Search Results for "DS Exclusive"

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.

DS Interview: Skinny Lister on “Down on Deptford Broadway,” the US/UK folk punk scene, and much more

It probably goes without saying that one of the gigantic perks of a “job” like amateur punk music journalist is getting to discover brand new bands. Typically this happens by way of emails of links to Soundcloud or Bandcamp or Youtube pages, but bands tend to make the most impact when you can discover them live. Such is the case for Skinny Lister. Admittedly unfamiliar with them prior to their opening slot on Flogging Molly‘s Green 17 tour a couple of years ago, they were quick to win the audience (myself included) over with a captivating performance and an infectious energy (particularly on the part of co-frontpersons(?) Daniel Heptinstall and Lorna Thomas and the latter’s brother, Maxwell) that damn near matched the evening’s headliners. The sing-along heavy set (which featured some rather memorable crowd-surfing by the double bass player Michael Camino) ranks on the short list of best live performances I’ve had the privilege of witnessing.

The two years that have passed since that installment of Green 17 wrapped have featured the English pub rockers perform successful stints at SXSW and on the Vans Warped Tour, as well as a high profile opening slot on the road with Dropkick Murphys. Their sophomore album, Down on Deptford Broadway, is due out tomorrow (April 21st) on Xtra Mile Recordings, and is an enjoyable step forward from their debut, Forge & Flagon. We traded emails with singer/guitarist Daniel Heptinstall to chat about the new album, and the experiences entailed in making a fairly quick leap from English pub band to big-time, international tour life. Check our chat out below!

DS Photo Gallery: Kemuri, Dan P & The Bricks, and Monkey 20th Anniversary Party Bottom of the Hill SF

The night had finally come! KEMURI!!! Japanese ska-punk band Kemuri was arrived stateside, celebrating their 20th anniversary as a band, and their first time in San Francisco in 17 years. The anticipation was enough to cause a heart attack as we awaited the Nipponjin’s takeover. San Jose-based Monkey opened the crowd, with Santa Cruz-ish Dan P and The Bricks warming the stage for the long-awaited Kemuri. It was indeed to be a night of moon stomping, floor bouncing, and legs kicking. OH! By the way…Mike Park (founder of Asian Man Records/member of Skankin’ Pickle, Bruce Lee Band, Chinkees, etc) started the night off with DJ Mike Park samplings of many popular AMR tracks (of course).

Monkey just recently released their newest album “Bananarchy” through Asian Man, and has been on the road fervently promoting the new work. It seems as though it was just yesterday that I saw them at Thee Parkside back in February. I can’t say enough good things about these guys. Not only is there an amazing stage presence, but the music lifts you off your seat. Horns, dropping bass, and soulful, resounding vocals create depth and a vibe that you can’t help but move your feet to. If you don’t yet know this group, get your lesson on here.

Dan P. AKA Dan Potthast. AKA the man, the myth, and the legend behind Mu330 (with the help of Jerry and others), is now Dan P & The Bricks – a Santa Cruz-based ska group that includes members of that old band Slow Gherkin. The set was a great prep for Kemuri and showcased Dan, AJ, and company at their finest. It’s always great to look out and see nothing but smiling faces in a crowd.

Kemuri. It’s possible that I may have gotten so overwhelmed with this band that my review of the show may be a bit clouded. This was my first time seeing the famed Japanese septet, but not without desire. The last time Kemuri played in SF I was a struggling 12 year old kid, mail-ordering to AMR, Hopeless, Epitaph and others trying to find something I could believe in.  This has been a band that ranks up there with Less Than Jake, Blue Meanies, and others, in terms of THAT formative ska/punk band, Shoot vs. dance – that is always the question. Thankfully, with a healthy crowd, I was able to squeeze both in. The band played some amazing favorites like “Ato-Ichinen”, “New Generation”, and one of my all-time favorites “PMA”. It was one of those shows where my legs were sore the next day from too much dancing! Not only does the band rock the house, but all the members are some of the nicest musicians I have ever met. A real class act. Maintain a “Positive Mental Attitude”. Always and forever.

Thanks to Mike, Fumio, Bottom of the Hill, and everyone who came out to celebrate an absolutely incredible night of ska/punk, horns, smiles, and Japanese Invasion!!!

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

Success provide track by track commentary for new album “Radio Recovery”

Seattle punks Success released their new album, Radio Recovery, a few weeks ago on Red Scare Industries and I have yet to see a review on any site (including our own) that didn’t praise it as one of the best releases this year.

Because everybody seems to love this album so much we thought it would be fun to get a little track by track commentary on the music and lyrics of each song from the band and publish it for your guys’ enjoyment.  Check out singer Aaron Rev’s track by track break down below.

DS Photo Gallery: Darius Koski record release show w/Ryan Davidson, Kemo Sabe, and Keyan Keihani Thee Parkside SF

I started my weekend off early last Thursday with the record release show for Darius Koski‘s brand new, debut solo full-length album entitled “Sisu”. Many may be familiar with Koski as longtime guitarist for famed punk band Swingin’ Utters, but what many may not know is that Koski’s musical influences are vast, and that some of the tracks from “Sisu” come from over a decade of songwriting.

Keyan Keihani was first to the stage, and gently prepared the crowd for a night of acoustic and folk. Keihani plays a soft, heartfelt mix of country, folk, and rock and it was a fitting opening act. His 2013 debut release “Eastbound” can be streamed here.

Kemo Sabe was next to warm the crowd – of which they made a quick affair. Stand up bass and ripping strings are the name of the game for this whiskey-filled trio. Fast folk-punk mixed with an energetic performance made for a stark contrast to the opener, and a bit unexpected…in a good way. There’s not much info out there on the band, but believe me I am hard at work scraping the bowels of the internet to get some more details.

I had never heard of Ryan Davidson before, but he’s friends with my friend Eric (of Camputee Press), so he was good in my book. While born and raised in Northern California, his songs definitely have a pronounced Irish/working class feel to them. I truly love the power that one voice and one acoustic guitar can have. Davidson’s emotions ooze out through his chords and his heart can be seen in his bellowing vocals. But it’s not all slow and reflective…just like classic pub-rock, there’s great hooks and tempo changes that propel you off your barstool. You can have a listen to some of Davidson’s tracks here.

The man of the hour, Darius Koski, was in rare form Thursday night. It was true delight to see Koski take the spotlight and shine. This is clearly not ‘punk’, and I’m not sure you can pin just one genre on “Sisu”. While many punk-turned-acoustic musicians may sometimes tend to get locked into the same style, Koski touches on Americana, roots, folk, country, rock, a touch of bluegrass, and more. His performance on Thursday was one man/one guitar, so many of the songs were a little more stripped-down, which was nice to see. “The Sound of Waves” was incredible to see live, to look at the passion in Koski’s eyes, and the awe of fans. But it was not all slow; “Howls from the Gale” and “Show Me The Way” kept the energy level up right til the end.

We are still streaming “Sisu” in its entirety, which you can listen to here.

Have a look at the complete photo gallery of the night’s performances below.

DS Interview: Rocky Votolato on almost walking away from the music world, and his triumphant return on “Hospital Handshakes”

The life of a solo artist trying to make a go of a career as an independent singer/songwriter can be bit of a bipolar (in the non-clinical sense of the word) existence. There’s a certain amount of respect and adulation, particularly in this scene, that comes from being able to make a living in DIY-fashion, based solely on an audiences respect for your words and your energy. The reverse side of that coin, however, is where fear, doubt, and insecurity come in; wondering if people will still care what you have to say, wondering if what you wrote will be good enough to put food on the table both literally and figuratively.

Rewind this tape a few years, and that’s where we’d have found Rocky Votolato. The Texas-born, Seattle-bred singer-songwriter had just released his seventh full-length solo album, Television of Saints, and had been able to scratch out a living selling albums and touring regularly in multiple continents. On the surface at least, things should have been rosy. As is frequently the case with most art, however, the story extends far below the surface.

“I was having a really hard time writing,” Votolato says. “I was feeling really burned out, uninspired creatively. I was in a tough spot, and it’s almost like it didn’t seem like there was a point to even making music anymore.” He had recorded a full album of material, but unhappy with how it had come together, he scrapped the whole thing and went back to work. “With Television of Saints, I just recorded for hours and hours and weeks and months on end, trying to get everything just right,” Votolato laments. “By the end of it, I was totally burned out and had no perspective of whether it was good or not!”

While Television of Saints is generally held in high regard amongst the songwriter set and, more importantly, among Votolato’s fans, its release didn’t necessarily prove to be the cathartic moment that it perhaps should have been. One of the scene’s more prolific songwriters (seven full-length albums in a little over a decade) was on the verge of shutting the whole thing down. “By the fall of 2013…I just had decided that I was going to retire from music. I was just going to have a normal life with my family and get off the road.”

While that idea of giving up and walking away might sound ‘crazy’ to the layperson, when the words aren’t coming, there is no more difficult place for a songwriter. “I’ve always depended on music. It’s always been a healing force in my life. It’s something that has been there for me to have an outlet and to put some of that stuff that I’m dealing with, whether it’s just existential suffering or mental depression,” says Votolato. “It’s always really been comforting to have that as a place to go when I need to express that stuff.”

“I was severely depressed,” Votolato tells me, “and didn’t really realize that I basically just needed a shift in perspective. I was relating to the whole creative process in the wrong way.” There’s a fairly well-known (at least among book nerd circles) speech that was given by the late author David Foster Wallace as a commencement address to graduating seniors at Kenyon College in 2005. Wallace opens with a parable of two young fish, out for a morning swim. They cross paths with an old fish, who nods at them and offers the following greeting: “Morning, boys, how’s the water?” The two young fish continue swimming on before one looks at the other and says “What the hell is water?!?”

The point of his “this is water” speech is to get us to be more conscious of the unconscious way we go through life, opening ourselves up to our surroundings and to letting things happen. It seems that this sort of proverbial awakening is what Votolato needed to open up the dam again. “When I started to get that, it was a hard thing to go through,” Votolato says, “but when I did start having a good time again playing music and playing with words and having some acceptance from myself, I let go of that controlling attitude and needing everything to be perfect.”

The result of those floodgates opening again is 2015’s Hospital Handshakes. Votolato’s eighth studio album (his first for new label home No Sleep Records) is a departure from his normal work. “I really felt like I needed a new direction to keep things fresh and mix it up a little bit and keep it exciting for me,” states Votolato. “And I didn’t really know what I was going to get going in to (it like) that.” What he got was eleven tracks filled with deeper soundscapes and more rock guitar than any of his prior works, perhaps collectively.

“When songs are good,” says Votolato rather passionately,” it feels like I didn’t write them; they write themselves and you’re just kind of a channel for that. You get your ego out of the way and some cool art shows up and you capture it.” While the focal point of Hospital Handshakes very much remains Votolato’s lyrics and songwriting, he surrounded himself with a small stable of bona fide musicians (Chris Walla, ex-Death Cab for Cutie; Cody Votolato, Waxwing, Blood Brothers; Andy Lum of My Goodness; Eric Corson of The Long Winters) and allowed them the freedom to trust their instincts. That the whole process was recorded on tape meant having to make good decisions, and quickly. Rather than the two-year period of uphill skating that was Television of Saints, Hospital Handshakes came together in two weeks.

After Hospital Handshakes release, Votolato will be touring the States with a full band (stay tuned for dates, something he’s grown unaccustomed to in recent years. “More than any record I’ve ever made,” Votolato says, “this one deserves to have a full-band treatment, and it really kinda needs that to bring it fully to life.” He’ll also be taking a full band with him on a tour of Europe that’ll span most of May and June. It’ll be his first full-band tour across the pond, though it’s something he’s been looking forward to for quite some time.

Given Votolato’s history as a solo act, the music on Hospital Handshakes still works well when it’s just him. To give some of his hardcore fans a taste of what’s to come, he recently embarked on a 34-date US tour, accompanied by just an acoustic guitar: no PA system, no lights, no stage. Instead, he’s touring fans’ living rooms across the country: “I have such a loyal group of fans and…this only works if you have a dedicated fanbase of people that care about what you’re doing and want to see it in a really intimate setting.” If you live on the West Coast, you may want to check out the upcoming dates on Rocky’s living room tour here; based on the crossover relatability of Hospital Handshakes, it may be your last time to see him so up close and personal.

Read our full Q&A with Rocky Votolato below. We cover a lot of the above-mentioned ground in far greater detail, and also discuss an upcoming split with Chuck Ragan, some advice given to him by Death Cab For Cutie’s Ben Gibbard, and a lot more. Hospital Handshakes is due out April 21st on No Sleep Records. Pre-orders are available here.

DS Photo Gallery: Rebuilder “Rock And Roll In America” record release show (w/Choke Up, Bundles and Sundog), Boston, MA

Record release shows can be a bit of a curious thing. There’s a bit of fine line between the cathartic, congratulatory recognition of what, at times, can be a tumultuous album-making process, and an over-the-top exercise in circle-jerkery. Rebuilder’s Rock And Roll In America  launch party at Boston’s O’Brien’s Pub last Friday (4/3/15) was about as perfectly-organized and pulled off celebration that you might hope for as both a spectator and, I’d imagine, as a band member.

Rock And Roll In America served not only as the name of the album being feted on this particular night, but as sort of a central thread that tied the evening together. Boston music blog Bishop & Rook organized the event, which featured three other bands in addition to the evening’s headliner, each one a little (or, in one case, a lot) different than the next. The one-man band that is Sundog kicked off the event. Trying to place many of the artists we cover here on Dying Scene into one specific genre-defined box can be difficult; with Sundog (“sun like the sun, dog like a dog”), it’s damn-near impossible. The Bostonian-by-way-of-New-Orleans uses a looper and a series of synthesizers, drum machines, an Ibanez bass, a ukulele, and his own voice to build his atmospheric, at times trip-hoppy tracks from scratch. Dressed in an OSHA-orange NASA uniform, the Sundog performance almost gave the impression of a mad scientist, endlessly building samples, tweaking knobs, and laying down danceable (or, in this crowd, at least head-bobbable) grooves.

The three-piece Boston-area outfit known as Bundles followed. As one who doesn’t get out much and who is far-too guilty of judging a book by it’s cover, I was pleasantly blown away by Bundles (not to mention the incredible, regionally specific logo). Perhaps it was the Friday evening, after-work, local-band nature of the event, but the trio looked as though they almost belonged in three different bands (seriously, check the pictures below), and yet combined to blister through their set of what I’d guess we’d call post-hardcore tracks (seriously, I can’t tell anymore) with such voracity that they almost ran out of songs before they ran out of time.

Local favorites Choke Up and their loyal, vocal contingent of fans were next. I mention the fans because they’re just as important a part of a local Choke Up show as the four-piece band themselves. The punk/post-hardcore outfit are pretty well known for their highly-entertaining, higher-energy live shows, but they were matched step-for-step up the intensity ladder by more than a handful of showgoers. While the band were enjoyable enough in their own right (though maybe a tad too much bare ass for my own personal tastes), but the mutual energy level was not only fun but exciting to see, especially for an “opener,” though Choke Up and Rebuilder are probably on equal footing, at least locally.

The steady progression in heart-on-your-sleeve intensity was a textbook example of exactly how a show should be, and boded well for the night’s headliners. This being a record-release show, Rebuilder opted to play Rock And Roll In America in its entirety and in order. This was a solid decision on multiple levels, particularly as album opener “The Natural Bohemian” not only makes a great way to open an album but an equally great way to open a show in all its catchy-as-hell, hook-laden, call-and-response glory. If you haven’t heard the album yet (and you probably haven’t, since Record Store Day-induced production backlogs mean that the vinyl wasn’t pressed in time for the actual record release part), tryst when I say that there’s a pretty natural flow to the album, throwing back to when straight-forward pop punk actually meant something more than over-produced (AutoTuned) vocals and pseudo-screamo garbage. That said, it’s very much a modern rock and roll record (more on that when our review drops in a few days), and as great as the Jay Maas-produced final product sounds on the stereo, it sounds that much better in a dark, sweaty (seriously, total sweat-lodge status at O’Brien’s on this night) club filled with friends and fans.

Head below to check out our photos of all four of the nights bands!


DS Photo Gallery: Taking Back Sunday @ Upstate Concert Hall, Clifton Park, NY

Taking Back Sunday‘s lengthy tour with The Menzingers and letlive. is about to come to a close in Fort Lauderdale this weekend. The tour made a stop at the Upstate Concert Hall in Clifton Park, NY, a couple weeks back, and Dying Scene had photographer Catharina Christiana (C3 Photography) on hand to shoot the occasion. Check out her photo gallery below!

Taking Back Sunday is still touring in support of their latest full-length, “Happiness Is…”, which just celebrated it’s one-year anniversary last month. It was released on Hopeless Records.

DS Exclusive: Lenny Lashley performs “Live Like Lions” (new solo song) and “Believe in Packer” (first new Darkbuster song in a decade!)

It’s been far too long since we brought you a new installment of the Dying Scene Sessions, but we’re back in a big way today!

You may recall that Boston punk icons Street Dogs played a rather noteworthy St. Patrick’s Day show at the House of Blues in Anaheim a couple weeks back. A couple noodle-brains who fancied themselves neo-Nazis tried disrupting the show and were met with equal amounts of willpower and resolve by the band, the security and fellow concertgoers. Guitar player (and solo artist and until now former Darkbuster frontman) Lenny Lashley took a chair in the eyebrow in the process.

Earlier that very day, Dying Scene editor emeritus Tommy Landaverde had the privilege of catching up with Lashley to record a couple acoustic tracks. First up is “Live Like Lions,” a new Lashley solo number that served as the title track to a recent 7-inch released through Contra Records to mark his recent European tour.

The second is a brand-spanking-new Darkbuster track. You read that right, boys and girls…it’s called “Believe In Packer,” and it marks the first brand new Darkbuster tune to see the light of day since the band’s 2005 album A Weakness for Spirits! The band called it quits not long thereafter, and have only resurfaced in various formats a few times in the years since, most recently for an appearance at the Mighty Mighty Bosstones‘ Hometown Throwdown in 2009Check out both tracks below…and stay tuned for a gigantic Darkbuster announcement next week!

Vanilla Pod release music video for “Deaf Lugs”

Today we’re stoked to bring you guys a premiere of a new, goofy music video from UK punk band Vanilla Pod.  It’s for their song “Deaf Lugs” and the video features a lot of zombies and glam rock hairdos.  Think “The Walking Dead” meets “Spinal Tap” and you’ll have a decent picture of what to expect.  Check the video out below.

“Deaf Lugs” appears on the bands new EP Seeing Out the Sunrise which is slated for release April 18th via TNS Records and Dry Heave Records on CD, vinyl, and digital formats.

Exclusive Video: Ghouls and Riskee & The Ridicule share tour diary

London’s Ghouls and Riskee & The Ridicule have been on tour together in Germany and Belgium, and they put together a two-part tour diary that features music clips, interviews, and lots of banter.  You can check it out below, and find out what “the boing” is and why Neil gets the nickname “Skippy.”

Ghouls most recently released Great Expectations in October of 2014.

Interview: Dwarves’ frontman Blag Dahlia talks DIY, band nicknames, Islamic Fundamentalism and more

I’m not the greatest interviewer in the world; not by a long shot. My Dying Scene Radio co-host, Bob Noxious, is far superior. Constantly talking over people and trampling guests with my idiotic blather, I am still learning how to deliver the question and then shut the heck up. I’m definitely aware of my own idiocy. Still, there’s some good that comes with being a good talker. For instance, I managed to talk my way into a press pass and an interview with Dwarves’ frontman Blag Dahlia, last Friday, (the 13th, coincidentally), prior to the first stop on the band’s east coast tour at The Bowery Electric in New York City.

I asked Blag about his band’s excessive use of nicknames, the extent of their DIY operation (“Why not hire a lowly assistant to respond back and forth to assholes like me?), and whatever happened to his now defunct punk rock podcast, Radio Like You Want. Without breaking character, Blag quips about his band being somehow linked to Islamic Fundamentalism, while boasting about being tall and having a large penis. So, whatever your opinion of my bumbling style – I do somehow manage to elicit interesting banter. Well, you tell me.

Checkout the full video interview below.

Interview: Blood or Whiskey discusses St. Patrick’s Day, crowd-funding, musical progression, and more

Today is Saint Patrick’s Day. Worldwide, this day is celebrated with mass consumption of whiskey, beer (sometimes green), and boiled food (corned beef, cabbage, etc). Besides the boiled food, it sounds like just another day to me.

To commemorate the day, we have for you a little interview with Irish punk band Blood or Whiskey, where we discuss crowd-funding, songwriting, St. Patrick’s Day and more.

The band is performing over in Dublin today, and we wish them the best of luck!

You can read the entire interview below.

Blood or Whiskey last released “Tell The Truth and Shame The Devil” last year, and you can check out a video for their ska song “Gone and Forgotten” below.

DS Interview: Face To Face’s Trever Keith on the “Triple Crown” shows … and new music!

In case you missed it, SoCal punk legends Face To Face played a string of shows in California just after Christmas, their first US dates in quite a while. But these weren’t just any shows. Instead, they were billed the “Triple Crown” shows, and they featured the band performing their first three full-lengths (1992′s Don’t Turn Away, 1994′s Big Choice and 1996′s Face to Face) in their entirety over the course of three nights in the same venue.

Inspired by the success of those shows, the band announced a mini-tour of sorts, in which they’ll be playing the three “Triple Crown” albums over three nights in four select cities: New York, Denver, Chicago and Dallas. For the third time in his Dying Scene career, your favorite resident Face To Face fanboy traded emails with frontman Trever Keith, this time to discuss the importance of the “Triple Crown” dates, and how revisiting the old material is helping the band shape what comes next. Head below to check it out.

Face To Face released their last album, Three Chords and a Half Truth, back in 2013 on Rise Records. There are details in our interview about when you may expect to hear something new…and as always, we’ll keep you posted!