I really don't see how FFAF sold out. Is it just because they made an album with no screaming and double kick just as bands making heavier music were starting to break back into the charts? And now they've left a major label, started their own and had a relatively unknown producer working with them on their upcoming album, when they probably could have stayed on Atlantic, in a comfort zone of sorts, and got someone like Terry Date or Adam D in to help them make a really generic Killswitch Engage-type album.

I'm going to the Birmingham one.