ClubAntix

We live in uncertain times. Technology has undoubtedly enhanced our existence, but it has also made us vulnerable to government interference, sensory overload and identity theft. Generally this isn’t the type of subject matter breached by hardcore bands, but then again Buffalo, New York’s EVERY TIME I DIE have never been a typical hardcore act. In fact for over a decade the band have been forging their own musical and ideological path via their immediately distinctive brand of aggressive music—and that process is culminating with the band’s fifth full-length 'New Junk Aesthetic', an album that sees the band not just shifting the hardcore paradigm but completely reinventing it via brutal riffs, impassioned lyrics and kinetic energy.

EVERY TIME I DIE’s unorthodox approach to music has also allowed them to crossover to various scenes and make dedicated converts all over the world. “I’m really grateful for the fact that we can go on Ozzfest one year and Warped Tour the next,” says Buckley. On these tours EVERY TIME I DIE have bonded with countless acts from across the sonic spectrum which is evidenced by the fact that Bronx’s Matt Caughthran lends his vocals to “The Sweet Life” while Dillinger Escape Plan’s screamer Greg Puciato is featured on “The Marvelous Slut.” “Obviously as a musician you have an obligation to the people that like you and you don’t want to let them down,” Buckley explains, “but as someone who listens to many types of music, being able to work with people in so many different avenues is a blessing—and I’m not going to bypass that because I’m worried about what other people think.”

Ultimately that type of attitude is exactly what has helped EVERY TIME I DIE thrive for over a decade and forge their own path in an increasingly homogenized musical landscape. “I think that we’re always one step ahead of the curve and we know that this isn’t going to last forever so this is the only chance we have to make this count,” Buckley responds when asked how the band have managed to outlast so many of their peers. In the end, ETID acknowledge that everyone will have their own interpretation of 'New Junk Aesthetic', they just want people to give it a chance and make up their minds for themselves. “Maybe this album is the best thing in the world and maybe it’s garbage, but at least you’re hearing it,” Buckley summarizes. “It’s all personal interpretation.”

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