Have Mercy

In the case of Baltimore's Have Mercy, what wins out-and what ultimately astounds-is raw, unfiltered passion. The band's debut LP, The Earth Pushed Back, was one of the most honest records of 2013-an album that fans of punk and emo from Brand New to Tigers Jaw to Taking Back Sunday simply couldn't afford to miss out on.

Produced by Paul Leavitt (All Time Low, The Dangerous Summer, many more), A Place Of Our Own is a refined, more muscular version of what they did well on The Earth Pushed Back - as if they trimmed the fat on some aspects of their sound while showing major growth across the board. It's an organic, sometimes subtle and sometimes very noticeable type of growth. Everyone simply sounds better from an instrumental perspective, and Swindle's gritty vocals have become only more defining this go-round.

Since forming in 2011, Swindle feels the band truly has "grown up as musicians and people and cannot wait for everyone to hear A Place Of Our Own."

Blackpool’s Boston Manor formed in 2013 and, in two short years, worked their way to signing with renowned US indie label Pure Noise Records, worldwide. In that period, they’ve successfully built a name for themselves with their modern day emotive rock anthems and DIY work ethic. A band with expert songwriting and craftsmanship, they are also heavily involved in the production of their own videos and visual content, and as a result are now a mainstay with the likes of Kerrang TV & Scuzz. The band has also been in constant circulation across major radio stations in the UK such as BBC Radio 1 & Kerrang, with significant coverage also coming from Rock Sound, Upset & Discovered to name a few. The band were even nominated for ‘Best British Breakthrough’ at the 2018 Kerrang awards.

They released their debut album ‘Be Nothing’ in 2016 to widespread acclaim and the band have continued to tour the world since then. Now veterans across the US, UK & European circuits, the band have toured with the likes of Moose Blood, Knuckle Puck, Have Mercy, Lower Than Atlantis, & Four Year Strong, and also completed a Summer on Vans Warped Tour 2017. Topping their 2017 off with high profile slots at Slam Dunk Festival, Reading & Leeds, and the Kerrang Tour, Boston Manor have stormed into 2018 fully charged, ready to unleash their next offering onto the world.

Produced by Mike Sapone (Taking Back Sunday, Mayday Parade, Public Enemy), ‘Welcome To The Neighbourhood’ is a soundtrack to disenfranchisement set in a fictionalised version of the band’s hometown. In support of it’s release, the band will be heading out on their largest UK headline tour to date (including a London show at Electric Ballroom) before heading back to the US for a main support slot on the Real Friends tour to cap off an action packed 2018.

Based out of Keansburg New Jersey, Can't Swim was founded by singer Chris LoPorto in the spring of 2015. After spending most of his life playing drums in various bands, Chris decided to step in to song writing. The songs were contagious from the start and grabbed the attention of his good friends Mike Sanchez, Danny Rico, and Greg McDevitt.

Before even playing their first show, the band announced their signing to Pure Noise Records in December of 2015 and released their debut EP, "DEATH DESERVES A NAME" on February 24, 2016. They spent all of 2016 touring with bands such as; Four Year Strong, Hit the Lights, Aaron West & The Roaring Twenties, Moose Blood, Boston Manor, Set Your Goals, and Valencia.

When it came time to begin recording their first full length, "FAIL YOU AGAIN" they called upon their own drummer Danny Rico (who produced DDAN) to engineer and produce this as well. Once the project was complete, they found that the songs required a much more full sounding live performance and their longtime friend and New Jersey native Andrea Morgan was a perfect addition to the band. Danny moved to third guitar/vocals and Andrea took his place on the drums.

Fail You Again was released on March 10th, 2017.

Imagine for a second that you live in Connecticut and you’re into punk rock—there really aren’t two things further apart from one another. While much has been written over the years about vibrant scenes in nearby Brooklyn, Boston and various locales in New Jersey, the Constitution State lacks a strong musical identity and is frequently overlooked. But if you ask Matt Carlson, that’s how he discovered his musical voice.

“There’s no community in Connecticut,” says the frontman of A Will Away. “When we first started,, we were playing maybe 50 scene kids, and they’re all in bands or each other’s merch people, and it’s all pay-to-play. It was a good time for us when we were starting, but we realized we didn’t want to be a part of it anymore. I think we developed our sound completely independently of the state.”

That sound has developed wildly throughout A Will Away’s first four years as a band, first starting off as admittedly cookie-cutter pop-punk but maturing into something special and unique on their new EP, Bliss, out Oct. TK on Triple Crown Records. The five-song EP, originally released in March on Quiet Fire Media (a label run by members of Head North), is emotionally resonant and musically powerful, with fully realized rock songs that sit comfortably between underground guitar rock stalwarts like Balance And Composure and Transit without feeling derivative of either. What’s more impressive is that Bliss almost never existed in its current form—the EP was born out of unfulfilling writing sessions for a full-length that the band was less than happy with.

“It took us three weeks to write Bliss—the songs just kind of exploded out of the band,” Carlson remembers. We knew we had to write a record and we knew we only had three weeks before we were supposed to be in the studio, and we’d been writing this full-length—and we scrapped it. We started from scratch and just started playing. It was a new and unique writing process for us, but it has come to be the only way that we write now. We bring small pieces of ideas to the table, and everybody’s in a similar headspace. [Guitarist] Collin [Waldron] and I do the majority of our lyrical work, but we don’t do it without having widespread conversation across our band to get everybody on the same page of what the song’s about.”

While Carlson personally resonates the most with “Be Easy” and “Cheap Wine” (“‘Cheap Wine’ was an absolute mountain of a song to conquer,” he beams), he thinks all five songs can appeal to just about anyone, if they just take the time to listen. “We want to play a role in peoples’ lives,” he says. “We are constantly pushing ourselves to be more innovative and be better. If people are influenced by that, that is absolutely incredible.”

But at the end of the day, A Will Away didn’t write Bliss for anyone but themselves—a lesson they never could have learned without the past four years of trial and error. “We had reached this point where we had made all these previous records and we really tried to cater and direct those to an audience when we made them,” the singer admits. “I think we found over time that what we were missing and what we were losing throughout that process was playing music for ourselves—the reason we started playing to begin with. We wanted to bring out the best of ourselves as musicians.”

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