I somehow managed to never hear 
Also new from Bridge Nine is the reissue of "Friends Family Forever", from Boston's own Death Before Dishonor, this time adding the three cuts from their split 7" with Black Friday '29 as well as a six-track live set from CBGB's recorded in July of 2006. In other words, it's just a bigger and better edition of what was already a raging EP in the first place. It sounds like they might've tweaked the sound just a tad for this reissue as well, though I'm not entirely sure. I definitely still feel like the songs would've been even more crushing with a slightly more rounded out guitar tone, but the bass sounds great, the mix is pretty damn full, and the songwriting is memorable and energetic enough to where it doesn't really matter. We're talkin' loads of brutally relentless breakdowns; occasional forays into over the top metal riffs that possess a hint of a 90's European sort of edge; plenty of speedy power chords (you know, the staple of any metallic hardcore record); and fuckin' bitter, pissed off lyrics delivered with a snarling shout as well as some pretty badass vocal patterns that have an uncommon rhythmic bounce happening here and there. The split 7" tracks may have been recorded about a year-and-a-half after the original EP, but the sound is shockingly consistent between the two sessions, so this fucker really does play out like a proper full-length now (looking at the live tracks as a bonus add-on, of course). Good stuff. I can't wait to hear some more new shit from these cats, man...
Death Before Dishonor "Walk Away"
Death Before Dishonor "Curl Up and Die"
Downloading is bullshit, so show some support and pick one up if you're down:
Bridge Nine
RevHQ
Very Distribution
And yet another new one from 
Comments
You should check out the split that Palehorse did with Colin of Arabia. The two tracks PH did for that split are awesome. They re-recorded Bleed the Sheep for the full-length but I like it better on the split.
1.12.2007 | By Tyrone
Your production comments thru out your site are very weird. They not only demonstrate your lack of knowledge,(whats the differance between a good mix and good mastering ?) but point to perhaps a little tone deafness as well. Try just commenting on the music and you wont look so foolish.
1.12.2007 | By another producer
Uhhh… talking about the production IS “commenting on the music”, and different people have different opinions/hear things differently, so I don’t see what the big deal is. And you can’t possibly be insinuating that there’s no difference between mixing and mastering, could you?
1.12.2007 | By Andrew Aversionline
Talking about the production is NOT commenting on the music. If the band is great there demo will absolutely sound better than a shitty band with a big recording budget. I’ve seen a lot of bad recordings getting great reviews just because the band is so tight that that in itself gives it the power. And i was insinuating that you didn’t know the difference between mixing and mastering. Refering to your review of Bane’s The Note, believe it or not the recording is excellent. The problem is its just mastered real quiet. The advantage to that is greater dynamic range. The problem is that on some stereos that have a “loudness button” simply turning up the volume makes the mix seem flatter when its not. But on a good stereo turning up the volume and having that dynamic range is a beautiful thing. Yet you ( along with a bunch of other unknowing reviewers) panned the recording.
1.12.2007 | By another producer
producer, you’re pretty off point in the first part. bad recording takes away whatever power a band might otherwise possess, regardless of how tight they are. it’s not a live show, where “power” also comes from the stage performance, etc. when you’re listening to a CD, sound plays a much more important role. the band might be tight as hell, but if they sound like shit, then that shit stains all the rest and the end result is - shit. but i guess it doesn’t really matter, since most people don’t care about the recording and can’t tell the difference anyway.
1.13.2007 | By chris
Maybe what you mean is a REAL bad recording takes away the power a band has. And in the age of smaller budgets there sure is a lot of that floating around. However I’ve read some stellar reviews on this site on some pretty weak recordings claiming there “raw ’ or whatever when they sound like just basic demos. Thats the band. Palehorses recording I thought sounded great. My only small complaint is maybe a little more treble on the top, but after adding it on my stereo ( and by just the smallest amount ) it sounded pretty close to major label. Thats Mastering. To say the recording sounds weird based on that shows lack of knowledge.
1.13.2007 | By another producer
I have never in my life owned a stereo that has a “loudness button”.
I am not and have never claimed to be an audio engineer, but I do understand the difference between mixing and mastering, I assure you.
On the Palehorse disc, all I said was, ”...I still sort of feel like the guitars need more ‘oomph’ so to speak (though cranking up the bass might do the trick), but overall it sounds pretty damn good as the ears adjust - and the vocals are so fuckin’ sick that when combined with the churning fury of the riffs this shit really hits the spot.” That is not at all a negative comment, and is only my opinion. Just like the Bane disc I am not the only one who feels that way, though of course some disagree. That Bane disc suffered more from mediocre songwriting than anything, as opposed to “Give Blood” which was an outstanding record.
Are you an engineer? If so, that’s awesome. But I don’t understand where any of this is coming from. There’s no way in hell anyone that’s not an engineer should be expected to know specifically whether or not recording/mastering techniques are responsible for whatever issues they might be hearing with any given album, and I wouldn’t be surprised if engineers themselves were unable to determine such to 100% accuracy just by listening to a finished CD.
There have been many times in my life where I’ve heard great songs held back by truly shitty “recordings”, and I’ve also heard great songs overcome mediocre “recordings”, but at the end of the day it’s all how my ears hear it, and opinions vary. So what?
1.13.2007 | By Andrew Aversionline
andrew, it just sounds like this guy is bored. i wouldnt even try anymore come backs with someone so stubborn. it turns into like a cat fight. anyways, i really like this band. i never heard of ‘em until now. i hear the ringworm influnce though. but , this is why i come here, to get schooled on bands i have no idea about. keep on doing, bro…..
1.13.2007 | By L.Ron
hear, hear. producer dude, there are polite ways of speaking your mind. when you open fire from the get go like that and descent to insults, you just come off sounding childish and frustrated, and your point gets lost.
peace out.
1.14.2007 | By Anonymous
yeah i agree. Like some scientist trying to say somebody that his car is shitty because of… but you still like to drive that car no matter what.
Music is art. Differenet tastes, different styles, different opinios. If I would say that Mona Lisa is shit because its too dark I have my right so say that.
So why somebody who is reviewing music must take care about sound? What about layouts, can that be judged by somebody who dont “know” the art.
oh come on!
1.15.2007 | By Anonymous
The Palehorse disc is mint. I saw them a few years ago and they were a damned sledgehammer live. I can’t wait to see where they go next.
1.15.2007 | By Eddie