At a time when myopic tribalism is infecting every facet of life, and when the unknown has to be embraced with alarming regularity, there's a reason to continue on: what we do share with one another. On Nowhere Generation's "Talking To Ourselves," the band grappled with how feelings of going unheard — and messages not reaching those who need to hear it — impairs collective progress, and the dangerous sense of complacency that can result. "Last Man Standing," the first single from II, picks up that baton with a full-throated reminder of what could happen if those in power continue to ignore the voice of the people. It's a triumphantly rousing track that sees McIlrath deliver each line with impassioned fury, but a slight twinge of worry hides in every profound declaration. It's an arena-sized rock anthem that reads like an addendum to Cormac McCarthy's The Road, all carried on the back of big riffs, thunderous drums, and hook-laden guitar leads from lead guitarist Zach Blair, bassist Joe Principe, and drummer Brandon Barnes.

"I think of Rise Against as dystopian art," says McIlrath. "Like any good dystopian art endeavor, you're singing about the world and what it might be like if we keep going down the road we're going down. It's the inevitable conclusion of what would happen if we keep making the same decisions. That's what dystopian art is designed to do, to make you realize that and inspire you to make some changes. 'Last Man Standing' is looking down that road and trying to paint a picture of what it looks like."

The picture Rise Against paints is one of a generation younger than them struggling to find a path forward in an increasingly inhospitable world. The impulse to dig into these issues was spawned by McIlrath meeting fans all across the globe — from the United States to Australia to Japan to Germany — and each of them were articulating similar apprehensions. "They were communicating the same anxieties and fears about their lives and what tomorrow is going to look like. Those fears and anxieties were all connected no matter what language they were speaking. I just couldn't ignore it after a while," he says.

In contrast to the hard-earned triumph found in "Last Man Standing," a song like "Pain Mgmt" is a dark rumination on the struggle of trying to help those closest to you but not knowing what a positive impact even looks like. "The inspiration for that song came from being at a point in my life, and having a lot of people I know and love go through hard times. Some of them you try to help and there are good outcomes, and some of them you try to help and nothing you do is good enough, and you're sort of at a loss and feel helpless. It's not that you detach and stop caring, it's just that this person is so deep down in this hole, that the best you can do is signal to this person that you are there for them, and you have the will to help them, but you don't know what's the best action to take," says McIlrath.

II closes with "Holding Patterns," a song where the fire in Rise Against's belly comes roaring even further out. Parts of the track recall the breakneck, hardcore-inspired moments that typified the band's early years, but now feature the powerful maturity of a band still firing on all cylinders. The result is both an impactful tune and a prescient reminder when, at the top of each chorus, McIlrath sings, "When we are barely holding on, we hold each other." The refrain encapsulates the journey Rise Against has been on for their entire career, but it also serves as a succinct reminder of what II is grappling with in each and every song, and provides a bit of light in the all-consuming darkness." data-website="https://riseagainst.com" data-facebook="" data-instagram="http://instagram.com/riseagainst" data-twitter="http://twitter.com/riseagainst" data-tiktok="" data-spotify="https://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=&cad=rja&uact=8&ved=2ahUKEwiJ78rx1e6CAxV5kyYFHbTtAzYQgD16BAgaEAY&url=https%3A%2F%2Fopen.spotify.com%2Fartist%2F6Wr3hh341P84m3EI8qdn9O%3Fautoplay%3Dtrue&usg=AOvVaw2JBksGg9oLSJUSmlExi1hC&opi=89978449" >

Saints and sinners, victims and victors. In sound and vision, New Years Day walk the line between darkness and light. The band’s duality comes to fruition on Half Black Heart, an unrepentant and unashamed album championing discovery, from the darkest secrets to one’s inner strength.

Unrestrained fury collides with arena-ready glamor, confrontational DIY passion, and melodic hooks. “Hurts Like Hell,” “Vampyre,” “Bulletproof,” “Fearless,” the title track, and the rest of Half Black Heart join an already impressive catalog of songs, like “Come for Me,” “Skeletons,” “Kill or Be Killed,” and “Shut Up.” Fans have streamed “Angel Eyes” more than 14 million times on Spotify alone.

Victim to Villain (2013), Malevolence (2015), and Unbreakable (2019) deeply resonate with listeners who cherish them as timeless keepsakes, marking different times in their own personal evolution. It’s because Costello, who skillfully conjures horror and comic book aesthetics as allegory, is one of them.

In cinematic music videos, transcendent live performances, and daily interaction (virtual or in-person) with like-minded misfits, this band makes pleasure from pain. Even when it hurts like hell." data-website="https://nydrock.com/" data-facebook="https://www.facebook.com/nydrock/" data-instagram="http://instagram.com/nydrock" data-twitter="https://twitter.com/NYDrock" data-tiktok="" data-spotify="https://open.spotify.com/artist/7IEyUxk8jyEVz9Zm9H8bfg?autoplay=true" >

The pandemic shutdown allowed him the opportunity to assemble the right musicians and carefully craft their debut album. FLAT BLACK are armed with an arsenal of riffs that'll rattle your teeth loose from your gums, stadium-sized hooks, arena-ready anthems, and choruses that are guaranteed to touch a nerve. All of those factors combined make FLAT BLACK poised for success.

The origin stories of the rest of the players are indicative of a lifelong love of music and plenty of road-worn experience. The desire to play courses through their veins and propels them forward, which is why they all meshed so well with Hook.

Singer Wes Horton was introduced to music at age 13, thanks to his sister and Guitar Hero. He honed his vocal chops by playing in local bands and making online videos. Various music industry friends and acquaintances would become the connective tissue between himself and Hook. Horton knew he wanted to be a frontman, and FLAT BLACK afforded him that opportunity. Wes loves the fact that his bandmates prioritize songcraft — and that allows him to be the singer he has always wanted to be.

Bassist Nick Diltz, who was born and raised in Los Angeles, is the son of a legendary rock music photographer who brought him to concerts during his formative years. He recalls being inspired by watching a VHS video of U2 performing at legendary venue Red Rocks. Seeing fans clamoring for a piece of Bono in the footage is a vision that never left his head. This first exposure to the power of a true rock icon solidified Nick’s destiny as a live performer.

Drummer Rob Pierce hails from Nashville, aka Music City. His dad was a race car driver and his grandfather was a pastor. He grew up racing go karts and at first, wanted to follow in his dad's footsteps until he joined the fourth grade band and was bitten by the music bug. He chose the snare drum over the saxophone and from that moment on, music was the only thing that mattered. Rob got his first drum kit at age 11, which he set up in his dad's car shop. He learned to play his instrument next to 1,000 horsepower engines, which influences his highly energetic style to this day.

The chemistry between the players in FLAT BLACK is palpable. And while FLAT BLACK’s songs are built to take up real estate in the brains of fans for weeks at a time, the true nature of the band’s material is meant to be experienced live. FLAT BLACK are now ready to hit the road and bring these brutal bangers to the masses live and in the flesh.

"IT’S YOUR LACK OF RESPECT" is one of the first songs that Hook penned and it has a raging, gnarly fire in its belly. With its percussive thrust and shreddy guitars, the song will ignite mosh pits from the first note. Hook states, "The track is blatantly defiant, and includes a live ending, that was recorded live off the floor’ in the studio. As a lead off track, it makes a statement. The song is defiant, which is what rock 'n' roll is supposed to be.” Hook adds,”it's a 'fuck you' track with a big chorus."

The track "JUSTICE" is another metallic anthem, with fast and furious riffs. "The lyric is directed toward anyone that has screwed you over. It’s a ripper that will be a blast to play live," Hook enthuses.

Elsewhere, "A BIT OF LIGHTNING" was penned right after he parted ways with his previous band. The state of the world at the time, combined with making a major professional shift, took its toll. But it also birthed what could be one of the band's signature songs. Hook admits, "I was feeling pretty low, and the pandemic wasn’t helping. The lyric is basically me asking for something to turn around sooner than later."

And with that, FLAT BLACK have arrived and are ready to turn heads." data-website="https://flatblackmusic.com/" data-facebook="https://found.ee/flatblackTW" data-instagram="https://found.ee/FlatBlackIG" data-twitter="https://found.ee/flatblackTW" data-tiktok="https://found.ee/flatblackTW" data-spotify="https://open.spotify.com/artist/7dZynKGWc8X8jsdH0WLuzo?autoplay=true" >