The Freeze have a sound that, though influenced heavily by their hard-core roots,
transcends those boundries. Cliff is an amazing lyricist with a knack for incredibly catchy melodies  
with a tough and dangerous undercurrent. This dichotomy wins them acceptance in 
the underground while allowing them to cross-over in to the mainstream.
They formed in Boston in1979. They released a self-produced single "I Hate Tourists" in 1980 
that received heavy local airplay, garnered much favorable local press, and led 
to their signing with Modern Method Records. In 1982-83 THE FREEZE were featured 
on three Modern Method compilations: "Wicked Good Time Volume Two" 
(featured "American Town" ), "This Is Boston Not L.A." (featured eight FREEZE songs including the 
title track), and "Unsafe At Any Speed" (featured "Refridgerator Heaven"). 1984 
brought the release of the "Guilty Face" 7 inch as well as their first full-length 
LP "Land Of The Lost" . In 1985 THE FREEZE toured the country in a black hearse 
in support of their LP and contributed a track to the Flipside compilation. The 
tour was cut short in Minneapolis when Cliff dove off the stage, destroyed his 
face, and had to be rushed to the hospital. In 1986 THE FREEZE put out their second 
album "Rabid Reaction" and toured the U.S. and Canada extensively. On their sixth 
trip to Canada they were stopped and strip searched at the border; the authorities 
confiscated marijauna, switch-blades and pornography and banned them from Canada 
for a year. The band broke up in 1989, but then reunited for a benefit show in 
1990 and decided to keep playing together. In1991 TAANG! Records approached THE 
FREEZE about re-relasing their out-of-print-material and were surprised to learn 
that there were four new FREEZE songs recorded. Curtis (TAANG!) listened to the 
new material and was so psyched on it that he offered to put out an entire new 
FREEZE album. The band returned immediately to the studio and recorded their awe-inspiring 
release, "Misery Loves Company" which received an incredible response from critics. 
They were on the cover of both Concrete Foundations and CMJ's Loud Rock Report, 
and charted in metal and alternative.