Liebsch laughs at the end of that comment, and it feels like a self-deprecating victory yell. Then he gets matter-of-fact scary. “I had a bad brain injury last year again after I passed out and hit my head. I don’t know if this is related to that, but I sort of bruised my brain a little bit at our last show. I’m learning that you only get so many concussions before you’ve got to stop headbanging so much.”

Read more: Ashley Purdy: “I’ve gone through everything and came out the other end”

He’s talking about the scene of their Dec. 20 return gig at the Kaleidoscope, the recording studio where they made their comeback to an audience of 50 friends. Liebsch got a little too far into it and hurt himself again. 

“It was a good time,” he says cheerfully. “My wife commented that I definitely went a little harder than I typically do. Then I had to cancel the second one because someone came to the gig with the flu, and it put me down pretty hard.”

Liebsch says despite his work schedule and physical setbacks, he’s feeling fine. But after you hear his band’s new single, “F.I.N.E.,” you might want to press him further on it. On the track, the titular acronym undercuts his sentiments. It might sound “fine” to you, but the singer is leaving bigger clues. 

“When we say ‘fine’ in conversations like, ‘I’m fine,’” he begins, “there’s usually more to that. It’s often a way of guarding ourselves from having to be honest with ourselves and others with how we are doing. The first couple lines of that song are ‘I am fermenting in negative energy/I am fervently inviting new enemies/And I am now facing impossibly narrow entry back into an atmosphere that nearly thrice killed me.’ It’s a nice, simple idea.” It’s also a great song that shows Liebsch’s lyrical deftness in a delivery that would make Say Anything CEO Max Bemis smile wide.

Read more: You, Me, And Everyone We Know drop first new music since 2016 breakup

“F.I.N.E.” is also part of the bigger plan for You, Me, And Everyone We Know. The song (along with other future single releases) will be part of an album slated for release March 26, 2021. 

“It’s a Friday, and it just happens to be my 10th anniversary of sobriety,” he reveals. “So I was like, ‘That’s a good auspicious date. Let’s shoot for that.’ As far as things go, I think we’re almost halfway there. I don’t see why it isn’t something we can’t make happen. But the great thing is we can rework some of this stuff, mess around a little during the process rather than putting out 10 songs at one time. It’s like [thinking in hindsight], ‘Oh, we could’ve done that. It is the thing that we had a different opinion of three months later.”

Nobody is in a band to be miserable, but it did take Liebsch a while to figure that out. Because of the stress it took on his mental health holding You, Me, And Everyone We Know together, he’s continuing to rethink everything. He says the band are five tracks into the next album. But that could change if he plays them a month for now and wants to rethink them. (He expects a follow-up to “F.I.N.E.” to be released in April.) The only thing you won’t see the band doing is a lot of full-time touring, which Liebsch describes as “the only thing that’s a problem for me at this point.

Read more: You, Me, And Everyone We Know open up on their unlikely return

“The general idea has been figuring out how to do this sustainably and in a way that creates a little more freedom for us and me. We’re working on one or two songs at a time and releasing them on a quarterly basis. We live in an attention economy: Release the song, make a big fuss about a show, record or finish another song, eventually making our way toward next year.”

He pauses for a moment. “I think I’m onto something. I think this new system may be more beneficial for my brain than I realize.”

Check out “F.I.N.E.” below.

The quintet have been creating their own way around the machinations of the highly controlled K-pop industry. More importantly, DAY6 have been navigating their own course with regards to the kind of music they want to make. Which means you could’ve heard them on a Warped Tour stage (“Sweet Chaos”), opening for Andrew McMahon In The Wilderness (“Time Of Our Life”) or right next to Demi Lovato on your (not) guilty pleasures playlists (“Cover”).

Read more: Frank Iero reveals the My Chemical Romance reunion clues in front of us all along

The members of DAY6 would be the last people on Earth to describe themselves as purely one genre or another. After all, the current musical landscape has been dictated by artists as diverse as Billie Eilish, the Driver Era and Chase Atlantic preaching the no-genre gospel. DAY6 routinely embody that stance. Minus the penthouse suite in an ivory tower. Because as many historical figures in music have stated, there are only two types of music.

“What is good music?” bassist/vocalist Young K asks (full name Brian Kang). “We don’t know. Whatever we wanted to do at that moment? And we’re probably going to do that with the next album and the one after and so on. We don’t even know which kind of songs are going to do well on the charts.” He laughs. “And if we knew, we would have done better! So, we’re just going to do whatever we want.”

Read more: DAY6 on that 5SOS shoutout, how fans inform their live show and more

Likewise, their attitude toward their craft has also seeped into their attitudes offstage and away from celebrity spotlights. DAY6’s world is as inclusionary as the most incongruent playlist you could ever come up with. Because they are well versed in being human.

“There’s cultural differences no matter where you go in the world,” guitarist Jae shares. “Americans, or English speakers in general, when they come to Korea, I feel like I vibe [with them], and I can really understand where they’re coming from, what they’re dealing with and what things they may have trouble with. So, I feel like I try to help—I don’t know if it does help, but I try.”

Read more: 10 bands for K-pop fans looking for something different

DAY6 took the road less predictable and came out ahead of the crowded pack. It’s a story with a multifaceted soundtrack, for sure. And it’s guaranteed to be a milestone in the history of AP.

ALSO IN NEXT MONTH’S ISSUE:

As the frontman of SUPER WHATEVR, Skyler McKee’s goal was to exorcise his inner conflicts in the hopes that listeners could feel solace in their personal travails. Despite his best intentions, he was hounded constantly about everything. Now slimmed down to a duo, Super Whatevr are changing their sound to accommodate where McKee’s head is currently. Did we mention the new album is wonderful?

British dark-rock outfit CREEPER could’ve stuck around for months playing every dive bar in America to “pay dues.” Instead, they broke up onstage back home. But it was all part of leader Will Gould’s plan. The backstory involves a small California town lost in time, David Bowie, an image makeover and writing songs with your BFF via FaceTime––because you can’t be near his hospital bed. A powerful record made by strong people. 

Read more: 10 stages of preparing for the My Chemical Romance return

Cassadee Pope of HEY MONDAY discusses Kacey Musgraves, the things she won’t wear, her most punk moment and whether she’s visiting or staying in next month’s 10 TOPICS.

It seems like everybody has been talking about British hardcore outfit HIGHER POWER. And for good reason: On their major-label debut, they’re ready to move forward with their influences in ways they may have been afraid to. Be very, very psyched. 

IT GETS BETTER, and Mixi Demner, the heart and soul of STITCHED UP HEART, knows it. She shares her truth, one that will make you want to hug her like a friend presumed missing, the tears burning your eyes.

We’re also celebrating THE RAWRING ’20S, honoring records that helped usher in the joyful noise of the past decade. We know you have these records from MY CHEMICAL ROMANCE, BRING ME THE HORIZON, CIRCA SURVIVE, FOUR YEAR STRONG and more. 

Read more: Creeper discuss next era: “There are no fast songs on this record”

Paige Owens introduces us to the era-splicing rock of GLASS TIDES, who draw direct lines from Nirvana to the Used at their darkest. Rachel Campbell corrals the best tracks from bands who reunited in 2019 in a group of 10 ESSENTIAL. Our scribes share their new obsessions in 12 BANDS, while AP ARCHIVES catches the reunion virus with MOTION CITY SOUNDTRACK, WE ARE THE IN CROWD and YOU, ME, AND EVERYONE WE KNOW. Plus sweet, sweet fan art and live photos to make you go “yessssss…”

From Korea to the U.K. to Orange County, it’s the new issue of AP, with 100% more emotional spectrum (and visa stamps) than other music mags.

In the time since You, Me, And Everyone We Know said goodbye in 2016 (only reuniting for a February 2017 performance in Chicago—a benefit for photographer Ashley Osborn), Liebsch worked hard on his personal development.

Read more: 25 music moments that made us thankful 2019 turned into 20ninescene

“After the band ended, I delivered flowers for a living. I would curse myself for taking a job that mirrored the one part of touring that I hated the most,” he explains. “I was just sitting in a car for hours on end munching on garbage food and my own boredom. I decided to redirect my life a bit and took a job at the front desk of a gym that opened here in downtown Lancaster. The original owners were unable to continue running the gym due to some health issues, but they didn’t want to close, so I was asked to take over and continue their vision.”

Liebsch will be the first to tell you he didn’t plan on returning to music, believing the benefit performance would be his last time playing under the moniker. 

“I’ve dealt with a lot of mental health issues over the years, including anxiety and depression, and I’ve now been diagnosed with chronic post-traumatic stress disorder,” he reveals. “I thought in order to move past my trauma, whether it be from my childhood or what I’ve experienced in the music industry, I had to move past the band. The night before the show in Chicago, Zech [Pluister] from Sleep On It sat me down and asked if I was sure about the decision. What I was sure of was the fact that I didn’t want to feel that way anymore, and the only way I could do that, in my mind, was to stop playing music.”

Read more: You, Me And Everyone We Know release surprise ‘A Mutty Christmas’ EP

However, Liebsch soon discovered that leaving music wasn’t a solution and opted to start going to therapy rather than give up his passion.

“I was coping a lot through food and energy drinks,” he continues. “Just managing, really, and by that, I mean surviving. I was full-on coming into my own as a personal trainer and digging into the lifestyle of business ownership as a way to keep myself busy and distracted. I was working too much while trying to deal with everything, and then I was retraumatized. Anyone familiar with PTSD knows there is a whole litany of symptoms that are not just mental, but physical, and it all came to a head last December when a broom fell in my bathroom. My body was so overwhelmed by stress and physical activity that it just hit a hard shutdown button. I woke up on the floor five minutes later with blood everywhere, and I quickly realized I was exhibiting the signs of a concussion. That is when things with music picked up again.”

What happened next?

BEN LIEBSCH: After the concussion, I couldn’t work for two to three months. No matter how much I reduced my workload, I basically had to lay in a dark room and let my brain heal. At the same time, I started seeing a trauma therapist who diagnosed me with what is essentially two steps away from multiple personality disorder. We don’t have to get into the science of that, but while all that was unfolding, I read this book by Pete Holmes called Comedy Sex God. It was something I picked up intending to enjoy casually, but there was something in it that flicked a switch on for me that lead to a pretty radical spiritual awakening. I found a sudden, deep and very lasting peace with my place in the universe. I came to terms with my past and my theoretical future. Through all of the reading and contemplation, not to mention the therapy, my PTSD symptoms started to subside. I haven’t had flashbacks or anything, which is surprising to me. 

Anyway, after that happened, I started to feel like an antenna. Whatever I was trying to tune into became clearer, and that is when I started writing again. 

That’s really incredible.

I’ve always told my therapists that whenever I’m performing, I sort of disappear. There is a loss of self and ego in those moments where I become a part of what is happening in the room. Ram Dass, one of the people I discovered through reading Comedy Sex God, says that feeling of losing oneself is something to be cherished. The work we do to reach that point is important, and I realized that if music is my way to get there, then I needed to find a way to do that without hurting my physical or mental health.

With all that in mind, what is your approach now? What does it mean having the band back together, and where do you go from here?

I’ve been taking some cues from what is happening in underground hip-hop right now. My focus is on using the band to enrich the lives of others and those around me. We’re recording everything ourselves out of The Kaleidoscope, which is also where we are playing our first shows. We’re doing that because I want to curate a special experience because it is a long time coming that we are at this point. I want to make everything we do feel special to the people who care about this band. We’re only going to release one or two songs at a time, and any merch or recording we put up for sale will be incredibly limited. We want to do cool stuff that we are proud of that people will enjoy.

Read more: Don’t Try This At Home: Bad lessons we’ve learned from songs by YMAEWK, blink-182 and more

Your latest publicity photo features a blurred image of you. What was the motivation for that decision, and how does it speak to the look of YMAEWK moving forward?

Everything moving forward is about removing the traditional ego bathing that musicians partake in either intentionally or without realizing it. With that in mind, our image is going to be less about the individuals in the band and more about a full realization of the band’s name. You’re a part of it. I’m a part of it. Everyone we know is a part of it. The band is a concept that is just now being fully realized, and that is what makes me most excited. It’s not about us onstage, but it’s about all of us being in this together. I want to put a heavy emphasis on that.

You put out a new song titled “(Still) Basically A God” in early November. Can we expect more music soon? Perhaps another version of that track?

I really didn’t expect the attention we received for that song. One of my flaws is underestimating my work, which is some old scripts we’re trying to break. We just wanted to share something with people who joined our mailing list, and it just took off from there.

The first loud song, if you will, should be out before our show on Dec. 20 here in Lancaster. That show is already sold out, which again was unexpected, but we are adding a second date on the 27th at the same venue. It’s a really small space, and we chose the venue intentionally to try and create an experience for people who attend. There are folks flying across the country to see us, and we want to ensure they will see something they couldn’t experience in a bigger space. We want to move with intention rather than soaking up all the dollars we can.

Some fans have pointed out that your debut full-length, Some Things Don’t Wash Out, turns 10 in 2020. Is it a coincidence that you’re returning ahead of that anniversary, or is that part of a bigger plan?

It wasn’t really planned. I went to the rest of the band and brought them my ideas. I brought up the structure I told you about and how, hopefully, we can make it sustainable for everybody. We all have jobs and lives, so we’re not planning to go on tour and break ourselves to the point of needing treatment again.

It’s interesting that our culture waits 10 years to celebrate records these days. I also think it’s very strange that I, as a 35-year-old, am considered washed up. Maybe that is another one of those old scripts playing in my head, but it’s something I think about. This scene, and we have never been a strictly pop-punk band, but this scene tends to consider people washed up after they turn 30. Comedians, on the other hand, are rarely considered to be “in their prime” before the age of 40. I’m hoping we can challenge those dynamics to one extent or another, but we shall see.

Considering the size of the venue and the timing of the shows, it’s likely many YMAEWK fans won’t be able to attend your upcoming Lancaster performances. Do you have more gigs planned for 2020?

Touring is not going to happen unless someone comes to the band with an offer [that] replaces all of our incomes. The music industry has been historically unwilling to do that for any band, let alone my little enterprise here. In all likelihood, we will be playing roughly six shows a year. We may do more if something exciting comes our way, but right now, that’s our plan.

I really want to focus on helping others. We want to put on an annual benefit in a different city to stick with our theme of helping others through music as much as possible. We are eyeballing some of our more popular cities for next summer, and hopefully we can build from that.

Read more: The 1975 release evocative “Frail State Of Mind” video

It’s also possible that I may do some solo shows. I’m open to all things except for becoming unwell mentally again. I don’t have great concerns about that after the last couple of months. But again, if there is a chance I’ll be getting four hours of sleep per night and eating shit to survive, then you can count me out. But I’m not opposed to playing solo. You might catch me in the Northwest doing a gig by myself. 

I’ll go anywhere if you give us the chance to replace the money we would make from work. It may surprise some of your readers. But the musicians you enjoy probably have jobs that they have to take vacation time from in order to perform.

Tickets for You, Me, And Everyone We Know’s Dec. 28 show at Lancaster’s Kaleidoscope is on sale now here. You can keep up with the band on Facebook, Instagram and Spotify. 

The band are teasing fans on their social media accounts and have also posted a video of an acoustic track on their website, marking their first new song since 2016.

Read More: Gerard Way releases stand-alone ‘Doom Patrol’ guest issue

Back in 2016, the band revealed in a Tumblr post explaining their reasoning for calling it quits.

“After a decade of ups and downs, I have decided to put this band to rest. There were a lot of factors that went into this decision and I will talk about them later but I needed to get this is off my chest. We will be playing a show in Philadelphia at Creep Records on March 26th at 7 PM. There will be one last chicago show as well, but I have yet to book that. Talk more soon.”

They’ve been teasing something new for a few days while people have slowly been catching wind of the news. They first updated their Facebook profile pic in September and updated their web address on Monday (November 4).

Today, they’ve updated the website with an acoustic performance of what appears to be a new track.

 

View this post on Instagram

 

#youmeandeveryoneweknow #youmeandeveryoneweknowband

A post shared by you, me, and everyone we know (@youmeandeveryoneweknowband) on Nov 6, 2019 at 4:17am PST

You can check out that video below.

As for what’s to come next from the band, nothing else has been revealed. We’ll keep you updated on their reunion progress as things become more clear.

Are you excited about You, Me, and Everyone We Know getting back together? Let us know your thoughts in the comments below.

See More: Warped Tour Mountain View kicks off with Frank Iero, LTJ and more

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Read More: 14 emo songs any pop-punk fan will like

“After a decade of ups and downs, I have decided to put this band to rest. There were a lot of factors that went into this decision and I will talk about them later but I needed to get this is off my chest. We will be playing a show in Philadelphia at Creep Records on March 26th at 7 PM. There will be one last chicago show as well, but I have yet to book that. Talk more soon.”

Watch: Forever Came Calling go cruising in their music video for “Defenseless”

FCC will be out in support of their most recent studio album, What Matters Most, which is out now on Pure Noise Records.

Dates:

July 17 – Henderson, NV – Eagle Aerie Hall
July 18 – Anaheim, CA – Chain Reaction
July 19 – Berkeley, CA – 924 Gilman St.
July 21 – Portland, OR – Analog Theater
July 22 – Seattle, WA – El Corazon
July 23 – Spokane, WA – The Pinnacle Northwest
July 24 – Salt Lake City, UT – In The Venue
July 25 – Denver, CO – Moon Room
July 26 – Lawrence, KS – The Jackpot
July 27 – St. Louis, MO – The Demo
July 28 – Springfield, MO – the Outland Ballroom
July 29 – Oklahoma City, OK – 89th Street Collective
July 30 – Dallas, TX – Sons of Hermann Hall
July 31 – Houston, TX – Walter’s
Aug 1 – San Antonio, TX – Korova
Aug 2 – Austin, TX – Red 7
Aug 4 – Albuquerque, NM – The Works
Aug 6 – Mesa, AZ – The Underground
Aug 7 – San Diego, CA – House of Blues
 

PAST RECOMMENDATIONS:
Christmas 2014 | November | October | September | August | July | June | May | April | March | February

ALL TIME LOW – “Something’s Gotta Give”

“Maybe I’m a fucking waste,” Alex Gaskarth sings over a bouncy sugar-rush of pop-punk. The song churns out classic All Time Low in turns—but it’s more mid-tempo, and has the potential to be a radio single. You can already see the gang winning over legions of 5 Seconds Of Summer fans on that arena tour that will happen if there is a god. —Matt Crane

AS IT IS – “Dial Tones”

Fearless Records newcomers As It Is nurse the guilt of leaving behind someone you love to pursue your dreams with “Dial Tones,” the first single from their debut album Never Happy, Ever After, which is out later this year. With a sound that one fellow AP writer described as “New Found Glory with sugar,” these guys, alongside North Wales-natives Neck Deep, are building a strong case that the U.K. is doing pop-punk best right now. —Cassie Whitt

ENTER SHIKARI – “Anaesthetist”

Despite being more than a decade into their career, Enter Shikari are still managing to evolve album after album, keeping themselves comfortably afloat in a sea of acts that are drowning all around them. “Anaesthetist,” which is taken from their most recent studio effort, The Mindsweep, captures the essence of stagnancy, slaps it in the face a few times and walks away, middle fingers in the air, saying, “We do what we want.” At first listen, the track is simply an aggressive approach to the band’s already refined, electronic-centered hardcore, yet it somehow manages to convey new dynamism and vitality, a sonic progression that makes just genuinely good music. —Tyler Sharp

FALLING IN REVERSE – “Guillotine IV: The Final Chapter”

Continuing almost decade-old tradition, Ronnie Radke brings his “Guillotine” series to Falling In Reverse for the first time with “Guillotine IV: The Final Chapter.” The latest, and what appears to be last, installment of the tracks that began back in 2006 while Radke was fronting Escape The Fate, “The Final Chapter” delivers an satisfying heavy song that holds true to its predecessors. A catchy chorus and a mixture of shouts and screams—both high and low—brutal breakdowns and, of course, Jacky Vincent sweeping through with one hell of a solo produces a song that fits right in with the three previous “Guillotine” offerings . —Nick Major

HIT THE LIGHTS – “Fucked Up Kids”

The rabid riffing on “Fucked Up Kids” is the fire that pop-punk maestros Hit The Lights needed for the new year. Summer Bones promises to be heavy and hook-filled, and teaming with Pure Noise Records means that mindset is encouraged. Rochester, New York hasn’t had anthems like this since Polar Bear Club and Such Gold were writing them. —Brian Kraus

SICK FEELING – “Frauds”
With a beastly lineage of players from deranged outfits such as Ink And Dagger, the Icarus Line and …Trail Of Dead, Sick Feeling are ready to walk on water, as long as it’s been set on fire. The band’s scary-come-lately frontman Jesse Miller-Gordon is a firebrand, never letting up on the menace: On “Frauds,” he sounds like Every Time I Die’s Keith Buckley cavorting in a mental institution in search of better meds and counselors to terrorize. The track is but one dispatch found on Suburban Myth, an ugly, cacophonous album teeming with driving riffs, Miller-Gordon’s psychosis and alluring textural distentions. Yeah, yeah, I know it’s far too early to start listing albums of the year, just like it’s too early to wish you a “happy new year” and then drive a garbage truck at top speed through the front of your house. —Jason Pettigrew 

SLEEPING WITH SIRENS – “Go Go Go”

When I first heard that Sleeping With Sirens were going to be working with producer John Feldmann (The Used, All Time Low, Black Veil Brides) I could hardly contain my excitement. I knew the end result would be fantastic fun and “Go Go Go” proves just that. This track is upbeat, a bit poppy, and one of the most gleeful songs the band have ever put out. It’s rock songs like this that the radio needs more of and judging by the accompanying music video, the band are having a great time delivering joy. —Nick Major

TORCHE – “Loose Men”

Who wants to rock out? I live in Cleveland and it’s fucking winter—I need to rock out. “Loose Men,” a single from melodic sludgemeisters Torche’s forthcoming Restarter, fits the bill. Add a touch of glam bellowing to their characteristically beefy guitar base, and the result is an almost ‘80s metal homage that begs you to throw up the horns. The Miami metal men have always had a taste for fun, and “Loose Men” is bright enough to beat down winter blues. —Lee McKinstry

TURNSTILE – “Can’t Deny It”

Hardcore’s groove masters bring it like never before on “Can’t Deny It,” a bona fide jam from beginning to end. Fronted by Trapped Under Ice drummer Brendan Yates, Turnstile’s sound can’t be justified by a “huge,” or even “immaculate” label, but rather, it’s an idiosyncratic breed of head-bobbing, blood-pumping, two-step-inducing hardcore that has the potential to take the genre to previously unattained heights—and “Can’t Deny It” is proof of that. So kick back, relax and prepare for the mosh to overtake your body. —Tyler Sharp

GERARD WAY – “Don’t Try”

Gerard Way And The Hormones have delighted European audiences this tour with the debut of three unheard songs. While two of them (“Kid Nothing” and “Cheap Lights”) are brand new, “Don’t Try” is a remnant of the Hesitant Alien sessions he is now considering revisiting following positive response to the song, which he says is “BANGING live”—and we agree. Had the song made the album, this rhythmic anthem most certainly would have been a musical standout with lyrics oft-quoted on Twitter. —Cassie Whitt

WE ARE HARLOT – “Dancing On Nails”

The debut single from Danny Worsnop’s new band sounds exactly like you thought it would: high-energy radio-rock with a taste for ‘80s flash. Maybe it’s the gaudy gold and purple scarves in the music video, but the whole thing feels like a night out in Vegas—at one of the cheap casinos. Also: The vocal strain from screaming in Asking Alexandria seems to have made Worsnop a better, raspier “rock” singer. —Matt Crane

YOU, ME & EVERYONE WE KNOW – “Does It Amaze Thee?”
The neurotic rock (neurock?) of YMAEWK is back to its glorious, upbeat self on this lead single from the Dogged EP. (Interesting title for a band that was once on Doghouse Records!) Singer Ben Liebsch carries on across the chorus, “Does it amaze thee/That I can be this banged up/And still thrive?” Naw, Ben, we knew you had it in you. —Brian Kraus

Listen to You, Me And Everyone We Know's surprise Christmas EP, A Mutty Christmas

In 2011, Liebsch’s struggles with addiction and mental instabilities cost him his bandmates and nearly his own life. 

“Almost four years ago, the band fell apart at the hands of my drinking and mental issues,” he admitted. “Too many times for me to count, I had been less of a man than I planned. Since all that, I came back to Baltimore and did what one does when you don’t have a van to live in anymore. I went home and moved back in with my mom, got a job and started working. The last three years have been me trying everyday to be a good person, live a little less in the grey and to get back on my feet and get back up, as far as the band is concerned.”

Liebsch is now nearly four years sober and ready to get back to music.

Dogged is set for release on March 17. Additionally, Y,MAEWK have been announced as support for Have Mercy's upcoming spring headlining tour.

In 2011, Liebsch’s struggles with addiction and mental instabilities cost him his bandmates and nearly his own life. 

“Almost four years ago, the band fell apart at the hands of my drinking and mental issues,” he admitted. “Too many times for me to count, I had been less of a man than I planned. Since all that, I came back to Baltimore and did what one does when you don’t have a van to live in anymore. I went home and moved back in with my mom, got a job and started working. The last three years have been me trying everyday to be a good person, live a little less in the grey and to get back on my feet and get back up, as far as the band is concerned.”

Liebsch is now nearly four years sober and ready to get back to music.