Search Results for "Punk"
Friday, June 23, 2017 at 5:48 PM (PST) by Screeching Bottlerocket
Friday, June 23, 2017 at 4:21 PM (PST) by Screeching Bottlerocket
The Isotopes last released 1994 World Series Champions in April through Stomp Records.
For 4 days every August, 20,000 punks descend on the city of Blackpool in North West England for Rebellion Festival. Now in it’s 22nd year (in various forms) the festival has been one of the most important in Europe for quite a while. This year sees headlines including Bad Religion, The Skids, Slaves, Sham 69 and Pennywise.
Friday, June 23, 2017 at 12:11 PM (PST) by Carson Winter
Captain, We’re Sinking’s last album, The Future Is Cancelled, became an era defining record for me – the kind of album with songs that get stuck to a time and place; a friend’s car, an old couch, a city I left – and it was all heralded by the band’s angular, aggressive, and melodic take on punk rock. It was the music of The Menzingers, the Lawrence Arms, Hot Water Music, and Lifetime, but younger, meaner, and more desperate than any and all combined. The Future Is Cancelled was a record destined to be searched for tattooable lines, mined for meaning, and sung loud with open throats. It’s odd to think that it’s been four years since that record came out, and since then, save for a solo album and a B-sides and demos compilation, Captain, We’re Sinking has been relatively quiet. The new album, The King of No Man, is a welcome return for the Scranton punks – and no less an achievement than The Future Is Cancelled, arriving with a more expansive sound and just as cutting lyrics.
Much is made of the fact that singer and guitarist Bobby Barnett is the younger brother of Greg Barnett of the Menzingers, and perhaps rightfully. There are similarities between the bands – both write songs harnessed to real life, with strong emotional imagery laid on top of a foundation of melodic punk. Where they differ is their approaches to these elements. The Menzingers’ new album, After the Party is an incredible record, but you can see the differences in how the Barnett brothers handle their subject matter. The Menzingers tell stories. Their songs have characters, and through these perspectives everything else is rooted. Captain, We’re Sinking tells their stories almost exclusively through themselves, and there is more mood and imagery, mixed in with plaintive calls of rage and heartache. Captain, We’re Sinking’s songs are almost like violent and sad prose poems, only a dream removed from reality – abstracted but not abstract.
The King of No Man thrives in this area of visceral detachment. It’s the separation between the entity and the experience, leaving only the latter as this amorphous blob of bleak human reckoning. Sonically, Captain, We’re Sinking mirrors this by straying further away from the core sound of melodic punk, and to a small degree the sound of their second album. Where big choruses and jangly-chord Springsteen worship has been a hallmark of a lot of their contemporaries, Captain, We’re Sinking take a lot of influence from the edgy, teetering musicality of post-hardcore. It’s actually kind of funny, of all the bands who claim Hot Water Music as an influence, these Scrantonites might be the only ones who kinda sorta sound like them. It’s not an imitation, to be sure – a lot of people take gravelly vocals and singalongs as the only thing Hot Water Music had to offer – but instead it’s the Wollard-esque riffs, like the long stream of hammer-ons at the beginning of “Water,” or even the sharp crunching in the latter half of “The Future is Cancelled Part 2” that reveals their influence.
Another musical element that shows up in The King of No Man is almost an inevitability – the emo revival is here to stay, and Captain, We’re Sinking have clearly taken influence from this outcropping of noodly and contemplative bands. You can hear it in the production, which is a bit cleaner, but not enough to betray the spirit of the band. Clean arpeggios and tapping appear across the album, but in true Captain, We’re Sinking form, they’re utilized as a new tool. The chiming notes that run across “Hunting Trip” still have just an edge of distortions, as if the slightest loss of control could send the track caterwauling into dark and dangerous territory.
Despite all these influences, Captain, We’re Sinking implements them flawlessly. The King of No Man’s strength is that post-hardcore and emo are blended so well into this very songwriting-oriented style so that nothing feels out of place. One of my favorite moments across the entire album is in the opener, “Trying Year,” where they effortlessly break into a bendy rock n’ roll solo between walls of stuttering and chiming riffs. Such are the wide and malleable boundaries of Captain, We’re Sinking’s core sound, it doesn’t even feel odd for them to wail into Single Mothers territory with the fuzzy hardcore of “Don’t Show Bill.”
I’ve talked a lot about Captain, We’re Sinking’s relationship and influence from other music, but one of the other things The King of No Man has to offer is a sly connection to their past. The King of No Man shares traits, themes, and even riffs with The Future Is Cancelled, as if the albums were meant to run parallel to each other. My favorite song on the album, “Books,” shares hospital imagery with first album banger “Annina, We Will Miss You” and questions of faith with second-album closer, “Shoddy Workmanship.” “Books” will live on in live sets for years to come, as the line: “hands skillfully guide machines” becomes an audience-crooned favorite.
There’s also the most obvious argument for The King of No Man being a companion piece to The Future Is Cancelled, with “The Future Is Cancelled Part II.” The song continues the leitmotif from the previous album, but it’s darker and bassier, murkier than before, filling out the space between howled lyrics. It can represent the parallelity of experience; a divided by years, but the cycle remains sort of thing. Or it can be a true sequel, a bookmark of now referencing the bent corner of chapter two – either way, it’s an interesting stylistic choice that adheres these two albums together as canon.
The King of No Man is the kind of record you want your favorite band to release. Captain, We’re Sinking have made a work of art that references their past while spinning it into something entirely contemporary. It is an incredibly satisfying way to grow, especially for a punk band, a notoriously difficult genre to mature in. But, in the face of age and time, new trends and old tendencies, Captain, We’re Sinking have managed to create a powerful, raw, tough, and sincere collection of new songs that shine in their quiet parts, so they can burn in their loudest.
Wednesday, June 21, 2017 at 8:51 PM (PST) by Daron
The band is currently writing a full length record. They released an EP, “Exit Wounds,” on Bird Attack last year. They have three upcoming shows in CA in the next few weeks. Check out the video and the tour dates below!
Wednesday, June 21, 2017 at 7:14 PM (PST) by Daron
Vowel-less Australians SNDWNR have released a new track. “Bodies” is the first of a series of new songs.
Thankfully, they do make use of vowels in their vocals.
Wednesday, June 21, 2017 at 1:54 PM (PST) by NobodyLikesGreg
Catch MakeWar hitting the East Coast (/w Nothington and Joe McMahon) in a few days.
Wednesday, June 21, 2017 at 1:00 PM (PST) by Meredith Goldberg
Skate punk legends, with origins in Phoenix, AZ, and Southern CA, JFA (Jodie Foster’s Army) return to Chicago for the first time in more than two decades. The Dwarves put on a great set as for first time live they ripped though their classic album “The Dwarves are Young + Good Looking,”and then rumbled through other songs as well as the night’s headliner. Local punks The Bollweevils got a rowdy summer send off; I Attack, another local punk band, attacked ferociously; Decent Criminal played a set far more than merely decent.
Taking nothing away from The Dwarves and their terrific set; however, it was JFA that appeared to garner the most excitement and whip the crowd into their most frenzied. And not just from fans in the crowd, but numerous fans in the bands sharing the bill as well. Some other musicians expressing that JFA was THE inspiration for them to get into the punk rock game.
JFA lead singer Brian Brannon frenetically covered most of the stage, dancing and jumping on every bit of stopping only for the briefest of moments here and there to catch his breath, this allowed band mates, Don Redondo on guitar, Corey Stretz on bass; and drummer Carter Blitch to shine in their own moments. The set was dominated by classics from their early days. JFA was officially (according to their cited history) formed just 10 days prior to the attempted but failed assassination of former President Ronald Reagan by John Hinckley Jr. Hinckley Jr. famously admitted the reasoning for attempting to kill Reagan was to impress actress Jodie Foster. Guitarist Don Redondo explained that they were partially inspired by the Dead Kennedys’ political tweaking in choosing a band name. Redondo also added that the climate of increased political and social division also inspired a new track on their as of yet scheduled upcoming release. They played the new track “N/Tolerance” on Friday, with the simple credo of “Just Don’t Be A Dick.”
As noted, perhaps the biggest admirers were in the other bands on the bill, and Redondo spent much of the evening offstage engaged in conversation with drummer Pete Mumford. Mumford is a member of the legendary Chicago punk outfit, The Bollweevils, which lit the stage on fire once again immediately prior to JFA. Redondo and Mumford had a continuing dialogue about the best drummers and bass players in rock history, or at least their favorites (which included drummers Keith Moon, Neil Peart and John Bonham; and bass player John Entwistle.) Redondo spoke of his belief in the best way to craft a new band, “Start with a great drummer and a great bass player and build from there.”
Don Redondo also spoke of the reasons for the long absence from Chicago: busy lives, other jobs (including Brannon’s other career, as Senior Chief Petty Officer in the United States Navy Reserve), families; and added that while the band is not changing its name from Jodie Foster’s Army, its motto as of late could be thought of as Jodie Foster’s National Guard. That is, “one weekend once a month.”Judging from the reception they received at Reggies Rock Club, the crowd may be asking for far more than that, but were ecstatic and grateful for the band’s return.
As mentioned, The Dwarves and The Bollweevils both lit up the stage as expected. And in the case of Daryl Wilson, the lead singer for beloved Chicago legends The Bollweevils (and namesakes of a 2016 IPA collaboration with 350 Brewing, “Weevil Wobble”) lit most of the area off stage on fire as well He repeatedly threw his 6′ 5″ frame into the welcoming arms of the crowd.
The Bollweevils are not scheduled to play again in their home region until they return from their journey to Blackpool, United Kingdom. They are confirmed for Rebellion Festival 2017, taking place in early August, along with their friend sin another Chicago favorite, 88 Fingers Louie.
Decent Criminal, from Northern California, started the night off strong fashion with straightforward punk, proving that a show can be solid and rowdy from first note by the opening band to last note from the headliners.
I Attack, led by the one man wrecking crew of Rob V. “Jak,” may have been be the cause of the most colorization of the crowd members, as in ending up black and blue; and purple. Many showing their colorful souvenirs from the set seemed to have smiles on their faces, accompanied by expressions of half disbelief. If there was a Richter Scale equivalent in Circle Pits, the pure rowdiness whipped up by I Attack might, conservatively speaking, hit the 7 plus to 8 range.
This show had a bit of everything for from start to finish and may very well have thrown down the gauntlet for top to bottom billed, non-fest punk shows this summer. It is s summer is still in its infancy with many promising such events on tap, but judging from this night, it will hopefully be long and hot in the very best ways. Head below to check out our full photo gallery from the intense evening!
Wednesday, June 21, 2017 at 12:45 PM (PST) by NobodyLikesGreg
‘The King of No Man’ is the band’s first release since their amazing 2013 album ‘The Future Is Cancelled’.
Wednesday, June 21, 2017 at 11:23 AM (PST) by Shane Dover
Wednesday, June 21, 2017 at 11:06 AM (PST) by Shane Dover
“Ambient Red” is taken from the band’s upcoming 7′ single Absolutely Imagination. The single is set to be released on July 12 via KiliKiliVilla, you can find the cover art below the track.
Tuesday, June 20, 2017 at 4:22 PM (PST) by Operation Rescue
Tuesday, June 20, 2017 at 1:25 PM (PST) by The Torchbearer
Los Angeles progressive hardcore band Chotto Ghetto have released their new album Monstrosity, and are streaming the whole thing.
You can give the album a listen below.
Monstrosity was released on June 11th via Asian Man Records.
Tuesday, June 20, 2017 at 1:05 PM (PST) by The Torchbearer
Tempe, Arizona’s The Venomous Pinks have released their new EP, We Do It Better.
You can give it a listen below.
We Do It Better was released on June 18th via SquidHat Records.