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 bass. “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 record. “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, September 2018

BIO The fate of Attila was sealed the moment Chris “Fronz” Fronzak was handed a demo by his high-school pal Sean Heenan. It was a disc filled with the extreme sounds of underground metal, housed in the CD jewel case of an album by rapper/actor Ludacris.    It’s from these gritty essential ingredients, the “biscuits” of Southern-fried metal like Pantera and the “gravy” of hip-hop like Lil Jon, that Attila was born. Each of these seemingly disparate genres are united in aggressive force; in a shared authenticity; by a determination to keep it real, and with loud dedication to stay true to the game.    A cursory glance at something as simple as the titles of each of Attila’s seven albums reveals much of the band’s creative vision, each reading like a statement of intent. These are records called Fallacy, Soundtrack to a Party, Rage, Outlawed, and About That Life. As their singer’s devious Slim-Shady styled alter-ego/persona Lord Fronzilla dishes out verbal beat down after beat down, with powerful bark and playful prose, his “zero f-bombs given” attitude is backed in kind by the bludgeoning rhythms dealt by guitarist Chris Linck, bassist Kalan Blehm and drummer/cofounder Heenan. To the legions of fans enraptured by the boisterous bravado of Fronz and his effortless charisma, Attila is the ultimate Guilty Pleasure, just as their 2014 album was named. Attila is beautiful Chaos.    The first result of their partnership with SharpTone Records, the company formed by Nuclear Blast owner Markus Staiger and Shawn Keith, Chaos arrives armed with many of the key elements of Attila’s signature sound, including steel-toed Southern stomp, shredding solos, and Fronz’s instantly recognizable voice. But what “Ignite,” “Bulletproof,” “All Hail Rock And Roll” and the rest of the eleven tracks on Chaos collectively represent is Attila’s most finely honed, focused and dynamic offering yet. Simply put, Chaos is the biggest album they’ve ever made.    Attila’s latest musical manifesto ranges from heavy moshpit invocations to metallic groove; from an EDM track (made in collaboration with rising EDM star Ookay) to ready-made Active Rock radio hits, akin to Linkin Park or the recent work of fellow deathcore-kingpins-turned-transformative-anthem-makers Bring Me The Horizon. Chaos is truly a form of organized chaos. Attila are their own ringmasters, setting their carnival ablaze.    “Attila has grown up with this album, but we’re still ourselves, because it’s not boring dad rock or something,” the band’s colorful frontman observes. “It’s still offensive. It’s still edgy. It’s still in your face. We knew going into making this record that we’d be combining different ideas while still keeping our signature sound. Every song has purpose and it’s something you can feel when you’re listening to the entire album.”    Atlanta is a city that’s given the world the savage metalcore of Norma Jean and The Chariot; the heady thinking-man’s metal of Mastodon; the soaring Active Rock of Sevendust, and the n?-metal/pop-core mash-up of Attila’s pals in the band Issues. Atlanta was rather famously the place where the Sex Pistols performed in America for the first time. Then there’s the massively influential Atlanta hip-hop and R&B scenes. Local production trio Organized Noize alone is responsible for huge hits by hometown heroes like TLC, Ludacris, Goodie Mob and the badass ATLiens themselves, Outkast.    To move forward, Attila wisely looked backward to their roots. The band’s album making process could rightly be called “back to the future,” as they reexamined their original intentions and methodology to fully form their band’s future. Fronz remembers feeling uninspired by the monotone delivery of many extreme music vocalists and opted for more diversity from day one. On Chaos, he ups the ante further, adding a new dimension with tuneful scream/singing in addition to his guttural growls and rapping.    The band spent more time writing and recording Chaos than any other album. Which isn’t to say the record is overproduced. In fact, it’s far from it. Attila teamed up with Erik Ron, who has been in the studio with Panic! At The Disco, Foxy Shazam, and Crown The Empire. But first and most importantly, Chaos was born in the practice room.    “We sat down in a room together and asked, ‘What did we do when we wrote the first few albums that we don’t do anymore?’ We realized the thing we’d stopped doing was getting together and jamming in a basement,” Fronz recalls. “It’s so easy for bands to sit around a computer and create music. It’s too easy to forget to jam the songs in person, on real instruments. Everything about Chaos is real, because we all met up in Georgia, right near the basement where we used to meet up when we were living off Taco Bell.”    Every member of the band was very involved in every phase of the album’s creation, from the earliest songwriting through the duration of the time in the studio. “It began with four dudes jamming out in a basement, rocking out in a basement, writing music that we love for the feel of it. There is a lot of feeling, a lot of realness on this album.”    Fitting, of course, that the sometimes controversial and always incredible champions of Warped Tour chose to name their boldest effort yet after the number one thing Attila will always conjure: Chaos. After all, these are the guys who costarred on the hilariously tongue-in-cheek named Supervillains Tour, alongside Ronnie Radke’s Falling In Reverse and Metro Station, featuring pop culture firebrand Trace Cyrus. Nothing Attila does is by accident and by far, Chaos is their most confident and self-assured album yet.    Make no mistake, Attila is still absolutely nuts and completely in-your-face. Chaos will introduce that craziness to a much bigger portion of the unsuspecting masses.   “Part of me wants to scream from a mountain top about how great this album is,” admits Fronz. “But I know that this record is going to get out there to people and they’ll know it for themselves. It’s as heavy as Attila has always been, but it’s even more digestible. We’re not trying to hold back. We’re not trying to limit ourselves. We want to be the biggest band in the world, but without ever sacrificing who we truly are. “

  Band Members Robert Ortiz Craig Mabbitt Kevin "Thrasher" Gruft TJ Bell     Hometown Wherever the tour bus takes us