Union Transfer




Hands Like Houses, Major League, My Iron Lung

Fri, February 20, 2015

Doors: 7:00 pm / Show: 7:30 pm

Union Transfer

Philadelphia, PA

$18.00 - $22.00

Sold Out

This event is all ages

Longevity is a rare feat for any band, especially one rooted in a foundation of punk and hardcore. Aggressive music is often fueled by youthful fire, and sustaining a career without completely abandoning that urgent sound is almost impossible for most bands. But what’s possible for "most bands” has never been a concern for post-hardcore pioneers Silverstein. Throughout the course of their 17-year career, from Ontario basement shows to touring the world and selling over a million records, Silverstein has always managed to be completely comfortable in their own skin while never being afraid to challenge themselves. This perfect balance marks the band’s eighth full-length, Dead Reflection—an album that proves Silverstein still has plenty of fire left.

Silverstein have released an album every odd year since their 2003 debut, When Broken Is Easily Fixed, and that drive is paramount to why the band remains one of post-hardcore’s most relevant and influential acts. This consistency shows an uncommonly clear path of growth from album to album as the band honed the aggressive-to-melodic contrast that became their signature sound. Dead Reflection marks a sharp jump in that evolution: the band pushed themselves harder than ever before, resulting in an album the takes all of Silverstein's strengths—pummeling riffs, explosive dynamic shifts, and huge, anthemic choruses—and ramps up the intensity. Guitarist Paul Marc Rousseau co-produced Dead Reflection with Derek Hoffman, leading to a level of collaboration with which band had never experimented before. After years of creating and touring, the members of Silverstein have each become accomplished musicians in their own right while still summoning the same unbridled ferocity that marked the band’s early days, and it’s this fusion that makes Dead Reflection feel so vital.

Vocalist Shane Told has always been a master of taking his darkest times and channeling them into compelling songwriting, and Dead Reflection ups the ante as the singer documents his most troubled year. The tumultuous end of a long relationship sent Told into a self-destructive spiral that left him isolated and forced to confront who he truly was with everything stripped away. All of the positivity that had previously come so easily suddenly felt put-on, like a costume that never quite fit, and as the people closest to him were all entering new phases of life with new responsibilities, the singer found himself feeling more alone and nihilistic than ever. In the end it was Silverstein, the one constant in Told's life, that brought him back from the brink. With the prospect of writing a new album on the horizon, he thew himself into the process, fully exploring the bleak narrative he was living out. Dead Reflection became a sort of “What-if?" version of Told's life, a cautionary tale urging listeners to find out what really matters and challenge their own masks before it's too late. Writing proved to be as cathartic as it was harrowing, and slowly Told began to feel the weight of the past year lifting; Silverstein had been there for him just when he needed it most.

Dead Reflection is an album that couldn't exist without everything that's come before it, a culmination not just of Silverstein's sonic growth, but also the personal journeys entangled in the band’s career. Longevity was never the objective, but that drive to deliver their absolute best, no matter what the cost, is exactly why the band remains at the top of their game after almost two decades. For Silverstein there is no settling, no stopping, and they give nothing less than everything.
Hands Like Houses
Hands Like Houses
When it comes to the mastery of a sound that’s dense, technical and atmospheric, with an equal and complimentary emphasis on accessible songs crowds around the world demand to sing along with the people standing on the stage, HANDS LIKE HOUSES built their foundation in a creative neighbourhood all of their own.

HANDS LIKE HOUSES conjure a brand new sound through their own collective artistic voice, drawing deeply from a well of spirited and disparate influences, ranging from the giant arena rock of Linkin Park and moody dissonance of Deftones to the progressive dynamics of Thrice and the heart-on-sleeve urgency of Thursday.

Even as a young band, they are already twice veterans of Warped Tour. One listen to alternately giant but intimate HANDS LIKE HOUSES anthems like “I Am,” “Introduced Species,” “A Fire on a Hill,” or “Lion Skin” (featuring Tyler Carter and Jonny Craig) demonstrates with abundant clarity just why bands like Pierce The Veil, Sleeping With Sirens, and Silverstein took these five Australians on the road.

Collaborating for a second time with acclaimed producer James Paul Wisner (Paramore, Underoath, Dashboard Confessional), who produced the band’s Top 40 Billboard 200 album Unimagine (2012), HANDS LIKE HOUSES created Dissonants, a confident, self-assured, immediate, and urgent sounding diverse full-length album. The adventurous accessibility of their breakthrough debut, Ground Dweller, forges together with the from-the-gut emotionalism of Unimagine in perfect harmony.

“It feels like not only a step forward but also a step to the right,” reasons HANDS LIKE HOUSES lead vocalist Trenton Woodley. “We never want to make the same album twice but we also never want to leave anybody behind.”

The electrifying chemistry between Woodley, lead guitarist Matt “Coops” Cooper, guitarist/backing vocalist Alexander Pearson, bassist/backing vocalist Joel Tyrrell, and drummer Matt Parkitny has never sounded more cohesive and explosive. Growing from school mates to international rock band crisscrossing the globe together on tour with bands like A Day To Remember, Sleeping With Sirens, The Amity Affliction, Memphis May Fire, and Enter Shikari, HANDS LIKE HOUSES have fully embraced a brilliant, unique artistic identity, demonstrated all over Dissonants.

“We spend our life on the road, where playing live has shown us not only which songs the crowd is most responsive to, but also which songs we enjoy playing the most,” Woodley explains. “This album captures so much of that intense energy.”

The heavy and vibe-drenched “I Am” makes for the perfect introduction to the latest full-length mission statement from HANDS LIKE HOUSES and perhaps for the band overall. “Colourblind” admonishes listeners to let go of tired uncompromising extremes and instead drink in the full scope of the human experience, much as HANDS LIKE HOUSES aren’t limited by genre perceptions.

“Degrees of Separation” is all four-on-the-floor momentum with upbeat melodies. Incredibly, the fist-pumping enthusiasm of the song is juxtaposed by pensively introspective subject matter, the byproduct of long stretches on the road.

“Bouncing between hemispheres on tour, we got caught in winter for eighteen months,” notes Woodley. “I’m not a person who really likes cold or snow to begin with. It just became such a stark reminder of how much we’d been away over that period. I’d forgotten what the feeling of being warm and at home was like.”

Meanwhile, “Motion Sickness” slams in with a hard-hitting intro that makes way for a synth-driven ethereal edge. There’s a slow-jam type of vibe, with spaced out keys and guitar leads, stitched seamlessly to a hugely anthemic chorus. “Stillwater” aches for the innocence of childhood ambition, a time when, as Woodley puts it, “we were younger and we had no idea of what was possible. So much of what we did was just by doing, without thinking about what was ahead or what was possible.”

Fans of mid-2000s scene luminaries like Circa Survive and Saosin (whose Beau Burchell collaborated on the new album’s “Grey Havens”) will find as much connection and inspiration on Dissonants as followers of HANDS LIKE HOUSES contemporaries in Beartooth or even their Rise Records label mates in PVRIS. Dissonants crosses many creative boundaries and borders, without ever losing sight of its own identity.

“We’re still just regular people. There are no delusions of grandeur in what we’re doing,” offers Woodley. “We just put everything we are into everything we do.”

Bearers of the blazing torches of screamo, melodic metalcore, alt-rock, and multi-generational bombast, HANDS LIKE HOUSES maintain one foot in the scene that birthed them while the other steps with confidence into a timeless position occupied by few of their peers. The songs the five men from Canberra created across three albums mine the depths of melancholy and climb the summits of passion, making HANDS LIKE HOUSES one of Australia’s most celebrated international exports.
Major League
Major League
OFFICIAL WEBSTORE: http://smarturl.it/mlmerch

"HARD FEELINGS" OUT NOW - http://nosleepstore.com/artist/major-league

"The Truth Is...Available on iTunes, Amazon, and Bandcamp
"Variables" Available for download on iTunes and Bandcamp
"Cities and States" Split with Giants at Large can be found at

Website - http://smarturl.it/mlmerch or http://www.majorleague.limitedrun.com/
Twitter - http://www.twitter.com/majorleaguenj
Tumblr - http://www.majorleaguepoppunk.tumblr.com/
Bandcamp - http://www.majorleague.bandcamp.com/
My Iron Lung
We are a band. We play songs and travel.

Venue Information:
Union Transfer
1026 Spring Garden St.
Philadelphia, PA, 19123