People talk about possessing a drive to succeed. But how badly do most of them really want it? Emmure captures the sound and spirit of what it’s like to fight for one’s vision.

There’s no feigned sophistication, no phoned-in sloganeering, and no calculated drama with Emmure. This is barebones, punishing, death metal-flavored metallic hardcore, driven by the catchiest rhythmic bounce of Active Rock radio’s golden age of nü-metal.

Frankie Palmeri has no patience left for gossip, rumors, or half-truths. It really doesn’t matter what gets said about the band the frontman has led through good times and bad, because the music of Emmure presents a swift, decisive answer. Since 2003, the Queens, New York native has watched Emmure grow from an idea into an international institution. Emmure carries the torch for heavy music and the hardcore scene’s most celebrated abrasive edge, with a truth-telling bravado and an outsider’s angry disdain for bullshit. Simply put, the band blasts upon all scene fakery with full-on fury.

Look At Yourself represents a coming of age for Emmure, a new chapter in an aggressive autobiography that stretches back to the band’s very first album, released when Palmeri was barely out of his teens. It’s infused with a brutal self-examination and observation, balancing hate, bile and perseverance, with the tempered experience of a life spent in pursuit of self-reliance and respect, from within and without. It’s expressed in a crushing cacophony of riffs that never fail to super-serve the forward-motion groove of Emmure.

Like the firebrand rabble-rousers from the gritty streets of New York’s hardcore and hip-hop scenes who came before them, Emmure’s confrontational music will captivate and sometimes even elevate listeners without sacrificing authenticity. Emmure are students of the mind-blowing percussive chaos of Slipknot, the hard-won personalized musical struggle at the heart of Korn, and the angry pop-crossover confidence of Limp Bizkit.

The band has become a cornerstone of the heavy music scene, featured as a prominent act on each of the most relevant tours and festivals in North America and Europe, including Vans Warped Tour, Rockstar Mayhem, and Ozzfest meets Knotfest. They’ve traveled the globe with their contemporaries and peers in bands like Five Finger Death Punch, Killswitch Engage, August Burns Red, Parkway Drive, and We Came As Romans.

Each move the band makes, from releasing new music to blasting out an opinion on social media, is covered in detail by the world’s heavy metal, punk and hardcore press.

Furiously grabbing a hold of each and every anthem released on the underground circuit, Emmure’s dedicated fans around the world made video, download, and streaming sensations out of so many of the group’s songs. “Solar Flare Homicide,” “MDMA,” “Nemesis,” “Protoman,” and “Children of Cybertron” are all songs burned into the brains of the Emmure army, a diverse group of diehard followers who relate to Palmeri’s open book honesty, smile at his pop culture references, and band their heads to the painstaking and passionate rhythm-driven riffing present on all Emmure albums.

“You Asked for It,” “Derelict,” “Torch,” and the rest of the tracks on Look At Yourself will be the next to follow suit. These are anthems ready made for the downtrodden, neglected, and the cast aside; the people unfairly counted out ready to roar back.

Emmure initially burst onto the heavy music landscape with a trio of banger albums released in quick succession over as many years: Goodbye to the Gallows (2007), The Respect Issue (2008), and Felony (2009). At a ridiculously impressive break-neck pace, Emmure built a celebrated catalog, rounded out in quick succession by Speaker of the Dead (2011), Slave to the Game (2012), and Eternal Enemies (2014). Look At Yourself offers a bold look toward the future, even as it takes stock of the past and present.

The band’s moniker is a reference to a particularly brutal form of execution known as “immurement,” where a person was imprisoned behind walls with no exit and simply left to die. Yet Emmure has defied all death sentences, whether imposed from without or within. Most recently, when every member of the previous lineup left Palmeri on his own, the singer was quickly back to work with guitarist Joshua Travis, unveiling a brand new incarnation of the celebrated band onstage in Europe in the Spring of 2016.

Palmeri spent the time during Emmure’s lineup transition working odd jobs, re-centering his desires and motivation, eventually spending time crashing with bassist Phil Lockett in St. Louis and living in a rehearsal space in Sacramento, all in service to re-launching the band with an album that doesn’t only do justice to the Emmure name, but builds it into something even more resilient and respectable. The band’s new home at with SharpTone/Nuclear Blast puts the group alongside the most vital acts in the scene.

Armed with the songwriting and performance chops he honed in the bands Glass Cloud and The Tony Danza Tapdance Extravaganza, Travis brought a shot of adrenaline into the Emmure fold when he and Palmeri tapped into their musical and personal chemistry. Travis played with bassist Phil Lockett and drummer Josh Miller before, in The Tony Danza Tapdance Extravaganza and Glass Cloud, respectively, so each component of Emmure’s strongest incarnation is locked in perfect metallic sync.

The band does more than spit out fire and churn out venomous riffs onstage. They conjure a specific energy, moving a crowd, creating a communal energized feeling. Emmure’s music is the sound of perpetual motion. Like a shark, the songs keep moving. There’s no “softening” of the sound, no compromise, no explorations of experimental garbage. Emmure has been refined, but without sacrificing their aggressive thunder.

Emmure will be appearing at the Good Things Festival, and while out of this world, is not a hologram. With key launch sites located in Brisbane, Sydney, and Melbourne, it would seem Australia’s East Coast is all well within range of Good Things Festivals sonic rays.


The Offspring (Performing ‘Smash’ In Full)
Stone Sour
All Time Low | Dropkick Murphys
Bullet For My Valentine | The Used
BABYMETAL | The Smith Street Band
Dashboard Confessional
(Performing songs from ‘The Places You
Have Come To Fear The Most’ + Fan Favourites)
Mayday Parade | La Dispute
Northlane | The Wonder Years
Waterparks | Tonight Alive | Scarlxrd | Emmure
Palaye Royale | Make Them Suffer | Waax
Boston Manor | Void Of Vision | Ecca Vandal


Friday 7 December – Flemington Racecourse, Melbourne
Saturday 8 December – Parramatta Park, Sydney
Sunday 9 December – Brisbane Showgrounds, Brisbane

General Public tickets on sale Thursday 30 August, 9am through www.oztix.com.au

All shows are licensed and all ages 15+ (Please see ticket conditions for age restrictions).
Venues and lineup subject to change

For more information head to www.goodthingsfestival.com.au