You can watch the new video and check out their tour dates below.
Search Results for "ANTI- Records"
Tuesday, May 30, 2017 at 11:15 AM (PST) by Goldfinger
Tuesday, May 16, 2017 at 11:21 AM (PST) by Goldfinger
Ohio punks Saintseneca are streaming the new song “Book of the Dead On Sale”.
The new song coincides with Saintseneca’s upcoming tour with Tigers Jaw which will begin later this week.
You can check out the new song and tour dates here.
Monday, March 27, 2017 at 12:00 PM (PST) by jaystone
A couple Fridays ago (March 10th, to be precise) Greg Graffin released a stellar new album, Millport (ANTI- Records). It marks the first time in more than a decade that the Bad Religion frontman has pressed the “pause” button on his punk rock day job in favor of a more traditional, folksy Americana vibe. Millport features not only a core lineup that should seem very familiar to fans of both punk and Americana: Social Distortion‘s Jonny “Two Bags” Wickersham, Brent Harding, and David Hidalgo Jr., but it also includes production credit from Brett Gurewitz, long the musical yin to Graffin’s yang.
While Graffin and his Millport session colleagues rank as some of the most legendary names in punk rock, a project like this allowed them to let go of the traditional constraints of trying to hone a singular sound. “The great thing about this project is that you’re hearing unconstrained love of the songs, and unconstrained love of creating something that we felt was a blend of many genres and therefore something that’s truly creative,” says Graffin, though he quickly points out that none of that is to say that crafting a new Bad Religion album is formulaic; it’s just a different standard. “It’s one of the great challenges as artist is to maintain the tradition of his or her prior work. That’s hard to do. It normally takes (Bad Religion) two years to put out an album. Why has it taken us four year to release an album after True North? Well, True North was such a great album — and we owe it to our fans to take it seriously as a great album — that to do another one is going to take a lot more work.”
Graffin and company holed up at California’s Studio 606 and Big Bad Sound for ten days of creating and recording last April, in what he says was basically akin to “hitting record and having a party.” The result is an album that’s the strongest and most cohesive of his solo career, with sounds that range from folk to bluegrass to 70’s rockers that would make Neil Young and Crazy Horse proud. Perhaps the album’s most upbeat singalong is “Time Of Need,” with it’s “Hey Man!” chorus that draws heavily on traditional Gospel hymnals, a bit of a curious decision for someone who’s spent close to four decades fronting a band called Bad Religion. He explains: “One of the greatest things about religion — if it can be said from a guy in Bad Religion — there’s something good about it and it has nothing to do with theology or the philosophy of it, but it has a lot to do with the music. The music is what is handed down through the generations, and punk rock is a kind of roots music now.”
Instead of focusing on the lure of paradise and an eternal afterlife, “Time Of Need” places the responsibility for making things better squarely on the shoulders of the listener, and of humanity. “In the old days,” says Graffin, “the Gospels would sing about how hard times were and how God is going to deliver us. What I’m trying to say is that God’s not going to deliver us. We have to be responsible ourselves for this changing environment and changing surroundings. No religion can help this time of need.”
We caught up with Graffin over the phone during a recent late winter blizzard that blanketed much of the Northeast with some of the biggest snow totals of the season. As you might imagine, we talked quite a bit about Graffin and Gurewitz’s long history as collaborators, and just how the solo, Americana projects inspire the two punk rock icons in ways we might not have expected. We also touched on just what the Social D trio brought to the project, and how Graffin hopes to balance solo and Bad Religion material going forward while raising the bar in both areas.
Head below to read our full Q&A!
Tuesday, February 14, 2017 at 7:56 PM (PST) by jaystone
About the track, Graffin, the legendary Bad Religion frontman, has this to say:
“Those old roads, like my memories, have long been neglected and lately are in decline.”
Millport is due out March 10th via ANTI- Records, and finds Graffin backed by three-quarters of the current Social Distortion lineup: Johnny Wickersham on guitar, David Hidalgo Jr. on drums, and Brent Harding on bass. Stay tuned for more on this one as release day approaches.
Greg Graffin, frontman from legendary punk band Bad Religion, has announced a handful of tour dates in support of his upcoming album, “Millport.” In addition to still-unannounced appearances at Austin’s SXSW Festival in March, Graffin will play a half-dozen shows late next month. Head below for details.
“Millport” is due out March 10th via ANTI- Records, and finds Graffin backed by three-quarters of the current Social Distortion lineup: Johnny Wickersham on guitar, David Hidalgo Jr. on drums, and Brent Harding on bass. Stay tuned for more on this one as release day approaches.
Tuesday, January 10, 2017 at 10:31 PM (PST) by Chris Ramone
Produced by Bad Religion guitarist Brett Gurewitz, Millport will be Graffin’s first solo album since 2006’s Cold as the Clay, and features three of the current members of Social Distortion (Jonny “Two Bags” Wickersham, Brent Harding and David Hidalgo Jr.). The album’s track listing can be found below, along with a stream of the track “Making Time”.
Last October, we reported that Bad Religion were going to begin writing a new album, which will be their first since 2013’s True North, and is due for release later this year.
Wednesday, November 9, 2016 at 3:21 PM (PST) by Screeching Bottlerocket
Bad Religion frontman Greg Graffin has released a cover of Norman Blake’s song “Lincoln’s Funeral Train.” The track features instrumental work by Social Distortion members Jonny “Two Bags” Wickersham, Brent Harding, and David Hidalgo. You can give the song a listen below.
Graffin teased plans to release a solo album in an interview last year. However, he has not specified whether this cover will be appearing on the album. We’ll keep you in the loop.
Wednesday, December 9, 2015 at 10:19 AM (PST) by Malamute
Close To Home Records has released a compilation called “Some Kind Of Fix” for MIND, a charity in the UK for mental health. The compilation includes Title Fight, Basement and The Winter Passing among others.
Sunday, November 1, 2015 at 12:34 PM (PST) by writeofpassage
Deafheaven‘s previous album, Sunbather,was beautifully traumatic. Honest and psychological. Cerebral. Intense. And whether you like it or not, much more black metal than shoegaze. New Bermuda is just as visceral and deep and ends up being its own beast. I didn’t think could surpass Sunbather but Deafheaven manage once more to take the dread, the expectation and the uplifting power they have… and churn out something much more darker, much more metal-entrenched and something filled with a resounding rage which we wish we as humans could channel. It strikes off any fears of complacency and is the perfect rebuttal to haters with its metal spirit. In short, it fucking exceeds everything you hoped it’d be.
“Brought To The Water” is a well-established opener, thrashing about with a frantic urgency. This is black metal at its finest, make no mistake, and as vocalist George Clarke shrieks to set the album’s pace, let’s just say get some gauze for your ears. The aggressive and heaven-tearing noise quickly spirals into beautiful melodies which is a big aspect of the band they continue to use so well. The softer parts are piano keys that really ride the dream pop wave but is the ideal funnel into “Luna” which is one of their more guitar-intricate jams.
The mid-tempo centerpiece “Baby Blue” has a hypnotic and very much so, a contemplative vibe of self-reflection that evokes what Metallica accomplished music-wise in their career. The riffage jams a la Hetfield and company’s style and is a lovely mirage painted against Deafheaven’s usual gloom and doom backdrop. Languid yet provocative. “Gifts For The Earth” helps bookend things and follows suit in a dramatic build to a melodic climax that feels more alternative than anything else. But as usual, it emulates a wall of sound which few can copy. And that originates from Sunbather. Deafheaven explore a lot here and this place of discovery exposes their roots as well as how they view the future landscape in terms of subverting genre within genre. Their genuine expression shows that in terms of black metal, they’re unafraid and willing to venture into the unknown. As New Bermuda indicates, they can take this newfound isolation and make something glorious from it. Prep yourself for this album. This is one of the most profound rock experiences you’ll have this year.
4.5 / 5
Thursday, September 24, 2015 at 1:00 PM (PST) by Bizarro Dustin
Deafheaven will release New Bermuda, on October 2, 2015 through ANTI- Records.
Tuesday, September 15, 2015 at 11:22 PM (PST) by Chris Ramone
“Come Back” is taken from Deafheaven’s upcoming album New Bermuda, which is due for release on October 2nd through ANTI- Records.
San Francisco metalcore group Deafheaven have announced a slew of US tour dates that’ll find them out and about in most corners of the country (and Vancouver) this coming autumn. Check out the full rundown below.
Deafheaven will be touring in support of their upcoming album, “New Bermuda,” which is their first release since moving to their new label home, ANTI- Records.
“New Bermuda” is due to be released sometime in October. Deafheaven’s previous album, “From The Kettle Onto The Coil”, was released in August 2014, via Deathwish Inc.
Monday, July 27, 2015 at 6:02 PM (PST) by Supermartinguy
San Francisco Metalcore group Deafheaven have just released a minute-long trailer for their upcoming album “New Bermuda”. This comes as the first piece of news from the band since they switched to ANTI- Records, having released their previous work via Deathwish Inc.
The trailer is actually kind of beautiful in a weird way. It combines slow shots of an ocean with a slow and moody acoustic guitar riff, before breaking down into heavy drums and guitar, cutting together shots of the group in complete synch with the music. You can it out below.
“New Bermuda” is due to be released sometime in October. Deafheaven’s previous album, From “The Kettle Onto The Coil”, was released in August 2014, via Deathwish.
Title Fight last released “Hyperview” on February 3rd 2015 via ANTI Records.
Thursday, February 12, 2015 at 4:50 PM (PST) by writeofpassage
Will Yip was the man who charted Pianos Become The Teeth’s new course musically. From screamo and post-hardcore to melodic, soothing beauty. Here, he does the same for Title Fight, not as extreme, but definitely in great measure and thus, completing the transformation hinted at on records like Shed and his stamp-approved Floral Green. What this record signifies is Title Fight finally delves full-fledged into the more indie side of indie-punk with high doses of experimentation, shoegaze and dream-pop abound. The punk factor is very negligible and only time will tell how this minority factor leads them on.
“Murder Your Memory” and “Dizzy” are prime examples of this – hypnotic, dark, swirling with heavy basslines. The album’s melodic and charming and not as heavy/gruff as they may have alluded to in interviews. If you’re looking for the driving upbeat rhythms that gave them the brooding sound and fanbase of old, then you’re gonna have a tough time finding it here – although “New Vision” does try to establish this.
The swing to the old style never happens in full and it must be noted that this atmosphere allows them more room to breathe and expound in terms of lyrics. Jamie Rhoden has never been more contemplative and vulnerable on a record that rarely packs the backup vocals of old.
The wispy, lo-fi, distorted, reverb aura of the album offsets anything you new about Title Fight’s nature to make brash and in-your-face post-hardcore/punk. It feels like new territory. But it is engaging and an ethereal throwback for ’90s fans. Think Nai Harvest meets Basement. It’s an unconventional album that needs a few listens but it isn’t one to write them off yet. Still, I must admit – I wanted more of the old Title Fight.