Search Results for "Folk"

Tragical History Tour release debut album “Aphorisms”

Scottish folk punks Tragical History Tour have released a new album, “Aphorisms”. The album is the first in the Dundee based act’s 15 year career and is out now on Aaahh!! Real Records. Physical copies are available to order now from the label store.

You can also have a listen to it below.



DS Photo Gallery: Lucero celebrate 20th anniversary with hometown Block Party blowout

Last weekend (April 13-14), for the fourth time in as many years, Lucero fans from far and wide converged on the grounds surrounding Minglewood Hall in the band’s hometown of Memphis, Tennessee, for the annual Family Block Party, a music and arts extravaganza for patrons of all ages. This year’s installment, in addition to being the biggest one yet, was celebratory for another, particularly noteworthy reason; April 13, 2018, marked the twentieth anniversary of Lucero’s very first show, which took place in a Memphis warehouse across the street from the infamous Lorraine Motel.

The weekend’s festivities kicked off on the evening of Friday the 13th inside the 1884 Lounge at the Minglewood complex, in the form of a gathering that was equal parts history lesson and birthday party, the bulk of which was curated by Lucero lead guitar player Brian Venable. Venable has long been the band’s unofficial historian, and in the days (hours?!?) leading up to the event, he dug through the time capsule and pulled out old pictures, setlists, album artwork, show flyers, lyric sheets and band-related memorabilia (old Flying Vs! Roy’s old Nikes!) that were compiled into a walk-through exhibit that inspired a night full of laughter and reminiscing between the band’s members, crew, and family of dedicated fans.

The lounge and the cavernous concert hall inside Minglewood remained open on Saturday, but the bulk of the goings-on took place outside. Not only was the venue’s parking lot closed to traffic, but neighboring South Willett and Monroe Streets and a few adjacent parking lots were as well, giving the occasion a true, block party feel. Local food trucks hawked their wares, as did a variety of merchandise vendors (Shitluck Clothing, Lumberjack Outfitters, tintype photography with Michael Foster, Oliver Peck and his Cheap Thrills line, etc) , most of whom remained steadily busy throughout the afternoon and well into the evening. But the focus, as you might expect, was on the music. Local singer/songwriter Louise Page (above) got things rolling under overcast but not quite rainy mid-afternoon skies. Page has only been in the business for a couple years but has steadily built a name for herself in Memphis, and it’s easy to see why, with elements of folk, pop and soul oozing throughout her melodies. A singer and piano player by trade, Page’s live sound was filled out by a five-piece band that consisted of drums, stand-up bass, violin, saxophone and trombone.

The inimitable John Moreland came next, accompanied by a full rock band of his own. That the Tulsa, Oklahoma, native isn’t household name on par with Jason Isbell or Chris Stapleton seems nothing less than criminal, although I guess there’s something special about his once-in-a-generation voice being our little secret. Moreland’s forty-minute set primarily highlighted his last two albums, last year’s stellar Big Bad Luv and 2015’s flawless High On Tulsa Heat, with a revved-up, pitch perfect cover of Tom Petty’s “You Wreck Me” tagged on as a raucous show closer.

The set change between Moreland and the next band on the docket, Rhode Island’s own Deer Tick, featured an appearance by The Mighty Souls Brass Band, a rotating group of musicians that includes former Lucero touring saxophone player Jim Spake playing their way through the crowd, an experience ripped right out of the French Quarter. While Deer Tick do, as stated, call the Ocean State home, they’ve become more involved in the Tennessee scene over the last handful of years; frontman John McCauley and his wife, Vanessa Carlton, have a Nashville home, and the band recorded both of their self-titled 2017 releases down the road from Minglewood Hall at renowned Ardent Studios. Deer Tick were followed by an hour-long set from the evening’s direct support, Turnpike Troubadours. Like Lucero, the Oklahoma-native Troubadours are road dogs in their own right, having spent more than a decade at this point touring like a punk rock band. While they play a style of music that’s a little more straight-forward country than you might be accustomed to reading about on the pages of Dying Scene, there’s a real storytelling aspect to frontman Evan Felker’s lyrics that make the music instantly more relatable.

While the afternoon and early evening’s happenings were an enjoyable gathering – even in spite of the occasional raindrops – of friends and families alike, this was clearly Lucero’s night. There were more than 4,000 people spread throughout the Block Party’s grounds by the time the band took the stage at a little after 8pm. When you’ve got twenty years and almost a dozen albums under your belt, it might be a little bit difficult to keep your rabid fanbase on their toes, but that’s just what they did, as Ben Nichols and the crew opened their celebratory set with “For The Lonely Ones,” a brand-new track off the band’s yet-to-be-released-or-even-formally-announced full length, due sometime in August on their new label home, Thirty Tigers (Jason Isbell, John Prine, Sturgill Simpson, etc).

Eschewing their normal formula for improvising their way through a two-hour set, the band did curate a setlist for this particular special occasion. Roughly half of the new album was woven in to the set and because this is 2018 and the internet is a thing, aside from one or two songs that hadn’t been played anywhere yet, a solid number of the new tracks (especially “Bottom of the Sea” and “Cover Me”) were not only well-received by their fans but were greeted with the same audience singalong treatment that decade-old crowd favorites have long generated. The band dug deep into the catalog, including a rare appearance by the raw, gritty stomach-punch of “No Roses No More” from their self-titled 2001 debut album (revisited on these pages a couple years back). Jim Spake rejoined the band on stage on saxophone duties for a few tracks, but otherwise this was a night to celebrate the long-running core of the band that’s stayed together in spite of a handful of moving parts throughout the decades. Nichos and Venable founded the band and played that first warehouse show with a different rhythm section, but Roy Berry (drums) and John C. Stubblefield (bass) would join within the first year and have remained in pace ever since, while the multi-instrumentally talented Rick Steff brought his serious chops into the mix in 2006. The night even featured a proclamation from Memphis mayor Jim Strickland declaring April 14, 2018, to be Lucero Day in the city, in honor of the band’s twenty year legacy of serving as a “source of inspiration, encouragement and strength for listeners all over the world.”

Head below to check out our full photo gallery of the weekend’s triumphant festivities, and stay tuned for more on Lucero’s new album (and a special Father’s Day release) in the weeks to come!



MCKC streaming new EP “IS OK”

SLC feel-good homie MCKC is streaming their latest EP, IS OK, in full, track by track. The official release is April 14th (tomorrow), however, MCKC has put it up for streaming ahead of its worldwide drop date.

You can stream the full thing here.

Pre-order “IS OK” at MCKCinfinity.com, and if you’re in the Salt Lake area, consider grabbing a ticket to the EP release show on April 14th at the Beehive in Salt Lake City (666 S. State Street)



Tall Tale (folky-melodic-punk) stream debut EP “So Long: The Prelude”

If you were at all a fan of the foot stomping, elbow swinging style of folk-punk act Rusty Things (or any full band folk punk, for that matter) you need to check out this release from New Haven, Connecticut punks Tall Tale. They feature members of (now broken up) Rusty Things including the singer so the band really feels like a slightly more punk version of Rusty Things – a great thing!

They just released their debut EP “So Long: The Prelude” and you can stream the entire thing below.



North Alone (folk punk) release video for “My Music Sucks”

North Alone recently released a video for the second single off their upcoming album “Next Stop CA”, due out May 4 on Country Bumpkin Records. The single is titled “My Music Sucks”. The album artwork and video can be found below, as well as a list of upcoming tour dates.

Their last release came in 2016 titled “Rare and Short”.



The Goddamn Gallows stream new album “The Trial.”

The Goddamn Gallows are streaming their new album The Trial in its entirety.

You can give it a listen below.

The Trial was released on March 23rd via Sailor’s Grave Records.



Homeless Gospel Choir release video for “1983”

Derek Zanetti, otherwise known as The Homeless Gospel Choir, has released a music video for “1983”, the 8th track off of his most recent album ‘Normal’. He will also be on tour this summer with Frank Turner, Lucero, and The Menzingers. You can check out the video and his tour dates below.

Zanetti’s last release was ‘Normal’ in 2017 via A-F Records.



Cousin Boneless (street folk) stream new track “Pretty Cemetery” off upcoming album “Posession”

Street folk punks Cousin Boneless have just announced their new album “Posession” to be released on June 7, 2018. The act is now streaming one song off the album for a teaser titled “Pretty Cemetery.”

Check out the new track below, and pre order the album (digital or vinyl) here.



DS Exclusive: MCKC Premieres New Song “Baker”

Today we get to show the other side of a songwriter we’ve championed on Dying Scene. Casey Keele of the band Wicked Bears (who’s latest album “Tuning Out” was in Dying Scene owner Dave Buck’s Top 10 of 2017) – has been writing songs and playing basement and living room shows as MCKC for almost a decade. Today we’re featuring his new song “Baker,” a folky, organ driven track off of his new EP “IS OK”, slated to be released on April 14th through Hidden Home.

Keele had this to say about the track:

“Baker is a solitary town located in the Mojave Desert of California. It’s one of the only cities you’ll pass as you drive from Barstow to Las Vegas. This song is an imagining of what it would be like to live there.”

You can hear the new track below. Pre-order “IS OK” at MCKCinfinity.com, and if you’re in the Salt Lake area, consider grabbing a ticket to the EP release show on April 14th at the Beehive in Salt Lake City (666 S. State Street).



DS Exclusive: The Goddamn Gallows premieres “Down With the Ship” from upcoming LP

The Goddamn Gallows are releasing their sixth album, “The Trial,” on March 23rd via Sailor’s Grave Records. Their sound is somewhere between “hobocore” and “americana-punk,” fusing rockabilly, psychobilly, punk, bluegrass, and metal. Sounds like a party.

We’ve got an exclusive stream of “Down With the Ship” off the upcoming album. Vocalist/guitarist/banjoist Mikey Classic had this to say about the track:

“‘Down With the Ship’ is about the world slowly sinking into shit. A world where our leaders take advantage of the workers and pit us against each other. A world where they want to put walls up and the people down. A world where our votes don’t count. And also it’s about being eaten by sharks.”

Sounds about right. Check out “Down With the Ship” below, and look for “The Trial” on March 23rd!



Chris Hahn band premieres new single ‘Symphony Of Degenerates’

Portland based three piece Chris Hahn Band has released a brand new single. ‘Symphony Of Degenerates’ is the first new stuff from the melodic punk ensemble since 2016. It will be featured on the band’s up and coming full length ‘The View’ out March 15th.

Head down below to check it out.



DS Photo Gallery: Lucero Out-Heckle the Heckler in Hartford, CT (w/Jake La Botz)

After a couple of consecutive unfortunate show cancellations late last week, the good ship Lucero fired its well-traveled engines back up in Hartford, Connecticut, last Saturday, resuming a late winter tour that was initially paused on Thursday so that frontman Ben Nichols could fly to Arkansas for his grandmother’s funeral. The band had every intention of cancelling only that night’s show in Rhode Island and reconnecting in New Hampshire on Friday, only for Mother Nature to intervene in the form of a powerful winter storm that left Nichols unable to fly north and his bandmates rarely able to leave the confines of their tour bus for the better part of two days. The band finally reassembled as their full Voltron at the relatively new, 600-ish capacity Infinity Music Hall for what was by all accounts the band’s first headline gig in the capital of the Nutmeg State — we’re pretty sure they played Hartford on the Warped Tour in 2011 — which seems pretty remarkable for a band that’s spent twenty years earning a reputation as one of the hardest touring bands in the game. Much to the delight of all but one show-going knucklehead, the band seemed eager to get back into the swing of things as regularly as possible, making for a memorable, if slightly abridged, evening.

There was a time years ago when a Lucero show had the potential to go off the rails for a variety of reasons, many of which centered around the dysfunctional family dynamics that are present in any group of males working together, particularly when there’s alcohol involved. There’s less alcohol involved nowadays, meaning that a 2018-era Lucero live show has become less volatile but no less unpredictable for the band or the fans. No two sets are the same as Nichols calls shots that balance his instincts with feedback from an audience that’s generally rather lubricated in their own right, meaning his bandmates (Rick Steff on keys, John Stubblefield on bass, Brian Venable on guitar and Roy Berry on drums) have got to react on the fly. On this particular night, the Memphis-based quintet kicked their headline set off with crowd favorite “The Last Song” from their 2002 full-length, Tennessee. In this writer’s experience, this particular song has many times been reserved for later in the evening given the crescendo it builds to, so its early appearance was a welcome change of pace right off the bat. From there, things went in typical free-form fashion, with the band choosing to stick with the same album for the similarly crowd-pleasing singalong “Chain Link Fence” before taking the opportunity to showcase some brand new material. You see, Lucero have been hard at work on a follow-up to their last full-length, 2015’s All A Man Should Do, for a while now, and have slowly been working through some newer songs on stage in recent months (a trend that’s fallen by the wayside across the musical spectrum in the age of YouTube). Nichols’ pointing out that they were going to play a few new tracks, however, didn’t sit well with one particularly vocal gentleman at stage right who made his opinion rather well known early on.

The net result proved, for the young man, to be a fail of epic proportions, as a defiant Nichols led the band through four consecutive brand new songs – including the live debut of a song that seems to be called “Cover Me” which might be the strongest of an already strong bunch – until said young man made his way to the exit. The bulk of the crowd seemed mindful of the special nature of seeing so many new tracks played in order, heckler be damned. There seemed to be nary a hiccup, as the new tracks seem to fit naturally in the Lucero lexicon. I’ll shy away from specific spoilers except to say that “Cover Me” and “To My Dearest Wife” and “Everything Has Changed” sound like songs that were written by 2002 Lucero but performed by 2018 Lucero. Trust me, that’ll make sense when you hear them.

Most of the remainder of the set found the band calling on an ever-expanding number of audience favorites. “Texas & Tennessee,” “All Sewn Up,” “It Gets The Worst At Night,” “Nights Like These” and “On My Way Downtown” made requisite, raucous appearances. When he wasn’t at the mic, Nichols spent a greater-than-average amount of time pacing the stage, giving the impression of somebody who was working through a bit of a cathartic experience. Steff was his typically stoic, stabilizing self on stage left, and his stage-right bookend Venable’s understated leads seemed dialed in. I’ve said before on these pages that Berry is one of my favorite drummers to spend time watching, and that was still true on this evening. There’s in improvisational quality to his playing that’s in line with the rest of the set; just because you’ve heard him play “Tears Don’t Matter Much” a dozen times doesn’t mean you’ve ever heard him play it the same way more than once. Stubblefield left the stage at one point to get seasick over the side of the boat but somehow didn’t miss a beat holding down the low end (and that’s obviously not true, but it’s an inside joke that only he and probably mu wife will understand and I’m mostly just seeing if he’s reading this). The Nichols solo track “Loving,” penned for his filmmaker brother Mike’s film of the same name, seemed especially fitting as played on what happened to be the eve of an Oscars ceremony for which it was robed of even a nomination. “I Can’t Stand To Leave You” off 2012’s Women & Work was a personal favorite, as it’s the first time I’ve actually heard them play it.

But without question, no song was more poignant and heartfelt than “The War.” Accompanied my the multi-instrumentally talented Rick Steff on accordion, the song finds Nichols telling the stories of his World War II-veteran grandfather’s time as a member of the US Army. Many of those stories were told to Nichols over the years by the very grandmother whose funeral he had just returned from, giving the moment a special, albeit heavy, weight. Heckler aside, the only sour note of the evening was the venue’s hard 10:45pm curfew, meaning the band that’s capable of some fairly long sets had to cut things off at around 90 minutes or so. Nit-picking, I know.

Kicking the evening off at 8:00pm sharp was the mighty Jake La Botz. Very much the quintessential renaissance man, La Botz has been one of the more underrated folk-Americana songwriters in recent memory. He frequently tours solo, though this run opening for Lucero finds La Botz fronting a trio, with Brad Tucker (upright bass) and Phil Leone (drums) serving as the rhythm section, providing a bit of depth and foundation for La Botz’s soulful stories and imaginative guitar riffs to shine. If you’re not familiar with La Botz’s catalog, last year’s Sunnyside is as good a place as any to start, as the tracks featured were particularly well-received by the devout Lucero crowd.

Head below for our full photo gallery from the highly enjoyable evening!



Half Man streams new full-length “Room To Grow”

Austin based acoustic indie folk-punk act Half Man has released his highly anticipated sophomore record titled, Room To Grow. Filled with new perspectives from being on the road, personal hardships, and Texas life, Half Man has given us an 8-track album that will make us think about the people we are and the places that we want to go. Simply put – it is sad but inspiring in every song.

If Americana with a mix of folk-punk is your poison, then this is the album for you. You can stream the full thing below.

Half Man last released The Great Blind Ambition in 2016.



Jason Guy Smiley (acoustic, Florida) announces new album “They Can’t All Be Winners”, streams new track

Jason Guy Smiley, formerly of Midget Fan Club, recently announced a new album titled “They Can’t All Be Winners”, due out March 23. ‘Twice as Tall’, the second track off the album, can be listened to below

This is Smiley’s first release following 2017’s “Boys of Bummer” EP.



Five Minute Major (folk-punk) stream new album “City Of Strangers” (FFO Get Dead)

If you’re a fan of the acoustic folk punk stuff in the vein of Fat Wreck act Get Dead (but on the slightly more mellow side) then here’s a new release that’s worth your time.

Montreal’s Five Minute Major put out “City Of Strangers” in January and you can stream the whole thing below.