Search Results for "Fat Wreck Chords"

Teenage Bottlerocket announce new 7″

Wyoming pop-punks Teenage Bottlerocket have announced a new 7″ to coincide with their covers album. It’s called Goin’ Back to Wyo, and it features two brand new, original TBR songs.

Like Stealing the Covers, the 7″ will release on July 14th through Fat Wreck Chords. Pre-orders for both releases went up today and are available here and here, respectively.



The Bombpops and The Fuck Off and Dies announce west coast tour

The Bombpops and The Fuck Off and Dies will be touring the west coast in August.

The Bombpops latest album, “Fear of Missing Out” was released back in February, and The Fuck off And Dies’ “Dear Liver” came out in 2015.

Check out the dates below and if you’re on the west coast, I hate you.



Bad Cop / Bad Cop stream “Retrograde” from upcoming album “Warriors”

Bad Cop / Bad Cop have unleashed yet another song from their next album, “Warriors,” due out on June 16th from Fat Wreck.

Bad Cop / Bad Cop will be along for Warped Tour this summer.

You can hear the song your own lovely self over at Brooklyn Vegan. While you’re there, see Stacey Dee’s words regarding “Retrograde,” and check out the Warped Tour dates if you want to see them live.



Fat Wreck to release No Use For a Name covers compilation

Everyone (that’s awesome) knows that there is no such thing as too much No Use For a Name. Fat Wreck has assembled a 13 track compilation of the band’s covers that were recorded between 1996 and 2005. Bands covered include Social Distortion, The Misfits, The Vapors, The Pogues, KISS, and naturally, the theme from “The Munsters.”

The album will be released on August 11th on CD, vinyl, and digital.

Depeche Mode, Sublime, Cheap Trick, and showtunes: covers on this album, or my playlist while crying myself to sleep with my cats after a six pack alone on a Saturday night? Check out the track list here to find out!



The Bombpops perform “F.O.M.O.” on Live From The Rock Room

San Diego pop-punks The Bombpops recently performed their song “F.O.M.O.” on Live From The Rock Room.

You can check out the video below.

“F.O.M.O.” comes from the bands latest album, Fear of Missing Out, which was released on February 10th through Fat Wreck Chords.



Banner Pilot “slowly” working on new music

We’ve heard very little from Banner Pilot since they announced plans to record a new album two years ago. But according to a recent post on the band’s Facebook page, they have begun “slowly” working on new music once again and will be playing some shows soon.

We’ll keep you posted as more details come to light on Banner Pilot’s plans for 2017 and beyond. The band’s last album Souvenir was released in 2014 through Fat Wreck Chords.



Frenzal Rhomb stream new album “Hi-Vis High Tea” in its entirety

Australian skate punk veterans Frenzal Rhomb have made their long-awaited new album Hi-Vis High Tea available to stream. You can give the record a listen below.

Hi-Vis High Tea was released today, May 26th, through Fat Wreck Chords. It is the band’s first new album in six years, following 2011’s Smoko At The Pet Food Factory.



DS Interview: Trever Keith opens up on “Protection,” rejoining Fat Wreck, and Face To Face’s Econo-Live ’17 tour

As I write this, the East Coast leg of Face To Face‘s Econo-Live ’17 tour had just came to a close, and the band will have a little over a week off before round two kicks off in Salt Lake City (dates here). The tour marks their first lengthy string of dates in the US in the more than fourteen months since the release of their latest album, Protection, which itself marked the band’s triumphant release to their former label home, Fat Wreck Chords. We’ve caught up with Face To Face’s founding frontman Trever Keith on numerous occasions throughout the years, but last week in Boston (well, Somerville, but close enough) marked the first time we sat down for an in-depth, face-to-face (pun obviously intended) chat about the current state of things in the legendary SoCal punk rocker’s camp. Suffice it to say, we had a lot to talk about.

If you’re not familiar with the Econo-Live ’17 tour, allow us to catch you up to speed. If we rewind the tape Face To Face Band History tape a couple of decades, we’ll come to their initial Econo-Live tour in 1996, a quick run of shows in which the band packed into a van and played a handful of smaller clubs around the country. The project was recorded at various stops along the way and turned into the now highly-sought-after Econo-Live EP. Given that we just rounded the corner on twenty years since the original, it seemed to Keith to be a good time to dust off those particular cobwebs and try it again in a way that seems equal parts fresh and familiar. “When you’re a kid,” says Keith with more than a little youthful exuberance still in his voice, “you’re just like “I just want to play shows! I don’t care! I’ll play every night!” After you’ve been doing it for a while –  we want to play shows that matter.” Between the increased amount of entertainment options and the increasing responsibilities that come along with being a forty-something punk rock fan (never mind bandmate), it’s an understatement to note that the live music scene circa 2017 is a bit of a different animal than it was in 1992. “We want to be more strategic about when and where we play and make sure that it’s something that is going to be an event that will get 40-somethings off the couch! (*both laugh*) I’m guilty of the same thing for bands I love. You’ve got to do something that’s a little bit above and beyond, so if you don’t have the package, you do something like we did here.

The package he’s referring to is a VIP experience that more and more bands have been incorporating in recent years. Specifically in this case, the tour combines some of the ideas that were represented by a few limited-run Face To Face tours over the last couple of years that a majority of their fan base clamored for a chance to experience: their acoustic Ignorance Is Bliss set, and their “Triple Crown” shows that highlighted the band’s immensely popular first three studio albums. In addition to a meet-and-greet and autograph session, each of these shows finds the four-piece playing an eight- or nine-song acoustic pre-set before doors open to the general public. The results have been positive, particularly among the band’s dedicated fanbase, which maintains an ever-growing online presence through a closed Facebook group maintained by a small handful of hardcore, longtime fans and collectors. That’s an amazing thing,” Keith comments, with genuine appreciation in his tone. “It’s totally taken on a life of its own, no credit to us. We’re thrilled that there’s such a supportive, tight-knit community of Face To Face fans and collectors. Jack (Cohenour) has been great, and some of the other people like Jessica (Sakolinsky, who also co-runs the Mable Syndrome podcast) are people that run that thing day-to-day and organize events. It’s really, really cool.”

“Really, really cool” also seems to sum up the general consensus concerning not only the band’s latest album, Protection, but their return to Fat Wreck Chords after an extended period of time bouncing between labels of various shapes and sizes. Being on a label — almost any label — in 2017 doesn’t necessarily mean the same thing that it used two a quarter-century ago when Face To Face first appeared on Fat. So what does their return mean now? “It means one thing and one thing only: it means community,” says an emphatic Keith. “That’s something that we missed by hopping around from label to label.” Going the “major label” route could have spelled the kiss of death for the band in the long-term, though their seemingly never-ending label purgatory seems admirable in hindsight, as it kept the band playing by their own, internal set of rules. “All the old punk rockers said “don’t go to a major label! You’re going to sell out! They’re going to fuck you!” explains Keith, quickly adding “I had to learn that for myself. I wasn’t going to listen to anybody and take their word for it!

As you might imagine, the band changed their own way of doing things yet again on Protection. Due to Keith residing in Nashville at the time that writing was taking place, he and Shiflett wrote and demoed largely on their own, the latter from his Los Angeles home, before coming together briefly to put ideas together. If you’ve spent any time with Keith and Shiflett, together or independently, you’re probably familiar with how their personalities differ. Those differences, of course, balance out the songwriting process: “(Shiflett) will write a seven-minute song, and I’ll write like a one-and-a-half minute song. We’re kind of opposites that way. I need him to come in on my ideas a lot and write a middle eight or a bridge or even flesh out a pre-chorus or a chorus more. I’m like, super economical to a fault, where the songs can be a little too boring, and Scott comes in and adds a little bit of that sauce and some of that flavor and a little bit more depth. And with him sometimes, he’ll just demo with no filter. I think he wrote maybe twenty-eight or thirty songs for Protection!

For years, Keith and bassist Scott Shiflett were not only the primary writing team, but manned the lion’s share of production duties as well. On Protection, they took a different route, choosing to work with Descendents’ drummer and long-time punk rock producer extraordinaire Bill Stevenson at his Blasting Room studio in Fort Collins, Colorado, for the first time. “Bill is super talented,” says Keith with noted reverence for the backbone of one of his own long-time favorite bands. “He just hears these pop melodies and pop arrangements, and it’s good to have someone outside the band who can trim the fat.”

Keith and I (and, at times, Shiflett) covered a lot of ground during our chat, including some fascinating “Inside Baseball” type information surrounding the record labels they bounced between in the first half of their career as a band. Head below to check out our full discussion!

 



Frenzal Rhomb stream “Classic Pervert” ahead of album release

Legends of Aussie punk rock, Frenzal Rhomb, are streaming a tune off their latest record, ahead of its full release in less than a week. “Classic Pervert” will feature on Hi-Vis High Tea which will be the ninth studio album from the group.

If you can’t wait for the record’s proper release, you can listen to “Classic Pervert” below.



Teenage Bottlerocket premiere track from upcoming covers album

Wyoming pop-punks Teenage Bottlerocket are streaming a track from their upcoming album Stealing the Covers. It’s a cover of fellow Laramie, WY band Sprocket Nova’s song “Robocop is a Halfbreed Sellout”. Check it out below.

Stealing the Covers is set to release on July 14th through Fat Wreck Chords. TBR last released Tales from Wyoming in 2015 on Rise Records.



The Flatliners announce east coast tour with PKEW PKEW PKEW and Garret Dale (Red City Radio)

Toronto’s The Flatliners recently announced a set of East Coast tour dates around the US. They will be accompanied by fellow Toronto punks PKEW PKEW PKEW and Oklahoma City’s Garret Dale (Red City Radio). The tour will begin in Buffalo NY on July 7th and will come to its end in Philadelphia, PA on July 17th.

You can view a full list of dates and locations below.



Me First And The Gimme Gimmes added to the It’s Not Dead Fest 2

As if a lineup featuring Rancid, Dropkick Murphys, Reagan Youth and the Voodoo Glow Skulls wasn’t enough of a reason to attend, the It’s Not Dead festival has added punk rock’s favorite cover band, Me First And The Gimme Gimmes.

The festival date is August 26th, at the Glen Helen Festival Grounds in sunny San Bernardino, California. This years lineup is packed full of classic punk rock bands, an art festival, and a punk rock swap meet. Yet another reason I wish I lived in California.

Any punker west of the Mississippi has no excuse to miss this bad ass experience, with an extremely reasonable 42 dollar ticket price. Get your tickets here.

Any favorites on this years lineup? Anybody bringing some vintage swag they want to swap around?



The Dirty Nil – ‘Minimum R&B’

Since the birth of punk, numerous fledgling bands have learnt their craft through the release of limited edition 7” and EPs. In this, the internet age, platforms such as bandcamp have made it fundamentally easier and more economically viable for bands and smaller labels to release these offerings and gradually build a following before launching into the critical and commercial minefield that is releasing your debut album. This is exactly the path followed by Canadian rockers, The Dirty Nil. Their phenomenal debut album Higher Power was the culmination of everything they had learnt from five years of recording and, for many, it was their first introduction to a band who are quickly forging a reputation as one of the most exciting rock bands around. Thankfully, Dine Alone and Fat Wreck Chords have joined together to offer a fascinating insight into the creative growth of the band by releasing this compilation of all of their 7”s and EPs to date. Now those who have had their appetite whetted by Higher Power  can take a trip through their history to find a band who, from the very beginning, have been making nose-bleed inducing, scuffed up, perfect slacker anthems.

Debut single “Fucking Up Young” saw the band come out swinging with a thrillingly raw and infectious single that has to rank as one of the best debut singles of the modern era. The bare bones production and the rough and ready scuzzy guitars are refreshingly gritty and authentic, coming across like an old, dusty artifact of the band’s origins. It perfectly captures that moment in time where the band threw themselves into what (for all they knew) could have been their only shot at cutting a single. The band hadn’t had to time to overthink things, just plug in and play. It helps that their sound had already been honed through years of touring as the take sounds live with stop-start, wigged out guitars and short sharp bursts of percussion. The B-side from the single “Verona Lung” is a similarly spiky, unpolished gem of an alt-rock song which combines the deceptive simplicity of Pixies and the vulnerable howl of Rivers Cuomo.

Next up comes “Little Metal Baby Fist” and “Hate is a Stone” from their “Little Baby Fist” EP – “Little Baby Fist” blends together equal parts Husker Du, The Replacements and Fugazi to leave an uncompromising, explosive punk song with a hook you could hang a T-Rex from. Their 2014 7”, “Cinnamon” b/w “Guided By Vices”, their first for Fat Wreck Chords, has a grungier feel but is anything but derivative, coming across like a lost Nirvana cover of the Vaselines from their Incesticide album. “Guided by Vices” in particular has a riff that could instantly oxygenate your blood as the band coil a classic rock n roll riff into an incendiary ball of noise.

“Nicotine”, “Beat”, “New Flesh” and “Pale Blue” all come from 2014’s “Smite” EP. “Nicotine” distorts a standard blues shuffle  while“Beat” kicks in the door, taking the classic punk sound of The Damned and views it through the prism of 80’s DC Hardcore. “New Flesh” shows a more hardcore side to the band with the band kneeling at the altar of hardcore legends Minor Threat. Original bass player Dave Nardi takes over vocal duties to scream himself inside out as the band pummel through a full throttle slab of abrasive, caustic hardcore. Closer “Caroline” is a mid-tempo waltz which sees the band combine their sound with classic 60s melodies. It builds to a swirling whirl of biting guitars with singer Luke Bentham howling and lamenting through the din.
This compilation acts as the perfect introduction for those taken in by their hook-laden, riff-heavy, fiery debut and are thirsty for more. It’s an exhilarating flick through their discography to date and after repeated listening it doesn’t feel so much a compilation as an early greatest hits record.

4.5/5 Stars



DS Photo Galley: Face To Face and Lost In Society (Somerville, MA)

On a personal note, the release Face To Face‘s last album was a bit of a big deal. Not only did it mark the seminal SoCal punk band’s triumphant return to their previous label home, Fat Wreck Chords, but as we all know, new albums are typically followed by new tours, and Face To Face have long been one of the premier live bands in the business. It may have taken a little bit longer than was initially hoped, but May 2017 finally brought us the Econolive 2017 tour, which featured the band pulling double duty; an acoustic set for VIP ticket-holders in the early evening, followed by the normal fully plugged-n main set that has been the band’s bread and butter over the decades. We caught the show at the Once Ballroom in Somerville, Massachusetts, last Friday, and we’re pretty sure it’ll rank as one of the best shows we catch in any venue this year.

In many ways, the VIP pre-set is a tip-of-the-cap to the fans who missed out on the acoustic Ignorance Is Bliss shows that Face To Face’s Trever Keith and Scott Shiflett put on five years ago. The duo didn’t play too many dates on those small runs, leaving a large number of long-time fans clamoring for a chance to catch the increasingly respected album played in such a stripped down format. For the Econolive ’17 dates, Keith and Shiflett are joined by their bandmates Danny Thompson (drums) and Dennis Hill (guitar) for a more filled-out performance that included not only songs from Ignorance… but a handful of reworked tracks that might otherwise appear in the band’s main set on a normal night. Longtime crowd favorites “Don’t Turn Away” and “1000x” made appearances in the stripped down set, alongside a varied collection from fairly deep in the catalog, like “Everyone Hates A No It All,” Protection track “Keep Your Chin Up,” and INXS’s “Don’t Change,” a track that Face To Face originally covered on their 1999 album Standards & Practices. This portion of the evening was open to a couple dozen people who dropped extra money for the VIP experience, and it the intimate nature and unique song selection genuinely equated to a special experience.

Doors opened to the main show shortly after the completion of the acoustic set, and not long before Lost In Society took the stage. The Jersey-based band jumped on the Face To Face tour for four northeast dates before heading west on a three-week US tour of their own. The typically three-piece punk band are aggressive, at times even ferocious, playing a raw style that hearkens back to the early 90’s alternative movement; Mudhoney or Nirvana or Screaming Trees are fair comparisons from a sonic perspective. They were joined on stage by The Scandals’ Jared Hart on second guitar for the last half of the set, further filling out the sound and allowing frontman Zack Moyle to perform the last couple songs on vocals only, baring more than a passing resemblance to Strung Out’s Jason Cruz’s level of intensity. (The band have a new, Pete Steinkopf-produced EP available here.)

Face To Face’s main set was among the best, most energetic I’ve seen them play in the greater Boston area in a solid decade. The Boston market can be a bit of a rapidly-cycling bipolar one at times, resulting in a weird phenomenon in which the same band can receive categorically opposite reactions on consecutive times through the area. Perhaps due to the fact that it had been almost four years since their last appearance in the greater Boston area (no, Providence doesn’t count), perhaps due to the fact that Protection has been the band’s best-received album probably since 2002’s How To Ruin Anything (if not even earlier), the old punks were out in full-force on this rainy, unseasonably cool Friday Boston evening.

The band kicked off their headline, fully plugged-in set with “You Lied,” met by an eager response from a fired-up crowd. From that point forward, band and crowd performed in perfectly symbiotic fashion, each seeming to provide the fuel for the other’s engine. Like the acoustic set before it, the main set was a pretty representative cross-section of the band’s discography, with only the band’s 2013 album Three Chords And A Half Truth serving as the only album not featured on the evening. The sixteen song main set was effectively broken down into four-song quarters, each featuring a track from Protection nestled in amongst tracks from the more classic catalog, particularly those from the “Triple Crown” albums (Don’t Turn Away, Big Choice and the self-titled 1996 full-length). Tracks like “Double Crossed,” “Say What You Want” and “I Won’t Say I’m Sorry” seemed right at home alongside long-time crowd favorites like “Pastel” and “Ordinary” and “Blind.”

The band took the makeshift stage in the ballroom for a two song encore that consisted of their cover of the Descendents’ track “Bikeage” and, of course, their biggest single, “Disconnected.” Like the remainder of the band’s set, the last two songs found the venue’s dance floor (not unlike that found at your local wedding banquet hall) converted into the closest thing you’ll find to a circle pit in the New England region, and it legitimately seemed like both the quartet and the crowd were energized enough to continue well into the early hours of the morning with no signs of slowing down. It can sometimes take a lot for the old timey punks to step away from the couch and the Netflix to head to a show nowadays (more on that in our upcoming sit-down with F2F front man Trever Keith in the next couple of days), but if the Econolive ’17 tour is any indication, it’s well worth the effort.

Check out our full photo gallery below!



Face To Face perform live acoustic session

Face to Face recently performed a live, acoustic studio session for Paste Magazine. The 20 minute video is a mixture of songs and interviews, with the band playing renditions of “A-OK”, “Burden”, and “Keep Your Chin Up”.

You can watch the full performance on the Paste website.