symphony harmony.

As I Lay Dying is an American metalcore band from San Diego, California. Founded in 2000 by Tim Lambesis and having completed their first Line-up in 2001, the band consists of vocalist Tim Lambesis, drummer Jordan Mancino, lead guitarist Nick Hipa, rhythm guitarist Phil Sgrosso, and bassist Josh Gilbert, all of whom are Christians. Signed to Metal Blade Records, As I Lay Dying has released four studio albums, one split album, and one compilation album.



As I Lay Dying’s fourth studio album, An Ocean Between Us peaked at number 8 on the Billboard 200, and number 1 on the Top Rock chart. The band has performed at Wacken Open Air, With Full Force, Soundwave Festival, Sounds of the Underground, Warped Tour, and Taste of Chaos. In 2007, As I Lay Dying won the “Ultimate Metal God” award from MTV2 at the first annual “All That Rocks” special, was named “Artist of the Year” at the San Diego Music Awards in 2008 and was nominated for a 2008 Grammy Award for the song “Nothing Left”. The band wrote and recorded their latest album, The Powerless Rise on the course of a three year process and was released in May 2010. It has been considered by many to be their best work yet.

After leaving the band Society’s Finest where he played guitar, vocalist Tim Lambesis formed As I Lay Dying in 2000. Starting out as a duet with drummer Jordan Mancino after they first met as a band in February 2001, the title of the band was taken by the novel of the same name by William Faulkner although there is no correlation between the band’s musical theme to the theme of the novel.

Bring Me The Horizon is a five-piece band from Sheffield, England. Despite only forming in March 2004, the band has gathered a surprisingly large fan base both in the UK and the U.S. Their debut EP, This Is What The Edge Of Your Seat Was Made For, came out in December 2004 and was the first release from the independent label Thirty Days Of Night Records.



The band has since embarked on a number of UK tours supporting well-established bands such as Bleeding Through and Aiden, and also signed with Visible Noise Records in the autumn of 2005. The EP was re-released in January 2006 ,via Visible Noise, to a mainly positive critical response. In September 2006 the band won Best British Newcomer at the Kerrang! Magazine Awards. Their debut album, Count Your Blessings, was released on 30th October 2006 amid a large headlining UK tour. As a very open and aggressive person the lead vocalist Oliver Sykes greatly encourages “Wall of Death” (or Braveheart) moshing, and has also asked for a “Piggy-back Wall of Death” during concerts and gigs.

Since their inception in 2004, the Riverside, CA quintet SUICIDE SILENCE have worked feverishly to carve out their own unique niche within the metal scene and in doing so they developed an undeniable buzz with legions of diehard supporters.

Their latest album No Time To Bleed, was recorded with acclaimed producer Machine (Lamb Of God).



Suicide Silence started in late 2002 as a side project for its members who were all involved in other local bands at the time. Things didn’t get serious, however, until 2004, when the current lineup was solidified. “Early on we were slower and sludgier,” explains drummer Josh Goddard, “but through a few member changes the sound became more powerful and energetic.” This mix of musicians brought together their influences—death metal, grindcore, black metal, hardcore, doom—and combined them into songs that are complex without being mystifying, and savagely fast and explosive without becoming a featureless blur.

Their debut 5-song EP for Third Degree Records is a brutal testament to the sort of damage Suicide Silence is capable of inflicting. Though definitely rooted in what Goddard calls a “fast-paced death metal style,” it defies that genre’s sometimes predictable conventions, striving instead for something more unique. The songs are dynamic and crushing, shifting effortlessly from insane grind chaos into total molten sludge, with plenty of dynamic twists and turns along the way. Vocalist Mitch Lucker screams, growls and grunts over an ungodly guitar assault, while the band’s surgically precise rhythm section handles the disorienting time signatures and snail-paced grooves with equal efficiency.

Death Metal/Metalcore from Hamilton, Scotland.
Current members : Scott Kennedy(Vocals) Dave Lennon (guitar)Craig “Goonzi” Gowans (Guitar)Ali Richardson (Drums) and Davie Provan(Bass) who took over from Goonzi on bass who took over from ex member Scott McCreadie on guitar . Bleed From Within have constantly toured for a few years and worked hard to get where they are and thoroughly deserve it!

Formed in 2005, Bleed From Within geared their mind toward a sound that could be recognized as individual in a music scene that was seeing so much of the same material.



Constant gigs over the past 3 years, and a self produced debut EP, seen them gather a following of dedicated fans, who have showed endless support since the start of this journey. Tours all over UK and Europe, each one of them displaying the tight, and cutting live sets that are always associated with the band.

“Humanity” has captured the bands ideals perfectly, combining power and brutality with groove and finesse. With the new album hitting shelves in Summer 09, fans and haters alike, can prepare themselves for a masterful debut.

This is a force to be reckoned with.

Bleed From Within are a fast, aggressive and brutal metal band from Glasgow, Scotland. Formed in 2005 the band played there first gig on August 26th. They so impressed the promoter that they where offered the support for I Killed The Prom Queen the following month.

Rooster, bandROOSTER asal Inggris yang sekarang sedang naik daun.Rooster dibentuk pada 2002 oleh Nick Atkinson (vokal), Luke Potashnick (gitar), Ben Smyth (bas/backing vokal) dan Dave Neale (drum). Keempat personil Rooster itu bukan sekedar mampu memainkan musik, masing-masing personilnya punya talenta besar dalam menulis lagu.



Bahkan di tahun 2005 ini bisa dikatakan sebagai tahun kemenangan buat Rooster. Pasalnya dua singlenya berada di tangga lagu Inggris. Single perdana “Come Get Some” berada di posisi tujuh, sementara lagu jagoannya yang merupakan single kedua, “Staring At the Sun” di posisi lima di Jajaran tangga lagu di Inggris, malah sempat nangkring di posisi atas, dan bertahan di Top 20 lebih dari tiga minggu. Lagu ini juga mendapat respon dari publik dan telah diputar di radio-radio Eropa. Rooster pernah menggelar promo tur di Indonesia, salah satunya menggelar konser di Hard Rock café, Jakarta pada tanggal 6 September 2005. Pada album perdana Rooster Dalam album yang diberi judul Rooster ini merupakan campuran dinamis ala rock ‘n’ roll. Bahkan mereka terinspirasi dari musik legenda seperti The Rolling Stones, Led Zeppelin (Jimmy Page) dan Eric Clapton.Rooster telah merilis dua album yaitu “Rooster” di tahun 2005 dan Circles and Satellite” di tahun 2006.Tapi sayang band ini akhirnya harus bubar di tahun 2007.

Mark Tremonti and Scott Phillips formed Alter Bridge in 2004 after a cooling of their relationship with the Creed singer (Creed has since reconciled and reunited). The new band hooked up with then ex-Creed bassist Brian Marshall and former Mayfield Four front man Myles Kennedy (who recently performed and co-wrote 2 songs on Slash’s solo record and fronts his touring band).

In 2004, the band recorded their debut album, One Day Remains. It went gold in the United States and spawned three singles as well as the track “Metalingus,” which was adopted by the WWE’s Superstar Edge as his theme song later that year. In 2007 the band released the critically acclaimed second album, Blackbird, which included the hit singles “Rise Today” and “Watch Over You.” The latter became a top 10 video as well as the featured song on VH-1’s Celebrity Rehab With Dr. Drew. The band took to the road to promote their sophomore release, gaining more fans across the globe with their intense and powerful live show.



Lyrically, the first two albums are based on themes immersed in hope and perseverance in the face of adversity. On AB III, however, the theme has shifted. Kennedy states, “This record is definitely a departure from the last two albums in terms of its subject matter. It touches on the thoughts and emotions of someone who has come to question everything that was once regarded as an absolute truth. It’s the realization that everything you once believed in might not exist.”

This journey is set into motion by the album’s opening track, “Slip to the Void.” The song’s sparse and moody intro sets up the narrative as Kennedy’s vocal and lyrics emerge. Tremonti adds, “’Slip To The Void,’ has one of my favorite vocal performances ever by Myles, the song is really creepy and lets the listener know the vibe of the record. It’s pretty dark, the intro really sucks you in.”

The album then shifts gears into the metallic first single, “Isolation,” showcasing Alter Bridge’s ability to play and write aggressively while maintaining their signature melodic component. Tremonti states, “Melody is still the most important thing for us. There’s no point in being heavy just for the sake of being heavy.”

From the bombastic riffs of “Still Remains” to the brooding band favorite “Show Me A Sign,” the album plays like a concept record whose main character is someone desperately struggling to find their place in a world steeped in doubt and emptiness. The track, “Words Darker Than Their Wings,” is the final chapter of this tale. Kennedy says, “The lyric was inspired by a conversation I had with a good friend a while ago. It was the catalyst for the idea of having both Mark and I trade off on the lead vocal. I thought it would be a good way of making the differing points of view in the ‘conversation’ more effective. More importantly, I thought Mark sounded great singing it!”

While AB III is a record with a consistent theme, there are songs both musically and thematically that break away and touch on different human emotions. One of those moments is found in “Wonderful Life,” a song that Kennedy claims was “An extremely emotional song to put together, it took a long time.” He then adds, “The lyric was inspired by the idea that there will come a day when we all must say goodbye to the ones we love and hold dear in our hearts. Basically, I asked myself what would I want to say in that final moment, that last goodbye?”

The band enlisted Producer Michael “Elvis” Baskette (Iggy Pop, Incubus), to capture the vision the band had for AB III. Baskette, described by Tremonti as “like a fifth band-member,” was also at the helm for the recording of Blackbird. Kennedy says,” Over the years we have definitely established a bond with Elvis. We trust his instincts, he knows how to bring out the best in us sonically and creatively.”

AB III is an incredibly intense and dynamic album proving Alter Bridge continues to grow and evolve with each recording. “We went into the process of putting the record together with a lot of confidence,” Tremonti reveals, “but we didn’t go into it looking to be commercial, or to have radio singles. We just wanted this to be an album that pleased us artistically, through and through.”

credit : http://www.alterbridge.com

One of hard rock’s preeminent breakthrough success stories of recent years, the Massachusetts-based quintet All That Remains has built its career on overcoming the odds. From cracking the Billboard Top 20, to joining the elite active rock radio fraternity, to being one of just a handful of acts to take part in the Rockstar Mayhem Festival, Ozzfest and Vans Warped Tour trifecta, the group has shattered previously-held expectations about just how far a band with roots in independent heavy metal can go – and with their fifth album, For We Are Many, it’s clear they’re only getting warmed up.

Although guitarist Oli Herbert says For We Are Many was the group’s most challenging album to date, he believes the end result was worth the fight. “I feel we have a consistently strong album that has not left even the smallest detail to chance,” he says. Vocalist Phil Labonte agrees. “When we wrote the album, it was a really good time for the band creatively,” he says. “Mike (Martin, guitars), Oli and I have written four discs together now, so when we get together, it’s very easy to communicate ideas.”

While the album was again produced by Killswitch Engage guitarist and fellow Massachusetts native Adam Dutkiewicz (August Burns Red, Parkway Drive, As I Lay Dying) – who previously collaborated with the band on their second and third albums, This Darkened Heart (2004) and The Fall Of Ideals (2006) – For We Are Many sees All That Remains unafraid to experiment. One track (“Won’t Go Quietly”) includes a guitar solo featuring a talk-box; another sees the band utilize a Leslie speaker, which gives the Hammond B-3 organ its distinctive sound. “We weren’t afraid to be wrong,” Labonte says. “If we try something and don’t like it, no big deal – but if you don’t try it, you might miss something cool.”



Herbert praises Dutkiewicz for the professionalism he brought to the table. “Adam is a very gifted but demanding producer,” he says. “He can make you laugh, and then cry the next moment when he informs you of your continued failure. He does it in a joking manner, of course, but at the end of the day, nothing short of perfection is accepted under his watchful ear. This gave me comfort, in that only the best performances were used and I didn’t have to second-guess myself.”

Following the runaway success of 2008′s Overcome – which debuted at #16 on the Billboard Top 200 and yielded two top 20 active rock hit singles, “Forever In Your Hands” and “Two Weeks” (the latter of which peaked at #6) – many bands would get complacent, but All That Remains‘ decade-long fight for survival prepared them for the long haul. “We are a band that came up the hard way, and the first seven years were pure struggle,” admits Herbert. “Once big things started happening along the way, we have been greatly appreciative.” Labonte echoes the sentiment. “It’s been over 10 years since we started ATR, and it’s amazing that in this day and age, we’re still able to do this for a living,” he says. “It’s the most amazing, crazy, annoying, fun and rewarding job I can imagine, and we’re so grateful to the people who have been here all along, and to all the new people who are just getting into the band right now.”

After laying the groundwork for the release of Overcome with a summer-long stint on the 2008 Vans Warped Tour, All That Remains – which also features drummer Jason Costa and bassist Jeanne Sagan – toured aggressively around the globe, including North American stints with underground metal heroes (In Flames, Trivium), hard rock heavyweights (Slipknot, Disturbed) and screamo titans (The Devil Wears Prada) alike. The 2009 Rockstar Mayhem Festival, meanwhile, saw the group perform alongside a lineup that ranged from Bullet For My Valentine to Slayer. In recent weeks, All That Remains has played with everyone from Avenged Sevenfold, to Limp Bizkit, to Fear Factory, further proving the diverse appeal of the band’s unique mix of muscle and melody – something Herbert believes stems from the band’s unique mix of personalities. “The five of us are radically different people with completely different views on what we like, and the challenge is to make those differences meet somewhere in the middle,” he says.

As For We Are Many proves, never has compromise sounded so compelling. The album deftly shifts from the aggression of the title track, to the memorable hooks of “The Last Time” and first single “Hold On,” to the slow groove of the chorus of “Dead Wrong,” with infectious vocal melodies and fleet fingered yet tasteful guitar solos peppered throughout. Musically, the measured and precise riffing of Herbert and Martin and Costa’s complex rhythms compel throughout, as they surely will on stage when ATR kicks off an extensive touring cycle with As I Lay Dying, to be immediately followed by a headlining tour beginning in mid-October.

Having SoundScanned a combined half-million copies of their last two albums alone, All That Remains is poised to soar to new heights, but as For We Are Many proves, they’ll do so on their terms, without compromising the ideals and independence demonstrated during the band’s first decade of existence. “Every time a band gains more success,” Herbert says, “they are expected to live up to or surpass their previous effort – but we just wanted to make a consistently good album.” Clearly, sometimes modest goals yield immodest dividends.

credit : forwearemany.allthatremainsonline.com

When it came time to record its third album, Bullet for My Valentine wasn’t content to rest on its already impressive laurels. While its second album, 2008’s “Scream Aim Fire,” debuted at No. 4 on the Billboard 200 and sold more than a million copies worldwide, went gold in the UK and Canada, the Welsh metal band mates had a fire in their collective belly to push themselves beyond what they’d ever accomplished.

Declaring themselves “hungry” to create again, the band set about to create “a hard rock, dark album with metal flashes,” says lead singer/guitarist Matthew Tuck. “We really wanted it to excel beyond anything we’ve done musically before.”

If the ferocious results on the group’s third Jive album, “Fever,” out April 27, are any indication, the band has far exceeded its own rigorous expectations. Bullet for My Valentine, which also includes drummer Michael “Moose” Thomas, guitarist Padge and bassist Jason “Jay” James, has simultaneously made its most melodic yet raucous, relentless collection yet.



Indeed, “Fever’s” muscular riffs threaten to overpower the listener with their sheer unending intensity. Tuck’s lacerating vocals, once compromised by debilitating; possibly career-ending throat problems are stronger than ever.

For “Fever” the idea was “to keep it simple,” says drummer Thomas, and focus on the steak, not the sizzle. “It’s really tempting to kind of push your limits and try to play a thousand miles an hour. But there’s really no need for it. This album is powerful, more than just speedy.”

The group, named by metal magazine Kerrang! as Best British Band in both 2008 and 2009, formed 10 years ago in their Welsh hometown of Bridgend. After gigging around and honing their considerable live chops for years, the band signed with Sony in 2004; in the U.S., the band's music is released by Sony label Jive. “The Poison,” released, appropriately enough on Valentine’s Day in the U.S. in 2006, has been certified gold in the U.S., United Kingdom, Germany and Canada. The band quickly became a major draw known for its ceaselessly frenetic live shows.

While still on tour supporting "Scream,” Bullet for My Valentine began writing music for “Fever” in early 2009 in Wales. So great was their desire to create something beyond their previous efforts that the foursome retreated to a studio in Lincolnshire, England to get away from everything—home, family and friends--and concentrate solely on writing. “We just needed to be in our own space so we had no distractions,” Thomas recalls. “It was Bullet for My Valentine 24 hours a day.”

For “Fever,” the band recruited producer Don Gilmore, best known for his work with Linkin Park and Good Charlotte. “He was confident that he could take us to the next level,” Tuck says. “He identified the strong points and the weak points. Because we kind of knew we were on the right track, we just needed him to keep us on the right track and push us hard and make it work.”

After the initial music was written, Tuck and Gilmore holed up in the studio to craft the lyrics and melodies, locking out everyone including the rest of the band.
The separation was hard for Tuck’s band mates, but all was understood once they started hearing the amazing results. “We just left them alone,” Thomas says. “When there’s lot of people in the room, it just gets messy. If there are just two people in the room, they can just bounce off each other rather than everyone shouting opinions. It just made life a lot easier for those two.”

The lyric writing sessions took place during an immensely intense period that left Tuck feeling exhilarated, but just as often battered and bruised. “Every day, I’d get up out bed and go into the studio and it was like, ‘Fuck, here we go again’,” he recalls. “I walked out a couple of times, I had to go and disappear for a few days to clear my head. It was all for the good of the cause. I got it about half way through the vocal sessions. Don and I clicked and bonded.”

Gilmore shoved Tuck harder than he’d ever been pushed before. “Previously, I’d just write lyrics and melody and if it sounds good and feels good, it stays,” Tuck says, “but he made me write it again and change melodies until it was fucking amazing. And that was a difference. I was just settling in the past. “

Every drop of sweat is captured on “Fever.” Blistering first single “Your Betrayal” scorches the earth with its searing instrumental opening and bitter words of mistrust. “The song is about being betrayed and then obsessing about it and wanting revenge and payback for what’s happened to that person,” Tuck says, noting the lyrics mark a return to the “super dark” tone of “The Poison.”

The group also tackles drug addiction and how those around the addict often suffer just as much on “The Last Fight.” “People think the person who has the addiction is the victim; no one ever thinks about the people who are helping them and trying to get them out and then are being pushed aside,” Tuck says. “So ‘The Last Fight is about how it’s your last chance, I keep trying to help you and you keep trying to push me away. Fuck you. This is the last fight I’m going to do for you.”

The band isn’t afraid to turn tender on the sobering “A Place Where You Belong,” a sad, sorrowful tale about unresolved issues. “You don’t get a chance to make amends before someone passes away, you don’t see someone again and you have to live with that,” Tuck says. “It’s kind of taken from me and my girlfriend; we split up a year ago and shit happened.” He clarifies that his girlfriend did not die. “None of the stuff we do is that biographical,” Tuck says. “I’ll take certain things and turn them into something else just because I think it’s more interesting.”

Things lighten up on the saucy title track which tackles the time-honored tradition of hot girl meets boy, or boys, in the band and, well, you know the rest of the story. “It’s the kind of song we’ve never done,” Tuck says. “The song is just party rock and roll. It’s such a boy’s song. The boys are back on the road. Since the dawn of time, men just want to see naked chicks and fuck them; that’s it.”

Speaking of the road, Bullet for My Valentine, renowned for its energetic live shows, can’t wait to bring “Fever’s” music alive on tour. “I love the buzz and energy of the crowd,” Tuck says. “It’s such a mad feeling.”

For Bullet for my Valentine, they want fans to feel about “Fever” the way the music from their musical heroes made them feel.

“Fever” sounds like something that if I were 16 and getting into rock music, I would just be going nuts and wanting to be in a band, just like Metallica did for me,” Tuck says. “It’s just so timeless and real. There’s nothing fake about what we do.”

credit : http://www.bulletformyvalentine.com