and attracting the attention of the aforementioned Slam Dunk. Soon after the deal was done, YMA6 released their first album, Take Off Your Colours, in late 2008. The album would go on to crack the Top 25 on the U.K. album charts, and earn the band an opening slot for Fall Out Boy on that band's U.K. tour.
ABOUT FAR FROM FINISHED--
Far From Finished started in the suburbs of New York and has since relocated to the urban setting of Boston, Mass. Far From Finished comes with a message of hope and a love for their country.
Since their beginning, the band has put forth all of their efforts to spread their hymns of shame, regret, hope, and debauchery. Far From Finished prides themselves on writing music that the average man can relate to, and unfortunately can find support in.
From bar to ballroom, Far From Finished has shared the stage with the finest acts of yesterday and today. Be sure to look out for the boys in a town near you.
ABOUT ATTACK ATTACK!--
Not to be confused with the myriad Attack Attack(s) that were all the rage at the outset of the 21st century, the Columbus, OH based Attack Attack (the bands were delineated by their usage or non-usage of an exclamation point) were a screamo/metalcore outfit that held true to a strict set of Christian beliefs. Members Nick Barham (vocals), Johnny Franck (guitar and vocals), Andrew Whiting (guitar), John Holgado (bass), Caleb Shomo (keyboards), and Andrew Wetzel (drums) inked a deal with genre label Rise Records, and released their debut, Someday Came Suddenly, in 2008.
ABOUT EVERCLEAR--
Though Everclear's Northwestern grunge-punk style was hardly revolutionary when the band rose to popularity in 1995, the trio's hook-ridden songs and Art Alexakis' "us against them" lyrics were taken to heart by bored Gen-X teens. Everclear's sound reflected the rock, post-punk, and singer/songwriter influences of frontman Alexakis, including acts like X, the Replacements, the Pixies, Bruce Springsteen, Tom Petty, and Elvis Costello. Also instrumental to Everclear's success was the group's obsessive touring schedule and aggressive self-promotion tactics.
Art Alexakis (b. Apr. 12, 1962, West Los Angeles, CA) was raised in a lower-middle-class household by his single mother. His father left the family during Alexakis' childhood, an incident that would later pepper many of Everclear's most popular songs. The dual deaths of his brother and girlfriend (his brother by heroin overdose; his girlfriend by suicide) convinced him to kick his own cocaine habit in the mid-'80s, and he later formed a country-punk band named Colorfinger in San Francisco. The group released one LP on Alexakis' own Shindig label, but the album (and an EP) became out of print after distributor Rough Trade folded. The band subsequently imploded, and Alexakis moved to his girlfriend's hometown of Portland, OR. In 1992, he met Craig Montoya (b. Sept. 14, 1970) and Everclear's first drummer, Scott Cuthbert; the trio recorded a demo EP for $400 and released the disc on Portland's Tim/Kerr label. Alexakis grew frustrated with the company's lack of promotion, so he hired an independent promoter to push the EP and personally mailed copies to media outlets and distributors.
Everclear then added several songs to the EP, re-titled it World of Noise, and issued the expanded package in 1993 on Fire Records. Throughout the following year, the group toured relentlessly and underwent several key changes, replacing Cuthbert with Greg Eklund (b. Apr. 18, 1970) and singing to Capitol Records in June. Their second album, Sparkle and Fade, appeared in 1995 and attracted a much wider audience. Alternative radio outlet lent their support to the singles "Santa Monica" and "Heroin Girl," and the album eventually rose to platinum status. Meanwhile, Alexakis became a major alternative media figure, even reporting from the 1996 political conventions for MTV. So Much for the Afterglow followed in 1997 and went double-platinum, particularly due to the success of three Top 5 modern rock hits: "Everything to Everyone," "I Will Buy You a New Life," and "Father of Mine." Alexakis had become a father himself around this time, and the birth of his daughter prompted the singer to become even more politically active. He testified in front of Congress regarding child support laws and campaigned with several presidential tickets, among other efforts. Everclear was also hailed Modern Rock Artist of the Year by Billboard magazine in 1998.
A double-barreled concept effort appeared in 2000 with the poppy Songs from an American Movie, Vol. 1: Learning How to Smile surfacing in early fall and the harder-rocking Songs from an American Movie, Vol. 2: Good Time for a Bad Attitude appearing a few months later. (Learning How to Smile was initially planned as a solo effort for Alexakis, given its deviation from the band's standard three-piece rock sound.) Both records produced several charting singles, with the AM radio pop of "Wonderful" finding the most success. Everclear returned with the more straightforward Slow Motion Daydream in 2003 before the aptly titled greatest-hits compilation Ten Years Gone: The Best of Everclear 1994-2004 appeared in October 2004. In between, Alexakis ventured on a brief 2003 solo acoustic tour before the entire Everclear lineup would shift around him. Alexakis remained the only original member as the group expanded past a trio to include bassist Sam Hudson, guitarist Dave French, drummer Brett Snyder, and keyboardist Josh Crawley. Now off the Capitol roster and back in the indie world, the newly minted Everclear released Welcome to the Drama Club on Eleven Seven Music (in association with ADA/Warner Music Group) in September 2006. Spearheaded by the single "Hater," the album was meant to be a homage to some of Alexakis' earliest influences. Drama Club cracked the Billboard Top 200 and hit number eleven on the Top Independent Albums chart, while Everclear subsequently headed out on a college club tour through the fall. 2008's The Vegas Years was a set of covers; 2009's In a Different Light, an album of re-recordings, turned the tables.
ABOUT THE ADOLESCENTS--
One of Southern California's best-loved hardcore bands, the Adolescents helped establish the blueprint for Orange County punk, along with Agent Orange and Social Distortion. Although their music was the most standard-issue of the three, the Adolescents' blazing energy and quintessential teenage snottiness gave them an instant connection with their audience, and defied their upbringing in California's bastion of staid conservatism. Their original lineup was only together briefly, and the majority of their limited discography was actually recorded during a late-'80s reunion. Nonetheless, their impact was an enduring one, as countless followers borrowed from their attitude and covered their best-known songs.The Adolescents were formed in 1980 in the Los Angeles suburb of Fullerton, at the border of Orange County. Lead vocalist Tony Cadena (aka Tony Montana, aka Tony Adolescent) joined up with bassist Steve Soto, who'd just left Agent Orange. They first recruited guitarist Frank Agnew (who'd just left the charter lineup of Mike Ness's Social Distortion), guitarist John O'Donovan, and drummer Peter Pan. This lineup splintered quickly, however, and the latter two were replaced by guitarist Rikk Agnew (Frank's brother) and drummer Casey Royer; both had been playing in the Detours, and both had also been original members of Social Distortion. Later that year, the group issued the classic hardcore single "Amoeba" on Posh Boy Records; the track also appeared on the inaugural Rodney on the ROQ compilation, assembled by legendary L.A. punk DJ Rodney Bingenheimer.The Adolescents' self-titled debut album was released on Frontier Records in 1981, and quickly became one of the best-selling California hardcore albums behind the Dead Kennedys' Fresh Fruit for Rotting Vegetables. Despite its relative success, Rikk Agnew left the band by the end of the year; he recorded a solo LP for Frontier, All by Myself, on which he played all the instruments, and also joined Christian Death, playing on their seminal goth-rock debut, Only Theatre of Pain, in 1982. He was replaced very briefly by ex-Germs guitarist Pat Smear, then by Royer's roommate Steve Roberts. With Roberts, the quintet recorded a three-song EP, Welcome to Reality; however, deprived of their chief instrumental weapon, the group had already disbanded by the time it was released in the fall of 1982. Royer concentrated on fronting the fairly successful D.I., which expanded to include Rikk Agnew once his stint in Christian Death had ended. Soto and Frank Agnew both joined Legal Weapon, while Cadena formed a new group called the Abandoned.In 1986, the version of the Adolescents that had recorded the group's lone album reunited for a series of shows around Los Angeles. They soon began working on new material, but before long, Royer returned to D.I., and Frank Agnew departed as well. They were replaced by Sandy Hansen on drums and the Agnews' younger brother Alfie on guitar. This lineup recorded the comeback album Brats in Battalions, which was eventually released in 1987 on the band's own label; by that time, Alfie Agnew had departed for college, to be replaced by Dan Colburn. After touring for most of 1987, both Colburn and lead singer Cadena tired of the band and left as well.Rikk Agnew and Steve Soto decided to share lead vocal duties and keep the band going. They recruited new guitarist Paul Casey, who left after a few months of touring; he was replaced by a returning Frank Agnew. This lineup signed with Triple X and recorded 1988's Balboa Fun*Zone, which deviated from the group's trademark style but won some praise nonetheless. Uncertain of what musical path to follow, the Adolescents broke up in April 1989, this time -- for all intents and purposes -- for good. Triple X issued the split LP Live 1981 and 1986 as a capstone. Soto, Hansen, and Frank Agnew formed Joyride, which released two albums in the early '90s, though Agnew left almost immediately. Rikk Agnew resumed his solo career and also toured with Christian Death's reunited original lineup. Also in the early '90s, Cadena, Royer, and Rikk Agnew started performing together as ADZ, releasing an album together in 1995; Cadena was the only one who stayed on, but kept ADZ going into the new millennium, eventually with help from Frank Agnew.
ABOUT AGENT ORANGE--
The Original Southern California Punk/Surf Power Trio, Agent Orange has been around since forever. Never bought in, never sold out. Blazed a musical trail so wide that imitators had no trouble driving right up the middle of it in an armored truck full of major label ca$h. Still flying under the radar after all these years, with a loyal following that's always one step ahead. Hooked up all over the world, but always looking for someplace else to go. 100% guaranteed to make your ears ring. Expose yourself to Agent Orange's Fullblown-Supercharged-Punk-Surf-Grind, and you'll never be the same. C'mon down front, and have some fun!
For punk rock personalities in California to run for politics has become no more strange than for movie actors to be elected to offices such as mayor, governor, and even president. The Ronald Reagan era certainly helped inspire the rage behind punk rock bands such as T.S.O.L., with whom Jack Grisham has been performing off and on since 1978. Grisham himself ran for governor in 2004, a bid that was unfortunately terminated by another movie star candidacy. A young man once described as a "pasty-faced youth" by T.S.O.L. historians just didn't have the muscle for such a race; in addition, Grisham mentioned in interviews that his rock & roll background inevitably led to voters not taking him too seriously.
Grisham indeed seems to have more gravitas when examined as a figure in the development of West Coast rock history. T.S.O.L. are considered one of the founders of the vicious grindcore style, an important aspect of which is menacing vocals. Politically, however, the message of this band in the early '80s quickly swerved from strong political diatribe to sheer entertainment, kind of like John Kerry picking the turn-off lane for a water-skiing park rather than the ramp marked "Exit Iraq." Grisham originally left T.S.O.L. in 1983 and was replaced by his brother-in-law, Joe Wood. Grisham went on to sing in other bands such as the Joykiller, Cathedral of Tears, and Tender Fury, but has been reunited sporadically with T.S.O.L., including a 2001 CD entitled Disappear.
A provocative aspect of Grisham's original performing style was his use of a series of aliases, supposedly one for each new release. On the 1981 Dance With Me, for example, he is credited as Alex Morgan. He also performed as Jack Greggors, Jack Ladoga, and Jack Delauge -- in part to confuse the so-called "scenesters" who think they know everything about a band or style, a bit like Miles Davis intentionally leaving the names of his sidemen off of one album. Grisham also supposedly developed the ploy in order to throw authorities off his trail, although accounts that mention this do not go into any further exciting detail. Sometimes a change in looks would go along with a name change, a combination that on a well-lit stage might well throw off the bloodhounds. In his Alex Morgan persona, Grisham wore so much makeup that he was mistaken for an Adam Ant clone. "But I was wearing makeup when I was a skinhead three years ago, just to bum people out," Grisham explains, a comment that by itself should qualify a person for the governorship, at least in California.
ABOUT ASSORTED JELLY BEANS--
This is the story of a punk rock band so good that when they opened for The Vandals (at the request of The Vandals bassist's wife who had heard them play live on KSPC), Joe and Warren made a decision right then and there to start a record company and take credit for the best punk discovery since Op Ivy. A year later, with the release of their self-titled album, Kung Fu Records was born in their honor. Much of the punk community all over the world first fell in love with the Jelly Beans from their stunning lead track 'Braindead' on Lookout Record's compilation 'Punk Uprisings' or those who heard that track 'You'll never know' on the 'Punk Bites' comp have described this as the exact opposite of disappointing. Their first full-length was released in July '96 with another, ' What's Really Going On?' to follow in '98. Their EP 'www.y2ktheory.ep..ajb..com' was released in 1999.
ABOUT GREEN JELLY--
Green Jelly began life as Green Jello in 1981 in Kenmore, New York. The name was chosen due to the band's poor opinion of that flavor, and they decided that it also appropriately reflected the quality of their music. The band never attempted to be good, deciding instead to "disguise their lack of ability with stupid props," as their liner notes put it. The group appeared on The Gong Show touting themselves as the world's worst band, but the real turning point came when they met Gwar in 1988 and learned how to sculpt props and costumes with latex, papier-mache, chicken wire, and couch cushions. They attracted a small, curious following with their bizarre, cartoonish look and wound up signing with Zoo Records as a video-only band. They released a video album called Cereal Killer, using simple, bubblegum metal songs as an excuse to dance around in silly costumes, and the clay-animation video for "Three Little Pigs" became an MTV hit, spawning the release of an EP and later the full soundtrack to the video album. With success came lawsuits for trademark infringement; the band was forced to change their name to Green Jelly and also had to put an edited version of "Cereal Killer" on their audio release, as the cereal companies whose mascots were murdered in the video did not take kindly to it. Band members, who have exceeded 74 in number over the years, perform under aliases such as Marshall Staxx and Jesus Quisp. The band was able to sell records based on their visual weirdness for several years, doing fine up through the mid-'90s. ~ Steve Huey, All Music Guide
ABOUT THE UNTOUCHABLES--
In the beginning there were only a few of us, we would dress up in our vintage mohair suits, sit around in local cafes and talk about how great it would be if the entire city were full of mods and modettes, rude boys and rude girls. The clubs would be filled with sweaty dancers and their parking lots with shiny scooters.
This year was the summer of 1980. We didnt realize that by 1981 wed be in the middle of our dream come true. All of a sudden there were hundreds of us everywhere. MODS ARE GO.
The Untouchables first record that was Twist-n-Shake b/w Dance Beat, released on their own Dancebeat label in 1982. Then came 1983's Tropical Bird b/w The General. Tropical Bird was a pretty traditional ska number with jungle overtones.The General was a classic two-tone sounding dance tune.
Their first 12" was a six song EP('84) -- Live & Let Dance, that included originals like Free Yourself, Lebanon, Whiplash and What's Gone Wrong -- all of which got some local play on KROQ during the mid-80s -- mostly Rodney on the Roq, but occasionaly during regular rotation as well. Also included a great cover of Stepping Stone. Their early singles and records were eagerly bought up by mods and have become rarities. It was in '84 that the Untouchables started to get recognition, becoming the posterboys for the Los Angeles mod scene appearing in movies like Repo Man and Surf II.
Their first full-length LP came in 1985 -- Wild Child. Interestingly enough, Wild Child -- the song -- was written by Tony Rugolo lead singer of The Question and was intended for The Question's own LP which -- for various reasons -- never saw the light of day. So, UTs stole, borrowed, grabbed, bought (depending on who you talk to) the song from Tony and it became the title track as well as one of their best live numbers. The entire album was musically tight and very consistent.
The compilation album The Untouchable's Live: A Decade of Dance was recorded at The Roxy in Hollywood on December 22nd 1989 -- The Untouchables: Cool Beginnings Rare and Unreleased 1981 - 1983. Cool Beginnings reaches back into Los Angeles mod antiquity to dredge up some really rough live, and bedroom studio, recordings. Rough like uncut diamonds, rough gems: Ska Mods, Mod Knights, Another Late Night, Motion Like Hers, and The General, to name a few.
The Untouchables early shows were great for their intensity, incredibly energy, and like the LA scene at that time, immaturity. Early on, they did a stint as the house band at the Roxy, and were the mod/ska band to see every weekend at places like The Timbers, Oscar's Cornhusker, Mama Brown's Backdoor, Fenders and even the Golden Bear in Huntington Beach. The liner notes for Cool Beginnings says of their years at the Roxy, "Color barriers were smashed as black and white youths came from neighboring cities and counties to join the mod revival in unity, harmony and ska. 1983 was a very good year for ska mods in Hollywood."
The Untouchables were the impetus for bands such as Fishbone, and later for numerous California ska acts like (early, early, early) No Doubt, Donkey Show, Skeletones and Let's Go Bowling.
ABOUT LEFT ALONE--
Combining three-chord punk rock with ska and just a dash of country to create a unique sound all their own, Left Alone has used their DIY ethos to move up the ranks from backyard band to Hellcat Records staple. The Wilmington-based three-piece is now set to release their third full-length studio album April 7.
After being welcomed into the Hellcat family in 2005, the group released their debut full-length, the ska-punk classic "Lonely Starts and Broken Hearts", then followed it up with their diverse sophomore LP "Dead American Radio". Sights set on a more cohesive third album, the band began working on and practicing the first incarnations of what would become the self-titled effort, then time off from their touring and rehearsing schedule.
"The band had been touring constantly, but after our January tour we took a long break, which is something I've never gotten to do before," says front man and founder Elvis Cortez.
Cortez occupied his time off with a stint filling in on bass for several Unseen tours, after which he looked at the songs with fresh eyes, helping the direction of the album come together before ever entering the studio.
"I got to come home and start putting things together, and wrote all these songs specifically for this album. I didn't want to rehash old songs, or play songs we've been playing forever. I wanted music for the moment."
The time away worked towards the band's advantage and helped make the record the most cohesive group of songs to date. While Dead American Radio offered fans a large variety of styles to choose from, the latest effort has meshed into one polished and progressive sound, with personal lyrics and a commitment to give the fans something to salivate over, and silence the critics they care so little about.
The break from touring also gave Cortez time to finalize the new lineup, adding Kiel Gesicki on drums and Nick Danger on bass, tightening up the group's sound.
The first single off the record, "3 Bottles of Wine", represents the new dynamic of the group and the album, with an addictive sing along chorus, still in the tradition of the band's previous fan favorites but on a new, higher level.
Fans of Left Alone's distinct ska sound need not fear, the band hasn't forgotten their old signature and features it on the made-for-skanking romp "Sad Story", dealing with true life events living within the confines of gang-infested Wilmington.
Radically changing the personal tones of the album is the politically charged "Bombs Away", dealing with the rampant destabilization of Western civilization. The song is a stark departure for Cortez lyrically, and deals with subject matter usually non-existent for Left Alone.
"The album to me sounds like one full project, each song compliments the others," summarizes Cortez. "I feel like these are the best I've written and have the best production value, and a lot of that comes from going and living in the studio."
The group left Wilmington for almost a month to head to a studio in Fontana, a rural town in the Inland Empire, with limited distractions and a complete focus on recording the album with the same audio engineer who worked with the band on Dead American Radio.
With solid months of touring lined up, and their new album slated for a March release, the band shows no signs of slowing down or letting grass grow under their TUK-clad feet. Left Alone has always walked the road less traveled by, and without a doubt, it's a road with no end in sight.
ABOUT COBRA SKULLS--
The hard-edged and rapid-fire punk rock of Reno, Nevada's Cobra Skulls was born in January 2004. Drummer Chad Cleveland, singer and bassist Devin Peralta, and guitarist Charlie Parker had met a few years prior while they were students at the University of Nevada, and in time, they banded together around a shared love of groups like 7 Seconds, NOFX and Bad Religion. The Eat Your Babies demo arrived first before the guys split a seven-inch in 2006 with local crew Beercan! on Humaniterrorist Records. That same year, the band also issued an EP entitled Draw Muhammad, and that record, coupled with frequent gigs around town, had Cobra Skulls starting to turn a few heads in local dives. Ultimately, they caught the ear of Red Scare Industries, who signed them up in early 2007 and by mid-year issued their debut full-length, Sitting Army, which proved to be an aggressive and incisive display of punk fervor that mixed the sounds of Against Me! and the Living End with the Clash and TSOL. Second guitarist Adam Beck was added during subsequent supporting tour dates, including shows with bands like the Loved Ones and the aforementioned Against Me!
ABOUT BURNING EMPIRES--
Fall Out Boy is on indefinite hiatus, but drummer Andy Hurley is busier than ever!
In addition to the Damned Things, his heavy metal band with members of Anthrax and Every Time I Die, the 29-year-old sticksman is working on another project: Burning Empires, a hardcore quintet featuring Stuart Ross, Ryan Morgan, and Kyle Johnson of Misery Signals, plus Matt Mixon, formerly of 7 Angels 7 Plagues. They're all Milwaukee natives (and housemates!) with one ambition: to deliver their political message hard, fast, and loud.
Like Misery Signals and 7 Angels 7 Plagues, Burning Empires rip out a heavy, furious sound with thundering double kick drums, screeching electric guitars, and Morgan's vicious screams. But with "Accomplice" -- a song off the band's early 2010 EP, Heirs of the Soil, to be released via their own Fuck City label -- there's an added element: a scathing message about the U.S. government's war against animal and environmental activists.
Speaking exclusively to SPIN.com, Hurley, a devout vegan and follower of anarcho-primitivism, discussed the new band -- and its message:
"This is a band I've always wanted to do with these guys, who have been best friends for about as long as Pete [Wentz] has been my best friend -- over 10 years," he said. "Burning Empires satisfies a heavier, more pissed off side of me that has been waiting to come out, and the politics of the band are so important to me. They're issues for which I've wanted to have a musical outlet for years."
Ryan Morgan agreed: "['Accomplice'] is a song about the guilt of existing in an ecologically destructive system," from which "there is virtually no escape."
"And should someone choose to take action," he added, "they're facing a disproportionate and heavy-handed response from the government. The FBI has labeled the animal rights and environmental movements as the 'No. 1 Domestic Terrorist threat.' It's horrifying and it's bizarre and backwards."
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