Things Helpful In Deciding On How To Choose A Great Plumber

Spotting a good plumber in Beerwah can be harder than you have thought of if you do not keep a track of the latest plumbing services coming up in your area. Normally the trend in this field is that plumbers do not return your calls, and generally do not turn up. And, this has already tainted the reputation of the plumbers as a whole worldwide. But this cannot refrain the good people from working on principles. To prove this, a group of skilled plumbers have made their policies strong on customer call backs and turning up on calls on time. This has actually changed the face of plumbing in the areas of Beerwah, Glasshouse, and Sunshine Coast.

Timing is important and the plumber who keeps up to the time is a serious one

In Australia, where skilled professionals and plumbers are not available on call all the time due to high demand and traffic, the value of timely service is known to all. If you are facing an emergency, you would want to get some professional attending you quickly on call, and this is what most people desires. You must see in such cases that the agency or services you called for emergency plumbing requirements attends by what time, and that is how to choose a great plumber. If they return you call about any delays on the road, or come at your place on time or close to the time, then you can be sure that they will also be serious about the work.

Being professional and clear and to hide nothing

Another important thing your plumber must do well is, they must stay totally transparent to you about the happenings, the damage that was done, the cost of repairing or renovation, etc., and keeps nothing hidden from you.

Often you face situations, where the plumber will speculate a situation and give you a quote which has no explanations for you. You don’t even understand why you are told to spend the amount. But a plumber who will not keep things to himself, and will tell you clearly what has happened, the reason for a leak or damage, etc., and how to get this repaired or renovated, etc., will be clear to you from the very beginning, thus preventing any cloud of later confusions. Once again this is how to choose a great plumber, and you must look for these traits in your plumber.

Must have a clear understanding of upcoming expenses to make it clear to you

A plumber who is professionally trained and experienced will always be able to give you clear resolutions to any problem and very close quotes about the work charges and related costing. This shows his experience of working in the area. The plumbers working in the Sunshine Coast area must know the process of fittings and plumbing accessories there, and should be able to give you a clear picture of the upcoming expenses. This again makes a plumber trustworthy and skilled to be called later for other work and projects.

Lukas Nelson & Promise of the Real

Lukas Nelson & Promise of the Real
Event on 2016-05-27 20:00:00
with Cornmeal
Lukas Nelson has no more footsteps to follow other than his own.On the new Lukas Nelson & Promise of the Real album, Something Real, he and his band take us further down the path Nelson been blazing since 2008, when he and drummer Anthony LoGerfo met at a Neil Young concert and began laying the groundwork for Promise of the Real. Now theyve reached a point where the past and present have fused into one extraordinary personality.As with all creative artists, Nelsons course has been somewhat unpredictable. Though born to country music royalty, he has followed a different muse. Or, more accurately, he has introduced a bunch of muses to each other and locked them into an imaginary room to spend some wild time together.Something Real is what came out of that room once the party had ended one vision, rich in its influences, unique and irresistible. Which is to say, Lukas Nelson & Promise of the Real.One reason for that is that Nelsons music transcends time. Something Real explodes with a 21st-century urgency. It hits grooves hard on the up-tempo tracks and digs into dark emotional depths in its moodier moments. Its also haunted by spirits of the past. If the music of Hendrix, Waylon, Duane Allman and other archangels haunt your dreams now and then, youll find plenty to love in Something Real.Music is like color, says Nelson, whose intellectual ramblings are as freewheeling as his music. When I listen to the musicians who affected me when I was growing you, I take from the primary colors to find my foundation. Then I apply secondary colors and the music becomes more and more complex.And yet much of Something Real is stripped down and direct. With the addition of Lukass brother (honorary member, special guest) and guitarist Micah Nelson, to the lineup of bassist Corey McCormick, percussionist Tato Melgar, and drummer LoGerfo, POTRs sound has acquired more muscle and musical substance, its rhythm more groove. Even so, the group still emanates a primal energy on the riff-driven Surprise, the galloping blues shuffle of Something Real and other tracks.But theres an emotional complexity in simplicity, Nelson counters. Simplicity is never as simple as it seems. Sometimes, if you can hide the complexity inside the simplicity, you get a result that covers a lot of the spiritual spectrum.Maybe Nelson didnt quite articulate his approach that way when he began writing at age 11. Still, that notion has been guiding him since that day he finished his first song, You Were It. That was the birth of my songwriting, right there, he remembers. I said, Oh, OK. I seem to be good at this. I wonder if I can open myself up to this channel.Willie Nelson, his dad, apparently agreed. After all, he included You Were It on his album It Will Always Be.I always recognized what a good song was, Nelson continues. Ive had a lot of inspiration in that regard, being the son of one of the greatest songwriters ever. Another piece of the puzzle was this book that my dads manager, Mark Rothbaum, gave me when I was a kid. It was called King of the World and it was about Muhammad Ali, who said that every fighter has to believe that theres one thing in themselves that will help them rise above the rest and become the greatest. When I read that, I felt that songwriting was that for me, in the sense that I understood the way songs and lyrics are constructed.Nelson developed his songwriting diligently, devoting a part of each day to coming up with new ideas. Sometimes Ill walk into a room and a new song just pops into my head, like a thought, he says. That makes total sense to me because, really, songs are frequencies. Your brain is an antenna that picks up thoughts and energies. We receive this input from everywhere. Every place has its own sound imprint. If youre a musician, its your job to write down what you hear when that happens.Equally important, POTR was drawing tighter together, with each member playing a critical role. Over time, Nelson says, Weve reach a point where we could play together without having to speak much. Were in a zone now that requires minimal communication. We really feel each other as a band because weve gone through so much. Weve lived together for upwards of 250 shows a year for the last eight years. Anybody would get close together after something like that.We dont really think about it too hard; it always just kind of works for us, adds drummer LoGerfo. Because Lukas is the writer and were with him through the writing, were in the songs as they come together and we dont really have to rehearse much. I always wanted to get to the level of playing where were at right now.While developing his writing chops and building a band identity with his colleagues, Nelson also woodshedded on guitar, to the point that his command of the instrument began raising eyebrows and generating enthusiastic comments in early reviews of POTR. Certainly theres evidence all over Something Real that he is lets not mince words a virtuoso, in the sense of building a technique and command that allows him to express feelings powerfully and wordlessly.That said, Nelson sees his playing and his writing as separate facets of his process. To revisit his color metaphor, Its like you have this huge hose spraying separate streams of different-colored paint. I consider those colors to be different instruments. And our instruments are like paint brushes to apply that paint.But music is more than frequencies or, if you will, paint. However you describe it, life is the engine that drives Nelsons music. Throughout Something Real, buoyed by the intensity of the band, he pours emotion into his lyrics, recounting events too painful or personal to articulate matter-of-factly. Instead, he sings passionately, sometimes bordering on a scream, apparently to both communicate and to purge. Sadness permeates Dont Want To Fly, where over an earthy blues bed he confesses, I had a dream that I lost your love. / It disappeared like yesterday and then lets a searing guitar solo finish the thought. Later, on Georgia, he takes us into the heart of loneliness, mourning that Ray Charles is singing her name like rain on my window late on an empty night.Are the stories he shares drawn from actual experience? For the first time, Nelson hesitates. Then he answers, laughing slightly. Yeah, without getting in trouble, absolutely. Believe me, its all real.The one cover on Something Real tells its own truth too. Nelson has performed extensively with Neil Young in recent years as Neil Young + Promise Of The Real, which also features Micah Nelson as a full-fledged member. So it felt right for Nelson to welcome Young onto a rendition of Scott McKenzies San Francisco. In its original release back in the late Sixties, this was a starry-eyed, flower-power anthem, inviting kids to hitch to the coast and join the Summer of Love. Here, half a century later, the song takes on deeper hue, weathered by the loss of innocence and burden of wisdom.I love that song, Nelson reflects. Ive been hanging out in San Francisco, and it felt appropriate to belt this out on top of the Victorian mansion where weve been recording. San Francisco has always been home to incredible bursts of creativity and illumination followed by a complete overhaul of existing systems and subsequent revolution. Its kind of like a rotating magnetic pole. If Scott McKenzies version was the morning sunrise, then this one is an evening sunset.With the past so present in Nelsons artistry, its easy to wonder whether he feels a little out of place. You know what? he answers without hesitation. I feel at home in our time; I just have to look harder. There are musicians around today who are taking the work of older generations, building on it and going even deeper. Musicians have always done that.He mentions two contemporaries Jack White and Regina Spektor who inspire him. But all who immerse themselves in Something Real, regardless of where in history they feel most at home, know that this short list has to begin with Lukas Nelson & Promise of the Real, already a musical force for the ages.

at Brooklyn Bowl
61 Wythe Ave
Brooklyn, United States

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Brian Wilson performs Pet Sounds in its Entirety with special guests Al Jardine and Blondie Chaplin

Brian Wilson performs Pet Sounds in its Entirety with special guests Al Jardine and Blondie Chaplin
Event on 2016-06-15 20:00:00
This event is all ages
Brian Wilson performs Pet Sounds in its Entirety with special guests Al Jardine and Blondie Chaplin

“I would have the musicians keep playing over and over again till the sound made sense. I worked overtime on that; I worked hours to get it right. If the sound didn’t make any sense, then I wouldn’t know what to do — I’d be lost! It’s instinct that tells me. I have an instinct for music, or a feeling about it, and I’ll have my feelings guide my hands.”
He is one of popular music's most deeply revered figures, the main creative force behind some of the most cherished recordings in rock history. Indeed, it is no exaggeration to call Brian Wilson one of the most influential composers of the last century. Wilson’s remarkable journey began in a modest Hawthorne, California home that was filled with music. His mom and dad both played piano, and as a young “boy soprano,” Brian’s vocal gift was immediately evident. He had also started singing harmonies…literally “in their room”…with his two younger brothers (Dennis and Carl). As a teen in the 1950s, he became obsessed with the harmonic blend of groups like the Four Freshmen, and then, in the early 1960s, inspired to combine multi-part vocal harmony with the rock rhythms of Chuck Berry, Brian found his place in the musical sun. He was barely out of his teens when he began to create some of the most beloved records ever… nine consecutive “gold” albums that featured such classics as "Surfer Girl," “In My Room,” “I Get Around,” “Don’t Worry Baby,” "Fun, Fun, Fun," “Help Me Rhonda” and "California Girls"…just to name a handful of the more than two dozen Top 40 hits Brian co-wrote, arranged, produced and performed on with his family band, the Beach Boys.
By 1966, though, glorious harmonies, ingenious hooks and four years of virtually uninterrupted creative growth and commercial success was no longer enough to satisfy Wilson, and as his artistic horizons expanded dramatically, he produced three records in that landmark year that forever changed the course of popular music.
The first was Pet Sounds; the emotional autobiography of its 23-year old “auteur,” it is considered by many to be one of the greatest albums ever made. In the process of bringing it to life, its composer, arranger and producer (that is, Mr. Wilson) rewrote all the rules of what a record could be; as one observer noted, its release was “Independence Day” for rock ‘n’ roll. Primarily working with a new collaborator (lyricist and songwriter Tony Asher), the album featured a dozen originals (including two astounding instrumentals); Pet Sounds was a musical canvas as boundless as Brian’s heart. (Ironically, when you hear the lost innocence in the wail of “Caroline No,” you realize that Pet Sounds not only heals our broken heart but Brian’s too.)
On the charts in America, the album reached #10 and featured four hit singles (including two Top 10 hits, a reworking of the folk standard “Sloop John B” [#3] and “Wouldn’t It Be Nice” [#8] as well as two others that cracked the Top 40—“God Only Knows” and “Caroline No”). The former is considered by many, including Sir Paul McCartney, to be one of the most beautiful songs ever recorded; the latter was released as a solo single under the name “Brian Wilson”. (NOTE: It would be twenty years before there would be another Brian Wilson solo single.)
Brian’s second studio masterpiece in 1966 was a track that he first cut during the Pet Sounds session, but it wasn’t included on the album because it was not only unfinished but destined for a different kind of greatness. As spring turned to summer, as Brian repeatedly “tracked” different arrangements and pieces of it, he began to close in on completing what he once called “the biggest production of our lives.”
Over more than a dozen sessions, the Pet Sounds outtake began to take shape as the next Beach Boys single, and when it was unleashed on the world forty years ago in the fall of ’66, it stunned everybody. It was not just the Beach Boys’ first million-selling, worldwide #1 but an absolute milestone in recording history. "Good Vibrations” was a record that the legendary publicist Derek Taylor called a “pocket symphony”; given its kaleidoscopic movements, it was an apt description, as Wilson demonstrated the breadth of his musical vision as well as how the recording studio could be both an artist’s garret and a key instrument in creating his art.
Everybody in the industry was asking “How did he do it?” and “What is he going to do next?” The answer would take shape through a new collaboration, this time with an inspired poet, a young studio musician and burgeoning songwriter, Van Dyke Parks.
And so as “Good Vibrations” headed from final mix to master to pressing plant, Brian and Van Dyke began work on his third major production of ‘66, an album Brian believed would be “a teenage symphony to God.” Smile was to feature such Wilson/Parks songs as “Heroes & Villains,” “Surf’s Up,” “Wonderful,” “Cabin Essence” and the wordless a cappella marvel, “Our Prayer.” Those who heard the “work in progress” were hailing it as the cutting edge of a “new” sound. A suite of songs that combined classical composition, multi-part harmonies, rock rhythms, wondrous wordplay and an avant-garde sensibility, it was somehow going to be both ahead of its time and timeless. Smile quickly became one of the most anticipated works of the rock era.
In the meantime, the 1966 combination of Pet Sounds [which reached #2 on the UK chart] and “Good Vibrations” [#1 both stateside and in England] was so potent that when the Beach Boys arrived in London for a fall tour, they were greeted with a mania worthy of England’s most famous musical export. And from London to Los Angeles, those two records…one a “long-player” that lasted less than 40 minutes, the other a single that at the time of its release was one of the longest #1 hits ever…set the stage for what was seen by Brian as “the next step.”
In late 1966, the music world and such iconic figures as Leonard Bernstein (who featured Brian playing “Surf’s Up” on a 1967 CBS news special about the musical revolution that Brian was leading) believed that Wilson was, for the third time in one year, again rewriting the "rulebook” on what a pop record could be.
Having just succeeded with "Good Vibrations," Smile was to be an entire album written and recorded in that same style…what might be called "modular" music. Brian was nearly done with Smile when a combination of circumstances (record industry pressure, technical challenges, personal issues, internal group dynamics, etc.) forced him to shelve it.
Everybody, especially the Beatles, had been watching and waiting to hear how Brian would follow-up “Good Vibrations.” As their producer Sir George Martin regretfully noted, “We waited in vain.” During the subsequent 37 years, Smile became the most famous unfinished, unreleased album ever.
Yet, throughout the years, even as Wilson battled his personal demons and rode the roller coaster of professional ups and downs, he continued to produce intimate musical gems, continued to make beautiful music. There were entire albums (1968’s jazzy Friends, 1977’s cult favorite Love You) and tracks ("Time To Get Alone", "This Whole World", "Add Some Music To Your Day", "’Til I Die", "Marcella" and "Sail On Sailor") that let us know that his compositional and arranging magic was still intact. Extended pieces such as 1973’s “Mt. Vernon & Fairway” indicated that the quirky brilliance that had been at the hallmark of SMiLE was still in play.
Sadly, for a long while the music took a back seat as Wilson struggled, in the words of the Pet Sounds song “I Just Wasn’t Made For These Times,” to find a place to fit in, to survive. His journey back to music took place in fits and starts.
In 1988, Wilson finally released his first solo album, which featured “Love and Mercy,” the beautiful “message” song that often ends his concerts, vintage compositions (e.g. “Melt Away,” “There’s So Many,” “Baby Let Your Hair Grow Long”) as well as his first extended piece since the SMiLE era, a “modular” suite called “Rio Grande”.
In 1990, the reissue of Wilson’s glorious 1960s Beach Boys productions was highlighted by the debut of Pet Sounds on CD, earning that album the recognition that had often eluded it, bringing a new generation to the music and pushing it to gold and then platinum status. 1993’s “Good Vibrations” 5-CD collection (which included the first official release of outtakes from the SMiLE sessions) was a stunning career overview and 1997’s The Pet Sounds Sessions box set earned Wilson a Grammy nomination, his first since “Good Vibrations.” Those retrospectives fueled a major reassessment of Wilson’s artistic contribution.
In 1995, after Brian married Melinda Ledbetter, he at last had what he called “emotional security,” which gave him the confidence to return full-time to music. Reuniting with his old friend, SMiLE collaborator Van Dyke Parks, Brian sang the lead vocals and multi-part background harmonies for the acclaimed Orange Crate Art. Next, in 1998, came his second solo album, Imagination. Filled with solid Wilson originals and extraordinary layered harmonies, Wilson’s shockingly strong vocals were, for many, the highlight of Imagination.
As the 20th century came to a close, one of its most beloved composers began one of the most improbable artistic reinventions ever—Brian became a concert performer. Conquering his legendary stage-fright, Wilson went on his first solo tour in 1999, taking center stage at a series of concerts which finally gave his fans the opportunity to return the love they’d received from his music.
In the summer of 2000, Wilson began a series of “dreams come true” events when he kicked off his acclaimed Pet Sounds symphonic tour, taking that studio creation to concert halls around the world (from the Hollywood Bowl to London’s Royal Festival Hall to the Sydney Opera House), giving audiences the opportunity to experience Wilson’s production masterpiece as a living, breathing work of art. Those shows received more than a few reviews calling it “the best concert ever”. With good reason. Few had believed that Pet Sounds would ever be performed live, let alone with its creator infusing compositions like “Don’t Talk” and “Caroline No” with the kind of passionate performances that on some nights actually exceeded the record.
Welcomed back to the world of music (through such honors as induction into the “Songwriters Hall of Fame”), Wilson was feted in 2001 at “An All Star Tribute” at Radio City Music Hall. Sir Elton John, Billy Joel, Paul Simon, Carly Simon, David Crosby, Vince Gill, Jimmy Webb and Sir George Martin were some of the greats who assembled to honor Brian on that rainy March night. In addition to a generous sampling of Wilson’s Beach Boys song catalogue, the evening included a start-to-finish performance of the entire Pet Sounds album by the assembled cast.
The following year, Wilson was the only American rocker at the Queen’s Jubilee, sharing the backyard stage at Buckingham Palace with, among so many others, Sir Paul McCartney and Eric Clapton. These events led to a series of appearances at charity concerts (Brian joined Sir Paul for a landmine benefit; Mr. Clapton took to the stage with Brian at a concert that raised money for cancer research) and studio collaborations that were featured on Wilson’s third solo album, 2004’s Gettin’ In Over My Head.
Yet, throughout all of this, Brian never lost sight of the music that had become “the holy grail” of pop—SMiLE. Inspired by the Radio City tribute, where he performed “Heroes & Villains” for the first time in decades, Wilson began to add SMiLE songs to his live sets. Then, in 2003, the day after receiving the UK’s prestigious Ivor Novello Award for Lifetime Achievement, Wilson announced the impossible. Against all odds and in the face of enormous expectation, Wilson and Van Dyke Parks reunited and with the able assistance of key band member Darian Sahanaja, set out do a version of SMiLE.
Adding a new layer of surprise to the SMiLE story, SMiLE, which had been conceived as a revolutionary studio record, would come to life “live on stage.” In February 2004, Brian Wilson’s version of SMiLE was revealed to the world in a week of dramatic “dream-fulfilling” SRO concerts at London’s Royal Festival Hall, where it was greeted with ecstatic response from fans, rock royalty and assembled music media from around the globe.
After an extended tour of the UK and Europe, Brian and his band recorded an all-new studio version of SMiLE, and completed an acclaimed U.S. tour (which included two-night stands at America’s twin peaks of concert stages, Carnegie Hall in New York and Disney Hall in Los Angeles). BRIAN WILSON presents SMiLE was released in September, 2004. Like the concerts, the album exceeded expectations and was received with unbridled joy and thrilling reviews. It topped many “Album of The Year” lists, went “gold” in the UK and earned Wilson his first Grammy Award. A two-disc Brian Wilson Presents SMiLE DVD set, released in 2005, garnered Wilson yet another Grammy nomination.
In the midst of all the Brian Wilson Presents SMiLE success, Wilson was honored by his peers in 2005 at a NARAS’ “MusiCares Person of the Year” tribute featuring Barenaked Ladies, Jeff Beck, Red Hot Chili Peppers, John Legend, Darlene Love, Michael McDonald, Billy Preston and Neil Young. Later that year, Brian and his band were among the headliners at the legendary Glastonbury Festival and also played at “Live Eight,” making Brian one of the very few artists to appear at both that event and “Live Aid.”
In the fall of 2005, What I Really Want For Christmas, Brian’s first solo album of holiday music, was released by Clive Davis’ Arista label. And in the fall of 2006, Wilson took time out from his composing work to celebrate the 40th Anniversary of Pet Sounds with complete performances of the album at a handful of concerts. Then, it was back to the piano, to put the finishing touches on his first all-new full-length work in years. “That Lucky Old’ Sun,” his musical tribute to California, premiered in London last September at a series of sold-out concerts at Royal Festival Hall, the venue that had commissioned the piece as part of the celebration of its grand re-opening.
At the same time London critics and audiences were being thrilled by these new sounds, Wilson was receiving word that he was going to receive America’s highest artistic tribute—The Kennedy Center Honor. In December, 2007, Wilson, his family and friends gathered in Washington, D.C. where he joined fellow honorees including Martin Scorcese and Diana Ross at a gala event at the Kennedy Center.
Wilson, the father of seven, including daughters Carnie and Wendy from a previous marriage and Daria, Delanie, Dylan, Dash and Dakota Rose spends his time juggling activities with his kids while jumping back into the studio. In 2008 Wilson returned to Capitol Records and released the critically acclaimed “That Lucky Old’ Sun” that Rolling Stone Magazine praised as “Brian’s strongest new work in years.” Brian and his band toured the album of what many are proclaiming his latest…and perhaps most joyous…masterpiece.
In 2009 Wilson announced his next project, a groundbreaking collaboration with one of his musical heroes George Gershwin. With the blessing of the Gershwin estate he was able to complete 2 unfinished fragments of music by the late composer. This historical moment in music history will be released in 2010 on Walt Disney Records. The album will also include Wilson’s versions of his all time favorite Gershwin tunes.
If you’ve seen Brian in concert, you’ve already witnessed the magic and the celebration. If you’ve heard his records, you know why he’s been called the Mozart of Rock, the Gershwin of his generation. In a culture where trends change overnight, Wilson has gone the distance. It’s been said that if music is math, then Wilson just might be Einstein. But no comparisons are really necessary; he’s Brian Wilson, an American composer, arranger and producer whose work has proved to be as powerful as faith, as timeless as love and as heartfelt as mercy.

at Merrill Auditorium
20 Myrtle St.
Portland, United States

How an iPhone became the FBI's public enemy number one (FAQ)

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Event on 2016-02-04 18:00:00
with Like Moths to Flames, Phinehas, Vanna
"Those who stand for nothing fall for anything." That provocative phrase was first uttered by one of America's Founding Fathers, Alexander Hamilton. In his inexhaustible effort to espouse the virtues of the brand new United States Constitution, Hamilton was quick to criticize those who refused to stand up for liberty. Civil Rights activist Malcolm X famously paraphrased his quote to similar effect. Emerging in an era where pop culture is dominated by vacuous personalities with little of substance to convey, when "scene" bands often concern themselves more with clever marketing strategies than the urgent issues of our times, FOR TODAY stand decidedly apart. Fight The Silence (Razor & Tie) arrives armed with For Today's message of strength through love. The band's emotionally explicit messages are torn from turbulent life experience, with an eye toward constructive change designed to impact their fans, the world at large and the band members themselves, in ways big and small. The band's fifth album is the broadest demonstration of all that For Today has to offer, balancing the ragged, persistent urgency of their well-honed live show with the creative polish of modern metal songwriting and production. Plenty of bands offer up heavy breakdowns mixed with melodic choruses. But few display the authentic passion, the forceful optimism and the unifying anthem making power of For Today. A furious exhortation to "burn it down!" kicks off the album in the appropriately titled "Molotov," which doubles down on For Today's modern and invigorating blend of the New Wave Of American Heavy Metal that dominated Ozzfest, the precision blast of sing/scream pioneers and the bottom heavy bounce of early nu-metal, album oriented Active Rock and mosh-pit destroying deathcore. Undeniable anthems like "A Call to Arms" and "Break the Cycle" are certain to take their place alongside For Today's most well-known crowd-pleasers, infused with a touch of atmosphere and melody to balance out the heavy crunch. The contemplative, ultra moody landscape of "Reflections" and the string-filled "Resonate" (which clocks in at just over 90 seconds) will give pause to fans of anything from Deftones to Radiohead, offering room to breathe between the impassioned screams, cementing Fight the Silence as both powerful and complete.Lead guitarist and melodic vocalist Ryan Leitru, his bass playing brother Brandon, drummer David Puckett, new guitarist Sam Penner and vocalist/frontman Mattie Montgomery have crafted For Today's most diverse offering, building on the strengths of fan favorite albums like Breaker and their first album for Razor & Tie, Immortal, infused with the skills honed on Vans Warped Tour, as headliners of Scream The Prayer and on countless tour with contemporaries like We Came As Romans, Asking Alexandria, Devil Wears Prada and Throwdown. The band's potent blend of pummeling, powerful and evocative heavy music and outspokenly devoted lyrical force has earned them a dedicated following around the world. That passionate audience's fervent support was evidenced by Immortal's #1 debut on Billboard's Hard Rock chart (and #15 debut on the overall charts). The press has followed suit, with accolades coming from Outburn (who've featured For Today on their cover), Revolver, Alternative Press and more.For Today has never been more prepared to make a record, fine-tuning the material for Fight The Silence for several months, including preproduction work with longtime collaborator and friend, producer Will Putney (Like Moths To Flames, Impending Doom, The Acacia Strain). "We wrote entire songs that didn't even make the album, which we've never done before," Montgomery explains. "We scrapped parts that weren't up to par, as well. So this album definitely represents the cream of the crop of everything we've written." The Prevailer EP and accompanying DVD was a gift to longtime fans, detailing their rise from the scrappy hardcore band who set the hard rock world ablaze with the one-two punch of Ekklesia and Portraits, setting the stage for the breakthrough success of Breaker. That album nearly cracked the Billboard Top 50, buoyed by a collection of songs that more clearly defined the band's metal leanings. Immortal and 2013's Prevailer saw For Today at their heaviest. This new album was tailor made to appeal to longtime fans while inviting new adherents alike. "Fight The Silence is very inviting. It will be very accessible for a lot of different types of people," promises Montgomery. "People who haven't heard of the band before or who may not have liked the band in the past: I would strongly encourage them to check out this record. I'm very confident that it is better than anything we have ever done."The songs on Fight The Silence are catchier and full of more hooks than any For Today tracks before now. Montgomery has always written from a perspective of generational shift, encouraging the youth of today to empower themselves and rise up for change. That sentiment has expanded, in part by the singer delving deeper within. "Fatherless" reaches into Montgomery's own childhood; dealing with the death of his father from cancer when the singer was just eight years old. "A Call to Arms" addresses income inequality and the plight of extreme poverty both in the United States and abroad. "One of the things I was sort of meditating on while writing the record is the fact that the vast majority of violence in the world, if we're honest, is a result to poverty," Montgomery explains. "If we were to address poverty then rich people wouldn't have to live in gated communities with 24 hour security, like they do now, because people wouldn't be starving down the street from their multi-million dollar mansion." The album's title track (and first unleashed online) aggressively confronts the scourge of human trafficking, the modern day slavery that persists in the modern world. For Today is putting their money where their mouths are, as well. Sizeable portions of the proceeds from Fight The Silence will go to the A21 Campaign and their global effort to rescue and rehabilitate those who have been victimized by human trafficking and to expose and prosecute those responsible. Montgomery had all of the lyrics written for the song before he arrived at the studio. "Then the morning before Will got in, I watched a video someone sent me called 'Girls Going Wild in the Red Light District.' They were like, 'Ignore the title. Just watch the video.' In the video there are six girls standing in the window of a brothel in Amsterdam. This song starts playing and these prostitutes all start doing this synchronized dance to this music. All of the guys on the street stop what they're doing and come over and watch these hookers dancing in the window. Then at the end of it, these girls get done and the windows go black and this screen at the top of the building comes on and says, 'Every year thousands of girls are promised a dance career in Western Europe. Sadly they many of them end up here.'" The singer sat in the studio and wept for a good twenty minutes. "I was sobbing, snot coming out of my nose, tears coming down my face. How can we help? Where do we even start? I literally went through the lyrics to this song called 'Hope,' which is ironic. I went through the lyrics that I had written and selected everything and I hit delete. You know what? This is the one that we thought was going to be the single, so I'm re-doing the entire lyrics to this song. I want the world to hear about this thing. So I re-wrote them in 45 minutes that morning. Then we recorded it. That's 'Fight The Silence.'" From the preorder campaign through For Today's considerable touring schedule, the band will work to raise awareness about this issue in particular, mostly in support of A21. "They have safe houses to rehabilitate, they're working on the political end to help get legislation passed, they're doing everything that I would love to do and just can't because I don't have the expertise. We're using what we have to help give them money and resources to make it work."For Today want nothing more than to give listeners the freedom to join them as part of a human community. Fight The Silence is an invitation to anyone and everyone to check out the songs, learn about the issues, come out to the show, engage in discussions with the band. "What I would like to see is for us as humans to be able to put down our differences," insists Montgomery. "Even if we don't agree, we can come together and help each other in this thing called life."The time for building up ideological walls and taking potshots at one another from behind them is over. The time to passivelyignore the world around us has long passed. For Today invites everyone to Fight The Silence with them, in whatever way they can muster. Participation, community, fellowship, relationship: For Today.

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