Ex-Man Podcast Ep. 101 – Jason Costa (All That Remains, ex-Diecast)

Doc welcomes All That Remains drummer, Jason Costa, to the show to talk about their collective belief in aliens, his early days coming up in the Boston hardcore scene as a metalhead, how he developed his playing style, his time with Diecast, how struggling to make it and living in poverty convinced him to quit the band, getting away from playing drums altogether, how he was convinced to play with All That Remains, what it has been like to finally get some success as a musician, and how All That Remains has persevered in lieu of lead guitarist Oli Hebert’s death.

This episode features the songs “You Push Me Away” by Dead Defined, “Plumbus” by Doppelganger, and “The Consumerist” by Bad Wolves.

Follow Jason on Instagram @Jasonatr

Follow Doc on Instagram and Twitter @DocCoyle

Support our show sponsors Dead Defined at www.facebook.com/DeadDefinedOfficial and Doppelganger at doppelgangerqc.bandcamp.com

Buy the Rockabilia.com Exclusive Ex-Man T-shirt here – www.rockabilia.com/doc-coyle-the-e…irt-402964.html

Listen to more great podcasts like this at JabberJawMedia.com

Ex-Man Podcast Ep. 99 – Phil Labonte (All That Remains, ex-Shadows Fall)

Doc welcomes All That Remains vocalist, Phil Labonte, on the show for the third time to discuss his entry into the metal scene as a guitarist and then a vocalist for death metal band Perpetual Doom, his time with Shadows Fall and why he Ieft the band, what drove him to start and persevere with All That Remains, changing Iineups and improving the sound of the band with the help of Killswitch Engage’s Adam D, his development as a singer, finally achieving success after years of struggling, the challenges of crossing over into the radio market, and Doc picks Phil’s brain on Trump impeachment and the 2020 Election.

This episode features the songs “Serotonin” by Kalt Weiss and “Victim of the New Disease” by All That Remains.

Follow Phil on Instagram and Twitter @PhilThatRemains

Follow Doc on Instagram and Twitter @DocCoyle

Support our show sponsor Kalt Weiss at kaltweiss.com/

Buy the Rockabilia.com Exclusive Ex-Man T-shirt here – www.rockabilia.com/doc-coyle-the-e…irt-402964.html

Listen to more great podcasts like this at JabberJawMedia.com

The Ex Man Episode Ep. 44 – Gun Debate with Phil Labonte (All That Remains)

Doc has a debate with All That Remains frontman and 2nd Amendment advocate, Phil Labonte, about the recent uproar focused around gun rights following the school shooting in Parkland, Florida.

This episode features the song “Hold On” by All That Remains.

Follow Phil on Instagram and Twitter @philthatremains

Follow Doc on Instagram and Twitter @DocCoyle

Photo by Nick Ball of Salohcin Photography

Support our show sponsor and buy official band merch at Rockabilia.com. Use the code PCEXMAN for 15% off.

Listen to more great podcasts like this at JabberJawMedia.com

This Is The End

Headbangers ball

“This is the end!” This is the emphatic, anthemic line in the God Forbid opening track from the album IV: Constitution of Treason, which was released during the peak of our powers in 2005. In fact, it wasn’t the end. The end came much later. At the time, it felt like we were invincible, destined for heavy metal immortality. And we were in the lower tier of the NWOAHM (or Metalcore or whatever you want to call it) in all metrics for determining the success or popularity of bands. If you look at album, ticket, and merchandise sales, Myspace friends, Youtube views, Facebook “likes”, or the ever mystical buzz on the street, God Forbid was probably never half as big as any of the rest of the Big 4 of Quitters (I should trade mark this) including Bleeding Through, Shadows Fall, and now Chimaira. Knowing that, even we felt invincible. That’s how intoxicating achieving any discernible success with your art can be. Shadows Fall and Chimaira hanging it up in the last couple weeks have brought an outpouring of sadness, shock and disappointment from fans. It seems like the end of an era, and maybe it is.

Hearing that these great bands are moving on makes me sad and disappointed, but not shocked. The truth is that amongst peers a good majority of our conversations have to do with figuring out how to stay relevant by finding new audiences, getting great tours, signing with the right label, writing the next game changing album, and more. Teetering on the edge of existence has been much of our collective realities for half of our careers. As the O.G. quitter, I’m here to explain why this is happening and why you shouldn’t be surprised.

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DOWN WITH THE SICKNESS (Posted Feb. 22nd 2010 on Metalsucks.net)


When it comes to music (and other things really), I tend to play devil’s advocate. If everyone is shitting on a certain band, for some reason, I become more attracted to that band and seek them out. I don’t know what it is about my personality, but I think it stems from the same perspective that inspired me to write the antagonistic blog about rethrash. It may be a character flaw, but I’m sure it has something to do with a need to be an individual. From what I gather, this website is inhabited mainly by “true” metal heads. What I define as “true” are people whom are purists in the realm of metal and usually scoff at any band or trend that reeks of premeditated commercialism or an overt play for popularity, and who usually demand a certain level of musicianship and underground credibility. These fans usually hate every Metallica record after …And Justice For All, and for that matter always prefer any particular band’s older releases, which usually have a more raw and unrefined recording quality, as well as more abstract, less traditional song writing. For example, they will prefer Carcass’s Necrotiscim to Heartwork, or Morbid Angel’s Blessed Are The Sick toDomination. Oh yeah, and these guys gave up on In Flames and Soilwork years ago.

I have a good deal of that purism in my bones, but it always seemed short sighted and close minded. You have no idea how many arguments the Adler brothers from Lamb of God and I have gotten into over the merits of a particluar Metallica or Megadeth record. If you even bring up Disturbed or Limp Bizkit on MetalSucks, it is mocked and disregarded 100% of the time. I think metal heads often have a sheep mentality because of the fear of being viewed by their peers as less credible for liking bands that aren’t considered “true” or “real” enough. We all have guilty pleasures, but the real question is “Why should we feel guilty about something we enjoy?”

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THE SONG REMAINS THE SAME (Posted Dec. 16th 2009 on Metalsucks.net)


Last week, during one of my daily perusals of this very blog, I came across a rather scathing recounting of Killswitch Engage’s self-titled album, which came out earlier this year. This caught me a bit off guard, as I considered it to be one of my favorite albums of the year and a step in the right direction from Daylights Dies, which was at first very disappointing but grew on me after some time. I was even more surprised when I saw that most user comments tended to agree with the blog entry.

Most of the criticism seemed to center around Killswitch’s supposed inability to stray from their winning formula. People seemed to think that their sound had become stagnant, and that there wasn’t enough variety between albums and songs. Now I don’t disagree that KSE has a pretty standard formula for their songs and a definitive sound that really hasn’t changed a whole lot over the years, but I am disagreeing that this is necessarily a bad thing. I want to ask you guys if you think it’s better for a band to stick to a relatively confined style through their career like Hatebreed, Cannibal Corpse, or Motorhead, or is it better to expand and experiment like Mastodon, The Haunted, or Cave In.

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