The song is off the band’s debut full-length album, Elektrobioscope, which they released in December of 2015. You can stream and/or download the entire album for free/name your price right here.
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You can listen to the album in its entirety below.
Remember Death is Mute’s first full-length release in 5 years, following 2011′s Thunderblast. The band embark on a European tour in a few days.
“Growing Up” appears on the band’s latest album, “What Comes Next”, which was released this past March.
You can also still stream the entire album here.
Tuesday, October 18, 2016 at 9:45 AM (PST) by loserpoints
Alberta, Canada’s Loser Points, comprised of members of Chimp Change and Booze Cruise, just released their new full-length album “Does Loser Points Come Here Often?”. The release packs in 12 songs in just over 15 minutes and you can stream the entire thing below.
The album follows their debut EP called “Buncha Bangers” released just last March. If you dig it you can download it for free on bandcamp.
Wednesday, October 12, 2016 at 12:00 PM (PST) by Meredith Goldberg
We know you’ve been waiting patiently, boys and girls, but the wait is finally over!
Dying Scene was lucky enough to have boots on the ground at the Chicago installment of this year’s Riot Fest. We covered as much ground as we could, and chronicled some pretty intense performances throughout the course of the epic three-day festival. Today, we bring you coverage of day one, which included NOFX, The Specials, Refused, Off With Their Heads, and Dillinger Escape Plan. Check out our full gallery below, and stay tuned for coverage of days two and three in the very near future!
Wednesday, October 12, 2016 at 9:11 AM (PST) by Shane Dover
Tuesday, October 11, 2016 at 2:20 PM (PST) by The Torchbearer
Canadian melodic punks Fableway are streaming their upcoming album Medical Tourism in its entirety.
Give it a listen below.
Medical Tourism is set to release on October 25th. You can pre-order the album here.
Monday, October 10, 2016 at 9:40 PM (PST) by Cyco Loco
“Waiting for the Explosion” is taken from Fastloud’s recent album Far from Finished, which was released last December, and you can get a copy of it from their Bandcamp page.
Wednesday, October 5, 2016 at 6:02 PM (PST) by Screeching Bottlerocket
This is Rawfire’s first album in three years, following their 2013 debut Minds On A Hunt.
Tuesday, October 4, 2016 at 2:40 PM (PST) by The Torchbearer
Czech skate punk act Krang have released a video for their song “No Fun In Fundamentalism.”
Check it out below.
Krang last released Baddest Brain on February 23rd, 2016 via Bird Attack Records.
Tuesday, October 4, 2016 at 12:00 PM (PST) by jaystone
On the surface, it would seem that “Fat Mike” Burkett needs no introduction. He’s been the inimitable frontman of a highly influential punk band for three decades. He’s been founding co-owner of an even more influential record label for a quarter of a century. He’s produced (and continues to produce) more than a handful of important albums. He’s been a champion of progressive causes, both personal and political. He even co-wrote and co-produced an “unapologetic and catchy as hell” punk rock musical.
Though Fat Mike has long been considered a virtual open book, however, there seems to be a fair amount underneath that multi-colored mohawk that he has been slow to introduce. Bits and pieces increasingly trickled out over the years, but the floodgates opened when the SF-based quartet teamed up to publish their group autobiography, NOFX: The Hepatitis Bathtub and Other Stories (April 2016, Da Capo Press). Inspired in part by Mike having read the infamous Motley Crue tell-all (or tell-most, anyway) The Dirt, the band got brutally, uncomfortably honest in chronicling stories from their legendary career. “I said (to the rest of the band) that we should write a book. And everybody was like “really? Why?” Mike explains to me, continuing rather emphatically that “we know a lot of shit about each other, and if we tell about what actually happened and who we are, we’re going to write a book that’s better than (The Dirt).”
Getting honest…really, truly honest, would have to be the key in Mike’s mind. “I’ve read a few rock and roll books,” says Burkett, “and people don’t go that deep. They don’t want to say things that hurt, or might hurt their career.” When you’ve been one of the preeminent bands in the scene for more than two decades, however, the risk of hurting your career is probably comparatively minimal. Plus, this is punk rock, so the more debauchery is involved the better, especially knowing that the audience will call you out on even the faintest whiff of bullshit.
And so the stories started, though they did so without the band trading notes until the product was done. While Fat Mike may have been lauded for years for being honest and “telling it like it is,” much of that was related to Mike shining a mirror back on society; calling out institutional hypocrisy, championing the marginalized, at some level normalizing the abnormal. The book, and the resulting album writing sessions that followed, spawned First Ditch Effort, NOFX’s thirteenth studio album and, ultimately and unquestionably, its most darkly personal. While some of the album’s tracks (“Bye Bye Biopsy Girl,” “Sid And Nancy,” etc) might represent textbook NOFX tracks, roughly half of the album finds Mike turning the mirror on himself more than ever. I suppose it’s difficult to go back to writing songs about Tegan and Sara when you started your autobiography with a story about the first (not the only…) time you drank human urine.
One needs to look no further than the tracks “I Don’t Like Me Anymore” and “California Drought” for direct evidence as to the fundamental shift in Fat Mike’s lyrical process. The former is probably self-explanatory given the title, detailing, as Mike tells it, the after effects of “waking up in the morning after a bender and looking in the mirror and being like “oh fuck!” And really hardly recognizing yourself, and being like “what the fuck did I do last night? I said a bunch of things I shouldn’t have and was a total jerk.” The latter chronicles in somewhat brutal fashion coming to terms not just with what you did last night, but that you can’t keep doing it anymore and that it’s time for some changes. For Burkett, those changes were spawned by a bottoming out of sorts, though by his own admission it wasn’t a catastrophic rock bottom. “I slept too late for my daughter’s birthday party,” he explains, adding that he “didn’t miss it, I just was like “shit, that sucks…I’m late because I was doing drugs last night.”
And so, Burkett decided to make changes, but not before recording a new album. While the album is certainly more honest and personal and talks on numerous occasions about his drying out, he was not, in fact, sober during its writing or production. The ironic sad part, as he says, is that “this is the first album that I recorded while being drunk and on drugs every day.” The dark place that Burkett found himself in stemmed from a relatively recent addiction to prescription painkillers. While he began using recreationally, as was his history with myriad other drugs, the painkillers (Percocet, specifically) developed a physical dependency unlike any of the others. “I wasn’t doing that many,” says Burkett, clarifying that he “was doing about two Percocets a day, so it wasn’t a big problem. but it was enough of a problem that I couldn’t stop because I would get sick.”
A failed attempt at a doctor-assisted detoxification from Percocet, specifically by way of the medication Suboxone, lead Burkett to pen the track “Oxy Moronic,” the razor-sharp critique of the pharmaceutical industry that also resulted in the album’s lead video. ”I went to see a doctor, a specialist in getting off painkillers,” says Burkett in a seemingly rare admission of defeat, or at least of a need for help. He continues: “And he said “I want you to take this Suboxone.” I’d heard of Suboxone before. So I said “alright. Give me a week’s worth and I’ll get off it.” And he goes “no, you have to take it for three months.” And I said “I don’t want to take it for three months.” And he goes “well, if you want it, you’re going to have to take it for three months. That’s how we run this program.” Toward the end of that program, during which Burkett was drug tested and met with weekly, an encounter with the above-mentioned doctor made the lightbulb shine bright. Upon asking the doctor what the expected outcome was now that he was in the process of weaning off, the doctor gave a rather telling answer: ”his eyes kinda darted away like he’s about to tell a lie… And he said “well, most of them go back to opiates or stay on Suboxone.” And I’m like “you motherfucker! You just set me up to get addicted to this new drug!”
And go back to opiates Burkett did through the writing of the album and the book tour that followed, though he at least had a plan in place that included a chaperone on said tour, responsible for doling out his medication. It also involved what is now a rather note-worthy entry into a detox program and the first real attempts at true sobriety. All of this was chronicled of course, because this is 2016 and because Mike has been no stranger to attention, on Instagram. While some (myself included) may have assumed that it was another Cokie The Clown-style attempt at sick humor or a late April Fool’s Day joke (a story not unlike one I, myself, jokingly/clumsily wrote about Burkett a few years ago), the stay in detox was not only real but, as it turns out, widely appreciated. “What was surprising to me is how many people were so supportive,” says Burkett with more than a little bit of happiness and sincerity in his voice. “That really made me feel good. People I hadn’t talked to in a long time, strangers… Tim and Lars from Rancid both reached out if I needed anything. It was really sweet. And it really goes to show how the punk community is just the best community and really just an extended family.”
The Instagramming stopped at around the two month mark, and the sobriety came to a close after day 85, though it was never intended to be a lifelong change. While the use of prescription drugs, painkillers specifically seems over for good, Burkett reports to be “at peace with the fact that I’m not going to be a clean person my whole life. I don’t want to.” Playing shows while under the influence — at least a modest influence — will become the norm, but not necessarily the rule. “I don’t want to play punk shows sober,” he says, honest as ever, though he continues that in spite of that, he “did two shows (this past weekend) and I did the first one totally sober and it was really fun. The next one I had a couple beers and it was also really fun. That’s where I have to be. I’m just trying to get back to where I was in my thirties, when I partied on occasions. But I definitely got too deep last year.”
Partying too hard, and getting too deep, has been an unfortunate and all-to-common occurrence in the punk scene and in all too many scenes. Slowly but surely, Burkett started to examine his own behavior thanks (for lack of a better term) to the death of a close friend: Tony Sly. “It changed my life in many ways. It was the worst death of my life, and my drug habits and the time I spent with my kids kinda changed. I stopped mixing certain drugs and I stopped doing all-nighters. I didn’t stop using drugs, I just started using them more responsibly.” Though it would still be some time before he would develop, and overcome, an addiction to painkillers, Sly’s death resonated in ways that culminated, in part, with “I’m So Sorry, Tony,” First Ditch Effort’s penultimate track, and easily the most gut-wrenching, tear-jerking (I’m not afraid to say that) song in the Fat Mike canon. The song didn’t, necessarily, come naturally.
“I had to rewrite the lyrics six different times. The first version was really too graphic and told stuff that didn’t need to be told,” says Burkett. After submitting the original song and its numerous revisions to Sly’s widow, Brigitte, what resulted was a track that not only expresses regret as to how Tony died, but forces Mike to examine his own behavior and how it impacts his family. “The last stuff I wrote,” he says, “was “sometimes the weekends when our kids hang out together / Keira tells Darla that her dad’s songs are better.” Those lyrics are so sweet and sad and I wouldn’t have come up with those had I not kept on writing.”
A large part of the reason that Burkett had difficulty in not making things too graphic comes, as he says repeatedly in The Hepatitis Bathtub, that his “Weirdness Barometer” is faulty, that he lacks not only an ability to filter what he says but lacks an understanding as to why he should bother filtering himself in the first place. He also thinks he may, at the age of 49, have found a cause: “I’m just realizing that I’m somewhere on the spectrum of autism.” The genesis of this revelation, however, well, we’ll let him tell it. “I saw a play about an autistic kid on Broadway. The Curious Incident Of the Dog (In The Nighttime). It was really good. And my wife, Soma, every time the kid would do something, she’d look at me and I’d look at her like “shit, I do that.”(*laughs*) Like everything he does, I do!” Burkett says this with some amount of relief in his voice, and doesn’t come across as being provocative or mocking the diagnosis, and expresses an interest in actually undergoing testing to confirm his thoughts, albeit primarily for fun. Still, he believes that a lot of what has made him an honest and provocative songwriter over the years may come from his not really knowing “what’s acceptable and what’s unacceptable. I’ve always done things that are weird.” And so perhaps it was luck but more probably it was destiny that he stumbled into the punk rock world. “When I found punk and I was 13 or 14 years old, I thought that I fit here. That I belong here. Because I could do anything and people don’t think it’s weird, they just call it punk.”
Over the course of a forty-five minute conversation, Burkett and I covered an awful lot of ground; what’s quoted above merely scratches the surface, though you could say that the full conversation itself may promote infinitely more questions. We touched on the recording of the album, including some technical (read as: geeky?) discussion about when to record what, and how certain sounds were achieved. We of course touch on his kid, who seems by all accounts to have her head squared securely on her shoulders. And, of course, we talk about Mike’s involvement in not only the BDSM world (where he and his wife, Soma, found themselves outcasts even amidst that taboo scene) but his recent forays into publicly cross-dressing. We think it’s pretty engaging and insightful, and we think you’ll do the same.
Head below to check it out! First Ditch Effort, as you probably know, is due out this Friday (October 7th) on Fat Wreck.
Tuesday, October 4, 2016 at 9:27 AM (PST) by Johnny X
“First Ditch Effort,” NOFX’s thirteenth studio album, is due out this coming Friday (October 7th) on Fat Wreck Chords. Stay tuned in to Dying Scene (or bookmark us or whatever the kids do nowadays) for more on just how and why this album is the band’s most honest and raw release in the very near future…like, tomorrow morning!
Friday, September 30, 2016 at 5:35 PM (PST) by bob9746
South Korean punk act Full Garage released their debut EP “Vinyl Suit” last summer and to help grab your attention they’ve released a music video for their 44 second song “96″. Maybe not so coincidentally, if you got into punk around that year, you’ll be inclined to dig it.
Check it out below.
Wednesday, September 28, 2016 at 3:54 PM (PST) by Screeching Bottlerocket
Strung Out have made a b-side from their latest album Transmission.Alpha.Delta available to stream. The track titled “Crows” was previously only available as part of a flexi disc set Fat Wreck release for Riot Fest 2016. You can check it out below.
Here’s what the band had to say about the song:
“This was one of the first songs we wrote/demoed early on for Transmission.Alpha.Delta. Once it was finally recorded in the studio, we loved it but felt maybe it had a different vibe and flow than the other songs on Transmission.Alpha.Delta. It was a tough call, but we decided to keep it off the record and figured we’d save it for something cool, like the next FAT comp.”
Transmission.Alpha.Delta was released in 2015 through Fat Wreck Chords, and according to guitarist Jake Kiley, the band will begin recording a new album in 2017. Strung Out will be touring the US with Pennywise and Unwritten Law this fall.