Search Results for "DS Exclusive"

I recently caught up with The Murderburgers frontman Fraser Murderburger. During the interview, we discussed his record label Round Dog Records, new songs being worked on for The Murderburgers, his new musical project with Flav Giorgini of Squirtgun called The Phase Problem and loads more.

You can read it below.

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The Gaslight Anthem (L to R): Alex R., Brian, Benny, Ian, Baby Wade and Alex L.

While it may be a little self-serving to admit, news that The Gaslight Anthem were bringing Against Me! out as direct support for the first US leg of the U.S tour in support of Get Hurt quickly made for one of the more eagerly-anticipated concert events in recent memory (save, maybe, for the nostalgia-inducing Summer Nationals tour that featured The Vandals, Pennywise and Bad Religion supporting The Offspring as the latter band celebrated the twentieth anniversary of their breakthrough hit album, Smash). In this lowly writer’s opinion, both Get Hurt and Against Me’s Transgender Dysphoria Blues have been on the short list of Best Albums of 2014 since their very spins on the trusty old record player.

Technically speaking, this writer must offer a mea culpa to Twopointeight: the Swedish punks were first opener on this evening, however the early start time and infamous Boston traffic and parking conundrums meant that, like many people, I was unable to catch the majority of the band’s set. Next time, fellas…next time.

While I haven’t talked to her in order to confirm my suspicions, I strongly believe that while 2014 may have been trying in myriad ways (the least of which include replacing the band’s entire rhythm section and dealing with patronizingly tone-deaf reviews of Transgender Dysphoria Blues by at least one major publication with whom I share a last name), performing the intensely personal new album live alongside longtime friend and bandmate James Bowman appears to have had immense cathartic value for Against Me!’s Laura Jane Grace. Grace has made a career of being the type of intense, cut-a-vein-open-and-bleed-out-on-stage performer that the foundation of the protest punk ethos was built upon. And while that intensity is still ever-present, what’s equally obvious is the amount of fun that Grace is having (despite, on this night, seemingly being plagued by a little vocal hoarseness as the night went on). The rhythm section of the great Atom Willard (drums) and Inge Johannson (bass) paced the charge, each playing like a man possessed (the latter an almost comically demonic end, as evidenced in the pictures below) as the band ripped through “Pints Of Guinness Make You Strong” as the opening song. What followed was a fairly decent career-spanning forty-five minute set. Highlight tracks from the Transgender Dysphoria Blues, including the title track, “True Trans Soul Rebel” and “Black Me Out” have a natural home alongside longtime favorites like “I Was a Teenage Anarchist” and “Don’t Lose Touch.” Though the crowd was not perhaps a stereotypical AM! crowd given their opening slot, the bulk of the audience seemed just as energized by Against Me!’s set as they were with the headliners.

Though Against Me!’s current lineup has only been touring as a unit for under a year, they’ve quickly solidified as a tight, dynamic force on stage. When in a support role, this has the effect of keeping the headliners honest, making sure that the main act are primed and loaded for bear.  The Gaslight Anthem responded in kind with all guns blazing, ripping through a tight rendition of Get Hurt opener “Stay Vicious.” As expected, the band’s stellar new album featured prominently in the set (seven of the twenty-one TGA originals). Those familiar with a little of the back story in the Gaslight camp over the past year or so will note that, like Against Me!, the band (and frontman Brian Fallon) have been met with a fair amount of personal and professional tumult. And while Get Hurt can unquestionably be referred to as Fallon’s breakup album, one can’t help but notice that 2014-era Brian Fallon seems to play with a bit of a weight no longer on his shoulders. Indeed, perhaps the only person on stage all night visibly getting more enjoyment out of playing live more than Laura Jane Grace on this night was Fallon, whose smile seemed welded on as a permanent part of his face. His trademark between-song banter was lighthearted (introducing “Blue Jeans And White T-Shirts” as the “most circle-pit inspiring song we have” in response to some good-natured ribbing from an audience member).

There was perhaps a Pearl Jam-esque arena rock quality to the band’s set, though the requisite “for the old school fans” songs like “We Came To Dance” and “1930” fit in nicely amongst a set primarily culled from the band’s post-’59 Sound catalog. While some in the crowd may have questioned the band for closing with a cover, The Who’s classic high-energy, youth rock pre-punk paean (and longtime Pearl Jam live staple) “Baba O’Riley” seemed to accurately capture where the band are a decade into their career. Perhaps we (and I’m including myself in this) can finally knock off the cheap Vedder and Springsteen comparisons and fully appreciate what The Gaslight Anthem are: not only willing but, more importantly, perfectly capable of maintaining the authentic, songwriter-inspired American rock and roll torch for years going forward.

Check out our gallery of Against Me! and The Gaslight Anthem photos from the show below. Click on the actual pictures to see ‘em in all their full-sized glory!

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DS Interview: Getting to know Rob Lynch (English folk punk)

Posted by jaystone on Thursday, September 25, 2014 at 3:01 PM (PST)

English pub folk rocker Rob Lynch has quickly been making quite a name for himself. Within a couple years of putting out his debut five-song EP in 2011, Lynch had found himself being asked to play at such high-profile events as the Download Festival, the Groezrock Festival and Gainesville’s Fest. Hot on the heels of a successful stint on the Acoustic Basement stage for the duration of this year’s Warped Tour, Lynch is now set to unleash his debut full-length, All These Nights In Bars Will Somehow Save My Soul on the masses (September 23rd, Xtra Mile Recordings).

Dying Scene caught up with Lynch from across the pond for a chat about the anxieties of waiting for your debut album’s long-awaited release, his Warped Tour experiences, and the inevitable Frank Turner comparisons. Check out our chat below!

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Music Video Premiere: Anchoress – “For A Soft Heart”

Posted by Ghost Country on Wednesday, September 24, 2014 at 1:34 PM (PST)

 

Vancouver post-hardcore outfit Anchoress have unveiled their music video for the song “For A Soft Heart” off of their 2014 release, “Crime & Compass.” You can check it out below here.

“Crime & Compass” was released digitally earlier this year as two separate streams which then materialized in the physical world as a full-length album on August 12th via File Under: Music.

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Coming off the resounding success of their 2012 release Ex Lives, Every Time I Die has done it again with the very different, yet quintessentially ETID brand new effort titled From Parts Unknown. Giving the album its first national showcase on this year’s Warped Tour, these vets from Buffalo absolutely killed it. Frontman Keith Buckley was kind enough to spare DS a few of his precious moments on the tour to talk about the past, the future, flowers from LTJ, and dream sequences.

Read the interview below, or head over here and watch it if you’re into videos filmed in portrait mode on an iPhone.

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Nathen Maxwell is in a pretty good place.

While no doubt better recognized for the job he’s had for effectively half his life (bass player of Flogging Molly, of course), things are finally ramping back up in the Maxwell-led Bunny Gang camp. The band put out an album in 2009 (White Rabbit, SideOneDummy Records), toured a bit, wrote and recorded a follow-up album entitled Thrive in 2012 and then…well…the waiting game began.

Two years, several band members and a new record label (Hardline Entertainment) later and Thrive is set to finally see the light of day. With obvious Clash-influeced reggae-dub-punk influences, the album centers on a “one love” vibe that was inspired at least in part by the documentary with which it shares a name (more here). And yet, it’s not ALL peace and love, as the album points continuously to the circular nature of war profiteering and the conflicts that, hopefully, won’t be our demise.

We caught up with Nathen a week prior to the September 23rd release of Thrive to talk about the holdups behind the album’s release, the balancing his Flogging Molly and Bunny Gang sides, and answering the all-important question: “what is punk rock?”. We also spent some time discussing the controversial documentary that gave Thrive its name, and whether or not it gets hard to keep up the “one love” mantra in an ongoing war cycle. Check out our chat below.

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Rick Barton is always searching.

The longtime veteran of the Boston punk rock scene finds himself on the perpetual quest to be the best man that he could be. To be brutally honest, this quest has come with its fair share of trials and tribulations. As Barton sings on “Busted,” which appears on his band Continental‘s upcoming album Millionaires,  he may have “been dumb more times than (he has) been smart.” And yet, with age of course comes wisdom. The original Dropkick Murphys‘ guitarist has taken his lumps over the years, but seems to continue to learn from his mistakes from an unlikely source: Facebook?

Boston-area music fans may know of the maelstrom that Barton created in a serious of rather opinionated posts on the social networking site last Spring (the details of which will not be discussed here…ask around). “Anybody can do whatever the hell they want,” Barton recounts. “That’s the one thing I learned about my debacle on Facebook; anyone can do whatever they want, I don’t even care. I just know that I have to do what I have to do for myself.”

And that’s what Barton continues to do. Dying Scene caught up with Barton a few times over the last week or so to discuss Continental’s upcoming album, to get a little bit into his history as a songwriter, particularly with Continental and Dropkick Murphys, and to discuss his goals for his current project (which, as you should know, features his son Stephen on bass). The result, as to be expected, was as straight-forward, honest and compelling as you’d expect. Barton continues to wear his heart on his sleeve, which we generally celebrate as a scene. Unless, of course, that heart makes us uncomfortable, which is on us, not on him. Check out our conversation below!

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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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