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November’s Hidden Gems of Bandcamp

John Player Specials

Howdy gang! Now that Autumn is in full swing and the nights have cooled down and started infringing on the waning hours of the once warm and sunny afternoons, there’s only one thing we can think of to cure the ever present depression caused by a lack of Vitamin D. Some good ol’ fashioned Vitamin P…..for punk. C’mon guys, keep up. So, to show our thanks to our venerated readers in this, the  season of showing gratitude, we have spent endless hours rifling through hundreds of bands over at Bandcamp and have once again discovered a multitude of superb bands that we’re betting you haven’t heard of. We’ve got it all this month! We’ve got new, up and comers, we have lesser known veteran acts from home and abroad, we have Hardcore, we have Crust, we have Mariachi! Wait….what? You’ll just have to read to see! Check out the seven best November finds from Bandcamp below!

Exclusive Video Premiere: The Hempsteadys – “Bela Lugosi’s Ghost”

New London reggae-punk act The Hempsteadys have just released a new video for their song “Bela Lugosi’s Ghost.”  The song is taken from the bands latest release El Amor De Los Muertos, and the video sticks to the albums’ theme of all things ghoulish and creepy.

Check out our exclusive premiere of the video below!

El Amor De Los Muertos was released on November 3rd.

DS Photo Gallery: H2O, Angel Du$t and Give at the Middle East, Cambridge, MA

In support of their latest (and arguably their greatest) album, Use Your Voice, NYC hardcore vets H2O rolled through frontman Toby Morse’s birth state of Massachusetts to play before a sold-out crowd in the notoriously hot, sweaty confines of the upstairs music hall at the legendary Middle East nightclub in Cambridge. Now in their third decade as a band, and composed of some different parts than previous touring incarnations of the band, Morse and company continue to prove themselves as one of the tightest, most inspiring acts in the game.

The band’s lineup on the Use Your Voice tour is equal parts old and new, with founding members Morse and Rusty Pistachio (guitar) and longtime bassist Adam Blake joined by touring guitarist Colin McGinnis (None More Black) and special guest drummer Branden Steineckert (Rancid). Perhaps understandably, then, the band’s encore-less set was a tad on the short side (my incredibly unofficial count tallied 17 songs, though one was a cover of half of the Rancid classic “Journey To The End Of The East Bay”), but still paid a great deal of respect to classic tracks (“Guilty By Association,” “Family Tree,” “FTTW,” etc) and new songs (“Black Sheep,” “Skate!,” “True Romance”) alike.

While admittedly never the world’s largest hardcore fan, I’ve become a bigger and bigger fan of H2O over the last two decades, particularly because I’ve long felt that they fit right in at the more aggressive end of the mid-90′s punk music scene, and got short-changed in the process. I understand full well that I’m wading deep into hyperbole-infested waters here, but I can say without question that this particular Wednesday night was the best, tightest, and most positively inspiring set I’ve seen the various incarnations of H2O play over the last eighteen years, a show history that includes a mix of festival dates (Warped Tour) alongside opening slots for bands like Rancid and Face To Face. They’ve been a bit of a musical Haley’s Comet in terms of releasing new music for more than a decade (Use Your Voice marks their first original studio album since 2008′s Nothing To Prove, which itself was their first album since 2001′s Go), and have increasingly managed the second phase of their careers in an admirable fashion, balancing home and personal duties with the decreasingly lucrative field that is life as a “working musician.” Still, the perhaps “smarter-not-harder” approach to touring has given the band the energy and life it needs for sustainability going forward.

Support on this leg of the Use Your Voice tour came from the likes of Angel Du$t and Give. Neither band was familiar to me prior to the show (remember that thing about me not being the world’s biggest hardcore fan), but both definitely left an impression. Angel Du$t, for the uninitiated, are a Baltimore-based five-piece that features members of bands like Trapped Under Ice, Turnstile, and Diamond Youth. Their set was, in a word, ferocious; another showgoer who was also previously unaware of the band commented that he liked how “it seems like they’ve played 30 songs, because each one is like 45 seconds long.” Give, meanwhile, are  a DC-based five-piece who hearken back to the glory days of DC hardcore, if those glory years were crossed with Seattle in 1991. Fun band to watch, though the former band certainly got the crowd more whipped up than the latter did. (Editor’s note: Lowell, MA, bilingual hardcore outfit Los Bungalitos opened the show, though I missed the bulk of their set for traffic-related reasons. I blame Ben Affleck.)

Check out our photo gallery of Give, Angel Du$t and of course, the mighty H2O below.


DS Exclusive: Second Youth (punk) premiere music video for title track off new EP “Glass Roof”

German/Italian punk act Second Youth have premiered a music video for their song ”Glass Roof” and you can check it out below.

The song is the title track off the band’s upcoming EP which is due for release on December 4th on Uncle M Music.

DS Exclusive: Questions premiere new music video

Brazilian hardcore act Questions joined forces with Dying Scene to premiere their new music video for their song ”The Same Blood”. The track has guest appearence of Rodrigo, from Brazilian melodic hardcore heroes Dead Fish and you can check it out below.

“The Same Blood” is taken from Questions’s lastest album Pushed Out… of Society, which was released on July 11th through Seven Eight Life Recordings.

¡La Vasa! release music video for one of my favorite punk songs of the year – “Forgive And Forget”

Ironically, California punk act ¡La Vasa! was a band I discovered through an episode of the DS Radio podcast. Ironic because one of the members used to be an esteemed member of the DS writing staff and somehow I missed the exclusive stream we did of their album back in March. Anyway, they certainly caught my attention when their song “Forgive And Forget” came blasting through my speakers and today I’m pleased to premiere the music video for the same tune.

Check out the official music video for “Forgive And Forget” below.

“Forgive And Forget” is a track featured on ¡La Vasa!’s sophomore full-length “Quest” released last March.

State Line Syndicate (90′s style pop-punk) premiere music video for “Loves Me So”

If you’re feeling a bit nostalgic, or like me you just love the classic sound of 90′s style pop-punk then this is gonna be right up your alley. Los Angeles based pop punk act, State Line Syndicate have just released a music video for their tune “Loves Me So” and you can check it out in all its pop-punk cheesy goodness below.

“Loves Me So” appears on the band’s most recent full-length, the aptly titled Go Back to the 90′s, which was released last April (stream it here).

DS Photo Gallery: Swingin’ Utters, Success, Bombpops, One Less Zero at DNA Lounge, SF (11.6.15)

Last Friday, I took the short journey from my house, down Mission, and over to 11th street to the legendary DNA Lounge to see the equally legendary local heroes Swingin’ Utters perform to friends, family, and fans alike. DNA is one of those no-frills venues, and was perfect for the sound of the night, with punk and grit in the air, but just enough of the melodic and catch to get you dancing and singing along.

In normal fashion, I missed the majority openers One Less Zero‘s set, which features Sara Wright on vocals (wife of Green Day drummer Tre Cool) and plays a classic punk sound reminiscent of a slightly softer Vice Squad with a pronounced West Coast tinge. You can have a listen to some of their tracks here.

Next up was San Diego’s female-fronted Bombpops, and a great follow-up to One Less Zero. Don’t let the pretty faces fool you here, these girls are tough as nails, and they rip through their set with a great balance of ripping guitar and bass, driving drums, and lyrics that make you think, but not too hard.

For me, the highlight of the show was Success‘ set. It was my first time seeing the Washington quintet, and they embody everything I love about punk. Rough around the edges, political, emotional, catchy at times, with the perfect amount of breaks, jumps, and woahs. At one point during the set, an incredibly inebriated fan fell and knocked his head on the bottom of the stage, and as fellow fans came to his aide the oaf-like drunk began swinging on his helpers until frontman Aaron Peters jumped off stage to help the fans and calm things down while security arrived and secured the scene. Rev was back on stage to the round of applause from the house, excited to pick up where we left off. Class act from a great band. The set ended with a sing-along of “Where Is The Revolution”, getting the venue nice and warm and energetic for headliners Swingin’ Utters.

I am lucky enough to be able to live in the beautiful San Francisco Bay Area (SF proper to be exact), and am afforded so many opportunities to see so many incredible bands. Among these is Swingin’ Utters, who always rock the house and leave the crowd yearning for more. I most recently saw the band at the Fat Wreck 25th shows back in late August, so I was ripe for another Utters show. The set seemed to focus on some of the band’s faster, ‘rougher’ songs, one of which is “Five Lessons Learned”, which I can never not throw my hands in the air and get those legs moving. The rest of the night was filled with dancing, singing along, and getting rowdy – thanks to the help of some trusty friends to watch the camera gear. The show seemed to end way too soon, and as the venue emptied out, there was a feeling that the energy may spill out onto the streets…and it did.

Have a look at the night’s photos below.

Big thanks to Barry, Doc, Chelsea and Steph, and all the local friends that continue to make shows so incredible.

Jared Hart (The Scandals) looks back and branches out on solo debut, “Past Lives + Pass Lines”

There comes a point in the life of many a songwriter where the pull to move outside the comfort and familiarity of their “day job” band becomes too strong to ignore. It seems increasingly as the music industry continues to change in the post-Napster era that we find ourselves in that this occurs now more than ever as working class artists, especially in the traditionally DIY corners of the scene, continue to try to eke out a consistent living in spite of ever-dwindling record sales.

The latest to throw his hat into the solo singer-songwriter ring is Jared Hart, frontman for long-running New Jersey street punk band The Scandals. Though the band’s output of recorded music has waned a bit in recent years for one reason or another, the band have kept busy on the road, finding themselves regular touring companions of their fellow New Jersey brethren in The Gaslight Anthem. The last several years have also found Hart taking to the solo act thing, lumping his acoustic guitar and some Scandals merch into a car and playing shows primarily across the Eastern half of the country. “That’s one of the most fun parts about the whole thing,” explains Hart, speaking specifically of a group of New Hampshire natives that made the trip to a recent Hart gig in Boston. “On one of my first acoustic tours, I played in their living room. There were maybe 30 or 40 kids there, and it was crazy. It was one of those experiences where you realize there’s no other way you’d be hanging out with these people unless you were on tour with your guitar in their fucking living room. I would have never been friends with them, let alone would they have heard my music, if I didn’t just grab an acoustic and hop in a car.”

While many of these were of the one-off or “long weekend tour” variety, Hart is presently in the midst of a nationwide tour opening for another Jersey rocker turned solo artist, My Chemical Romance’s Frank Iero. The present tour kicked off at the above-mentioned Boston show on November 1st, with Hart taking the stage solo less than 24 hours after playing a rousing full-band Scandals show at FEST 14 in Gainesville. Cutting ones teeth in sweaty, dingy punk rock bars comprises a vastly different audience than playing for the MCR faithful, who continue to come out in droves and who still tend to trend younger and more evenly split along gender lines than one’s normal punk rock show. “It’s a different kind of crowd, and it’s been a different experience from the shows I’m used to playing, but it’s all positive,” says Hart.

While much of Hart’s solo live set is still peppered with time-tested Scandals staples (“Avalanche,” “Four Seventeen,” etc.), he’s touring now primarily in support of his forthcoming debut full length. Entitled “Past Lives & Pass Lines,) the album is culled from a  series of tracks written over the last several years that didn’t quite fit as Scandals tracks, but that were worthy of seeing the light of day nonetheless. “Every song on the record can kind of be related to a point in my life where something fucked up happened,” Hart explains.  What started as a couple songs recorded for a split 7-inch release turned into ten of the more personal songs from Hart’s songwriting catalog. “I didn’t want to have a downer song on a Scandals record, so I’d save them. And then I started pocketing them and pocketing them and pocketing them and all of a sudden I had all these songs…”

As more solo shows lined themselves up as the months continued, Hart found his stockpile of songs not only growing, but trending in a particular direction allowing closure for some of the above-mentioned “fucked up” events. The songs, says Hart, are “kind of bookmarks. I think that as things happened and progressed and things happened, I realized there’s a common theme with all of them. They were very cathartic to write in the sense of “I’m saying this, I have this point in time, and I can put this here and leave it here.” Though some of the tracks date back to 2010, thematically, they began to “lump together as a whole and become an entity together instead of just one song.”

If you’re worried “Past Lives & Pass Lines” finds Hart wandering down the road-more-traveled that is typical for the punk-frontman-goes-solo set, fret not. While certainly centered around the acoustic, there’s more than enough experimentation to keep things sounding newer and different.  “My buddy Frank (Marra, the album’s producer) was super experimental,” explains Hart. “From day one, he said “I want to get weird on this. I want to throw some stuff out there.”  So we just did that and we’d layer it and look at each other when it sounded bad and delete it right away!”

It can be a bit of a tenuous decision to announce to one’s bandmates that you’re going to put out an album of material that doesn’t include them. A great many people who’ve come before opted for the solo direction when things had blown up, or just dried up, with the bands that they cut their teeth with.  Luckily for Hart, and for fans and friends of The Scandals, things are presently all good on both fronts. “They’ve seen me working on this for a year-and-a-half and they’ve been super supportive. So there wasn’t a need for a sitdown where I had to break to them that I was putting (The Scandals) on hold. So I’m lucky in that sense. They’ve all been pretty stoked about it,” says Hart with a sense of relief and happiness in his voice. “So if the Scandals can do six months and I can do six months, it’s perfect. If the Scandals can do ten months and I can do two months with this, that’s great!”

More than a decade into plowing ahead a decision to make a living as a working musician, Hart continues to be about as busy as he’s ever been, a sign that a long-shot gamble might become closer to paying off. The EP that The Scandals recorded with Brian Fallon close to a year ago is finally, hopefully, about to see the light of day early next year, which will hopefully parlay into another Scandals full-length. In the mix, hopefully, will be solo and full-band trips across the pond. “The Scandals and the solo thing definitely have to get out there,” says Hart hopefully. “I have some friends that are going to be releasing the solo record over there, so that’s big on the radar right now, trying to plan the year around that, because those are big chunks of time. Hopefully it’s another busy one; that’s all I’m asking for!”

Past Lives & Pass Lines is due out November 27th on Say-10 Records. Pre-orders are available here. In the meantime, you can stream the album here, and read our full conversation below.

DS Photo Gallery: Subhumans, La Plebe at Metro, Oakland (10.23.15)

Night two of the Subhumans in the Bay Area took place at the ol Metro Operahouse in Oakland. But don’t pay attention to the venue name – no opera here tonight, just pure punk rock (and a little horns). I would come to realize that night one paled in comparison to the second night, for many reasons – one being the amazing La Plebe de San Pancho (aka La Plebe).

First to the stage was Oakland-based Love Songs who play a classic style of punk rock with a blend of gang anthems, melodic vocals, ripping guitar, and a bit of the macabre. I had just arrived as the guys took to the stage, and made my rounds to say hi to all friends and acquaintances. Camera stayed in the bag for this set, in preparation for the debauchery of La Plebe. Love Songs has just finished recording a new album, so be sure to stay tuned for more updates as they become available. The band is also contributing tracks to the “Dookie Tribute Records”, which is set to be released in the following months.

I’ve seen La Plebe more times than I can count on my hands, however it still seems like not enough. I absolutely love these guys. From the first chord til the last trumpet blare, these guys deliver non-stop energy, fast-paced action, and leave fans sweaty, bruised, and out of breath. The band mixes traditional punk chords with cantina-style horns, switching from English and Spanish vocals, often times within the same song. “Guerra Sucia” is one of my all-time favorites which appeared on the setlist, as well as “Siempre Unidos”, “Pinches Fronteras”, and “Bella Ciao” which always gets the crowd going nuts. There literally is not a song from their discography that I don’t love.

I hadn’t dispensed all my energy quite yet, and was excited to enjoy the Subhumans in a much larger venue than Thee Parkside the night before. The band played much of the same set, but with a little more time on stage, the band mixed it up a little bit. “Internal Riot”, “Supermarket Forces”, “Peroxide”, “It’s Gonna Get Worse” saw the light of day alongside the classics “No”, “Religious Wars”, and more by which we have come to love the Subhumans. I wish there was more people that knew how to dance to this music, instead of just jumping and running around like little kids. Oh well, times have changed. One thing that has remained constant? – Dick Lucas’ amazing stage presence and quintessential vocals. I would love to see a final album from the Brits before they head into retirement.

Have a look at La Plebe and Subhumans’ photos below.

Thanks to Alberto, Mark, Jason, Vanessa, and all my local mates that made this an incredible show.

DS Photo Gallery: Subhumans, Torso, Korrosive at Thee Parkside, SF (10.22.15)

Last Thursday I woke up in eager anticipation for the next two nights of Subhumans in San Francisco and Oakland respectively. The shows left me bruised, haggard, hungover, and wanting more as the UK punks continued on their West Coast tour.

Night one opened with the acoustic stylings of Sam Sadowski aka Closet Fiends, who just recently released her debut self-titled EP, which you can listen to here. I unfortunately missed the majority of her set (which I typically do), however friends thought it was a nice start to the night – heartfelt, emotional, and at the same time gritty yet melodic. I look forward to seeing what the future has in store for Closet Fiends.

Next to the stage was my buddies in Korrosive. The Oakland punks are no strangers to the scene, and they pool their collective experience to create a sound that seems like it would be straight out of ’80′s England. With a nod to bands like Discharge, Conflict, Anti-Nowhere League and more, the band builds on the success of the past, while maintaining a unique West Coast sound. As the night went on, I realized there was a similar theme to every band – the outlandish frontman (or in the case of Torso – frontwoman). With Scoochie at the helm, you’re sure to have a great time at any Korrosive set – just get ready to dance and move, or you might get trampled.

Fellow Oaklanders, Torso, were next to the stage – and this is modern D-Beat punk at its finest with a twist – female-fronted vocals! Quite the refreshing sound but don’t expect anything subdued or poppy, as the vocals are as in your face as ever, only stopping to catch your breath. The band is touring on the heels of its latest release, “Sono Pronta a Morire”, which came out last month. The majority of their set was comprised of new songs, one of my favorites of which was “No Commonality” – punk at its finest. You can stream the entire new album here.

The air was thick and the floor saturated in beer as the main event took the stage. Subhumans are a band that aren’t really creating new material these days, but that’s not what fans want. We want the classics – the “No”, “Society”, “Religious Wars”…the “Reason For Existence” and “Mickey Mouse is Dead”. Well we got everything we wanted and more. The set was relatively short, so it was very much a wham-bam-thank you ma’am kind of event, barely enough time to recover from the last song before you were thrust back into the overflowing can of sardines that was the pit at Thee Parkside. One thing I really love and admire about Dick Lucas is his longevity in the scene – not only is it testament to his talent and range, but it gives faith for other bands to stick with it and keep perpetuating that beautiful sound of the streets that we all cling to.

Have a look at all of the photos from the night’s sets below.

Thanks to Federico and all the staff at Thee Parkside, Christian, Kevin, and all the rest of the crew that made it a great sweaty night.

October’s Hidden Gems of Bandcamp


Zombina and the Skeletones

Well gang, we’ve survived another month so it’s time to celebrate by wading back into the depths of Bandcamp once again to find the best punk offerings for your listening pleasure. Since it’s Halloween and we’re a bunch of unoriginal bastards, we’ve decided to do a Halloween-themed list this month. If it was spooky, macabre, morbid, grisly, ghastly or in anyway related to death or the undead we listened to it and exhumed only the most terrifying bands and the most spine chilling albums that we’re betting you haven’t heard of and we know will have you shaking in your shit kickers. We couldn’t manage more than six on our list this time as some of staffers were a little too pusillanimous (17 pts in Scrabble!) to endure much more. Check out the this month’s  list by entering the horrendously heinous Hall of Horrors below……. if you dare.

DS Interview: The White Buffalo on growing up punk, Sons Of Anarchy, and “Love and The Death Of Damnation”

Jake Smith is not a name uttered around these parts with any great frequency, though it really should be. Performing under the moniker The White Buffalo, Smith has been building one of those slow-burn-style careers over the course of the past decade that should have resulted in his popping up on your radar. Perhaps it was stints at Bonnaroo or Riot Fest. Perhaps it was his stellar 2012 label debut Once Upon A Time In The West (Unison Music Group), which first served to introduce his gravelly baritone and penchant for dark-themed songwriting to the masses. Of course, it could have been 2013′s epic tour de force Shadows, Greys and Evil Ways, which traces the fictional-but-all-too-real story of the down-on-his-luck Joey White as he enlists in the US military, fights an unjust war overseas, and struggles to adapt to society and to the love of his life, Jolene, upon his return abroad.

In all likelihood if you’re a Dying Scene regular and you’re familiar with Jake Smith, it’s through his 2014 tour alongside Chuck Ragan, or his various stints performing music for the groundbreaking TV show Sons Of Anarchy. Hell, the latter garnered Smith an Emmy nomination earlier this year, though you’d be hard-pressed to get him to expound on the meaningfulness of that accolade — “my manager was like “dude, this is fucking crazy! You can always say, for the rest of your life, that you’re an Emmy-nominated artist” or whatever, and I was like (*shrugs*) “oh yeah, that’s pretty cool I guess.” I don’t get that swelled up by things like that.”

The lack of ego on Smith’s part was culled, in part, by his upbringing in the punk rock community. Though he grew up almost exclusively surrounded by country music in his early years, all roads eventually led to punk rock, specifically, as is the case for so many of us, to Bad Religion. “Suffer,” says Smith, “was probably the first one that I had where I thought “this is great.” The lyrical content, and how smart it was, was surprising to me.” Bad Religion begat the Circle Jerks and Bad Brains and NOFX, and spawned years of attending shows scattered up and down the California coastline. “That whole DIY ethos, and the whole idea that you get in a van and play, and you play with passion and you give it all you’ve got and you get fucking sweaty every night, that’s something that I’ve held on to.” Coming in well north of six feet tall with a bushy blond beard and a lionesque mane to match, Smith cuts a rather imposing figure, aided all the more by a whiskey-and-cigarette fueled baritone that’s drawn comparisons to (however unfair) to the likes of Eddie Vedder and Richie Havens. The energy that Smith attacks the stage with night in and night out somewhat belies the at-times mythical image that his physical appearance and penchant for dark, narrative-driven storytelling can create. In many ways, then, it’s not a quantum leap, then, to see why last year’s tour with kindred-spirit Ragan was such a natural pairing. “I had fun on that tour with Chuck, man,” says Smith. “Sharing a stage with somebody else who leaves it all out there night in and night out is an awesome thing.

Smith took the slow, steady route toward his present destination as an “Emmy-nominated singer-songwriter.” In fact, Smith only picked up a guitar for the first time at the ripe old age of nineteen or twenty. “Initially, I was super into punk and I wanted to write punk songs and stuff,” Smith says. In spite of repeatedly practicing the “only two chords (he) knew,” becoming a punk-rock songwriting heavyweight was more difficult than initially imagined. “They didn’t come out, man. The punk songs didn’t come out.” Instead, Smith opted took to the acoustic guitar (I can’t play the electric guitar; I think I squeeze it too tight!) and began crafting dark narratives that drew richly from society’s underbelly. “I remember the first song I wrote was about this guy committing suicide,” Smith says rather matter-of-factly. “Another one of my earliest compositions was a war song, or about a guy coming back from Viet Nam and people treating him like shit,” he adds. None of it based on personal, or even familial, experience, mind you. Instead, the stories that Smith continues to fashion come from the darker recesses of his own imagination. “I think I end up going to alcohol, relationships and murder, you know?” Smith laughs. “Alcohol, violence and love are my things, so inevitably I end up writing a lot about those.

Smith’s latest album, Love and The Death Of Damnation, is still character-driven and contains some of the darker lyrics of his catalog. However, songs like “Home Is In Your Arms” and, most specifically, “Go The Distance,” are not only more overtly personal but more light-hearted as well. “(Go The Distance) is one of the lighter things I’ve ever done,” says Smith, adding that the conscious decision proved a lesson in stretching songwriting comfort levels: “I always tend to go to the dark side with almost everything; with this one…there was a moment  where I had the second verse go into a darker thing where there was an argument or a fight or something. And then it started getting darker and darker, and I was like “wait, why am I doing this?” The light and the love of life is there, why not represent it?

We caught up with The White Buffalo during his recent stop at Boston’s legendary Paradise Rock Club, the same venue he played at on the Chuck Ragan tour. He’s got a handful more Canadian and US dates left on tour before closing up shop for the holidays. Just don’t expect him to play the Emmy-nominated Sons of Anarchy series-closer “Come Join The Murder.” “Kurt Sutter, who is the creator and the writer of the show, wrote those lyrics. Almost 100% of them…were just on a piece of paper and then me and the music supervisor got in a room together and we put it to music and melody.” While it’s made for a frequent topic of conversation and an interesting resume bullet point, it comes without the level of ownership that writing and performing one’s own lyrics. Given the barn-burning 90+ minute sets he’s been playing night in and night out, there’s plenty of firepower to go around.

Check out our conversation (some of which was edited and condensed for clarity’s sake) below, and catch The White Buffalo’s remaining 2015 tour dates here.

Photos by Jason Stone for Dying Scene.


Exclusive Video: Thirty Helens’ “The Deep”

Stratford skate punks Thirty Helens, have just released a brand new video for their track “The Deep”. The video mixes together some interesting old footage with a song that proclaims an an air of angry hopelessness. Check it out below.

“The Deep” comes off the band’s latest EP “Vague Rants”, which was released back in August via Synicilist Records.

HiFi Rockfest 2015 Early Coverage

True Rivals

Although the punk scene in Los Angeles is alive and well, there is a severe drought when it comes to local punk rock festivals. The HiFi Rockfest is throwing its hat into the ring in what appears to be a pretty easy battle for the best fest in the SoCal area. With excellent local supporting acts to draw from like True Rivals, Dirty Filthy Mugs and Luicidal and heavyweights like Street Dogs, Naked Raygun and Dead Kennedys showing their support in just its first year, this fledgling fest  may already be near the top of the pack. In its inaugural year, the event was held at Harry Bridges Memorial Park in Long Beach in the shadow of the Queen Mary after a slight venue change. To get the inside scoop, we sent our local Staffers down to the beach to see what they could see and report back with all the deets. Check out AnarchoPunk’s full write up on the early acts below!