All That Remains

Canton Hall Presents

All That Remains

Toothgrinder, Escape the Paradigm, Gears

Friday, September 21, 2018

Doors: 7:00 pm / Show: 8:00 pm

Canton Hall

Dallas, TX

20.00-24.00

This event is all ages

All That Remains
All That Remains
Phil Labonte – vocals
Oli Herbert – guitar
Mike Martin – guitar
Aaron Patrick – bass
Jason Costa - drums
For 15 years, Massachusetts-based quintet All That Remains have written and released… whatever the hell they felt like
with total disregard for what was considered trendy. Fronted by self-confessed contrarian Phil Labonte, the band has
experimented with a range of styles including pop, rock and caustic metalcore with just one objective – to create great
songs that come straight from the heart.
“Our goal has always been to write songs that we like,” Labonte says. “All That Remains has seen a lot of criticism about
the songs that we’ve written and what people think we’re supposed to do. We started as a very underground death metal
kind of band, we’ve since moved away from that and have never apologized for it. The music we’ve written has been
reflective of that and I think the lyrics, the ideas, have always been reflective of that as well.”
And through it all, All That Remains have experienced considerable success. The band’s last album 2015’s The Order of
Things reached #3 on the Billboard U.S. Hard Rock Albums chart and #5 on their Top Rock Albums chart. And to date, All
That Remains have sold over a million albums Worldwide. The band has headlined across the world and played major
festivals, including the Rockstar Energy Mayhem Fest.
Yet along the way, All That Remains have taken flak from just about everybody: extreme metal purists who accused the
group of selling out, rock fans that don’t get the screamy stuff, liberals who object to Labonte’s right-of-center lyrics and
conservatives that can’t understand the singer’s non-violent, Libertarian ways. Labonte’s response – bring it on!
Madness, All That Remains’ eighth album, is the band’s most musically eclectic, provocative release to date – full of
undeniable hooks, incisive riffs, electronic samples and a variety of vocal styles. And, of course, the range of subject matter
addressed pushes the band’s limits further than ever.
"I don't mind if I piss off if it gets them to think about things. People know that I have strong opinions and I disagree with
things. That's my whole deal."
As contrary as he wants to be, Labonte still values quality over confrontation. Madness, produced by Grammy award
winning Howard Benson (Halestorm, Papa Roach, Chris Cornell), is All That Remains at their best, offering a level of
accessibility and diversity lacking from much of today’s hard rock and metal. The first single and title track, “Madness,” is a
microcosm for the rest of the album.
The song starts on an experimental note with a barrage of amp static and the buzzing of ungrounded electricity
accompanied by a sharp, simple drum intro. A pause later, the whole band kicks into gear, blending a propulsive rhythm
with a kinetic groove that swings like a rope ladder in a thunderstorm. As the vocals enter, the guitars drop out, replaced by
a delicate keyboard melody and electronic beats. Then, after Labonte sings, “Why should we escape ourselves? We are
who we are in the end,” the tone shifts back in a heavier direction, leading to a monster chorus more infectious than
influenza.” In true Labonte style, the tune is neither a love song nor a euphoric anthem about rocking out. “It’s about
socialism,” Labonte says. “It’s about the repetition of bad ideas.”
Other songs on Madness are far more variegated. The leadoff track “Safe House,” which is about a man who lures robbers
into his home and then kills them, is the heaviest track All That Remains has written since they played melodic death metal
in the first half of the aughts. Driven by barreling beats, thrashy guitars, a crushing breakdown and metalcore screaming, the
track pulverizes even as haunting keyboards and clanging percussion offer a brief respite from the jackhammer pounding.
Then there’s “Far From Home,” which shifts between ringing acoustic guitars and forlorn vocals about being lost and alone,
and a euphoric rock passage that shows that there’s always light in the darkness.
Throughout Madness All That Remains revisits the dichotomy between savagery and sensitivity. “Trust and Believe”
contrasts double-bass drums, chugging riffs and melodic guitar licks with soaring guitar melodies and an anthemic chantalong
chorus and “Halo” opens with a speedy electronic passage that sounds like a violin on hyper drive, then develops into
a blazing number that balances melodic vocals with pain stricken howls.
“We really wanted this record to be different,” Labonte says,” explaining the inclusion of electronic samples and the dramatic
juxtaposition between roaring chaos and accessible craftsmanship. “We wanted to really push ourselves and push the
boundaries of what we’re allowed to do. We’ve always pushed that envelope, but we wanted to push it more.”
All That Remains started working on Madness in the spring of 2016, then in April Labonte flew from his home in Western
Massachusetts to Los Angeles to start working on vocal melodies and lyrics with Benson. It was the first time the band didn’t
have fleshed out riffs and fully written rhythms to serve as guideposts for the vocals. At first, the process was difficult and
the band members were uncomfortable, but the more they worked on the record the more excited they became about the
way the songs were coming out. For the first time in years, they felt genuinely challenged and inspired to learn new ways to
create.
“Me, Mike and Oli are the primary writers and we’ve always written songs on guitars because we’re all guitar players,”
Labonte says. “It was a totally different way to write songs. And I feel like it was really, really cool to do that because it gave
us a fresh perspective. I’d bring Mike and Oli the vocals and they’d use what I had come up with to construct the riffs instead
of the other way around.”
The most difficult song for Labonte to create was “Rivercity.” The song begins with a ringing telephone and progresses
through an electronic beat, a melancholy, ballad-like guitar line and plaintive vocals. The track changes in intensity
numerous times and injects various rhythm shifts before ending like it began. When he was working on “Rivercity,”
Labonte’s then-wife was deployed in the Middle East in the Marines and the singer was left helpless at home while she
risked her life on the front lines.
While the title “Rivercity” sounds like an innocent enough name for a song – the kind of title John Mellencamp might use
about childhood memories -- for Labonte the term was very real and frightening. “Rivercity stands for ‘reduced
communications,’ he explains. “Me and my ex would be on the phone and she’d be like, “Yo, the base is getting mortared. I
gotta go.’ If someone dies, they shut off communications until they can notify the families of the people that die. So we’d be
talking and she would say, ‘Hey, we’re going to rivercity and hang up, and I wouldn’t talk to her for three or four days and I
wouldn’t know what happened. The base is getting mortared. She might have taken a round or died. Being on the other end
of that is agonizing.”
Integrating excruciating personal experiences, political rants and controversial commentary with music that’s just as
confrontational, Madness is an unapologetic showcase of honesty and ingenuity. Inducing gentle head-bobbing one
moment and inciting teeth-clenching fist pounding the next, All That Remains have created about 50 minutes of attitudeladen
rock music. Pick a song: “Open Grave,” their version of Garth Brook’s “The Thunder Rolls,” “Back at You, “Louder.”
There’s something there to surprise, antagonize or incentivize.
“If you ask someone, ‘Is this what you expected?’ It’s always a ‘no,” Labonte says. “And that makes me happy. Is anyone
challenging what the listener expects anymore? We don’t do stuff because we’re supposed to.”
Labonte accepts he’ll continue to be misunderstood. Some will love Madness, some won’t, but the album will make an
impression on everyone who gives it an honest listen. Asked how he’d like to viewed, Labonte responds, “I want to be the
guy that really challenges people’s ideas. I’m fucking punk rock. Punk rock hasn’t been punk rock for 30 years. For too long
metal has been bullshit, milky pandering crap. What happened to metal? What happened to punk rock? What happened to
being anti-establishment? I wanna bring that all back.”
Toothgrinder
Toothgrinder
Toothgrinder was created in 2010 by a group of musicians wanting to hit the music scene with something broader and more inventive than had been previously done by each in the past. Toothgrinder resides in Asbury Park, NJ and has recently won Best Heavy Rock Band (2010,2011,2012,2013) and Best Drummer (2011,2013) by the Asbury Park Music Awards.

On July 22nd, 2011 Toothgrinder released its first official EP "Turning of the Tides", recorded at The Hang Zone, engineered and produced by Paul Ritchie, and mastered by Roger Quinn. The album is available for download on our Band Page.

On December 21st, 2012 Toothgrinder released their sophomore record titled "Vibration/Colour/Frequency". The record was mixed and recorded by The Parlor Mob's Paul Ritchie and Mastered by established DJ Roger Quinn.

We hope to be the unstoppable force in the music scene that everyone wants and desires from a band. With that, we have one last message for you:

LIVE TO GET RADICAL!!!

-Toothgrinder (USA)
Escape the Paradigm
Escape the Paradigm
Escape The Paradigm was formed in late 2013 by brothers Brandon Brodzinski and Johnathan Rockwood with Donny Hoover III. The trio met shortly after previous bands each member were in went on permanent hiatus. Each member of ETP brings their own unique sound to the band, as well as experience that proved to be critical to the band's longevity. Having plenty of live performance and studio experience, together and previously, ETP has become a truly polished sounding band, despite only having 3 members. Escape The Paradigm has opened for such national touring acts as Gemini Syndrome, Adrenaline Mob, SOiL, Tantric, Smile Empty Soul, Janus, Hawthorne Heights, Stitched Up Heart, Open Your Eyes and Hemlock. The band has played in several cities regionally and members have even has been on a small tour in Michigan. ETP has been working for most of the last year and a half perfecting their debut CD. The trio managed to enlist the help of Evan Dunn of Alaya, who has managed to capture the true sound of ETP in 2017. Alex Zarek was tasked with helping the band create a hard-hitting music video, and managed to do just that. The trio has released a brand new music video, "Mistaken" which is the title track from the band's debut album. ETP recently announced that they are now managed by Darlene Stuebe-Lewis of Xeonlive Management, and the band is currently seeking label representation.
Venue Information:
Canton Hall
2727 Canton St
Next to Bomb Factory
Dallas, TX, 75226