We are giving away a pair of tickets to All That Remains, Attila @ Crystal Ballroom on March 24. To win, comment on this post why you’d like to attend. Winner will be drawn and emailed Monday, March 18.
From our sponsors:
All That Remains
Escape the Fate
March 24, 2019
5:30 p.m. doors, 6:30 p.m. show
All Ages | $25 ADV, $30 Doors
More info: crystalballroompdx.com
1332 W Burnside St, Portland, Oregon 97209
For 15 years, Massachusetts-based quintet All That Remains have written and released… whatever the hell they felt like with total disregard for what was considered trendy. Fronted by self-confessed contrarian Phil Labonte, the band has experimented with a range of styles including pop, rock and caustic metalcore with just one objective – to create great songs that come straight from the heart.
If you want to leave a lasting impression, get to the point…
Clinging to airtight songcraft, knifepoint precise metallic instrumentation, and stadium-size hard rock hooks, All That Remains cut right to the chase on their ninth full- length album, Victim of the New Disease [Fearless Records]. In fact, the quintet- Philip Labonte [lead vocals], Oli Herbert [lead guitar], Mike Martin [rhythm guitar], Jason Costa [drums], and Aaron Patrick [bass, backing vocals]-perfect their patented pummeling by wasting no time or energy at all.
“We just try to trim away all of the fat,” exclaims Labonte. “It’s easy for metal bands, ourselves included, to get self-indulgent and write parts for the sake of parts. Unless an idea makes a song better, there’s no reason to put it in. We always put the song first. That’s how you stick with people. If you just write good songs, everything else will be okay.”
That philosophy cemented the Massachusetts group as one of this century’s most consistent purveyors of heavy music with a bulletproof canon of arena-worthy anthems. All That Remains’ discography is highlighted by Top 10 Active Rock radio hits such as their first number one “Stand Up,” “Two Weeks,” “What If I Was Nothing,” and more. Averaging 1 million monthly listeners on Spotify (an unprecedented feat for a metal band in any era), cumulative sales eclipse 1 million albums worldwide. Not to men- tion, they’ve earned five consecutive Top 10 debuts on the Billboard Top Rock Albums Chart and four in the Top 5. Most recently, 2017’s Madness spawned the smash cover of Garth Brooks’ “The Thunder Rolls,” which trended on VEVO and generated 21 mil- lion plus total views and 8 million Spotify streams in under a year’s time. In addition to packing houses as a headliner, they’ve practically burned down the stage every- where from Rock on the Range to Welcome to Rockville.
When it came time to commence writing for what would become Victim of the New Disease, the boys decided to go back to square one. All That Remains holed up in the Chicopee, MA rehearsal space they’ve occupied since 2010 and dove into writing alongside an old friend producer Dan “DL” Laskiewicz [Unearth, The Acacia Strain].
“We were trying to focus on what we do best,” the frontman continues. “We wanted to be heavy. We didn’t want to go to L.A. and work on a record out there again like we did with Madness. We wanted to do it where we were comfortable at home. That method has always done really well for us. We got together in the old practice space and hammered out riffs, ideas, and songs that resonated with us.”
For the first time, the band recorded proper demos complete with music and lyrics, marking “the most striking difference” between previous releases. With “DL” behind the board as producer and mixing courtesy of Josh Wilbur [Lamb of God, Gojira], they delivered a striking, succinct, and sharp collection of ten anthems.