Slowly Slowly

Rock band from Melbourne, Australia.

Bookings AU/NZ - adam@lonelylandsagency.com

Bookings ROW -mark.ngui@caa.com & lola.castillomurphy@caa.com

The All-American Rejects

Limp Bizkit

@limpbizkit

Simple Plan

Simple Plan, the multi-platinum, Montreal-based band boasts worldwide sales topping 10 million. A testament to their outstanding popularity, the band has been voted Favourite Canadian Band an unprecedented five times by viewers of the MuchMusic Video Awards. Accolades also include a 2005 Teen Choice Award, 2006 JUNO Fan Choice Award, 2012 Allan Waters Humanitarian Award, 2012 Yahoo! Canadian Impact Award, 2012 NRJ award and the 2013 Allan Slaight Humanitarian Spirit Award. Through the Simple Plan Foundation, the JUNO Award-winning band has donated more than $2M to youth-focused charities since December 2005, helping both young people in need and children facing life-threatening illnesses as well as promoting musical education programs in Canada and abroad. Most recently, the band has teamed up with producer Howard Benson (My Chemical Romance, All-American Rejects) on their latest album “Taking One For The Team” that was released on February 19th 2016. The band has performed at some of the music industry's most prestigious events like the 2010 Winter Olympics closing ceremony, the 2004 Live 8 benefit concert, the MTV Music Awards as well as multiple TV appearances on shows like The Tonight Show, Jimmy Kimmel Live!, the 2008 NHL All-Star Game and 2015 NHL Winter Classic game where they sang the Canadian National Anthem and the Macy's Day Thanksgiving Parade, among others. The band continues their philanthropic initiatives to this day and $1 of every ticket sold on their “Taking One For The Team” World Tour and their "No Pads, No Helmets Just Balls" 15th anniversary tour will go towards the Simple Plan Foundation.

The Devil Wears Prada

As Ohio’s premier Christian Metalcore band, The Devil Wears Prada have been a staple act in the metal scene worldwide for years.

Bad Religion

They say rock’n’roll is a young man’s game. Imagine what they say about punk.

Bad Religion never worried much about what “they” say, and neither should you. Go by the energy, go by the intent, go by the WORK – of which this classic, groundbreaking hardcore band could never be accused of avoiding.

Aside from essentially defining the California half-pipe punk blueprint, Bad Religion has defied the usual trend-shifts or values-ditched ubiquities of the usual punk band storyline and morphed along with challenging album after challenging album amid astoundingly consistent touring, retaining their core audience while roping in subsequent generations of anxiously energetic kids.

The band has long settled into the current lineup who have arguably enacted to most muscular Bad Religion to ever kick empties across a stage: Greg Graffin (vocals) and Jay Bentley (bass) join Brian Baker (guitarist since ’94), guitarist Mike Dimkich (8 years in), and drummer Jamie Miller, who’s already been with the band for six years.

Bad Religion is in an almost singular position in the history of punk. Having formed right on the heels of the original explosion, they led the west coast arm of hardcore’s birth, adding their chunky riffs, zooming harmonies, and viciously verbose lyrical punch to the basic bash of hardcore. Then the band continued to expand their pop-punk template through the ‘80s and into the indebted “neo-punk” sound of the early ‘90s and weathered the questionable dichotomies of the “alternative rock” era by doing what they’ve always done – releasing explosive album after album to consistent acclaim from fans and critics.

And if you’re positive there is no way they could keep doing the same thing all these years, you’d be right. They haven’t. They’ve continued to throw songwriting and production wrenches into the works so’s not to bore themselves or their never-diminishing following.

The re-rejuvenation started around 2007’s New Maps of Hell, with its titular nod to their classic debut album (How Could Hell Be Any Worse), matching that youthful fire with a deeper burn born of growing up through all the actual pain you worried might happen when you were a teen.

The Dissent of Man (2010) had the increasingly active professional author Greg Graffin unleash all the verbal venom he could most freely spew with his beloved punk band, while musically, the band delved into some varying tempos. Then, with True North (2013), Graffin got even madder, and the band followed suit. Then they immediately followed up with an album of rabid runs through holiday classics, Christmas Songs (2013), because why the fuck not. When Bad Religion is often described as “intellectual,” that doesn’t mean just their lyrics, it means their musical choices, like whipping up a completely unexpected and heartfelt Xmas record.

Six years passed, and one might’ve worried the band had been beaten down like every other good thing during the Trump years. But no! on 2019’s Age of Unreason, they gathered together 15 tracks of some of the best material of their career, adding a wee more production gleam suited to amping up the songs to get through all the dispirited noise of that time and mixing their perfect balance of dystopian dread and future hope into Age of Unreason.

Not that they had gone anywhere for those six years, except on tour, a lot. The current seven-year-running lineup can flesh out any of the band’s eras, but they seem perfectly suited for the band’s latter-day catalog that’s so vehemently fueled by the third-gear aggression of a punk band who is still out there playing with, gathering energy from, and inspiring the newest punk bands -- keeping these elder statesmen of punk sharp, incensed, and ready to go forward.

The band’s rep, as socially aware thought-provokers, can obscure the fact they’ve remained one of the most viscerally powerful live bands on the planet, remembering it’s the beats and riffs that get your ass off the couch in the first place.

Of course, being stuck to the couch was sometimes inescapable during our last terrible year of COVID fear. So once again, leaning into their smarts, Bad Religion concocted a recent online run of eight, chronologically curated, streaming live show docuseries, recorded at the Roxy in Hollywood as COVID reared its ugly ass. Two seasons of career-highlighting, fan-thanking ballyhoo, featuring reminders of the band’s development in the face of often simplistic skate punk pigeonholing.

When he’s not stomping on some festival stage in front of thousands somewhere, singer Greg Graffin is a professor and author who has released numerous books on history and personal survival. He even garnered the prestigious Rushdie Award for Cultural Humanism from the Harvard Humanist Chaplaincy in 2008.

And now, in 2021, Bad Religion has finally received its own long-awaited autobiography, Do What You Want: The Story of Bad Religion (out soon on paperback), credited to, of course, the whole band. While propped up on the band’s egalitarian legend, its focus is the long and moshing road of a band who probably would’ve laughed if you’d told their 20-something selves they’d be celebrating their 40th anniversary. Laughed, then strapped on their guitars and jumped out on stage again.

If you get to see Bad Religion – as they plan upcoming tours and festival shows by the end of the year – you’ll see that snotty 20-something is still kicking its way out.

Neck Deep

Neck Deep are a pop-punk band from Wrexham, Wales who formed in 2012. The band have one studio album to their name along with three E.P’s and have toured all over the world as both a headliner and a support act.

P.O.D.

Sonny Sandoval (Vocals)

Marcos Curiel (Guitar)

Traa Daniels (Bass)

Wuv Bernardo (Drums)

More than two decades into their career, P.O.D. enjoy the kind of popularity most rock bands would envy. The San Diego quartet continue to be a rock radio staple, with newer songs "Lost in Forever" and "Beautiful" drawing the kind of airplay the band's early hits "Alive," "Youth of the Nation" and "Boom" once did. On the touring front, P.O.D. have performed at the best festivals around the world—to name a few, Download Festival, Hellfest, Rock on the Range, River City Rockfest, Carolina Rebellion, and Aftershock Festival—and have done shows with In This Moment, Prophets of Rage, ShineDown, and Five Finger Death Punch.

However, P.O.D. has built this successful career by never letting themselves be pigeonholed. "If you listen to all of our songs side by side, we don't focus on one style of music," says frontman Sonny Sandoval. "We have reggae songs; we have punk rock songs. We've done jazzy songs. We've mixed in loops and DJs, and we've experimented."

P.O.D.'s tenth studio album, Circles, marks another leap forward. The band members decided to shake up their creative process by collaborating with an L.A.-based production duo called the Heavy, who provided behind-the-scenes musical tweaks, and served as a sounding board for vocal and melodic ideas.

"We started with guitar riffs—more of a core P.O.D sound—and on some of these songs, the Heavy would add ambient stuff to it that just really brightened up the songs," Sandoval said. "Or maybe we changed up a heavy riff and made it more catchy and more hooky. Vocally, there's also a lot of stuff that's going on—even some three-part harmonies, four-part harmonies in certain choruses or verses."

The results are contemporary-sounding without losing any of the band's core sonic signifiers. "Rockin' With The Best" is described by Sandoval as having an "old-school P.O.D. sound, very rap-driven and Beastie Boys-ish" vibe; the reggae-inflected rocker "Always Southern California" has a massive sing-along chorus; and the groove-heavy "Soundboy Killa" is the kind of chugging hip-hop/metal hybrid at which the band excels.

Other songs find P.O.D. pushing themselves into slightly new territory. The midtempo "Dreaming" mixes snaky blues guitar with glacial digital programming, while the Linkin Park-reminiscent "Circles" shows off P.O.D.'s command of dynamics: Moody electronic flourishes, glassy piano and laid-back rapping verses give way to a bridge that explodes with chugging guitars and ferocious drumming.

"This time, we're like, 'Let it sound fresh,'" Sandoval says. "If we have to get these samples, or if we have to bring in an extra keyboard player that can do some loops, we'll figure it out. We decided not to hold back just because we're trying to be so old-school and raw."

Sandoval's long-time collaborators in P.O.D.— lead guitarist Marcos Curiel, bassist Traa Daniels and drummer Wuv Bernardo—were fully on board with this forward progress. "They're some of the most underrated musicians in our genre," Sandoval says of his bandmates. "They're all self-taught musicians. If you listen from demos 26 years ago to now, they just continue to get better and better. They continue to get more creative. My guys are players. They jam, they hear the music, they feel the music. They're musicians first."

This versatility was a big plus on Circles, since P.O.D. didn't have any preconceived notions about what the new music should sound like. But as it turns out, working with the Heavy brought out the best in the band, and gave them a new perspective on their own work. "We've always been so stubborn about writing with people, and we never have," Sandoval says. "This really was us going in a little bit vulnerable. We had an open mindset. But they let us do our thing."

From a lyrical standpoint P.O.D. kept a similar open mind. As per usual, Sandoval didn't scribble ideas in a journal or notebook in advance, with plans to write songs around a set theme. Instead, he let inspiration come to him as the music evolved.

"I'm always writing in the moment," he says. "I don't write down my thoughts and say, 'One day, I'm gonna put this to music.' It's always the music that digs deep and brings out the lyrics and the melody and all that comes with it."

In many cases, Circles turns to optimism for inspiration. The title track addresses trying to get out of an unhealthy cycle in which someone feels stuck, while "Dreaming" envisions seeking out a brighter future even if the present day is tough. Other songs grapple with how to navigate life's biggest challenges. "Home" emerged after Sandoval suddenly lost a close friend who was more like a brother to him. "Fly Away," meanwhile, acknowledges that all of us sometimes struggle, and need to rely on others for help.

"We're looking for answers—and we're going to people to help us get through things—but at the same time, no one's perfect," Sandoval says. "Everybody's going through stuff, and we're all kind of on this same level and the same journey of experience and just trying to figure out our course of life."

Above all, Sandoval always wants P.O.D.'s songs to resonate with listeners on a deeper emotional level, and make people see their lives—or challenges—in a positive light.

"Whatever I happen to be going through at the time, or maybe what the band is going through, or even the public climate at the time, issues come through," he says. "Our ultimate goal is that we can either shed light on these, or we can turn your upside down frown into a smile, or make you laugh, or make you feel good or approach them in a different way."

Being open to new experiences and sounds is just one more way P.O.D. has continued to thrive and reach new fans, even as they keep challenging themselves to become better musicians.

"On Circles, we didn't limit ourselves and say, 'Hey, we need to please the metal crowd, or the hardcore crowd, or the punk crowd,'" Sandoval says. "We just wanted to play and write songs that we hope are relevant and catchy to a new audience—while, at the same time, still being true to ourselves.

"We are touring and making music because it still means something to the people that are coming out to see us, and people that are still listening to our music," he adds. "We're humbled, we're grateful, and we're thankful for people that still enjoy what we're doing."

Spiritbox

Soft Spine. Out Now.

https://spiritbox.lnk.to/SoftSpine

Alexisonfire

Ministry

Born in 1981 in Chicago. In its early days, Ministry was identifiable by its heavy synth-pop material in line with the new sounds and technology that were being developed in the ‘80s. Ministry’s output began with four 12” singles on Wax Trax! Records in 1981 before the first LP With Sympathy in 1983 via Arista Records. As time progressed however, so did Ministry, quickly developing a harsher, and more stylized sound that the band soon became infamous for on seminal Sire/Warner albums Twitch (1986), The Land of Rape and Honey (1988), and The Mind Is A Terrible Thing To Taste (1989). With the release of Psalm 69: The Way to Succeed and The Way to Suck Eggs (1992), Ministry hit an all-time high in the mainstream musical realm and received its first Grammy nomination (the first of six). Eight more albums would follow on various labels including their own 13th Planet imprint. After a break in 2013, the band reformed, toured and signed to Nuclear Blast with three releases. AmeriKKKant (2018), Moral Hygiene (2021), and HOPIUMFORTHEMASSES (2024). Late 2024, Ministry signed with Cleopatra Records and released The Squirrely Years Revisited. Celebrating the early synth pop years with new studio takes.

Polaris

Polaris, hailing from Australia, is a powerhouse in the metalcore scene. Known for their electrifying performances and profound lyrical depth, theyve captivated audiences worldwide, promising an unforgettable live experience with every show.

MXPX

Head to mxpx.com for all things MxPx!

Booking/Licensing: tom@overeasybooking.com

Millencolin

Örebro Skate Rock since 1992

Grinspoon

Grinspoon are an Australian rock band from Lismore, New South Wales, formed in 1995 and fronted by Phil Jamieson on vocals and guitar with Pat Davern on guitar, Joe Hansen on bass guitar and Kristian Hopes on drums. Also in 1995, Grinspoon won the Triple J-sponsored Unearthed competition for Lismore, with their post-grunge song "Sickfest". The name "Grinspoon" was taken from Dr. Lester Grinspoon, an associate professor emeritus of psychiatry at Harvard Medical School, who supported marijuana for medical use. The Grinspoon sound changed to more mainstream rock at the release of the 2002 album, New Detention, gaining fans and peaking at No. 2 on the ARIA Albums Charts; similarly 2007's Alibis & Other Lies also reached No. 2. The 2004 album, Thrills, Kills & Sunday Pills, which peaked at No. 4, won the 2005 'Best Rock Album Award' at the ARIA Music Awards.

All Them Witches

ALL THEM WITCHES

SPRING TOUR ON SALE NOW

https://allthemwitches.lnk.to/tour

Bilmuri

BILMURI STRIVES TO OBTAIN THE MOST OPTIMAL LEVELS OF ETHEREAL RIFFAGE.

The Home Team

Sophomore LP "Slow Bloom" out 10/22/21. Real Rockers Only.

IG: @thehometeam
TW: @thehometeamnw
Merch: thehometeammerch.com

Speed

Since their inception in 2019, hardcore five-piece SPEED has evolved from a DIY Australian band to a global powerhouse. Their 2024 debut album ONLY ONE MODE catapulted the group into the spotlight; but in the midst of SPEED’s unprecedented success, tragedies struck. SPEED’s latest project, ALL MY ANGELS, is a three-track EP that reflects on the passing of three close friends in recent years. Those events brought intense heartbreak to their community, but over time, they’ve magnified what SPEED have always held as their central ethos: To love unconditionally, without fear or regret. In the years prior to ALL MY ANGELS, the band wrestled with their collective grief and life on the road. On ALL MY ANGELS, that same collective grief has brought the five friends closer together; emboldening them to live life with greater clarity. Lyrics on the EP address the sobering realities of loss, more vulnerable and raw than ever before. Musically, ALL MY ANGELS further explores what SPEED can contribute to modern hardcore; hitting deeper pockets of groove, experimenting with synths and samples, and delivering cathartic hooks that make it their most soul-baring effort. More than ever, SPEED is a band that’s being guided by their lived experiences, from eye-opening triumphs to the most harrowing losses. In any case, they’ll continue to move forward with love and conviction.

Kami Kehoe

The Black Queen

For Los Angeles’ The Black Queen, the depths of isolation and loss have always functioned as a gateway to being born anew. Much has transpired since the band released their cold, cutting debut album Fever Daydream (a record that Revolver described as “a haunting exploration of the darker side of pop music”). But throughout it all, the trio of Greg Puciato (former frontman of the now-defunct The Dillinger Escape Plan), Joshua Eustis (of Telefon Tel Aviv, Puscifer, and Nine Inch Nails), and Steven Alexander Ryan (technician for Nine Inch Nails, Kesha, and A Perfect Circle) have emerged as triumphant and intense as ever, documenting their journey via the synth-streaked industrial anthems of their sophomore release, Infinite Games.

Formed in 2011 after a chance meeting between Puciato and Eustis backstage at a Dillinger show in which they both realized they were huge fans of each other’s work, The Black Queen became a labor of love for its members to explore sounds and emotions that they couldn’t quite fit into their full-time projects. Injecting a pained, twilit edge into slick new-wave tracks as fit for the dance floor as they are for some imagined dystopian skyline, the trio have managed to channel their scattered, eclectic influences into a surprisingly cohesive vision. “We’ve got a pretty weird cross section,” Puciato says of the band’s musical chemistry. “We can go out for food and listen to Power Trip on the way there, then Baltimore club music on the way back, and then talk about how killer Maxwell’s Embrya album was, and then get sidetracked and talk about the Celeste video game soundtrack, then all have to be quiet so that we can grab a voice recording of some weird sounding radio interference. It’s all over the place and unusually far reaching, and there’s a lot of passion for discovery.”

After releasing their 2016 debut album Fever Daydream to critical acclaim however, the trio underwent several major upheavals that cast the project in a completely new light. Puciato’s main project The Dillinger Escape Plan disbanded. Chris Cornell of Soundgarden killed himself while Puciato was on tour with him. Eustis put out music under his beloved Telefon Tel Aviv moniker for the first time since his former bandmate Charles Cooper died in 2009. The trio’s storage space was robbed. Puciato suffered a relapse into crippling anxiety and paranoia. Once again, in the face of tragedy, The Black Queen had to rebuild everything from the ground up.

The first step was acquiring a new studio space, which immensely helped the band get back into the rhythm of freely collaborating with one another, and experimenting with sounds for as long (and as loud) as they wanted. The resulting album, Infinite Games, marks a massive leap forward for The Black Queen. Not only are the band’s icy R&B instincts more sharply pronounced; they’ve also rendered their morbid electronics in more lush detail than ever before, filling out the corners of their songs with chilling ambient passages that create a wide-screen backdrop for Puciato’s eerie, tortured vocals. “I think this album is actually hookier, but more insidious in that it reveals itself over time,” Puciato says about Infinite Games. His choice of words says something about the album’s creeping, pitch-black approach to pop music.

With this release, the group have also announced a new undertaking in the form of their new label, Federal Prisoner. Resisting the more marketing-centric approach that feels standard at this point for the record label game, the goal of Federal Prisoner is to provide an outlet for projects that emerge naturally from The Black Queen’s own creative endeavors and collaborations with other artists. In a way, Federal Prisoner solidifies TBQ’s commitment to creating music on their own terms, following the same organic sense of inspiration that led them to forming in the first place. As Puciato puts it, “It’s just an expression of passion and individualism in a way that opens more doors for us to create and to own what we create with minimal compromise. It’s as much an act of refusal as it is a statement of intent.”

Infinite Games, the second album from experimental Los Angeles alternative, electronic trio The Black Queen, comes out on September 28th.

Sam Goldner - Tiny Mix Tapes

LØLØ

ivri

^_^☆🦕 - Beginning her musical journey at the age of 15, ivri started off by posting snippets of her works on Instagram. After being discovered and sampled by numerous producers around the world she was uncovered and would quickly achieve millions of streams. Soon after she began her solo project known as ‘ivri", existing as a faceless artist until late 2020 when she uploaded her first ever official releases. Although her works are set ‘in one place only’, the feelings they evoke are universal. Her angelic, soft voice allows listeners to feel a sense of comfort and warmth in each one of her songs. Central to ivri's music is the wide array of concepts heard such as spirituality, the universe, mental health and more.