“Whiplash” is taken from Silverstein’s most recent album Dead Reflection, which was released last August via Rise Records.
Search Results for "Rise Records"
Wednesday, January 17, 2018 at 6:00 PM (PST) by Chris Ramone
In a recent interview, The Bouncing Souls frontman Greg Attonito revealed that they are in the works to begin writing a new album, which will be released to coincide with the band’s 30th anniversary next year. Greg stated:
“We’re in the works to start writing, and we’re preparing for our thirty-year anniversary in 2019. We’re writing and planning, and brainstorming what our thirty-year project will be. Is it some sort of retrospective and some new songs, and some touring? This week, everybody’s connected via email. It’s time to start making a plan. We have lots of ideas that have been kicking around for six months, so it’s time to start getting the ball rolling. We’re digging up old photos, fan stories… . We’ve been doing this thing on Instagram called #SoulSunday, getting fans to tell stories about their past — anything Souls-related. We’ve been getting great stories, and we’re trying to think of ways to incorporate that into some sort of career retrospective.”
The Bouncing Souls’ latest studio album, Simplicity, was released in July 2016 through Rise Records.
Tuesday, December 26, 2017 at 2:46 PM (PST) by jaystone
Hey boys and girls, Jay Stone checking in with yet another year-end list. As has been the case every year I’ve done one of these exercises, I put way more than ten albums on my list this year, because honestly, cutting the list at ten leaves out too much awesome music. As you should also know, there’s a lot of awesome music that we don’t cover at Dying Scene, so I put some of that on the list as well. And if you scroll all the way down, there’s also a handy Spotify playlist that’ll keep you fired up for a couple hours. Check it all out below!
Friday, December 15, 2017 at 3:34 PM (PST) by Screeching Bottlerocket
The band’s last full-length We’re Down ‘Til We’re Underground was released in 2003.
Sunday, December 10, 2017 at 12:00 PM (PST) by jaystone
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!
Friday, December 1, 2017 at 4:06 PM (PST) by Screeching Bottlerocket
TSOL’s latest album The Trigger Complex was released in January on Rise Records.
Monday, November 27, 2017 at 11:00 AM (PST) by jaystone
Even by the standards of a band that has defined its near quarter-century career by charting its own course and never seeming to duplicate itself, it’s safe to mark Hot Water Music‘s 2017 as one of the band’s most atypical calendar years yet. The pioneering post-hardcore outfit wrote, recorded and released Light It Up, their eighth studio album, back on September 15th. The album is stellar, prompting even old school fans to note that it’s the band’s most inspired and cohesive project in recent memory. They also played a high-profile gig at Riot Fest in Chicago, a place that has shown enough love to the band over the years that its been something of an adopted second home (their live 2012 triple LP was recorded in the Windy City).
That said, the road has been a little bumpier of late. The iconic quartet’s lineup of Chuck Ragan and Chris Wollard on vocals and guitars, Jason Black on bass and George Rebelo on drums has remained constant — albeit interrupted by the occasional hiatus — since their beginning. Recently, however, they’ve had to play down a man; beginning at Fest last month in their hometown of Gainesville, Wollard has had to take a step back from performing live in order to take care of some self-reported anxiety and stress-related issues. Given the amount of moving parts (day jobs and spouses and babies and pets and so on) that need to line up for Hot Water Music to play live these days, the other three members — with Wollard’s blessing and encouragement — chose to fulfill their long-scheduled tour obligations, including a recent three-day run through Boston, New York City, and Philadelphia, and an upcoming date in Brazil.
And they are doing it with a little help from a few friends; The Flatliners’ Chris Cresswell filled in for Wollard at Fest on fairly short notice and played the three Northeast US shows, while Less Than Jake’s Chris DeMakes, a fellow Gainesvillian and longtime friend of the band, will cover the Brazil show (with any luck, Wollard will be back in fighting shape by the time the band’s January dates in California come around). Not only was Dying Scene on hand to shoot the band’s recent Boston date, but we were lucky enough to sit down with Jason Black back stage just moments before the show got under way. We talked about the lead up to recording Light It Up, looked back at some of the changes over the band’s two-plus decades in the business, and about adding the decade-and-a-half younger Cresswell to the mix; we also got cut off near the end by Ragan and Cresswell joining the conversation, the latter accompanied by a Les Paul and seeking clarification as to his part on the new Wollard-fronted Hot Water Music track “Vultures.” Head below to read our full interview!
Tuesday, November 21, 2017 at 9:28 AM (PST) by jaystone
Hot Water Music made their long-awaited return to the Boston area last Friday night, playing to a packed house at the Sinclair in Cambridge that sold out long before the show actually took place. Touring in support of their most recent studio album, Light It Up (released September 15th via Rise Records), the genre-defining four-piece were playing down a man, with Chris Wollard sitting out this run of shows to focus on taking care of anxiety and stress-related issues. However, just like they did at Fest last month, they called on the help of a pretty well-respected friend to fill Wollard’s shoes. That, of course, was none other than Flatliners frontman Chris Cresswell.
If Cresswell had the pre-game jutters that might be expected when filling in on the sold-out first night of a run with a highly influential band fifteen years his senior, he didn’t show them. The show’s twenty-one song setlist did steer more heavily toward the Chuck Ragan sung end of the catalog, and Ragan took over lead vocal duties on the new track, “Vultures,” but Cresswell did Wollard justice on such staples as “A Flight and A Crash,” “Paper Thin,” and, of course, “Trusty Chords.” Ragan, who sounded as solid and high-energy as he ever has, seemed on more than one occasion to look on in proud admiration at his new stage-left counterpart. For their part they rhythm section core of Jason Black (bass) and George Rebelo (drums) were a lock-tight gas pedal, which, while they’ve been playing together for the better part of a quarter-century, is not necessarily an easy task given that it was the first night of a brief three-day tour for a band that doesn’t live on the road nearly the way they did earlier in their respective careers. Rebelo’s recent turn behind the drumkit with Bouncing Souls has provided his playing with a little bit of an added, uptempo spark, which seems to play right into the nimble-fingered Black’s wheelhouse. It may not have been the traditional Hot Water Music lineup that has been so long-revered in this scene, but goddamn it still felt pretty special.
Big Jesus provided direct support on all three shows on this run. Trying to narrow down the sound of Big Jesus to one definable genre is a bit on the difficult side, but they’ve got a sludgy, swampy metal guitar attack that’s offset by bassist/vocalist Spencer Ussery’s airy, melodic vocals that have drawn comparisons to Smashing Pumpkins but are really more like Silversun Pickups-meets-Clutch. They were apparently “discovered” and subsequently managed by the Madden brothers, though you’d honestly never guess that from their sound or their look.
Local three-piece Bundles, who’ve become increasingly beloved around these parts, were added to the bill to kick off the show only about a week or so ago, after it was announced that Strike Anywhere wouldn’t be on this particular date. We’ve caught the trio on longer bills at various smaller bars in Boston, so to get the chance to see them on the larger stage (editor’s note: we’re pretty sure O’Brien’s in Allston would fit on the stage at Sinclair, but we digress) was a bit of a proud moment that the band seemed to revel in. There’s is an updated, stripped down version of the sound pioneered by bands like Hot Water Music twenty-five years ago, but with lyrics that draw as much inspiration from classic literature as they do from personal pain and struggle. Fun opportunity for the band and it was awesome to see them as being up to the task.
Check out our full photo gallery below, and stay tuned for our sit-down with Hot Water Music’s Jason Black in the next few days!
Tuesday, November 7, 2017 at 9:25 PM (PST) by gunnar
It’s not often I hear news about Hot Water Music that makes me sad, but this does. Chris Wollard is taking a break from the band for his own health. His statement is long and heartfelt, and you can read it in its entirety below.
Hot Water Music will continue their tour with The Flatliners‘ Chris Cresswell filling in for Wollard in Boston, Brooklyn and Philly from November 17-19 and Chris DeMakes of Less Than Jake handling Wollard duties in Brazil on December 2nd. The band are touring in support of their latest full-length, “Light It Up” which is their first album in 5 years. It was released on September 15th via Rise Records.
Wednesday, November 1, 2017 at 3:08 PM (PST) by steve_kingston
Nov 17th – Boston, MA – The Sinclair
Nov 18th – Brooklyn, NY – Warsaw
Nov 19th – Philadelphia, PA – Union Transfer
You can get tickets here but you had better be quick as the Boston show has already sold out!
Thursday, October 19, 2017 at 7:17 PM (PST) by liathdavis
You can check out the video here, which plays on the ever classic “Rock Show” from Blink 182 amd shows their fun in Indiana- cigars with the dads included.
Thursday, October 19, 2017 at 10:30 AM (PST) by jaystone
For those that were paying attention, a fun bit of punk scene history took place just under the radar upstairs at the legendary Middle East nightclub in Cambridge, MA, a couple of nights ago. The centerpiece of the evening’s festivities was the East Coast debut of Racquet Club, the latest brainchild of Blair Shahan and Sergie Loobkoff, the latter obviously of Samiam fame. Racquet Club became a thing only recently after the reunion shows that Shahan and Loobkoff’s previous band, Knapsack, played a handful of years ago after what had been a decade-and-a-half absence. After the demise of Knapsack, Shahan went on to front The Jealous Sound for a number of years, and recruited that band’s last drummer, Bob Penn, to join him when the new, post-Knapsack project with Loobkoff started. The rhythm section on the new project would be rounded out by Ian Smith, who previously played bass in a band called Mercy Beat with Sam from The Bravery (remember them, kids??). Put ’em all together and what’ve you got? Racquet Club!
The foursome put out their self-titled full-length debut album three weeks ago via Rise Records and headed out on their first headlining tour this week, stopping in Chicago before making their way down the East Coast. Cambridge marked only their third headlining show, though you wouldn’t necessarily know that by watching them. Penn and Smith were a thunderously tight anchor, keeping the low end rocking hard and heavy to drumstick-shattering results. Their dynamic playing provided reliable foundation for Shehan and Loobkoff to build and soar off. Given the songwriting parts involved, there is an element of familiarity to the melodies, though Shahan’s tone is a bit more hopeful than from the Jealous Sound/Knapsack days. Loobkoff’s trademark SG-divebombs are as angular and textured as ever, even if he snapped his high E string halfway through the set and forged ahead as a five-string player for the duration of the set, that included the band’s entire album in reordered fashion. The crowd was a tad thinner than some (read as: me) had hoped, though it was a Monday night for sure. Still, those in attendance were legit fans, many singing along for the duration of the set.
Opening this week-long stretch of the Racquet Sound East Coast trek is four-piece New Jersey band Mercy Union, whom you probably think you’ve not heard of and yet whom you’ve most definitely heard of. I’ll explain. A handful of years ago, Jared Hart, frontman for Bayonne, New Jersey street punk band The Scandals, started performing solo acoustic-style during Scandals downtime. With the help of a few local friends, he put out a full-length solo album, Past Lives and Pass Lines, a couple years ago on Say-10 Records and continued to alternate between solo shows and Scandals shows (as well as a stint in Brian Fallon’s backing band, The Crowes). Hart put together a full backing band for a few shows earlier this year, and used them to record what was slated to be the second Jared Hart solo album but what in actuality turned out to be its own thing, and for good reason. The aforementioned “backing band” includes Nick Jorgensen on bass, Rocky Catanese of Let Me Run (one of the first bands I discovered and subsequently fell in love with through Dying Scene) on guitar/backing vocals, and Benny Horowitz of The Gaslight Anthem on drums. They decided on a name — Mercy Union — only a few days before this run with Racquet Club (they had previously been billed as Jared Hart – Full Band shows), and since Cambridge was the first night of tour, that meant it was also their first show as a unified item.
The band’s set consisted of a mix of reworked songs from Past Lives & Pass Lines interspersed with new tracks from their upcoming full-length debut (more on that in the coming months). Hart’s projects, whether solo or The Scandals, have always been well received in Boston, which has become a bit of an adopted home-away-from-home for him, and that was certainly true on this night as well, if a bit more subdued than in previous shows (Boston…seriously…if you like a set of musicians enough to pay money to go to their shows and sing along and enjoy yourself in the process, what’s with the invisible semi-circular perimeter in front of the stage that people dare not tred in. Particularly upstairs at the Middle East, it’s a phenomenon I’ve never been able to explain. But I digress.) The sound, particularly on the new songs, is very much rock-and-roll (not surprising given their so so Jersey pedigree) but doesn’t quite sound exactly like the sum of the aforementioned parts would. There’s a really cool upbeat groove to a couple of the tracks (I won’t pretend to have written the names down). Even though the band collectively have several decades in the game as touring musicians, there’s a bit of unfamiliarity as they learn to play with each other. That said, the rhythm was pretty tight, Catanese provided noticeably solid harmonies to Hart’s trademark rask, and the added guitar tone provided plenty of depth to Hart’s pre-existing body of work; all clear signs that this was only night one of what should be — and deserves to be — many more to come. And don’t worry Scandals fans; both projects will co-exist!
Check out our full photo gallery below, and stay tuned for more on these pages from Racquet Club and Mercy Union going forward!
Wednesday, October 18, 2017 at 3:52 PM (PST) by steve_kingston
Post-hardcore veterans At The Drive In have announce a new EP titled “Diamanté. It is due to be released on November 24th (Record Store Black Friday).
2.Despondent at High Noon
3.Point of Demarkation
Tuesday, October 17, 2017 at 2:15 PM (PST) by The Torchbearer
California punk band TSOL have announced some January shows in California in which they will be playing all the songs from their first EP as well as from their classic album Dance With Me.
You can check out those dates and locations below.
TSOL last released The Trigger Complex on January 27th, 2017 via Rise Records.
Tuesday, October 17, 2017 at 1:35 PM (PST) by The Torchbearer
Legends of psychobilly Tiger Army have announced 3 shows in Santa Ana, CA later this month for their “October Flame IX”
You can check out all the details of those shows below.
Tiger Army last released “V” in 2016 via Rise Records.