I would make few exceptions for not covering a Chicago band as my first show review. It just so happens that one of these exceptions rolled into town last weekend for a show at the Empty Bottle. Antelope is from Washington D.C. and is currently at the tail end of a 5 week tour spanning the US and Eastern Canada. They just released their debut full length in March on Dischord Records, entitled 'Reflector'.

Most of the songs played that night were off the new record, and they also performed some of my favorites from previous EP's released over the years. When describing Antelope to friends, I tend to throw around the term 'anti-song'. Most revolve around simple drumbeats, catchy basslines, and meandering guitar parts that repeat themselves from the beginning to end, sometimes incorporating minor variations. The bass and drum interplay of Bee Elvy and Mike Andre (who split time on both instruments) are tightly focused, catchy riffs which allow Justin Moyer room to play guitar parts that weave in and out of the rhythm section.

As judged by the response from those in attendance, Antelope had everyone's undivided attention. The set took on a meditative-like atmosphere, and the songs flowed seamlessly from one to the next. In the week since the show, I still catch myself humming bass/drum parts to myself and wondering where they came from, and quickly determine the source to be Antelope song.

Here is Antelope performing the title track off of their new record:

They say practice makes perfect. One of these days, I'll learn how to take some good photos and NOT cover up the camera microphone with my fingers when I'm trying to record a song (see video below... doh).

While I may not have been on top of my game last evening, Celebration most definitely was. The trio from Baltimore ripped through quite an energetic set that was enough to get most of the crowd moving. For a Tuesday night at the Empty Bottle, getting people to dance is no small feat, a definite credit to the band. I was most impressed with drummer David Bergander. It's always fun to watch a drummer who is a heavy hitter yet restrained just enough to not lose their precision. In fact, I think I paid so much attention to the drummer and feisty frontwoman Katrina Ford that I completey neglected the guitarist/keyboard player Sean Antanaitis. Had I been paying attention, I would have noticed his "guitorgan", or "an electric guitar hand-modified so that it can produce sound through an analogue organ tone generator as well as through its conventional pickups." Although something tells me that when you spend 95% of your time on stage with your back to the crowd (which I'm not sure was as much of a calculated move as one devised that night for the Empty Bottle stage), people tend to forget your presence.

For all that I've heard about this band (and bands previous to Celebration), I certainly think they lived up to their billing as an intense live act. Maybe next time around, I'll remember to bring my A-game as well.

Simply stated, Tornavalanche bring it. As the name implies, it is full-on fury, noise, and aggression. What makes the music so thrilling to witness live is the sharpness in which the songs are delivered. It is not blazing fast hardcore where rhythm and melody tend to get lost in the shuffle, but an exacting presence that was very much on point last Friday night at the Beat Kitchen. Late last summer I was fortunate to hear a promotional copy of their current EP No Money, No Problems while on tour with my own band, and rarely did we drive from city to city without listening to it. Most of the songs from the EP were played on Friday, much to the enjoyment of those in attendance. For those who don't know, Tornavalanche utilize two drummers... a feat that only few bands try, and even less succeed at doing it well. They know when to mirror each others parts (which must be tough given the nuances of drummers), and when to complement one another. I found the most enjoyable parts of the set to be when they locked up and bashed the hell out of their kits in unison, especially in the song 'Only the Nerds Got Pissed.'

Headlining the show was Haymarket Riot. I first saw them back in 1999 (i think?) when they played a show in the town where I attended college. In those 8+ years since that show, Haymarket Riot has come to represent everything I love about punk music in Chicago. Friday's show only added to their reputation, as they played yet another high octane show. Unfortuantely, I have missed their last few Chicago shows, and with their live appearances occurring less and less these days, I was excited to hear a few new songs. The still played a few from Mog and Bloodshot Eyes, two records that are still in regular rotation for me. Before I realized it, they had performed their last song, turned their amps off, and walked offstage. I was going to start heckling them towards the end of their set to play 'Castor Oil', a personal favorite, but I did a pretty piss poor job of estimating 'end of their set'. Oh well... maybe next time. So... Kevin, Fred, Chris, and/or Brian, for your next Chicago show... play Castor Oil!

By now you have probably noticed the sweet photos accompanying this entry, and thankfully not subject to mine (although i did take a few of my own, up on Flickr as usual). These photos are courtesy of Andrew Ballantyne, and hopefully you will see more of his work here from time to time. Thanks again to Andrew for sending me the photos.

With all of the really weak, cookie-cutter 'metal' (or whatever you want to call it) floating around these days, its a breath of fresh air to see a band like Big Business make a room come alive. It's gritty, angry, raw music, and if they come to your town, I would highly recommend checking them out in a club setting before you are paying 50 bucks a ticket to see them at some arena. Don't make me say I told ya so!

First of all, if you are going to name your band Big Business, you better know how to bring it. Last night at the Empty Bottle, I had my first chance to see them live, and in this writer's humble opinion, they lived up to my expectations... and then some. While the sound in the room wasn't up to snuff (it did get mildly better as the set went on), I'm not going to fault the band for that. Bass player Jared Warren, drummer Coady Willis, and a dude referred to as Toshi (I've searched for references to who this guy was and I can't find anything... sorry) crashed through almost every song on their latest release Here Come The Waterworks. Warren's bass lines were a sludgy, brutally intense mixture of melodic chords and driving rhythms that resonated at a menacing level. Willis was an absolute animal behind the kit, providing some truly anthemic beats at the drop of a hat. The guitarist/noisemaker was pretty much inaudible for most of the set except for the quieter moments, but since I expected only two dudes on stage, anything extra was an added bonus. It is no surprise that Willis and and Warren are now the rhythm section for Montesano, Washington's favorite sons, Melvins.

Check out the video I took of 'Grounds for Divorce' on their newest record.

If there was only one item of wisdom I could pass to someone going to see Melt Banana for the first time, it would be the following:

Wear earplugs. Seriously.

Of course, about midway into local openers Locks set, I came to the realization I was without my trusty earplugs and was about to be subject to a serious aural ravaging by the upcoming headlining act. One would think that after years of attending shows, bringing some ear protection would be quite the routine act. Add this to the laundry list of items of why sometimes... I'm just not the sharpest knife in the drawer. As I sit here and write this almost 12 hours after the show, that high pitched ringing in my ears is a constant reminder that will hopefully serve as a good lesson learned for next time.

Anyways, back to Melt Banana. I've never considered myself a huge fan of the band, but I have had the pleasure of seeing them on multiple occasions now, and each time my respect and admiration for their craft increases tenfold. This band has remained together since before I started high school (that would be 14+ years ago), a tremendous achievement by any band regardless of stature. They have also managed to do this while living on that little island country we know as Japan... a place not necessarily known, in general, for its bastion of art-noise-punk bands. However, their regular tour stops in the US and the UK have earned them quite the rabid following worldwide, and seeing one live performance really punctuates how they've been able to do it.

So Melt Banana proceeded to rip through an hour long set at the Abbey Pub last night, and the crowded house was subjected to a sonic assault of old favorites, as well as some new tracks from their May '07 release, Bambi's Dilemma. In true Melt Banana fashion, about midway through their set, they broke into a series of 10-20 second songs consisting of calculated, tight bursts of musical energy accompanied by the frenzied, barking vocals of Yasuko O. Even if you aren't a fan of the band, one has to appreciate the surgical precision of the riffs they can pull off live. This is where Melt Banana simply outperform other bands in the same genre. While most bands that attempt to create as much of a ruckus as they can, it can often come off as sloppy and unintelligible. To my ears, Melt Banana's noisy side is merely a byproduct of the intricate, solid songs they create. Even when the band is in full freak-out mode, it is still relatively easy to pick out what each band member is doing, and parts are not just getting lost in the mix.

With the decibel level in the room approaching absurd levels, coupled with the fact that I was sans earplugs, perhaps listening for this aforementioned attention to detail caused my ears permanent damage, but the chance to see an incredibly solid band work a room to a fevered pitch is worth seeing every time.

Here is a video of a song I captured about half-way through their set. I'm about 98% sure the song is 'Hair-Cat (Cause the Wolf Is a Cat!)', which appears on Adult Swim's Perfect Hair Forever.

Today's column comes from Double Time Feel's first guest writer, long time friend, ex-bandmate, ex-roommate, and all around solid dude Jon Heupel. Jon had the opportunity to catch The Police playing one of two sold out shows at Wrigley Field, home of the Chicago Cubs. Before we get into Jon's review, I just want to make sure you check back often this week, as I'll have some more reviews up as well as a pre-Pitchfork Fest analysis of bands you should make sure to catch if you are attending.

Now, here's Jon:

With all the aging rocker reunion tours such as the Rolling Stones and the often rumored Led Zeppelin it wasn't too much of a surprise when The Police announced they were going to do another tour together. The Police were THE major label band of the early 1980's and their ability to produce hit after hit made for a very hyped ticket this
time around. With giant video screens flanking the stage and 40,000 people looking on The Police managed to put on a show that impressed even those who went in with lofty expectations of a Police stadium tour.

(Photo taken by Nicole Radja courtesy of Flickr)

The 2 Chicago shows were played at Wrigley Field on beautiful spring nights and I was lucky enough to attend the second show last night. There had been some talk in the Chicago Tribune review of the first night that Sting was no longer being able to hit the high notes that he has been known for. This turned out not to be the case at all. The only noticeable change was he did bring the chorus of "Roxanne" down an octave. However, it should be noted that in between songs Sting mentioned that it was a "good" voice night so maybe it's variable.

It was obvious Sting has been playing and touring since the breakup of the Police. Copeland and Andy Summers were a little more noticeably rusty. Summers had a few less than impressive solos that he broke into for a few minutes in two different songs. Copeland was a little sloppy at times but nothing that was worth mentioning specifically. For "Wrapped Around Your Finger" Copeland left his drum kit for a collection of other percussion and a xylophone that added a lot to the song.

The band was set up in front of the scoreboard in center field allowing for a large part of the crowd to be on the field which made for a novelty beyond just being able to see the Police. The crowd was noticeably an older demographic than one would be used to seeing at large stadium shows. It was mostly subdued even when Sting tried to get the crowd to sing along with some of his more sing along backing vocals and even breaking away from of the songs entirely for extended call and response with the crowd without a whole lot of participation. During "Roxanne" Sting would sing "Roxanne-o" and would attempt to get the crowd to sing it back to him. Had he only known how much it sounded like "Ron Santo" (Chicago Cubs beloved radio announcer) much less who Ron Santo is he would have been able to get the biggest cheer out of the Wrigley crowd of the night.

It was hard not to notice that almost every song of the 2+ hour set was a huge hit that everyone in the stadium knew the words to. With perhaps one of the best "hook" writing bands, you knew they were going to have to play the hits. What wasn't known was if they would be able to live up to the praise that had only grown since their break-up in 1986. Even with huge expectations, The Police were able to deliver a show that made it impossible to walk out not humming something they had just finished playing. They ended the show by saying "See you again soon" so this may not have been the last time to see them live in Chicago. Should they come back, I have to recommend going out to see them especially if they play somewhere as unique as Wrigley Field. If nothing else there was nothing stopping anyone from sitting out on Sheffield or Waveland avenues and listening for free, and how could you beat that.

(Photo credit: Calbee Booth for Snapcult)

If the history of music in Chicago represented the average human lifespan, New Black would have been around just long enough for the time takes to throw up a set of rock horns, and perhaps a split second longer to connect it with a rock lock. For those of you who have no idea what the hell I mean, don't worry, keep reading.

New Black released their first, self-titled record in March of 2004 on Chicago's Thick Records. They played a catchy, sassy brand of punk rock intertwined with no-wave, and quickly managed to create quite a buzz both locally and nationally while touring at a good clip to support the record. 18 months later, they released their sophomore effort, Time Attack. Another tour followed in the winter of '05, but was abruptly cut short, and the band was not heard from again. There was never a formal announcement as to the fate of the band, but drummer Nick Kraska moved on to play with Bang! Bang!, guitarist/vocalist Patti Gran continued to play with The Dials, and bassist Liam Kimball moved to New York City. In a nutshell, this is the story of New Black.

In late May, New Black's name appeared on The Beat Kitchen's show list, and word spread quickly that they were back... but for how long? The only words from the band came from their official website where Kraska stated "I'm sleepy now from our hibernation but we're coming out to play a rock show 07/06/07 and you should totally be there cuz it's gonna be an absolute blast." Other myspace blogs from the band refer to 'hibernation' and 'sleeping' as well, but rather than trying to decipher their true meaning, I just bought myself a ticket and showed up at the Beat Kitchen.

I had seen New Black many times before, and I wondered if they could muster up their high-octane shows that I had grown accustomed to. 18+ months is a long time to go without playing, and based on information gathered prior to the show, they had only 2 practices to prepare. I must admit...in my book, the cards seemed pretty well stacked against them. Could they deliver?

Before the first song had even ended, all of my questions had been answered. I was completely floored because it really seemed like they had spent no time apart at all. Most importantly, they all looked to be genuinely into what they were doing, and even joked with the crowd about being away for so long. They proceeded to play through almost every song on their 2 records, and the grateful audience got them back on stage for a few encore songs. I walked away from the show feeling that New Black was even better than what I remembered them to be. Even as I left Beat Kitchen that night, the same thought kept popping into my head... "2 practices??? 2?!?!?!?!"

It seems that future plans for the band are still up in the air. Rather than lament about whether or not they have broken up or not, I'd be stoked if, every year or so, New Black awoke from their hibernation and played a raucous set for their fans in Chicago.

Here is a video of "Put It To Bed", which appears as the opening track on their self titled record.

Unfortunately, I completely missed the boat on The Jesus Lizard. Just as my interest in most underground music had begun to branch out, this phenomenal Chicago band was just calling it a career. Everything I have learned about the band to date comes from first-hand accounts of their live shows, relentlessly listening to albums, and scouring the internet for any information I can find on them. I do have faint recollections of seeing a few of their records in the BMG/Columbia House catalogs that I used to order from, however I was too busy buying Anthrax, Cannibal Corpse, and Exodus records to take much notice. I am in no way belittling my metal upbringing, but I clearly missed out on something special.

Luckily for me, a DVD was released earlier this year that Netflix finally had available, and I was able to get a small taste of what so many others had reveled in for years. After sitting through the entire live show, filmed in 1994 at the Venus de Milo in Boston, and watching the bonus footage of a 1990 show at CBGBs in New York, I believe why Touch and Go Records says that "To put it bluntly (or perhaps merely state the obvious), The Jesus Lizard were the greatest live band of the last decade of the 20th century. Mr. David Yow will forever be the frontman to end all other frontmen. The Chicago live music scene may never be the same again and for that, we are eternally grateful."

The Boston show isn't filmed extraordinarily well, but it's not deficient, either. Rather than the bells and whistles of many other music DVDs, the footage captures the band amidst a show that was probably on par with a typical Jesus Lizard show. To clarify par for the course, I would automatically be putting the band in a rather select group of bands who, when playing live shows, not only deliver in terms of stage presence, but also stunning attention to the songs themselves. Frontman David Yow constantly engages the audience, jumping into the crowd by the 2nd song and losing his shirt before the end of the 4th song. He paces back and forth on the stage, pausing every so often to stare into the crowd, and unleashes some truly guttural vocals into the microphone, making me sit back in amazement and wonder how such sounds can emanate from such a relatively small dude. It may be hard to understand what he's singing 95% of the time, but its 100% clear that he is doing all he can to give the audience their money's worth. Even from this one show, it is clear to see why David Yow belongs in the discussion of the greatest frontmen in rock history.

With all of the attention sometimes going Yow's way, it is imperative to know that he could have just as easily been another crazy singer in a mediocre band. The Jesus Lizard would not have been the band they were if not for David Wm. Sims, Duane Denison, and Mac McNeilly. This trio of musicians managed to hold the songs together while Yow flailed away, and this DVD is yet another great example of that. While Yow is being passed around the crowd after yet another stage dive, the band carries on, unaffected and clicking on all cylinders. McNeilly is an atomic bomb behind the drum kit, hitting every piece as if it was going to be his last, and Sims is always right in the pocket, playing thumping bass lines as he stares out into the crowd, well aware of the frenzy the band is whipping the crowd into. Denison creates guitar parts that one would not normally expect from a rock band, but the results are an integral part of what defines The Jesus Lizard sound.

To summarize, a Jesus Lizard show is kind of like trying to explain the effects of a particular drug to someone who has never experienced it... you can't fully comprehend it until you've tried it yourself. Perhaps a DVD is second rate version of the experience, but it is all I have to go on. I have a really difficult time getting into music-related DVDs because I really don't think one can truly get a feel for the moment. The Jesus Lizard DVD is the first I have seen in quite some time that, because of the simplicity of the shots and the clarity of the sound, really make you feel as if you could have been there that night in October 1994. If you were ever into The Jesus Lizard, or if you are looking to see what the epitome of a great live performance looks like, I highly recommend buying it or finding another means of checking it out.

Here is a preview of the DVD on youtube of the song Boilermaker:

Chicago, like most of the Midwest, endured a few harrowing hours of storms last Thursday. I am completely going to use that as an excuse for my lack of updates, but I did manage to see some great bands this week in between power outages, dodging downed trees, and huge puddles. Today I'll get caught up with the Jai Alai Savant, and hopefully tomorrow I'll have some time to write about another amazing show I went to last night.

First off, the free Monday night series at the Empty Bottle is a great way to see local talent without going broke. Even if you don't know any of the bands performing, chances are you'll see something you like before the night is over. There are not always just Chicago bands performing, as was the case last Monday night when Professor Murder (NYC) headlined the show. Another important selling point: the drinks are always cheap!

The Jai Alai Savant are Chicago transplants by way of Philadelphia, and I'm glad they chose Chicago as their new home. They opened the show with "Thunderstatement", a song from an EP with the same name, and really had the crowd into it from the beginning of their set. They usually begin their sets with this song, and is always punctuated by beginning with no stage lighting, and when the drums and bass kick in, a brilliant white light is triggered on, and remains for the rest of the set. The band also gets my vote for best dressed band in Chicago, and you really feel the effect of the all white outfit getup when those lights kick on.

Guitarist/frontman Ralph Darden is quite the charismatic leader on stage, often encouraging the crowd to get involved and dance along. Given the style of music they play, however, it really doesn't take much encouragement to want to showcase your best dance moves anyways. The dub/reggae influence is strikingly apparent in just about every song, but its infused with an infectious brand of punk rock that keeps the set moving along at a good clip. The rhythm section of Dan Nash and Michael Bravine are about as tight as they come in the city of Chicago, and with each live show they continue to strengthen their craft. Both are relatively new to the band, but you would never know it from catching their live set. Most of the songs played on Monday night came from their new full length, entitled Flight of the Bass Delegate, and they also managed to slip a few new songs into their setlist.

Here is a video for "White on White Crime" by the Jai Alai Savant, which appears on their new record.

Watchers is another Chicago band that goes to great lengths to distinguish themselves from the rest of the pack. Opening for New York City's Golem didn't come off as strange of a pairing as I thought it would, because Watchers throw a bit of everything into the mix. I don't mean that as a dis' on either group, I guess I'm trying to say that after seeing both bands, it actually ended up being a great blending of bands that complimented each other well in their own quirky ways.

Although they clearly lean towards the raucousness of an early 80's punk band, Watchers deviate enough to let you know its not all "yeah-yeah, oi-oi, rah-rah" punk rawk. The influence of dub, jazz, and reggae gives Watchers a bit more room to work with, and I believe it kept the audience on their toes for most of their set. I've seen the Watchers numerous times in the past year or so (they've been around for much longer, but inexplicably dropped off my radar between 2003-2006), and each performance is full of energy, most of it dictated by vocalist Michael Guarrine and his killer dance moves. This show provided an added bonus, as special guest Dan Nash (of the previously mentioned Jai-Alai Savant) filled in on bass (the band is searching for a permanent replacement), and he was absolutely locked in with the drumming tandem of Damien Thompson and Jess Birch, and complimented the guitar work of Ethan D'Ercole.

Heres a video i took of "Slicker Pays" from their Schubas set, off their latest album Vampire Driver

If last Thursday night was any indication of things to come, I think we can put the sophomore slump theory to bed when talking about one of Chicago's up and coming bands, Sleepout. A week before heading to Chicago's own Electrical Audio, the band previewed many of the tracks that will eventually become their next record, entitled Not Even Dust. The band is fresh off their debut album, I Was Your Shroud, released in late 2006. In terms of music, one year is generally considered a short period of time to be recording a follow-up, but having left with the good impressions after last Thursday's show, I'm eagerly awaiting a finished copy.

Sleepout consists of members from two other Chicago bands, Mt St Helens and Driftless Pony Club. It began as a collaboration of friends from various bands (including Chinup Chinup, The Ghost, and May or May Not), and has evolved into a project that has drawn sonic comparisons to bands like Teenage Fanclub, Spiritualized, and The Jesus and Mary Chain.

Here is a track I recorded at the Empty Bottle, "Three Towns", which will appear on their upcoming record, scheduled for release sometime in late February of 2008.

I think the last arena-rock show I attended was pre-2000, featuring Pantera, Anthrax, and Sebastian Bach (yea, that dude from Skid Row). With outrageous ticket prices, even more outrageous merch costs, and the general douchebaggery that is often associated with a 10,000 seat arena, I think I made an unconscious decision a long time ago to avoid big rock shows at all costs (hey, you stick 10,000 people anywhere, you're bound to have a few personality conflicts so don't just take that as a dig on the general rock concert-going crowd). I guess I'm trying to say I'd take my chances with a small club any day of the week. Unfortunately for me, that means that I've probably missed out on some awesome high profile acts that I still believe to kick a lot of ass.

Imagine my surprise when I learned Anthrax was playing at The Double Door (capacity 500...give or take a few). To sweeten the deal (or sour it, depending on your take), this was to be their first show in almost 2 years, and also featuring a new lead singer. Given my aforementioned predisposition, I totally jumped at the chance to check them out once again. After all, Anthrax played a major role in my love for heavy metal in the late 80's, and I'm sure there are millions of others who feel the same way. Previous to last night, I'd seen Anthrax on 4 other occassions, so maybe I'm not what you'd call a super fan, but their records definitely find their way into my rotation on a very regular basis. Before I get into this show review, I'll make it known I'm definitely more of a fan of the Joey Belladonna era of Anthrax over John Bush, but it's not something I'd argue about or am extremely passionate about one way or the other (unlike DLR/Sammy Hagar).

So the band opens up (almost 1 hour past the 9pm stated on the tickets, but no biggie... they are Anthrax after all...they can take the stage whenever they damn well please) with a brand new song... strike one. Yea, this is a new lineup and they have been writing new songs for a new record... but come on... you gotta open with a barnburner that people know, especially since you made 'em wait around for so long. However, almost immediately I was struck by the band's new singer, Dan Nelson. Now most new singers are held to the fire when it comes to comparisons between themselves and their counterparts, but honestly I didn't think Nelson sounded much like either Belladonna or Bush. He had his own style that most reminded me of a younger Phil Anselmo more than any Anthrax frontman. Any way you put it, Nelson can flat out belt it out. His range was great and managed to make some of the later era Anthrax songs sound way better than I remember them to be ("Safe Home", for example).

Musically, I thought the band was completely on point. There were a few technical glitches here and there, but nothing that was a major detractor to the set. Its pretty obvious that the show was more or less a warm-up for their dates with Iron Maiden, but the energy on stage was intense throughout the night. I've always admired guitarist Scott Ian, and to have the opportunity to see him play in a setting that most people would never get to see Anthrax in was incredible. His banter with the crowd seemed very down to earth and genuine, and given that he is probably the most recognizable face in the band, it's a breath of fresh air to see that some "rock stars" don't act like complete dickheads. Bassist Frank Bello was also fun to watch, as he'd pace back and forth on stage, frequently beckoning and gesturing to the crowd to get into it. I got to see him play with Helmet at the Empty Bottle a few years back, and it seems to me like he's very much at ease with playing in a club setting. Charlie Benante continues to be an insane force on the drums, and his technical prowess after all these years was really something to behold. Rob Caggiano was back on lead guitar, and he seemed the most restrained of the bunch, but had his moments in the spotlight where he delivered some blistering guitar solos.

Anthrax powered through about 14 or 15 songs (I can't remember the exact set list), and featured 3 songs from their upcoming record record. The new jams didn't strike me as particularly amazing, but that is pretty typical with most bands I see anyways. Its difficult to fully appreciate a new song when you hear it live for the first time, at least I believe it to be. To their credit, the new stuff was pretty heavy sounding, which seemed like a direction the band was steering away from on some their more recent studio efforts. They didn't reach too far back into the discography, which was kind of a head scratcher for me, but they did play some of my favorites ("Indians", "Antisocial", "Got The Time", "I Am The Law"). What actually impressed me the most was hearing some of their later-era material and thinking that the songs sounded way better this time around, a definite credit to the band and their new singer.

I'm not going to make any predictions on how the new lineup is going to fare, but I definitely hope the best for them. I think Anthrax has never fully received the credit they are due, and many of the big name metal bands of today owe a huge debt of gratitude to bands like Anthrax, and are nowhere near as good if you ask me. They have forged on in spite of the various opinions, trends, and bullshit within the music industry (I can't believe i just used that term, guuuuh), and more power to them for doing so.