Search Results for "DS Exclusive"

DS Exclusive Interview: Rob Lind (Ramallah, Sinners & Saints) talks music, family, and more

On Friday, we brought you the first installment of our interview with Rob Lind (if you missed it, you can read it here).  If you read it, you now know where Rob has been for the past 8 years, and what led him to take such a long hiatus in the first place.

Now, find out where his music is taking him, as he talks about the brand new split between Ramallah and Sinners & SaintsBack from the Land of Nod, which was released this past month on State Line Records.  Read the full interview below.

Sinners & Saints will be playing their first club show in 11 years on Friday, May 29th, in Cambridge, MA.  You can find more info on that here.



Yotam Ben Horin (Useless ID) releases music video for “Sad”

Yotam Ben Horin, front-man of Israeli pop-punk act Useless ID, has just released a music video for “Sad”, the second track off his brand new solo album “Distant Lover”, and we’re very pleased to be premiering it for you below.

Regarding the making of the video Yotam had this to say:

“During my time in Hollywood in between 2 tours, I found myself in a house with Israeli actors and directors whom I’m friends with from back in the day. I stayed over their house for a few days and left them a copy of my solo album Distant lover and headed out to tour with The Ataris, when I returned for a day. Ian Fisher the director told me he had an idea for “Sad” the second song off the album and that we should shoot it once I’m back from my next 3 week tour. Finished with tour, on the day of the video, I got rid of my tour beard and met my good friend Joe Escalante and the Kung fu records family for some paddle boarding in Huntington beach. I literally headed from there back to LA tried to beat traffic and once 8 pm hit, Ian and Gev said “Action”! I always felt this was the strongest song of the album and I’m happy these wonderful people had a vision and brought it to life.”

“Distant Lover” is out now on Hardline Entertainment.



DS Photo Gallery: DOA, Ruleta Rusa, Isotope Thee Parkside SF

Jello stopped by to see ol friends DOA

It was a night of hardcore – of crust, grit, and distortion – at Thee ol Parkside this past Wednesday night. Canadian punk veterans D.O.A. were set to headline, with locals Isotope and Ruleta Rusa opening the crowd.

I feel like I have seen the guys in Isotope many times before at random local shows in the past, but I have never seen them perform. The band plays a classic style of 80s D-beat punk, mixed with modern hardcore energy. The band is fast, in your face, and sloppy (in a good way). You can listen to a sample of some of their work here.

I have seen Ruleta Rusa several times before, and whenever I see them on the bill, I know it’s going to be a gnarly show. Vocalist Jose is one of those frontmen who drive the energy of the crowd by leading by example. He’s all over the place, jumping, screaming, throwing fists, and getting as close to fans as possible. I love this kind of punk music. It’s out of control yet guided, predictable yet not, and the vocals are my favorite type of grit and grime. The band recently released their “Lathe Cut” 7″, which you can listen to here.

The time had come for the British Columbia punks DOA to regale us with good ol punk rock lullabies to round out the night. I have seen the 80s legends only once before, so I was definitely excited to see what they had to offer. DOA is in the process of releasing their newest album “Hard Rain Falling”, and of course shared some new material with fans. But it wouldn’t be a DOA show if the band didn’t sample heavily off of their legendary album “Hardcore 81″, which they did to everyone’s delight. This is truly one of those iconic, timeless, top 50 best punk albums of all time, and to see the aging Cannucks rock it like they did 30 years ago was really a treat to see.

You can have a look at all the shots from the night’s sets below.



DS Interview: Bryan McPherson on new album “Wedgewood,” being banned by Disney, and the toils of being an activist folk punk

Photo credit: EA Zimmerman

It would be easy to start a story about Bryan McPherson by understating the fact that he’s had an interesting last couple of years. In three years since the Boston-turned-California folk-punk songwriter released his sophomore album, American Boy / American Girl (State Line Records), McPherson has toured the US with fellow solo acts like Tim Barry and Cory Branan, toured Canada with the duo Winnie Brave, opened for Dropkick Murphys in something like ten different countries, spent some time living in a hut in an activist camp in northern California, gotten a fair amount of traction for writing a song about Kelly Thomas (a mentally ill man killed by police in Fullerton, California) and has been rather infamously been banned from playing at venues affiliated with the omnipresent Walt Disney Company.

And yet, stating that McPherson’s had an interesting couple of years says less about what he’s been up to recently and more about the fact that just maybe, you haven’t been paying attention until recently. McPherson cut his teeth in the subways and small clubs in Boston. Though he’s equal parts punk and folk, and though that crossover scene has unquestionably exploded over the last handful of years, McPherson plugged away for years before ever catching serious traction in either genre. “In the punk scene, (this sort of thing) was nonexistent,” McPherson tells me as we meet up at a coffee shop in Dorchester, the notoriously gritty, blue collar neighborhood located south of the financial hub that is the center of downtown Boston. “I got involved on the folk side of things at Club Passim (in nearby Cambridge)…but I was a little too punk for that crowd, so I never really fit in anywhere.” While he was too punk for the folk crowd, McPherson’s acoustic firebrand tendencies fell on deaf ears in the punk world in the early goings. “It’s ironic,” says McPherson, “because punk, where it’s supposed to be this rebellious, free-thinking thing ends up getting rigid. (This is) supposed to be this ting that breaks through lines!

For myriad reasons that are perhaps best left to discuss in other areas, Boston can be a bit of a fickle place to come up as an artist. A handful of years ago, McPherson headed west. He wrote American Boy / American Girl half in Boston, half in his new home state of California. The Golden State has a way of calming people, of ‘chilling out’ those whose East Coast tendencies have them wound perhaps a hair or ten too tight. Yet when it came time to write the follow-up to American Boy / American Girl, McPherson found more than enough material to stoke his fires, literally and figuratively. “I was sleeping in this hut in Northern California on an activist center/ranch in the mountains…where I did the ‘pre-production’ for the album,” says McPherson. “There was a big wood stove in the hut that I was in that was called a Wedgewood, so that’s where I got the title from.”

Not exactly a protest album in the stereotypical sense, Wedgewood, due out June 10th on McPherson’s own OFD Records, is full of sometimes violent imagery of “wood, friction, burning, fire, smoke.” McPherson has spent more than a decade telling the plight of the working man, railing on injustice and intolerance and the power structure. While those themes are still front and center on Wedgewood, McPherson indicates that the times, they are a-changin’. “This record is kind of putting to rest my anger in a lot of ways,” he notes in a tone that is both cautious and insightful. “At some point, (anger is) just fucking useless. It burns you up. You can use the fire, but you’ve got to be careful because it can fucking use you too.”

McPherson initially shopped Wedgewood through traditional label routes, but found the process becoming increasingly unnecessary. As a result, he went the Kickstarter route, turning to crowd-funding to get the album produced. He set a bit of an ambitious goal, and had to wait nervously by to see how realistic that goal was. The result? “We hit the goal in five days,” says McPherson, “twenty-five days ahead of schedule.” While initially met with some trepidation about the Herculean effort involved with self-releasing an album in digital, CD and vinyl formats, McPherson seems relieved at how well the process has gone. “No one is going to work as hard as you are at this level. I don’t want to half-ass it, and I don’t want to hand it off to someone who’s going to half-ass it.”

McPherson is presently in the midst of a tour of the UK and mainland Europe with fellow anarcho-folk-punker Louise Distras. When the month-long run ends, the duo will flip-flop support and headlining roles and come to the US for a month’s worth of dates in support of both of their new albums (Distras’ Dreams From The Factory Floor was released in the US on 5/5/15 on Pirates Press Records). The razor-sharp acid tongue that has been McPherson’s trademark is still very much present on Wedgewood, and should continue to make for raucous, albeit at times confrontational, crowds wherever he plays. A song like “Kelly Thomas,” for example, which tells the entirely true tale of an unarmed homeless, schizophrenic man beaten to death by police officers in Fullerton, California, several years ago. The police officers were subsequently acquitted of any wrongdoing. Sound all-too familiar? The subject matter struck a nerve in front of a Long Island crowd on one of McPherson’s recent shows opening for his hometown buds in the Dropkick Murphys. “I look around and half the crowd is police officers or in the military,” recounts McPherson. “I know it’s going to be rough, but I just said ‘fuck it’ and played it anyway.” The result? “They fucking booed me. And they were just shitty. But it ended up being a really good performance…I didn’t take it laying down!” You see, the song is not anti-police; it’s anti-brutality, and pro-change. There’s a big difference.

If you’re going to try to make an omelet, you’re undoubtedly going to crack more than your fair share of eggs. “You can’t do this and say the kinds of things that end up in the songs I write without having to expect a backlash,” says McPherson. Perhaps the biggest backlash came recently, when McPherson was banned from opening for the Dropkicks during a recent show at the House of Blues in Disney-owned Anaheim, due to material that was considered anti-police and overly political (editor’s note: repeated inquiries to the Disney people resulted in a giant wild goose chase that ultimately proved fruitless). Did some of us overblow that whole thing? “At first I was like appalled, but then I thought, this is a cool thing!” says McPherson, rather triumphantly. “I’m glad to be banned by Disney! I don’t like Disney. I don’t like Disney movies. I’ve never liked Disney since I was a fucking child. I’ve always thought it was cheesy, fake bullshit, so to be banned by them, that must be good!”

Read our whole Q&A with McPherson below. We cover an awful lot of ground, as a couple of former Dorchester residents are wont to do over coffee (or tea, in this case). Wedgewood is due out on June 10th via McPherson’s OFD Records. Pre-orders are available here.



The Stiff Joints to release covers EP “Breakdown Covers”, stream cover of “Choo Choo Ch’Boogie”

British ska band The Stiff Joints will be releasing a covers EP titled Breakdown Covers in the next month or so and to give you a taste of what’s to come you can check out a cover of Louis Jordan’s “Choo Choo Ch’Boogie” below.

Keep in mind that this is a super-early, unmastered version of what’s to come on the EP.  We’ll keep you posted on the release date when it’s available.  The band’s last release was 2013′s Circus on Repeat.



DS Exclusive: Machinist! (hardcore punk) debut new music video – “Balance”

Georgia hardcore punks Machinist! are debuting their brand new music video right here on Dying Scene. Check out “Balance” below.

The song is the first single off the band’s upcoming full-length album, Pronegative, which is due out July 10th on Eulogy Recordings. You can see the full tracklisting below the video.

Machinist! are currently touring the country with Reno punks, Vampirates. Scope the dates/locations below the tracklisting, below the video.



Checkout this week’s episode of Dying Scene Radio – #14 with special guest, GASH

This week on Dying Scene Radio, Bob Noxious and Bobby Pickles speak with Tibbie X and Stephxecutioner of the Philadelphia, PA-based S&M punkers, GASH, via telephone from their new rehearsal space. Tibbie explains why the band switched directions with their previous drummer and how all fetishists are welcome – even their own bass player, who is a “furry”. Bobby inquires to what the women’s feet look like, and trying to feign his interest, deflects that he wants to gift Tibbie’s smelly socks to Bob for his upcoming birthday. Bobby admits to being glad the two didn’t have to talk to the guys in the band.

THIS WEEK’S PLAYLIST

Colors Dead Bleed – Scars that Show
Sweatshop Boys – No Pity In The City
Hot Blood – Rust
Damn Broads – Nature Of The Game
GASH Interview
GASH – Ritual
Refused – Elektra
Anti-Flag – Sky Is Falling
Wonk Unit – Je M’Appelle Alex
LSNS LRND – Acknowledge
Mutoid Man – Sweet Ivy
Laura Jane Grace – I Keep Forgetting

Stream or download this week’s episode below.



DS Photo Gallery: Lenny Lashley, Uke-Hunt @ DNA Lounge SF

I rolled up to DNA Lounge last Thursday night for an intimate show including Street Dog guitarist Lenny Lashley‘s acoustic set, and a performance from local super group Uke-Hunt (your choice on the pronunciation). The small crowd of friends, musicians, and familiar faces all came together to see these guys rock, but no dancing shoes required – this was to be a relatively calm one.

Lenny Lashley began the night without much introduction, starting off his set with his single “Bruiser”. This song was a bit hard for me to hear, as my brother recently lost his beloved dog, so I grabbed the camera and went to work in an effort to maintain dry eyes. The A-side of that recent seven-inch “Live Like Lions” (also one of my favorite songs) was/were also performed, greeted by looks of admiration and reflection from the crowd. When the chords of “JFK” started pouring out Lenny’s acoustic I felt goosebumps take over – it was incredible. And of course, the obligatory “Hooligans” reminded us all of that more ‘innocent’ time. Lashley encompasses all that is great about solo, acoustic musicians – the gritty, iconic, Boston-stained voice, heartfelt and reflective lyrics shining through powerful, resounding chords, and just the right amount of harmonica. While it was a rather subdued night, I’m sure I shared the same excitement with everyone in attendance to see this Street Dog legend.

I wouldn’t say Lenny Lashley opened the night for Uke-Hunt, as they share definitely different styles and messages. The super group fronted by Spike Slawson puts on just a good-ol fashioned fun-time show. The band performs ‘Hawaiian/tropical’ covers of classic and popular songs alike including their standard “Because” (The Dave Clark Five), Depeche Mode’s “Enjoy The Silence”, and David Bowie’s “The Prettiest Star”, just to name a few. A few sways and couples dancing get that je-ne-sais-quoi going. I guess the music just puts you in that ‘mood’, as by the end of the set we witnessed a marriage proposal – right there on the dance floor of the DNA Lounge. Well done Spike.

The intimate night of acoustic and ukulele came to an end, and as the crowd of close acquaintances and fans began to disperse, I reflected on how lucky I am to have such a thriving music scene in this beautiful city I call home.

Have a look at shots from the night’s performances below.



DS Photo Gallery: Bad Religion (Day Two), OFF!, Western Addiction SF

I woke up Monday morning feeling like a bus hit me, with Bad Religion still playing in my pounding head. The band rocked the night before, and I was excited to see what night two had in store. A trip to Golden Gate Park before the show set me right and proper, and I was ready to dance to favorites like “Sorrow”, “True North”, and “Robin Hood In Reverse”, among many others. Tonight was to be a night of songs exclusively from the 21st century, and while the crowd still packed the house, it was not as rambunctious nor full as the night before. Everyone enjoyed themselves nonetheless, right from the beginning.

Western Addiction opened the night to a pretty full house. I’ve been a fan for a while now, and it was great to see them kill it. The guys recently released their newest album, “I’m Not The Man I Thought I’d Be”, this past March, which you can listen to here.

OFF! is always out of control and tonight was no different. Between Keith Morris’ crazy and intense facial expressions and Steven Shane McDonald’s beautiful bass lines, the California supergroup puts on one hell of a show.

Bad Religion began their night in equally surprising fashion as night one, this time kicking off their set with ‘Kyoto Now”, before going right into “Social Suicide”. I had just left the photo pits when “Robin Hood in Reverse” started playing. Such a shame because I couldn’t ditch my gear in time to get to my other favorite pit. This is one of my all-time favorite bands and I watched on with awe and childhood amazement as they went through songs like “Supersonic”, “Dharma and the Bomb”, “Fuck You”, and so many more…I thought the set was going to last forever.

Have a look at all the shots night two below.

Big thanks to Epitaph and Justine from Goldenvoice for help along the way.



DS Photo Gallery: Bad Religion (Day One), Adolescents, 5 Days Dirty SF

This past 420 holiday weekend, San Francisco was one lucky city. It wasn’t just because of the vast dispensaries, or Hippie Hill, or the Haight district that filled with tourists, stoners, and locals alike that bright Monday one week ago. No, San Francisco was lucky because we got two, back-to-back nights of one of the most influential punk bands of all time – Bad Religion. The professor and company were doing a little experiment and were set to play tracks pre-2000 (songs from the 20th century) one night, and songs from the 21st century the following night. The turnout, the energy, and the set list were definitely more popular on day one – which is completely understood.

5 Days Dirty was the first of the three bands to play night one, and their ripping guitars and heavy percussion were epic…if only there were more people to see it. The vocals and bridges seemed like a perfect fit to start the night. The band just recently released their new album, “50 Year Storm”, which you can sample here.

The Adolescents and Bad Religion playing together is like peas and carrots, peanut butter and jelly. It just goes together. The band is aging, but showing no signs of slowing down, as Tony and crew had the crowd going nuts. Of course the obligatory “Amoeba”, “I Hate Children”, and “Wrecking Crew” were greeted with thrashful delight. It’s always great seeing these guys keep up the energy.

“Spirit Shine” as an opener? I don’t think anyone saw that coming as Bad Religion took to the stage. There was no time for contemplation as the group went right into “Recipe For Hate”, followed by “We’re Only Gonna Die” and “Stranger Than Fiction”. It was literally my teenage playlist as “1000 More Fools”, “You Are The Gov’t”, “Suffer”, “The Gray Race”, and so many more absolute favorites inebriated the sold-out crowd. You can see the entire set list below.

Big thanks to Epitaph and Justine from Goldenvoice for helping along the way.

Have a look at all the night’s photos below, and stay tuned for Day Two of Bad Religion later this afternoon.



DS Photo Gallery: toyGuitar, La Flingue (Paris), Scraper, Neon Maniacs SF

It was again like deja-vu as toyGuitar took to the stage April 19th at Thee Parkside in San Francisco. The band had just played there a couple months ago, celebrating the release of their self-titled LP through Fat Wreck Chords. The bands opening for the night definitely set a gritty, garage tone for what was to come. I had never seen opening bands Neon Maniacs, Scraper and La Flingue, but the latter two made fans out of me by the end of their sets. Unfortunately I missed the majority of Neon Maniacs’ set.

La Flingue hails from Marseille, France and their set kind of made me think of Jesse Michael’s band Classics of Love. It’s fast, guitar driven, gritty, and sloppy (in a good way). The band is in your face, and sings in both English and French. They recently released their “Adhésif-chrome zéro-Trois” EP in January of 2014, and you can have a listen here.

San Francisco-based Scraper definitely embraces the garage sound. The music is distorted, and was a great warmer for toyGuitar. You can have a listen to their self-titled LP here.

It was utter happiness as San Francisco’s toyGuitar prepared for their set. I’m a huge fan of the music, and their newest album is killer. The way Jack and Miles rip through guitar riffs is a site to see, it’s almost like Jack is having a seizure he’s moving so quickly. Although she’s sometimes hidden in the back, drummer Rosie Gonce rocks and adds a great fun element to the band.

Have a look at all the shots from the night’s performances below.



Twelve songs to get your Monday rolling (curated by DS editor jaystone)

Ever wonder what the folks that run Dying Scene have been listening to lately? We’re going to pretend you said “yes” to that question and feature a curated playlist from a different DS editor each week with the intent of introducing you to some new kickass punk bands.

This week’s installment comes to you courtesy of editor Jay Stone. Once again, he was told to come up with ten songs. Once again he came up with more than that, meaning that you’re just going to have to deal with the excess. He thinks you’ll enjoy anyway. Because he’s old and still think in terms of albums, he’s sorta split this playlist up in terms of Side A and Side B. Both sides consist of material that’s right in his punk rock wheelhouse. Side A is a half-dozen songs from the greater Boston area, while Side B consists of some lesser-known side projects of some better known bands. Check out his playlist below.



Wonk Unit release music video for new single “Je M’appelle Alex”

The lads in UK punk act Wonk Unit have released a music video for “Je M’appelle Alex”, the first single to be taken from the upcoming “Mr Splashy” album due for release in early 2016 on TNSrecords. The track will be released on 6th May to coincide with a 2 night residency of The Scala with their touring companions and close friends SLAVES.  Check out the video below.

The band’s latest album “Nervous Racehorse” was released in early 2014.



Dying Scene Session: Rocky Votolato performs two songs from “Hospital Handshakes”

We’ve got a brand new installment of the new-and-improved Dying Scene Sessions coming at ya today, and it’s a damn good one (if we may be so bold).

As you’re no doubt aware by now, Seattle-based singer-songwriter Rocky Votolato‘s eighth solo album, Hospital Handshakes, came out earlier this week on his new label home, No Sleep Records. It’s his biggest, boldest, and dare we say best album to date. And while Hospital Handshakes might be more of a “rock album” than Rocky’s put out to date, the songs were written on acoustic guitar and take on a particularly haunting element when stripped down to their barest elements.

Dying Scene was luck not only to chat with Rocky over the phone a couple weeks ago but to sit down with him for an exclusive acoustic session as he wound down his intimate tour of secret living room shows across the US. Check out Rocky’s Dying Scene Sessions performances of “White Knuckles” and “So Unexpected” below!



DS Photo Gallery: Chapter Eleven Records takes over Catalyst (Custom Fit, Rile 9 Collective, Roadside Bombs, Bobby Hollywood & The Quitters) Santa Cruz

This past Friday I packed up my car early and headed down Highway 1 for a leisurely day in Santa Cruz before a rowdy night of street punk and Oi! at the Catalyst. Chapter Eleven Records was taking over the venue for the night, showcasing four bands on their roster – Bobby Hollywood & The Quitters, Rile 9 Collective, The Roadside Bombs, and Custom Fit. Living in San Francisco, it’s not that often that I take the trek down to Santa Cruz (a trip I frequented much more whilst living in San Jose), so when I got the invite, I was super excited for a day of beach, sun, booze, friends, punk, and dancing.

Bobby Hollywood & The Quitters opened the night with energy and grit right off the bat. Fast, driving guitar and snares paired with classic raspy vocals made this newcomer an instant fan. As the opener, the band didn’t get as many fans dancing as hoped, but the music definitely merits a little bouncing around. Have a listen to a couple of their songs here.

LA-based streetpunks Rile 9 Collective were next, with drummer/vocalist Frankie Loyal taking center stage. I had never seen the guys perform before, but have been a huge fan since their 2014 seven-inch “To Walk In Truth”, and was definitely excited for what was to come. Many bands don’t have a drummer as their lead singer, but Rile 9 is not just any other band – they hark back to a time when guitars rang out like sirens, snares like machine guns, and fog hung over daily struggle. For the first time in the band’s history, Frankie’s father came out to see a show, and of course what followed was the obligatory “My Father’s Son”. It’s a great song and it was nice to see old-timers checking out what the whippersnappers are doing making all that ruckus. For the last couple songs Frankie enlisted the help of Custom Fit drummer/his fiancee Ramona Montgomery to continue on percussion so he could come from behind the drums and join the audience with mic in hand. Really standout performance. You can listen to “To Walk In Truth” here.

I’ve seen The Roadside Bombs once or twice before, and it seems they get better every time. Or maybe I’m just drunker. The music is kinda rocky, but has this ’77 sound mixed with garage and a definite West Coast vibe. Vocalist Ben Coleman is all over the stage, wearing his heart on sleeve, and the ripping guitars drive the whole thing along. Throw in some gang vocals and you got yourself one hell of a show. The band last released their 2014 album “My Side of Town”, which you can listen to here.

It was like deja-vu as Custom Fit took to the stage to round out the night. It seems like just yesterday when I saw them back in February, jamming alongside Suede Razors and Workin’ Stiffs. I really enjoy seeing this band live, and while they may not dance around and get as crazy as other bands out there, the music does enough to lift fans and newcomers alike off their feet. They’re always on point and vocalist Sabi Kendrick represents that classic, somewhat rare, female Oi! sound. You can have a listen to one of my favorite songs, “Combat” here, which it seems they never end a show without playing. I am not complaining in the slightest. The band is getting ready to release a split with longtime friends Custom Fit, so be keep checking back for updates as they become available.

Big thanks to Ian, Ben, and all of Chapter Eleven for a great night with amazing people.

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