Search Results for "Fat Wreck Chords"

Album Review: Joey Cape – “Stitch Puppy”

Stitch-PuppyJoey Cape needs no introduction around these parts. Countless tours, eight Lagwagon albums and contributions to groups like Me First and the Gimme Gimmes and Scorpios have secured Cape’s permanent position as punk rock royalty. Those more familiar with his Lagwagon credentials may be off-put by the raw, largely acoustic sound of his newest solo album, Stitch Puppy, which also happens to be the most brooding of his career. It’s personal, emotional and the perfect record to usher in the unforgiving bite of the post-summer months.

Taking a cue from his One Week record label, whose groups record their albums in seven days, Cape and frequent collaborator Brian Wahlstrom recorded Stitch Puppy over the course of two weeks. Cape stated on our podcast that he wanted to write and record without being “precious” about the end product, inherently leading to the minimalist sound echoed across the album. Cape is an exceptional lyricist and Stitch Puppy contains some of his finest, and darkest, work to date. Touching on topics ranging from murder to the loss of an old friend to suicide, there are few moments of hope or happiness to be found here.

Opener “Me the Witness” sets the somber mood as Cape intones, “All that I know is the sense of a gun in my face.” From there the album traverses his feelings on society, life and friendship, occasionally picking up the tempo or incorporating piano yet always relying on the foundation of Cape’s acoustic guitar and pointed lyrics. The songs flow so well that it’s difficult to define standout moments, though upbeat tracks “This Life is Strange,” “Cope” and “Spill My Guts” (the latter of which features guest vocals from The Flatliner’s Chris Cresswell) provide a welcome sonic dichotomy to their brooding lyricism, while “Gone Baby Gone” offers the catchiest chorus found on the album. Ultimately, the poignancy is brought to a head on closer “Tracks” with Cape repeating the line, “He would lay down on tracks for you,” softly strumming his guitar, until the scene fades to black.

As Cape noted while discussing Stitch Puppy, “the train of despair doesn’t seem to stop rolling through my life.” The record in turn serves as the perfect vessel for channeling those complex, and often painful, moments in his life. It’s not an easy or fun listen, but Stitch Puppy will make you think and it will make you feel. It’s hard to ask for much more from an album.

4.5 / 5 – Listen below.

Album Review: Night Birds – “Mutiny at Muscle Beach”

Okay, we all know the deal here. Night Birds are a modern punk rock band from New Jersey, but they play punk rock like they’re from Southern California in the early 1980’s. They’re great, and no one should ever tell you otherwise. Mutiny at Muscle Beach is their third full length record, and it’s fantastic.

I could waste your time telling you how much Mutiny at Muscle Beach sounds like the logical follow up to both The Other Side of Darkness and Born to Die in Suburbia, but I won’t. Instead, I live tweeted my initial reactions I had during my first listen of the album, edited them into semi-coherent thoughts, and turned those into a track-by-track review. I’ve added in new thoughts I’ve had since that first listen for further clarity. Here we go.

“I’m Wired”
Either the vocals are mixed weird, or my headphones are messed up. Vocals aside, holy shit this song rips. If this is how the album begins, I’m stoked for the rest.

“Life Is Not Amusement to Me”
Track 2 already? Maybe I’m just dumb but the title seems a little grammatically awkward. The chorus is super catchy though. Whoa, was that an organ? This rules. [Author's Note: It's been brought to my attention that I overlooked the fact that the title is in reference to a scene from Social Distortion and Youth Brigade's tour-doc Another State of Mind. Oops, that one is on me.]

“Blank Eyes”
Okay, I’ve heard this one before. Solid jam. Admittedly a little less exciting than the first two songs… I wonder if that’s because I’ve already heard it. [Yes, that’s exactly it]. Oh hey it turns out that my headphones weren’t fully plugged in. Everything sounds fine now.

“Lapsed Catholics Need Discipline”
[Wonderful], it sounds like it’d fit right in on Born to Die in Suburbia. Which is to say, “classic Night Birds.”

“In the Red / In the Black”
Almost halfway through the album and still no slower songs [like “Nazi Gold” or “The Less The Merrier”]. This excites me. This chorus, Goddamn. Hold up, was that a clip from the TV edit of The Big Lebowski? This is everything.

“Golden Age of TV”
I can’t get over that “meet a stranger in the alps” line from the end of the last song, I’m not even paying attention to this one. I’m probably missing so many Seinfeld references right now. [Not many Seinfeld references that I caught in this one, but at the end of the song there is a clip from Heil Honey, I’m Home!, an obscure 1990’s British sitcom that lasted all of one episode]

“Mutiny at Muscle Beach”
Another one I’ve heard before. The intro still throws me off. It reminds me of all the [1980s] punk bands that went metal three albums in. The rest of the track is straight up early Adolescents though, and the video for this song is great, too [you know, if you like slasher films].

“Son of Dad”
The transition to this song is just as smooth as “Born to Die in Suburbia” and “Modern Morons.” Excellent work. Oh wait… “Son of Dad” is totally from Seinfeld, isn’t it? Yeah, it totally is.

“Off the Grid”
Classic Ramones count off. And these backing vocals in the chorus remind me of early 90’s Screeching Weasel. So… basically, Night Birds wrote a Ramones-core song, but you know, it still sounds like Night Birds. [CJ Ramone contributed guest vocals to this album! How did I forget that?!]

“King Kong”
Kind of a mainstream reference there, innit? This song is much poppier than expected. The “la la la” bit in the chorus is kind of funny. Poppy or not, this song is great. There’s some wonderful imagery going on here. [After a few more listens, I now understand that this is a Dr. Strangelove reference.]

“Miskatonic Stomp”
Oh phew. I was worried there for a second that there wasn’t going to be an instrumental on this album. I never thought I’d enjoy instrumental songs all that much, but I’m always 100% into it when it’s done by Night Birds.

“Left in the Middle”
I know this one! This is on Fat Music Vol. 8. It’s true what they say: if it ain’t broke, don’t fix it. That rule definitely applies to this song. What a great way to end an album. “Oblivious” and “Golden Opportunity” are both great, but this one blows them out of the water.

So there you have it. Mutiny at Muscle Beach is a triumph of an album. Night Birds rule, and if you disagree, you’re wrong.

5 / 5

RIYL: Adolescents, OFF!, Agent Orange

Full Album Stream: Night Birds – “Mutiny at Muscle Beach”

New Jersey punks Night Birds have finally unleashed their highly-anticipated forthcoming album, “Mutiny at Muscle Beach,” for your listening pleasure. Check it out here.

“Mutiny at Muscle Beach” is Night Birds’ third full-length, but it marks their Fat Wreck Chords debut. It’s due out this coming Friday (October 2nd) and marks their first release since 2013′s “Born To Die In Suburbia” (Grave Mistake Records).

EP Review: PEARS – ‘Letters to Memaw’

A lot can change in 16 months. I know that because a mere 16 months ago was when I reviewed …In Diapers, the demo EP by an unknown hardcore band called PEARS. In the time since then, the band released their debut full-length, Go to Prison, to near universal praise around the punk scene; caught the attention of Ryan Young who decided to release Go to Prison on vinyl; toured with the likes of (to name a few) Direct Hit!, Red City Radio, Off With Their Heads, Teenage Bottlerocket, and Lagwagon; caught the attention of Fat Mike and signed to Fat Wreck (who re-released Go to Prison, again) AND appeared on the most recent Fat Music compilation. That all happened in between May 2014 and September 2015. That’s damn impressive.

Which brings us to now. Their official debut release for Fat Wreck comes in the form of Letters to Memaw, a two song 7-inch single which proves that as much as things can and do change, they can also often stay the same. The music is snotty and in-your-face, and will still become ingrained in your skull. The band’s sense of humor hasn’t gone anywhere either: look no further than the title and album artwork for that.

“Snowflake” was previously released earlier this year as a part of Fat Music Vol. 8: Going Nowhere Fat, so diehard fans (and let’s be real here: when it comes to PEARS, if you’re into them, you’re really into them) already know this one. It’s fast, it’s catchy, and it makes direct lyrical references to The Germs. “Anhedonia”, Memaw’s second track, follows suit by being equal parts grimy and catchy. One moment it’s a blistering hardcore song in the vein of early Black Flag, and the next it nearly becomes a thrash song with “Gimme death!” being repeatedly shouted. And all in under two minutes!

If Letters to Memaw is any indication (and there’s no reason to see why it wouldn’t be), PEARS are doing just fine at the rate they’re moving. They will continue to thrive over at Fat Wreck and their second full length will be just as good as everything else they’ve put out. Hardcore isn’t exactly the most marketable genre to the masses, but if it were… it wouldn’t be out of the question to imagine PEARS finding themselves in the middle of a major label bidding war by early 2017.

(Hey, I know it’s just a fantasy but who knows how much will change in 16 months!)

4 / 5

RIYL: Black Flag, OFF!, Night Birds

Lagwagon announce South American tour with Mute, Belvedere and Adrenalized

Santa Barbara skate punk veterans Lagwagon will embark on the “We Are One” tour with Mute, Belvedere and Adrenalized, which will take place in February and March of next year in South America. Lagwagon frontman Joey Cape on the tour:

“Very excited that Lagwagon is coming back to South America in late February, early March. We’ll be touring with the bands Belvedere and Mute. We’re coming to Chile, Argentina, Peru, Brazil and for the first time, Columbia. Come hang out with us!”

The dates and locations are below.

Almost a year has passed since Lagwagon last released Hang, their first album in nine years, via Fat Wreck Chords. Mute have been working on a new album, which will be their first since 2011′s Thunderblast. Belvedere have been working on new material as well, and Adrenalized released their latest album Docet Umbra a month ago.

The Loved Ones announce “Keep Your Heart” anniversary shows

Philadelphia punk act The Loved Ones recently announced that they will be playing a handful of shows in February to celebrate the 10th anniversary of ther 2006 album Keep Your Heart.

Check out the dates and locations below.

Keep Your Heart was released on Fat Wreck Chords.  The Loved Ones last released Distractions in 2009, also on Fat Wreck.

Face To Face to release new album on Fat Wreck Chords in 2016!

After 20 years away from Fat Wreck Chords, California punk veterans Face To Face have announced they’ve joined forces with the label once again to release their 9th full-length in 2016. The band will begin recording the album at Bill Stevenson’s Fort Collins, CO, studio the Blasting Room later this week.

Here’s what Face To Face frontman Trever Keith had to say about re-signing with Fat:

“Returning to Fat Wreck Chords for us is a homecoming. After 8 records on almost as many labels throughout our career, we’ve definitely been through some of the worst and best of this business. The fact that after 25 years  FAT is still going strong, is a testament to their commitment they have to their artists. We are excited about working with people who truly understand what we do and who we are.”

We’ll keep you posted as more details on the album, which is promised to “showcase all the infectious melodies and driving guitars you’d expect on a Face To Face punk record,” come to light. The band last released Three Chords and a Half Truth in 2013 on Rise Records.

Leftover Crack stream “The Lie Of Luck” off upcoming album “Constructs Of The State”

Anarcho punks Leftover Crack have premiered the first new song off their upcoming album “Constructs Of The State”. It’s called “The Lie Of Luck” and you can give it a listen below.

“Constructs Of The State” will be released October 30th via Fat Wreck Chords. Pre-orders aren’t available quite yet, but you’ll find the order page here when it’s time.

Leftover Crack recently announced the dates and locations for their annual Cracktoberfest tour. You can see those right here.

Watch NOFX play “72 Hookers” and “I Believe in Goddess” live on Last Call with Carson Daly

NOFX made their first appearance on live TV in a while the other night, stopping by Last Call with Carson Daly to play “72 Hookers” and “I Believe in Goddess.” If you missed the show when it aired, videos of the band’s performance can be found below.

Lagwagon, Strung Out, and Swingin’ Utters will also be performing on Last Call with Carson Daly this September as part of the show’s month-long “Fat Tuesday” series.

Get Dead to release 2nd album in early 2016

San Francisco punks Get Dead have announced they will be releasing their sophomore LP in early 2016 on Fat Wreck Chords. The band’s currently recording the album at Motor Studios with Fat Mike handling production duties.

The currently untitled record will serve as a follow-up to 2013′s Bad News. Get Dead will be taking a break from recording to tour the west coast this month.

Stream the new “Letters To Memaw” 7-inch from Pears

New Orleans punk act PEARS are undisputedly one of the hottest new bands in the punk scene right now. For those paying attention it wasn’t all that surprising when Fat Wreck Chords announced their signing back in May. After re-releasing the band’s debut full-length “Go To Prison” Fat is now giving fans a highly anticipated first taste of new music in the form of a 2 song 7-inch titled “Letters To Memaw” and today we are more than honored and stoked to bring you a stream of the release.

Listen to both tracks “Snowflake” and “Anhedonia” below.

“Letters To Memaw” is due out on September 18th. Here’s what frontman Zach Quinn had to say about the EP, which is available for pre-order on Fat’s webstore:

“These are two songs from a quick session in April that subsequently got re recorded for the next full length. They were the first two written for our follow up, Snowflake is loosely about struggling to identify one’s own power, and Anhedonia is loosely about a joyless life versus oblivion. We’ll be touring with our buddies Teenage Bottlerocket through September/October, playing the fest, and then touring with our new friends in Lagwagon in October/November. New record in February. Stay tuned. This is about to get interesting.”

As mentioned in Quinn’s statement, PEARS have been working on a follow-up to their 2014 debut LP 

Go To Prison, which they plan on releasing sometime next year. Both tracks from Letters to Memaw will appear on the album. Additionally, the band will be touring North American with Teenage Bottlerocket and Lagwagon this fall. More info on those tours can be found here and here, respectively.

New Video: Night Birds – “Mutiny At Muscle Beach”

New Jersey punks Night Birds have unveiled the official music video for the title track from their upcoming album, “Mutiny At Muscle Beach.” Check it out below.

“Mutiny At Muscle Beach,” Night Birds’ soon-to-be released Fat Wreck Chords debut, is due out October 2nd. Stay tuned for information on pre-orders and whatnot.

If you’re so inclined, you can head over here to see where the band will be stopping on their upcoming tour with Dillinger Four – you should probably get on that!

Night Birds’ latest album Born To Die In Suburbia was released in 2013 on Grave Mistake Records.

How I Spent My Summer Vacation: Punk Rock Bowling 2015, Fat Fest At Thee Parkside

“If you’re good with your words, you can be marginal at everything else.” – Psycho Mordenson

I’m here to tell all you fine Dying Scene readers that you don’t know anything and none of this matters.

These are essential tenets in the current popular reality. They enable the individual to circumvent even the most vicious of panic-inducing facts, empowering an event like Punk Rock Bowling or Fat Fest to exist in its full flowering of enjoyment and depravity. Well executed, they will prompt an overarching disregard for the world that could be in favor of what’s presently occurring.

After all, if a song is less than two minutes long, you’d better damn well enjoy it while it lasts.

Punk Rock Bowling 2015

Those that search for meaning in something like PRB engage in an inherent delusion. The only point you’ll find in punk rock comes attached to a leather jacket with a 40-ounce side of malt liquor to wash it down. Sure, you could construct anything you’d like around the perimeter, but at its core, it really is a futile effort, no matter how much the politically engaged like to rant and rave. Entropy wins the day every time. Pure thermodynamics.

This is an indispensable facet of PRB. It’s important to have an infusion of senselessness and meaninglessness every so often, just to jerk the senses into alignment with the true chaos of the universe.

These were the thoughts drifting through my drug-addled brain as I sped through meandering California highways towards the Great Desert. Meanwhile, a news report was bleating through the sound system:

“All citizens will be issued eye protection and full riot gear. Wear it or you’ll be shot on sight. In related news, we’re getting an AP update about the Las Vegas PRB crisis… wait for it, OK, yes lock your doors and windows, streets are closed. Do not give punks alcohol or money – it will only encourage them. Do not feed the animals. Now, please remove your hats for the National Anthem.”

But here’s the kicker, folks – you treat a person like an animal long enough, pretty soon they will turn into one.

“Exterminate all the brutes!” – Kurtz

Much later, in my room at the Golden Nugget, Psycho Mordenson stumbled through the door at precisely 4:20 AM, mumbling something like “I fought the beer and the beer won” as he ricocheted between the walls, knocking over various empty bottles in the process, finally settling into a freshly soiled armchair to engage in an epic battle to free his feet from a pair of tightly laced boots.

Las Vegas. Once again, I was surrounded by the din of perpetually rolling slot machines, vaporized drugs, and pixelated ass cheeks, all spiced by a generous sampling of punk rock culture.

A rash of Turbojugend was found milling around the Grotto, while a four-foot green mohawk busied herself ordering the frittata, lobster benedict, and another bloody mary for brunch.

Behind this scene was the pool area – a vast, at-capacity display case where the beautiful and beautifully grotesque reflected the high sun while sauntering between passed-out PRB attendees. This was fittingly complemented by an adjacent mega-fish-tank, where large sea predators floated their laps with toothy indifference.

Those wandering the Golden Nugget property Friday evening may have staggered across the Grand Ballroom where an “art exhibit” housed the work of Edward Colver, Leee Childers, Mad Marc Rude, and Jesse Fischer. Images chronicling long lost moments from the history of punk rock were presented, each priceless, bought for thousands. Bar on the right.

Before this was a long, unruly line of punk bowlers waiting to check in for the weekend tournament, some clearly plotting to cheat their way into the meager prize pool. Prowling in the darkened corners were the ever-vigilant Stern brothers, observing their creation with half-engaged interest.

Out on Fremont and the surrounding avenues was the usual assemblage of attendees busying themselves with harassed steps towards the next Event. The crusties were out too, some setting up camp with instruments, others waiting for the jingle of loose change to cool off with a beer. I would later spot a line of paper bag-covered glass on the third or fourth floor of a parking garage across the street from the festival grounds, a vantage point that offered a complete view of the stage and ample listening opportunities. It’s unknown how long this perch remained available before the inevitable private security intervention.

Meanwhile, behind the tall chain-link fences, cops with tight lips and crew cuts and wraparound sunglasses looked on as Anti Flag belted out charmers like Fuck Police Brutality. These are the things that bring us together, like a Clash cover or an elbow to the ribs. Anti Flag says it’s all about empathy and unity and caring about someone beside yourself, which I’m sure is true for someone out there.

Several months prior, I saw Anti Flag at a club in San Francisco called Slims.
I’m always delighted when I find someone who thinks his personal politics actually matter in this day and age. Involvement is pointless, but why not? It’s like rooting for your favorite football team or pro wrestler. Here in America, cheering for a touchdown while sitting in your living room covered in guacamole has roughly the same effect as a trip to the voting booth. Objectively, the only thing that matters in football and politics is money. Subsequently, the best way to support something nowadays is to throw some cash at it – indeed, a good justification for PRB ticket prices.

But that won’t stop the idealists from parading their philosophies. Attendees got a taste when an anti-GMO protest trumpeted down Fremont.


A minor inconvenience. Either way, the current always flows towards the path of least resistance, like a trip to Hogs & Heifers Saloon for beers at 1 AM as the amphetamines wear off.

While the Big Show undoubtedly brought in the multitudes, the club shows were, once again, equally as appealing, offering up all the bands you’d expect, as well as potential new favorites in a more traditional, intimate setting.

One such assembly was enjoyed Friday night in the dank musk of the Fremont Country Club, where GBH headlined a five-band lineup.

Early in the night, a pretty, young-looking attendee asked me who was on stage. I told her I couldn’t remember, and at that moment, I realized two very important things: the first was that I was completely fucking sideways drunk. The second was that I was thoroughly entertained by the band. Mordenson seemed better informed than I: “Schleprock?” he replied.

“They’re good.”
“Oh yeah?”

The next day, we saw Schleprock’s lead singer in the hallway of the fifth floor of the south tower of The Plaza before the band’s follow-up appearance at one of the many gratis pool parties. Cordial and relaxed, he entertained my inane questioning over a refreshing can of PBR before stepping up to perform another solid set.

As in years past, the sound quality offered by this open-air venue was abysmal, but it hardly mattered – the band was still good, and those present enjoyed it all the same, dancing unhindered. Some opted to tempt fate by climbing the flimsy stage scaffolding before leaping into the sparse crowd below, hitting the ground with a sickening thud, over and over again.

At the time, I was under the influence of some heavy opiates to postpone the inevitable hangover, but still managed to do my journalistic duty, recording such sights as the appearance of a chicken statue in the front row, a skateboarder in the circle pit, and a sex doll in the pool.

Not long after, 88 Fingers Louie began to play and the rain started to fall, forecasting similar scenarios throughout the weekend.

It’s a strange thing to get rained on in Vegas. The precipitation brings out the crazies, and when it collects, we all get filthy. It was like a colony of ants joined together in collective surface tension to create a living raft, unity found at the bottom. Because when the tides finally rise, we all seem to lean inwards, heaping and piling on one another, laughing along the way because even though you’re the one being crushed, it sure beats drowning alone.

It’s unknown if TSOL’s lead singer Jack Grisham made this same foreboding connection, but regardless, the man did have a few interesting things to say, advocating for the widespread social acceptance of urolagnia and necrophilia (find a handy reference guide here), as well as tough parenting techniques like beating a kid’s ball sack with a stick.

It was after the urolagnia reference, right before the band played Code Blue, that the simile dawned on me – PRB is like a long, slow pissing contest into the desert wind, thousands of punks spraying each other with a warm spring shower, ropey arcs fresh from the tap, golden rain dripping into the dry ground.

And in the corners, a psychotic farmer danced, bringing the torrent, planting seeds with high fives and hip shimmies. A shirtless man on crutches did a single-leg pogo, and a wheelchair pit keeper kept the fun as Conflict kept on playing.

“Prime directive/ exterminate the whole fucking race” – Misfits

Fat Fest At Thee Parkside

Much later, in San Francisco, I found myself swilling down homegrown brews to get drunk in time for the Swingin’ Utters set. The punk rock bourgeoisie were throwing a party to celebrate a quarter century of Fat Wreck Chords, and there would be no question about my attendance. Not only did my formative punk rock experiences occur in the Bay Area, I couldn’t think of a better sendoff for the easy summer months.

Set smack dab in the backyard of Thee Parkside (one of the best dive bars I’ve ever been too), Fat Mike and company were on home turf, annexing a full street block to house the festivities. The crowd was older, but the circle pit was still chaotic and dangerous. Eating pavement is of little consequence when you’re a 16-year-old rubber ball, but at 40, there’s a real chance something will break. To my delight, I saw a good amount of violence throughout the weekend, complete with split lips and dripping noses, and at several points, I was certain a fistfight would break out.

Perhaps that’s how we should kill off all these ancient bands – geriatric punk rock mosh pits. It’ll be a new bloodsport, like cockfighting, just with more wrinkles. Only the strong will survive. I’m currently contemplating Fat Mike giving Ben Weasel a Sydney-style kick to the face.

The event offered two stages, one under Thee Parkside roof and one in the open air, combining the familiarity of a show at your local watering hole with the broad scope of an all-out festival. Food trucks, long toilet lines and merch tables sat burning in the sun, while picnic tables, free water and a TV playing The Garbage Pail Kids Movie could be found inside.

Fat Mike once said punk rock is a family, and to some extent, I agree. If PRB was the annual extended reunion, Fat Fest was your weird brother’s birthday party. Bands like Strung Out, the Gimme Gimmes, Sick Of It All, Uke Hunt, Masked Intruder, Good Riddance, Lagwagon, and, of course, NOFX provided more than 16 hours of top-notch diversion. Sauced Beefansin put it best: “That’s what you get with Fat. Quality music, quality beer, and quality atmosphere… maybe.”

It seemed like everyone went big on Saturday. There would be no encore after the last song had played – all in attendance, musicians included, were eager to escape into the night. The siren call of unexplored bars and high-grade pharmaceuticals was simply too strong.

Sunday morning broke with the harsh reality of a blacked-out memory, but there was no time for that – another day of music was waiting. Things were a bit slower on day two, the mood slightly muted. There were memories of Tony Sly while No Use & Friends belted out a few classics. Fat Mike confessed to puking hours earlier. Regardless, we all dug deep, swallowed what was left, and ordered up one final round like it was last call.

That night, as the sun disappeared and the wind picked up off the bay, my afternoon sweat chilled dry as a reminder of fall’s inevitable approach. So I loaded up and headed out, blasting back across the San Francisco bay towards sanctuary.

The drugs had worn off and the drink was pissed away. Winter would soon rear its ugly head, and with it, month after month of rituals and bizarre beliefs designed to invoke the lengthening daylight hours of spring. I felt threadbare, a bit ill even. Greased in the slime pit, it was like some kind of mutant virus had infiltrated my defenses, attacking me from within.

Not that it mattered. You can never go back after getting smeared like that, and no, it will never buff out.

No quarter asked, no quarter given. The record has turned into an ashtray, so breathe until you choke.

I had poured out the remainders with this family of dregs – old, young, fat, skinny, ugly, gay, dependent, socially crippled, socially destructive, up for three days, down for the count, covered in ink, punctured with holes, save the Earth, burn it to the ground, poor as shit, turning tricks, a bad swimmer, nice as hell and mean as fuck.

Somewhere nearby, a psychotic farmer kept on dancing, and when the ice finally thaws, all my treasures will be revealed…

“Don’t tell me about the answer/ ‘cause then another one will come along soon/ I don’t believe you have the answer/ I’ve got ideas too/ but if you’ve got enough naiveté/ and you’ve got conviction/ then the answer is perfect for you” – Bad Religion

Until next time,


Masked Intruder announce tour with The Copyrights and Not Scientists

Everyone’s favorite pop-punk criminals, Masked Intruder, have announced a tour with The Copyrights and Not Scientists in October, with stops at Pre-Fest 3 and Fest 14 at the end of October, check out the dates below!

Masked Intruder’s latest full-length “M.I.” was released last year,The Copyrights released “Report” in 2014, and Not Scientists released their debut album “Destroy to Rebuild” earlier this year.

Leftover Crack announce more details of new album – ‘Constructs Of The State’

Those anarcho punks in Leftover Crack have a new album coming out on Fat Wreck Chords, and now we’re getting a few more details on it.

We already knew the title (Constructs Of The State) and release date (October 30th). Now, we’re getting a look at the album art (to the left) and tracklisting (below). Pre-orders aren’t available quite yet, but you’ll find the order page here when it’s time.

Leftover Crack recently announced the dates and locations for their annual Cracktoberfest tour. You can see those right here.