Search Results for "Folk"

Cory Branan (feat Dave Hause) streams politically charged ‘Another Nightmare In America’

I’d usually say, anything Dave Hause touches is pure gold, but that would seriously sell Cory Branan short on this one. The Richmond, Virginia-based singer/songwriter extraordinaire took on social injustice and police brutality beautifully in his new song ‘Another Nightmare In America‘ whilst The Loved Ones frontman came in more to give the track some extra layers.

‘Another Nightmare In America’ is one of the singles from Branan’s upcoming album ‘ADIOS’. You can give it a spin here.



Condition Oakland announces third full length ‘Burial Grounds’

Ashland, PA’s Condition Oakland has announced its third full length. ‘Burial Grounds’ is set to be released on March 18th via No Less Records. You can head over to the label’s website here to stream new song ‘Welcome To Hell (3498)‘.

The band released its last EP ‘Nervous Ghost’ in 2015.



Davey Dynamite (DS Records) releases “Holy Shit” on cassette, announces record release shows

If you somehow missed it a few months ago, Chicago folk-punk artist Davey Dynamite digitally released “Holy Shit”, one of the best punk albums of 2016, in December – stream it or download it for free below if you don’t believe me. Now its time for you physical release collectors to get yours in the form of cassette or vinyl.

You can order “Holy Shit” on tape through No Time Records and pick yourself up a vinyl copy through Don’t Panic Records & Distro.

As if that wasn’t exciting enough, Davey has just announced two vinyl release shows in the Chicago area:

Friday March 17th, at The House Cafe in DeKalb, IL
Saturday March 25th, at Suplex City (house show) in Chicago, IL

If you’re new to Davey Dynamite he is as political as he is emotional and one might say he is the folk-gone-electric lineage of O Pioneers! and Against Me! born anew in the vein of Chicago punk rock. “Holy Shit” is his first fully-plugged in album and it was released digitally through our very own Dying Scene Records on December 20th.



Early Riser premieres video for “The Nevers” (Feat Jeff Rosenstock & Chris Gethard)

Folk punk ensemble Early Riser released its first music video ever. “The Nevers” features cameos from Chris Gethard, Jeff Rosenstock, Mikey Erg and Hallie Bulleit.

It also serves as the announcement for their debut album, ‘Currents‘, which will be a co-release by Anchorless Records and A-F Records. Expected release date is late spring/early summer.

Check out the video below.



Al Scorch releases weirdest music video for the best folk-punk song you’ll hear all year “Everybody Out”

I must admit I hadn’t heard of Chicago bred, “intrepid songwriter and lightning-fingered banjoist/guitarist” Al Scorch until a press release for his new music video hit the DS inbox. Dutifully clicking play despite the off-putting press photo that accompanied the announcement, I stumbled on to what I’m sure will be my favorite folk-punk song discovery of the entire year.

“Everybody Out” is a cut from Scorch’s most recent album “Circle Round The Signs” released last May on Bloodshot Records, and I have no idea what is going on in its freakishly bizarre music video but I don’t care. The song is f’ing awesome and I just bought the entire album sight unseen because of it.

Scorch says this about the video:

“Coming from a community of punks, queers, puppeteers, and activists, I’ve never felt totally comfortable in the folk/country/Americana realm. Folks have been really welcoming, though, and while some of the audiences — and other musicians for that matter — might have more traditional views and lifestyles, I’ve met a lot of people who are willing to consider and question and have conversations. As artists, we can’t be afraid to challenge people right now; it’s more important than ever.”

Check out the music video for “Everybody Out” below. When its done I suggest just listening to the song one more time without the video. If you don’t fall in love with it, you’re not a fan of any banjo infused folk-punk.



Skinny Lister premiere music video for song “Injuries”, announce US tour with Flogging Molly

London rockers Skinny Lister have premiered a new music video for their song, “Injuries.” The song is one off of the group’s most recent album, The Devil, The Heart & The Fight. Along with the video comes the announcement of a US tour. The band will support Flogging Molly on their upcoming spring tour from March 21st – April 1st, with headlining dates in New York City and Washington DC as well. You can check the video and the full list of dates and locations for the tour out below.

The Devil, The Heart & The Fight was released in 2016 through Xtra Mile Recordings and served as a follow-up to their 2015 album, Down On Deptford Broadway.



Dollar Signs release video for “Punk on the Weekend”

Charlotte based folk-punks Dollar Signs have a new video out for the song “Punk on the Weekend,” which tells the all-too-familiar tale of balancing the drudgery of a day job with the punk rock life.  You can watch it below.

The song will appear on the band’s upcoming EP, Life is Ruff, which is due out on March 28 via their own label Possum Heart Records.



DS Exclusive: Frank Turner plays his biggest North American show to date, w/Arkells, The Bouncing Souls (Boston, MA)

Frank Turner wound down the North American touring run in support of his 2015 full-length, Positive Songs For Negative People, in a big, big way; by headlining the Agganis Arena in his adopted American hometown of Boston, Massachusetts. Turner has played the greater Boston area an awful lot over the last decade, and this particular night, Turners 2031st show as a solo artist, marked his biggest headlining show in the Western Hemisphere to date. It doesn’t exactly reek of journalistic credibility to insert yourself and your outlet into a story, but, well, this is 2017 America. Here at Dying Scene, we’ve covered Frank Turner perhaps more extensively than most other artists over the last half-dozen years, and in some ways Dying Scene’s increase in readership has mirrored Turner’s own increase in listenership on this side of “the pond.” It’s not a 1-to-1 causal relationship, mind you, just a reflection on our similar paths; we’ve caught up with him at record store performances and small club shows and large club shows to opening for bands like Dropkick Murphys and manning afternoon sets at larger festivals. So it was with great pleasure (and perhaps more than a little pride) that we got the chance to take in the events of the evening as Turner and his high-powered backing band, The Sleeping Souls, did their best to blow the roof off the not-quite-capacity 7200-seat arena located on the campus of Boston University.

Okay, back to the regularly scheduled, full-journalistic-integrity portion of the recap. Turner took the stage promptly at 9:20pm accompanied by only an acoustic guitar and started in alone on the first few verses of his newest track, “The Sand In The Gears,” before being joined by the remainder of the Sleeping Souls (Ben Lloyd on guitar, Nigel Powell on drums, Tarrant Anderson on bass and Felix Hagan, filling in for new father Matt Nasir on keys/mandolin/tambourine/etc) for the song’s group singalong outro. From there, as you might imagine the bulk of the set’s remaining twenty songs drew from Turner’s three most recent — and most popular — albums; Positive Songs…, 2013’s Tape Deck Heart, and of course, 2011’s breakthrough, England Keep My Bones, though even half-dozen older tracks turned in to rousing, full-audience singalongs as well. Frank Turner fans are notably passionate and rowdy, and the increased scope of the venue didn’t seem to invite very many casual fans; yours truly did several laps around the floor and the seating areas and found nary an ass in their proverbial seat for the bulk of the evening.

No doubt because of his increased popularity in Europe, but Turner didn’t seem overwhelmed by the size of the venue; appreciative and in awe, maybe, but not overwhelmed. While Turner’s roots remain very firmly planted in his love of punk and hardcore and metal, the energy that Turner and his band have always played with are perfectly suited to play to the very back of even the largest venue, performing as though it’s their duty to keep even those in the cheap seats out of their…well…seats. Before the night was over, the set would feature a full-venue “wall of hugs” (think a metal show’s ‘wall of death,’ only with much less death), opener Will Varley circling the venue and selfie-ing with the people in the top of the back row before taking a celebratory Jameson shot with Turner, and the frontman himself crowd-surfing for the bulk of show-closer “Four Simple Words.” As Turner himself pointed out, some of these efforts might seem like (and were, in fact) typical arena rock frontman hijinks, but they have an effect of engaging everybody in the process. Rock shows are, by definition, communal, celebratory events, and Turner and his mates have perfected the art of taking their responsibility to the audience seriously while conversely not taking themselves too seriously at all.

New Jersey punk veterans The Bouncing Souls served as direct support for this particular night, their only night on the Frank Turner tour, and their first Boston show since the release of their 2016 full-length, Simplicity. The Souls have conquered stages across the globe for more than a quarter-century, so they certainly seemed right at home on the Agganis’ large stage. The band ripped through eighteen songs in their forty-ish minute set, kicking things off with “That Song,” from 2001’s How I Spent My Summer Vacation. From a strictly sonic perspective, straight-forward one-guitar punk rock doesn’t necessarily translate well to a large hockey arena, as the sound tends to come across as loud and muddy. That seemed to be the case for the first half of the Souls’ set on this night, although things certainly improved from there. And the four-piece certainly had more than their fair share of amped up fans in attendance, with traditional favorites like “Sing Along Forever,” “Anchors Aweigh,” “Lean On, Sheena” and, of course, “True Believers,” inspiring gang chantalongs from all points (the latter featuring an unannounced, stealth-style on stage appearance from Boston punk legend Mike McColgan on guest vocals).

Arkells had been touring alongside Turner on the bulk of this run, and while they weren’t direct support on this particular evening, they certainly could have been. The Hamilton, Ontario-based five-piece hit the ground running from the first notes of set-opener “A Little Rain (A Song For Pete).” This is the first time that Arkells have graced the pages of Dying Scene, and their power-pop sound is outside the traditional scope of Dying Scene’s coverage spectrum, but their high energy, politically-charged set filled with positivity and unity was perfect for the evening’s overall theme. Arkells frontman Max Kerman rivals Turner’s own energy, and he had propelled himself onto the railing and into the crowd before the first chorus of the set’s aforementioned first song. If you’re a fan of Turner’s brand of arena folk-rock (and we are) and have a penchant for modern rock radio bands like Twenty One Pilots and Catfish and the Bottlemen, give them a Google.

With apologies to show-opener and frequent Turner tour mate Will Varley, the scope of the setting and the check-in procedure contained therein meant that yours truly missed the photo op portion of his set, though the latter half of his set that we did catch (especially “Talking Cat Blues”) were especially well-received be the vocal crowd. We’ll catch you next time, Will; promise.

Check out our full photo gallery below.



The Smith Street Band announce new album, release music video for new song – “Birthdays”

Australian folk-punk outfit The Smith Street Band have a new music video out for their new song, “Birthdays.” Watch/listen below.

The song comes from the band’s new full-length album, More Scared Of You Than You Are Of Me. That’s due out April 7th on Pool House/Remote Control Records (Aus), SideOneDummy Records (North America), Specialist Subject Records (UK), and Uncle M (EU). It’s up for pre-order now right here.

The album, produced by Jeff Rosenstock, is the band’s first full-length since their 2014 release, Throw Me In The River.



Dollar Signs (Punk/Folk-Punk) announce new EP “Life is Ruff,” stream new track and announce tour

Charlotte based folk-punkers Dollar Signs have announced they will be releasing a new EP, titled “Life Is Ruff,” on March 28 via their own imprint label Possum Heart Records. With this announcement they are streaming a brand new track off the new EP, titled “House of Leaves (Me Alone).” You can listen to it below.

Dollar Signs will be touring in support of their new EP, setting out on the “Life Is Ruff Tour.” You can find the tour poster, dates and locations below the stream.



Harley Poe (Horror Folk Punk) stream new album “Lost and Losing It”

Horror infused folk punk act out of Kokomo, Indiana Harley Poe are currently streaming their latest album, titled “Lost and Losing It,” through CDBaby on YouTube.  You can listen to it below.

“Lost and Losing It” follows their last release, album “Fallen Down” which was released after the band announced they were stopping activities. “Lost and Losing It” is described by frontman Joseph Whiteford as; “These songs aren’t about fictional monsters, but are based on my own reality within this last year.” You can find the rest of his statement on the album here. The album is available to purchase for download from CDBaby.



DS Photo Gallery: Bryan McPherson, The Radiator Rattlers and Nick The Barbarian (Nashua, NH)

Hard-working protest punk troubadour Bryan McPherson spent the better part of December touring eastward from his adopted homeland of California to his original homeland of Boston, Massachusetts, and he’s spent the better part of the past few weeks headed back to the West Coast. Early on the post-inauguration leg of the tour, he rolled through The Thirsty Turtle in yours truly’s original hometown of Nashua, New Hampshire. It probably goes without saying that the present administration is going to require — and inspire — a great deal of fiery protest literature and music and art. McPherson has been a thorn in the side of the status quo for many years now (you may recall his being banned from performing at Disney-owned locations a couple years back while opening for Dropkick Murphys), though his words take on added gravity now.

On the morning of this particular show, women (and the men and children who love them) took to the streets in overwhelming numbers (including an estimated 175,000 in nearby Boston) to protest the policies of the sexist, racist Cheeto-In-Chief, making the firebrand McPherson’s performance a perfect bookend. With little fanfare amidst an intimate but attentive crowd, McPherson ripped through a set comprised mostly of tracks from his last couple full-length albums, 2015’s Wedgewood and 2012’s American Boy, American Girl.

The Radiator Rattlers

Direct support was provided on this night by The Radiator Rattlers, a “cow-punk rock and roll” band from Haverhill, Massachusetts. The raucous seven-piece wasted little time between songs, instead blazing through a high-energy set forty-five-ish minute set that closed with a rather spontaneous, crowd-inspired cover of the Fear classic “I Love Living In The City.”

Nick The Barbarian

Nashua-based tattoo-artist-turned-one-man-band Nick The Barbarian played his typical booze-fueled set of songs about songs about ass-kicking debauchery and murdering the Westboro Baptist Church. His set is a lot of fun, although there was roughly an hour between show-opener Berten Lee’s finger-picked folk punk set and that of the Barbarian, all-but killing whatever sort of momentum had been building for the five-act show (a Massachusetts-based acoustic duo called Hometown Eulogy also played, and though they’re enjoyable, they’re more along the lines of Woodstock-era folk and not included in this particular story), though the Rattlers and McPherson certainly brought the intensity back late in the evening.

Check out the full photo galley below.

 



Serenity Now! (punk) stream new EP “Views From The 666”

Toronto punks Serenity Now! are streaming their newest EP, Views From The 666, in full. The 2-track release is a preview of things to come on the band’s upcoming full-length and can be heard over on the Fireworks Collective Bandcamp. You can check it out below.

Views From The 666 follows the band’s 2015 release, Facsimile. 



Brook Pridemore streams new release “Breakup Songs, With Horns”

Brook Pridemore, a folk-punk/anti-folk artist from Brooklyn, NY, has released his latest EP “Breakup Songs, With Horns.” You can listen to the stream of it below.

On the release, Brook had this to say: Hey, so I made these recordings over the last couple of years. They stemmed from a lot of projects that I started but never quite finished. What I realized over time was that they worked well together as a weird little EP. Scattered, smothered and covered. Two songs are by Mike from Prewar Yardsale (Dina plays on those, as well as three others). One was written for me to sing by Thomas Patrick Maguire. One was written by Neil Kelly and originally recorded by Huggabroomstik. One was written by Kung Fu Crimewave. The others were written by me. Some of this was recorded by Brian Speaker and some was recorded by Casey Holford. They’re both good people who make things sound good.

Brook Pridemore’s last full release prior to “Breakup Songs, With Horns” was album “Brook Pridemore’s Gory Details,” which was released on June 26, 2014.



Escape From The Zoo (members of Days N Daze) stream new album “Killacopter”

Houston folk punk act Escape From The Zoo (featuring Jesse Sandejas of Days N Daze) are streaming their new album Killacopter in its entirety.

You can give it a listen below, and if you like what you hear, the band is offering the whole thing as a pay what you want download.

Killacopter was released on January 20th, 2017.