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DS Show Review: The Vans Warped Tour 2014 takes Jones Beach (Wantagh, NY)

Posted by DebNYC on Tuesday, August 26, 2014 at 6:17 PM (PST)

Is it a strange thing for a 46-year old woman to look forward to Warped Tour every year? After all, not only has the event metamorphosed into a barely-recognizable form of its former self, but I am beginning to be mistaken for a Parental Day Care attendee (yes, I said “beginning” – I have good genes, okay?)

Nevertheless, despite the fact that the tour will likely never live up to my introduction to it seven years ago with the stellar punk lineup of The Bouncing Souls, Gallows, Streetlight Manifesto, Bad Religion, NOFX, Less Than Jake, Flogging Molly and Big D and the Kids Table, I do consider it an earmark to my summer. After all, what could be better than sunshine, little clothing, the discovery of new bands up close and personal and overpriced fried shit?

To that end, I made it my mission to (with the one and only exception of Every Time I Die, who is not ever to be missed and who were to be the focal point of my visit,) skip the structure and wander about the grounds (much easier to do this year with the change in venue,) stopping to observe any stage which caught my eye.

This year, the first group to do so was Charetta, a Manhattan-based, female-fronted, metal-infused outfit who actually didn’t look like they were born yesterday. The powerful vocals of Angelina DelCarmen alongside the dual shred of guitarists Pablo LaFrossia and Chris Fullam, with bassist Rich Mollo and drummer Adonis Sanchez rounding out the percussion, were a lively standout. With this being their only stop on the tour, the band needed to give this performance all that they had, and they didn’t disappoint. If Charetta is playing at a theater near you, you should really check them out, they’re a good time.

After conducting an enlightening interview with the interminable Keith Buckley of Every Time I Die (transcript to follow shortly – the sound quality isn’t amazing, as it almost never is at Warped, even in a press room, but you can view the video here,) YouTube Preview Image I took five for a brewski in a comfy chair and chatted with a lovely, tattooed Canadian grandmother in a Slipknot shirt, there with her Japanese grandson. We both admired the dulcet tones of Chunk! No, Captain Chunk! as we sat, and giggled at the panda enjoying their set sidestage. While awaiting for ETID’s set to begin, I was lucky enough to stumble upon Brooklyn residents Hunter Valentine on the Shiragirl Stage. Those of you who followed Showtime’s “The Real L Word” will remember the band from their appearances on the show.

Not having actually had the opportunity to see the band play a full set before, it was pretty cool to watch them fly. This Toronto-bred, all-female band possesses a ton of positive energy to go with their rough-and-tumble punk sound. Currently on their junior release, the band gathered a respectable crowd, replete with tiny female admirers, as any rock band worth their salt should attract. Frontperson Kiyomi McCloskey played up to the crowd by strolling through it and borrowing a fan’s sunglasses and trading barbs with founding drummer Laura Petracca, while newer members Aimee Bessada and Veronica Sanchez managed the string section effortlessly. Their set actually felt much too short to me – I would highly recommend catching them on a headliner the next time one rolls around in Hipsterville.

Everyone knows that you absolutely do not miss an Every Time I Die performance. The first time I ever saw this band play, they were opening for Underoath, who at the time had a very strong live reputation – and ETID blew them off the stage. They’re also extremely fun to photograph, as evidenced by the eighty-some-odd pictures that I wound up with of them.

This band could blow the ceiling off the Sistine Chapel. Their sidestage at Monster was such a hotspot that security had to close it down. Both classics and new jams from their freshly released “From Parts Unknown” were met with unerring enthusiasm by the massive crowd (who lead pipe Keith Buckley earnestly thanked for making the trek over,) and joined his guitarist brother Jordan in surging into the crowd. Returning bassist Stephen Micciche took a turn as well, patiently snapping photos with wide-eyed fans in the pit as the set drew to a close, Second guitarist Andy Williams was a whirring dervish as drummer Ryan “Legs” Leger pounded the skins for all he was worth. ETID ended their set to an enthusiastic chant of “Buckleys!” as the crowd quickly dispersed for greener pastures.

On the way to sweat out one last bathroom journey and a phone charge before concluding the afternoon, I stumbled directly into Heart To Heart’s set on the Hard Rock Kevin Says Stage. Fucking wow, is all I can say. I was literally unable to continue my journey to the big empty arena, so captivating was the blood-and-guts performance headed up by Nick Zoppo and backed full blast by second vocalist and guitarist Taylor Stillwell, bassist Justin Bratcher and drummer Blaze Blanke. You couldn’t take your eyes off them, and although it was clear that their hardcore fans, who knew every word, were a bit outnumbered by the junior high school set, who clearly didn’t, the crowd grew larger and more appreciative with every song. They were a tornado, and I feel lucky to have caught these California native hardcorers in such a laid-back setting.

The band released their latest effort, “Dulce” last month to respectable reviews – I know I’m going to be checking it out.

Feel free to peruse the photoset (presuming you can find any that aren’t of ETID,) as I gear up for another week and a half of punk shows.

Warped Tour may have lost a lot of its original aesthetic, but the main point, which is to discover new music in an unpretentious setting, lives on.

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Californian pop-punk veterans, Bracket, recently released their first album in nearly a decade, “Hold Your Applause.” I was lucky enough to catch up with members Marty Gregori and Angelo Celli to discuss the making of it, what took so long, and what’s in store next for the band.  Spoiler Alert: They’re already working on a new album!

You check out the interview below.

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Any review of The Offspring’s Summer Nationals tour would be remiss in downplaying the importance of that band’s breakout album, Smash, in the annals of punk rock history. Yet, the virtues of the year in punk that was 1994 have been extolled myriad times over in the two decades since, quite frequently by men and women far more eloquent than I. So while nostalgia may have been the overarching theme of the night (the four bands on the Boston bill, The Offspring, Bad Religion, Pennywise and The Vandals have, according to my fuzzy math, been hawking their wares for a collective 115 or so years), the biggest takeaway from this night’s stop was just how vital and, frankly, timeless this particular wing of the punk rock museum can be.

The Vandals’ 30-minute-or-so opening slot set an early tone, packing a high level of energy and fun into an all-too-brief package. Themselves capable of headlining many a nationwide tour (albeit probably not selling out the 2400+ capacity House of Blues in Boston), The Vandals eleven-song set was incapable of digging too deep into their thirty-year catalog. The band drew fairly heavily from 1998’s Hitler Bad, Vandals Good (which is more than okay in my book), with crowd favorites like “Oi to The World” and guitarist (not bassist) Warren Fitzgerald assuming frontman duties for their spastic, show-closing cover of Queen’s “Don’t Stop Me Now” thrown in for good measure.

Pennywise and Bad Religion followed in that order, each relegated to 45ish-minute sets, leaving little time for small talk, meaning that both bands came out hard and fast. Pennywise’s 14-song set featured a heavy dose of crowd interplay that served as the only real time the band’s foot was off the accelerator. I will say that there’s something a little different about a seeing frontman coaxing a crowd whose average age was well north of 30 to raise their collective middle fingers to authority. Yet, at the same time, decades old tracks like “Perfect People” and “Society” seem perhaps more relevant in 2014 than they were when they were first written.

Backed by the human gas pedal that is Brooks Wackerman (who did double duty behind the drum kit on this tour, filling in for The Vandals’ Josh Freese), Bad Religion made the most of their time slot, somehow cramming 17-songs into 45 minutes. Awe, who am I kidding…somehow? It’s Bad Religion, that’s how. Never a group to write magnum Rush-style opuses, Greg Graffin and company get right to the point. Though the parts may have changed and the hair may have grayed over the years, Bad Religion continue to stake their claim as one of the tightest, most dynamic bands running. Also…the Suffer mini-set was A)unexpected and B)much appreciated.

Last but not least, obviously, was The Offspring. The headliners, and arguably one of the more polarizing bands in the punk genre for last couple decades, have been playing Smash in honor of its 20th anniversary. However, in a somewhat interesting twist, they’ve not been playing it in order. In this particular writer’s opinion, that was a good move. “Play the album in order” shows have the effect of being presented stale at times, given that a band can effectively sleepwalk through the same performance in the same order night in and night out. The “shuffle” mode has a way of at least appearing to keep the band on their toes. Anyway…Smash circa 2014 doesn’t have quite the same impact that it did twenty years ago. Unlike the politically charged rebellion tunes of Pennywise or Bad Religion or the sarcastic, locker-room brand of humor that The Vandals prefer, Smash‘s tunes of rebellious youth don’t come off quite the same when performed by the middle-aged version of the band. Which is, precisely, why the band have progressed sonically and changed lyrically over the years, meaning that much of the newer, “less punk” stuff has a way of translating as more honest now. But tonight wasn’t about “now,” and tonight was a perfect reminder of exactly what resonated for so many people twenty years ago.

Check out our full photo gallery below.

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Mike letting the crowd take over

As of this writing, Boston punks Street Dogs are part of the way through a tour of Europe with fellow Pirates Press labelmates Bishops Green. Prior to heading across the pond, however, the five-piece stormed Boston’s Midway Cafe for a couple warm-up shows. Billed as the Crooked Drunken Sons, Street Dogs took to the stage for an early-evening acoustic matinee gig and followed up with a fully plugged-in late night set. It’s no great mystery that the Street Dogs are widely known as a hard-working, blue collar street punk band. And while they may not play out with quite the same road dog regularity as in their younger years, the band more than make up for that with high energy, give-it-all-you’ve-got live performances that leave little, if anything, left in the tank. The newest Street Dogs (Matt Pruitt of Have Nots and Lenny Lashley on guitar, Pete Sosa on drums) seem no doubt cut from the same cloth as longtime core members Mike McColgan and Johnny Rioux, now in their second decade as nucleus of the band. Case-in-point: the band could quite easily have rested on their laurels and used the early evening set as a way to work the kinks out of a few songs, shaking off the cobwebs and being content with flubs and false starts. Instead, the took the opportunity to play a full acoustic set that, while rare for a band in this genre to attempt, came across as every bit as earnest as their typical high-energy plugged in sets.

Hard work and double duty were recurring themes on the evening, as support for the early set came from local singer-songwriter Matt Charette (whose stellar solo full-length, Back East, is available to stream here) and Lenny Lashley, a full time Street Dog who’d already carved a name out for himself as a singer and songwriter through his solo work and his Darkbuster days. Charette then joined the Street Dogs on accordion, mandolin and crowd-surfing duties as the evening progressed. Support on the nightcap came from the Barroom Heroes and OC45. The former have established a reputation as one of the better young bands in the scene, while the latter are established road dogs who themselves are in between lengthy tours of their own.

Check out our photo gallery from the evening set below!

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The Business

I’ve long considered The Business to be one of those bands that I should have seen when I had the chance. I recall being probably 17 when I heard “Smash The Discos” for the first time and feeling like I had already missed the boat. Along with bands like Cock Sparrer and Cockney Rejects and Sham 69, The Business represented such a specific moment in time that, as the years went on, seemed appealing and yet more and more distant.

However, 35 years after their debut (and mine, coincidentally), Micky Fitz and the boys are still at it. However, “the boys” have changed several times over the decades, creating, on paper at least, the impression that The Business circa 2014 were little more than a nostalgia act; Willy Mays playing for the Mets in 1973. Brett Favre playing for the Vikings in 2010. You get the idea. And yet, the band’s 2010 Sailor’s Grave Records release Doing The Business had more than a few bright spots, and their 2014 7-inch “Back In The Day” is one of the highlights of this year in street punk.

I can assure you that the 2014 edition of The Business is anything but a nostalgia act. Alongside high-octane Orlando punks The Attack, the UK four-piece rolled into Church of Boston on an early summer Wednesday evening. Local support came from the Beantown Boozehounds (whom, you might imagine, are a Boston band who fancy themselves a stiff beverage or twelve) and Salita, the new project featuring Kicked In The Head’s Gary Hedrick on vocals. The latter put on one of the more stellar “local opener” gigs that I’ve witnessed in quite some time. If only the sparse Wednesday night crowd had made its way to the front of the venue for any of the first three bands, we could have had ourselves a small but rowdy show for the ages.

Head below to see our photo gallery, featuring each of the night’s four bands.

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Jason Cruz and Howl – photo (c) Ursula Harris/Leo Snaps Photography

Jason Cruz is a burning the candle at both ends of late. In addition to his “day job” of putting the finishing touches on the music and artwork for Strung Out’s first studio album in five years, he also found the time to put out Good Man’s Ruin (April 29th via the band’s own Echotone Records), the debut full-length from his side project, Jason Cruz and Howl. But Howl is not your typical punk-rock-frontman side project…

Co-founded with Buddy Darling (The Darlings, guitar), Chris Stein (Saccharine Trust, bass) and Kris Comeaux (drums), Howl swaps out power chords and rapid-fire snare drum sounds for slide guitar, increased texture and groovier tones. The result is a dark, trippy, ‘spiritual’ album that tells of bad trips, lost hopes, pipe dreams and Indian curses (here’s our review).

Somewhere amidst the chaos, Cruz carved out a little time to chat with us about the not-your-average recording process for Good Man’s Ruin, the pitfalls of trying to balance two projects without going over-the-edge, and the goal of creating his own scene that harkens back to the Blue Note and SST Records days of yore. Check it out below, and be sure to catch Jason Cruz and Howl on tour with The Darlings and The Pullmen next month on the West Coast. Dates are here.

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Stray Bullets are the kind of band that you see on a bill and just know that they’re going to bring their A-game and put on a sick show every time.  Lead singer and guitarist Jon Cauztik also happens to be funny as hell.  If you’ve wondered what a “streetpunk reggae” band might sound like, read on to get Jon’s take on the band’s sound, their soon-to-be-released second album, and their ideas for how to save the world.

Check out the whole interview below.

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Jake Hanson steps down as drummer for Eken Is Dead

Posted by blacksound records on Thursday, June 19, 2014 at 3:27 PM (PST)

Los Angeles based hardcore group Eken Is Dead have announced today that Jake Hanson will step down as drummer after completing the shows they currently have scheduled.

You can read a statement from Hanson and the remaining members of the band below.

The group last released “What Lies In The Mirror” in 2012.

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Photo by Lyz Manikas

Dave Teirney, front-man of Brooklyn, NY punk act The Sharp Lads, recently sat down to write about his experiences growing up with punk rock, and how the music and lifestyle shaped his life, and what it still means to his this very day.

You can read Dave’s piece below.

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The Menzingers have become a well-respected name in the punk community and rightfully so. Since the 2012 release of On The Impossible Past, the band has barely taken a break, touring almost maniacally, and through it all releasing one of this year’s most anticipated albums, Rented World.

During the chaos we had a chance to sit down with vocalist and guitarist Greg Barnett on the second stop of the Rented World tour at Webster Hall in New York City the to discuss the recording process, the Philadelphia music scene, and growing up.

You can read the interview below.

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Upstart Fest: The Obvious at Asbury Lanes, photo by Jeff Tamboia

Angie Sugrim, front-woman of Asbury Park’s The Obvoius, has released a wonderfully written piece reflecting on what punk rock means to her and many others, and how it has shaped her life and turned her into the person that she is today.

You can read Angie’s words below.

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To say that Gord Taylor has had an interesting last couple of years would be, at best, an understatement on par with saying that his band, The Real McKenzies, have been criminally underrated by American audiences for two decades. The former teenage competitive bagpiper (yes, Virginia, there is such a thing) went from part-time member of the seminal “Celtic punk” band (and Fat Wreck Chords recording artist) to being full-time member of said seminal “Celtic punk” band, to announcing that he was quitting the band by hurling himself out of their tour van as it was moving down the road at 40 kilometers per hour (or 60 kilometers per hour, or 10 kilometers per hour, depending on who you ask). Then there was the subsequent first solo album, followed by the unexpected invitation to write on the new Real McKenzies album, followed by the plans to record in San Francisco with Fat Mike, followed by recently spending nine weeks in the hospital after getting hit by a speeding (120kph) car. WHILE HE WAS STANDING ON THE CURB!

Needless to say, it’s been a long, strange, difficult trip for the Winnipegger. To get this interview rolling, Taylor and I began exchanging emails toward the end of his hospital stay, carrying over to the beginning of his transition back home. The result was an entertaining, far-reaching exchange that at least scratches the surface of all of the above topics and more. Wanna know what it’s like to recover from getting hit by a car? Wanna know what it’s like to continually be compared to the Dropkick Murphys? Or what it’s like to play with NOFX? Or to be continually asked “what’s under your kilt?” Or what the heck competitive bagpiping is and how the instrument has evolved in recent years? Check out our conversation below. Stay tuned for more news on the upcoming Real McKenzies album. If you’re like me and thought that Westwinds was their best and most focused effort to date, I have it on good authority that we’ve collectively heard nothing yet…

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Against Me! recently wrapped a US tour in support of their latest release, Transgender Dysphoria Blues. Hopefully you were able to make it out to a show. Yours truly hit Boston on Cinco De Mayo, and Dying Scene also had a new photographer, Catharina Christiana, out at the May 9th show at Clifton Park, New York’s Upstate Concert Hall.

Check out Catharina’s work below!

Transgender Dysphoria Blues was released on January 21, 2014 through Total Treble Music. The band recently embarked on a three-week European tour. Details are here.

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Frank Turner looking out over the 20,000 strong in attendance at Boston’s City Hall Plaza

Frank Turner is nothing if not a busy man.

By year’s end, the British folk-punk singer-songwriter will have surpassed the 1600 career show mark, a run that’s taken him to thirty-eight countries on five continents in the ten years since his first solo gig. Those in the pop culture world might think that Turner exploded onto the scene in more recent years (2012′s appearance at the London Olympics’ opening ceremonies, a recent headline tour of UK arenas and increasingly large US clubs, etc), his rise has been, by no means, meteoric.

The current leg of Turner’s US tour in support of last year’s Tape Deck Heart kicked off in Cooperstown, New York, last Friday (5/22/14). What followed was a whirlwind three shows in two days in greater Boston: a prime Saturday evening slot at the new-but-incredibly-popular (and sold out) Boston Calling Music Festival. Now in its second year, Boston Calling crammed close to 60,000 people into Boston’s City Hall Plaza and featured performances from such varied acts as Death Cab For Cutie, Tegan and Sara, Brand New and Jack Johnson. This was followed by back-to-back late night shows at the Sinclair club in Cambridge alongside upstart Boston punk band Rebuilder and featuring a special appearance from the Dropkick Murphys‘ Tim Brennan.

Amidst the chaos and the jetlag, Turner found time for sit down with Dying Scene on the steps of Boston’s City Hall for a chat about his incessant tour schedule, the differences between the UK and US music scenes, and the boredom that comes with being a road hog. Read on, and check out our photo gallery from both Saturday shows below.

Dying Scene (Jay Stone): Is this (Boston Calling) going to be the biggest show that you’ve played in the States for a while?

Frank Turner: Actually, you know what? It probably is. I hadn’t thought about that until just now. I guess it might well be our biggest American show. (laughs)

I seem to recall when you played the House of Blues here at the end of last year that it was the biggest stand-alone show you’d done.

Yeah, that was our biggest headline show that we’ve done in the US, definitely. I’m trying to think about this now. We’ve done Bonnaroo and stuff like that.

Oh right. That’s a whole other level, no?

Yeah, it’s sort of difficult to picture where festivals fall on the scale of things. There might be 25,000 people here today, but it’s not like they all came to see us. So it’s difficult to judge. I know, it sounds like I say this to everybody, but Boston really is like our first city in the US. Obviously that has a lot to do with the Dropkick Murphys and the radio stations here. This is where we keep our gear; we have a lockup here, and we hang out here, you know?

What do you think it is about Boston? Is it really the Dropkicks’ connection?

I think that’s a big part of it. But, I mean, Boston’s historically had quite a close relationship with the European, well, with the UK music scene. A lot of British bands happen in Boston before they happen elsewhere in the USA. So I think that’s part of it too.

Sure. I guess that goes back to bands like The Police – some of their first shows were here at The Paradise in ’78 or ’79 or whatever it was.

Right, yeah!

Are there other markets that are like this for you (in the US)?

Yeah, I mean, we do good in San Francisco. Chicago. Denver is actually really good for us too. It’s kind of a funny thing from the UK getting used to the USA. It’s just a question of scale more than anything else, do you know what I mean? I think it’s just kind of redundant to talk about America as a country the way that you might talk about Germany or the UK. It’s more comparable to all of Europe. So like, we do well in Germany, we don’t do so well in Spain, for example. Well, I mean, it’s not like we do badly in Spain, we just haven’t been there much. Similarly, the northeast coast here, Boston down to Philly or DC is great for us. Albuquerque, maybe not so much.

Right…that’s like our Spain I guess. (*both laugh*) …  Do you feel like it’s been a slow build getting up to where you are now in America, or in hindsight does it seem like it happened fast? It seems like you’re here an awful lot for somebody who’s not from here.

I feel like it’s been a slow build. And it’s a funny thing, it’s not really for me to comment in a third-person way on my career. But every now and again someone’s like “you’ve had a meteoric rise to success!” And I kinda go “no I fucking haven’t!” It’s taken me 1500 shows to get here, thanks very much! (*both laugh*) But that’s one of the things I like about America. In the UK, you can cheat. In the sense that, particularly before the internet, there was a definitely a thing when I was growing up whereby an American band would come over and they get Radio 1 and the NME on their side, and their first ever UK tour they’re doing 2000 people a show. And kids would go wild for them. It used to piss me off because a lot of homegrown bands were getting ignored because there’s a lot of America…America-philes?

Yeah…Anglophiles? No..

Yeah, see that’s exactly the word I was going for at first too. (*both laugh*) So it used to piss me off, particularly in the punk and hardcore scenes. And I say this with no disrespect for them at all, because we opened for them on tour. But Finch came over and on their first tour were doing 1500-2000 people. And then there were British bands like Mclusky who were incredible and nobody used to give a fuck about. So it used to piss me off. One of the things I like about America is that you can’t really do that. You just kind of have to do the ground work. You’ve got to come over and you’ve got to fucking play. And I think that’s really cool, actually.

But I feel like you do better here, at least from a Boston perspective since that’s my point of reference, than some people from here do. Like I saw Street Dogs at House of Blues for their annual Wreck The Halls holiday show. It was not too long after you played there and they sold well, but they didn’t quite sell the place out in advance like when you were here. So I suppose that part goes both ways…

That’s true. There is definitely a lot of anglophilia in this country which is playing to my benefit. I mean there are other things like…don’t get me wrong, I love The Clash. But the regard that Joe Strummer is held in over here is really quite weird.


In the UK, it’s like “oh, yeah, Joe Strummer, he was that guy in The Clash.” Over here it’s like he’s …

FT & JS: Saint Joe Strummer

Right. I remember the first time I was over here and I kinda tweaked that and it was like, “really?” And that’s not to tear him down in any way. He was a great inspiration to me personally and as a songwriter.

Sure! But “why him,” I guess, right?


Because I hold him in that regard but I assumed that everybody in England held him in that same regard.

No, not really. And actually I’d say the same thing about The Beatles to a degree as well. It’s kind of illegal to criticize The Beatles in America, and in the UK it really isn’t. And again, obviously they’re the foundation stone of popular music and I really like The Beatles. But you find a lot of people are kind of like “meh” about The Beatles in the UK whereas here…you HAVE to like The Beatles.

Oh trust me, I know. A buddy kind of killed The Beatles for me, because if you didn’t grow up on them and listened to them retroactively and started with “Yellow Submarine” and worked backwards…

Yeah (*laughs*) you can’t do that.

I know you guys have a tight schedule today, so I’ll keep moving forward. From a scale perspective, what is a Frank Turner show in the UK or in Europe compared to here? Like, when you sold out the House of Blues here in Boston, does that compare to what it’s like back home?

Well, in Germany, I’d say it’s the same. In the UK, the last few gigs we did was our first arena tour, so we did 20,000 in London.

That’s amazing.

And the thing is, it’s funny because obviously all of the punk kids start giving me shit. But it’s like, the last time we played a venue the size of the House of Blues in London it sold out in two minutes. And the thing that’s the most important to me, infinitely more important than venue size or location or that shit, it I want shows to be accessible. When I was a kid, I was never the type of person who would be up at the right time of day to be online to get tickets at the right time, or in the right queue or on the right mailing list or knowing the right people or any of that shit. And I don’t like the idea of somebody who’s like me when I was a kid…or just any normal person who hears a song on the radio and thinks “oh, that sounds cool, let me go see that show, oh, it sold out six months ago. Bummer.” I’d like people to be able to come and see the show if they want to come see it. And right now, that dictates playing large places. Or, I guess, doing multiple nights in smaller places, but you still get ticket touting issues there, which really fucks me off.

And I mean, fuck it, five years time nobody’s going to give a shit and I’ll be back playing a pub again! (*both laugh*)

Is that sort of the reason to balance bigger shows like this with shows like you’re doing tonight and tomorrow at the Sinclair? To have both sides?

Yeah, definitely. I mean, I have to say, I’m really looking forward to the show tonight. We’re doing two nights there. And I have to say that it does ever-so-slightly prick my conscience because a lot of people didn’t get tickets for tonight. It’s a difficult thing, because that small show, punk rock, everyone is super-psyched vibe is fucking great and everybody loves that shit. And I don’t want to do it down like that, but it’s kind of…I’m babbling at this point…(*both laugh*)

Well, is that part of the reason that you’ve played 1500 shows or whatever it is? Because of that sense of obligation to making it accessible? Does that force you to sort of do more nights or a show and a record store appearance in a day?

Yeah. But at the same time…something that I’ve come to realize in the last year or so: 2013 was easily the hardest year of touring that I’ve had. That year was fucking bananas! And I got to the end of it and I suddenly realized that it had become apparent to me that the whole touring the whole time and doing all these shows all over the world…there’s a degree of bravado and machismo about it. And it’s kind of like, I’m not sure that that many people other than me care. Do you know what I mean?

It’s like, am I really going to kill myself over bravado about touring schedules so I can flex my muscles in the mirror and be like “I’m so fucking great”? So, that aside, I love playing shows. I love touring, it’s my favorite way to be. So I don’t want to make a martyr of myself, like “I’m doing all these shows just for the people.” I’m doing it because I fucking love it! And tonight, I’m going to get drunk in a small, sweaty room and play songs people want to hear and hang out with my friends and it’s going to be fucking great!

Right! (Editor’s note: Frank’s name came up in discussion with Tim Barry the night before this interview was conducted. The quotes are meant to paraphrase, not to be direct.) And that’s another thing Tim said about your work ethic last night was that: “He is music. He loves music. And when you hang out with him, it’s talking music and talking about records.”


“and that’s wonderful,” he said. “I can’t do that all the time; sometimes I want to fish and play music, so I’ll play four shows in a week instead of twelve shows in a week.

(*laughs*) Yeah yeah yeah! I think it is true, and I think that part of the realization as I get older is that I’m kind of boring, in the sense that the only thing I really give a fuck about is  rock and roll, and everything else can kinda go fuck itself.


I read books about music! (*laughs*)

Haha…Tim mentioned that too!

I could probably be a more diverse person, but fuck it, you know? Find something you like and stick with it!


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The Dying Scene Sessions: Jason Tankerley of Energy

Posted by Tommy on Wednesday, May 28, 2014 at 6:11 PM (PST)

Guess who’s back! Today we’re unbelievably stoked to bring back the latest installment of our ongoing Dying Scene Sessions series, this time featuring Jason Tankerley of the Boston-area punk band Energy.

I caught up with Jason at the Monster Party Collective in the suburbs of Boston to shoot three songs: “Another Yesterday” off their latest EP “New World Of Fear,” as well as an exclusive, first-listen of a brand new song called “The Infection.” Jason also performed a cover of the Jawbreaker favorite “Do You Still Hate Me?”

Now, that’s enough reading–watch the sessions below!

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