All That Remains

11:11 Presents

All That Remains

Throw The Fight

Fri, December 15, 2017

Doors: 10:00 pm / Show: 10:30 pm

Pub Station Taproom

Billings, MT


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

“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 ppened to metal? What happened to punk rock? What happened to being anti-establishment? I wanna bring that all back.”
Throw The Fight
Throw The Fight
Throw the Fight are back. The band will release its new album Transmissions via Bullet Tooth on April 8. The band worked with producers Carson Slovak and Grant McFarland, whose credits include August Burns Red, Texas In July, Everclear, Affiance, Live, and more. Transmissions is the follow-up to What Doesn’t Kill Us, which was produced by John Feldmann & Brandon Paddock (Atreyu, The Used). What Doesn’t Kill Us has impressively sold 10,000 copies worldwide since release and landed on Billboard’s Heatseekers chart. Throw the Fight followed with the 2013-released The Vault EP, which also landed on Billboard’s Heatseekers and Alternative New Artist charts.

The band has steadily grown its sales base over the past few releases, selling over 25,000 combined albums and over 50,000 digital singles. That's an incredibly impressive feat for an indie band. But Throw the Fight are only getting started.

In fact, the band plans to soar past previous accomplishments and to shatter expectations with Transmissions. Put simply, Throw the Fight's time is now and the band is beyond ready.

"We wanted to return when we had that fire going again. We demoed over 25 songs for this record in four months," said guitarist Ryan Baustert regarding Transmissions. "It ended up being the largest body of material we’ve ever had to work with for an album. This is by far the heaviest, most exciting group of Throw the Fight songs we’ve done. This is it. This is the best of the best."

That's not bravado. It's simply the truth. Throw the Fight have outdone themselves with Transmissions; the melodies are as vibrant and as memorable as ever, while the riffs resonate like volts of electricity surging through the listener's body.

Since arriving on the scene, Throw the Fight, who are based in Minneapolis, have embarked on plenty of national touring. They've supported Bullet For My Valentine and Black Veil Brides on the 2013 Monster Energy Outbreak Tour, which traversed major markets for six weeks in the U.S. and Canada. It was truly the band’s introduction to rock fans on a major stage. The band has also honed its live chops by logging dates with the likes of Avenged Sevenfold, Papa Roach, Sevendust, Chevelle, Staind, Buckcherry, and more. They also secured slots on festivals such as The Vans Warped Tour & Taste of Chaos. Live is the avenue in which Throw the Fight truly come to life and they’ve put countless miles on their tour vehicle. They plan to live in the road while supporting Transmissions, winning over new fans in a grassroots, tried and true way: one city, one gig, and one venue at a time.

In addition to steadily growing sales and an impressive and busy tour history, the band has also enjoyed success at radio. The singles "Not So Hollywood" and "One Step Away” from What Doesn’t Kill Us garnered significant airplay and spins on Music Choice and Sirius XM Octane, as well as rock stations across the country. Top-tier stations such as Hard Drive Radio, BBC Radio 1, KXXR, WHMH, KZRV, KZIO, KQYK, KMSU, KMSK, KYTC, KLYD, KGRR, KGAR, WXCI, WJRR, WXRX, WEOS, CILU, WWHG, WIIL, WZOR, WCPR, and KDAM supported the band and the release with airplay.

All of these elements add up to one thing: Total domination for Throw the Fight with Transmissions in 2016 and beyond.
Venue Information:
Pub Station Taproom
2502 1st Ave. N
Billings, MT, 59101