New York road warriors The Jukebox Romantics are headed back on tour with their German buds The Sewer Rats in support of their upcoming split singles album out this September on Mad Drunken Monkey Records, Creep Records, and Monster Zero Inc. This special edition 7″ packages up two brand spanking new songs from each band with some really great art by Karl Ranseier. Check out the full schedule with U.S. tour dates below.
Search Results for "Altercation"
Tuesday, July 31, 2018 at 9:26 PM (PST) by forrestcook
Monday, July 16, 2018 at 10:43 AM (PST) by dropkickeith
Kyle Trocolla, who is best known for his work with Two Fisted Law and for his solo folk punk album The Stranger, has now recruited members from Two Fisted Law and Zombii for an alt-country project titled Kyle Trocolla and The Strangers. They are streaming their new album THE Moon USA, a whiskey fueled heartfelt jaunt of aggressive country rock and roll.
Check out the stream below.
Sunday, May 6, 2018 at 12:29 PM (PST) by Johnny X
Drawing inspirations from late 70’s bands such as The Buzzcocks, The Clash, and the Heartbreakers, The Split Seconds deliver strong songs with a raw, energetic, old-school attitude.
Counterfeit Reality is their second album on Altercation and follows their critically acclaimed debut release Center Of Attention which was released in March of 2017.
This week they deliver us a taste of what’s to come with a lyric video for the track “Where Have All The Good Men Gone” which you can enjoy below.
Catch the band on some mid west dates of this years final coast to coast Warped Tour
Wednesday, May 2, 2018 at 8:27 PM (PST) by Murderdingus
Monday, April 23, 2018 at 2:03 PM (PST) by Johnny X
It’s not often, nor are there many venues that host shows that are anywhere near as well organized and shall I say as professionally put together as the one I attended this past Friday at The Court Tavern in New Brunswick New Jersey, where I went to see home town heroes The Hub City Stompers perform with the legendary Ska outfit Bigger Thomas who are celebrating their 30th year this year.
The Court Tavern has gone through some changes over the last couple of decades from being a solid reputable venue for underground music to a weak non caring mismanaged shit hole. Now, once again The Court Tavern is under new management, and it appears that it is returning to its former glory as a very caring home for real music that seems to respect both the artists as well as the customers who come to attend it’s shows.
Upon arrival we heard the sounds of classic old school Ska filtering it’s way up the stairs from the lower level music room, this was being spun by one of two DJ’s –Selecter Judge Knott and DJ Chuck Dat of Steady Sound System who tag teamed one another with all vinyl sets of classic Ska throughout the night between band sets.
The first band to play was hardcore Oi act Damage Done, unfortunately we missed there set I’m sorry to say, but next up was a blistering and angry set by the local Oi band Dusters, who got some of the local crowd worked up and bouncing off one another in the mosh pit. Dusters have some promise, and the band was tight but the Front man was lacking in enthusiasm unfortunately giving their set the lack of the one two punch it needed to really carry the energy being delivered by the rest of the band.
Dusters set ended and more classic Ska was delivered by the DJ’s who did a really remarkable job of setting the mood for the evening.
Next to take the stage was Bigger Thomas, and by this point the room was approaching capacity as front man Roger Apollon who as always was dressed to kill, stepped up to the mic and began slaying us with all our favorite Bigger Thomas tunes getting the crowd skanking like crazy to BT classics like Ska In My Pocket and I Can’t Remember My Name by the end of this set the place was packed and the energy was high.
Hub City Stompers took the stage and kicked it off with a new song called Hub City Stomp which started off slow and cool then erupted into a full fun fast blast of horns and front man’s Reverend T. Sinisters unique vocal stylings, which immediately worked the crowd into a frenzy… after playing a couple more new ones off the bands upcoming 6th full length album Haters Dozen mixed in with many classic fan favorites they brought up Coolie Ranx of The Toasters and The Pilfers, who joined them for another new song entitled Distance Water which they dedicated to the late great Roy Radics of the Rudie Crew who also appears on the recorded version of the song, a couple more songs through the set and the band starts up a Ska cover of Fugazi’s Waiting Room, during which another Ska legend is announced to be in attendance, and who do they bring up on stage next? The Legendary King Django gets up, and Reverend Sinister hands the mic over to him and he spontaneously raps something fantastic that seemed to say something about him having a head cold and the only cure was attending a Hub City Stompers show and receiving some kind of Devine intervention from the good Reverend T. Sinister, at this point Coolie Ranx also returned to the stage and the three of them did a back and forth with one another, all during the constant beat of Waiting Room. This one song was reason enough to come to this amazing show and I am so happy I caught this trio in action.
The set ended with the bands signature Hub City Stompers which is actually an Inspector Seven song written by Sinister twenty years ago before forming HCS and taking the name. There was then the obligatory rush to the merch table as the bands all passed out their sweaty hugs to one another and shared a shot and a beer. Thus another great and forever memorable show night came to an end in New Jersey.
Thank you Court Tavern for being cool once again and putting on a truly memorable night of entertainment. We will return.
Wednesday, April 18, 2018 at 12:01 PM (PST) by liathdavis
The boys are playing tonight in New Orleans at the House of Blues, and then will head off to Houston, TX and beyond.
In addition, any “Sleepwalk Me Home” album purchased between now and the end of the tour will automatically be entered to win a custom Darkhorse/ Jukebox Romantics snare drum. Purchase an album and a chance to win here!
Check out the dates below.
Saturday, April 7, 2018 at 4:05 AM (PST) by Kelly McPunxy
This past Saturday I took a trip down to one of my favorite punk rock dive bars Connie’s Ric Rac which resides in one of my favorite party cities Philadelphia Pennsylvania to catch one of my favorite newer bands The Split Seconds who I had missed at their New Jersey date on Thursday due to work and wasn’t up for the trip to Brooklyn the next night so we hoped in the car and headed down to Philly for a cheesesteak at Pat’s, some beers and some killer punk rock.
I am sorry and a bit ashamed to say I missed the opening act because I hate to be that girl who only shows up for the headliner, and I am also sorry to say the second band on the bill was so weak and unforgettable that I won’t tarnish their name in this review in case they’re still new, and turn out to be great in a year or two. But I will rave, yes rave about the direct support for this show. A new band (For me anyway) who call themselves Riverside Odds.
Riverside Odds killed it, they absolutely killed it with a nonstop barrage of fast aggressive punk tinged rock and roll that would have made Lemmy Kilmister jump to his feet and yell for more. Riverside Odds do Rock & Roll fast and hard with lots of back up whoa oh’s and fist pumping singalongs about drinking, and brawling in their great hometown of Philadelphia. I can’t wait to see these guys again and if you get the chance I say don’t miss it.
Next up was the band we had come for. Washington D.C.s The Split Seconds who I am also happy to say absolutely killed it, which is good because they had a tough act to follow, but follow them they did with an amazing 40 plus minute set of 70’s style raw power, the only glitch was getting the vocals right during the first song but Connie’s sound man was on point and had them sounding sweet before the start of the rest of the set where they played most of our favorites off of last year’s release “Center Of Attention” plus several new songs off this Summers upcoming release, “Counterfeit Reality” and as usual front man Drew Champion looked almost as good as they sounded in his polished boots and button down shirt.
Yes the Split Seconds brought the noise and made the hour plus long drive well worth the trip, and hearing their new songs being previewed at this show was a real treat for us and left me dying to get my hands on the new album out sometime this Summer I believe.
The Split Seconds will be touring with the final cross country Warped Tour this Summer.
New full length Counterfeit Reality will be released on June 8th.
“Hello, we are your punk rock breakfast this morning!” shouted the singer for Mutant Love, and with that yet another Altercation Punk Rock BBQ was underway. I admittedly missed last year’s annual shindig, and was apprehensive about the new venue of Kick Butt Coffee, having grown accustomed to the outdoor fun of The Vortex in previous years. But within a few minutes of Mutant Love’s blistering opening set, any fears quickly evaporated.
Kick Butt Coffee in Austin, Texas is far and away one of the best venues I have been to in the Lone Star State, and Altercation’s move made total sense once I witnessed firsthand the new venue. Two stages meant even more bands rocking the notorious free yearly event, with larger capacity to handle the impressively huge crowd, and some of the most pitch-perfect sound I heard all week during SXSW.
After ML wrapped up I caught a relatively new Austin band called Despero, who did a great job at channeling Avail-inspired melodic hardcore. I had heard good things about this four piece after some pals saw them at Fest last year, and they more than lived up to the hype. Steadfast from Houston then delivered some blue-collar punk on the Sausage Stage, followed by the snazzy suit-wearing Mr. Lewis and the Funeral 5. Mr. Lewis was all swagger and whiskey, calling to mind Nick Cave’s Bad Seeds on a bender, and by the time they finished their set I decided it was time for some quick sunlight and free brisket outside.
The Altercation BBQ has always been a top draw during the SXSW-fueled March madness, but this year the turnout was downright nuts. Fortunately, the brisket and free beer was in large supply, and a local company called Elgin Screenprinting provided some really cool print-on-demand festival shirts in the parking lot. Returning for seconds on the food meant I missed most of Fat By The Gallon and Memphis power duo HEELS, although if the crowd roar is any indication they definitely were both a favorite. I even heard rumor that Altercation Records co-owner JT hopped onstage to shred vocals for a tune, but can neither confirm nor deny this. I am pretty sure that was him running around as the ‘Devil Chef’ for part of the day though, much to the delight and horror of the younger fans.
Dr. Beardface and the Space Man from Philly had the crowd dancing from note one, and mentioned they will be on some Warped Tour dates this summer, before Blag from the legendary Dwarves showed up for his lone solo set of the weekend. Blag’s banter was hilarious, and the setlist was a Dwarves’ fan dream, ripping through ‘Let Me Show You How It’s Done’, ‘Trailer Trash’ and an assortment of other hits.
Nowherebound, which I’m told features former members of Altercation Records band Born To Lose, had the unenviable position of following Blag, but came out guns blazing. Any fan of working class punk like Darkbuster or Street Dogs would be well to search these guys out, who also had the best looking vinyl I saw all day. The Grizzly Band from Houston channeled Lucero-style country-tinged jams, and while I was unfamiliar with some of the newer songs they played the band was clearly a crowd favorite.
The Fantastic Plastics from Chicago had the most ‘buzz’ I heard all day, and I was honestly wondering what to expect of the guy in the giant white ‘fro wig and the gal in the B-52’s-inspired art-deco dress. Consider me a new FP believer. This duo absolutely owned the stage, complete with a sensory-overload live show of lights and projected images. If you at all like the White Stripes or Devo, the Fantastic Plastics are your new wet dream. Seriously, believe the hype and seek them out.
Punks On Parade, another Austin band I was unfamiliar with, closed out the show with their last set ever (or so it was announced). I was not expecting too much, since the band looked like many of the typical ‘up the punx’ mohawk outfits that seem to be everywhere these days. Shame on me, because it quickly became apparent that Punks On Parade were the real deal. Think ‘Let’s Go’-era Rancid songwriting, with a bass player and drummer that were unbelievably tight considering the lightning speed of the street anthems. The pit truly opened up for these Punks, giving them a proper sendoff and making me feel both sad and lucky to have seen their final show. All in all yet another epic year. How Altercation will top it in 2019 is anyone’s guess, but I know I’ll do my best to never miss another year going forward.
– Chloe Garcia
Thursday, March 15, 2018 at 12:10 PM (PST) by nkernell
The Jukebox Romantics’ last release “Sleepwalk Me Home” came in late 2017 via Paper + Plastick Records.
Tuesday, February 13, 2018 at 9:49 AM (PST) by Goldfinger
This is the first new album from Hub City Stompers since the January 2015 release of “Life After Death”.
Check out the track “Hey Ed” from “Life After Death” below.
Monday, February 12, 2018 at 2:52 PM (PST) by Mike Scott
You can watch the video below.
Tuesday, February 6, 2018 at 1:40 PM (PST) by The Torchbearer
Philadelphia rock band Dr. Beardface and the Spaceman have released a video for “Coded.”
You can check it out below.
“Coded” comes from the bands’ latest album, Here For The Scraps, which was released in 2017 via Altercation Records.
Tuesday, December 12, 2017 at 12:40 PM (PST) by The Torchbearer
Washington DC pop punks The Split Seconds have released a video for “If I Was You.”
You can check it out below.
“If I Was You” comes from the bands’ latest album, Center Of Attention, which was released back in March via Altercation Records.
Thursday, November 9, 2017 at 12:00 PM (PST) by jaystone
Before I go too deep into the abyss here, allow me to preface this piece by explaining, perhaps unnecessarily, that the thoughts that follow are mine. I don’t pretend to speak for anyone else on the Dying Scene staff, past, present or future.
With that out of the way, I’m going to do a bit of stating of the obvious for a second; shit, right now, is pretty fucked. The catalyst for this piece, as you might have guessed by now, is the lead up to — and fallout from — whatever took place on the Barb Wire Dolls/Svetlanas/57 tour last week that resulted in two of the three international bands jettisoning that tour just after the halfway mark. I thought it was important to clarify a few points from the initial story that broke, to shut down a few of the more quantum leaps that have been made about what happened, and to expound on a few of the points that I made personally that I think are particularly salient but that might have been lost in the noise.
Dying Scene was not present at Jewel Nightclub in Manchester, New Hampshire, last Friday when the aforementioned tour rolled through. I, myself, was present the night before in Somerville, MA, where the photo gallery you may have seen on these pages came from. (Another writer was present at, and took pictures at, an earlier show on tour.) I interacted positively with members of all three touring bands, and saw them interacting positively with one another (including Svetlanas’ drummer Diste and Barb Wire Dolls’ drummer, Crash, collaborating to help fix a broken kick drum). I enjoyed the hell out of the show. I can – and did – attest personally to the passion that both bands have for their own respective music, as both bands play just as intense whether they’re in front of a crowd of 50, 500, or 5,000. I can attest personally to how passionately Barb Wire Dolls, Svetlanas, and 57, the latter of whom totally caught me by surprise, believe in their product and their music. Based on how the night went, I strongly contemplated heading north the following evening for the show in Manchester, my old stomping grounds. In hindsight, I wish I had gone; not because I could have done anything to fix the situation that I certainly didn’t see coming, but at least to accurately quantify what did, and did not, happen.
According to statements made by both Svetlanas and Barb Wire Dolls as bands and by their individual members, there seems to be consensus that there was an individual that was wearing, at least, an SS skull patch, in addition to what seems to have been an anti-Communist back patch. Again, members of both bands seem to be at odds about a lot in the last few days, obviously, but at least seem to be in agreement about that. Both bands also seem to be in agreement that death threats were made by this individual toward Svetlanas and toward 57 following a confrontation at the show. I wasn’t there, nor were the vast majority of people reading these words. But, statements released by members of both bands who were present seem to support those facts.
I made a comment in the story I posted over the weekend that I was saddened, but not surprised, that an individual wearing an SS skull patch would show up to a show in New Hampshire. I’m not surprised, because I’ve seen it before. Not at Jewel, to be sure, as I’ve never been there. Traditionally, the show calendar at Jewel has trended to the more metal end of the spectrum, which isn’t my personal cup of tea, so I haven’t had the occasion to go. I don’t think that Jewel is a hotbed of Nazi-related activity by any stretch of the imagination. I’ve never heard rumors to the effect that such individuals hang out there, and in fact the word on the street about the place has been increasingly positive since they changed management a while back. I don’t pretend to know the identity of the patch-wearer and subsequent threat-maker in question, and by all accounts, it was an isolated, unfortunate incident that snowballed for myriad reasons. The vitriol in the comment sections here and elsewhere on the internet — I know, I know…don’t read the comments — ran the gamut from praising one band, excoriating the other (and of course vice versa), calling them fake punk, calling Svetlanas fake Russian (is that a thing) and stating that Dying Scene was going to get rolled if we continue support Commies. Gotta admit, I’m still a bit flummoxed by that last one. And all of it — all of it — misses the point.
No, I said that I was saddened by not surprised because I’ve seen it before in other places, and in other isolated incidents. The swastika spray-painted on the synagogue that family friends in my hometown in southern New Hampshire worshipped in when we were kids were isolated incidents. The racist graffiti that would get scrawled in the dugouts of the Babe Ruth League dugouts we played in from time to time were isolated incidents. The racist graffiti scrawled on the side of a memorial to two of the first professional African-American baseball players in my old hometown was an isolated incident. The Nazi graffiti found on college campuses in Keene and Durham in recent years were isolated incidents. The racist graffiti scrawled across various locations in Concord a few years ago by a local tattoo shop owner were isolated incidents. The individuals that I’ve seen – with my own eyes – walking downtown Manchester with swastika patches, or the incident of racial hatred and subsequent retaliation by fairly well-known anti-racist group that I witnessed outside now-defunct venue in Portsmouth were isolated incidents.
You know what else were isolated incidents? Boosie Badazz last weekend. The church in Texas last weekend. Las Vegas a month ago. New York City a couple weeks ago. The Pulse in Orlando. San Bernadino. Aurora. Sandy Hook. Virginia Tech. The Bataclan. The Ariana Grande show. Dimebag Darrell. They were all isolated incidents. They all happened in places that people are supposed to feel safe and to find solace from the day-to-day bullshit that we all deal with for however long we’re lucky enough to actually be alive and a part of this planet; concerts, schools, churches, movie theaters, shopping malls. The frequency with which events like those above and countless others have occurred with has left some of us – many of us – feeling desensitized; saddened but not surprised.
We tread into murky waters sometimes in the punk rock world because, at the core, the scene is rebellious, especially in the northeast; let’s not forget that some people’s patron saint of all things punk rock, GG Allin, was not coincidentally born and subsequently laid to rest in New Hampshire. It’s a home for the homeless, a beacon for those who feel disenfranchised. It’s confrontational. It encourages you to fuck authority and confront bullshit and question the answers. Hell, one of the things I praised about the Svetlanas gig in Somerville last night was how aggressive and brazenly in-your-face Olga is. That’s part of the draw, and part of what makes them the most “dangerous band in punk,” just like it was part of the draw to have a Korean band and an outspoken ex-Russian band touring the USA – Donald Trump’s USA – with a band formed by natives of Greece. Confrontation and provocation are not uncommonly part of the deal, and that’s fine.
So if a band or any of its members or an audience member or a club owner or a movie theater patron or a church patron feels a little spooked by somebody or something at the place they go – we all go – to find solace and support and shut off the outside world for a while, that’s important, and it’s valid and for god’s sake it happens all the time in all walks of life, and so you can’t blame them anyone for getting spooked.
Look, gang; we’re all in this together – showgoers, band members, promoters, club owners, photographers, soundboard operators, stage crew, bartenders, coat check staff. We have an obligation to stand up to hatred, bigotry, racism, sexism, homophobia. We have an obligation to look after each other and to take care of each other and to keep giving voice to the voiceless and hope to the hopeless and to be a beacon for the disenfranchised. We have to talk to each other and listen to each other and more importantly go to bat for each other by speaking the fuck up and shining a light on the intolerant bullshit. That’s the only way this all works. Shit’s fucked, but it doesn’t have to be.
Peace and love
Sunday, November 5, 2017 at 12:55 PM (PST) by jaystone
So as you may have picked up on if you checked out our photo gallery from the Barb Wire Dolls headline show in Somerville the other night, that show turned out to be the last night the Greek rockers would be joined on the road by Russian ex-pats Svetlanas and South Korean duo 57.
The night after the show Somerville, MA, the tour made it’s way up Interstate 93 to Manchester, NH. Details from what happened after are still in the “emerging” phase, but it seems a Granite Stater proudly wearing Nazi paraphernalia made his way out to the show. Svetlanas tried to get the staff at the venue, Jewel Nightclub, to take action, and when they failed to do so, the band refused to play. Here’s the statement the band made via social media at the time:
WE DON’T TOLLERATE NAZI PEOPLE AT ANY SVETLANAS SHOW.
For this reason we just cancelled tonight show at Jewel Night Club in Manchester, NH.
Any venue’s owner / promoter hosting a punk show it’s fully responsible for the presence of people wearing nazi symbols of any kind and any band should take a position. We did it.
KEEP IT REAL
From there, things seem to have devolved between the international touring partners. Due what they felt was a lack of support from the headlining Barb Wire Dolls, Svetlanas chose to drop off the remaining twenty dates of this lengthy US tour. Again from the band via social media:
TOUR IS OVER
After the recent events, the countless pubblic and private death threats posts and not receiving, one more time, the support we need from the band we are touring with that refuses to take a clear stand against nazism, WE ARE FORCED to stop this US tour for deep and unresolvible devergences.
We apologize with our fans and supporters but we do have to keep a clear position against ANY kind of violence and discrimination.
Go back to school to learn history kids.
This is SVETLANAS and if you don’t like it GO FUCK YOU SELF
Barb Wire Dolls played in Manchester as scheduled and played again last night in Providence, Rhode Island, as their forty-date tour winds its way south, eventually circling back to Los Angeles. In the early hours of this morning, they released the following statement about the events that followed the Manchester incident that culminated in both Svetlanas AND 57 dropping off the tour:
ANNOUNCEMENT: In the last 7 years we’ve played hundreds and hundreds of shows in lots of countries and we’ve never had any issue with discrimination or hate at our shows…until last night. Let it be known that we don’t tolerate discrimination or hate at our shows because we’re all about sharing the music with good loving vibrations. We’re very saddened to hear that both supporting bands, SVETLANAS and 57, have left the tour as of tonight because of circumstances that happened at last night’s show that involved discrimination and hate from someone we don’t know who attended the show, and because we were contracted to play the show, we still did. We’re very sorry that we didn’t back up the Svetlanas as they told us that we should cancel the show and leave, but at that time we were given false information from others at the venue and not until the today did we find out the full truth…but thats no excuse. We apologize to them. We wish both bands the best and all of our remaining shows will go on as usual – and we’re doing our best to spread more love into this world. It needs it now more than ever.
In order to clarify their point — that it wasn’t just about the Nazi that showed up in Manchester but about the lack of support they felt from their headlining tourmates, Olga Svetlanas and crew posted the following statement about an hour ago:
Reading all these comments and understanding the meaning of our post is being modified or misinterpreted we think it’s time to make it even more clear.
The main reason for us to stop this tour is:
We don’t want and can’t continue to support on or off the stage a band that after a long face to face talk says everyone including nazis are welcome at their show and that an SS skull patch is just an opinion.
We have found many divergences with Barb Wire Dolls during this tour but this is the highest reachable level for us and we cannot accept it.
Their subsequent excuses looks like a pathetic trying to hide the dirt under the carpet and we are glad to announce the S.Korean band 57 decided to leave this ambiguous tour as well.
For better or worse, this story hits fairly close to home for some of us here at Dying Scene, especially yours truly. Obviously we’ve seen and shot both Barb Wire Dolls and Svetlanas a bunch over the years and have gotten to know some members of both bands in person and over social media in the recent past. We were also obviously present at what turned out to be their last show together. But more than that, I was born and raised in southern New Hampshire. I spent years working my day job in Manchester, a stone’s throw from the Jewel Nightclub. I started my show-going career as a New Hampshire-ite (rest in peace The Elvis Room), and I’ve gotten to know some of the people trying to reignite some semblance of a scene in the Granite State. I still return there for shows as much as I can. To say that I’m surprised that a Nazi-adorned show-goer would show up to a club in Manchester, or anywhere else in New Hampshire frankly, would be a lie; I’m saddened, but not surprised, for reasons that I won’t go into now.
It’s 2017. Nazis shouldn’t be a thing. Nazi apologists shouldn’t be a thing. Creating a safe space for hatred at shows because there are “good people on both sides” shouldn’t be a thing. We’ve literally fought wars about this…like three-quarters of a century ago. As shitty as it is for Svetlanas and 57 to have had to deal with, props to both bands for taking a stand. More on this as it develops.
(Editor’s note: All statements are copied directly from each respective band’s social media platforms.)