Cromwell

Oceans

Assuming We Survive

Adrian Estrella – Vocals
Phil Adams – Guitar
Joe Lawson – Bass
Kris Pasos – Drums

Rock n’ roll subculture is uniquely exciting in terms of the level of crowd participation, interactivity, and accessibility present at most shows. From the early days of the Sex Pistols and the Ramones, clear through to the Descendants and NOFX, the most passionate of players work hard to destroy the perceived boundary between the audiences and the band. “Hey, we’re just fans, too. You could be us.”

Assuming We Survive takes this ethos and amplifies it times infinity, barreling headfirst into each and every aspect of their existence with collective energy and unbridled optimism. Singer Adrian Estrella, armed with unmistakable charisma and good-cheer, will take a literal surfboard into the crowd, riding the physical and metaphorical wave of enthusiasm and electricity present at every single AWS show.

The band’s frontman is united in his goodwill and welcoming vibe with his musical cohorts and fellow Inland Empire, California mainstays: guitarist Phil Adams, bassist Joe Lawson, and drummer Kris Pasos. Assuming We Survive has generated steady steam and garnered accolades for nearly a decade. But in recent years, AWS has truly come into their own as their dedicated approach spreads their sound across the globe, amassing an army of smiling supporters eager to give the band their all.

It’s a wave of momentum and positivity that’s catapulted Assuming We Survive into the Top 50 on the New Artist charts and more importantly into the hearts and minds of a burgeoning crew of likeminded supporters and believers, from the kids who share their love for the band on social media to the band’s contemporaries sharing stages with them at Vans Warped Tour, Self-Help Festival, and Monster’s Aftershock.

All Roads Lead to Home, the band’s debut full-length on Third String Records, is a collection of inspiring jams running the gamut from pop-punk to Easycore, with aggressive energy befitting of the more extreme sides of the underground scene and soaring melodies with unapologetic hooks catchier than most Top 40 rock radio.

Assuming We Survive songs like the instant crowd pleaser “18 Days,” the nakedly self-reflecting “Open Water,” the devastatingly amazing “We Are All Zombies” and the acoustic duet “Next to Me” are a collective testament to the band’s creative diversity, dense musical influences, and willingness to pour themselves into their music. These songs are earnestly heartfelt. AWS is both motivated and motivating.

As part of the Supervillains Tour with Falling In Reverse, Attila, and Metro Station; the Christmas Vacation Tour with Falling In Reverse and Atreyu; South by Southwest; So What?! Music Fest; festival appearances with Avenged Sevenfold, Pierce The Veil, Sleeping With Sirens, Good Charlotte, and Real Friends; or headlining at Chain Reaction in Orange County, Assuming We Survive isn’t satisfied until every person in the house is energized, happy, and empowered. AWS is all about inclusivity, on the biggest of major festival stages or in the smallest of clubs.

Get ready to get involved, because Assuming We Survive aims to energize the whole world, one show at a time, channeling energy back and forth with every single fan.

Drawing influences from The Police, Depeche Mode, The Cure, Queen and Rush, the Anix mingles elements of grungy electronics and hard hitting alternative rock to blur the edges of musical boundaries as we are accustomed to them. The three piece, consisting of singer/guitar player Brandon Smith, drummer Logan Smith, and keyboardist Greg Nabours released their latest, Demolition City, in June of 2008, boasting songs like "Bullets Without a Gun," a razor sharp, bass-infused track about the familiar issues of relationships, and "Half the World Away," a manifestation of the album title based in a city where people often so easily stray from their dreams to a much darker path. In an era where the rock genre has become tired and generic, The Anix is a welcome blast of adrenaline, both gritty and ethereal, modern and reminiscent, disturbed and serene.

The Anix has toured extensively throughout the United States and recently returned from a month-long tour of Germany in support of veteran electronic rock band Apoptygma Berzerk.

"Another solid cut is "Half the World Away," as Smith's vocals during the verse recall the hushed whisperings of Jared Leto (30 Seconds to Mars). Also following that band's formula, the chorus explodes into an emotionally-strung howler that jumps out at you due to the sheer contrast between brooding, quiet verses and a wailing guitar-heavy chorus." -Absolute Punk, July 2008

"Demolition City," is an addictive record uniting next-gen new wavers and emo devotees. The effervescent keys of "This Game" lightly bubble and fizz before tipping their hat to "People Are People"-era Depeche Mode, then culminate in an after-midnight zenith at the chorus. The Anix's advantage of 20 years hindsight and improved technology also protect it from the clunky synth productions that now heavily date the trio's heroes. Don't be surprised if you hear this band played alongside 30 Seconds to Mars on late-night top 40." -Billboard Magazine, May 2008

"The Anix sound like the Ministry that made With Sympathy - and that's not the dis that some fans of Uncle Al & Co. may assume. Yes, the songs are more synth-pop then industrial, with Brandon Smith's tuneful vocals mixed loud and clean over the electronic roar and guitar crunch. But unlike Ministry on their first album, these guys put some real bite into the music here, particularly on "Bullets Without a Gun" and "The Ghost of Me and You" - enough bite, in fact, to annex any fan of Shiny Toy Guns as their own." -Revolver Magazine, July 2008

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