Search Results for "Rebuilder"

Boston punks Rebuilder and Rooftops announce April tour dates

Massachusetts-based punk rock homies Rebuilder are gassing up Tessie the Tour Van and heading out on the road for a quick ten day run next month that’ll take them to the Mississippi River and back. Fellow Boston-based solo act Rooftops will be along for the ride. Check out the full rundown and tour flier below.

Rebuilder’s latest album is, as you should well know by now, last year’s Songs From The Massachusetts Turnpike EP, released last year on Panic State Records.



Watch Rebuilder perform “Le Grande Fromage” live from The Rock Room

You can now watch the second of two videos featuring Massachusetts-based punks Rebuilder performing for The Rock Room. Following “Anchoring“, you can now check out their performance of “Le Grande Fromage”, from 2015’s “Rock & Roll In America”.

You can watch the video below.



DS Photo Gallery: Bouncing Souls with TSOL and Rebuilder, Cambridge, MA (12/7/17)

The Bouncing Souls kicked off a quick, long weekend run of shows in the northeast by playing a sold-out show at the Sinclair in Cambridge’s Harvard Square. It was the Jersey punk rock veterans’ third time to the Bay State this year, but their first time headlining here in a couple years (editor’s note: the Souls supported Frank Turner at a one-off show back in February and the Rancid/Dropkick Murphys “From Boston To Berkeley” tour in August), bringing their devoutly loyal fanbase out in full force.

The quartet came right out of the gate firing on all cylinders, ripping straight into the one-two punch of crowd favorites “Hopeless Romantic” and “The Gold Song.” If you follow our Instagram feed, you may recall that I posted mid-set that it was the third time I’ve seen the Souls this year — I missed the Rancid/DKM show but I was at the Frank Turner gig and I finally made the trek to Jersey for Stoked For The Summer — and it was hands-down the best sounding show of all. Save for a couple technical difficulties primarily during “Satellite,” — see the confused look on frontman Greg Attonito’s face in the picture above — that remained the case throughout. The other two shows were enjoyable, for sure, but there’s something about how an uptempo, melodic four-piece punk band’s sound translates better in the confines of a 500-ish capacity club than in a hockey arena or an outdoor beachfront stage.

It’s tough whittle down a couple of highlights from a set that didn’t really have an low points. Bassist Bryan Kienlen and new-ish drummer George Rebelo play just about as tight and heavy as anybody in the business while guitarist Pete Steinkopf’s trademark Les-Paul-through-Marshall-stack sound somehow plays much bigger than one might expect a single-guitar attack to resonate. Attonito has always been the type of frontman that leaves the mic stand behind and relentlessly paces the bulk of the stage, and the fact that he’s a new parent — his first son was born just five weeks ago — didn’t seem to leave him any worse for the wear. There was a near non-stop parade of crowd surfers throughout the Souls’ hour-plus set (including at least a dozen trips over the barricade by one particular shirtless, luchador-masked patron), which was not a foregone conclusion at the beginning of the evening given that particularly greyish-haired nature of many of the fans — myself included first and foremost — of the band who are rounding the corner on their thirty year anniversary soon. Particular high points included the opening one-two punch, “These Are Quotes From Our Favorite ’80s Movies,” Attonito trying to dig for Boston-area locations in a site-specific version of “East Coast Fuck You,” a spot-on and unexpectedly surprising cover Avail’s “Simple Song,”the goosebump-inducing singalong that “Gone” has become, and a guest appearance on vocals from Street Dogs frontman Mike McColgan on the classic “True Believers.”

California punk veterans TSOL were provided direct support on each of the three dates on this particular jaunt of shows. Much like how I said above that the Bouncing Souls sound translates better in a venue like Sinclair than it does in a larger hockey arena, the squelching-guitar led early 80s hardcore sound that TSOL helped pioneer probably translates better in a smaller club setting without a barricade between the stage and the fans, much like it did when they played here last year at the Middle East. Frontman Jack Grisham has always had one of the more outspoken, dark humored personalities in the scene – look no further than perhaps the band’s biggest hit, the ode to necrophilia that is “Code Blue” – though I will admit that some of his trademark off-color banter sounds not only incredibly dated but, frankly, uncomfortable in the current climate, not unlike rewatching classic stand-up bits by Andrew Dice Clay might. The core of the band still sounded tight, as you’d imagine given that Ron Emoy and Mike Roche have been Grisham’s wingmen for the better part of the nearly four full decades of their existence (editor’s note: total ignorance on my part, but I’m not sure who’s playing drums now that Chip Hanna isn’t involved). The bands fans — and there were more than a few in attendance — totally still dig the classic sound and seemed to warm up as the set went on.

Local favorites Rebuilder kicked off the show in fine fashion. Plans for their first-ever European tour might have gone belly up last spring, but it’s still been a pretty great year for the five-piece; they released a stellar EP, Songs From The Massachusetts Turnpike, on Panic State Records a couple months ago, toured the west coast for the first time, played a bunch of shows back this way with Dead Bars, did a session for Mike Felumlee’s “Live From The Rock Room,” and continued to grow their fanbase by sharing the stage with acts like Dropkick Murphys, Frank Turner, Bombpops, and Red City Radio. The Souls show proved to be a pretty great cap on the year, and in their typical good-natured, tongue-in-cheek fashion, they made sure to include “Le Grand Fromage,” their middle-finger to the Souls’ home state of New Jersey, right smack in the middle of their set.

Head below for the full photo gallery from the evening!



Rebuilder Unveil Limited-Run MALDEF Fundraiser Merch

For the second time in as many holiday seasons, Boston punks Rebuilder have launched unique fundraising event geared at supporting MALDEF, the Mexican-American Legal Defense and Education Fund. Last year, the band dropped an EP that included a cover of Elvis Costello’s classic “Radio, Radio.” This year? It’s limited-run merch!

If you hadn’t noticed, the rights of many groups in this country, particularly those who were born with a skin pigment darker than “light beige,” have been under continuously escalating attack. This is an issue that strikes incredibly close to home for the Rebuilder clan; drummer Brandon Phillips is African-American, and co-frontman Sal Medrano and his brother Diego of Seattle-turned-Philly trio Ramona are first-generation Latin American immigrants. Here’s part of the band’s official statement about this project (the full version of which appears on their Facebook page here):

Sometimes it feels like the world, and more specifically our country, is moving backwards… We romanticize eras of our nation’s existence that institutionalized racism, sexism, bigotry, religious hatred, and homophobia – on the basis of making our country ‘great’ again. Our government is actively tearing down systems that attempt to provide care and protection for its citizens – on the basis of them being flawed. We have the highest incarceration rate in the world, locking up a disproportionate amount of black and brown people – on the basis of ‘law and order’ and ‘keeping our communities safe’. We hold immigrants in contempt, refusing to recognize that the only people that didn’t immigrate to this land were wiped out en masse by white Europeans, and are still oppressed to this day. We continue to vote against our own best interests – on the basis of hate and fear of different ways of living. People who look different, act different, or worship a different god. These are certainly not new problems, but the political and social landscape of our country looks a hell of a lot different than it did just a few years ago. (I choose the pronoun ‘we’ because like it or not, we’re all in this together. However dissociated ‘we’ may feel from ‘them’, or however much you feel the people in power that ‘they’ elected do not represent you, these are our fellow citizens, and however diametrically opposed to their views you may be, they’ve got a voice. and so do we.)

The TL/DR version of the full statement is that the band have printed up matching tote bags and long-sleeve T-shirts adorned in the same “Defend P.O.C Punk” mantra (pictured above), and all proceeds will be donated straight to MALDEF. Check out the gear options here, and help defend people of color both inside and outside the punk community!

Rebuilder released their “Sounds From the Massachusetts Turnpike” EP on September 1, 2017 through Panic State Records.



New Video: Rebuilder – “Anchoring” at Live! From The Rock Room

Massachusetts-based punk rock homies Rebuilder recently stopped by the acclaimed Rock Room on their recent US tour and recorded a few songs. The first video from that session is for the track “Anchoring,” and you can finally check it out below!

“Anchoring” is taken from the band’s recent EP, Sounds from the Massachusetts Turnpike, which was released on September 1st via Panic State RecordsLive! from the Rock Room, as you should hopefully know, is an ongoing webcast started by Smoking Popes drummer, Mike Felumlee, in which he has bands stop by his tiny studio just outside Chicago to play music and chat.



Rebuilder stream new EP “Sounds from the Massachusetts Turnpike”

Boston punk veterans Rebuilder are streaming their new EP Sounds from the Massachusetts Turnpike.

You can give it a listen here.

Sounds from the Massachusetts Turnpike was released on September 1st via Panic State Records.

 



DS Exclusive: Rebuilder debut video for “Anchoring” from upcoming EP, “Sounds from the Massachusetts Turnpike”

Dying Scene is beyond stoked to team up with our Boston buddies in Rebuilder to the premiere of a band-new track from their upcoming EP, Sounds from the Masschusetts Turnpike. The track is called “Anchoring,” and you check out the debut of the music video — no, not a lyric video, an actual real live old-fashioned music video — below!

Sounds from the Massachusetts Turnpike was produced by fellow Bay Stater Jay Maas, and is due out this coming Friday (September 1st) on Panic State Records. It’s the band’s first formal release since their 2015 full-length, Rock & Roll In America. Check out pre-order packages (and there are some really cool options if we do say so ourselves) right here.

To mark the release of Sounds from the Massachusetts Turnpike, Rebuilder are joining up with another of Boston’s great and wildly underrated bands, Choke Up, for a double-whammy of a record release party (Choke Up’s Stormy Blue comes out September 15th on Say-10 Records). It’s going down September 2nd at Great Scott in Allston; check out details here!



Rebuilder announce EP “Sounds From The Massachusetts Turnpike”, stream track “Mile Or An Inch”

Boston punk veterans Rebuilder have just announced their EP “Sounds From the Massachusetts Turnpike” which is set to release on September 1, 2017 through Panic State Records.

In the meantime, you can check out a track from the EP “Mile or An Inch” which they are streaming here.

The last release from these guys was 2015’s Rock & Roll in America through Panic State Records.



Rebuilder announce exclusive “Rock And Roll In America” release; comment on Euro tour cancellation

The music industry, and the punk scene specifically, are notoriously fickle beasts. With very few exceptions (looking at you, Blink-182), money isn’t the primary motivator. Most bands, promoters, small labels and the like are lucky to break even, or at best eek out a meager profit, in most music-related endeavors. And so, when something unexpected happens, the results can be catastrophic, as the seemingly endless stories of bands having their gear stolen outside venues will attest to.
But it’s not always the old smash-and-grab that can set a band back. Just ask Boston punk band Rebuilder. As we told you recently, the five-piece were forced to cancel what was slated to be their first-ever European tour. The band and their US label, Panic State Records, had teamed up with German-based Fond Of Life Records, for a European exclusive pressing of the band’s debut full-length, Rock And Roll In America. The release will still see the light of day, and you can get your own copy here.
Rebuilder have also opened up their merch vault to try to help recoup some of the losses they’re on the hook for due to the cancellation of their European run; it’s like a Kickstarter campaign only…not using Kickstarter! Get your hands on some Rebuilder merch here, and check out the band’s full statement on their Euro tour and their merch sale below.


Rebuilder cancel EU tour, announce new East Coast dates including Pouzza Fest

Ah, the touring business can be such a cruel mistress at times. Boston punks Rebuilder had been slated to head across the pond next month, embarking on their first European tour, but due to a number of booking snafus, those plans have been officially scrapped.

Europe’s loss is the Northeast’s gain, however. The band announced a few shows Stateside that’ll fill in some of the gaps that were left by the EU dates falling through, and included is a spot at this year’s Pouzza Fest in Montreal.  Head below for the full rundown.

Rebuilder released their debut full-length, Rock And Roll In America, back in 2015 on Panic State Records. They’ve got a new EP, Songs From The Massachusetts Turnpike, slated for release on Panic State in a couple months…stay tuned for details!



Alright? Okay. Fest announces full line-up

The Lockjaw Media hosted Alright? Okay. Fest has announced its full line-up. The festival will take place Friday April 28 and Saturday April 29 throughout three venues in Philadelphia: HH Ranch, The Pharmacy, and Cat House.

The line-up consists of Nervous Dater, Mikey Erg, Goddamnit, Past Life, Rebuilder, Manic Pixi, Curtis Cooper, Brackish, Spur, No Thank You, Loose Tooth, Max Stern, Blushed and Lunch Ladies.

A portion of the proceeds from the festival will be donated to Punk Talks. The organization aims to provide free mental health assistance to people involved in music as well as educate and raise awareness of mental health and self-care.



DS Photo Galley: Dave Hause and the Mermaid with Vapers and Rebuilder (Cambridge, MA)

In the handful of years since The Loved Ones went on their sort of indefinite hiatus (last year’s anniversary shows notwithstanding), Dave Hause hit the ground running as a solo artist, playing shows in the States and abroad as part of the Revival Tour or opening for acts like Alkaline Trio, Gaslight Anthem, Flogging Molly, etc. He added his younger brother, Tim, to the mix on guitar and keyboards when it came time to tour in support of his sophomore album, Devour, four years ago, and the two spent several years touring and eventually writing and recording together since.

For the release of his third album, Bury Me In Philly (February 3rd, Rise Records), Hause has assembled a full band, dubbed The Mermaid, consisting of his brother on (mostly) lead guitar, Bad Religion’s Jay Bentley’s son, Miles, on bass, fellow East-Coaster-turned-Californian Kevin Conroy on drums, and the infinitely talented Kayleigh Goldsworthy on keys and guitars and backing vocals. Prior to heading to Europe for their first official tour as a collective unit, Dave Hause and his newly formed backing band, The Mermaid, played a handful of bi-coastal US record release shows in support of his third solo album, Bury Me In Philly . The shows marked the first-ever time that Hause has performed with a full band since going it alone in the post-Loved Ones years, a very clear — yet potentially nerve-wracking — “next step” in his trajectory as a solo artist. If show #6 as a group is any sign of what’s to come, that trajectory is going to take a marked upturn in the very near future.

The quintet scorched through a sixteen-song set to a sold out crowd upstairs at the legendary Cambridge, Massachusetts, Middle East nightclub last Friday. While tracks from Bury Me In Philly took center stage in the set list, Hause’s first two solo albums were well represented in their own respective rights. It’s fair (and perhaps understated) to say that whether as a solo performer or as the leader of the family duo, the elder Hause has always taken full command of whatever stage he’s graced, engaging the crowd and performing as a full-on, band-leading frontman regardless of the setting or the size of the venue. Part of this ability stems obviously from his punk rock days, but part of it was out of necessity, as his engaging passion and honest intensity as a performer kept him from becoming a dime-a-dozen acoustic-wielding solo performer. And while Hause performing solo (or with only Tim as his accompaniment) will always be compelling, watching The Mermaid in action felt like it was meant to be.

The band gelled quickly, with no obvious signs that they’d been playing together in public for what amounts to less than a calendar week. Conroy and Bentley kept the ship steady and pushed the tempo and Goldsworthy, and accomplished musician in her own right, made her almost constantly changing duties come across almost effortless. The formation of the full band has allowed the younger Hause to take over a more prominent role, and he seems to be truly cherishing it. Tim’s immense talent and youthful energy seem not only increasingly natural on stage but inspirational to his frontman older brother, who appears to be relishing his roles as band leader and big brother in equal parts. Having a capable band at his back allows Hause to finally give older songs like “C’Mon Kid” and “Melanin” and personal favorite “Autism Vaccine Blues” the sort of the sort of full, pedal-down justice they deserve, and the five-piece genuinely seem to be having fun performing with each other in the process.

Direct support on this night (and the rest of the brief East Coast run) was provided by Vapers, a New York-based four piece (officially, though there were five on this night) outfit of semi-mysterious origin. Co-fronted by a couple of familiar faces, “Spanish Maria” Correonero and “Uncle Bernard” (the latter of whom looks eerily similar to Hause’s bud and fellow Loved One David Walsh) and backed by a couple of current and/or former members of Morning Glory, the band play a fun brand of poppy, garagey alternative punk that, at least from a sonic perspective, owes as much to the gritty, post-punk New York City (think Sonic Youth) of a decade ago as it does to the lo-fi hipster punk of present day Williamsburg. The sound is a little bit muddy and angular by design, keeping the band from sounding redundant or formulaic. Fun stuff; check them out.

 Local support on this night came from the mighty Rebuilder. I’m not entirely sure what else I can tell you about Rebuilder that I haven’t told you on these pages before, but they’re obviously my favorite band to come out of this part of the States in recent memory. While no doubt capable of commanding larger stages as will someday hopefully be the case, the five-piece certainly know what they’re doing in the role of local openers. The band got down to business quickly, ripping through eight songs with little downtime, perfectly filling their half-hour slot with a set tailored to the occasion. They ran through a couple of new songs from their upcoming EP, Songs From The Massachusetts Turnpike, that may be among the strongest songs they’ve written to date. Stay tuned for more on that…

…and head below for our full photo gallery from the sold-out, sweat-soaked evening!



DS Photo Galley: Rebuilder w/City Limits, In The Pines and Dan Webb + The Spiders (Boston, MA)

It’s awfully tough to keep any sort of independent music scene alive in a city like Boston, Massachusetts, circa any time in the 21st century. Continually-expanding gentrification and (sometimes comically bad) law enforcement crackdowns on house shows and DIY spaces have combined to help make it difficult for a really thriving scene to truly take root. Difficult…but not impossible. Enter a space like O’Brien’s bar in the city’s bustling, not 1000% overpriced Allston neighborhood. The cash-only hundred-ish capacity spot is no frills without being truly a dive, and its poorly-lit back-corner stage has been the site of more than its fair share of local and national barn-burning acts over the last handful of years, thanks in no small  part to local promoter Ryan “The Terrible” Agate.

Rebuilder

Bands like Rebuilder and Dan Webb & The Spiders have each pounded the sweaty confines of O’Brien’s a fair amount of late, and combined to both headline and local-open (in that order) a pretty kick-ass show last weekend. It was a busy night for the local punk community; AFI were headlining a mile or so down the street from O’Brien’s, and Boston-based street punk OC45 were playing an album release show down the road in Jamaica Plain. Yet the crowd was near-capacity as Rebuilder took the stage late into the evening. The five-piece (yes, they have a keyboard player, Patrick Hanlin, and yes he was on stage this night; his lack of appearance in the photo galley below is merely a reflection of the cramped stage and the photographer’s lack of photography skills) just finished tracking a new EP (more on that later) at Jason Maas’s Getaway Recording studio in nearby Haverhill, Massachusetts, and took the occasion to rip through the half-dozen songs in their entirety. Most of the songs were largely unknown to most show-goers, but that didn’t stop the crowd from being surprisingly vocal and ambitiously rowdy.

Dan Webb and the Spiders

Dan Webb & The Spiders, in this writer’s humble opinion, are one of better — and more overlooked — bands in the local scene. As I’ve told you a bunch on the pages here at Dying Scene, Webb and the boys play a tight, aggressive style of garage punk rock that is catchy and compelling from the word “go.” The Razorcake review of their recent split release with fellow Massachusetts rockers leads with a comment that “DWATS should be huge,” and yours truly couldn’t say it better himself. There set on this night was punchy and no-nonsense, stylistically different but otherwise a kindred spirit bookend to the aforementioned headliners.

City Limits

New Jersey’s City Limits and Philly’s In The Pines made the trek up from points south to serve as the delicious, mid-Atlantic filling an otherwise Boston-based sandwich. In The Pines, if you’re not familiar, are a coleslaw-obsessed four-piece who’ve got a new EP, “Sides,” out tomorrow (February 10th) on Black Numbers. They’re a textbook Black Numbers band; raw, intense angular post-punk goodness. City Limits, meanwhile, are a another four-piece band who play a melodic punk style that’s been compared accurately to Off With Their Heads, Dear Landlord and, of course, The Lawrence Arms. Neither of the latter are Boston bands, obviously, but as newer bands, they both represent the sort of musical spark plug that their (and other) local scenes need to keep pushing the needle forward.

Check out our full photo gallery below!

 



DS Photo Gallery: The Falcon w/ Kyle Kinane, Arms Aloft, Rebuilder + Jenn Lombari (Providence, RI)

It probably goes without saying that the reemergence of The Falcon over the last year from their previously indefinite period of hibernation has been one of the coolest and most welcome bright spots over the course of the miserable year that was 2016. (Wait…do falcons hibernate? They don’t, do they? Should have thought that metaphor through.) Dave Hause was added to the already heavyweight lineup of Brendan Kelly, Dan Andriano and Neil Hennessy, and together they put together what’s easily one of the year’s best and most interesting albums (Gather Up The Chaps, Red Scare Industries). they also hit the road for the first ever Falcon tours, playing somewhere in the neighborhood of four-dozen shows across the country (and one at Groezrock) since April.

The Falcon might be the musical brainchild of the delightfully twisted Kelly, and it may have started all those years ago as a fun studio side project, but in a very real sense, they have morphed into a “band” on stage in surprisingly quick fashion. Dying Scene was lucky enough to be at the first show of the Gather Up The Chaps tour in Cambridge back in April, and to have been at one of the last shows for the foreseeable future in Providence last week. In some ways, both shows served as apropos bookends to what was a fun and disturbing train wreck of a year. The Providence gig, rather perfectly, took place at Firehouse 13, a 160-year-old former working firehouse that’s been repurposed as a bar/concert venue after a lying dormant in the middle of a sketchy neighborhood for roughly a quarter of a century. It’s a gritty, no-frills kind of space that, according to the locals, also used to house a swingers club upstairs. Now, what’s great about this apparent set-up is that the holes that used to surround the firepoles are now just plexiglass skylights, meaning that if you’re upstairs, you’ve got a clear view of the concert space below and vice versa. So…do the math in your head on this one, kids. Anyway, both on paper and in practice, it seemed the ideal setting for a band like The Falcon.

Over the span of a little more than an hour, the band ripped through the bulk of The Falcon’s recorded catalog, drawing equally from Gather… and from their Hause-less 2006 debut full-length, Unicornography. It’s a bit of a strange phenomenon when a band goes on its first real tour ten years into their history of making music, creating a situation where all of the fans present are hearing the music for the first time, meaning that decade-old songs like “The La-Z-Boy 500” and “Little Triggers” and “Blackout” appear woven into a setlist alongside newer tracks like “Sergio’s Here,” “Hasslehoff Cheeseburger,” and the deceptively powerful “Black Teeth.” I’ve mentioned on these pages before that drummer Neil Hennessy is one of the more vastly underrated drummers in the scene, and I’m not entirely sure that a Falcon set would operate as seamlessly as it does without Hennessy behind the kit, particularly with music that is as purposely flawed and angular as the subject matter here. If this run is, in fact, the last run for The Falcon for the foreseeable future, both live experiences Dying Scene has covered this year have been positive, fun evenings that left showgoers privileged to know that they had just witnessed something pretty effing cool.

Stand-up comic Kyle Kinane provided direct support on this leg of The Falcon’s tour. Kinane has collaborated with fellow Illinoisian Kelly in the past, and due in part to Kelly’s belief that The Falcon’s sound is left-of-center enough to not necessarily allow for a sonic perfect fit of a touring partner, now seemed the perfect opportunity to hit the road with each other. On paper, it might sound a little strange for a bill at a punk show to feature local openers and a national touring band before a stand-up comic would have the effect of driving down the energy level of the crowd, the exact opposite intended effect of an opening act. But Kyle Kinane is different. Having been in and around the punk scene for the last few decades (Google his set at SideOneDummy Storytellers to get that rundown, or, hell, just go here), Kinane has a grasp of not only what it means to be in front of a punk rock crowd, but what it means to be in the crowd itself, perfectly cognizant of both the sense of community and the searching for relief that so many of the rest of us are. Kinane’s fifty-ish minute set contained pitch-perfect bits about getting kicked out of Canada due to a years’ old DUI arrest in the States, his love of ghost-hunter shows (in spite of their logical fallacies), and perhaps most poignantly, a great and seemingly newly written topical riff about the Ku Klux Klan.

Arms Aloft, the Wisconsin-based four-piece whose Red Scare Industries released full length What A Time To Be Barely Alive is one of the best albums of this calendar year, also serve as touring support on this run. Led by passionate frontman Seth Gile, Arms Aloft play a fierce, emboldend version of punk rock that still maintains some hooky, poppy sensibilities, with boldly left-leaning lyrics that hearken to the core of what socially-conscious protest punk is all about. Like most of us Gile and the fellas are not only pissed off but seemingly legitimately scared about the direction the country took a couple of weeks ago, and while the knee-jerk reaction for many might be to run and hide (or move to Canada), they seem emboldened to fight on, to rail against racism and sexism and hatred and intolerance (not to mention the bullshit going on in Standing Rock), and that’s a really great thing. We’re going to need a few brazen torchbearers, and that’s exactly what Arms Aloft can be.

It’s probably no secret to anybody that checks Dying Scene on the regular that Boston-based punk band Rebuilder ranks pretty high up on my list of favorites. They served as the second local opener on this night and, even correcting for my personal feelings for the quintet, they always are more than deserving of the times that they get to share the stage with much bigger acts. Rebuilder live is a lesson in controlled intensity, as none of the five have much of a penchant for leaving anything on the stage (although, on this night, bassist Daniel Carswell would, in fact, leave the stage for a little bit, searching for a replacement four-string after a technical malfunction with his own). Co-frontmen Sal Medrano and Craig Stanton have an interesting stage relationship, having played together long enough that they push and pull against each other without managing to step on each other sonically in the process.

Rhode Island’s own Jenn Lombari served as local opener, kicking the evening off not long after doors opened at Firehouse 13. Normally one-third of the awesome pop-punk band Lucky United, Lombari took to the stage on this night armed with only an acoustic guitar and her dynamic voice as she scorched through a set that included songs from her own solo catalog and from her “day job” band. Lombari is passionate, and has a lyrical wheelhouse that deals with loss and unrequited love in a way that’s inspired by the high points (yes, you know there were some) of the emo heyday, without coming across as overly saccharine or sappy.

Check out our full photo gallery below!



New Music: Rebuilder release EP to benefit Mexican-American Defense + Education Fund (feat. Elvis Costello cover)

As we told you last night, it’s not secret that there are a great number of individuals, groups, and organizations that are going to find themselves right in the literal and figurative cross-hairs of the Trump Administration over the weeks and months and years to come. It’s also not a secret that the punk scene, as usual, has been quick to act after the election, as each day brings with it news of more fundraisers aimed at helping a variety of causes stay afloat, and we’re going to let you in on as many of them as we can!

Which brings us to Rebuilder. The hard-working Boston punk band have released a two-song digital EP as a “pay-what-you-want” download, with proceeds earmarked for the benefit of MALDEF, the Mexican-American Defense & Education Fund. Here’s what the band have to say about it:

Right after we recorded “Rock & Roll In America”, we recorded these 2 tracks at Mystic Valley Recording Studios in Medford with Alex-Garcia Rivera (American Nightmare, Piebald). It’s all analog studio straight to tape. While the songs have been released on various online comps, we never made it public ourselves. “Singing For Our Future” seems more relevant then ever and we wanted to release it in order to give the proceeds to MALDEF (Mexican-American Legal Defense & Education Fund). I (Sal) am a first generation Latin-American from two immigrant parents who came to Boston, MA for education and a better way of life. The fact that an idea as simple as this could be threatened in 2016 is ridiculous. We as a band want everyone to feel welcomed and a part of a better future. MALDEF provides immigration help for those in need. Please donate what you can.

Check out the new EP, which features a cover of the Elvis Costello classic “Radio, Radio,” right here, and throw the band and MALDEF a few of your hard-earned dollars!