ALL THAT REMAINS / ATTILA with Special Guests
Escape The Fate, Sleep Signals, In The Red, Rise & Resist, Fear The Masses, Hollow Betrayal, Lament
31 Webster St.
Hartford, CT, 06114
Doors 4:00 PM / Show 4:30 PM
This event is all ages
All That Remains
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 fulllength 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 mention, 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 million 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 everywhere 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.
“We decided to throw a curveball,” grins Labonte. “...And do the the heaviest record
since For We Are Many in 2010! It was the perfect way to follow-up Madness where we
did some different styles and songs and even covered a country song. People might’ve
expected something more experimental, but throwing curveballs is what we do.”
All That Remains kick down the door on Victim of the New Disease with the deadly
barrage of opener “Fuck Love.” Chainsaw-sharp riffing and guttural growls roared as
the musicians make good on this heavy promise.
“We’ve started a few records with something that really kicks hard,” he goes on. “You
take your heaviest song and say, ‘This is how we’re going to set the tone for the rest
of the album. Here you go.’ ‘Fuck Love’ is the most aggressive song we’ve done in a
while. It’s burner. We dig beginning with a shocker.”
Meanwhile, the first single “Everything’s Wrong” hinges on an energetic groove that
builds towards an immediately chantable chorus still underscored by muscular double
“If we get a good hook, we like to make sure it’s maximally exposed,” says the singer.
“We want something you’ll hum later with lyrics you might be able to relate to. However, for the first time, we got to leave the double bass in!”
Then, there’s “Just Tell Me” [feat. Danny Worsnop]. On the hypnotic anthem, Labonte
locks into an unbreakable harmony with Worsnop, adding another dimension to the
“We’ve been friends with Danny for a long time,” he continues. “We loved what he
did. He wanted to do something more chill, and I think he hit a homerun. If you’re
into rock ballad songs, you’ll appreciate it.”
Everything culminated on the visceral and vital “Victim of the New Disease,” which
hints at “how some ideas don’t work out—and continue not to work out, but we keep
trying them” over a fiery and focused four-on-the-floor riff.
In the end, All That Remains uncompromisingly tread the same path they’ve trodden
for nearly two decades and delivered a definitive body of work on the way
“This band is my life,” Labonte leaves off. “It’s twenty years of being a musician.
We’ve been able to weather some storms in the music industry, survive, and come out
thriving. We didn’t just ride a trend; we built a real career out of writing songs. We
don’t have a look or a gimmick. We have five dudes who write songs.” — Rick Florino,
Since their formation in Massachusetts during 1998, All That Remains have built an
undeniable legacy upheld by airtight songcraft, knifepoint precise metallic instrumentation, and stadium-size hard rock hooks. As a result, they’ve outlasted trials, tribula-
tions, and trends to stand tall as 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 success at Active Rock including radio hits in the top 10
such as “Two Weeks,” “What If I Was Nothing,” and their first number one “Stand
Up,”. Averaging 1 million monthly listeners on Spotify (an unprecedented feat for a
metal band in any era), while cumulative sales eclipse 1 million albums worldwide.
Not to mention, 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 million 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 festival
stages everywhere from Rock on the Range to Welcome to Rockville.
In 2018, 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 on their ninth
full-length album, Victim of the New Disease [Fearless Records]. — Rick Florino, September 2018
It’s been far too long since a heavy metal band could get the party started the way Attila can. Drinks will be pounded down, blunts will be blown, panties will be thrown, and everyone will have the time of their lives once the Atlanta quintet’s sixth full-length album, Guilty Pleasure [Artery Recordings/Razor & Tie], pipes through the speakers. Hell, you don’t even have to admit you love it—hence the title—but we know you will (or at least your girlfriend will)…
2013 became a landmark year for the group—Chris “Fronz” Fronzak [lead vocals], Chris Linck [guitar], Nate Salameh [guitar], Kalan Blehm [bass guitar, backing vocals], and Sean Heenan [drums]. Their fifth offering, About That Life, snatched #22 on the Billboard Top 200, #5 on the Independent Chart, #4 on the Hard Music Chart, and #5 on the Rock Chart, moving over 14,200 copies first week. In the midst of sold out headline shows around the States, the band began working on what would become Guilty Pleasure at the end of the year. This time around, Fronz possessed a clear vision that included embracing seven-string guitars, adopting lower tunings, and nodding to turn-of-the-century classics from Slipknot, Korn, and Limp Bizkit.
“We’re never going to write the same album twice,” he declares. “We’re always going to maintain our sound and style, but we bring something new to the table for our fans to keep it fresh and interesting. Lyrically, I expanded. It’s not all about partying and being crazy. I touched on some real shit. I dropped some knowledge. I wanted to be more real because I owe it to our audience. The songs are more meaningful.”
Once again, the boys retreated to the studio with Joey Sturgis [Asking Alexandria, Of Mice & Men] in Michigan. Together, they amped up everything across the board.
“It’s a heavier and more fun Attila,” smiles Fronz. “It’s rap metal at its finest. There are elements from our older albums as well as new flavors.”
That’s apparent on the first single “Proving Grounds”. The guys ignite an atomic hook bolstered by succinct riffing and a percussive slam. “’Proving Grounds’ are areas that the government would test nuclear and atomic bombs,” he goes on. “Anyone can relate to this because we all have doubters. You have to take that doubt and leverage it do better. Proving people wrong is the ultimate satisfaction.”
On “Rebel”, Fronz spits incendiary bars over a barrage of chugging jackhammer guitars. Everything culminates on an anthemic refrain that’s equally ballsy and blistering.
“It’s about being yourself, doing what you love, and not giving a fuck about what authorities, parents, or people tell you that you’re supposed to do,” he proclaims. “That’s an important message. You can’t always live by the rules. If you really want to do something, you just have to do it. I want to encourage kids to use their ambition and do what they love.”
Then, there’s “Horsepig”. Boasting brash delivery and another sizable groove, it’s a special one for Fronz as it proved to be a family affair. “My three-year-old son actually named that song,” he admits. “One day, I showed him a flashcard of a warthog. He knew what it was, but he wanted to change the name to ‘Horsepig’ since a warthog looks like a horse and a pig. Later that day, we wrote the song, and I had to use the word he invented for its title.”
Along the way, Attila have turned “party metal” into a bona fide art form. Formed in 2005, they’ve continually clawed their way towards heavy music domination. In addition to being a headliner on Warped Tour 2014 and touring alongside everybody from Suicide Silence to Asking Alexandria and Memphis May Fire, these mayhem mavens have sold over 100,000 records to date. They’re preaching a new kind of gospel too…
“Our generation is killing rock ‘n’ roll by writing all of this pussy-ass music,” he leaves off. “This kind of music is about breaking the rules and pushing the limits. That’s what Attila has done and we will continue to do. We’re breaking rules. We don’t give a fuck if people like us or not. We’re doing what we love and having the time of our loves. The world needs that. We’re happy to be your outlet. Have a fucking blast. We’re your Guilty Pleasure.”
Escape The Fate
4 piece post-hardcore band from Las Vegas, NV. Formed in 2004
TJ Bell – bass guitar (2012-2013); rhythm guitar, vocals (since 2013)
Craig Mabbitt – lead vocals (since 2008)
Kevin "Thrasher" Gruft – lead guitar, backing vocals (since 2013)
Robert Ortiz – drums, percussion (since 2004)
Carson Allen – keyboards, synthesizers, vocals (2005–2006)
Omar Espinosa – rhythm guitar, backing vocals (2004–2007)
Ronnie Radke – lead vocals (2004–2008)
Bryan "Monte" Money – lead guitar, backing vocals (2004–2013); keyboards, synthesizers (2008–2013)
Michael Money – rhythm guitar (2012–2013)
Max Green – bass guitar, vocals (2004–2012; 2013–2014)
In The Red
Formed in 2011, we are a New England metal band with the intent of ripping your face off.
We have had the pleasure of opening up for Flyleaf, Drowning Pool, Halestorm, Hinder, Candlebox, Fates Warning, Novus Dae, BuckCherry, Sevendust, Days of the New, Powerman 5000, Hed P.E., Trivium, Nonpoint, Queensryche ,Scott Stapp and many more.
Cody Place was born into a family full of musicians. He was introduced to singing and performing at an early age and at 13, he became obsessed with music. Not just heavy metal and rock but, also blues, R&B, and country. After playing out in bars & fairs for years with various projects, In The Red was in need of a new front man. As another project ended, the next step for him began here. The rest is history. Currently, Cody is using Shure wireless systems.
Pete Rizzo has been playing guitar for many years. He has been all over the world playing in original and cover bands. Music is where his heart is, music makes him happy, it’s what he does. Pete loves writing and playing original material and seeing others enjoy it. His only dream is to make this full time. Pete uses Line 6 Spider Valve heads, Marshall cabinets and ESP guitars.
John Halligan has been playing drums since the age of 10. He grew up in a house where music was always on and family parties always moved to being around the piano with everyone singing. A self taught drummer that learned by listening to tapes and CD's taken from his older brother, John is continually working on his weaknesses and pulling influences from his favorite drummers. Drummers like Morgan Rose, Ray Luzier, Carter Beauford and many others. John is endorsed by SJC drums and uses the following gear - Vic Firth, Sabian, DW, Ahead, Shure
Arthur Pelletier was also raised in a very musical family. His father being a drummer meant that as soon as he could crawl, he was already after trying to climb on drums. As he got older that's exactly what happened, until his parents split and his access to drums disappeared. Luckily, his uncle was a bass player and thus started him on his journey of stringed instruments. Art has played guitar for many local acts and toured with even more as a drummer. When In The Red was in need of a new bassist, vocalist Cody Place asked his former drummer if he could fill in on short notice. Since then, he continues to play bass for the band and evolve in the craft. Currently, Arthur uses an assortment of Live gear including a Black35 and Fender jazz basses, Line 6 wireless, and Darkglass Electronics to name a few, as he tries to discover what works.
Rise & Resist
Fear The Masses
$25.00 - $28.00
2nd Stage: 4pm Doors / Main Stage: 5:30pm Doors
Fri, March 1
Sun, March 3
Mon, March 11
Fri, March 15
Sun, March 31