LOVE THE HATE New Single, “Solid Ground,” Out NOW!

Mobile, AL based Heavy Rockers LOVE THE HATE has released their brutal new single, “Solid Ground.” With a dark, modern music video directed and filmed by Thomas Crane of KillDevil Films (SalivaTodd La Torre [Queensryche], Eve to Adam), “Solid Ground” has quickly dominated local and international radio, bringing the quintet’s unique brand of dark, heavy riffs and infectious melodies to an audience starved for honest rock music.

The band’s 6/22/2021 released music video for “Solid Ground” was filmed in an historic Mobile mansion known as the “Outlaw Mansion,” which inexplicably burned down shortly after. Often referred to as “Alabama’s Most Haunted House,” the sprawling property was once an opulent mansion–one of Alabama’s finest examples of Spanish Colonial Revival architecture–owned by the Outlaw family since 1925. Former Mobile Mayor Arthur Outlaw lived there until the mid-1980s.

“It played a big role in making the video so cool because it has all of the historical aspects of the house — the handcraftmanship on the house alone is remarkable. My dad was a frame carpenter, so I noticed everything like that. It was amazing for me to stand at the staircase of the house when we were shooting the video and be surrounded by that.” – Frank Killian – Love The Hate.

Purchase / Stream “Solid Ground” Online:
iTunes | Spotify | Amazon

09/03 @ OnyxFest The Third – Jacksonville, FL
09/24 @ Daphne Civic Center – Daphne, AL

Click HERE for Additional Dates & Ticketing Information.

Love The Hate is a modern rock band based out of Mobile, Alabama. Influences include such bands as ChevelleBreaking Benjamin10 Years, and Deftones.

Doc St. Andrie – Vocals
Frank Killian – Guitar
Leon Craft – Bass
Marshall Mears – Guitar
Troy Dearmon – Drums

Connect with LOVE THE HATE:
Facebook | Twitter | Instagram

RIG TIME! Releases Bold, Gritty Cover of DRY KILL LOGIC’S “Pain”

4 RIG TIME Dry Kill Logic cover single art file

Wisconsin based Hardcore Metal Band RIG TIME! has released their cover of DRY KILL LOGIC’S “Pain,” off of the 2001 released LP The Darker Side of Nonsense. “Pain” was tracked by RIG TIME! at the studio located inside the legendary Warehouse concert venue in La Crosse, WI. Mixing and mastering was handled by Will Hirst at Gate Four Studios (MindforceRestraining Order) in Massachusetts.


“Our cover of ‘Pain’ originated from being approached about contributing a nu metal cover song for an upcoming compilation. We tossed around a few ideas and decided on Dry Kill Logic. When I think of bands from the early “Nu metal days”, DKL always comes to mind with the utmost admiration. They were a band that had that killer “nu” groove but always felt like a more of a hardcore & 90’s metalcore vibe. We’ve always been known for being groove oriented and very heavy, so this song fit well. We stuck to the original formula but still made it ours. A little more dirty, grimy and noisy. Since we’re all in a moment where touring isn’t an option, this was a fun way to stay active as we prepare for our next original release to come out.” – Bryan (Vocalist\Drummer)

Click to Download / Stream “Pain” Online

1 RIG TIME Promo

“Limitless” is the conviction this La Crosse, WI outfit abides by. Deeply rooted in the DIY ethos, RIG TIME! is a viciously passionate and determined ensemble with a strong work ethic and a vital purpose. Forged in the fires of hardcore and sludge, embracing the groove of nu-metal and doom, RIG TIME! has performed in 39 states and Canada since 2015. The band has relentlessly toured across the US holding true to the idea of “All Ages Or Nothing” by performing at only all ages events and resonating their substantial live sound and stressing the message that live music is for all to share.

Vocalist/Drummer Bryan W. Fleming “…offers relentless rhythms with industrial precision as well as a smart beat changing sensibility” and Guitarist/Bassist Rebecca Fleming’s “…guitar is mean, saturated and dogmatically singular.” Outburn Magazine declared, also noting “…for fans of earlier, angrier Godflesh.”

New Noise Magazine said “Puncturing their blend of sludge and hardcore – with a tight embrace on powerviolence – the band kicks fast and dirgy tones, manifesting unbridled hatred.” and likened RIG TIME! to heavyweights Xibalba and Harm’s Way.

RIG TIME! executes a fierce live performance with precise and fearless transitions, always at astonishingly vulgar decibels. These two performers exhibit the force of a full band as they implement a complete Vocal/Guitar/Bass/Synth performance without backing tracks, never suppressing their magnitude of raw energy and emotion. The band is currently working on a follow up to the full length album “War” that was released on October 20, 2017 via Innerstrength Records.

RIG TIME! Live and in the studio is: Bryan W. Fleming – Vocals, Drums, Synths Rebecca Fleming – Guitar, bass, Atmosphere

3 RIG TIME Live Shot


DROPDEAD: Providence Activists Dispatch Duo Of Joint EPs/Split 7″ Releases With RUIDOSA INMUNDICIA + SYSTEMATIC DEATH

Longtime political hardcore/punk activists, DROPDEAD, have just released two brand new EPs via their own Armageddon Label, both of them split releases; one with RUIDOSA INMUNDICIA and the other with SYSTEMATIC DEATH.

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Since 1991, Providence, Rhode Island’s DROPDEAD has protested humankind’s attrition towards the environment and its inhabitants, including each other, along the way amassing an impressive arsenal of fully independent releases, including several full-length studio and live LPs, and split releases with Crossed Out, Rupture, Totalitär, Unholy Grave, Suppression, Converge and others. Having toured internationally — razing clubs, squats and basements on multiple continents for two decades — the band has been a major East Coast US contributor to inspiring entire new generations of extreme music fans to rise up against tyranny and injustice at maximum speed and aggression through their “fucking assholes don’t get it” credo. DROPDEAD‘s latest audio collapses come in the form of two new 7″ vinyl split releases with a pair of high-potency international acts.


One of these brutal head-to-head platters is with Vienna, Austria’s punk shredders, RUIDOSA INMUNDICIA, the female-fronted outfit raging in the riotous vein of Antischism, Capitalist Casualties, Los Crudos and Hellnation. The split leads with “A Fall Of Empires” and “Last Breath” from DROPDEAD on the A-side, and counters with “Donde Esta La Solucion,” “Asco” and “Blanco Y Negro” from RUIDOSA INMUNDICIA on the B-side. The second new output comes in the form of theFighting For Life 7″ split with longtime Japanese punk/hardcore outfit, SYSTEMATIC DEATH. In existence since 1983 this outfit spews forth rabid political hardcore along the lines of Gauze, S.O.B.,Infest, GISM and Lärm, and here overthrows the B-side of the split with the tracks “Suji” and “Dashing,” while DROPDEAD overloads side A with their newest attacks in the form of “Foundation” and “The Final Chapter.”


DROPDEAD on Facebook

SICK OF IT ALL writing new studio album

New York Hardcore legends SICK OF IT ALL have begun writing songs for their new album which is tentatively scheduled for release this fall via Century Media Records. Once again the band will be teaming up with Tue Madsen for what they describe as a “straight up old school New York Hardcore record.”

In the meantime, while working on the follow up to their last studio album “Based On A True Story”, SICK OF IT ALL announced that they will be playing Asbury Lanes in Asbury Park, NJ on March 28th and United Blood in Richmond, VA on March 29th. The band will also be returning to Europe in July and August for a festival run.

You can visit or for tour dates and other news updates.
SICK OF IT ALL online:



Scene Point Blank celebrates 10 years with their first book

All Downhill From Here – Scene Point Blank: The Collected Music Writing of Ten Years covering Punk, Metal and Hardcore releases on Feb. 1, 2014


In 2003 the AFI messageboard spawned a new webzine called Scene Point Blank. AFI were at the top of the charts, The Blood Brothers and The Locust were making waves in hardcore, and a young folk-punk band called Against Me! released As the Eternal Cowboy. The times have changed, but Scene Point Blank is stronger than ever, celebrating 10 years with All Downhill From Here, a new book that highlights some of our favorite material and includes insight on the wide-ranging cast of writers behind some of the webzine world’s longer reviews.

Curated from 4000+ reviews and 200+ interviews, Scene Point Blank has put together some of our most popular items, some of our favorites, and our most memorable pieces into three formats: Kindle, eBook, and print, retailing from $7-15 depending on platform.

Let’s not to limit SPB to punk and hardcore, though. We’re proud of our varied content, ranging from blackened death to drone to hip-hop and even prog. Music shouldn’t be limited to genre and, in fact, discussing it in those terms is far too limiting. What we focus on is heavy, independent music—both the well-known and those just getting started.

After 10 years of online coverage, we now offer All Downhill From Here to the public on a format they can carry with them and share, free of hard-to-remember URLs. Pre-orders are available now.

For more information check us out here:

REVIEW: Blitz From Boston – Punk/Hardcore Anthology Pays Tribute

Beyond the streets of Los Angeles, Washington D.C. was a hub for a budding interest in adrenaline-drenched punk and hardcore music ideologies. But while Bad Brains was taking control of the Capital City, the punk vibe was steadily brewing further north. Boston, Massachusetts was gathering its own punk and hardcore scene, one that LA and DC couldn’t handle. Pioneered by bands like Gang Green, the Boston punk/hardcore phenomenon was taking over. After more than 30 years since the scene hit, influential figures in the movement have released Drop the Needle – Boston Punk Anthology, a collection of legendary punk tracks and unreleased materials from figureheads of Boston-based punk and hardcore. If you’re wondering why punk was such a big deal during the 80’s in Boston, this is the record to listen to. It doesn’t cover every single facet, but this music is still some of the most furious examples of everything great about the scene.

“First Nickel” possesses all of the energy of a punk classic, but tames it quite a bit with melody and some blistering guitar solos. Its emphasis on texture over speed makes it a much less potent chaser after the Red-Bull-spiked adrenaline punch of the first three tracks. The songs by Celebrity Death Certificate don’t reach the paces of classic punk energy, but the band demonstrates a nice control over their intensity. It’s clearly metal over punk, but that’s not a bad thing.

The Scratch tracks are the songs that stand out the most in the “punk” or “hardcore” vibe, because they really aren’t either. Their steadier tempos and Black Sabbath-style guitar solos are so incredibly noticeable when standing on the same album as Gang Green. The bass lines on the song “Centralia” are so heavy, even when set behind the rugged and ripped guitars, highlighting Scratch’s slower pace (which also contributes to the song’s length, which is massively longer than other tracks on the album). The songs from Mallet Head continue this trend, with the live version of “Mother Sunshine” progressing with a stomping rhythm beat and a vocal chorus that, while definitely good for brewing those pits, calls out longer than your typical punk “oi!” But like the Scratch tunes, Mallet Head’s tracks emphasize steadiness and are clearly more based in classic heavy metal than 80’s hardcore punk.

This makes the third Scratch song “El Monstro” such a sucker punch to the face; it starts off quiet and steady enough, but bursts into punk pacing without any warning. The band’s metal skill darts through in a great guitar solo, but still keeps its tempo energized and racing. The brew of metal and punk reaches a near-perfect pitch on “El Monstro”, a track that is able to please both headbanging metalheads and the amped-up punk fans. It’s one of the best tracks on the record.

Probably the most interesting inclusion is five rare demo tracks by Smegma and the Nunz, one of Boston’s premiere punk supergroups that would eventually become the second major lineup for Gang Green. Composed of members of Gang Green and The Freeze, along with the late vocalist of Leper (what is said to be the first hardcore band in the Boston region), Alec Steere, Smegma and the Nunz are still as rambunctious and energized as ever. Steere’s sneering vocals are right up there with the legends of The Sex Pistols and Black Flag. Guitarist Chuck Stilphen (who appears on all other tracks on the album) is a very skilled axeman who is able to mix melodic texture and punk endurance together fascinatingly. “Napalm Sticks to Kids” has an infectiously creepy guitar bend throughout the track, while the bass beats in “Nuns of Guatemala” are just as inescapably hypnotic. As one of the unsung heroes of punk, Smegma and the Nunz’ influence is just as important as Gang Green’s, and in some ways, accelerates itself far past its own breaking point while still managing to stay on its feet. It’s downright incredible how much this music holds up today.

It’s kind of sad how the Boston scene seemed to get set aside in favor of the Los Angeles scene, because the music it produced was something of immeasurable potency. Unlike other groups, its speed and energy never trumped its musicians’ virtuosity. The songwriting from Smegma and the Nunz is amazing: blisteringly fast, but melodic and toned when it needs to be. The Mallet Head and Celebrity Death Certificate tracks don’t stand out as much, but they’re not as all bad: they just have a lot to live up to sharing the stage with Gang Green. Scratch manages to keep both punk and metal fundamentals in equilibrium; “El Monstro” is a fantastic recording. The inherently influential nature of Boston-based punk and hardcore is something of Northeastern myth (trust me, this is Pittsburgh), so seeing the movement get such a resounding tribute is downright incredible. Boston had a lot of offer for punk and hardcore, and this record is a fine sampling of what made the movement so massively appealing, even in 2014.

SATANIC MALFUNCTIONS: UK Hardcore/Punk Act’s First Album In Twenty-Two Years Streaming At Decibel

Them, the first LP from UK hardcore punk trio SATANIC MALFUNCTIONS, is out now via Poland’s demolition experts, Selfmadegod Records. Surging with rabid, old-school circle-pit intensity and politically-oriented, cynical and pissed-off lyrical tirades, Them dispatches twenty tracks in just over thirty minutes, resulting in one of those “get this now” releases for devotees to acts like Active Minds, Disorder, Doom, Atavistic, Electro Hippies, L’arm and Heresy.


Decibel Magazine is now hosting a full-on stream of the entire Them LP to celebrate its release, joined by a rapid interrogation of SATANIC MALFUNCTIONS’ percussion specialist, Ade. Check it out RIGHT HERE.


Pick Them up via Selfmadegod, who in 2012 also released the SATANIC MALFUNCTIONS Disgrace To Music 2xCD compilation both previous LPs and all EP and compilation tracks. Merch bundles are available now direct from Selfmadegod HERE, and Them is available digitally HERE.


The newest SATANIC MALFUNCTIONS LP since the Scarborough, UK-based act’s 1990-released Disgrace To Humanity, the whirlwind of old-school hardcore punk on Them is a throwback to the mid-late ’80s hardcore scene when grindcore was only beginning to take shape. Recorded by Bri Doom, of UK crust legends, Doom, Them proves that the quartet — vocalist Kai, guitarist Yaga, bassist Ryan and drummer Ade — haven’t let their guard down, and are as capable of deploying the same aggressive, ultra-fast and frenzied socio-political musical melee they did more than two decades ago.

Bloodshot – Hardcore Thrashers Ringworm’s Blistering Vinyl Release

Cleveland, Ohio’s Ringworm have had quite a career. With a huge number of lineup changes since the band’s inception in 1991, it’s clear that they’ve had multiple opportunities to shift their fist-to-face sound over time. After more than 20 years running riot on tour, Ringworm celebrate another move to the road with a special vinyl recording, Bleed. It’s short and doesn’t do anything remotely new for the band, but fans who grew to love Ringworm will find all of their favorite features brought to their record player once again.

Bleed is a brief three song vinyl record, with each track demonstrating the band’s penchant for blistering speed and metal-influenced intensity. With a clear love of the chaotic thrash metal genre and the adrenaline-drenched hardcore genre, Ringworm’s special promo LP does capture the band’s spirit well. Despite a punk aesthetic, hearing such powerful guitar lines from guitarists Matt Sorg and John Comprix is exceptional. The guys compliment the intensity well, with their solo techniques and sounds influenced straight from the thrash metal high-rises like Metallica, Anthrax and Slayer. In combination with a rapid-fire machine gun percussion from drummer Danny Zink, Ringworm pick the best parts from 80’s thrash, while keeping a hardcore energy alive at all time.

However, these three songs don’t speak volumes. As intense and furious as these three songs are, they are clear examples of a band sticking to their guns. Across the three tracks, there’s nary a moment where the band changes things up and shifts into a new gear. It’s fast and heavy, but no amount of speed and distorted weight can prevent these three tracks from blending together into a collection of extreme punk metal cacophony. It’s crazy, but insanity can’t carry Bleed out of its already established forte.

Ringworm’s trump card on Bleed is a cover of punk band Discharge’s “The Nightmare Continues.” While the guys in Ringworm do preserve that sense of anarchic, rambunctious fervor, their extreme hardcore sound doesn’t click in tune with Discharge’s original punk track. The energy is misplaced; the entire song blends in with the other two tracks on Bleed, making the cover a missed opportunity, both to recapture the spirit of Discharge’s original and to revamp the performance in Ringworm’s own light.

Ringworm do a good job of mixing thrash metal with its (debatable) roots of punk sounds, while adding some extreme musicianship as well. If you’re a fan of Ringworm’s extensive discography, Bleed will get your attention during the brief time it lasts. If you’re looking for a starting point for Ringworm, however, you won’t find a good one in Bleed. With such few surprises and a sound that never evolves or grows in appeal over time, it’s definitely not an essential disc, even for the most flexible metal maven.

UNKIND: Full Album Streaming via Lambgoat

Finnish hardcore heroes UNKIND are streaming their brand new album Pelon Juuret in its entirety via  The album is set to be released via Relapse Recordstomorrow in North America and is currently available in the rest of the world on CD/LP/Digital.  Exclusive packages are available here while the album is available on iTunes here.

Additionaly, the band recently premiered a lyric video for the song “Kentoon Tapetut” entirely in Finnish via Youtube here.  An English translation in the video description.

Pelon Juuret was recorded with producer Kari Nieminen at Noisecamp studios in Turku, Finland at the end of 2012 and   continues in the direction of the group’s previous work, offering up a furious fusion of d-beat hardcore crossed with a highly creative touch of atmospherics —as if Mogwai made a record of Tragedy covers or From Ashes Rise were influenced by Explosions In The Sky.

UNKIND has previously released five full-length albums and a handful of vinyl-only releases.  The band’s catalog is available for streaming via their official Bandcamp pagehere.
Additionally, the band has been confirmed for a series of Finnish dates including LPRHC and Back 2 School Fest .  A complete listing is available below with more shows to be announced shortly.

UNKIND Tour Dates: 

Aug 02-03    Lappeenranta FIN    LPRHC    Fest

Aug 16        Lahti FIN        Back To Skool Fest

Aug 17        Tampere FIN        Vastavirta

Aug 23        Turku, FIN        Klubi

Aug 24         Helsinki, FIN        PRKL

Aug 30         Jyväskylä, FIN        musta kynnys

Sep 09         Kouvola, FIN        rytmikatti


“easily one of the best hardcore/crust-punk albums to be released tin a very long time” – Heavy Blog Is Heavy

“a heavy, emotional, well-crafted album that’s well worth the time and heartache it will cost you.” –

“an awesome balance between compassion & rage” – Cvlt Nation

“forward-thinking, moving music.” – Exclaim

“blackened d-beat that sounds like fighting against a strongman whose fists are made of fire, so you not only get pummeled, but also burned to a blackened crisp.” – MetalSucks

For all North American Unkind press inquiries, please contact  For all UK inquiries please contact For all EU inquiries please contact


blessthefall reveals album art & track list for new album ‘Hollow Bodies’



blessthefall has unveiled the cover art, track list, and release date for their forthcoming new album Hollow Bodies, set for release on August 20, 2013.


“To say we’re excited about the release of our new record, Hollow Bodies, is an understatement,” notes lead singer Beau Bokan. “This is easily our greatest effort thus far. We have some awesome surprises on this record. Can’t wait for everyone to hear it!”

Noted as Alternative Press’ Most Anticipated album of 2013, the band’s third studio album was recorded with producer Joey Sturgis (Emmure, Crown The Empire, Of Mice & Men) and features guest vocals from Jake Luhrs of August Burns Red, Jesse Barnett of Stick To Your Guns, and electro-rock sensation Lights.



Hollow Bodies Track List:

1. Exodus

2. You Wear A Crown But You’re No King

3. Hollow Bodies

4. Déjà Vu

5. Buried In these Walls

6. See You On the Outside

7. Youngbloods (Ft. Jesse Barnett)

8. Standing On The Ashes

9. Carry On (Ft. Jake Luhrs)

10. The Sound Of Starting Over

11. Open Water (Ft. Lights)


The band is gearing up for their main stage slot on the entire Vans Warped Tour 2013, adding to an already impressive tour resume that includes runs with As I Lay DyingAvenged SevenfoldBullet For My ValentineUnderoath, and August Burns Red


ABOUT BLESSTHEFALL – Beau Bokan (lead vocals), Eric Lambert (guitar), Jared Warth (bass/vocals), Matt Traynor (drums), Elliott Gruenberg (guitar) – With the envious combination of finely-honed musicianship and an electrifying live show, blessthefall has been rapidly gaining fans across the globe. Having recent cover features with Outburn Magazine, and Alternative Press’ 2012 Warped Tour Issue, the Phoenix, AZ quintet have garnered press support from the likes of Kerrang! Magazine, Rock Sound, Guitar World, IGN, Noisecreep, among many others. Regarded among the most respected acts in the genre, blessthefall’s new album Hollow Bodies is the follow-up to Awakening, which debuted at #31 on the Billboard Top 200.

idobi Network Launches New Station idobi Howl “Listen Loud.”

Listen to idobi Howl here:
Taking you to the forefront of alternative music since 1999 with idobi Radio, the idobi Network is proud to announce the addition of a new radio stream – idobi Howl. The new station is set to bring the very best of metal and hardcore to the masses. With a motto of “Listen Loud”, idobi Howl was created for those who like their music heavy and aren’t afraid to shatter their eardrums by turning it up to 11. With a 24/7 stream, the station will feature music by bands such as Terror, Trash Talk, Kvelertak, Bring Me The Horizon, Hatebreed, Killswitch Engage, The Ghost Inside, and much more. The station will also host exclusive content such as full album streams and band takeovers. As well, listeners should keep their eyes peeled for the announcement of the station’s original programming lineup and full website. Tune in now at
In conjunction with the station launch, idobi Howl will be sponsoring the first annual Pennsylvania Deathbed Festival. Presented by The Fleet Company and Onyxeye Entertainment, the festival will take place on Saturday June 29th at Maingate Nightclub in Allentown, PA. Featuring acts such as Impending Doom, Texas In July, Within The Ruins, and I Am King, the station and festival will both bring audiences the best of what’s now in the realm of heavy music. Tickets can be purchased here:

About idobi Network
idobi Network ( reaches a worldwide audience of over 2.5 million listeners every month, as certified by the only accredited online radio measurement company, Triton Digital. The company also ranks #1 in online streaming audio Time Spent Listening (TSL), far surpassing corporate giants like Clear Channel and personalized streaming services like Pandora – all while remaining an independent broadcaster. idobi Network – a new media leader.

LEFT FOR DEAD: Reunited Faction Confirms Upcoming Shows And First New Material In Nearly 20 Years

left for dead


Recently reunited hardcore faction LEFT FOR DEAD, having last year played their first show in many years, has not only confirmed more upcoming live appearances, but will also be releasing new material for the first time in nearly two decades.


In their brief but brutal two year existence, Hamilton, Ontario-based LEFT FOR DEAD would prove to bear one of the most aptly-chosen monikers ever, the hatred and energy of their live shows and string of iconic ‘90s punk/hardcore releases still to this day considered legendarily heavy in some circles. Raging with unrest and revenge upon political and governmental bodies as well as meaningless and apathetic members of society in general, the band’s unhinged, blasting anthems infected the scene through split releases with Chokehold, Acrid and Ochre, eventually contained on the Splitting Heads discography No Idea Records released in 1998 following the band’s demise the previous year. Members of the band would form countless bands following LFD, most notably Haymaker, The Swarm, the groundbreaking Cursed, and the still-active outfits Burning Love and Pick Your Side.


In January 2012, LEFT FOR DEAD played the A389 Recordings Bash in Baltimore surrounded by two hometown shows in Canada, their first live actions in over seventeen years. In conjunction with the reunion, A389 released Devoid of Everything, an all-inclusive discography of all LFD material, cut from the original 1/4″ multi-track reels and remixed at Developing Nations by Kevin Bernsten and mastered by James Plotkin. As to their philosophy, the only liner notes of the release pretty much sum it up: “Somehow, it’s been 17 years. Some of us are dead, some of us are lost, some of us still fight it out. Looking back, the rash and sleepless fog of paranoia and cynicism that we spat at our world through back then only gets more and more justified in hindsight. No regrets, no apologies. We are surrounded by liars, and we were right to be so hateful.”


Now in 2013, LEFT FOR DEAD confirms that they’ll be performing at this year’s Chaos In Tejas twice — first alongside Integrity on Saturday, June 1st, then with Infest the following day, Sunday, June 2nd — followed by a spot on this year’s RRROOOAAARRR Fest in Montreal this August. They will also release the first new material since the mid-90s this year through a limited edition “subscription series” of four 7” releases sold through A389 beginning later this Summer. Each of the four 7” releases will be limited to 400 copies, the pressing quantity chosen in tribute to local hardcore house 400 Upper Sherman, a long-defunct pivotal local venue for D.I.Y. bands during the formative years preceding LFD’s original rampage.


The first new song from the pending first 7” in this series has been released via the track “1946” which can be previewedHERE.


Stream the entire LEFT FOR DEAD Devoid of Everything discography via A389 RIGHT HERE.

REVIEW: Thrash champions Suicidal Tendencies release 13 – their first release in 13 years!

Suicidal Tendencies – Institutionalized

All I wanted was a Pepsi, just one…Diet Pepsi? Well for anyone who was listening to those early Suicidal recordings, the “All I wanted was a Pepsi” reference being an all-to-famous line from the 1983 track “Institutionalized” (check the video above), you certainly remember that the pure ‘cyco’ style that was the Suicidal Tendencies signature sound was anything but diet.  Well only a few minutes into “Shake It Out”, first track on their new release 13, Mike Muir has referenced himself from those earlier outings…..but he’s added the qualifier of diet.

As a backdrop, when they first broke out in the early 1980’s the thrash sound of Suicidal Tendencies (who have been dubbed the fathers of crossover thrash), embodied the spirit and angst of the youth generation of their time with their hardcore/punk/thrash/metal/I don’t give a f@¢k sound. Having lyrics dealing with alienation, depression, non-conformist and anarchist politics, along with rumors and controversy of gang involvement and a string of furious shows, Suicidal’s sound was full force insanity.

Now back to the present. Diet Pepsi references or not, have no fear. On the mark of their 30th anniversary, the Suicidal Tendencies are back and still ready to rip it up and get cyco. While some time has passed and the band lineup has shifted a number of times from those original recordings, the sentiment remains the same.

The album’s sound has all of the Suicidal qualities intact, though in addition there have been some improvements. The production quality and sound throughout are uniform and crisp. And it should be, as it was produced by Mike Muir and Paul Northfield, who has done notable progressive rock production for RushDream TheaterQueensrÿcheOzzy Osbourne,Hole,Marilyn Manson,and Infectious Grooves. Likewise, there is a noticeable emphasis on the quality and complexity of the rhythm section. There is an undeniable complexity underneath the power chords and thrash melodies that add texture, depth and interest to an already interesting and memorable band.

In short, for memory sake alone you should listen to this album. Even if you’re new to the Suicidal Tendencies but appreciate influential hardcore, punk, or thrash metal check this album out. Suicidal fans will not be disappointed.

In conjunction with the release of 13SUICIDAL TENDENCIES is out on a full U.S. tour, dubbed the ‘Slam City Tour’. The tour features support from various champions of hardcore music both young and old. Support ranges from NYC hardcore heroes MADBALL and SICK OF IT ALL to Houston greats D.R.I.The tour included a stop at this year’s New England Metal and Hardcore Festival in Worcester, MA on April 21st.

SUICIDAL TENDENCIES Slam City Tour Dates with Various Support:

4/19 Philadelphia, PA @ Electric Factory (W/ SICK OF IT ALL, DRI, WAKING THE DEAD)
4/20 New York, NY @ Best Buy Theater (W/ SICK OF IT ALL, DRI, WAKING THE DEAD)
4/21 Worcester, MA @ The Palladium (New England Metal and Hardcore Festival)
4/23 Patchogue, NY @ The Emporium (W/ DRI, WAKING THE DEAD, THIS IS HELL)
4/24 Baltimore, MD @ Baltimore Soundstage (W/ SICK OF IT ALL, DRI, WAKING THE DEAD)
4/26 Charlotte, NC @ Amos’ Southend (W/ DRI, WAKING THE DEAD)
4/27 Atlanta, GA @ The Masquerade (W/ DRI, WAKING THE DEAD)
4/28 Charleston, SC @ The Music Farm (W/ DRI, WAKING THE DEAD)

4/30 St. Petersburg, FL @ State Theatre
5/02 Miami, FL @ Grand Central
5/03 Orlando, FL @ The Plaza Live
5/06 Houston, TX @ House of Blues
5/07 Dallas, TX @ Granada Theater
5/09 Albuquerque, NM @ Sunshine Theater
5/10 Tempe, AZ @ The Marquee
5/11 Pomona, CA @ The Fox Theater
5/12 San Diego, CA @ House of Blues

Mike Muir – lead vocals
Dean Pleasants – lead guitar
Nico Santora – rhythm guitar
Steve Bruner – bass
Eric Moore – drums

For more information on SUICIDAL TENDENCIES, please visit these websites:

Stellar Corpses Follow The Punk Book With Newest Album

Punk has always been a genre with a thick history. Ever since its inception decades ago, the name of the game has been speed, fury, and a love of rebellion. It makes it all the more discouraging now that punk has become a numbers game, one where breaking free from oppressive convention is painfully rare. It’s so common seeing up-and-coming punk bands begin slipping into a pattern. For every At the Drive-in and Gaslight Anthem, there are ten other groups appearing to stake their claim from the over-harvested stock brought about by The Ramones, Dead Kennedys , and Bad Religion. We really haven’t seen a huge punk revolution since the late 90’s. But from the rambunctious shores of Santa Cruz come Stellar Corpses, a punk band with a fascination with The Lost Boys and a penchant for classic, crowd-pleasing alternative anthems. With their newest album Dead Stars Drive-in, Stellar Corpses fall into a rut, one where experimenting is forbidden and the template is all the more enforced.

While Stellar Corpses are a punk outfit first a foremost, there are some interesting examples of the band escaping the rapid-fire rush of the punk world. “Pins & Needles” offers a boom-heavy groove with just enough swing and glide to stand out (a very cool use of the upright bass instrument from bassist Dan Lamothe). The band even opens the 50’s rock book, with the single “Vampire Kiss” harkening back to Elvis Presley’s groovy voice. For a genre so venerable and rooted in history, these examples are proof that the genre can go somewhere new. These unorthodox combinations are very welcome and more interesting than one might expect.

Still, Stellar Corpses love their punk. It becomes perfectly clear that these guys grew up listening to the intensity of The Misfits along with the more modern alternative punk bands like AFI or Rancid. The revving guitars and furious drum fills of “Train Wreck” bleed adrenaline, while the title track harkens back to 90’s era AFI with melodic guitar solos and a riotous pace that would make even Blink-182 gasp for air. Drummer Kyle Moore shines during the mind-blowingly intricate fills of “Be Still My Heart.” Bassist Dan Lamothe, once again, uses the upright bass in a very fascinating way, keeping the distortion low and the melody smoother. It’s a cool way to approach punk, one that the band should surely capitalize on for future musical endeavors.

Vocalist and lead guitarist Dusty Sheehan plays a mean axe, with his solos being remarkably gritty, but full of groove. “Blood Red” has a great guitar solo, for example, so Sheehan shows his virtuosity with the six-string very well here. Sheehan’s vocals, however, while respectable, don’t show very much range. He croons like Davey Havok and screams like Tim McIIrath, but his vocals feel repetitive and don’t do much to distinguish one song on the album from another. For a band with so much respect for the entire spectrum and history of punk music, Stellar Corpses haven’t done as much research as they should have.

Despite some solid musicianship, though, Stellar Corpses’ songwriting is where Dead Stars Drive-in loses momentum. Punk music is something of a straightforward affair; successful punk bands like The Ramones and The Clash are amazing since they can keep a stunningly frantic pace, all while making enough left turns to keep the pace from getting stale. Sadly, Stellar Corpses never make those left turns on Dead Stars Drive-in. Many of the songs are fine punk songs, all things considered, but when every song uses the whole “whoa” backing vocal line atop chugging power chords and snare drum gatling guns, the album goes from “fine” to “less than fine.” This becomes clearest when comparing the archetypal punk songs like “Steel Butterfly” and the ridiculously named “Death Ray Vision.” Half of the album sounds interchangeable; there isn’t nearly as much variety in the songwriting as there should be, causing Dead Stars Drive-in to melt together into one giant, middle-of-the-road punk marathon (two words that really should never be put together).

Dead Stars Drive-In may have some small instances of uniqueness, but it quickly becomes extremely difficult to find those instances behind the derivative nature of the rest of the album. For every step outside of the punk archetype the band makes, there’s another two steps back into stale power chords and overused “whoas” of the vocals. The template is organized neatly, but Stellar Corpses never seem to draw outside the lines with Dead Stars Drive-in.

“Vampire Kiss,” the groups’ new video for their first single off the album was recently filmed in Hollywood at a raucous house party, by director Jared Sagal (Rockerrazzi Films), check out the band performing the track singer Dusty Sheehan calls “a tribute to the greatest vampire movie of all time, The Lost Boys, filmed in our hometown of Santa Cruz.” View everything online at



DATE                             VENUE                                                  CITY/STATE

March 23                        Sharonville Convention Center                  Cincinnati, OH

(Horrorhound Weekend with The Koffin Kats, Harley Poe, The Big Bad, and more!)

March 24                        Third Street Dive                                      Louisville, KY

March 25                        Lindberg’s                                                Springfield, MO

March 26                        Wreckroom at Zietaine Nights                    Amarillo, TX

March 27                        Rocky Point Cantina                                 Phoenix, AZ

March 28                        House of Blues                                         San Diego, CA w/Tiger Army

March 29                        Favorites                                                  Las Vegas, NV

March 30                        The Bum Steer                                          Winchester, CA

April 12                           Tropics                                                     Fullerton, CA

April 13                            Webers                                                    Reseda, CA

April 14                             Babylon                                                  Fresno, CA

Stellar Corpses…morbidly fun punk rock from Santa Cruz:


Become a fan on Facebook:


View videos on YouTube:


Follow the band on Twitter: @StellarCorpses



You’re Nothing, the sophomore album by Copenhagen’s Iceage and first on Matador, presents 4 young men – Jakob Tvilling Pless (bass), Dan Kjær Nielsen (drums), Elias Bender Rønnenfelt (vocals/guitar), and Johan Suurballe Wieth (guitar) – adding to the anxiety and tension that made their debut album, New Brigade, so compelling. But now, just over 2 years later, they’re challenging their raging emotions instead of simply expressing them. This is the sound of a band pushing their singular mix of punk, Goth, hardcore, and post-punk to even further extremes without any compromises. It’s overwhelming how many ways Iceage has found to write the short aggressive rock song, and exciting to contemplate where they could be three years from now at the age of 23. Stream Iceage’s You’re Nothing now in its entirety via Pitchfork Advance, and catch the band live all over North America this spring.


“louder and looser than thy were on 2011’s New Brigade, but frighteningly more focused”
– Pitchfork [Best New Track]

“The hoarse uplift of New Brigade’s most civilian-friendly fist raisers returns, but with an upgraded arsenal’s laser-guided precision. Clamoring drum breaks and shoegaze-warped guitar fills bolster the band’s now-familiar breakneck assault, which still might leave you out of breath.” – SPIN

“[Iceage’s] follow-up, You’re Nothing, is much more dense and complex. Most songs still clock in under three minutes, but there’s a new sense heaviness to their music-a sort of adult exhaustion that throws direct emotion out the window in favor of complex self-deprecation and ragged yowls.” – The FADER

Mon. Feb. 25 – Glasgow, UK @ Broadcast
Tue. Feb. 26 – Liverpool, UK @ Shipping Forecast
Wed. Feb. 27 – Sheffield, UK @ Shakespeare’s
Thu. Feb. 28 – London, UK @ Electrowerkz
Fri. March 1 – Brighton, UK @ The Albert
Sat. March 2 – Nottingham, UK @ Chameleon Arts Café
Mon. March 4 – Paris, FR @ Espace B
Tue. March 5 – Brussels, BE @ Les Ateliers Claus
Wed. March 6 – Eindhoven, NL @ Area 51
Thu. March 7 – Leipzig, DE @ UT Connewitz
Fri. March 8 – Munster, DE @ Gleiss 22
Sat. March 9 – Gronigen, NL @ Vera
Sun. March 10 – Hamburg, DE @ Hafenklang
Wed. March 20 – Vancouver, BC @ the Biltmore w/ Spectres
Thu. March 21 – Seattle, WA @ Barboza
Fri. March 22 – Olympia, WA @ Capital Theater (backstage)
Sat. March 23 – Portland, OR @ Star Theater
Mon. March 25 – San Francisco, CA @ Rickshaw Stop w/ Merchandise, Wet Hair
Tue. March 26 – Oakland, CA @ New Parish w/ Merchandise, Wet Hair
Thu. March 28 – Bakersfield, CA @ Munoz Gym w/ Milk Music
Fri. March 29 – Los Angeles, CA @ Echoplex w/ Milk Music
Sun. March 31 – San Diego, CA @ Casbah w/ Milk Music
Mon. April 1 – Tempe, AZ @ Deadhorse Warehouse w/ Milk Music, Destruction Unit
Thu. April 4 – Denver, CO @ Marquis Theater w/ Merchandise, Wet Hair
Sat. April 6 – Grinnell, IA @ Grinnell College w/ Wet Hair – FREE SHOW
Sun. April 7 – Minneapolis, MN @ Triple Rock Club
Tue. April 9 – Madison, WI @ University of Wisconsin – FREE SHOW
Wed. April 10 – Chicago, IL @ Empty Bottle w/ Final Grin
Thu. April 11 – Columbus, OH @ Ace of Cups
Fri. April 12 – Pittsburgh, PA @ 6119
Tue. April 16 – Burlington, VT @ Monkey House w/ White Lung
Wed. April 17 – Boston, MA @ TT the Bear’s w/ White Lung
Thu. April 18 – New Haven, CT @ Lilly’s Pad (Toad’s Place Upstairs)
Fri. April 19 – Philadelphia, PA @ First Unitarian Church w/ White Lung
Sat. April 20 – New York, NY @ Bowery Ballroom w/ White Lung
Thu. May 30 – Sun. June 2 – Austin, TX @ Choas in Tejas

You’re Nothing pre-order –

Crossfaith Announces US Tour

This March Crossfaith will embark on their first ever US tour supporting Shikari. The tour will last the entire month and cover the east coast to the deep south. Get tickets here:

Unique in their home country of Japan, CROSSFAITH combine metalcore, hardcore, samples and electronica to create groundbreaking music that transcends genres. Their 2009 debut album ‘The Artificial Theory For The Dramatic Beauty’ (Zestone Records) served as the catalyst which kick-started the Japanese screamo / metalcore scene and they have been at the top of their game ever since.

It didn’t take long for the bug to catch – soon after their debut release the band found themselves opening for a diverse set of acts such as Machine Head, Hatebreed, August burns Red, Piece The Veil, blessthefall and Alesana to name but a few before playing to thousands of fans at the prestigious Loud Park Festival in Japan.2010 saw the phenomenon spread west – ‘The Artificial Theory…’ received a European release on Gan-Shin records and was met with critical acclaim throughout. With an unstoppable work ethic the band hit the studio to record their sophomore release ‘The Dream, The Space’ with producer Andrew Wade (who’s credits include A Day To Remember). Released in Japan in April 2011, the band took to the road to promote the record, playing to 10,000 fans at Summer Sonic festival which helped garner interest from infamous US label Tragic Hero. Soon the band toured outside of Japan for the first time, opening for Parkway Drive across China and Alesana in South Asia.

After blowing crowds away on their debut UK tour in support of ‘Of Mice & Men’, the band return to the UK on November 10th as part of the Vans Warped Tour at London’s Alexandra Palace – while in the meantime making their mark in the rest of the World.

Recorded with the legendary ‘Machine’ (Lamb of God/Everytime I Die/Four Year Strong) in New York; Crossfaith have released their brand new ‘Zion’ EP Worldwide featuring 6 tracks of breakneck, electro-infused energy and invention.

Tour Dates

03.04 – Toronto, ON – Annex Wreckroom
03.05 – Montreal, QC – La Sala Rossa
03.06 – Boston, MA – Royale
03.07 – New York, NY – Irving Plaza
03.08 – Philadelphia, PA – Theatre of Living Arts
03.09 – Baltimore, MD – Ottobar
03.10 – Atlanta, GA – Masquerade
03.12 – St. Petersburg, FL – State Theatre
03.13 – Orlando, FL – The Social
03.15 – Houston, TX – The Studio @ Warehouse
03.16 – Grand Prarie, TX – South By So What Fest
03.18 – Tucson, AZ – The Rock
03.19 – Mesa, AZ – Nile Theatre
03.20 – Anaheim, CA – Chain Reaction
03.22 – San Diego, CA – Soma
03.23 – Los Angeles, CA – The Roxy
03.24 – Sacramento, CA – Ace Of Spades
03.26 – Portland, OR – Hawthorne Theatre

Pittsburgh Punks August Ruins Make ‘Headlines’

August Ruins was forged right in PMM’s hometown of Pittsburgh coming up from the “underground armed with motivation, a message, and a melody”. AR was founded in May of 2009 forming randomly through craigslist ads, and ever since has found success with an explosive sound, combining the speed and melody of California punk with the technicality of modern metal. (On first listen one of our reviewers, Melisa, said they sound like Green Day meets A Day to Remember). August Ruins has been described as fist in the air punk rock, with blistering guitar solos and pounding double bass, combined with catchy choruses, melodic back up vocals, and “an all around passion that illuminates from each member of the band”. With elements of hardcore, metal, and melodic punk music August Ruins is sure to find many fans.

Their latest EP “Headlines” includes some crusty gems like “You Decide” and “Gone Forgotten” with posh punk melodies reminiscent of NOFX, Anti-Flag, New Found Glory and a hint of old-old My Chemical Romance. As August Ruins builds their reputation locally and nationally they will certainly gain an audience among old school and new school punks. But, they certainly have enough elements of hardcore and metalcore to also win those prone to that genre(s) as well. This is an exciting up and coming band that has a ton of potential to break out of Steel Town and hit everytown. Keep them on your radar to make more headlines very soon.

Mike Sebula – Bass Guitar / Lead Vocals
Eric Sebula – Lead Guitar / Vocals
Reggie Little – Rhythm Guitar / Vocals
Kory Caldarelli – Percussion

“Headlines” Produced and Recorded by Brian Mcternan and Mike Schleibaum at Salad Days Studio! On Sale Now.

INHALE EXHALE Debut Video for ‘Low’

Post-hardcore heroes INHALE EXHALE are debuting their new video for “Low” today exclusively at Metal Injection. A ferocious performance clip with a frozen tundra serving as the stage, the video is the first from the band’s fourth album, Movement, released earlier this month on Red Cord Records.

“We picked ‘Low’ for first video because thematically it centered around the album title, about making choices and moving forward,” explains guitarist John LaRussa. “It’s not the heaviest song on the album, but we thought it hit hard and we loved the chorus on it.”

Watch “Low” now at Metal Injection:

“The shooting process was pretty extreme,” LaRussa adds. “It was 11 hours of getting blasted with snow. It was centered a lot on performance and we definitely all felt it after the shoot.”

With Movement now in stores, the Cleveland rocker’s are wrapping a three-week tour of Europe, having stopped in Germany, Austria, Poland, Netherlands, the Ukraine and more along the way.

Self-produced by LaRussa at his own Revelry Recording, Movement is a study in controlled chaos. The volatile, melody-driven anthems carry the weight of seasoned survivors who persevere come what may. It’s easily INHALE EXHALE’s most aggressive work to date – a fact only underscored by ferocity of their previous albums. On Movement, they push the envelope on all fronts while staying true to their hearts, their fans and their roots.

Following three successful albums with longtime label Solid State Records, INHALE EXHALE have become a fixture in the hardcore and metal community – setting a high bar from day one. Now, six years and four albums in, the band has seen and done it all – surviving through gimmicks and fads that have moved in and out of heavy music and learning from them to stay true to themselves. With Movement, INHALE EXHALE prove they’ve lost none of their fire and prove that today’s up-and-comers still have a lot of work to do.

Dirty Ghosts Announce Fall Tour + Fun Fun Fun Fest

Click Here To Watch “Katana Rock” On Spinner

Click Here To Download “Katana Rock”

Dirty Ghosts’ front woman Allyson Baker has been a guitarist in both Toronto and San Francisco’s hardcore scene for years, and now she’s stepped up to the microphone with Dirty Ghosts whose “Katana Rock” video directed by Derrick Beckles (creator of TV CARNAGE, Adult Swim’s Totally For Teens and the upcoming series Hot Package) marks the second collaboration for these two.

The video for the song carries over elements of Dirty Ghosts’ hardcore background, combining an Argento influenced series of lit rooms. Images of layered psychedelia wash over projections of songstress Baker while she belts out the crafted, driving urgency of Katana Rock.


“Dirty Ghosts is a San Francisco-based trio that, interestingly enough, features programming from Aesop Rock. The riff-tastic “Battle Slang”‘s grimy groove features an insistent shaker, stuttering snares, and a gritty bass pulse.” – Pitchfork

“like punk riffed hard rockers (with a killer rhythm section)” – SF Bay Guardian

“an angular banger with 10-ton blues bars, a catchy punk hook and a whole lot of grit.” – AOL Spinner

“With plenty of edgy guitar riffs, subtle electro, and a voice that pulls you in, Metal Moon is definitely an album you will want to have dominating your playlists.” – Lithium

1. Ropes That Way
2. Shout It In
3. Surround The Controls
4. Battle Slang
5. No Video
6. Katana Rock
7. 19 in ’71
8. Steamboat to Concord
9. Pretty Face
10. Beast Size

Allyson Baker doesn’t scare easily. Back in the ’90s, she was sneaking into 
Dwarves shows and frequenting mosh pits before she was barely out of 
junior high; by age of 17, she was playing guitar for some of 
Toronto’s most notorious punk and hardcore bands (Teen Crud Combo 
R.I.P.), before leaving her friends and family behind in 2000 to shake 
some action in San Francisco. And yet, for all her apparent 
fearlessness, Allyson is very much haunted by forces beyond her control. Dirty Ghosts may be her 
new band, but it’s the five-years-in-the-making product of a 
habit she just can’t quit, a sound and vision that—despite numerous obstacles along the way—just had to be unleashed.

True to their name, Dirty Ghosts rose from the ashes of San Francisco sludge-blues combo Parchman Farm in 2006; as an antidote to that band’s wall of squall, Baker and fellow Parchman Farm exile Carson Binks (another Toronto expat) launched Dirty Ghosts as a stripped-down duo, writing rhythmically driven new songs 
built around intricate drum loops pieced together by Aesop Rock. And as if this relaxed, more experimental ethic wasn’t a radical 
enough shift for these life-long punk-rockers, for the first time in 
her musical career, Allyson was forced to add “vocalist” to her résumé.

“Everything that happened with this band was totally out of 
necessity,” she relates. “Post-Parchman Farm, Carson and I had spent about a 
year looking around for a singer. And then I felt like I was going to 
lose Carson and the whole thing if I didn’t decide to just do it 
myself. I had all the songs and vocals in my head, I just didn’t want 
to do it—the idea of being a singer just wasn’t appealing to me at 
all! But then I was just like, ‘Fuck it.'”

Initially, the gambit paid off—Dirty Ghosts’ earliest efforts fused 
Allyson and Carson’s deep-seated love of ’60s funk and bluesy, 
psychedelic rock with a more modernist, mechanized sheen, while Allyson’s newfound voice projected a striking balance of streetwise attitude and affecting vulnerability. Though 
Allyson says she was “completely out of touch with what was going on 
in music at the time,” Dirty Ghosts’ mix of grit and glitz aligned 
favorably with that of au courant buzz bands like The Kills and Sleigh 
Bells, while hearkening back to indie rock’s most dynamic duo, Royal Trux. In 2009, an early recording of the 21st-blaxploitation groover “Battle Slang” even 
got the band some notice on Pitchfork and other national music sites. 

However, the sudden departure of Binks in 2011 (to join Oakland-based stoner-metal behemoths Saviours) inspired Allyson to rethink, rebuild and re-record the songs and, with the help of a drummer, transform Dirty Ghosts’ bedroom beat-box experiments into stage-ready rockers. But in sharp contrast to the skull-crushing assault of 
her previous groups, Dirty Ghosts are more about putting the disco into discord, using everything from dubby funk (“Shout It In”) to minimalist electro (“Steamboat to Concord”) to vintage Van Halen-esque contorto-riffs (“19 in ‘71”) as means to showcase the emotional intensity of Allyson’s voice.

Forgoing her usual diet of Black Flag and Blue Cheer, these days Allyson is more informed more by the likes of XTC, The Police and Chrome—bands that, she says, “had distinct 
sounds mixed with other different genres that were new at that time. I play so much less guitar now—to me, this is not guitar music. I’m 
thinking more about songs, and not volume and attack. That’s part of being 
young, but then you get older and you’re like, ‘I want to write a song 
that’s catchy and that people will enjoy.’

So after 11 years in San Francisco—and five spent bringing Dirty 
Ghosts to life—Allyson now has everything she’s always envisioned: a shit-hot 
record and a fully functioning band that’s already got a west coast 
tour and South by Southwest appearances under its belt. But as much as 
Dirty Ghosts is a testament to Allyson’s drive, more often than not, she feels like she’s the one being driven.

“Music takes complete 
control over me, and then just when I think the feeling’s gone, it comes back. 
It’s a total love/hate thing: I love it because making music makes me 
feel so happy, but it kind of does the opposite, in that it takes over to the point where I can’t make any rational decisions about anything else in my 
life. But I have this weird passion for music—there’s nothing else I really want to do.”

And, as this dead-cool debut ultimately proves, good things happen when you refuse to give up the ghost.

Crossfaith Announces New EP

Japan – November 2006. CROSSFAITH are born.

Unique in their home country of Japan, CROSSFAITH combine metalcore, hardcore, samples and electronica to create groundbreaking music that transcends genres. Their 2009 debut album ‘The Artificial Theory For The Dramatic Beauty’ (Zestone Records) served as the catalyst which kick-started the Japanese screamo / metalcore scene and they have been at the top of their game ever since.

It didn’t take long for the bug to catch – soon after their debut release the band found themselves opening for a diverse set of acts such as Machine Head, Hatebreed, August burns Red, Piece The Veil, blessthefall and Alesana to name but a few before playing to thousands of fans at the prestigious Loud Park Festival in Japan.2010 saw the phenomenon spread west – ‘The Artificial Theory…’ received a European release on Gan-Shin records and was met with critical acclaim throughout. With an unstoppable work ethic the band hit the studio to record their sophomore release ‘The Dream, The Space’ with producer Andrew Wade (who’s credits include A Day To Remember). Released in Japan in April 2011, the band took to the road to promote the record, playing to 10,000 fans at Summer Sonic festival which helped garner interest from infamous US label Tragic Hero. Soon the band toured outside of Japan for the first time, opening for Parkway Drive across China and Alesana in South Asia.

After blowing crowds away on their debut UK tour in support of ‘Of Mice & Men’, the band return to the UK on November 10th as part of the Vans Warped Tour at London’s Alexandra Palace – while in the meantime making their mark in the rest of the World.

Crossfaith now prepare to release their brand new ‘Zion’ EP Worldwide.

Recorded with the legendary ‘Machine’ (Lamb of God/Everytime I Die/Four Year Strong) in New York; ‘Zion’ features 6 tracks of breakneck, electro-infused energy and invention.

Lead track ‘Monolith’ has already got fans salivating, with BBC Radio 1 tastemaker Zane Lowe proclaiming the track as his ‘next hype’.

Hatebreed, Whitechapel, All Shall Perish, & Deez Nuts Tear Up Stage AE 11/11/12

On the last night of their 10 Years of Perseverance Tour together, Hatebreed, Whitechapel, All Shall Perish, and Deez Nuts came to throw down one last time in Pittsburgh at Stage AE on the Northside. An unusually thin crowd, due to the simultaneous Steeler game, got the intimate treat of a lifetime with some surviving legends and some legends in the making.

Hatebreed brought the reputation they have built for so many years and backed it up with a hardcore set that had fans belting out the tunes in unison with the band. For many it was a throwback to their youthful times and the energy of the band and crowd combined for one eruptive set.

Relative newbies compared to Hatebreed’s career span, Whitechapel and All Shall Perish showed why they both are at the top of their genre. Some in the crowd were a bit put off by the growling lyrics that are not as easily understood as the headliners. But, there is a legion of fans who love the stylings of these bands. Many in the crowd sang right along with Whitechapel, knowing every word, including the new stuff. All Shall Perish also won over quite a few of that crowd who may not be as familiar with them. They had an outstanding set as well of in your face metal that combines guttural vocals, quick paced pounding rhythms and technically proficient guitars. The only band that seemed out of place was Deez Nuts who attempted to entertain the crowd with their brand of rap and hardcore metal with a Brooklyn attitude. Pittsburgh may not have responded very well, but there is a certain niche for bands like this, unfortunately for them they went the way of Fred Durst.

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SICK OF IT ALL Inducted into Decibel Magazine’s Hall Of Fame

Last year marked the 25th anniversary New York’s finest hardcore act, SICK OF IT ALL. The band has been thrashing out classic hardcore anthems since 1986, and to commemorate the important 25-year landmark, released NONSTOP – a compilation of their re-recorded classics – on November 1, 2011.

To further celebrate the band’s career, DECIBEL MAGAZINE has inducted SICK OF IT ALL’s, Scratch The Surface, into their Hall Of Fame. Honored as installment #92 in ‘a series exploring landmark albums in the badass pantheon of extreme metal,’ the 7-page feature can be found in the October 2012 Issue – out now.

Click here to purchase

Remaining Tour Dates:
09/28/12 – Asbury Park, NJ @ Asbury Lanes
09/29/12 – Frederick, MD @ Café 611
09/30/12 – Reading, PA @ East Coast Tsunami Fest

Title Fight Pictures- Stage AE

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-all photos
Musical trends come and go, but the bands who stick around are the ones who eschew whatever’s popular in favor of playing the music that’s in their hearts—and Kingston, Pennsylvania’s Title Fight are a perfect example of this. Originally formed in 2003 by guitarist/vocalist Jamie Rhoden and the twin brother duo of vocalist/bassist Ned Russin and drummer Ben Russin when the trio were barely teenagers, Title Fight started as a way for these young kids to explore their burgeoning love of hardcore. But after adding guitarist Shane Moran in 2005, something funny happened: Their tireless practicing eventually transformed them into one of the most exciting hardcore acts in recent memory.
After releasing a handful of EPs and 7-inches as well as performing shows all over the world, Title Fight began attracting attention from fans and labels who were captivated by the way the band managed to put a modern spin on the melodic hardcore sound pioneered by acts like Gorilla Biscuits and Lifetime—and in 2010 the members of Title Fight dropped out of college in order to tour full-time with acts such as New Found Glory, Four Year Strong and H20. It was also around this time that the band entered the studio with Gorilla Biscuits/Quicksand guitarist Walter Schreifels who agreed to produce the band and promptly drove down to Northeastern Pennsylvania to help them prepare to record their highly anticipated full-length debut Shed.
“The cool thing about Walter is that when we came to him he told us he doesn’t produce a lot of records because he’s a full-time musician himself, so he only works with bands he really likes and hearing that was a huge compliment because he’s one of our biggest inspirations,” Ned Russin explains. “We were really up front about the fact that we wanted to feel in control with our music so he really just let us do our thing but came up with some helpful suggestions without trying to transform us into something we aren’t,” he continues when asked about Schreifels’ role in the process. “He came down and stayed at Ned and Ben’s parents’ house and we just hashed it all out in Jamie’s parents’ basement.”
From there the band headed to Philadelphia to record Shed over a grueling two-week period at the legendary Studio 4. However all those long nights paid off as Shed sees the band implementing various subgenres that range from old-school hardcore to aggressive punk rock that make these twelve energetic anthems instant classics for a new generation of listeners searching for music that inspires them as much as Title Fight were inspired by their heroes. “We wrote the last record when we were in high school and since then we’ve dropped out of school, seen the world and had life experiences that are all reflected here,” Ned Russin explains when asked what it’s been like to sacrifice everything to make Shed a reality.
From the Hot Water Music-esque power of “27” to the old-school feel of “You Can’t Say Kingston Doesn’t Love You,” Shed is also a remarkably varied record that proves hardcore doesn’t need to be formulaic in order to be powerful. “The most important thing is that this is a Title Fight record,” Ned Russin summarizes, ”we’re not trying to pose and be anything we’re not.” Moran concurs adding, “we’re not a surface level band, we’re the kind of act who likes to dig a little deeper and we’re really interested in learning about the history of punk and hardcore to find the stuff that really speaks to us on a personal level.”
Speaking of personal, Shed also features some of the band’s most heartfelt lyrics to date—a fact that is largely due to the life-changing experiences the band have endured, both good and band since their previous recordings. “This album was a lot more collaborative from a lyrical perspective and instead of being about girls, it’s about real life situations,” Ned Russin says. “Throughout the past few years my grandmother passed away and my dad had reconstructive heart surgery so a lot has been on my mind and Title Fight has always been a great release for me to get out what’s bottled up inside,” he continues. “We just tried to be as sincere as we possibly could and write songs about what was important to us at the time.”
Ultimately this sentiment has always remained at the core of Title Fight and it’s one of the reasons why so many fans have gravitated toward the band’s music despite the fact that they don’t have any fancy costumes or onstage gimmicks. “I think we have a unique dynamic because we can always play a hardcore show with our friends in a basement but we can also play a show with more commercial bands on a larger scale and be accepted in both situations,” Moran explains.
“We’ve been a band for seven years and this is the first time we’ve had a recording that’s longer than seven minutes long,” Ned Russin adds. “The last year has been a crazy ride but the whole time we’ve always stayed true to the fact that we’re not trying to be anything we’re not,” he summarizes. “We’re four friends that play in a band together and we would still be doing this whether we were playing to five people or five hundred of them.”