Tag Archives: woe is me

12.10.12
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[MUSIC] Issues – Black Diamonds

issuesISSUES
Black Diamonds
[Rise Records]
Verdict: 8/10
RIYL: Memphis May Fire, Periphery, Woe, Is Me

Issues has had quite a bit of issues since its inception this year. Three of the members of Woe, Is Me jumped ship to create a new musical endeavor. What is really, really obvious from the onset of the band’s maiden release is that Issues has decided to do exactly what it wants with the music. Within Black Diamonds, there are so many genres that weave themselves in an out of any given song that it’s really tough to understand how the result isn’t atrocious. There are heavy doses of djent, metalcore, dubstep, R & B, and even nu-metal, most often in each song. It would be a stretch to call the result anything progressive, but there is a progressive mindset that permeates the band’s output. This is eclectic metalcore, and it somehow works, really well. “King of Amarillo” starts off the album with djenty riffs while Tyler Carter’s familiar voice trades off barks with croons. The weird moments come early and often, but one notable moment is with “Love Sex Riot”, which features Fronz of Attila. The song channels some long-long nu-metal band, but the groove and melody is strong enough to carry whatever amateur-hour angst the song carries. The major flaw with Issues lies with the borderline-awful lyrics, which belie the band’s nu-metal influences pretty heavily. Thankfully, it is easy to ignore the sub-par lyrics due to the fun of the music. Despite how horribly wrong Black Diamonds should sound, Issues has undoubtedly released one of the most fun metalcore releases this year, against almost all odds. – by Nicholas Senior

>> Classification: Eclectic Metalcore
>> Recommended Tracks: “King of Amarillo”, “Princeton Ave” and “Her Monologue”
>> In Conclusion: Whoever thought combining metalcore and djent with nu-metal and dubstep would go over well is slightly crazy, but Issues has certainly managed to prove how fun it can actually be with its debut EP.

11.19.12
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[NEWS] Of Mice & Men Announce Winter Tour

Hailed by Rock Sound as “The World’s Hottest Band” in a recent cover story, Southern California rockers Of Mice & Men have announced plans for a winter headline tour kicking off January 12 in Seattle, WA. The trek, presented by Tilly’s, will feature support from Woe Is Me, Texas In July, Volumes and Capture The Crown.

With over 100,000 records sold, and an explosive live show that’s earned them a reputation as one of rock’s hardest working acts, Of Mice & Men has toured with the likes of Asking Alexandria, A Day To Remember, Every Time I Die, August Burns Red and Memphis May Fire, and graced the covers of such publications as Alternative Press, Outburn, Rock Sound, Big Cheese and more.

Last summer as the band canvassed the country as a Vans Warped Tour main stage headliner (their third time on the annual trek), Rise Records issued an expanded edition of their breakthrough 2011 sophomore release The Flood. The Flood Deluxe Reissue featured 4 brand new tracks recorded with producer Cameron Webb (Motörhead, Social Distortion) and mixed by Joey Sturgis as well as all new artwork.

On November 24 Of Mice & Men will perform at California Metal Fest in San Bernardino, CA alongside Killswitch Engage, Asking Alexandria, As I Lay Dying, Black Veil Brides, Chiodos and many others. In February the band will return to Australia for Soundwave where they will play alongside Metallica, Linkin Park and Blink 182.

07.30.12
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[MUSIC REVIEW] Woe, Is Me – Number[s] Deluxe Reissue

WOE, IS ME
Number[s] – Deluxe Reissue
[Velocity / Rise Records]
Verdict: (New Songs) 9/10 (The Rest) 7.5/10
This reissue may have been more valuable if it had more than just two new songs. Remixes, cover songs, and acoustic versions of tracks are fun and all, but I don’t feel like they make a reissue of a record really worth it. With a new singer, Hance Alligood, on team, then why not go back and at least re-record some of the old songs with him on mic instead? Hmmm? That would have been better than throwing on remixes. My bitching aside, the two new songs are at least better than the original Number[s] release. Seriously, they’re more tightened, focused, and hard hitting. If the new album they’re working on is even slightly as good as “Vengeance” and “Fame>Demise”, then Woe, Is Me will make me an official fan (Number[s] wasn’t enough for me). I still think Hance should have stuck with Oh, Manhattan, which had a much more interesting and unique sound, but he does sound better than Tyler did in the position. – by Nathaniel Lay

>> Classification: Electro Metal/Screamo
>> Recommended Tracks: “Vengeance”, “Fame>Demise”
>> In Conclusion: If you already own the original Number[s] release, then don’t buy this. Just go on iTunes and pick up the two new tracks featured on the reissue. The rest is not worth the price (once again, IF you already owned the original).

04.02.12
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[MUSIC] Make Me Famous – It’s Now Or Never [REVIEW]

MAKE ME FAMOUS
It’s Now Or Never
[Sumerian Records]
Verdict: 7/10
RIYL: ATTACK ATTACK! & ASKING ALEXANDRIA

Modern metalcore is a tricky and sometimes, treacherous genre to be in. Too many bands straight up copy and emulate the hot trendy bands that are ‘cool’ at that particular moment. Others try to take that basic ‘heavy-clean-electronic’ blue print and add their own little flavor here and there, most times failing miserably. Ukranian metalcore upstarts MAKE ME FAMOUS are making their presence felt with the release of It’s Now Or Never. Is it anything you haven’t heard on the past three Warped Tours? No. Is it fun to hear? Yes. MMF have used what ATTACK ATTACK! and ASKING ALEXANDRIA did before them and injected a fresh new outlook by not sounding so pre-fabricated and forced. Mixing a genuine love for the genre and the ability to crush and level with their devastating breakdowns and gang vocals. The cleans are of the standard fair but sound like there was some thought put into what was being said as opposed to just randomly littering tracks with them because it’s a “necessary element”. The ‘dance party’ interludes and choruses are entertaining and don’t distract from the records overall ambiance. Tracks like ‘Make It Precious’ define what MAKE ME FAMOUS are aiming for: Familiar but different. Don’t write MAKE ME FAMOUS off as being a clone by any means, as It’s Now Or Never deserves a good listening to, more than once. -by Jon Hole

Recommended listening: ‘Make It Precious’, ‘We Know It’s Real’ & ‘ifyuocnaraedtihsmkaemeasnadwich’
Guest musicians: Tyler Carter of Woe, Is Me on ‘Inception’; Johnny Franck, Ex-Attack Attack! on ‘I Am A Traitor’
Release date: March 27, 2012
In conclusion…Not riding the band wagon to hard, Make Me Famous have set out to make music that is familiar but different enough to keep it interesting.

CHECK OUT THESE OTHER RECENT/FEATURED REVIEWS:
Emmure – Slave To The Game
Words Like Daggers – Literature
Deuce – Nine Lives
Honour Crest – Metrics
Stick To Your Guns – Diamond
Exotic Animal Petting Zoo – Tree of Tongues
Legacy – With Peace In Mind

02.01.12
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[MUSIC REVIEW] ‘Storms’ by Amarna Reign

Storms
by Amarna Reign
[January 13, 2012 – Independent]
Verdict: 7.5 out of 10
Review by Nathaniel Lay

[DEATHCORE METAL]
Amarna Reign have not really changed their style since their last release, Atonement, but they have sharpened the edges and improved. Upon the start of Storms, the band’s new self released full length, “Sacrifice” sets the mood with a gradual build of static and distant guitars before sputtering for a second to unleash the band’s brutal sound. The track explodes on an addictive breakdown that makes more than one appearance during the song’s four minutes, easily making this album start a memorable one. However, the aggressive nature of Amarna Reign does grow a bit tiresome when they keep up this angry energy throughout the majority of the record. Luckily, by the time of “Shrines”, the band starts bringing in some clean vocal work from time to time. Lying on the melodic side at times, the singing really adds a great balance to the destructive nature of the band. If it were to appear more, my score may have been higher. Nonetheless, Amarna Reign make it very clear that their primary focus is to blow the roof off, which they do with Storms. There’s no doubt that circle pits will quickly perform during live sets of these songs. Any person that finds themselves attracted to very loud noises and crazy breakdowns should certainly look up Amarna Reign and their latest release. Storms is a step forward for the band, showing that Amarna Reign have definite talent deserving of a label.

[---] Highlight Tracks: “Shrines”, “Static”, “Masks”

Yep. You guessed right. Jon Hole’s 2nd Opinion…

Verdict: 7/10
RIYL: old FOR THE FALLEN DREAMS & LEGEND

Hailing from Indianapolis, Indiana, AMARNA REIGN stormed onto the independent music scene in 2007. It’s taken them a few years to get to the point that they are at now. Storms, their newest offering is a way more focused and brutal affair than previous releases. Album opener ‘Sacrifice’ is the perfect way to start a record: It’s filled with anticipation, groove heavy breakdown’s and plenty of aggression. Sounding, at times, like the meatier, more deathcore influenced brother of LEGEND helps get the listener in the mood to hear more. AMARNA REIGN have this sound throughout Storms’ 10 tracks, even injecting some clean vocals on the track ‘Shrines’, and on various tracks from this point on. Luckily they aren’t annoying by any means. Oddly placed perhaps but never-the-less the track blisters. What’s interesting about AMARNA REIGN is the use of sounds and production tricks that have been popularized by a majority of metalcore bands, in particular the ‘Rise-Core’ bands like ATTACK ATTACK! and WOE, IS ME. Prime example would be the track ‘Enlightened’. The main difference here, and saving grace, is the fact that they utilize these little nuances to enhance what they already do and not let it drag them down into a void filled with mediocre bands copying their ‘heroes’. They take these subtle tricks and add them to their post-deathcore sound, and it ultimately makes them stand out over other bands, both signed and unsigned. After hearing Storms, it’s a wonder that AMARNA REIGN aren’t being courted by labels like Rise, BLKHeart or Mediaskare. Let’s hope they get signed and get better exposure. Soon. Before they fall into the ‘let’s throw in the towel’ route that most young unsigned bands fall into.       -by Jon Hole

Recommended listening: ‘Sacrifice’, ‘Shrines’ & ‘Purge’
Production credits: Recorded and produced by Brian “Bone” Thorburn (Amarna Reign’s guitarist)
Release date: January 13, 2012
In conclusion…While Amarna Reign‘s sound isn’t exactly groundbreaking or new, what they do is make it a sound all their own. It’s got all the necessary element’s that make their brand of ‘post-deathcore’ easily accessible and interestingly fun. Give Storms a try if you are in need of something comfortable but different enough to catch and keep your attention.

01.30.12
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[MUSIC] My Ticket Home – To Create A Cure [REVIEW]

MY TICKET HOME
To Create A Cure
[Rise Records]
Verdict: 6.5/10
RIYL: ATTACK ATTACK!, LIKE MOTHS TO FLAMES & OF MICE & MEN

With metalcore being the undying giant that it is, there’s bound to be an overabundance of bands that try their hand at it. Some good. Most bad. A good majority are kind of hard to distinguish from other, more established acts. Rise Records has an uncanny knack for signing and promoting bands in this genre that do very well, loved or hated. Bands like ATTACK ATTACK!, WOE, IS ME and OF MICE & MEN are great at what they do, but the throngs of clones come out in spades. In 2009 a young band from Columbus, Ohio, named MY TICKET HOME released an EP entitled Above The Great City. It showed great promise, as far as metalcore goes. 2010. The band get taken under the wings of ATTACK ATTACK!’s Caleb Shomo (a band who not so ironically are from Columbus as well) and release EP #2, The Opportunity To Be (as well as a cover of Katy Perry’s ‘Firework’) which showed even more promise as the band started to take their own shape, so to speak. With the release of To Create A Cure, the AA! comparisons are almost too apparent. It’s not that this is necessarily a bad thing, but when a band is trying to find their own identity, sounding too similar to your ‘big brother’ of a band is a negative. Musically, To Create A Cure is a solid release. Fantastic grooves, smooth melodies and an overall vibe of urgency. Where MY TICKET HOME falter a little, is apparent on the first track and single, ‘A New Breed’. Vocalist Nick Giumenti sounds too much like Caleb Shomo. That aside, the music overall is pretty good. It makes one want to move, which is ultimately the point of a bands existence. With that being said, where MTH excel and set themselves apart from their ‘elders’ lies in the more mellower tracks like ‘The Dream Code’. It is written and performed flawlessly and full of the necessary passion. It isn’t a prefabricated, carefully inserted ‘ballad’ by any means. It is what keeps this band afloat along with the heavier tracks like ‘Dark Days’ and album closer ‘Fear Complex’, MY TICKET HOME still show promise and are a band to keep an eye on. To Create A Cure is in no way a bad record, it’s merely a stepping stone for future greatness.           -by Jon Hole

Recommended listening: ‘The Dream Code’, ‘Dark Days’ & ‘Fear Complex’.
Production credits: Produced by Caleb Shomo.
Release date: January 31, 2012
In conclusion…My Ticket Home are still in the process of finding themselves but To Create A Cure is not a bad listen if listening to the same 4 or 5 metalcore giants gets old. My Ticket Home show promise. Give em a chance.

01.24.12
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[MUSIC] Secrets – The Ascent [REVIEW]

SECRETS
The Ascent
[Rise Records/Velocity]
Verdict: 6/10
RIYL: WOE, IS ME, MEMPHIS MAY FIRE & THE COLOR MORALE

Much has been written about the modern post-hardcore “scene”, but for all the negatives, there is certainly a lot of quality bands that have emerged in the past five years, so fans of the genre have a plethora of groups to choose from. What differentiates one band from the other? THE WORD ALIVE features keyboards and technical riffing. CHIODOS and PIERCE THE VEIL employ progressive songwriting to add a unique energy to their songs. Where does new Rise Records signing SECRETS fit in the mold? Sadly they haven’t figured that out yet. For my money, their debut record, The Ascent, is more than competent post-hardcore. The melodies are there; vocalist Xander Bourgeois shares a kindred with MEMPHIS MAY FIRE’s singer Matty Mullins. His clean vocals are strong and melodic, and the harsh vocals have a certain meat behind them that is often lacking in younger bands. The problems lie with the music. There is little to nothing that helps them stand out from the crowd. There are breakdowns a plenty, and the songs seem tailor-made for maximum breakdown to hook ratio. In their favor, everything is done with a certain vigor that made me enjoy this more than I should have. I think maybe that is what SECRETS has going for them: passion. The problem is passion alone can’t captivate a listening audience for 36 minutes. For now, we are left with an enjoyably competent debut. Let’s wait and see if the band can improve with their sophomore release.        – by Nicholas Senior

Recommended Listening: “Melodies” and “The Heartless Part”
Release Date: January 17th, 2012
Production Notes: Produced by Tom Denney
In Conclusion: The secret to this band’s success is something that is not evident with their debut. The group needs to do more to differentiate itself from the pack in future releases.

11.28.11
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Double Music Review: PUNK GOES POP 4 [Various Artists]

For the new Punk Goes Pop compilation, we had one reviewer who dug the album and another who hate it. Soooooo, here’s a Love/Hate double review for Punk Goes Pop 4!

Loved it….

VARIOUS ARTISTS
Punk Goes Pop 4
[Fearless Records]
Verdict: 8.5/10
The majority of Punk Goes compilations are pretty good (with the exception of some bad tracks and that awful Punk Goes Crunk mess). If one were to really look at the labels, though, then they’d question who the hell considers this band punk and this band pop, but try to ignore all that. For the new Punk Goes Pop compilation, Fearless Records and the roster here did a very solid job in covering some of the year’s best songs. The obvious hits are here (like “We R Who We R”, “Fuck You”, “Til the World Ends”, and “Last Friday Night”), along with several I’d forgotten about (or didn’t know to begin with). Before I dive into the good, let’s wrestle some of the bad points. What drove me crazy the most is why somehow covered Mumford & Sons here. I love “Little Lion Man”, but that song isn’t even close to being a pop song. It’s a blend of folk/country! Come on, people. Other than this annoyance, most of these tracks were memorable. Even the annoying Chunk! No, Captain Chunk! band did a pretty good cover. The Downtown Fiction especially did an awesome job with “Super Bass”, making the song sound like it was one of their own. Go Radio also did a superb performance with “Rolling in the Deep”, and I’m not even a fan of their music. Still, there’s always going to be that audience that digs these compilations for the bands that take their covers “heavier” than others. This would include A Skylit Drive, For All Those Sleeping, I See Stars, C!NCC!, and Woe Is Me. Each of these artists did a very good job with their versions, though I think A Skylit Drive and Woe, Is Me did the best (the “Last Friday Night” cover by WIM will be stuck in your head for days). Another surprise was Silverstein’s cover of “Runaway” (which did not strike me as a song they would put their spin on) and Sleeping With Sirens’ cover of “Fuck You” (which has become a favorite with many listeners judging by online posts). Overall, Punk Goes Pop 4 is quite entertaining. Fans of these Fearless compilations should enjoy this one thoroughly. – by Nathaniel Lay
> Recommended Tracks: “Super Bass”, “Rolling in the Deep”, “Til the World Ends”, “Just the Way You Are”, “Love the Way You Lie”, “Fuck You”, “Last Friday Night”
> Bottom Line: These aren’t punk bands, but Fearless doesn’t pay attention to that on any of these compilations it seems. If you can get passed that, then you’ll find some very enjoyable covers on this release. Any fan of previous Punk Goes albums should definitely pick this one up.

Hated It…

Verdict: 2/10
Fearless Records has been putting out a series of compilation albums called Punk Goes… for a while, and the most popular were the Punk Goes Pop collection. It’s on its fourth one, and if the title doesn’t give it away, punk bands cover pop songs that you’d find on the radio. Well, not to be technical, but none of the bands are actually punk. They’re all post-hardcore or pop-punk bands. Punk Goes Pop 4 is no exception. Every band sounds exactly the same, and that’s not a good thing. It gets very boring very fast. It takes a lot to impress me, and this doesn’t quite cut it. I want to be surprised on records like this, but I already know what I’m getting into, sadly. It also doesn’t help that most of the bands already contributed tracks to the last one, such as WOE IS ME, A SKYLIT DRIVE, and THE READY SET. I’d love to hear more bands than the exact same ones. That’s my main complaint. As for the music itself, it’s tolerable at times, but it’s just terrible for the most part. Isn’t the point of covering a song to make it better? Most of these covers are worse than the originals, sadly. The album starts out with a cover of BRUNO MARS’ “Just the Way You Are” by PIERCE THE VEIL and it’s not half bad. It’s tolerable at best. I don’t dig the band, but the song isn’t too bad. The next track is a cover of MUMFORD & SONS “Little Lion Man” by Australian pop-punk band TONIGHT ALIVE. I love MUMFORD & SONS but TONIGHT ALIVE just butcher it. WOE IS ME make a return with KATY PERRY’S “T.G.I.F. (Last Friday Night).” It’s enjoyable, but it’s not memorable at all. Then THE READY SET covers the WIZ KHALIFA track “Roll Up,” which features one of my favorite rappers MOD SUN. If he wasn’t on the track, it wouldn’t be worth listening to. After some dreadful covers by SLEEPING WITH SIRENS and GO RADIO, FOR ALL THOSE SLEEPING completely slaughters TAYLOR SWIFT’S “You Belong With Me.” To be honest, the rest of the album is terrible, except for A SKYLIT DRIVE’S cover of “Love the Way You Lie.” It’s not half bad, actually. After a few more awful tracks, SILVERSTEIN also have a rather entertaining cover of KANYE WEST’S “Runaway.” The album ends with THE DOWNTOWN FICTION’S cover of NICKI MINAJ’S “Super Bass,” and it’s very enjoyable. That might even be my favorite track. Thankfully, the album does end nicely. — by Bradley Christensen
> Recommend Listening: “Super Bass” by The Downtown Fiction, “Love the Way You Lie” by A Skylit Drive, and “Roll Up” by The Ready Set.
> Release date: November 22nd, 2011
> In Conclusion… This should be named Pop Goes Pop simply because this is 13 tracks of pop bands covering pop songs. A lot of kids will love this, but if you’re like me and are hard to impress, you surely won’t like this. It seemed very rushed and poorly put together. I also hope that this is the last Punk Goes Pop album. I really do.

05.02.11
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[REVIEW] Take Action – Volume 10

TAKE ACTION
Volume 10 (2011 Tour)
[Hopeless Records / Sub City]
Verdict: 9/10

The last Take Action compilation reminded me of the recent Warped Tour discs in the sense that they were composed mostly of already released tracks. This made them mostly uninteresting and unworthy of purchase. However, this year’s Take Action volume is quite great and deserving your attention. Why? Well, a good 75% of these songs are previously unreleased or remixed, making them new to the listener. Amongst the brand new tracks, you’ll find Silverstein, Bayside, Four Year Strong, Chiodos, I Set My Friends On Fire, Former Thieves, Amely, Sparks the Rescue, Andrew Jackson Johad, Aficionado, and Fake Problems. Even better is that each of these new songs are great! Then, for those electronic lovers, you have a bevy of remixed tracks. If this is your sort of thing, then turn your attention to the remixes of Circa Survive, I See Stars, and Woe Is Me above the others. Amongst the acoustic version of older songs, you’ll find The Dangerous Summer, The Ready Set, We Are The In Crowd, and a couple others. The only real odd moment on this compilation comes from the cover songs. All Time Low chose to record an acoustic cover of “Alejandro” (originally by Lady Gaga), which seems like a strange choice. However, it came out great. You will also hear The Wonder Years cover The Weakerthens on the second disc of this volume. Overall, this is an excellent compilation that has a lot of cool stuff to offer fans of multiple genres. And, of course, the money spent purchasing this will go to a good cause, so bonus! – by Nathaniel Lay

10.11.10
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WOE, IS ME – [Interview]

WOE, IS ME

>>Interview w/ Tyler Carter (Vocals)

How did you come to signing with Rise/Velocity?

TC: We recorded some demos after spending God knows how long changing them and rewriting them and tossing songs to the side and just trying everything to make it perfect; finally got contacted by Artery Management, and later released a cover of “Tik Tok” by Ke$ha that won over fans and label reps. That’s a tiny bit of the process.

What was it like recording your debut? How much was already written/recorded before joining the labels?

TC: We only had the three demos when we signed, and the label gave us only about three weeks to write a full length before we hit the studio to record it.

Tell us about your touring schedule

TC: We just got off a pretty big tour, and first tour at that. We have some major tours lined up for the rest of the year and on, but as of now they are unannounced!

How has the album been received so far?

TC: The album so far has sold very well, and is only growing in hype!

What tracks are your favorites to play live? Why?

TC: We probably have the most fun playing our intro live just because it’s such a strong start to every show and the jumpy breakdowns give the whole crowd a chance to loosen up with us and just go crazy!

Do the electronics make live sets difficult?

TC: Actually, the electronics make the live set a lot tighter than if we had none. We all are able to listen on stage at the electronics and sometimes if a guitar comes out of tune we will know immediately because it doesn’t fit the key of the electronics, which are mostly backtracked with a click for our drummer’s in ear, which really is the base behind our timing.

How do you guys go about writing a song?

TC: Usually our drummer, Austin, and our two guitarists, Kevin and Tim, get ideas in their heads, chords, structures, breakdown patterns, and they will sit in our practice space for hours and work off each other. We record our own pre-production that Austin will listen to and build electronics with keyboard influence from Ben. When it comes to lyrics, I (Tyler) will usually ask the band what situation anyone has an idea for me to write about. If they have something or know someone who has something going on that is worth writing about in order to reach out to our listeners personally.

Tell us about the interesting cover art

TC: The art shows a man working on a child’s head, putting machine parts inside in order to manipulate him to live and work the right way. The child is obviously “broken”. It, in a way, represents us as well as anyone who relates to us, by showing that sometimes you are broken and are living the wrong direction, and it takes something greater, (the man) in our case our band, to pull you from the dirt. Our band has really given us all something to work hard toward and live for, put faith in, and reach out to others, rather than living by our old shitty ways.

What was the significance of naming the album Number(s)?

TC: It pretty much represents the number[s] you gain and lose in life, the people who leave you, stick by you, or the people you impact. We will always have our own number[s] if we have nothing else.

How did you guys choose the name Woe, Is Me?

TC: It’s really just a common phrase also used in the bible. It was also used in Shakespeare, which is an influence to our metaphorical lyric style. It means: I am distressed; sad; grieved. We all in some circumstance faced this before we started this band.

What are you looking forward to most with the rest of 2010?

TC: Shooting our music video and touring! Hoping to get on 2011 Warped Tour. Vote for us!

How do you plan on leaving a mark on the music scene?

TC: It’s tough, but we just wanna keep striving to mix our heaviest of influences as we are doing. We are having fun setting new records and bars for newer bands, but more than that, we just wanna impact the scene and our fans with our lyrics and music as a whole.

10.06.10
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LMP #8 (October 2010) – Out Now!

CURRENT ISSUE – NO.8 (OCTOBER 2010)

Features include Chiodos, The Sleeping, Rise Records, All That Remains, and more! Reviews include Senses Fail, This Day Will Tell, Abandon All Ships, Middle Class Rut, Madball, and more! We also have a new and improved Unsigned Section.

http://issuu.com/lmpmagazine/docs/issue_8

READ AND DOWNLOAD IT HERE