Hatebreed: Live For This

Before metalcore, the world of underground hardcore was a largely a one sided affair. Not to its detriment, given how widespread the influence of the American underground has been, but the one sided nature and vehement defence of it made the swelling ranks of the hardcore scene become an increasingly popular niche interest. From the initial burst of punk rock dynamite from BAD BRAINS through to the militant straight edge sects of MINOR THREAT and YOUTH OF TODAY, the defence of the sanctity of the sound that so many held dear was becoming a sticking point for most to really fall in love with the sound.

At the end of the 80s and towards the middle of the 90s there was a noticeable shift in the landscape of the underground scene. With bands like MERAUDER proving that metal and hardcore could indeed be a happy marriage, it wasn’t until HATEBREED arrived on the scene that it was proven to be a truly winning formula for fans and bands alike. From the raw, unadulterated grind of Under The Knife to the more finely tuned debut of Satisfaction Is The Death Of Desire, HATEBREED erupted onto the scene with force, and following up their initial releases with Perseverance and The Rise of Brutality cemented them as youngsters to not only pay attention too, but to fear as well, given how their live shows quickly became synonymous with violence and intensity.

While the machine has become refined and expanded exponentially, even now HATEBREED consistently return to the winning formula for how they’ve written every release up until now. “It’s really been Jamey and Chris who have been writing the music since day one. I leave it to that trusted formula that’s been working for 26 years,” explains Frank Novinec, the ‘newest’ member of the band, having joined in 2006 after a hefty career playing with the likes of RINGWORM, TERROR, and INTEGRITY. Jamey Jasta and Chris Beattie are the remaining founding members of the band and their special touch can be heard on the consistent sound HATEBREED have championed throughout their career.

Given Frank’s history as a riffmaster and sage of the scene, It’s great to hear him discuss the latest release from the Connecticut bruisers, titled Weight Of The False Self. “I think that it is very on par with the last two records we put out, even in the cover art,” Frank adds. “There is a similar theme going on there with regards to the sound, the record art, I think maybe people will look back on our entire catalogue people will say this was a certain era of HATEBREED. We really loved the last record, so we wanted to continue on with that.” Frank isn’t alone in the appreciation for The Concrete Confessional, given it was largely lauded as a real return to form for HATEBREED as a band, following on from the more arena friendly musings of The Divinity of Purpose with the grace and impact of a sledgehammer. But it was done with such class that it was difficult to refute the fact HATEBREED remains one of the toughest bands in the history of toughness.

Given how far the band has come since their inception, it is wild to even imagine HATEBREED as anything other than the globe spanning entity they currently are. From the basements to the Grammy’s before CODE ORANGE penned the phrase, HATEBREED remain one of the biggest and heaviest hardcore acts to find real global success, following in the same footsteps as SICK OF IT ALL and AGNOSTIC FRONT before them. Given the sheer size of their operations now, it is slightly sobering when you consider even bands of this scale get hit by speed bumps every now and then. And when that speed bump is a global pandemic, you can be damn sure that speed bump is being felt even harder by the smaller fish. With Weight Of The False Self supposed to be dropping back in the summer, HATEBREED decided to delay the record until the winter to recoup some semblance of control back into their careers. “Yeah, May it was originally supposed to come out. It’s kinda bittersweet, cause we need a new record out, it’s been four years, but this is the first time we aren’t out on tour supporting it,” explained Frank before adding. “if people can’t go to shows having new music is essential for them, but also in keeping the band fresh in people’s minds.”

“It wasn’t going to happen the way we needed it to happen, so we had to delay the release. To be honest with you, I’m kind of happy we did, because now whenever we do start touring again, the record will be six months newer than if we hadn’t. I think that’s important, that the record will be fresher than if we didn’t.” Despite his inability to really see beyond this global issue, the mentality behind the delaying of the record makes sense for a band that could, if needs be, seek out three years of touring from a single record. Given the dedication to the cause HATEBREED have shown over the years, don’t be surprised to see Weight Of The False Self on tour for the foreseeable and for it to be carved into the annals of HATEBREED history as the tour that kept on giving.

HATEBREED definitely missed out on a number of amazing shows that would’ve given ample opportunity to really highlight the developing, sometimes nearly melodic sound they have in the form of their latest release. From an arena tour with PARKWAY DRIVE as main support to a band they played an integral role in inspiring to a Bloodstock Festival second stage headline slot that would’ve seen them close the weekend in brutish style, it is very odd not seeing HATEBREED on every festival lineup and tour poster from January through to December. But it does offer the chance for the band to kick right back into gear the moment the all clear is given, and what a time that will be.

Frank is ready to return to the road as soon as he can, and he can probably speak for all the band with that notion. Given their history, it’s interesting to hear Frank talk about his love for festival shows given the fact that “most people aren’t there to see HATEBREED, so we need to work harder to win them over” but even now Frank is willing to sweat it out in basement show to 300 dedicated die hards seven days a week if he has too. There is a real dedication to the cause that burns just as bright now, eight albums into their career, as it did when they released their first EP. Few bands can really claim to lead the scene from the front, and few can also tour as hard and as consistently as HATEBREED can. And in a way it makes their familiar sound and reliable live shows even more essential to the continuation of the scene after this global fiasco. With bands the scale of HATEBREED touring the way HATEBREED do we shouldn’t worry too much about the return of live music, and instead focus on getting pit ready for the moment Frank and co hit the stage.

Weight Of The False Self is out now via Nuclear Blast Records. 

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