In addition to managing the careers of artists worldwide, Fly South also produces concerts on their home turf in Florida. Over the years acts we promoted on Florida stages include Passion Pit, Wiz Khalifa, LMFAO, Atmosphere, Paul Oakenfold, Snoop Dogg, Girl Talk, Minus The Bear, Matt & Kim, Pete Yorn, Spoon, Hank Williams III, Yeasayer, Crystal Castles, The Misfits, Bad Brains, Pierce The Veil, Animal Collective, Mute Math, Conor Oberst, Lou Barlow, Bob Mould, Cee-Lo Green, Robyn, Dead Kennedys, Streetlight Manifesto, All American Rejects, Of Montreal, Suicidal Tendencies, The Walkmen, Damian Marley, Stephen Marley, Julian Marley, Ky-mani Marley, Marky Ramone, All That Remains, The Tennessee Three, Butthole Surfers, Mindless Self Indulgence, Mudhoney, Kasabian, Gogol Bordello, Supersuckers, Aesop Rock, Ratt, Shiny Toy Guns, Shwayze, Cisco Adler, Cut Copy, Seu Jorge, Kottonmouth Kings, Insane Clown Posse, KMFDM, Thrill Kill Kult, Bone Thugs N Harmony, Yelawolf, Gary Numan, Peaches, KRS-One, Brand New, Deerhoof, Wesley Willis, Suicide Girls, Jay Farrar, Yacht, MC Chris, Mumiy Troll, Copeland, Jimmy Gnecco, The Aquatbats, The Bravery, Emmure, Saliva, Days Of The New, Sevendust, Seven Mary Three, Os Mutantes, Sage Francis, Rx Bandits, GWAR, Murs, Motion City Soundtrack, Matchbook Romance, From First To Last, The Ataris, LA Guns, Faster Pussycat, Escape The Fate, Melt Banana, Rasputina, BT, DJ Krush, CKY, Against All Authority, King's X, Exodus, The Gossip, DevilDriver, The Stills, Yelle, Trivium and others.
Fly South formed in 2007 by partners Mark Mercado, John Youngman and Randy Dease. The company is based in Orlando with offices in Nashville and Los Angeles.
As Paramore embark on the most successful year of their career, there seems to be no limit as to what they can accomplish. The band’s last 2007 album RIOT! has sold nearly two million copies worldwide, the group was nominated for a Grammy Award in 2008 for “Best New Artist” and even their live CD/DVD The Final Riot! has gone gold. However while these statistics are impressive, record sales have never been the driving force behind Paramore—and that fact has never been as evident as it is on the group’s highly anticipated third full-length brand new eyes. In fact, as excited as this group of young adults from Franklin, Tennessee are to have had the opportunity to tour with their heroes like Jimmy Eat World and No Doubt over the past few years, they seem even more ecstatic to share brand new eyes with the world. “I hope that every record is a progression for us, but this one is definitely a huge leap from RIOT!,” the band’s frontwoman Hayley Williams explains. “I just can’t wait to get back on the road and start playing these new songs live.”
Anyone who has seen the band on the road already knows Paramore have an incendiary live show; however with brand new eyes, the group has proved they’re also able to juxtapose all of their indie-minded influences into a seamless collection of songs that embrace the future without abandoning the band’s past. Additionally, the process of making brand new eyes seems to have taught the group—Hayley, guitarists Josh Farro and Taylor York, drummer Zac Farro and bassist Jeremy Davis—countless lessons about who they are both inside and outside of Paramore. “We’ve been through a ton of stressful, pressure-filled situations since RIOT! came out and I feel like I’m a completely new person,” Hayley explains, adding that brand new eyes ended up being the perfect cathartic outlet for the band’s creativity and, yes, frustration. “I think making the record was part of the healing process,” Hayley elaborates. “It was good for me both as a person and as an artist.”
Considering the fact that RIOT! went gold in Ireland, Canada, New Zealand and the U.K. and the band cracked the top five on the radio charts in the U.K. Australia, Mexico, Brazil, France, Germany and Southeast Asia, this global success story had a lot to live up to with brand new eyes. Co-produced by the band and Rob Cavallo (Green Day, My Chemical Romance), who Paramore also worked with on the track “Decode” from the double-platinum soundtrack for the movie Twilight, the album is also the first disc to officially feature new guitarist Taylor York—although York has been a writing partner and frequent touring member since the band’s inception back in 2004. “It’s really nice having Taylor there because he’s the only other guitarist that I trust with our songs,” Josh explains. “It’s so exciting to be a five-piece again,” Hayley concurs, “that’s what we were originally intended to be, so I think the writing process was a lot more rewarding having him there.” While Josh and Hayley once again made up the main songwriting team on brand new eyes, Hayley is also quick to stress that this album is the most collaborative creation of the band’s career, a fact that is evident in the disc’s sonic diversity.
In fact brand new eyes is a case study in the band’s versatility and contains as many driving, first-pumping anthems like “Ignorance” as it does upbeat pop masterpieces like “Where The Lines Overlap” and lilting, acoustic ballads such as “Misguided Ghosts.” “We really tried to venture out and experiment with our sound to see how far we could push ourselves this time around,” Josh explains. “‘Misguided Ghosts’ is just finger-picking and that’s not really Paramore’s sound but for some reason it works,” he continues. “I don’t think it would have fit on RIOT! at all, but it’s definitely the perfect song for this album.” While Rob Cavallo was instrumental in helping the band fully realize their sound, the end result wouldn’t have come to fruition in the studio so quickly if the band didn’t have a clear-cut idea of what they wanted to accomplish from the onset. “I think we did a good job of guiding ourselves on this record,” Hayley explains, “but if there was ever was a time [Cavallo] had to step in he did and it was always perfect.”
The rollercoaster ride that Paramore have experienced over the past few years was also a huge influence on the lyrics for brand new eyes, however it was important for Williams not to write a clichéd collection of songs about the perils of success. “I watch all these bands go from being really hungry on their first album to talking about paparazzi following them around on their next one,” Hayley explains with a laugh. “I was so afraid of sounding like that.” Instead Hayley decided to dig into her own psyche and explore some of her deepest emotions. “I would sit in my room all day and not go anywhere, because I felt like I had to keep myself secluded in order to write lyrics,” Hayley recounts. “I’m really proud because looking back on all the songs this is really exactly what I was going through—and I think a lot of people are going through this, too.”
Hayley’s honesty is evident in tracks like the acoustic ballad “The Only Exception” and album closer “All I Wanted,” both of which give an unapologetic glimpse into the inner workings of what was happening in her head over the past two years, a reality that was initially scary for the 20-year-old to advertise to the rest of the world. “Now that it’s all said and on paper I’m not as insecure about [these lyrics] because I think these songs form a full story that people are going to be able to connect with,” Hayley explains, adding that once the songs started to flow in the studio the band were instantly rejuvenated and remembered why they started Paramore in the first place. “There’s something Hayley is able to draw out of me that I can’t seem to do with anyone else,” Josh responds when asked how the band are able to craft music that defies gender and genre stereotypes. “Hayley hates the word ‘mature,’ but I think it’s really suitable for this record because there’s much growth that’s evident on this album.”
Never content to rest on their laurels, Paramore continue to look toward the future and can’t wait to see what the next few years have in store for them. “I don’t really care how many records we sell,” Josh explains, citing that this album is a full representation of the band’s disparate influences which include Mew, Jimmy Eat World and Death Cab For Cutie. “I want to come out on the other end happier than ever just knowing that we’ve done this together and it was fun,” Hayley summarizes. “I just want to feel like this is my band, this is awesome, I’m living the dream,” she adds, her voice taking on a palpably excited tone. “If we can accomplish that together, there’s nothing more that we can ask for.”
Hailing from Ocala, Florida, A DAY TO REMEMBER is one of the hardest working bands in the business. They have sold nearly 900,000 albums since forming in 2003. While topping the Billboard charts, they have also sold out entire continental tours all over the world.The band’s latest album “What Separates Me From You” on Victory Records debuted at # 11 on the Billboard Top 200 selling over 58,000 copies first week and the first single off the album, the guitar-charged anthem “All I Want” was one of 2011’s most played songs at alternative radio. The album also debuted as the # 1 Rock Album in the UK. The band featuring vocalist Jeremy Mckinnon, guitarists Nell Westfall and Kevin Skaff, bassist Joshua Woodard and drummer Alex Shelnutt not only sold out nearly every date on their headline tour supporting the new album, they did it all around the world – UK, Europe, Australia, Southeast Asia, South America and more. The band headlined the Warped Tour in summer 2011 to record crowds. The band has been a mainstay on the major worldwide festivals including Soundwave (Australia), Bamboozle (US), Rock am Ring / Park (Germany), Redding Leeds (UK), Download (UK) and KROQ’s Weenie Roast (US), among others. A Day To Remember was MTV Buzzworthy’s “Breakthrough Band Of The Year” in 2011. The band has performed on Jimmy Kimmel Live (ABC), Hoppus On Music (Fuse) with their songs used in television programming as diverse as MTV’s Jersey Shore and ESPN. They have graced magazine covers worldwide in Alternative Press, Kerrang, Rock Sound, Blunt and have been featured in USA Today, Billboard Magazine, Guitar World and others.
Now three years into their existence, the post-hardcore quintet Sleeping With Sirens continue to evolve and mature as artists, gradually shaping their unmistakable blend of fury and melody into a sound that’s wholly their own. The band’s new five-song acoustic EP, If You Were a Movie, This Would Be Your Soundtrack, presents another crucial step on the band’s ongoing journey toward
their sonic destiny.
Featuring three new cuts as well as two previously recorded songs radically re-arranged for the acoustic setting, the EP showcases the group in a different venue than their usual, high-volume environment, while also giving new subtlety to the re-recorded tracks. Sleeping With Sirens are famous for their informal acoustic shows—usually performed outside venues for fans after gigs—and now that magic has been captured for listeners everywhere to enjoy.
“We wanted to put out a record you can listen to while chilling at night and kind of winding down, or while doing your homework, or of you want to have some quality time with your girl or your guy. We wanted to give fans an album to listen to then, instead of just something that’s always in your face and heavy,” explains vocalist Kellin Quinn. “We don’t want our band to be defined to a certain sound or theme; we want to be able to dabble in everything and accomplish different styles of music. This acoustic album was a way for us to grow up and show people that.”
Sleeping With Sirens—which also includes guitarists Jesse Lawson and Jack Fowler, bassist Justin Hills and drummer Gabe Barham—was formed in 2009. The Grand Rapids, Mich.-based group’s first album for Rise Records, With Ears To See And Eyes To Hear, debuted in March 2010 at #7 on Billboard's “Top Heatseekers” chart, and at #36 on “Top Independent Albums.” Guitarists Nick Trombino and Brandon McMaster departed after the album, and were later replaced by Lawson and Fowler, who first appeared on the retooled band’s second album, Let's Cheers To This. Released in May 2011, the record peaked at #78 on Billboard’s “Top 200” chart, as well as #13 on “Top Independent Albums” and #5 in “Hard Rock.” The band has toured extensively, sharing stages with fellow scene stalwarts like We Came As Romans, Falling In Reverse, Alesana, A Skylit Drive, Blessthefall, Emmure, For All Those Sleeping and Motionless In White.
To record If You Were a Movie, the band traveled to Los Angeles for sessions with veteran producer Mark Trombino (Jimmy Eat World, Finch, Blink-182). The result was five rich, stripped-down cuts loosely presented in the structure of a film, with each song title starting with a scene number. Even the album cover illustration, which pictures a couple seated in a car overlooking a sweeping skyline, reinforces the EP’s cinematic theme.
“When I started dating my fiancée, we spent all our time watching movies at home, hanging out at the house. We’re both fans of movies and the cinematic portion of life,” remembers Quinn. “I made her a mixed CD a long time ago called If You Were a Movie, This Would Be Your Soundtrack. I just thought it would be a cool name for an actual album. It’s got a little history.”
Quinn utilizes the moody, dynamic textures of If You Were A Movie to reach new heights of lyrical depth and intimacy, tackling topics like love and relationships with a more nuanced approach than past recordings. The constant amorous tug-of-war that most couples inevitably face is given particular emphasis in the previously unreleased “Scene Four: Don’t You Ever Forget About Me.”
“I was thinking about a fight I was in and decided to write a song about it,” says Quinn. “I had the idea that ‘no matter how hard we fight or how tough things get, just don’t forget about me. Don’t go to sleep without thinking about me,’ just clinging onto that idea that anything can work as long as you put forth the effort.”
On a different note, Quinn and company take a moment to acknowledge their good fortune as artists, and blast other bands who aren’t as humble, in the new track “Scene Two: Roger Rabbit.” “’Roger Rabbit’ was written about just feeling really uninspired with everything that was going on with music. Everybody wants a hand-out; they want everything to come easily,” says Quinn. “I think that’s the wrong vision and the wrong understanding of what it is to live. Sometimes things take time, they’re not easy, and that’s ok. That’s part of the adventure of everything.
“It’s important to use the time you have and take advantage of it, because you never know when it’s all going to go away,” continues Quinn. “You never know when you’re going to take your last breath, and all your fame and everything you’ve worked for will disappear. When you have the day, you should say all you have to say.”
Fans will also be pleasantly surprised by the two stripped-down rearrangements of prior recordings that appear on If This Were A Movie. Both “With Ears To See And Eyes To Hear” and “James Dean & Audrey Hepburn” take on a new life on the EP, and in the process, convey entirely different emotions as acoustic recordings. Quinn says the new version of “James Dean,” which was written in a moment of homesickness, is even more powerful than the original.
“It was the first time I’d been away from home for a while, the first experience of the band, I was just missing home, missing my fiancée and our life together, because you have to sacrifice a lot of time apart to be in a band and be a musician and be on the road,” Quinn reflects. “It’s a sacrifice because you’re doing good things for the people that want to come out and see you and love you, but you’re sacrificing the person you want to be with all the time. It was cool to rewrite that song acoustically, because I feel like it really shows the emotion that you can’t really capture with screaming. The real passion and longing comes through in the acoustic track.”
The remainder of 2012 and all of 2013 promise to hold even more exciting new developments for Sleeping With Sirens, starting with the band’s first-ever run on the Vans Warped Tour this summer. After more touring in the fall, the group also plans to head into the studio in winter 2013 to begin work on their forthcoming third full-length. Until then, If You Were A Movie will serve as the latest reminder of the dazzling directions in which Sleeping With Sirens are headed.
“Get excited for 2013: There are a lot of big things coming, and this acoustic album’s something to tide you over. Listen to it and enjoy,” says Quinn. “Get ready for the new [full-length] record, because it’s going to be insane. It’s going to be the best thing we’ve ever done. We’re going to go 100% into next year. We’re excited for our band, and our fans, to be part of it. We’re making music that is still going to be the Sleeping with Sirens that everyone loves, but we’re definitely also growing and maturing. We’re always moving toward bigger and better.”
Hopeless Records is excited to announce that we have partnered with The Used and their label, Anger Music Group to release their highly anticipated follow up to 2009’s Artwork.
The final touches are being made to the album which will be released in the Spring of 2012. Vulnerable will be the bands 5th studio album.
Already chosen as one of Alternative Press Magazine’s Most Anticipated of 2012, front man Bert McCracken explains, “Vulnerable is about taking one step back and two steps forward. The sound of the record is as evolved as it possibly could be, it maintains the same emotional integrity as the first record [2002’s The Used], yet it sounds like the future (and the future sounds bright). Vulnerable is about taking a chance to let the real you shine. This record is for the outcasts, the misfits, the misunderstood, and the ones who have always dared to be themselves. I can’t wait for you to hear it.”
Forming in 2001 and hailing from Orem, Utah, The Used have released four studio albums: The Used, In Love And Death, Lies for the Liars and Artwork. Their self-titled debut, In Love And Death and Lies for the Liars have all been certified Gold by the RIAA. The band has performed on the Vans Warped Tour, Taste Of Chaos, Ozzfest and Projekt Revolution and have toured with bands such as Atreyu, Chiodos, Box Car Racer, Three Days Grace, Glassjaw, Green Day and Andrew WK.
Brought together by time and fate—they’d all known each other since high school, but finally made a band together in 2009—and named by some kind of esoteric computer filename error too complex to further explain, Orange County’s The Lovely Bad Things are the hyperactive omnitalented and relentlessly hilarious garage-pop band who crowdfunded their way to an encore performance at the world-famous Primavera Sound festival and whose new album The Late Great Whatever was titled during a dream at the suggestion of their spirit guide, who happens to look strangely like Dinosaur Jr drummer Murph. Was that a lot to take in all at once? Then now you can sympathize with the cop who pulled them over on their way to the UFO museum in Roswell, New Mexico: “‘Who here has ADD?’” Brayden Ward remembers him asking. “And we all raised our hands.”
The Lovely Bad Things are Brayden and brother Camron Ward, Tim Hatch and Lauren Curtius, each a multi-instrumentalist and each devoted to a bottomless knowledge of ridiculous pop culture and comprehensive appreciation for the Pixies, though if you dismantled their songs and their record collections both you’d find Sonic Youth, Modest Mouse, the B-52s, the Wipers and of course Redd Kross, whose sense of humor and sense for a hook the Bad Things have inherited. They mostly come from the city of La Mirada, but their true home is the Lovely Bad Pad, a converted suburban garage—converted personally by the band members—that’s hosted truly legendary backyard punk shows, up to and including a surprise set by Peter, Bjorn and John, who know a good thing when they hear it.
It’s this combination of D.I.Y. spirit and off-the-wall luck that carried The Lovely Bad Things from that backyard to a cassette release on trendsetter label Burger Records that would be called one of the best L.A. punk releases of 2011 by the L.A. Weekly. And from there they ricocheted into a surprise slot at Primavera Sound festival, crowdfunding and benefit-showing just barely enough for airfare to get there and winning over their audience forever once they did. Now, after building a fan base show by show and person by frothing-at-the-mouth person—a guy once came all the way from Belgium to see them play one special song—The Lovely Bad Things have finished The Late Great Whatever for Volcom Entertainment.
The Late Great Whatever was started just after the release of the maxi-EPNew Ghost/Old Waves, until now the Lovely Bad Things’ signature release. Although they’d released a full-length called Shark Week in 2010, the album that would become …Whatever was going to be something new, they explain: “Our first real full-length,” says Tim. At least half of Shark Week’s songs were written in … oh, about two minutes, calculates Lauren, because back then Lovely Bad Things were just discovering the knockout sugar high that came from just playing music with each other. But this would be different: “How do I say it and not sound like a super-cliché musician?” asks Camron. “More mature, I guess?”
So what’s that mean? Not one but two Star Wars references on the tracklist, Bigfoot on the cover, a shout-out to Macho Man Randy Savage and a relentless collection of the strongest songs The Lovely Bad Things have ever done. What, did you think “mature” meant? They were going to get all mopey and slow? (“Just say it’s ‘globular’ and ‘shapeshifting,’” suggests Camron.) Produced by Jon Gilbert in the studio built and run by Crystal Antlers’ frontman Jonny Bell, this is a record by a band who’ve developed a telepathic language of their own, with songs that stop and start and turn inside out in ways you just can’t play unless you know exactly what everyone else in the studio with you is thinking.
On The Late Great Whatever, Lovely Bad Things roll out just about anything you’d want about 15% faster than you’d expect. Do they do it all? They indeed do it all. They have stormers like “Kessel Run” and the stand-out “Randall the Savage,” which is all jittery post-punky guitar and gradually building insanity. Then they have sweetheart pop-punk like “Maybe I Know,” which is born for the best mixtapes of 2013. They have surf’s-up guitar (“Styx And Branches”) and wah-wah guitar (“Oozin It”) and oh-my-GodI’m-being-attacked-by-furious-bees guitar (“Kessel Run”). They have Frank Black-style spoken-word stammer (“Fried Eyes”) and cooled-out Kim Deal back-ups. And those heartbreaker harmonies that are part of what make The Lovely Bad Things so special? Pretty much everywhere, thanks to Lauren’s gift for melody, but why don’t you go right to “Rope Swing” if you need ‘em right away? And if this still seems like a lot to take in at once, don’t worry—down some (or too much) caffeine, roll down the windows and let The Late Great Whatever take the wheel. Just watch out for the cops on the way to the UFO museum. When they hear music like this, they pay way too much attention.
I Killed the Prom Queen is an Australian metalcore band which formed in 2000 by JJ Peters (drums) and Jona Weinhofen (guitar/clean vocals), later adding long time players Kevin Cameron on guitar and Sean Kennedy on bass. Between 2001 and 2002 IKTPQ released their ‘Choose to love, live, or die’ EP as well as a split EP with Parkway Drive. Both releases achieved SAMIA chart success sitting in the top 10 for a number of weeks.
In 2003 the band released its first studio albums, When Goodbye Means Forever... and began to tour relentlessly on the Australian circuit. In 2005 vocalist Michael Crafter was replaced by Ed Butcher and IKTPQ released their sophomore studio album, Music for the Recently Deceased (2006) – the latter, recorded in Sweden, reached the top 30 on the ARIA Albums Chart. IKTPQ’s single, “say goodbye” was added to medium rotation on Australia’s Triple J radio station for a number of months and was the first ‘heavy metal’ song to be featured regularly during daytime radio airplay. IKTPQ began to feature prominently on the Australian live music scene supporting various international acts as well as headlining their own Australia-wide tours including a 55 date tour of capitol and regional Australia in late 2006. IKTPQ also embarked on a number of international promotional tours in various parts of the world including Japan and parts of Europe & UK.
In April 2007 the band went on hiatus when Butcher left to return to UK and Weinhofen joined United States band Bleeding Through and Peters foundered Australian hardcore group Deez Nuts. I Killed the Prom Queen reunited to perform the ‘Say Goodbye’ Australian tour in mid-2008 boasting a number of sold out concerts in all Australian major cities, some locations even warranting extra dates to be added due to the popularity of the band and tour. IKTPQ released a live album and DVD, Sleepless Nights and City Lights later in 2008 which has sold the equivalent of a gold DVD to date within Australia. In 2009 Weinhofen went on to join British giants Bring Me The Horizon and built up an extremely strong following as a lead and rhythm guitar player and performer, including being announced as one of Australia’s top 50 guitarists of all time in Australian Guitar Magazine (April 2012).
In May 2011, the band reformed with new vocalist Jamie Hope (ex-The Red Shore) for the Destroy Music Tour (co-headline tour with The Amity Affliction) and announced the reformation was permanent. Since the permanent reformation IKTPQ has completed a European tour comprised of a number of notable festivals (including Germany’s With Full Force, Czech Rebublic’s Rock For People, France and Switzerland’s Sonisphere festivals and Belgium’s Graspop Metal Meeting). The band also supported Parkway Drive on their Australian headline tour in December 2012 and is currently working on material for a third studio album to be recorded once again at Sweden’s Studio Fredman with acclaimed metal producer Fredrik Nordström.
In the summer of 2006, Fifth on the Floor played their first show in a small bar in Central Kentucky. The band was a different beast than it is today: originally six members strong, FOTF reveled in up-tempo songs about women and libation, influenced equally by Creedence Clearwater Revival and Jerry Lee Lewis, by Hank Williams and the Band. Their first record, 2007’s The Color of Whiskey, did not belie its name in the slightest. Songs like “Out at the Bar” and “My Young Life” focused on Saturday night glory, while songs like “Man of my Vice” and “Last Night in Memphis” pointed to the more serious themes the band moved towards in later songwriting.
Fifth on the Floor quickly started garnering attention for their high-energy live shows. Word of mouth put the band further and further from their home state of Kentucky, while the high volume of shows allowed the band to focus its multitude of influences into a cohesive sound. 2010’s Dark and Bloody Ground showed this, nodding at styles ranging from southern rock to blues to bluegrass while maintaining the sound the band had become known for. The record garnered incredible press. Shooter Jennings offered that “Albums like Dark and Bloody Ground and songs like ‘Distant Memory Lane’ should be included in the handbook for new country music listeners,” and No Depression called the record “an album that, like Second Helping or The Southern Harmony and Musical Companion will be the defining record of the decade for the genre.” The band’s exponential fanbase led to shows opening for the Marshall Tucker Band, Lucero, Dale Watson and Blackberry Smoke, as well as several headlining tours throughout the South and the Midwest.
Elements of numerous roots styles show in the band’s music, but Fifth on the Floor’s live show, featuring Aaron Graham, Jason Parsons, Matty Rodgers and Justin Wells, is undoubtedly a rock show. The ferocity of the band’s live performances combines with the strength of their collective song-writing on their upcoming record. The album, produced by Shooter Jennings, is due in late 2012.
If you haven’t seen a Fifth on the Floor show, buy a ticket right now. The band’s rowdy rock and roll is everything you’d expect from four Kentucky gentlemen.
Forget everything you knew about The Devil Wears Prada.
The technically proficient, guitar-driven American metal that you’ll hear on the band’s fourth studio album, Dead Throne, is bigger and more balanced than what was contended with on 2009’s breakthrough offering, With Roots Above and Branches Below, and 2010‘s Zombie EP.
Dead Throne signals a more evolved, more progressive The Devil Wears Prada that is not only larger sonically, but goes much deeper, lyrically. The album contains more than a dozen cutting-edge, razor-sharp, straight-ahead metal tracks that are utterly brilliant not only in their composition, but also in their flawless delivery.
“The songs are inspired by a lot of the things in my heart, per usual,” explains frontman Mike Hranica. “A lot of the subject matter was very specific for this record, which is something that has evolved for me. I’d call the album very ‘lyrically intentional.’”
Dead Throne was expertly produced by Killswitch Engage mad genius Adam Dutkiewicz at his Massachusetts-based recording studio -- a collaboration born out of a mutual admiration first realized in early 2010, when The Devil Wears Prada supported Killswitch Engage on tour.
“We got along with Adam very well and he dropped some hints about how he was interested in working with The Devil Wears Prada,” Hranica said. “Like any heavy band, clearly we've always been curious about working with the dude, so when he was so cool with us, it really felt natural and right. His impact as far as sound and engineering is purely his ability to capture the rawness of our band and reduce the sterility of it; something I've wanted for a very long time. I couldn't be happier with Adam’s influence and I think it works really, really well for us.”
Rounded out by guitarist and clean vocalist Jeremy DePoyster, guitarist Chris Rubey, bassist Andy Trick, keyboardist James Baney, and drummer Daniel Williams, The Devil Wears Prada wrote all of the songs that appear on Dead Throne before heading into the studio with Dutkiewicz, a man the band trusts and respects.
“Adam did have an impact as far as structure and pulling things out and reorganizing. He sped up a number of the songs, cut measures in half, and generally trimmed fat,” Rubey offered. “Usually, this would be something that we wouldn’t be into coming from a producer, but with Adam it totally worked for the best,” he added.
With Dead Throne, The Devil Wears Prada has turned a corner, by turning up the aggression and turning on the emotions. Dead Throne is the product of hard work and The Devil Wears Prada’s inevitable musical evolution, which tends to focus more on the band’s unique, punishing dual-vocal assault this time around.
“We aim to give listeners and fans something they can enjoy, but we’ll also always make songs we personally stand behind,” says Hranica. “We'd write differently if we were purely trying to sell albums: that’s just not how it works for us. No compromises.”
Dead Throne finally takes hold of what the band has merely hinted at in the past, and fans both old and new will quickly see this album for what it is -- a brilliant, emotional, captivating and brutal journey brought forth from the heart of a band that won’t conform to the latest trends. Ultimately, Dead Throne tackles issues of failed relationships and perseverance of faith.
“The album has a number of love lost songs,” says Hranica. “It’s a poetic topic I’ve always touched upon in the songs, and exaggerated, but this time around it was a little bit different as far as where it was coming from. My biggest lyrical models for the album are also very ‘love lost’-generated writers, which have an influence on me. The record contains a lot of self-loathing and a lot of bitterness, which all has a spin on it to where the only thing that does not pass in our lives is our faith and our trust in God. Dead Throne takes a bitter perspective: the world is dead and the only thing we have is the Lord.” And as for the world, the The Devil Wears Prada have already set their sights on breaking territories around the world the same way they established their loyal following in the States, through non-stop touring. The band toured Europe multiple times in 2011, with the last run ending at the UK’s premier rock event, Download Festival with a main stage performance. 2011 and 2012 will see The Devil Wears Prada touring throughout America, Europe, Australia and South America, among other territories.
The scene’s most notorious front man Ronnie Radke returns from years of mandatory silence to form Falling In Reverse, the loudest, most hard-hitting rock outfit to hit streets since his departure from Escape The Fate over three years ago. The Drug In Me Is You drops on July 26th and features eleven mega-hits that can be pre-ordered today along with the first single, “Raised By Wolves” available now on iTunes. Check out what Ronnie has been up to here.
After years of drama and speculation following Ronnie Radke’s departure from Escape The Fate, the talented frontman lifts himself from the depths of adversity to emerge as one of the most dynamic and talented stars in the music scene today. Joining Radke on his forward climb to claim his position at the top are Jacky Vincent (Lead Guitar), Ryan Seaman (Aiden, I Am Ghost) on drums, bass player Mika Horiuchi and rhythm guitarist Derek Jones.
“Raised By Wolves,” the first digital single from Falling In Reverse is a 3:25 minute journey into the mind of Radke - where his brutally honest lyrics break down his tumultuous past, while Falling In Reverse’s ferocious sonic breakdowns pick up right where Ronnie leaves off - shredding guitar solos, massive hooks and in your face guitar riffs, reminding us all of what Ronnie is capable of…
Formed in 2007, the band has built a following with two previous records, Fury And The Fallen Ones and Returners, as well as their riveting live performances touring with bands such as Bring Me The Horizon, Parkway Drive and The Devil Wears Prada.
The Ghost Inside’s powerful and affecting sound merges insightful and introspective lyrics with charging drums, lightning fast riffs and devastating breakdowns. The group is currently working on their yet untitled Epitaph debut with Jeremy Mckinnon (of A Day To Remember) producing.
The Ghost Inside will be taking their energetic live show on the road when they tour North America.
Throw rock, reggae, punk, and pop into a blender, power it up and you get Ballyhoo!, acclaimed by fans to be “America’s-Favorite-Feel-Good-Party-Band.” It’s hard to argue with the masses, but these road-warriors have tirelessly toured to bring their music to the people. Between the road and the studio, Ballyhoo! has crafted a sound distinctly their own; fresh, fun, and embodied by the soul of the party lifestyle. Lead singer and guitarist, Howi Spangler, has a reputation for mixing slick lyrics with his smooth but powerful voice. Drummer Donald “Big D” Spangler lays out the hard-hitting beats, which are underlined by JR Gregory’s funky and witty bass lines. Scott Vandrey (aka DJ Blaze) rounds it out on the turntables and keys.
BALLYHOO!’s unique sound, hardcore devotion to the road and their fans has pitched them into snowballing success. After concluding the Last Calls and Liabilities tour with respected contemporaries, Pepper, they were honored with being included on the ever-popular 2011 Hollister Holiday Playlist. Ballyhoo! has toured with a myriad of the genre’s biggest names; Authority Zero, The Expendables, 311, and The Supervillains. In Jan 2011, they got a well-deserved nod from LAW Records and were signed to the Hawaii-based independent record label. Yesod Williams of the dub rock music mega-sensation PEPPER and owner of LAW Records says of his newest addition, “Having BALLYHOO! join the LAW Records family is a perfect fit. They are an incredibly talented band with a really catchy style”. 2011 has been a paramount year for Ballyhoo! as they wrap up the year with a few holiday bashes.
dangerkids (stylized as DANGE?KIDS, dk, >>) is an American rock band from Dayton, Ohio, formed in 2012. The current lineup includes five members: Andy Bane, Tyler Smyth, Jake Morter, Jake Bonham, and Katie Cole.
“Music is about connecting with people, and that’s what we focus on more than anything else,” says Transit’s vocalist Joe Boynton. Hailing from north shore Boston, Transit is a band that expresses an arresting degree of honesty and individuality in their music. While clearly drawing inspiration from seminal groups such as Saves The Day, as well as the Northeast US pop-punk scenes that all five members grew up in, Transit has swiftly evolved into a group with a more alternative, indie rock sound. “We all grew up listening to a wide variety of music, but bands like Archers of Loaf, Braid, Osker and American Football demonstrated to us that there are always refreshing ways to create a new style and feel,” explains guitarist Tim Landers. Illustrating Transit’s artistic evolution from one release to the next, early descriptions of the group compared them to Taking Back Sunday and Brand New, and now, more recently, to bands like Death Cab For Cutie and Modest Mouse.
The band’s prolific output is also impressive by any measure, having put out seven releases over the last four years. Transit’s highly acclaimed LP, “Keep This To Yourself”, released in August 2010 on Run For Cover Records, inspired ABSOLUTEPUNK to rave: “Good luck keeping Transit’s passionate and infectious tunes a secret. Once you hear the first chords of opener “Dear Anyone,” you’ll immediately go out and tell all your friends about the best pop-punk album of 2010.” Transit also released an acoustic EP, “Something Left Behind” in February and a limited edition Record Store Day 7”, “Promise Nothing”, was released this past spring and sold out in advance. ALTERNATIVE PRESS, in a glowing review of “Promise Nothing”, praised the band’s meteoric creative growth, comparing them to Jimmy Eat World and Moneen.
Named one of the “Bands To Watch in 2011” by ALTERNATIVE PRESS, Transit has played throughout North America and overseas alongside Four Year Strong, The Wonder Years, Less Than Jake, Bayside, Man Overboard, Senses Fail and many others. The band—whose members also include Torre Cioffi (guitars), PJ Jefferson (bass) and Daniel Frazier (drums)—has just finished tracking its first full-length on Rise Records, LISTEN & FORGIVE. The album, which ALTERNATIVE PRESS just named as one of the “Top 20 Must-Hear Fall 2011 Releases”, is set to drop in the US and around the world in early October.
To mark the release of LISTEN & FORGIVE, Transit will be touring this Fall around the US with Saves The Day, Bayside and I Am The Avalanche, before heading to the UK and Europe in December with Title Fight and Balance and Composure. From that point onwards, fans can expect to see the band touring extensively around the globe throughout 2012 and beyond.