We’re giving away a free pair of tickets to The Bamboozle Roadshow.

Date: Sun, June 20th
Venue: Festival Pier at Penn’s Landing
Lineup: All Time Low, Boys Like Girls, LMFAO, Third Eye Blind, Forever The Sickest Kids, Good Charlotte, Simple Plan, Cady Groves, Drive A, Great Big Planes, Mercy Mercedes, Stereo Skyline, The Ready Set, Vita Chambers

>> HOW TO WIN: Send us a photo of yourself (or someone you know) holding up a sign that says PHILLY ROCK BLOG. Simple.

Make it sexy, funny, whatever. Feel free to wear costumes, bikinis, birthday suit. Hell, you can even paint the words on yourself. For the guys, no birthday suits please.

Hit us up via twitter or email with your submissions. Just make sure we have a clear way to contact you if you are the winner. A winner will be selected sometime Thursday.

In addition, the Philly show is offering a promo for $10 tickets. To get them just go HERE and enter the password: cokesecret

Many of the factors that make a summer concert so awesome – the warm weather, bright sun and dancing – can take a lot out of someone. Enter “Swelter Stopper” – one of Coke’s secret ingredients that, when combined with the others, make Coke the uplifting refreshment that it is.

To help concert goers make it from the opening to closing acts, Coke will have the “Swelter Stopper” experience stocked with ice-cold Coca-Cola. Get refreshed with blasts of frosty air, snow falling, and a delicious Coke from the perfect serve sampling bar, along with uplifting interactive games, a DJ and a photo station. Once their “Swelter Stopper” experience ends, they’ll be ready for crowd surfing at the main stage.

For more details about Coca-Cola’s Secret Ingredient Formula, please go here.

This prize was provided by The Coca-Cola Company. The Coca-Cola Company is not a sponsor, administrator or connected in any other way with this giveaway.

Philly Rock Blog is giving away free passes to a screening of The Runaways. Every pass admits 2 people. If you’d like to attend, just post a comment about your favorite girl rocker of all time. We’ll pick a few winners to send to the screening. Be sure to use your real email address, so we can contact you.

Date: Thursday, March 18
Time: 7:30 PM
Place: RITZ FIVE (214 Walnut St. Philadelphia)

Kristen Stewart and Dakota Fanning star in this music-fueled story of the ground-breaking, all girl, teenage rock band of the 1970s. “The Runaways” follows two friends, Joan Jett (Kristen Stewart) and Cherie Currie (Dakota Fanning), as they rise from rebellious Southern California kids to rock stars of the now legendary group that paved the way for future generations of girl bands. They fall under the Svengali-like influence of rock impresario Kim Fowley (Michael Shannon), who turns the group into an outrageous success and a family of misfits. With its tough-chick image and raw talent, the band quickly earns a name for itself—and so do its two leads: Joan is the band’s pure rock n’ roll heart, while Cherie, with her Bowie-Bardot looks, is the sex kitten.

For more info, please visit – www.therunawaysmovie.com

Limit one entry per person. No cameras, camera phones, or other recording devices permitted in screening. Seating is on a first come, first serve basis. Theater capacity is limited and passes won do not guarantee seating, so show up early! Theater is not responsible for overbooking. Ticket holder and guest must enter theater together.

The Rowdies are like a teddy bear. A teddy bear wrapped in barbed wire. Hailing from the small suburb of Hatboro, Horsham, this little band is bursting onto the scene with a huge sound. In an era of ever changing technologies and trends, The Rowdies are taking the time to throw it back to the good old days when punk rock was an ethic, not a commodity sold at Pac Sun.

The root of The Rowdies sound is punk rock. Blending styles of decades past, this band can be described as the greatest mix-tape of every punk band you’ve ever loved…ever. A song like “Non Believer” evokes a picture of Kurt Cobain sitting down with Johnny Rotten to discuss school systems not including evolution in their curriculums. The band firmly believes in using copious amounts of distortion. Used in conjunction with a loud chorus, quiet verse method, it amounts to a tip of the hat to their forefathers. Distortion is used as a color tool, to embellish the magnitudes of the scenes being created in the songs’ stories.

Underneath this warm blanket of hot fuzz, lies the teddy bear element of the band. They coat their songs in armor made out of raunchy guitars in order to protect the utterly sweet nature of the subject matter they are singing about. A song like “War Not Over” discusses love lost and is summed up by an awe-inspiring chorus of “…life ends like a cigarette when you drag…”. Songs are never composed around a chorus. They don’t compose a big chorus just to create something catchy. The Rowdies tell stories. Each song has a point and each point is made through lyrical compositions that mix creative wordplay with the occasional profound lyric.

The use of big choruses is no surprise, but the sweet singing team of Dan and Joe Rio is. Throwing back to The Kinks, this brother tandem sound the way rum and coke tastes. Delicious. Both have a sweet side to their songwriting that allows one to think of Van Morrison or Elvis Costello. Dan’s voice has an intensity that cements his role as lead singer. Joe possesses an innocent voice that helps to balance out Dan’s intensity. A song like “Crashing Under The Influence” is evidence of such.

Whatever your taste may be, The Rowdies will most likely quench your thirst. The blending of what has already been done seems to be leading this band in a direction of their own. With a full-length debut scheduled for release in the very near future, 2010 is gearing up to be a big year for The Rowdies.

I look all around the country and I see Musical Artists/Bands looking for places to play for as large an audience as possible, wanting to be heard, wanting to gain new fans, wanting to earn a living doing what they like to do – which is: Creating and Playing their Music.

Naturally, they are going to go where they can be hired, which most of the time consists of different Bars, Clubs and other drinking establishments…

Well, in theory, this should work pretty well; you have places to gather and nurture fans, and you’re doing what you love to do – play Music. But, as I’m sure most of you have found out, this rarely works very well…

Why? The 1st of a couple main reasons is actually very simple when you really look at it…

You see, I remember my pre-teen and teenage years, when I, a potential Music fan like anyone else of my generation, was introduced to, and developed a taste for Music, and the Artists who delivered it.

This Music seriously affected me in one way or another in these formidable years. Music, and the Artists who presented and represented this new music to me, appeared as one entity. And this entity, and the other influences at that time of my life really affected me and became a major part of my life during this ever-important time of my life. A time when I, this young, growing person, became ME.

That was “My Generation”, but you and every other generation living and growing socially and otherwise through these same important preteen and teenage age years, accumulate[d] your own tastes, including whom you are or were influenced by, etc. You, like me, and everyone else, are attracted to certain kinds of music and the lifestyle associated with it, and you create, and start putting together your tastes which you associate with this very important part of your life. Your social, and therefore your musical life, are formulated together – by Music, and the Musical Acts that brought this Music to you…

So, let’s look at the situation and do some simple math:

On one side we have: Unsigned Acts who are usually forced to play where they can, most often in Clubs, Bars, what have you. Clubs, in most localities, equals ages 21 and above, where liquor is served. And, of course, the establishments want you to draw lots of fans, to drink up and make them money. [A fact of life – the venues don’t often care how good you are – just how many people you bring in.]

The problem is, that in these types of places, many of your potential fans, being over the age of 21, are already pretty set in their tastes. They want cover-bands and songs from their generation, or they go to arena-type concerts where the “Stars” whom they associate with these songs that made up these important years, perform.

Now, on the other side we have: Those under the age of 21 who are stuck listening to what ever is programmed into their head for them to hear, usually coming from the Major Labels, or their Subsidiaries. These younger people have no idea what they are missing because they are not given the opportunity to see and hear some great local unsigned acts that they could discover and call their own, because they can’t see these Artists and hear their Music – because they’re not allowed in the door!

Yes, there is, of course, a seemingly obvious answer to this problem. But all-ages shows have their own issues, and only partly solve the overall situation even when these gigs are available. The real answers run much deeper…

The 2nd main reason it’s hard to draw new fans revolves around the word “Perception”. Perception includes, in part, the Artist’s perception or view of their “job”, and how it affects the potential fans perception of the “Unsigned Artists Scene”.

Now, let me say here, the problem of perception and the answers to this problem do not lie totally on the Artist’s shoulders, but also fall on the Artists’ Managers, Venues, Promoters and Fans, which I will also cover later and throughout…

It should be made clear here, that Artists should still care about attracting both the over 21 crowd as well as the younger potential fans. For everyone, even those over 21, there is still the need to discover something new and different, something “to do” that people will know will at least be a lot of fun; an escape.

And one main perception problem I see with Artists is that most do not think about, or they have a very narrow slant on: “The Big Picture”. Too many Artists believe their job is to just write and learn songs, practice them, go out and sing and play them.

An Artist’s actual performance aim should be to entertain people, to help people escape from reality, that is, to help them forget about their busy and/or crazy and/or problematic and/or boring life, to grab them and take them with the Artist on a mini-vacation – that both the Artists and the Fans will remember even after they leave the show…

So, I have the following questions for you Artists:

1. “Why should your potential fans really want to come to your shows – even if they knew you existed?”

2. “When they DO get to see you, what will make them not only want to see you again, but also want to buy your CDs and Merchandise?” And…

3. “Will they love you so much that they will desire to tell others, through word-of-mouth, print, internet or however, “You Gotta See This Band!” ?

Yes, what are YOU, the Musical Artist/Group/Band offering them that’s special and really stands out? What is so unique about you that can grab their attention and keep them as fans.

Well folks, with the advent of all this computer and networking technology, you’re not only competing with a ton of other Artists, you’re also competing with quite a few other forms of diversions, entertainment and escapism.

Now, let’s not forget, there’s always the basics, because as they say, “You can’t polish shit….” You obviously have to be talented as Songwriters and Artists…

But when you practice, what else are you doing besides learning songs? Whether you know it or not, you are developing [hopefully] your own “Sound”. A Sound that [hopefully] makes you sound like YOU, and no one else. That when you hear the first 15 seconds of a Performance, you are not just grabbed in, but they also know who you are!

Your Sound makes up one integral part of your overall “Image”. And, your image is a major point to consider and develop. Your image could be described as: What you play, the way you play it, the way you come across to people, and the way you look.

Therefore, although during practice music is usually the main area of concentration, there are other just as important considerations that most Musicians don’t think about. For example, does your Group look “wasted”, dead, or very much alive? What does your equipment look and sound like? What kind of relationship do you wish to develop with your audience? Are you just Singing and Playing, or Performing, communicating with your audience and drawing them in to you?

Simply put, what will affect your potential fans perception of you? That once they know you exist they will talk about you to no end.

But there’s one more very important Perception Factor that must be overcome that is necessary to draw your potential fans out of the closet so that you actually have the chance to give them a chance to get to know and love you…

Now, “Promotion” is the most obvious step that comes next in most people’s minds. Artists promoting themselves, telling their fans and potential fans that they’re playing at this venue or that venue.

But my question to you is, “What is it you’re actually promoting?” That is, when you’re promoting yourself, what will be your potential fans perception of what you’re promoting? Will you just be one more “amateur artist” playing somewhere?

Let’s step back to that Big Picture we discussed earlier and take it a few steps further. What is the perception that your still-in-the-closet-potential-fans will be expecting that will make them want to come out to see you?

“Well, we’re playing at so & so’s club or bar or venue.” In other words, “Come out to our gig”.

Let’s face reality, if people have never heard of you, why should they come out to see you? What are you offering them that a thousand other unknowns can’t [or don't] offer? Let’s face it, if you perceive your appearance as “just a gig”, what do you expect your potential audience to see it as!

It’s useless spending lots of time, energy and money promoting something if people’s preconceived perception will be, “Oh, why should I go there, never heard of them, no one’s talking about them, so they must be boring, a waste of time – forget it.”

My point: When you go out to see a favorite star performer in the big arenas, are you going to their “gig”? Or, are you going to, what is perceived to be a “Can’t-Miss EVENT???

Now, it is up to the Artist, for one, to make it appear as one! And to appear as one, it should BE one. And it CAN be one, WHEN the Artists perceive it as one!

Every performance at every venue should be thought of, and looked at as an EVENT, a SHOW, a SPECIAL OCCASION, an EXPERIENCE, an important reason for people to leave their house, put gas in their car, pay the cover charge, etc., and come see you.

You must start thinking of your performances as if you were performing at a scaled down arena show. You have to take those “extra steps” ensuring people that your performance and your “show” are special, and that you’re not just another band getting up in front of a microphone and playing and singing. Lots of people can get up there and sing and play, but most of those Artists who will get nowhere in today’s society.

Unless you’ve been in a cave over the last few years, you’ve noticed that this is a Visual Society, inundated with multimedia that is competing with your band – and people often don’t have to leave their houses anymore to be entertained.

“Hey man, I’m a serious Artist. I’m not selling out for no one!”. Hey man, yourself, I’m not asking you to give up any integrity! I’m just asking you to come ALIVE! I’m not asking you to be anyone but yourself. I’m just asking you to look at this performance as a fun and rewarding event. And if you don’t see it as one, how do you expect anyone else to think it’s one?

All you need to do is wake up, make a slight attitude adjustment, and take whatever extra steps that you can conceive of and can afford that fits your image and makes your show stand out.

Now, it is not up to just the Artists to make your shows stand out…

Hey, Artists’ Managers, street teams, representatives of every sort: What are YOU doing to help? Are you looking at each performance as a special one, and are you being just as creative on the biz and promotion end as your artists are on their music end? And are you making sure the Venues are on the ball?

Hey, Venues: What are YOU doing to make people’s perception be that you’re the “In Place” to go to be entertained? And, are you being just as creative on the biz and promotion and public relation’s end as the Artists are [or should be] on their music end.

To sum it up, the Artists, Managers and Venues must work together to create this perception: an event that people will be coming to that will be extra special.

But we’re wasting a lot of time here unless everyone involved understands and takes the steps to ensure that everyone’s perception doesn’t become just another let-down. You can’t, and shouldn’t even try to fool your audience. You actually have to make this event be not just another event, but an event to be remembered! And, you CAN!

The Day has come. The Artists/Bands, Promoters, Venues are all ready to stage an EVENT. An EVENT people will talk about – a “Night to Remember.”

“So, I guess we really need a Gimmick…” NO! Gimmicks are basically useless because people can see right through them, and they are needless as well. Gimmicks are looked at as Gimmicks; “Great shows” are looked at as Great Shows!

It is true that, just like all songs need great “hooks”, your show can have a hook, but it should be a natural hook. Some examples being a CD release party, a guest performer, someone’s birthday party, and the like – and there’s no harm in coming up with one each show.

One of Professor Pooch’s Laws: “Be Just as Creative on the Business Side as You or the Artist is on the Creative side” fits here. My favorite hook? Three or four Great Bands with Great Songs and Great Performances!

Your Gimmick should simply be providing a Great Event with Great Performances. Simply put, you need Artists and Venues that create a Great, Natural Vibe that hypnotizes the audience into wanting to come back to that Venue and/or to see that Band!

Every Night, every Gig should be treated as Special. And if Everyone is in a great state of mind, and if Everyone is prepared, and if Everyone gives their all, your Events will be remembered – and in a positive way.

What the Artists, their representatives and the venues are [or should be] trying to create is word-of-mouth, because excited word-of-mouth travels faster and better, and with more integrity, than any other form of promoting yourself to the masses. You are directing it to the people who matter – the fans who like you, who know people who will like you and what you bring into their lives…

Now, let’s break it down into roles:

Attention Artists [and Artist Managers]: Go out and see one or more of your favorite, successful Recording and Performance Artists and watch their show very carefully. A Great, Successful Band knows their songs are Great Songs, and the right songs to play at that Venue/Event, and the songs flow really well together.

Why/How do they know? Simply put, a Great Band is prepared and takes care of all that beforehand, usually at rehearsals. The only thing on a Great Performer’s mind when they step on that stage is, “This is gonna be a Great Show!” And they Make it one!

In short, Every Performance at Every Venue should be treated as a Special Event! Great Events must become a Habit!

Here’s a true story – and an important lesson: I was out to see an unsigned Band at this Club several years ago, and I met a friend there. It was early in the night and we were the only two customers.

To make a long story, short, the band played a basically disinterested set. After my friend left I went up to them and asked them, “Hey, You guys are much better than that – what happened?” They responded with “We were warming up and there were only a couple people there, so…”

And I told them, “Well, you just blew a great opportunity – that person who just left was a Senior Vice President of Columbia Records!”

Actually, it doesn’t matter if my friend was Joe Shmoe. If the Artist had put on a great performance, Shmoe might’ve loved the band and gone out and told others. And never forget that the Bartenders and Waitresses are people, too! People who love music! People who might spread the word! Great Performances must become Habit Forming, and nothing else is acceptable!

Are you ready and prepared to deliver a Great Show? Were you ready early in the day, or did you wait until the last minute to get everything together? Nothing like that rushed feeling for setting you up for a rotten mood. Be prepared early so that you’re relaxed and ready to give it your all!

How tight is your set? Does it move right along without your musicians just standing around? People have a verrrry short attention span nowadays, and there can be no delays trying to figure out which song to do next, checking to see if everyone’s ready, or whatever.

Your mind should be totally on your audience, not yourself, and you should be expressing how you feel, communicating with them through your body, mind and soul.

And besides treating your fans to a great performance, you should treat your fans really nicely before and after the show. And, not only your fans, but also the Venues, Promoters and their staffs. If you treat them really well, wouldn’t that make them want to treat you very well, also? And want to have you back again?!

The way you act at every event creates good or bad “PR”. PR stands for “Public Relations”, which is not the same as Promotion. Promotion is hitting someone over the head with flyers, ads and the like, and Public Relations is how you spread your name every day of your life by the simple, normal means of being yourself.

Attention Venues [and Promoters]: The Venues are just as responsible for a successful event as the Artists! Besides being known for the quality of the acts you book, you, the venues and promoters, too often depend on the Bands and their Management and/or Street Teams to handle all the promotion, etc. You should put just as much into pushing the Event and should be just as well prepared as you expect the Artists to be.

And how do you treat your Artists, let alone your customers and your own staff? Are your Bartenders and Waitresses friendly, sociable and “up”? Is your staff ready for, and looking forward to a fun night ahead – instead of just going through the motions? Do you have a Venue that your staff feels is worth talking about to their family and friends? There’s that “word-of-mouth” again.

Note: Security/Bouncers should also have the same fun and friendly demeanor, with the only exception being if and when may have to “switch hats” when needed to keep the atmosphere, safe. Ambience, “vibe”, the “feel” of the club, call it what you wish, is reflected by all the people working there, and this will help determine if all your visitors feel comfortable or not. Just doing print or internet ads doesn’t create a great Vibe – happy, sociable employees create a great vibe and make your Venue a fun place to be.

Also, most venues do little to spruce up the “room atmosphere”, when a great décor, specials on drinks, special finger food, special whatever will also really help you bring more paying people in. It benefits you as well, having your place be the Venue to hang out over all the other places.

To sum up it all up, when all the Venues, Promoters, Artists, Managers and Street Teams treat Every show like an EVENT, you all will then have done your part in creating “A Music Scene.” The “In Thing” to do which will help all the Artists be seen and become successful, which will at the same time help the Venues be seen and become successful, which will likewise make the fans come out of the closet and want to become part of this scene, because they know they will be entertained. Entertained with the help of the Universal Language… Music.

For the rabid “fans” with short attention spans, here is the short version:
I LIKE THE ALBUM, AND PURCHASED A COPY. Have a nice day.

After dealing with all the comments from the other day, I did all I could to get this album as fast as possible. I also reached out to the band and its label for interviews. The band declined, but Deathwish co-founder Jacob Bannon agreed. I never bothered to ask for a copy of the album, because I figured it would be declined. But I knew I could trust the loyal fans of the band to post the album illegally shortly after its release. They did not let me down. I went to one of my regular torrent sites and had the album in my iTunes about 10 minutes later. So, the music…

01. Our Apartment Is Always Empty
This is by far the longest song on the album, despite only being 4:38 long. It opens the way a Portishead song might. You heard that right, Portishead. Yeah, I was as surprised as you. But around 30 seconds in they get down to more standard business. The barking verse starts, “Let me sleep on your couch, and your floor, even in your bed…” it sets the tone for what is a mostly rambling song, vocally. The surprisingly catchy hook snaps in with “As the world fell in love with me, you fell out or so it seems”. It’s already clear that this is not your average hardcore record. Unfortunately, it ends with some screaming “da da da da da, da da da da da’s”. If it had been sung, it could have been cool. But yelling them seemed kinda silly.

02. Everything In My Life Is For Sale
After 15 seconds of squealing feedback, we’re treated to 1:30 of some serious kick ass rock n roll. I think someone slipped some Helmet records into Blacklisted’s collection, because that’s exactly what this sounds like. And that’s cool, since I love Helmet.

03. J.M.N. (interlude)
52 seconds of a slow, straight drum beat and some random feedback noise behind it. Seriously, that’s it.

04. No One Deserves To Be Here More Than Me
It’s clear that feedback plays a huge role in the sound of this album. It’s everywhere. The verses on this track are pure bass-heavy Alice In Chains… with Oscar The Grouch singing. The chorus is huge with repetitive yells of “No one will ever come for me” (I think). A very solid track.

05. G.E.H. (Interlude)
55 seconds of a weird background nose with a trumpet being played over it. Oh and a few cymbal hits. Totally hardcore.

06. The P.I.G. (Problem Is G.)
Hardcore unplugged. Acoustic guitar strumming, minimal drums, and soft vocals. It’s interesting ground for this band to tread on, but it feels slightly half-assed. It’s under two minutes and never really changes musically. With more complete arrangement it would have had more impact. Think Nirvana unplugged, with little voice cracks and all.

07. I’m Trying To Disappear
Track 7 opens with around 40 seconds of a very moody, somber guitar, but gets slightly ruined when the vocals break in with that same gritty yell that he seems to do over anything the musicians are playing. This stuff would be SO much cooler if the vocals were as varied and expressive as the music. It’s a shame. And yeah, this one is full of guitar feedback too.

08. Palisade
This one reminded me of Obsession-era Eighteen Visions for some reason. The chorus here is a great rock riff. And I do mean ROCK riff. This is just a really good, fast-paced heavy rock jam. Even calling this album “hardcore” is false advertising. Great song, but again it’s not even two minutes long.

09. Skeletons
Holy shit, this is full-blown rock city! With brief moments of Angus Young guitar noodles (that’s AC/DC’s guitar player for you hardcore kids), and tons of catchy riffing, this is straight up fist in the air, kick ass, rock-dude Rock. This is surely one of the best tracks on the record. Err, MP3.

10. I Am Extraordinary
Sadly, this is another great musical piece that gets almost ruined by the bland cave-man vocals. They bring in a female vocalist to add to some of the more mellow parts, but it only goes so far toward saving the song. When the song gets heavier it isn’t as much of a problem, but the fact remains, this dude just can’t come soft. They should find someone who can, or stop writing soft parts. Hell, leave em instrumental even. Ironically enough, the track ends with “I am extraordinary” being repeated about 20 times. And let me not forget to mention, this song features a hardcore rainstick.

11. S.M.F. (Interlude)
By definition, an interlude is something that goes between two other things. Not only are Blacklisted redefining hardcore, they’re redefining words in the dictionary, because this interlude is an outro. It’s a minute and a half of some sparse piano over some wacky jangling noise and what sounds to be an old rotary phone dialing. And some creaky door sounds. xHardxCorex dude.

Overall, this is a very cool record. I’m not in love with the vocals sometimes, and the interludes seem to be a weak attempt at some art-rock Dredg type shit. Nevertheless, the complete picture is a good one. I feel like the band took some brave steps in crafting an album that strays away from what they’re known for. Moves like this have been known to kill some bands, and in other cases it launches them to the next level. Unfortunately I feel that the band and/or its label lacked some confidence in how fans would react to this change. Not a single snippit of this album was allowed to be heard online before fans blindly plunked down the cash for the vinyl. I have my own theory on why that is, and the label has its own stance.

All told, the album cost me $15.77, which is over $1.60 per minute. Pretty pricey, considering that the large majority of music in the world is available for .99 or less per song. But I paid it because I enjoyed the album, and I don’t mind supporting local talent, even if they’ve outgrown “local” status.

After listening to the album, I conducted my interview with Jacob Bannon (Deathwish Music LLC).

What is your role at Deathwish?
JB: I started Deathwish about 10 years ago with my good friend Tre McCarthy. Together we run the label.
(officially, he is listed as: Label Management, Art Direction, AR)

I’ve been told that the choice to go exclusively vinyl was the bands? Does the label have a say in that?
JB: We work for our affiliated bands, so in the end we do what they want us to do. Every band is unique and view their music and art in different ways, so we do what we can to accommodate that. If a band wants a vinyl only release, we then do what we can on our end to make that possible.  In the end the media doesn’t matter, just the music that it carries.

Would you say it matters to a genuine Blacklisted fan without a record player? Do you mind the possibility of alienating that group of fans, or is the assumption that all “hardcore fans” have one?
JB: There are no assumptions, it just is what it is; A decision to present an album in a specific form. Any calls in that department are exclusionary, but they are up to the creator of the art/music to make and we respect that. It does make sense from the perspective of engaging a listener. The process of listening to a vinyl release is a bit more personal, physical, and engaging than other medias.

Admittedly, the sound on the new record is a bit of a departure and uses uncommon instruments. Is this why none of the music was available to listen to ahead of release?
JB: Because the band wanted it that way. They wanted the release to be experienced purely as a full length release to its listeners. As a label we respected that and did what we could to make that happen.

What was the reason for not having a release date or pre-sale, as the band has always done in the past?
JB: The band wanted the album to be presented and available in its final form all at once. No other reason really needs to be given for that.

Did the band (or label) feel that if fans heard the new music first they would be less inclined to buy it?
JB: Not at all. When bands write music for an album, in many cases, it is meant to be experienced as a whole unified piece or art. Digital listening habits have changed that and in turn how people first experience music. The band wanted to control that a bit and do things on their own terms.

What exactly IS the reason for none of the music being heard without buying?
JB: I think I sort of answered this question already. Blacklisted are a hardcore band that have evolved with every release, they know that and their audience understands that. People who are educated and interested will be drawn to that, others who are not, won’t be.

Is there any desire to attract new fans with the new album, or are the band and label content with the current following?
JB: Bands aren’t necessarily always concerned with growth, sometimes it’s just about expressing themselves. That’s where Blacklisted is at right now.

Does the band/label feel that the amount of fans that prefer modern delivery methods (CD or MP3) are small enough to be able to exclude by going vinyl-only?
JB: If we were to make a release a CD only release (which we have in the past) do we need to have this sort of conversation? Not likely. In the end it’s not about the media, it’s about the music. I find it to be interesting that people are talking about a resurgence in vinyl when we are not part of one. We’ve never not released vinyl in the 10 years we’ve been a label. Predating that, Tre and I both had other labels in the early 90′s that only released vinyl (for example I released my own band’s 7″EP in 1991, and 12″LP in 1994). Vinyl is part of hardcore/punk culture, and continues to be. With that said there is no resurgence on our part, we are just doing what we’ve always done.

Do you see a major difference between this album and all of the bands albums that are available on iTunes?
The current presentation of the album is different. They are different songs, etc. So yes, I see a difference in this album and the others for sure.

If MP3′s can be downloaded after the fact with a download code, why not make buying the digital version an option from the start? Fear of piracy?
JB: No fear. As a label in the past we’ve given away direct downloads immediately with purchasing a release on any format. As I mentioned, we do things on a case by case basis. There is no formula, and never has been with us. We just do what a band and release need on a case by case basis. In this case, it’s simply what the band wanted to do. Ie: Engage people with a full album, with full packaging and presentation as it was intended. No marketing schemes, no nonsense. Just a band being a band and a small label helping to make their vision become a reality.

Is it likely that this album will become available for sale digitally at some point in the future? Maybe if/when the vinyl records sell out?
JB: We’ll cross that bridge when we get to it. Right now we are just focused on the release in it’s current form.

What are your thoughts about the album already being posted on blogs and torrent sites?
JB: That’s something that as a label we can police but can’t control. We are just happy that people are paying attention to the efforts of one of our affiliated artists. If they dig it, we hope that they will support the band through purchasing a physical copy, apparel, or attending a show.

There you have it. If you want to hear some of the old material that has absolutely nothing to do with what the band is up to currently, go to their myspage page: myspace.com/blacklisted

Kickass Philly Hardcore heroes Blacklisted have joined the ranks of bands to make bad decisions that unintentionally hurt their fans. And they’ve done it all for the sake of what could be a trendy marketing ploy.

“No One Deserves To Be Here More Than Me” is their new album, which was released yesterday with virtually no prior notice or details. But unlike the fan-friendly way that Nine Inch Nails does it, this album is only available for sale as a 12″ phonograph record. That’s right kids, you need to go buy yourself a fucking record player if your Grandma doesn’t still have hers.

The Deathwish Inc. store does state that the album comes with a digital download coupon, which is a good thing, since it will make it much easier for the album to be uploaded to blogs and torrent sites for everyone who doesn’t want to be forced to pay 12 friggin’ dollars for an MP3 album. Overall, this tactic will reduce the number of people that hear this album, but the most die hard fans of the band will go ahead and pay for the overpriced MP3 album coupon and then wonder what to do with the big plastic thing it came with.

What next, bands will start releasing albums on 8-tracks? Oh wait, it’s already begun.

If you want to contribute to this horrible trend, you can only do it HERE.

It’s symptomatic of a trend that dominates the genre of Heavy Metal, just like it does with most Hip Hop. It’s almost as though any sense of originality is frowned upon. I’m a huge fan of heavy music when it’s done well, but it saddens me to see it become so generic and predictable. Why do heavy guitars have to be synonymous with camo shorts, cross-armed stances, and tough guy scowls? Why do the album covers always need to have fire, chains, and skulls? We get it, you’re evil. Reeeaally evil, and reeeaally tough. But enough already.

You’ll find tons of bands like this that cite influences like Pantera. Pantera is one of the greatest, most musically identifiable heavy bands ever, and aside from cut off shorts and tattood arms I don’t recognize a hint of Pantera anywhere near this stuff.

I’m using Dawn Of Correction as an example today for one main reason; they are extremely talented. Within their chosen genre, they’re nearly as good as it gets. Giulio Kitao and Rich Tornetta make most guitarists and drummers look like Rock n Roll Kindergartners in comparison. They’re technically advanced, and the whole band perform with the intensity that should be expected of any good metal band. The vocals are pure Tom Araya of course, so that’s par for the course. I mean does it get any safer for a metal band than having vocals that sound just like Slayer? It’s like breaking the ice with a Christian girl by saying you love Jesus.

Again, don’t think I’m singling out D.O.C. If you like modern heavy metal bands, you’ll probably dig these guys a lot. My hope is that they’ll take the huge advantage they already have in the musicianship department, and couple it with some more original songwriting and imaging. If they manage to pull that off, I’ll expect them to make some serious waves.

MYSPACE: myspace.com/dawnofcorrection

As the holiday season quickly draws near, most of us are busy with preparations of some sort. Whether it’s arranging the office dinner party, writing letters to Santa Clause or selecting our Pollyanna partners, this is generally a hectic time of year. However, these are also the months when we show gratitude for what we have in our lives that is worth celebrating. In this time of thanksgiving, it is also important to assist those less fortunate.

Local metal band World Lost is doing just that with their upcoming 3rd annual Toys for Tots fund-raising concert. The event will take place on Saturday, December 5th, at Mojo 13 in Wilmington, Delaware.

The entrance fee is $8.00 or an unwrapped new toy (no stuffed animals/plush toys, please). All funds and toy contributions are donated to the US Marines’ Toys for Tots Foundation. The campaign’s official website is toysfortots.org. If you are unable to attend the show, information about how to make donations, toy drop-off locations, toy requests and more can be easily located on the site.

World Lost is the headlining band and organizer of the event. Front man Joe Hansell has been instrumental in the arrangements for everything from collecting donations to scheduling the bands that will perform on this auspicious occasion.

For a taste of things to expect, check out the bands Myspace page (myspace.com/worldlost). Influences from bands such as Slayer and Pantera are prevalent on these; pounding drums, crushing bass and roaring vocals are accentuated with screaming, wound out guitar riffs. Also performing are Acts of Violence, Without Logic, Altar of Dagon and The Fakirs. All are sure to bring the noise in equal measure.

The first benefit raised over $1000 plus toy donations and the following year doubled that. This year’s goal is to redouble again, so please show your support for our local musicians and help them to help others this Christmas.

In addition to having your face melted off, there will be more traditional aspects to the fundraiser such as raffles and even an appearance by Santa Claus himself, or at least his heavy metal cousin!