Search Results for "Jeff Rosenstock"

Jeff Rosenstock announces UK/EU tour

Jeff Rosenstock has announced a slew of upcoming European tour dates. The month-long jaunt kicks off at Groezrock on April 30th and runs through May 27th in Brighton, UK. Check out the full rundown below.

Rosenstock is still touring in support of his latest release, last year’s stellar “WORRY.” which was put out via SideOneDummy.



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.



Jeff Rosenstock releases music video for “Pash Rash”

Jeff Rosenstock has released a new music video for “Pash Rash,” which is taken from his latest album WORRY. You can check it out below.

WORRY was released in October, 2016 through SideOneDummy Records.



The Menzingers announce US headline tour & release music video for “Bad Catholics”

The Menzingers have announced a headline tour of the United States, following the release of their upcoming album “After the Party” and starting on February 26, 2017. You can find tour dates and locations below.

The Menzingers will be supported by Rozwell Kid for the whole tour, and Jeff Rosenstock for almost all dates. In addition to the tour The Menzingers will also be playing three in-store dates on the east coast during album release week. These dates will be listed below as well. “After the Party” is set to release February 3, 2017 via Epitaph Records. You can pre-order a copy here.

And finally The Menzingers have released a music video for their latest track, “Bad Catholics.” You can find the video below the tour dates.



Jeff Rosenstock releases music video for “Blast Damage Days”

Jeff Rosenstock has just released a music video for his new song “Blast Damage Days” off his newly released album “Worry” and you can check it out below.

WORRY was released October 14th through SideOneDummy Records. It  marks Rosenstock’s 3rd solo album, following 2015′s We Cool?.



Album Review: Jeff Rosenstock- WORRY.

The question that always comes to mind when I hear a new Jeff Rosenstock record is, “How does he come up with all of these wonderful melodies?” Time and time again, the man delivers the catchy goods like no other can. When Vacation was released, I thought it was a beautiful, beautiful fluke. Then I Look Like Shit came along, then We Cool?, and now we have WORRY.— the next logical step in Jeff Rosenstock’s game of chicken with an apparently infinite creative well.

WORRY. is an album that’ll get accolades. We can get that out of the way early. It’s a damn good record. It succeeds in ambition and scope as a sort of left hook when we were all expecting another album of songs about having trouble growing up (although there’s still a little bit of that). The record sprawls in a way that it almost begs us to talk about the structure over the music. It begins in earnest as a typical album, before shifting gears in the latter half to a musical suite.

The songs, however, are a definite return to form of a form I nearly forgot. So much of Jeff’s solo career has been laser focused on himself, Bomb the Music Industry’s political and anti-corporate philosophy almost feel like the tenets of a different person. That’s not to say they were ever abandoned, but the artist can only be known through their art. On WORRY., Rosenstock spits venom. It’s as if it was decided, early in the writing stage of this record, that punk rock was the definite aim. Songs like “Festival Song,” probably one of the best on the record takes umbrage with punk rock becoming a commoditized entity, through fashion and large-scale festivals. Lines like, “this is not a movement, it’s just careful entertainment for an easy demographic in our sweatshop denim jackets,” are just one of the many piercing lyrics that can make us reevaluate the Venn diagram where punk rock and complacency overlap. And ultimately, I think that’s what Rosenstock is primarily trying to do with a song like this. He’s shaking us by the collar and saying, “If we want punk rock to mean something to us we gotta take it from the people who want it to mean money.”

Just how pointed the lyrics are, across the entirety WORRY., is almost a little daunting. I could pick out caustic couplets from any number of the songs on this album, and that’s why it feels so damn punk. This is an angry album. Rosenstock is pissed about classism, slumlords, and how consumer focused society has become. There’s a lot of stuff going on here, and its never delivered in a less than convincing way. Never lapsing into conspiracy theory and self-congratulations, it instead, comes off as sarcastic and a little sad. And maybe that’s why its all the more effective. On “To Be a Ghost…” Rosenstock sings, “Born as a data mine for targeted marketing and no one will listen up until you become a hashtag or a meme.” When I heard that line, I didn’t care about political cabals and dynasties; the depressing truth is the one we opt in to ourselves, every day.

Where WORRY. falters slightly is in one of the same areas it succeeds magnificently. This is without the doubt the most Bomb the Music Industry! record Rosenstock has made since going solo. Bomb is my favorite band, without a doubt, but they weren’t ever faultless. Sharing the politics and ambition of BTMI! also opens WORRY. to some of the same hangups. What’s strange about this record is that it is both cohesive and woefully not. The first half is made up of traditional songs, the type you wouldn’t be surprised to see on any other Jeff album, and then the albums switches up at about the halfway point and offers this amazing suite of short songs (featuring ska, hardcore, and the shout along refrain, “we don’t wanna live inside a hellhole!”). It’s a great album, but at times it feels like two.

I wasn’t sure where WORRY. was going to end up in my personal ranking of Jeff Rosenstock related albums. Maybe, I’m still not sure. The fact remains, that this is a big album of big ideas delivered as viciously as they are catchily. What small faults I can find with the album are the result of the best of intentions. This is an album of chaotic creativity and unbridled talent, less about what punk rock is than what it could be at its best.

4.5/5



Jeff Rosenstock streams new album “Worry”

Jeff Rosenstock hasjust released a full stream of his brand new album Worry, meaning you can listen to, and even download, the whole she-bang right here.

WORRY was released October 14th through SideOneDummy Records. It  marks Rosenstock’s 3rd solo album, following 2015′s We Cool?.



Jeff Rosenstock releases ‘making of’ video for new album “WORRY.”

Jeff Rosenstock has released a ‘making of’ video for his new album WORRY. The 22-minute video gives you a behind-the-scenes look at the recording of the LP. Check it out below.

WORRY. is set to release on October 14th through SideOneDummy Records. It will be Rosenstock’s 3rd solo album, following 2015’s We Cool?.



Jeff Rosenstock releases music video for new song “Planet Luxury”

Jeff Rosenstock has released a music video for a new song from his upcoming solo album WORRY. Check out the video for “Planet Luxury” below.

WORRY. is set to release on October 14th through SideOneDummy Records. It will be Rosenstock’s 3rd solo album, following 2015’s We Cool?.



Jeff Rosenstock announces new album “WORRY.” & releases video for single

Jeff Rosenstock has announced he will be releasing a new album titled WORRY. on October 14th through SideOneDummy Records. You can check out the cover art and tracklist, as well as the music video for a new song titled “Wave Goodnight to Me,” below.

WORRY. will be Rosenstock’s 3rd full-length album, serving as a follow-up to 2015’s We Cool?. Listen to another song from the record here, and head over to SideOneDummy’s webstore to get your pre-orders in.



Hard Girls streaming new track “Guadalupe On The Banks Of The Styx”; prepare for tour with Jeff Rosenstock

San Jose indie-punk act Hard Girls are streaming a new track entitled “Guadalupe On The Banks Of The Styx”, which you can check out below.

The song comes from the band’s upcoming full-length, which is due out early 2017.

Additionally, Hard Girls will be heading out on tour with Jeff Rosenstock – dates and locations of which can be seen below.

Hard Girls last released “A Thousand Surfaces” on June 24, 2014 through Asian Man Records and is the follow-up to their debut album, “Isn’t it Worse”, which came out in October 2012 via Really Records.



Jeff Rosenstock announces fall tour with Hard Girls & Katie Ellen

Jeff Rosenstock has announced he will be touring the east coast coast and Midwest this fall. The tour will see the former Bomb The Music Industry! joined by Hard Girls and Katie Ellen (a band ft. members of Chumped). See if there’s a show near you below.

Rosenstock began recording a new album a few months ago, and recently released a new track titled “Festival Song.” His latest LP We Cool came out in 2015 on SideOneDummy Records.



DS Review: Plan-It-X Fest Day 3 (Loone, Jeff Rosenstock, The Wild, Ramshackle Glory)

I woke up to hear the faint, pounding screaming of the Phillidelphia neo-crust act Soothsayer, echoing from the Stable, all the way to our camp. Not too far from me, a guy named Walter had cooked up a makeshift stew out of everyone else’s leftovers, and was inviting everyone around to help themselves. It was a pleasant surprise to all the folks who had just made the unpleasant discovery that the state of Indiana doesn’t allow the sale of alcohol on Sundays. So much for the separation of church and state.

On my way to the Barn, I found that the pond had been closed in order to protect its fish inhabitants. Fortunately, even though cooling off wasn’t an option, the festival goers were still ready to unleash a reserve of tremendous energy. I walked into the stable to catch Slugging Percentage delivering their baseball and depression themed songs, not on the stage, but within a circle of pogoing fans.

That’s not to say, however, that the day was dominated solely by the hardcore acts. Later on, I had the pleasure of watching Ladycop preform, a six-piece group that delivered neo-pop tunes layered with funky bass and drum lines. At the front of stage, three vocalists stood dressed in white, with glitter on the corners of their eyes, delivering vocal harmonies that were downright angelic.

I think the two stand-out acts of the afternoon were Jesus and His Judgmental Father, and Michael Jordan Touch Down Pass. Jesus and His Judgmental Father (which definitely had the best band name of the fest) delivered impassioned queer-centered alternative rock tunes, including “Kings and Queens” which, to my mind, stands as one of the most powerful songs about transphobia that I’ve ever heard. Michael Jordan Touchdown Pass, meanwhile, delivered something much more hard to define, blurring the lines between acoustic punk and experimental rock, even mixing in touches of jazz. Part of the power of the performance was provided by an absolutely amazing white-haired trumpeter whom, I would later learn, was actually Charlie Schneeweis, the father of both Michael Scheeweis, the group’s creator, and Patrick Schneeweis (a.k.a. Pat The Bunny). However one would define their music, the audience was absolutely devouring it, with the mostly-shirtless spectators providing the largest and liveliest day-time turn out of I’d seen so far. Unfortunately, I didn’t manage to grab a picture of their set. I did, however, have my camera handy when, immediately afterwards, a piñata shaped like the Plan-It-X logo was hung from the ceiling and set upon by the crowd.

After a much needed dinner break, I caught a performance from Loone, another queercore whose identity was almost entirely shaped by the sheer personality of its front-woman. Guitarist/vocalist Noel’le Longhaul preformed the group’s dreamy post-folk punk tunes in a hypnotically rigid style; where every time she hit a major node or struck a guitar chord, it seemed like she was breaking out of the sheer discomfort of her own skin. This actually added to the power of group’s songs, which all explored this very same notion of trying to find comfort with your sense of self. What really surprised me, however, was when, talking to Longhaul after the show, I found out that I’d pegged the performance entirely wrong, and what I saw wasn’t discomfort, but rather a minor moment of transcendence.

“I feel like, a long time ago, I went through feeling really anxious on stage, but I really love preforming,” she explained. “I feel there’s a particular space I can get into with the people in my band, that I think is really special, and I like sharing it with people. I think that our music comes from caring for each other, and so I feel like when I’m preforming about things, that’s what I’m preforming.”

Loone was followed by Tig Bitty, a rapper whose mix of hyper-sexual lyrics and experimental booty-shaking beats probably stood as the strangest act of the entire festival. After she was finished, the stage was taken by Whelmed, an East Bay style punk act that accompanied their bright pop-punk tunes by jumping and shaking across the stage, as if their instruments were electrified.

Later, while I was walking to the backstage area to charge my camera battery, I had a chance run in with Charlie Schneeweis who, in turn, introduced me to Nick Berger, who played dwith Loone, Paper Bee, and Ramshackle Glory. We had a short discussion about Plan-It-X as an inclusive space, and I was struck by the immense love that Berger had for the community they had found within it.

“People from Plan-It-X were some of the first musicians I saw that were queer musicians, and when I started playing in Ramshackle, I felt like one of my biggest goals was to create a space that felt like my teenage punk scene, where the people playing were weird, the people watching were weird, and you could just meet other strange outsiders, and maybe you get a zine or learn about feminism,” Berger recounted.

Interestingly, however, they were still willing to point out some of the shortcomings of the DIY community, particularly regarding the general whiteness of both its musicians and fans.

“I think there are things we could be doing better; things I could be doing better. Because of the level of whiteness that exists currently, it can be pretty alienating for people of color to just step into it, and to go ‘you guys should do this thing with us because we want more representation’ is pretty tokenizing… I dunno, it’s just really hard to walk the line between inviting a group of people into a space and being tokenizing. But even if there’s not a simple answer, I want to keep thinking about it, because it is a problem in every scene I’ve ever been in.”

 

As a consequence of this interesting talk, I missed the very beginning of Jeff Rosenstock’s set. When I walked in, he was halfway through “I’m Serious, I’m Sorry”, and looked like somethign genuinely inhuman. Absolutely drenched in sweat, he howled into the microphone while laying into his guitar, like it was a beast that needed to be tamed. At one point, somebody threw a shark-shaped life preserver at Rosenstock that managed to perfectly encase his shoulders and bind his arms to his side, yet he kept playing regardless.

The music then took a minor break in order for the fest to reveal its sadistic side. At the back of the barn, a table had been set up for the annual Eating Competition, in which all of the contestants had to tuck away an entire 16 oz jar of Veganaise. I was honestly a little too grossed out to stick around and see who won, but I think the photo below speaks for itself.

The penultimate act of the night was The Wild, a group I’d always seen as more of a folk-rock group than a punk act, but, boy, did their set make me realize my mistake. The songs that I’d always found soothing when listening on speakers and headphones, were suddenly loud and pounding, whipping the audience into an absolute frenzy. At one point, Jeff Rosenstock hopped back on the stage, seemingly out of nowhere, to join Witt on the mic, before diving into the crowd. Near the end of their show, they subtly revealed that this would, in fact, be their second to last show. Still, this little shock wasn’t enough to taper the audiences sheer adoration as they closed with “Set Ourselves Free”, giving everyone something very strong to remember them by.

The final show of the night was, in all likelihood, the the main reason quite a few people came. It was, after all, not only Ramshackle Glory’s final show, but also Pat the Bunny’s final performance before quitting punk entirely. Over the course of the day, the people around me had been speculating how the set might go down. At one point, someone joked “maybe his heart is actually going to explode,” a reference to a line in “From Here To Utopia” that made us laugh, albeit somewhat nervously.

On the second day of the festival, I had actually, by chance, run into Pat hanging out near the Barn. I asked if he would be interested in doing some kind of final interview, either before or after his final show, and he firmly declined. That’s not to say he was unfriendly- he was more than happy to chat with me for a while about music, spirituality, and Russian history; he even introduced me to his dad who, by a bizarre coincidence, grew up in the same small Minnesotan town as my mom- however he made it very clear that he didn’t want to give any on the record assessments about punk rock or anarchism. He honestly just seemed like he had moved on from thinking and talking about those two subjects.

With that in mind, I’d be lying if I didn’t enter the show with both a sense of disappointment, and high expectations. Would this be a climactic lamentation on recovery and anarchism, or would it feel like an obligatory farewell from someone who no longer felt a connection to his audience? It turned out to be something wonderfully different.

The set began with “We Are All Compost in Training”, and from the opening lines, seemingly every member of the audience was singing along word-for-word. The song started out slow and subtle, but on the two parts of the song where the singing stopped, the brass section of the act- two trumpets and a clarinet- kicked in, and you could honestly sense the shivers going through the spines of every member of the audience, as everyone on stage lay into their instruments with all the power that was humanly possible.

Of course, that intensity was just a tiny sample of what was to come; next, they played “From Here to Utopia”. This may be one of my favorite songs of all time, and I don’t know whether it was the faster tempo brought by the drum set, the mandolin-esque twang that the guitars seemed to pick up when they played the keyboard section, or the constant chirping of the brass section, but they managed to make it pulse with an energy that felt living and tangible. The trumpeters managed to breathe creative little flourishes into small moments of the song, bringing about the sensibilities of a Dixieland marching band. Meanwhile, every time the song reached a point where Pat screamed his lyrics, I swear the volume of his mic and the crowd were at equal levels. I found myself so caught up in the moment, I thought it would be a good idea to try and photograph the band while in the process of jumping off the stage and crowd surfing (hence the sweat covered photo at the top of the page).

From here, they went on to play an unnamed song from their upcoming album, followed by “No Shelter”. When they played “Never Coming Home” the audience swayed, arm in arm, and when they played “Your Heart Is A Muscle” the crowd turned into a rowdy, overjoyed mob, screaming along with the songs titular promise of hope.

Then they announced that the next song would be their last, and people started calling out desperate pleas for the song that mattered most to them. Someone shouted “play a Johnny Hobo song” and was promptly booed by seemingly the entire audience. The band proceeded to play “Time to Wake Up”, a song from one of Pat’s solo projects. At first, the song choice felt like an anti-climax, something subdued and a little more obscure. But as they played, something strange happened. People started crowd surfing, but not in the usual cannonball kind of way; instead, they would lean off the stage and float across the audience like a pilgrim across the dead sea. Even Charlie Schneeweis fell into the crowd, a huge grin across his face as he slowly glided across the barn. When the song reached its climax, everyone chanted the chorus with pat, singing “please wake up now, the world really needs you, desperately/ please cheer up now, we’ve been waiting for you, all your life,” before the entire band chimed in, creating a cacophony of pure serenity. I looked and, to the left of me, saw two lovers were hugging each other tightly. To my right, a man was breaking down into tears. Then, as one of the crowd surfers drifted close, and we all reached out to make their weight feel like nothing, I realized that past all the sweat stinging my eyes, I might have been crying too. But thank god that wasn’t actually the end.

The band proceeded to play a tribute to Erik Peterson, giving their rendition of Departure/Arrival. Then, after the brief “Club Hits of Today Will Be The Showtunes of Tomorrow”, they played “Last Song, Part 2”. The crowd surged forward one last time, to bask in what truly felt like the conclusion of a beautiful punk legacy. They savored every moment, until the show was ended with the same line that concluded the album I fell in love with almost three years ago, “so maybe god isn’t the right word but I believe in you.”

With the last song concluded, the audience started chanting “thank you Pat,” to which he bashfully approached the mike and replied “thank YOU.” It was at that precise moment that a thought struck me. Throughout the set, they had stuck to Pat’s most hopeful songs, avoiding the likes of “More About Alcoholism” and “Eulogy for an Adolescence”. The performance carried no bitterness, and hardly any real anger. Instead, all the musicians just had a constant peaceful smile, like someone reading the great ending to a good book. The final words of “Last Song” echoed through my head, and I no longer felt upset about not doing the exit interview. Over the course of half an hour, with just the hopeful words of his music, he had just given us all the explanation we needed.

And with that, he gave the audience a thumbs-up and disappeared behind the painted curtain.



Jeff Rosenstock releases new track “Festival Song” (free download)

Jeff Rosenstock has released a new track titled “Festival Song,” and you can give it a listen below. To download the song for free, head over to his Bandcamp page.

The former Bomb the Music Industry! frontman has not specified if this track will appear on the album he began recording a few months ago, but we’ll keep you posted as more details are revealed. Rosenstock last released We Cool in 2015 on Side One Dummy Records.



Jeff Rosenstock working on new material

According to a social media post this weekend Jeff Rosenstock‘s new record is “gonna make u freak out maaaaaaaan”. You can view a short drum video of his ideas on his Instagram account. Unfortunately there are no concrete details to report as of yet.