For Lancaster, Pennsylvania’s metal wunderkinds TEXAS IN JULY, the cliché that age is nothing but a number is
strikingly apropos. Armed with prodigious talent and songwriting ability that belie the fact that the band’s members
range in age from 15 to 17, TEXAS are poised to make waves with the release of their debut, digital-only EP, Salt of
The Earth, on CI Records.
With less talent, a similar group’s ages might make them a novelty – the metal version of HANSON – but TEXAS
deliver with more musical chops than most people twice their age. No one overhears, “These kids are good for their
age” at a TEXAS IN JULY show. “These kids are good” always suffices.
Produced and engineered by Carson Slovak of CENTURY (Prosthetic Records), Salt Of The Earth is a full-speed,
head-on collision into an absolute wall of sound. The technical, riffing guitars are propelled forward by thunderous,
booming drum sounds to create a sonic explosion. Read More

Hailing from and having conquered little more than Ontario’s little dirty Hammer, Counterparts is prone to strike the unexposed with an implement of more impact, more complexity and greater deftness with their debut full-length release of “Prophets” in early 2010.

The group is one of the countless many under twenty metalcore bands to emerge from the southern Ontario music scene within the past five years. They bear the startling distinction however, of virtuosity; being among the genre’s elite. “Prophets” is a veritable masterpiece of metalcore composition; satisfyingly heavy with a raucous hardcore spirit, superb technical finery and melody without kitsch, all slickly polished by the hands of metal-guru Jordan Valeriote at Sundown studios. The fledgling five have been an immediate presence in their scene, maybe never having inured themselves to the rite-of-passage despair of playing to an empty room or a peopled one in which nobody cares; perhaps owing to their highly captivating, highly competent, high -energy live performances.
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While it’s common practice in rock bios to liken an act to something familiar, it’s hard to do that with San Diego’s WE SHOT THE MOON. That’s because it’s virtually impossible to compare them to any other band out there…not for more than a track or two, at least. WE SHOT THE MOON–led by former Waking Ashland frontman JONATHAN JONES–is a piano-heavy indie rock four-piece. On September 29, the band releases its infectious sophomore LP, A SILVER LINING, the follow-up to 2008’s Fear and Love, on Minneapolis-based label Afternoon Records. Read More

i was born in TIMOR island east coast indo at 22nd of may 1981 from married couple JOHN and MARRY TOMASOUW. and they give me name ENGELBERTO D H TOMASOUW butu my hommy call me BERTO OBRIGADO so that was me now. lucky me i was born with complitly save. i started to surf when i was 16th,but that time i was living in sin city {jakarta indo} so i don’t have alote of  time to go searching the wave becouse takes time 4 till 6 hour to reach the beach from town. but after, i was move to bali to reach my drem to be a soul surfer fuck yeah i made it. my surf boarad size is 5′6 for beach break 5′8 for 3 feet untill 5 feet wave point break and 5′10 for 5 till 8 feet wave. my favorite surfer is ROBERTO MACHADO,and DAVID RASTOVICH And im goofy footer,my favorite break kuta reef,black stone,ulu’s,halfway {bali} port blanc quiberon {france} i like listen to the music like kindnes of band 311′ NOFX’ RATM’ papper’ MxPx’ kid rock’ G~LOVE’ jack johnson’ ben harper’ donavon frankenreiter. and olso i like phunaani verry verry much. alriiight its all the shit i’ve got,please keep the beach clean and go fuck the biaaatch but don’t forgot put the rubber on the bin. take and give taking care of your nature and the nature gonna taking care of you aSS…..and give you all you need…!!

fuck yeaaH hangloose

bErto obrigAdo

We live in uncertain times. Technology has undoubtedly enhanced our existence, but it has also made us vulnerable to government interference, sensory overload and identity theft. Generally this isn’t the type of subject matter breached by hardcore bands, but then again
Buffalo, New York’s Every Time I Die have never been a typical hardcore act. In fact for over a
decade the band have been forging their own musical and ideological path via their immediately distinctive brand of aggressive music—and that process is culminating with the band’s fifth full-length (and Epitaph debut) New Junk Aesthetic, an album that sees the band not just shifting the hardcore paradigm but completely reinventing it via brutal riffs, impassioned lyrics and kinetic energy. Read More

In a recent interview, mid-western pop rockers Every Avenue were asked a question that would normally be difficult to answer:  “How would you describe your sound?”  For vocalist Dave Strauchman the answer was simple:  “We sound like Every Avenue.”  His response could not be more true.  Every Avenue blends a style that is all at once innovative and reminiscent of a time in rock and roll when the name of the game was simply to have fun. The Marysville, Michigan quintet has been climbing the industry ladder since 2003 and, armed with a spectacular new record and a heavy tour schedule, it seems that ladder stretches pretty high into the sky.

Every Avenue formed in 2003 and self-released two EP’s in 2004 and 2006 before signing to the Southern California label, Fearless Records, in 2007, who released their acclaimed EP AH!. In February 2008, the band released its debut full length, Shh… Just Go With It and watched it rise to #27 on the Billboard Heatseekers Chart.  The record’s first single, “Where Were You?” received play on Yahoo Radio and AOL Radio and was also featured on “MTV’s Real World/Road Rules Challenge: The Gauntlet”, gaining more than 150,000 downloads on Mark Hoppus’ “Hi My Name Is Mark” blog on I-Tunes. The video also won MTVU’s The Freshman. Read More

“If I were a monster/Would you wince when you looked at me?/If I were a freak/Would you stare?/If I were a leper/Would you say unclean/If I was alone… Would you help me get free?”

A Monster Monster is on the loose.

The Almost’s second album for Tooth & Nail /Virgin Records began taking shape just as soon as the band came off the road after touring for their 2007 debut, Southern Weather, including a stint on that summer’s Warped tour.

That album, which debuted at #39 on Billboard’s Top 200, earned them a Top 10 single at Alternative radio, and a spot on MTV’s Discover & Download, was essentially the work of a single individual—Underoath drummer Aaron Gillespie, who wrote all the songs, played all the instruments and then recruited a band to play them live, starting with fellow Floridian Jay Vilardi, a veteran of several well-known area bands like Metal Blade’s Phoenix Mourning and Orland-based Hand to Hand. Read More

With the release of A Shipwreck in the Sand, their fourth and finest album yet, SILVERSTEIN honours their near decade long, magnanimous rule as an empire with 750,000 albums sold and over 1200 shows played. All the while, the benevolent conquerors have shown nothing short of loyalty to their audience and honest devotion to their cause. An unrelenting tour schedule and a sense of artistic accountability suffice to explain how an obscure band with a relevant sound could foster their earliest fanfare into a laudable career: the decade-long allegiance of an audience and the ability to still smack relevant and intelligible with tender aged, new recruits. A Shipwreck in the Sand, for all of its creative maturation, possesses a thematic and aesthetic familiarity that rightly crowns their story.

In 2000, the band formed their union, not in hopes of grandeur but wrought of their youthful love of music and a vision to meld disparate emo, hardcore and metal influences, ranging from the Get Up Kids to Grade, Penfold to Poison the Well. Inside of two years, SILVERSTEIN self-released their first two, somewhat jejune EPs, Summer’s Stellar Gaze and When Shadows Beam, attracting a great deal of local attention and testing their road legs in eastern Canada in the process. Read More

Today, in the world of music, accolades are won by way of cheap thrills, reverence is awarded for the most vogue fashion rather than superior musicianship, and discriminate audiences have abated in the presence of weary rhythm.

However, on the brink of oblivion, the dark age of medieval modernism awaits an enlightenment lead by only a handful of radical artists, among them, the virginal I Am Committing A Sin. The group, which has recently bloomed in wisdom and refined from the failed romances of youth, is exceedingly equipped to reunite alternative music enthusiasts with the excitement they once felt, much like an encounter with an old flame.

Each phrase of their every song evokes within the listener stirring pangs of pleasure and intense spasms of euphoria. The formidable arsenal that is I Am Committing A Sin threatens a disturbance in the state of things, to the point of an epidemic, pestilence both degenerative and infectious.

The band possesses equal parts propulsive spontaneity and aggressive energy and yet at the same time offers endless charm in melody and rhythmic quality. The very substance of the music is drawn from the enormous talent and mastery of each individual player combined with the ingenuity of their collaborative minds. Lyrically and philosophically the dynamo ensemble stands for principles of free inquiry, reason of mind and freedom of expression, thus providing all that is necessary for rock music to be potent again.