Music
Ex-Sworn Enemy Guitarist, I See Stars, AND Sumerian Records Slam Falling In Reverse’s Ronnie Radke
Ex-Sworn Enemy guitarist Lorenzo Antonucci has put together a video (that was shot at the Sumerian Records offices) calling out Falling In Reverse vocalist Ronnie Radke (who used to be the singer of Escape The Fate) for his incredibly egomaniacal attitude that includes kicking support act I See Stars off of the “The Thug In Me Is You Tour”, throwing fans out of venues for simply wearing t-shirts or chanting “I See Stars!”, and, perhaps the most idiotic, throwing microphone stands into the audience at Six Flags in Jackson, NJ, causing physical harm to several fans AND banning all future metal shows from ever playing that venue again. Below is the video that includes fan interviews, news coverage, and footage of Radke being an egotistical prick. Also below are statements from I See Stars and Ronnie Radke.
“Months ago before “The Thug In Me Is You” tour started, a cop found marijuana in our van. We were arrested. As a result, Ronnie said we were kicked off the upcoming tour.
All the shows on the tour were already on sale with our name being advertised, so we didn’t think it was fair to the fans or to ourselves to not be able to go play where people were expecting us. We offered Ronnie to play the shows for free so he could keep our pay every night of the entire tour as long as we could still keep our commitment to the fans, i.e. the people who are the reason any of this is even possible. Ronnie said OK and allowed us back on the tour but said that we would have to sign paperwork saying we would not tell anyone that we weren’t getting paid to be on the tour. The venues and the fans were both not allowed to know the truth, because Ronnie knew it would make him look really bad to the world. The fact that money changed Ronnie’s mind about kicking us off the tour just goes to show his lack of integrity. If he was really that concerned or fundamentally against that we got caught with a little weed, then the extra cash in his pocket wouldn’t have changed his decision.
Because Sumerian Records was willing to give us a serious amount of financial tour support, we were still able to hit the road without getting paid. However we would quickly find out that us agreeing to Ronnie’s ridiculous terms of silence and playing for free were simply not good enough for him. He resulted to threatening violence against Zach in Grand Rapids because “he didn’t like his stupid f’n face” and then the next night in our hometown of Detroit kicked us off the tour. His 47-year old tour manager then physically assaulted our tour manager and the FIR camp once again resorted to violent behavior. Ronnie would later that night throw fans out who paid to get in to the show because they are chanting another band’s name and make fun of their physical attributes in front of everyone. That is the act of a true coward.
We have been lucky enough to to tour with a lot of great bands like Parkway Drive, Suicide Silence, Asking Alexandria, Trivium, Motionless In White, A Day To Remember, Stick To Your Guns, Memphis May Fire, The Word Alive and others.. and never had a problem. We want to thank Enter Shikari, LetLive, Matt Toka and all the other members of Falling In Reverse besides Ronnie for being great people and a true pleasure to tour with. We are sorry to all the fans out there who were expecting to see us. We’ll be back as soon as we can.” -I See Stars
“There is nothing cool, rock & roll, punk rock, or admirable about treating your peers or fans like they are pieces of garbage. Ronnie Radke is not a good human being. It’s one thing to love someone’s music, but do not love someone as an individual for who they are not. We do not think it is a coincidence this is the same guy who was arrested for the horrible, violent things you can read about in the links below. He cares about no one but himself and he has reminded us all of this. His latest tweet “people at our shows come to see us everything else is irrelevant. Nuff said.” is his way of telling all the other bands he tours with that they don’t matter. Why any artist would throw that type of negativity and disrespect out is something we will never understand. This scene is supposed to be about compassion and understanding. Ronnie is rotten.
Out of respect for the industry professionals involved in this debacle, we will not be publicly disclosing any legal documents on the internet. We can confirm that Ronnie kicked the band off the tour but allowed them back on after they forfeited their pay. We can confirm that they were being forced to sign a non-disclosure agreement regarding this in order to stay on the tour. We can confirm that I See Stars were not kicked off yesterday in Detroit because of anything to do with drugs. It was because a grown man was throwing a temper tantrum who claims to be “rock & roll” but is actually worse than a neurotic pop-star diva with a God complex. Just because you no longer do drugs doesn’t mean you are no longer a horrible human being. Ronnie now abuses people instead of substances.” -Sumerian Records
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Multi-award-winning and unapologetically cinematic UK band The Last Dinner Party have always seemed drawn to the places where opposites collide. Beauty and violence. Grief and ecstasy. The sacred and the grotesque. It’s there in their music, performances, and in the worlds they’ve built around themselves since the band’s earliest days.
Their songs often feel less like traditional rock music and more like myths in motion, unfolding somewhere between a dream, a film, and a fevered memory. Perhaps that’s why horror feels so naturally at home within their creative universe.
For Abigail Morris, the group’s charismatic ringleader, some of horror’s most enduring filmmakers understand that terror becomes more powerful when it exists alongside beauty.
Discussing the work of Dario Argento, she points to films like Suspiria and Phenomena as perfect examples of that tension.
“I think it’s actually the proximity of those things rather than the distance,” Morris explains. “The things that are really beautiful and the things that are really terrifying. It’s like the idea of the sublime. The closer that beauty is to terror, the more beautiful it is and the more terrifying it is rather than the juxtaposition. I think that that’s where the sweet spot of fear and tension and intrigue and pure and real beauty is, where it’s almost the other. And I think that’s what Argento does really well with the sort of the beautiful casting and the sets and the lighting and then the buckets of red blood.”
She cites Argento’s ability to place stunning imagery directly beside the grotesque or unsettling. The vivid colors, dreamlike sets, and beautiful performers suddenly interrupted by buckets of blood, swarms of insects, or moments of genuine nightmare.
“I love how he plays with that,” she says.
That fascination with contradiction extends far beyond horror films. The Last Dinner Party’s work frequently occupies a similar emotional space, where longing can feel catastrophic, and heartbreak transforms into mythology. Morris brings up one of her favorites, Andrzej Żuławski’s Possession (1981), as another example of horror expressing emotional truths more accurately than realism ever could.
“A divorce is a very human thing that happens,” she says. “And then to turn that into this psychological body, spiritual, eldritch horror is how it must feel to go through a divorce. And it’s more accurate.”
Not surprisingly, news of the upcoming Possession remake sparked a passionate response. “I’m fucking furious,” Morris laughs. While generally skeptical of remakes, she makes an exception for Luca Guadagnino’s Suspiria, praising the filmmaker for creating something entirely his own rather than attempting to recreate Argento’s original.
“He wasn’t trying to capture the energy of Argento’s film. It felt like a story in its own right.” She goes on to explain, “…if they do that with Possession, then I’m interested.”
The conversation also reveals just how deeply cinema has been embedded into The Last Dinner Party from the very beginning. Long before sold-out shows and award nominations, the band envisioned themselves not simply as musicians but as architects of an entire world.
“When we started the band, the visuals were of equal importance to the music,” Morris says. “Before we played a show, before we shot a music video, we decided that what we wanted this band to be was something that was a complete world.”
That commitment led to elaborate mood boards, film references, styling concepts, and even a 72-page presentation that helped define the band’s visual identity before many people had ever heard a note of their music.
For composer, songwriter, and keyboardist Aurora Nishevci, many of those same cinematic instincts have begun finding new outlets. She speaks passionately about the horror scores that continue to inspire her, including the work of Mica Levi and Hildur Guðnadóttir. Rather than relying solely on traditional horror techniques, she is fascinated by artists willing to challenge expectations.
“You can decide to go the traditional route,” Nishevci says. “Or you can completely go another way and still be terrifying.”
That fascination has now become something more personal. Nishevci reveals that she is currently working on her first horror feature as a composer, bringing her own musical language into the genre that has influenced her for years.
The band’s connection to horror has also found an unexpected audience among fans of Yellowjackets. Online, edits pairing The Last Dinner Party’s music with scenes from the series have become increasingly common. At concerts, fans have even begun holding up photos of Jackie during performances of “Woman Is a Tree.”
At first, Morris couldn’t understand what she was seeing.
“I thought it was someone’s grandma,” she says. Only later did she realize the mysterious photographs were actually tributes to one of the show’s most beloved characters. “It’s fucking Jackie from Yellowjackets!”
The band enthusiastically express interest in seeing those worlds collide one day.
While The Last Dinner Party’s future remains unwritten, horror seems destined to remain part of it. Asked what creative paths still excite them, Morris immediately begins dreaming beyond albums and tours.
“We’ll do a horror movie as well.”
Nishevci quickly adds another possibility that has apparently been living on the band’s mood board for some time. “We keep talking about doing a folk horror EP.” “That’s been on the mood board,” Morris confirms.
For a band already obsessed with mythology, ritual, transformation, storytelling, beauty, and terror, both ideas feel less like surprises and more like inevitable next chapters. For much more with Abigail Morris and Aurora Nishevci, including further musings on Argento, Possession, Salò, Hausu, and the future of The Last Dinner Party, check out The Boo Crew Podcast Episode 473 available now on Apple, Spotify, and wherever you get your podcasts.
The band joins Olivia Rodrigo on the road next year for multiple sold-out residencies in New York and LA. Follow the Last Dinner Party on Instagram.