St. Catharines post-hardcore stalwarts Alexisonfire will release Bleed It, their sixth studio album on March 19, 2027.
The 14-track album, their first in over five years, will arrive through Dine Alone Records and follows 2022's Otherness, which earned them a JUNO Award for Rock Album of the Year. The band introduced the project today with its lead single, "Push the River," accompanied by a music video directed by Vanessa Heins.
Describing the new track as "an anthem for the restless mind," Alexisonfire said it explores "surrendering to the bedlam of one's own thoughts and finding peace in the chaos of the everyday task that is living and loving."
Band members George Pettit, Dallas Green, Wade MacNeil, Chris Steele and Jordan Hastings, began working on Bleed It at Toronto's Revolution Recording without any completed songs. Over 16 months of sessions, Green brought instrumental ideas, drum loops and electronic arrangements into the studio for the group to develop together. Producer Kevin Ratterman, who has also worked with acts like My Morning Jacket and Jim James, helped shape the material during subsequent sessions at Sonic Ranch in Texas.
"We really liked the demos. But Kevin allowed the songs to bloom and become this new thing," Pettit said. "It's obviously a very diverse record but he found a cohesive way to make them blend together."
The album will incorporate industrial-tinged electronics and spacious arrangements, alongside their signature aggressive guitar riffs and vocals. Guitarist Wade MacNeil said the group was surprised by the direction the sessions took. "We made the record we didn't set out to make, which ended up being the best conceivable thing we could have done," he said.
Alexisonfire will support the release with a co-headlining US tour alongside Florida metalcore band Poison the Well. The 17-date run begins March 25 in Dallas and wraps up April 17 in Boston, with Touché Amoré opening every show. Canadian fans hoping for domestic dates will have to wait, as none have been announced so far.
The album's physical pre-orders begin November 13 at 11 a.m. ET, with CD, cassette and several vinyl editions available.
This summer, the band marked the 20th anniversary of Crisis with two sold-out Toronto shows at RBC Amphitheatre in 2026, drawing over 32,000 fans.
Elliott Smith in 2003.
Why Is Everyone So Mad at Supreme’s Elliott Smith Collaboration?
Earlier this week, Supreme announced an Elliott Smith capsule collection, including a selection of jackets and T-shirts featuring artwork from across the late musician’s career, from his self-titled 1995 album to his seminal 1997 album Either/Or to 1998’s XO and 2000’s Figure 8.
The internet seems to be in a huff over this, relying on a view of Supreme and streetwear frozen in 2008 that was, even then, embarrassingly myopic. The line of thinking goes that Supreme, the brand that was founded in New York in 1994 by designer James Jebbia and that has been a staple in skate and streetwear culture ever since, is an inauthentic purveyor of the ethos represented by Smith and his music. One might cite the brand’s roughly $500 million investment from the Carlyle Group in 2017 or its association with high fashion as disqualifying characteristics. More than anything, there seems to be a sense that taking shots at a nearly 40-year-old streetwear institution is a way to prove one’s unsullied dedication to a sense of anti-consumerism. The anger is misplaced.
In a culture awash in goofy collaborations and corporate cash grabs, Supreme might be one of the few brands still operating from an actual set of beliefs. Its Elliott Smith capsule (which was made with permission from Smith’s estate) is in a long line of collaborations that Supreme has done with musicians. Its first artist collaborator was Rammellzee, the experimental rapper and visual artist whose relationship with the brand dates to 1994, the year Supreme opened. By 2005, Raekwon was posing with a Tickle Me Elmo for the first of Supreme’s commissioned portrait T-shirts. Across its music collaborations, portrait tees, and tributes, the list includes everyone from Michael Jackson to the Velvet Underground, Nirvana, Butthole Surfers, My Bloody Valentine, Daniel Johnston, Aphex Twin, and SALEM.
There have been collections with record labels like Stax, Wackies, Rap-A-Lot, Ruff Ryders, Jah Life, and Duck Down, the last of which put Black Moon and Smif-N-Wessun’s album artwork on clothes. There are shirts and shoes with Peter Saville’s artwork for Joy Division and New Order. The Smith collaboration is so patently in the wheelhouse of what the brand has done for decades that bringing it up now as some sort of “gotcha!” feels more like a product of social media’s tilt towards rage-bait than any defense of an artist.
Elliott Smith, who died in 2003 at 34, has long been a part of skate culture. He was friends with Mike Mills, the skateboarder and filmmaker who designed graphics for Stereo and one of Supreme’s early logos. Mills worked on unused cover art for Figure 8 and later enlisted Smith to record music for his film Thumbsucker. And Smith’s music has been celebrated in the world of skateboarding for many years now. Mark Baines skated to “Happiness” in Blueprint’s Waiting for the World in 2000. Nate Broussard used “A Distorted Reality Is Now a Necessity to Be Free” in Static III in 2007. Dylan Rieder skated to “Coast to Coast” in Alien Workshop’s Mind Field in 2009, and Mark Suciu used “Junk Bond Trader” in Cross Continental in 2012.
Arguing that he would have hated the collaboration, aside from being infantilizing, completely ignores the actual culture around Elliott Smith when he was alive, instead opting for some abstract representation of a person who actually existed in the real world — a particularly Gen Z problem, to be frank.
With these collaborations, estates and relevant parties are always compensated. And that actually matters in an era where an artist can remain a staple for young people for generations, long after they’ve died, while reaping diminishing returns thanks to the paltry payouts from streamers. Meaning, short of throwing him onstage as a hologram or doling out money-grabbing box sets, a tasteful collection with a brand with a real connection to his work is actually one of the better options that exists.
People who want to be mad at Supreme want to separate themselves from some sort of mainstream idea of cool. They want to believe that they have an authenticity that Supreme doesn’t. Sorry to say, the reverse is more likely true. Just last week, Business of Fashion published a report on the brand’s cultural durability. “Supreme isn’t cool anymore” is, in fact, a very uncool thing to say in 2026. And beyond that, the people inside the company are coming from an ethos that has remained steadfast in actually supporting youth culture.
To sit on the outside now and pretend that you’re such an authentic Elliott Smith fan that you’re upset by this is simply to expose how out of touch you are.