The Word Alive

The Word Alive are an American metalcore band hailing from Phoenix, Arizon. They have been together since 2008 and are signed to Fearless Records.

My Chemical Romance

On a mission to expand and defend The Realm from those who seek to destroy it!

The Offspring

Our brand new album SUPERCHARGED is available everywhere! Listen now at: https://found.ee/OffspringSUPERCHARGED

Sublime

bury-tomorrow.com
instagram.com/burytomorrow
twitter.com/burytomorrow
youtube.com/burytomorrow

Killswitch Engage

U.D.O. is a German heavy metal band founded by lead singer Udo Dirkschneider in 1987. Closely tied to the name U.D.O. is Accept, founded by Udo Dirkschneider and Michael Wagener (later to become a top producer) in Solingen, which was the predecessor of U.D.O.

U.D.O. is an incorrect tag for Udo Mechels.

After the breaking up of Accept in 1987, a large fan community followed Udo Dirkschneider and Stefan Kaufmann to U.D.O.

Starting with the first albums Animal House in 1988 and Mean Machine in 1989 U.D.O. proved to be pure heavy metal without any Trend-Sound influences. Both albums continued where Accept had left of in 1986 with Russian Roulette. Animal House was played in by Peter Szigeti (guitars), Frank Rittel from Warlock (bass), Mathias Dieth from Sinner (guitars),Thomas Franke (drums) and of course Udo Dirkschneider (vocals)

When Mean Machine was released in 1989 U.D.O. had a totally different look. From the line-up which had played on Animal House, remained besides Udo only Mathias Dieth (guitar). New were Andy Susemihl (guitar), Thomas Smuszynski (bass) and Stefan Schwarzmann (drums).

Even though the unwritten U.D.O. law No-Keyboards was broken, U.D.O. achieved an amazing success, with the album Faceless World, produced by ex-Accept drummer Stefan Kaufmann.

At first disputed, it turned out to be, with Udo Dirkschneider (vocals), Mathias Dieth (guitar), Wolla Boehm (guitar), Thomas Smuszynski (bass) and Stefan Schwarzmann (drums), U.D.O.'s most sold album so far.

Mayday Parade

There’s a lot for Mayday Parade to celebrate these days. The Tallahassee, Florida-formed quintet recently wrapped a career-defining tour marking two decades together, one that saw more than 70,000 fans pack sold-out venues to celebrate their storied catalog. They performed a triumphant main-stage set at the 30th anniversary of the Vans Warped Tour, a full-circle moment for a band that made their name selling self-released CDs in those sweltering parking lots nearly 20 years ago. Their landmark debut LP, A Lesson In Romantics, turned 18, still beloved for its iconic singles like the platinum-certified “Jamie All Over” and gold-certified “Miserable At Best.” And the group released Sweet, the first in a self-released three-album series that reaffirmed just how creatively energized they still remain.

Now, with Sad, the second installment in that trilogy, Mayday Parade dive deeper into the emotional nuance that’s long defined their work. The emotional journey found on songs like “Under My Sweater,” “It’s Not All Bad” and “Promises” is the beating heart of the band, the reason fans proudly wear MAYDAY PARADE IS AN EMOTION shirts and hoodies like a badge of honor. It’s the compass that’s guided the band through their entire career – especially during this three-album arc – pushing them to chase the next great idea, whether it arrives in a sudden spark or takes decades to fully round into form. It’s all in the songs, and when it’s right, you’ll know it when you hear it.

The Used

One of the few remaining bands from the ‘Emo scene’, The Used from Orem, Utah formed in 2001 consisting of: Bert McCracken (vocals, keys), Jeph Howard (bass), Quinn Allman (guitar) and Branden Steineckert (drums).

Theory of a Deadman

Songs make statements at just the right time. Born at the intersection of insurgency and inspiration, music props up a sounding board for the people to be heard. Theory Of A Deadman amplify this voice on their seventh full-length offering, Say Nothing [Atlantic Records]. The award-winning multiplatinum Los Angeles-based Canadian band—Tyler Connolly [lead vocals, guitar], Dave Brenner [guitar, backing vocals], Dean Back [bass], and Joey Dandeneau [drums]—flip the pulse of the world into scorching songcraft, integrating experimental vision, rock ‘n’ roll attitude, and clever pop ambition.

In the midst of this storm, Connolly and Co. speak up like never before.

“This album allowed me to say all of the things that were on my mind earlier, but I was too afraid to say,” the frontman admits. “Our previous material was pretty much all relationship-driven. Everything was about me being unhappy. This one was about what’s going on in the world, the state of American politics, and everything else. It was a completely different way of writing for us. I remember Dave asked me, ‘Hey dude, did you watch a lot of CNN or what?’,” he laughs.

A whirlwind two years awakened this feeling in the group. After nearly two decades together, Theory landed their biggest career hit in the form of “Rx (Medicate)” from 2017’s Wake Up Call. Not only did it receive a platinum plaque, generate 250 million-plus streams, and become their third number one on the Billboard Hot Mainstream Rock Tracks chart, but it also received a nomination in the category of “Rock Song of the Year” at the iHeartRadio Music Awards.

The musicians quietly reached this high watermark by remaining consistently prolific. To date, their discography encompasses several platinum and gold singles, a platinum album, two Top 10 album debuts on the Billboard Top 200, and eight Top Tens on the Billboard Hot Mainstream Rock Tracks Chart. In addition to selling out shows worldwide, they’ve toured with everyone from Alter Bridge and Bush to Stone Sour and Big Wreck and more.

In 2018, Connolly turned his attention towards the next chapter. It started at a Los Angeles dinner with Wake Up Call producer Martin Terefe [Jason Mraz, Yungblud].

“I went out to dinner before Halloween with Martin, began discussing the record, went home, and had a panic attack,” recalls Connolly. “After ‘Rx (Medicate)’, there was a lot to figure out. It was really fantastic, but I don’t think we had a lot of time to live in it and digest it. There was pressure. I was like, ‘Okay, I have to get to work’. One day when I woke up, I knew what I needed to communicate. I was motivated to talk about things I want to talk about and not just write about girls. It’s not where I was 15 years ago, but here I am now.”

“What makes this record important is the content,” Brenner elaborates. “Tyler approaches some really tough topics like domestic violence and racism. We never did that in the past. ‘Rx (Medicate)’ opened the door though. This is almost a continuation. There are real discussions happening in the tracks backed by heavy stuff to make you think.”

Once again, the group hopped a plane to London and worked out of Terefe’s Kensaltown studio. Staying in an Airbnb for six weeks, they pushed themselves creatively like never before, incorporating new sounds and sonics.

Theory introduce Say Nothing with the single “History Of Violence.” Finger-picked guitar by Brenner brushes up against the singer’s searing snapshot of a woman afflicted by abuse at the hands of her husband. Between sweeping strings and airy solos, Connolly sings, “She need a sedative to get her straight, ya know she need a cigarette, she got the shakes, put them sunglasses on her, hide her face, such a waste…maybe the way out is a .38.”

“It’s a story about a woman who gets beat by her significant other, shoots him, kills him, and goes to jail,” he explains. “Even though she’s in jail, it’s still a better place to be than being imprisoned in real life by this man. It’s very similar to stories we hear in the news all the time, unfortunately.”

A pilgrimage to Abbey Road Studios left its fingerprints on “Ted Bundy.” Swaggering piano and boisterous horns resound beneath a Sgt. Peppers-gone-Silence-of-the-Lambs story - a first-person account about a terribly troubled man who can’t properly love; not even the most beautiful woman can fill that void and change him.

“We did a private tour of Abbey Road, and I got to play on The Beatles piano,” recalls Connolly. “We went up to the room where they played ‘A Day in the Life’. When we got back to our studio, we were so inspired. We put tuba on ‘Ted Bundy’. After six albums, we don’t want to be complacent or stale. We try different things. I wrote the chorus first for this then decided to write it about the infamous killer. I think I was watching the documentary and got inspired to write about Ted Bundy falling in love.”

Elsewhere, a gospel choir kicks off “Quicksand,” adding yet another dimension to the aural palette. Meanwhile, the orchestration on “Black Hole In Your Heart” moves in lockstep with an arena-ready beat punctuated by creaky guitar, nodding to Silverchair’s Diorama.

“All around, we really pushed ourselves in terms of the sound,” adds Brenner. “It’s like we finally fit the square peg in the round hole here!”

In many ways, “Strangers” encapsulates a pervasive feeling and strikes a chord with its powerful and provocative prose.

“It’s about what’s going on in America with politics,” says Connolly. “You have to pick a side. It’s interesting how people stick to their party and forget the country. We’re all like strangers now. It’s gotten too nasty.”

However, Theory’s music might be something everyone can ultimately agree on.

“I look at the record as a microcosm of our current era,” Brenner concludes. “It’s a reminder to look inward at what’s happening and what we’re becoming. I hope everyone dives into the words. At the same time, music is still an escape. Maybe we can give the world a little solace and encourage everyone to treat each other better.”

“We just want to write what speaks to us,” Connolly leaves off. “The best thing is when people sing lyrics back to you, or if a song gets somebody through a tough time. There’s something we all might be able to dig here.”

www.theoryofficial.com

We the Kings

The Pretty Reckless

Between 2013 and 2015, The Pretty Reckless traveled the globe touring in support of their second album, the raucous, roaring, Catholic guilt-inspired Going To Hell. A bruising blend of ferocious rock and roll and inky blues, the album debuted in the Top 5 on the Billboard Top 200 and spun off three No. 1 Mainstream Rock singles, “Fucked Up World,” “Follow Me Down” and 2014’s most successful song at the format, “Heaven Knows,” which spent a total of 18 weeks in the top spot. Going to Hell’s success meant strong live demand for the New York City band, which is anchored by its songwriters, singer-guitarist Taylor Momsen and guitarist Ben Phillips, who have been making music together in partnership for ten years, and rounded out by bassist Mark Damon and drummer Jamie Perkins. The Going To Hell Tour sent The Pretty Reckless off on four separate jaunts across North America and three trips to Europe. Their explosive shows earned them legions of new fans at home and overseas. Despite feeling physically and emotionally spent after returning from their two-year odyssey, Momsen and Phillips jumped right into writing the songs for their third album, the scorching yet soulful Who You Selling For, which will be released by Razor & Tie in October. “We had so much we wanted to say, it was like shaking a can of soda on tour, and then when we started writing we cracked the seal,” says Momsen. “The touring life is very isolating. You look at the world through a bus or airplane window. But music is the healing factor. It’s the one thing that is grounding and a true companion through the forest. It saved us — again.” The necessity of music as a balm for the soul is a theme that threads its way through Who You Selling For, which finds Momsen and Phillips dealing with emotions ranging from confusion and frustration to depression and despair. “I think we felt a dire need to express those thoughts,” says Phillips. “And they’re things I think most humans feel on a daily basis but don’t always have an outlet to express. In the end we’re saying, ‘Don’t give up, your soul is all you have, so you’ve got to hang onto that.’” The album’s opening track, “Hangman” (which was inspired by a poem by Chidiock Tichborne written on the eve of his execution), tells a story of having control over your own mind and soul no matter what is happening to you. From there, Who You Selling For delves deep into the psyche of Momsen and Phillips — two artists who believe very much in the fiery redemptive power of rock and roll. The album’s first single, “Take Me Down,” is a story of desperation, with Momsen delivering such lyrics as “I spend all night and day / How much harder can I play? / You know I gave my life to rock and roll?” “It’s about wanting something so much you’d sell your soul for it,” Momsen says, adding that she and Phillips were inspired by blues artist Robert Johnson’s song “Crossroads,” which some have interpreted as Johnson singing about selling his soul to the Devil in exchange for his musical ability. “Back To The River” is about the desire to get away from everything, to go where no one can reach you, while the strutting “Wild City” is influenced by being young and on your own in New York (“We wrote it while walking down Rivington Street on the Lower East Side,” Momsen says). The most aggressive song on the album is “Oh My God,” which Momsen describes as “self-confession right out of a journal. I think it speaks for itself.” And finally “Who You Selling For” testifies to music being a form of salvation and describes how the rest of the album reaches into all forms of rock and roll looking for “The Answer.” The song inspired the album’s title, asking listeners to take a look at their own lives with its provocative query. “For me, it’s a question that challenges what I’m doing with my life,” Momsen says. “It questions the meaning of my actions whatever they are. It also defines the record in a grander way by asking the listener to look into the meaning of each song past the obvious.” Sonically, Who You Selling For alternates between blistering hard rock (“Oh My God,” “Prisoner,” “Wild City,” “Living In The Storm”) and gentler, more downtempo moments (“The Walls Are Closing In,” “Take Me Down,” “Back To The River,” “Who You Selling For,” acoustic ballad “Bedroom Window,” and closing track “The Devil’s Back”), giving Momsen a platform to showcase the power and versatility of her voice. She is one of rock’s most compelling contemporary frontpersons, capable of being both brash and confrontational and sultry and seductive, daring listeners to ignore her at their own peril with a fiery swagger that has only grown more fascinating as Momsen gets older. (She was 15 when The Pretty Reckless wrote and recorded their rock-grunge-blues debut album Light Me Up, which was released in 2010.) Momsen’s voice sounds all the more intimate thanks to the unvarnished way that she and Phillips, along with their long-time producer Kato Khandwala, recorded the songs. “It’s the most natural recording possible,” says Phillips. “It’s all performance-based, nothing was fixed. If Taylor walked in and sang the song and it didn’t work, she’d walk right out.” When more than just guitar, bass, and drums were needed, additional musicians were invited in, including guitarist Warren Haynes (Allman Brothers), guitarist Tommy Byrnes (Billy Joel), and keyboardist Andy Burton (Ian Hunter), as well as backing vocalists Janice Pendarvis (David Bowie), Jenny Douglas-Foote (P!nk), and Sophia Ramos (Rod Stewart). “It was so great having that many musicians in a room playing together and just hitting the record button,” Momsen says. “It’s very gratifying to feel the players and singers represented as they are. It gave life to these songs that were written tucked away in a bedroom and it enabled us to really deliver the most honest performances possible. What you hear is what it sounded like, no frills. That’s it.” It’s the band’s willingness to bare their souls that has earned them such a passionate fan base — people who identify with the raw candor of the lyrics and fearless way they are expressed. “I’ve had such a strange life,” Momsen says. “I’ve always felt on my own, running around the world on some mission that I barely understood. Our fans have been the ones who were really there for us. They have supported us through the good times and the bad. I owe them gratitude. They are the inspiration when things look too bleak to keep going. I know it’s been said a million times, but it’s true, I wouldn’t be here today without them. They make this all possible.” New Album, Who You Selling For available now! Buy it on iTunes - http://geni.us/theprettyreckless

New Found Glory

It’s been decades since New Found Glory's likeness was chiseled onto pop-punk’s Mount Rushmore, but as the quartet, formed in Coral Springs, Florida, in 1997, approach their landmark 30th anniversary, they still have a lot to say.

“We wanted to make something that really focused on how lucky we are,” guitarist Chad Gilbert explains of Listen Up!, NFG’s 11th studio album and first release for Pure Noise Records. “We’ve all gone through serious stuff in our lives, and I think the lyrics on this record are more meaningful and purposeful than ever. It’s a positive outlet that hopefully keeps people going.”

The album’s spirit is indeed a testament to resilience, shaped not only by Gilbert’s ongoing battle with an aggressive metastatic cancer but also the ever-evolving dynamic between him and his bandmates – vocalist Jordan Pundik, bassist Ian Grushka and drummer Cyrus Bolooki – as they continue to push each other creatively. It’s the same full-hearted sentiment that colored their 2023 acoustic EP, Make The Most Of It, here delivered in three-minute bursts of the band’s trademark pop-punk sound: the shiny melodies that launched them onto TRL in the early 2000s, the ghosts of the tight-knit punk and hardcore scenes they came up in as teenagers.

That kinetic energy informed Listen Up! from its earliest stages of the writing process, with Bolooki and Grushka traveling to Gilbert’s Nashville-area home to flesh out the songs the guitarist had been crafting. Sitting face to face with their instruments, the three fell into a rhythm of workshopping and arranging together, leaning into a riff-first mentality that harkened back to iconic songs like “My Friends Over You” and “All Downhill From Here” in what Bolooki calls a musical return to form.

“The album is nonstop riffs you can sing along to and air guitar with,” Gilbert says. “Back in the day, I’d write riffs and then we’d come up with melodies around them, but later the melodies came first and we’d have the music fit the melody. Now, the two are equally as important.”

“Being able to grab a guitar and jam these riffs with Ian and Chad with a second guitar in play, before I even picked up a drumstick, allowed for more creativity to come out in riffs and leads during the songwriting process,” Bolooki adds. “My musical background is a little more theory-based, and I think that helped bridge the gap between different musical ideas Chad had.”

True to their word, first single “100%” puts New Found Glory’s renewed approach on full display, an instant classic the group road-tested all summer on tour with The Offspring and Jimmy Eat World. Bursting with tightly wound guitar chugs and Pundik’s iconic timbre, the track is as much a love song as it is a renewed commitment from the band to its audience – now a multigenerational affair as era-defining tracks from gold and platinum albums like 2000’s New Found Glory, 2002’s Sticks And Stones and 2004’s Catalyst get the same fervent live response as the fan-favorite collection of covers like “Kiss Me” and “Let It Go.”

“The success of the Catalyst anniversary tour and seeing a whole new wave of young New Found Glory fans filled us with even more energy to make this record fresh and exciting,” Gilbert says. “It feels like there’s still room for us to bring in a new wave of fans to this genre.”

Elsewhere on the album, “Laugh It Off” trembles with the darkly hewn moodiness of Catalyst, “Treat Yourself” gallops with skate-punk fury and “Medicine,” which Pundik likens to Matthew Sweet’s brand of power-pop, provides a lighter musical moment. Make The Most Of It cut “Dream Born Again,” here in full-band form, sparkles with echoes of Sunny Day Real Estate, while the album-closing “Frankenstein’s Monster” reflects on Gilbert’s cancer journey over the last few years – a struggle that could have derailed the band but instead fueled the guitarist to carry his positivity and drive straight into the studio alongside producer Steve Evetts (Saves The Day, Lifetime) and NFG touring guitarist (and Four Year Strong frontman) Dan O’Connor, who joined the band in the studio for the first time.

“I was between cancer treatments making the record,” Gilbert explains. “I was pretty much dying again. I was going into the studio in the morning and sitting there with a 190, 200 blood pressure, going to the hospital, getting scans, going back to the studio, finishing a guitar track and then going home. I had some heart failure issues – all this fluid in my body and lungs – and we had to arrange the schedule so we could finish the album.”

“Despite everything Chad was going through, he would come in just ready to roll, and that set the tone for the record,” Pundik says, noting Gilbert pushed him to share more of the lyrics he’d been writing throughout the process. “Seeing him feeling positive and excited about the songs got us excited about it, and being in the studio every day together made the process really special. Recording is always a stressful thing because you’re trying to make the best album you can, but I think we all went in trying not to take it so seriously and just have fun with it.”

At this stage in their decorated career, New Found Glory’s goals are straightforward: keep inspiring the next generation of artists and continue writing songs that help their audience – and themselves – find strength, courage, and joy. The band has come a long way from their humble South Florida beginnings, as detailed on the Listen Up! standout “Beer And Blood Stains,” a nostalgic riff-factory detailing the band’s early battle scars at local clubs, where danger meant more than catching a stray elbow in the swirl of a circle pit. “Looking back, was it fun or crime?” Pundik muses on the track before elevating the album’s simple-yet-profound mission statement: “It’s good to be alive.”

“Obviously there’s the relationship to music, but we called the album Listen Up! because we’re trying to offer an album to fans that’s a little bit deeper, that asks them to listen to the words and the world around them,” Gilbert says. “I think this is the most honest and universally relatable record we’ve made in years – maybe ever.”

Apocalyptica

ORDEN OGAN (ORDEN = german for a religious “order”, OGAN = old celtic for “fear”)

often referred to as a power-metal band, germany’s ORDEN OGAN have developed their very unique style of hard yet melodic heavy metal, that makes them totally stand out from the crowd. having their roots in traditional german power metal ORDEN OGAN implemented folk, symphonic and elements of modern metal into their sound, transferring the german legacy into the new millenium and creating their very own genre. welcome to the age of DARK POWER METAL!

having entered the official german album charts (media control) with “To The End” in 2012 at #41, with “Ravenhead” (2015) at #16 (3 weeks!), "Gunmen" at #8 (3 weeks!, "Final Days" (2021) at #3 and "The Order of Fear" (2024) at #3 again, having hit several international charts at top 50 positions, being featured on germanys biggest tv station RTL in trailers of the formula 1 broadcast with “we are pirates!” (approx. 11 million viewers), having played several european tours with bands like hammerfall, powerwolf, grave digger or van canto, to name a few, having played festivals with packed infields like WACKEN OPEN AIR (GER), 70000 TONS OF METAL (USA), SUMMER BREEZE GER), METAL FEST (CZ), MASTERS OF ROCK (CZ), HELLFEST (FR), BLOODSTOCK (UK), ALCATRAZ (BE), EVOKEN FEST (JP), ROCKSTAD: FALUN (SWE), PROG POWER USA (USA), ROCK FEST BARCELONA (ES), ROCK HARD FESTIVAL (GER), being tweeted by megadeths dave mustaine (“listening to orden ogan. anyone heard of these guys before? pretty cool me thinks. what is an orden ogan anyway? =)“) and having reached millions of views on their youtube clips - ORDEN OGAN today is an internationally established heavy metal act with a big and growing following.

Sevendust

Sevendust is an American alternative metal band from Atlanta, Georgia. Formed in 1994, the group went through multiple name changes before settling on the name Sevendust and releasing their debut album.

Red

Hawthorne Heights

Nothing More

Rock

Finger Eleven

Greatest Hits Out Now featuring new single Together Right

From Ashes To New

Lit

Starset

The Starting Line

The Starting Line (TSL) is a four-piece pop punk band from the Philadelphia, Pennsylvania area. They formed in 1999 as Sunday Drive and are signed to Virgin Records, and were previously signed to Drive-Thru and Geffen Records. In March 2008, the band announced that they are going on break for about three years in order for Vasoli to explore Person L, Matt and Tom to explore The 76, and Mike to spend time with his two daughters.

In 1999, the band that would become The Starting Line was initiated in Churchville, Pennsylvania via an AOL instant message from guitarist Matt Watts to vocalist/bassist Kenny Vasoli. It asked if the then fourteen-year-old Vasoli, who was at that time in a band called Smash Adams, was interested in "Jamming and shit", as the message title read. Only a few weeks later, Vasoli found himself rehearsing with his future bandmates Watts, guitarist Mike Golla and drummer Tom Gryskewicz. Soon, the band started touring under the name Sunday Drive, selling out home-made merchandise and a self-recorded demo cassette titled Four Songs. Their first official release was a three-way split with The Jimmy Tuesday Band and The Commercials contributing three songs each, released on KickStart Audio in 2000.

Sunday Drive was soon approached by We the People Records and asked to produce a recording session (the infamous We the People Records Sessions). Set for a release in December 2000, the twelve songs were initially planned to become the band's debut full-length With Hopes of Starting Over on We the People Records, but they ended up serving only as demos for tracks on future releases, as the band signed with Drive-Thru Records in April 2001. On Drive-Thru, they soon released their debut EP With Hopes of Starting Over. Yet, as the name Sunday Drive was already taken by a Christian rock band, they went on as The Starting Line.

On July 16, 2002, almost exactly one year after the release of their EP, the full-length Say It Like You Mean It followed. The songs ranged from energetic and fast-paced to melancholy and calm, dealing with performing on stage ("Given the Chance"), feeling homesick ("Left Coast Envy") and getting even with Vasoli's ex-girlfriend Karina ("Up & Go", "Hello Houston", among others). The hit single "The Best of Me" and its two music videos, as well as the second single "Leaving", received heavy radio and TV airplay, securing The Starting Line a spot on the Warped Tour.

Due to their desire to put out new material, the band decided to release an all-unplugged EP, recorded in three sessions over the following year. The first three songs (recorded in The Prize Fight's Bob Jones' bedroom in August 2002), the second session (recorded in Vasoli's basement in March 2003) and the last track (recorded on the band's touring bus in April 2003) became The Make Yourself at Home EP, released on November 25, 2003. The CD and the DVD version issued simultaneously, featuring an acoustic set performed live at Skate & Surf 2003 in Asbury Park, New Jersey, would be their last releases put out solely on Drive-Thru Records, as The Starting Line was signed by Geffen Records soon afterwards.

Their major label debut, Based on a True Story, came out in May 2005. Lyrically, the band dissociated themselves from the post-relationship formula that was predominant on their previous records. On this album, a lot of the songs (e.g. "Inspired By the $", "Autography" and "The B-List") were explicitly inspired by the band's disdain for their record label Geffen and its executives. The album was far more successful than the band's 2002 effort and sold 42,000 copies within its first week, as opposed to its predecessor's 11,000. The release was followed by the semi-headlining Nintendo Fusion Tour with Fall Out Boy, kicking off in September 2005. A few dates into the tour, The Starting Line were — at their request — released from their record deal with Geffen, and became free agents. In early January 2006, their signing with Virgin Records was announced.

Hot Mulligan

Hot Mulligan writes songs for people to sing as loud as possible. Their music is the cathartic outcry for growth from a generation of forward-thinking Midwesterners caught in the gears of a rusted system in desperate need of hope. The members — Tades Sanville, Chris Freeman, Ryan Malicsi, and Brandon Blakeley — use songwriting to explore the lessons they’ve learned from lives lead in the pursuit of dreams with full awareness of the cost. From relationships to personal development, Hot Mulligan captures the human experience with unflinching honesty and infectious hooks that, above all else, make people feel something.

On their Sophomore LP, You’ll Be Fine, Hot Mulligan shares a collection of stories that capture their growth, or lack thereof, since the release of 2018’s Pilot. It’s an album about losing yourself in the pursuit of your dreams, and how that conundrum can create a ripple effect that touches every relationship in our lives. For every show played, there are moments missed back home. For every song, a commitment is made to staying on the road.

But don’t let the emotional intelligence displayed on You’ll Be Fine fool you. Hot Mulligan makes serious music for people that don’t take themselves too seriously. You may feel sad or stressed or lost in life right now, but don’t worry too much because those feelings will pass in time. When all is said and done, after dreams are chased, hearts are broken, and memories are made, you’ll be fine.

Ill Nino

"ILL NIÑO" Official Facebook Page

Coal Chamber

Free Throw

Nashville, TN // Est. 2012

Brujería

Caskets

Holding Absence

This Is Holding Absence -

L.S. Dunes

Love Songs for Lost Souls

Our new album Violet is out now 💜

Catch us on The Like Magick Tour 🔮

https://linktr.ee/lsdunes

Wind Walkers

Hailing from the vibrant music scene of central Massachusetts, Wind Walkers are leading in redefining the very essence of post-hardcore and alternative metal.

Alongside the instrumental expertise of Timothy Comeau and Neil Comeau on guitar, Craig Martin on bass, and Ethan Cheesman on drums, the pivotal moment of their evolution came with the addition of vocalist Trevor Borg. With his exceptional vocal prowess and captivating stage presence, he's added a new layer of depth and intensity to their already established sound.

As they continue to evolve and redefine their craft, their unwavering commitment to explore new musical realms sets Wind Walkers apart in the industry. Their music showcases an unapologetic approach to authenticity, an invitation to embrace the unexpected and challenge the status quo.

The Union Underground

Leap

Unloco

The Violent Hour

The Ladrones

The Word Alive

Flytjendur