Aphids! are the next entry in the Hellcat Singles Club. "Ring Ring" was produced by Tim Armstrong and was mastered by TJ Rivera. You can hear it below.
This year, Hellcat records have been releasing digital singles, including a track by Doom Regulator, the band featuring Jesse Michaels and Tim Armstrong of Operation Ivy and a band featuring Jamaican dancehall icon Ce'cille. The new band is called Bonk! Bonk! and features singer Lindsey Jennings. Armstorng issued a statement on the track: "Lindsey and I have been good friends for a while now. We wrote our first song together in 2015 and always kept touch. Lindsey has incredible timing with her lyrics, sometimes funny, sometimes serious but always on point. About a year ago we had an idea to start writing early punk songs like 1977 style. Like the music you can POGO to. We called this project BONK! BONK! This is the first song we’re releasing from BONK! BONK! It’s called ONE TIME." You can hear the new track,"One time" below.
The Calamatix have released their debut, self-titled album via Hellcat Records, and while summer may very well be over. The Calamatix doesn’t care. The album is full of laid-back music, blending genres like reggae, ska, funk, trip-hop, and punk. They take it upon themselves to transport us back to the slightly warmer days when the […]
The Calamatix have released their debut, self-titled album via Hellcat Records, and while summer may very well be over. The Calamatix doesn’t care. The album is full of laid-back music, blending genres like reggae, ska, funk, trip-hop, and punk. They take it upon themselves to transport us back to the slightly warmer days when the sun was high and the music was filling the streets.
The album opens with “Love, Lies & Alibis,” a bright, danceable, and energetic song that blends Dancehall and a twist of punk into a seamless vibe. With its infectious hook that pulls you in, it sets up an easy entry for the rest of the album. Then comes “Believe It or Not”, easing the listener back into a relaxed, reggae-inspired groove while keeping things fresh and unexpected.
Tracks like “Still Rudy” and “Rootstyle” pick up the tempo once again, each delivering an upbeat ska feel that makes them stand out on the album. Raylin Christensen’s vocals flow effortlessly over the tracks, adding a relaxed and natural charisma that compliments the band’s sound perfectly.
“Dread” is an exceptional track that showcases the chemistry among the band members. Though one of the slower, more downbeat songs, bassist William “Matty” Taylor and guitarist Adam Porris bring a distinctive richness, making this track feel much more intimate and grounded in the way that balances the album’s brighter moments.
A personal favorite, “Boom Bap,” leading the listener into the song, is Clarence “Pocket” Kidd’s hypnotic drumming beat, layered with a dreamy guitar from Porris and a smooth and airy bassline from Terry. When Christensen steps in with her straightforward and sultry vocals, the listener is transported to a vibe consisting of trip-hop, blending atmosphere and edge into one. When the chorus kicks off, the sound swifts smoothly into a more funk-esque sound. Here Christensen delivers some cutting lyrics “Nah bitch, I’m not easy.” This transition isn’t just surprising but also keeps the energy flowing throughout the song. The album closes out with “Tupelo Honey,” which is a cover of Van Morrison’s song – a beautiful deliverance of vocals from Christensen.
This album is an undeniable invitation to dance, seamlessly blending reflective lyrics with upbeat and infectious energy. Christensen’s passionate delivery of the songs dives deep into the emotional progress while maintaining a refreshing optimism on some of the other tracks. There’s truly a song for every moment, showcasing the band’s range and creativity. The Calamatix have a chemistry that feels both original and refreshing as if they’ve been working on their sound forever. Their music flows so effortlessly, drawing you in with relatable lyrics and catchy hooks. This debut album showcases their talent and hints at what’s to come, definitely leaving you wanting more.
Here’s something fun to get your weekend kicked off a little early. World, meet The Calamatix. The Calamatix, meet the world! The aforementioned four-piece are a new-on-the-scene “reggae-rooted, punk-flavored quartet” featuring the dynamic Raylin Joy on lead vocals, Adam Porris (Lost City Angels, Far From Finished) on guitar, Clarence “Pocket” Kidd III on drums and […]
Here’s something fun to get your weekend kicked off a little early. World, meet The Calamatix. The Calamatix, meet the world!
The aforementioned four-piece are a new-on-the-scene “reggae-rooted, punk-flavored quartet” featuring the dynamic Raylin Joy on lead vocals, Adam Porris (Lost City Angels, Far From Finished) on guitar, Clarence “Pocket” Kidd III on drums and William “Matty” Taylor on bass. The project started as a writing project between Joy and – you guessed it, the inimitable Tim Armstrong – before turning into the full-fledged band that’s just about to burst onto the scene.
Armstrong signed the band to his Epitaph imprint, Hellcat Records, and together they’re releasing the first fruits of their labors. It’s a video for the rocksteady/first-wave-ska-inspired “Rootstyle,” and you can check it out below. It’s perfect early summer music. Stay tuned for more from The Calamatix coming down the ‘pike.
The fourth album can be a bit of a curious point on a band’s timeline. The dreaded “sophomore slump” has long been in the rearview, and generally by the time the fourth album roles around, a band is at or around the decade mark in their career. It can be a time of transition; a […]
The fourth album can be a bit of a curious point on a band’s timeline. The dreaded “sophomore slump” has long been in the rearview, and generally by the time the fourth album roles around, a band is at or around the decade mark in their career. It can be a time of transition; a time to build off some old influences and also to incorporate new feelings and directions out of a desire to keep from getting stale or repetitive. Sometimes, the results can be ground-breaking, at least sonically if not always commercially or critically. Ignorance Is Bliss by Face To Face, for example. Darkness On The Edge Of Town. No Code. Sandinista!. Yankee Hotel Foxtrot. Life Won’t Wait. Question The Answers. ZOSO, or however that translate without the ability to add runes to the text here. So on and so forth.
And so here we find The Interrupters. The widely beloved LA-based ska punk band are back with In The Wild, due out August 5th on Hellcat Records. Recorded during the forced doldrums that were the shutdown of the last couple of years, the album finds the band (which surpassed the decade mark during said shutdown) building on the high-energy, rock-steady core that they’ve built over the course of three records and hundreds of shows, revealing a work that is their most varied, most introspective, and, subsequently, their best effort to date.
We caught up with the band’s air-tight rhythm section, sensational twin brothers Jesse (drums) and Justin (bass) Bivona to talk about the album’s recording and its personal nature. While much of the process for In The Wild was similar to the band’s previous output, there were a few marked differences that shaped the direction of what was to come. As Jesse explains the fourth album cycle, “one of our little press points about this record and relating it to the previous records is that the first album is kind of like a first date, where you just talk about surface-level things, nothing too crazy. Second album, you start to let them know a little more about you. Third album, you’re kinda getting into the nitty-gritty. Fourth album, all the baggage is out, the drama is revealed, all the secrets are out.”
The secrets are indeed out in more ways than one on In The Wild. It is by far the band’s most personal album to date, and it’s their most sonically diverse album to date, and both of those things are by design. Thinking back to the early days of the band, specifically around the recording of the band’s self-titled 2014 debut record, Jesse describes that the band was “just trying to keep it simple. We weren’t trying to reinvent anything, we were just trying to be a straight-ahead ska-punk band.” The more cohesive the band god, the more layered and textured the sound became, and the more outside influences began to creep in. While still very much an Interrupters record, In The Wild showcases sounds that include traditional reggae and rock steady and 2-tone and 80s punk rock and ‘50s doo-wop. The album closes with “Alien,” which centers around Aimee’s soaring, heartfelt vocals and is, as Jesse points out, “the first Interrupters song with no guitar on it!”
The seeds of In The Wild were initially sown in the early days of the pandemic shut down two years ago. The very early days. In fact, quite literally, the first day. The band had taken a few weeks off after wrapping a lengthy touring cycle for their 2017 album Fight The Good Fight – an album that continued the band’s launch into a higher stratosphere based in part on the crossover success of the single “She’s Kerosene” – in February, and was planning to return to Tim Armstrong’s studio in early March to begin work on album four. That plan was foiled just as it was beginning. “Day one of us going into the studio,” explains bass player Justin Bivona, “was that day where the NBA was canceling, and Tom Hanks had Covid…” After a few ‘wait and see’ days, recording plans – and, frankly, most of real life – got put on pause indefinitely, and the band retreated to what they affectionately refer to as The Compound; Justin and Jesse live in one house while the twins’ bandmates and, more importantly, older brother and sister-in-law Kevin and Aimee, live in the house next door. The two houses share a driveway and, more importantly, a garage, the latter of which would come in handy in a pandemic shutdown.
After some time spent doing what the rest of us did – binge-watching TV shows and movies, going for walks, and reflecting on their lives-to-date. As Justin tells it, that process “Aimee got to do a lot of looking back on her past and realized there was a lot of stuff she hadn’t written songs about.” And so even though the band had plenty of material they were going to work on in the studio at the beginning of 2020, writing eventually continued.
So, too, did recording, though the band didn’t have to go far. “At some point during (quarantine),” explains Justin, “Kevin was like “we need to do this record at our house, in our garage.” It’s a tiny 10×20 room that we would practice in, but it wasn’t treated, there wasn’t any studio equipment. So we spent maybe a month building things. Me and Jesse with power tools building racks to put gear in and tabletops and stuff. Pretty much “tiny housing” the studio to make every part of it work.”
This created the freedom to work together at their own pace. There’s no need to reserve studio time or book an engineer when you can do it all, effectively, in your collective backyard. That moved Kevin, the elder statesman of the Bivona brothers, officially into the producer’s seat. Tim Armstrong, who both oversees Hellcat Records and executive produced the first three Interrupters records, “told (Kevin) to just grab the reins and take off” says Justin, with Jesse quick to point out that their big brother has “always kinda been the shadow producer of everything in a sense.”
And while it may seem daunting to have your bandmate – and older brother, steering the ship, the timeline and the setting and their relationship made for a smooth, collaborative effort. “If we’re working on something and it’s not working,” explains Jesse, “all four of us can be like ‘well, what if we try this, or what if we try this,’…there are no bad ideas until you try (something and realize it’s bad.” “It was just us as a cohesive band, the four of us, working out songs and writing songs, and it really informed the process,” adds Justin. “It was the best thing we’ve ever done.”
The more that writing and recording continued, the more that the direction of the album revealed itself. “Aimee realized that the record was pretty much her life story,” says Jesse, adding “so the songs that didn’t fit with that theme we pushed aside and focused on the ones that told her story the way she wanted to tell it.” Because the lyrics bare so much of Aimee’s past, the task of recording vocals involved being in the right headspace to tackle some of the memories that were evoked. “Doing on the property,” reveals Justin, “it allowed Aimee the freedom to record vocals whenever she felt emotionally connected enough to a song” to power through it, a freedom that proved vital as it is apparent on first listen that Aimee dug deep lyrically, reflecting on some of the messier parts other upbringing and past relationships and grief and loss and trauma and mental health struggles that she has worked on over the years.
The added time and convenience of the recording process allowed the band to work through multiple versions of songs, in order to make sure that the emotion of the music matched the emotion of the lyrics. “There are a couple songs on this record where they were recorded one way and pretty much done,” explains Justin, “but then it wasn’t just fitting in with the rest of it when we would get back there. I think specifically “Love Never Dies” had a totally different feel, it was more of a rock/reggae Clash-y song. And it was dope, but it wasn’t fitting in with everything.” Jesse elaborates: “(Kevin) said “Jesse, play a one drop” so I played this one drop, and then he said “Justin, play this bass line” (*mimics bassline*). And then he said “okay, watch” and he just started skanking, and then he started singing this melody the way that it is now, and we played that for like four bars and just stopped. We were like “yeah, that’s it! Now we’re on to something!”
The result is one of the more straight-forward reggae songs in the Interrupters’ catalog to date. It also features a guest appearance from The Skints, the UK reggae punk band who recently wrapped a successful run opening a bunch of US shows for The Interrupters and Flogging Molly. The Skints are just one of an impressive handful of guest starts that found their collective way onto In The Wild; Tim Armstrong lends his vocal talents to a track, as per usual, but so too do Rhoda from The Bodysnatchers and Alex and Greg from third-wave ska legends Hepcat. The latter recording session occurred at Armstrong’s studio once the initial Covid waves had subsided and society started to open up again. As Jesse tells it, “it was a magical session to be a part of.” Justin explains “Greg and Alex came in and…we wanted them on the song (“Burdens”), but we didn’t really have the part. We went in with them and showed them the song and within a minute the two of them are sitting there writing the parts and figuring it out together. It was so cool to see because they’re literally our favorite ska band.”
It was yet another moment in a decade-long journey that has found the foursome feeling eternally grateful for the opportunities they’ve been presented; playing with longtime idols like Rancid and the Mighty Mighty Bosstones and Joan Jett and Green Day, playing legendary venues, getting introduced by RuPaul on the Jimmy Kimmel show (as was the case the night before we spoke). Case-in-point: the three Bivona brothers served as the backing band for The Specials during a fundraiser event in Los Angeles back in February, a mind-blowing moment that got overshadowed by the fact that a mini Operation Ivy reunion brokeout pre-set as Jesse Michaels and Tim Armstrong joined for a cover of the Op Ivy classic “Sound System,” an event that damn near broke the punk rock internet. The gravity of those situations is not lost on the band, by any stretch. “The moment that starts getting old is the moment that you’ve gotta start packing it in and figuring out what 9-to-5 (job) you want,” says Jesse.
Keep scrolling to read our full Q&A with the Bivona twins, Jesse and Justin. Pre-orders for In The Wild are still available here. And check out the full list of upcoming Interrupters tour dates, including their European run and leg 2 of the US dates with Flogging Molly, right here.
(*Editor’s note: The text below has been slightly edited and condensed for content and clarity.*)
JS: First and foremost, congratulations on another successful appearance on Kimmel!
Justin: Thank you!
JS: So this is probably then the second coolest thing you’ve done this week…
(*all laugh*)
Justin: For real though, it is good to see your face!
JS: Is that the third time now on Kimmel?
Jesse: Nope, two! Four years ago we did “She’s Kerosene.”
Justin: Almost four years ago to the day. It was like July 26th.
JS: Man, how time has flown. The Kimmel show seems like it’s a cool one to do because the audience is right there, versus some of the other late-night shows where they’re sitting back and you’re kinda playing to the cameras as much as anything. That seems like a cool one.
Jesse: Yeah, they make it seem like it’s an indoor club show,
Justin: Which is really cool.
Jesse: It’s really cool. And the whole staff and crew there is excellent. They’re very nice. We had a GOOD time yesterday.
JS: And you got to hang with RuPaul, that’s pretty cool!
Justin: He’s super nice too!
Jesse: So nice!
Justin: An old punk rocker and a big ska fan too!
JS: I had no idea!
Jesse: Yeah, he played in a punk band in like the early 80s.
Justin: He loved The Selecter and The Specials.
JS: So then he’s totally going to dig your music, especially the new album!
Justin: He gave us the best soundbite! He just said “It’s time for some ska music, bitches!”
(*all laugh*)
Jesse: We were on stage and just looked at each other like “WHOA!” (*all laugh*)
JS: Does that stuff ever get old? And I know I probably know the answer to that question, and actually I think I’ve asked Kevin and Aimee that sort of stuff before, but playing in massive crowds, playing in places like Fenway Park, playing for RuPaul on the Kimmel show…does that stuff ever get old?
Jesse: Never.
Justin: No.
JS: I feel like I knew that was the answer…
Jesse: The moment that starts getting old is the moment that you’ve gotta start packing it in and figuring out what 9-to-5 you want.
JS: When I started doing this Zoom interview thing during the early days of Covid, it was really to sort of check in with people. I was used to doing more phone interviews and then I’d type them up and write a story, but A) the website crashed so there was no publish things anymore for a while, but I liked the idea of actually chatting with people when they were in quarantine and we were in quarantine and you could see each other and stay connected. We’ve been in this weird situation for so long now that music that came out of quarantine is coming out commercially. That’s sort of the long way of getting into In The Wild, which is a really, really, really great album and I know I say that about each one that you guys put out, but the bar just keeps getting raised. So let’s talk about that process. When during lockdown did you realize “well, we’re not going to be out on the road for a while, and we’re not going to be able to go into a studio for a while, so fuck it, let’s do it ourselves”?
Jesse: Well…
Justin: Here’s the thing. We finished the Fight The Good Fight album cycle tour in February of 2020. We ended in the UK with two amazing shows in London. The plan was to finish that and go home. Kev and Aimee were going to start writing for a couple weeks, and then we were going to go into the studio in March. Day, like, one of us going into the studio to record, was that day where like the NBA is canceling and Tom Hanks has Covid.
JS: Right! That’s when we really knew the world was ending!
Justin: Yeah! So we were going to go back in the next day, but everything started getting canceled, so we put the weekend on hold and then the next week on hold, and then the month, and everything just got shelved. So we were sitting at home, and couldn’t really do what our plan was. But it was nice at the same time, because we had just kept rolling for ⅞ years. There was no break. So we finally got to sit back and wait a little bit. We did the live record to give something to the fans during the break, and with that we did the documentary, This Is My Family, and put it all together as like a cohesive concert film. Kinda while we were doing that, we got to reflect on our past and Aimee got to do a lot of looking back on her past and realized there was a lot of stuff she hadn’t written songs about. At some point in the middle of that, Kevin was like “we need to do this record at our house, in our garage.” It’s a tiny 10×20 room that we would practice in, but it wasn’t treated, there wasn’t any studio equipment. So we spent maybe a month building things. Me and Jesse with power tools building racks to put gear in and tabletops and stuff. Pretty much “tiny housing” the studio to make every part of it work. And then they had some songs and we would just get in there the four of us with Kevin producing and work out these songs. It was a fun process because there were no outside distractions, there was no one else we had to worry about, it was just us as a cohesive band, the four of us, working out songs, writing songs, and it kind of really informed the process. It was the best thing we’ve ever done.
JS: So there was stuff written to be recorded back in March of 2020 when you first got off the road?
Jesse: Actually the one day that we did spend at the studio, we were working on the instrumental for “As We Live.” That was the only thing we recorded at Tim’s studio before everything got shut down.
Justin: I think they had “Alien” kind of on the docket, and “The Hard Way” was in there also.
Jesse: Yeah, they had done a few weeks of writing so there was a batch of songs. A lot of those songs got shelved because they didn’t fit the whole record idea. Once Kevin and Aimee started writing a lot, Aimee realized that the record was pretty much her life story. So the songs that didn’t fit with that theme we pushed aside and focused on the ones that told her story the way she wanted to tell it. We’re stoked on how the whole thing came out.
JS: How far into that writing process did the real direction of the album start to take shape, or at least when did she tell you that that was the direction that the album was going to go? And did that involve sit-down conversations…like, I know you’ve been family for a long time but that maybe there’s some shit she was going to sing about that’s a little…
Jesse: No, I think it happened kind of naturally, and it wasn’t until we had like
Both: Eighteen songs
Jesse: …that we were working on that it was like, okay, this batch is all very cohesive. I feel like we’re saying that word a lot? (*all laugh*)
Justin: It was a theme, you know?
Jesse: Yeah, and these other ones, they’re good, but they distract from the message we’re trying to send here and the themes we’re trying to talk about.
Justin: Yeah, once it was like, there’s all these songs (*gestures*) it was easy to look at the board and say, “well, these fourteen (go together).”
Jesse: And there was even a time where we weren’t completely…where we didn’t have like the last three figured out, and we dug up an old one, and once Aimee looked at it, it was like “actually, if I just rewrite these verses, this could fit.” That was “Worst For Me,” which was a sleeper favorite of mine. That song rips.
JS: That song is great, yeah!
Jesse: But it was on the back burner for months! It was just like, we recorded it and then we just forgot about it.
Justin: That was the other great thing about the process. We had so much time just sitting at home that they would finish a song and live with it for six months, then come back to it and say “oh, this song needs a bridge.” Then they would just write a bridge and it would bring the whole thing together. We’ve never really had the opportunity to sit and live with something and then come back to it and fix it. Usually in the studio, it’s like record it, it’s done…
Jesse: Go on tour, it’ll come out when you’re on tour. The most time we’ve ever had off in this band was maybe two months, right before Fight The Good Fight came out. And that wasn’t really time off, that was us preparing for the album cycle and the release and all that. So to be forced to sit on our hands during the pandemic, it helped a lot.
JS: What did you do otherwise to keep creative, musically or otherwise, to keep from getting into those doldrums when it seemed like the world was never going to open up and that sort of thing?
Jesse: You know, that’s a good question. We did what everybody did…binge-watched a lot of TV…
Justin: We did get to a point after the first few months where it was like, “okay, we’ve gotta go outside.”
JS: Touch grass.
Both: Yeah!
Justin: Going to the beach, or going on hikes.
Jesse: Going on bike rides.
Justin: And we had a small quarantine bubble of friends that we trusted to come over, or we’d go over there. But other than that, it was a lot of TV…
Jesse: A lot of movies.
JS: Were you still playing music, even if it wasn’t Interrupters stuff, or did you just like put it away?
Jesse: It was always there. Our back room is always set up so we could always go back there and jam, but there was definitely a time…
Justin: There was definitely a three-month period where I didn’t touch a bass. (*all laugh*)
Jesse: Yeah, I was the same with drums.
JS: Is that the longest you’ve ever gone, since you started playing?
Both: Yeah!
Justin: For sure.
Jesse: Definitely.
JS: Was it interesting working with…I know you’ve worked with Tim (Armstrong) executive producing before but this is the first one where it was listed that Kevin was the producer of (the album). Does that change the dynamic when not only one of the four of you is producing it, but he’s also your brother and your band member? Does that impact the dynamic in the studio or have you been doing it with each other for so long now that you just know how it works?
Justin: Yeah, exactly. We’ve been doing this our whole life. We’ve always looked to Kevin for answers when we have questions about what we’re doing.
Jesse: He’s always kinda been the kind of shadow producer of everything, in a sense.
Justin: Yeah, so Tim gave him full rein…told him to just grab the reins and take off with it.
Jesse: The other thing about the way we work is we try everyone’s ideas, so we could be in the studio and it wouldn’t be like him saying “no, this is how it’s going to be, we have to do it this way.” If we’re working on something and it’s not working, all four of us can be like “well, what if we try this, or what if we try this.” And he’ll say “okay, let’s try it.” There’s no bad ideas until you try it and realize it’s bad, you know? It was very good. And we have such a great relationship and we’re very good at communicating, so there wasn’t any headbutting. It was very fun and very easy.
Justin: And again, doing it on the property, it allowed Aimee the freedom to record vocals whenever she felt emotionally connected enough to a song to sing the vocals.
JS: Especially on an album like this, that’s crucial.
Justin: Yeah! When you have studio time, you know you’ve got to be in there at 5pm and be there til 11pm.
Jesse: We’ve gotta bang out all these songs
Justin: And you’ve got to record these (specific things). That’s almost like a 9 to 5. This way, it was like, if we went back there and she was like “ah I don’t want to sing that right now, let me sing this one.” And also, if she got her second wind at 2am, she could just hop back there and record.
JS: Do you guys live close enough where it’s like “hey, it’s 2am but we’ve got an idea…”
Both: Yeah!
Justin: We call it The Compound. In California technical terms, it’s a multi-family housing property, there’s one driveway, there’s two houses and a garage that we share, and a backyard. They live in the front house and we live here, so we’re right next to each other.
JS: It’s like being on tour while you’re at home!
Justin: I know, but with that being said, when we come home from tour sometimes, we don’t see each other for a whole week. (*all laugh*)
JS: Obviously it’s still early because this album’s not even out yet, but does that inspire you to kinda work that way going forward, now that you know that you can make an album like that in your little garage studio?
Jesse: Yeah I think so.
Justin: I think so, I mean…
Jesse: We haven’t really started thinking about the next one yet, but it is easy to just naturally fall into that. If we have to do a song for something, we can just hop back there and do it. So when we have something (to work on), it’s like “when do you want to work on that?” “I don’t know, tomorrow?” So we just hop back there and do it.
JS: How did the writing process work? Were there times when all four of you were writing together, or do Kevin and Aimee come up with the stem of the song and then you guys work on your rhythm parts? And does that ever change the direction of a song? Like if they start writing and a song has a certain feel, do they give you the freedom to say “hey, we think there’s a different feel that might go better with this song?” Because there are a lot of different feels on this album, and we’ll talk about that in a few minutes, but…
Justin: They would definitely have…it could be anything from the core idea of the song to an entirely fledged out song already, knowing how it should feel and what it should sound like. But, there are a couple songs on this record where they were recorded one way and pretty much done, but then it wasn’t just fitting in with the rest of it when we would get back there. I think specifically “Love Never Dies” had a totally different feel, it was more of a rock/reggae Clash-y song. And it was dope, but it wasn’t fitting in with everything.
Jesse: It didn’t age well.
Justin: It didn’t age well. So when we got back there with the four of us, we said “What do we do with this?” And Kevin said “what if did it more like a roots thing?”
Jesse: Yeah, he said “Jesse, play a one drop” so I played this one drop, and then he said “Justin, play this bass line” (*mimics bassline*). And then he said “okay, watch” and he just started skanking, and then he started singing this melody the way that it is now, and we played that for like four bars and just stopped. We were like “yeah, that’s it! Now we’re on to something!”
Justin: And then we finished it and we were like “dude, we gotta get The Skints on this one.”
Jesse: We built up this track, sent it to The Skints, and they sent us back a whole bunch of stuff that we kept. They’re fantastic.
JS: I was going to ask if all the guests got recorded in studio with you too. Obviously they didn’t if The Skints recorded their own stuff. People haven’t heard the album yet but obviously, Tim’s on a song because Tim’s gonna be on a song. Rhoda from Bodysnatchers, Alex and Greg from Hepcat, obviously Billy Kottage, the fifth Interrupter. Shoutout to Billy Kottage, the pride of Dover, New Hampshire.
(*Justin adjusts camera, revealing Billy Kottage sitting on the couch in the corner!)
Both: He’s right there!
JS: That’s awesome! I don’t think we’ve ever met in person, but Billy and I are both from the State of New Hampshire, so I always think that’s awesome.
Justin: When he comes out here, he pretty much lives with us.
JS: That’s great. There aren’t many of us in New Hampshire, the scene wasn’t very big, so when someone from the Granite State is cool and does cool things, I love it. So shoutout to Billy Kottage. So yeah, did they all record with you?
Jesse: It was all different. The Skints did it on their own in England, Rhoda recorded her vocals on her own at her place back in England.
Justin: (For) Hepcat, we actually went into Tim’s studio for a day.
Jesse: Which was great!
Justin: Greg and Alex came in and it was just one of the most fun days. That’s the thing, we went in to have them record on the song not knowing…Kevin didn’t really know what to have them do. We wanted them on the song, but he didn’t really have the part or anything. But we went in with them and showed them the song, and within like a minute, the two of them are sitting there going…
Both: “ooooh oooh” (*harmonizing*)
Justin: Like writing the parts, figuring it out together, it was so cool to see because they’re literally our favorite ska band.
Jesse: It was a magical session to be a part of. They were sitting there laughing…
Justin: ..having a good time…
Jesse: …singing all the right notes. It was awesome. We did that at Tim’s studio. Tim also did his vocals at his studio. That was later in the process, where things were a little more comfortable, where we could actually travel to a studio and not worry about everything. And then also, we had a guest vocalist on “Alien.” It’s this guy named Arnold, who is a friend of Tim’s and a friend of Brett Gurewitz’s. When we were working on that song, I think it was Tim’s idea, he was like “Arnold’s voice would sound great on this,” and we were like “let’s give it a shot!” So we had Arnold come in and he sang all those background vocals, and he’s got this emotionally delicate approach to his vocals that just lifted that song to another level.
JS: That song is something else…
Both: Yeah!
Jesse: First Interrupters song with no guitar.
JS: Right! That’s actually a thing I wanted to ask about. There’s so many different directions! Obviously you’ve always played on a lot of different influences, but I feel like with this album, you go deeper into the reggae thing, into the 2-Tone thing, and then “Alien” which is unlike anything else in the Interrupters catalog. What made you take the freedom to just kinda go with that. Is that stuff that’s always kinda been in the arsenal but maybe you didn’t want to go too deep on the first few records, but now that everyone’s along for the ride it’s like, “well, let’s push that.”
Jesse: Maybe a little bit of that, but also, it is more that the songs were telling us how we should play them, so to speak. So the way that that song was written, there was never really another way to approach it. That song went through a lot of different versions – not crazy different versions but it was layered up with heavy guitars at one point…
Justin: It was kind of like The Beatles’ “Oh Darling” at one point, where it was like rocking…
Jesse: There were heavier drums on it at one point. It went through a bunch of stages.
Justin: But the emotion wasn’t there. Aimee fought really hard to bring it back to what it should be.
Jesse: What served the song better.
Justin: And that involved one day just pulling it up and being like “take the guitar off, take that off, take that off”…it got down to literally just the drum beat and the string arrangement.
Jesse: Even cutting a whole outro and just being like “no, the song should end right there.”
Justin: And then also with “My Heart,” which is also kind of a different…
Jesse: That “doo-woppy” 50s feel.
Justin: She had already had the melody and was singing it and I was like “well, it’s gonna be in 3, and it’s gonna have this rock feel.” Even if we tried to make it in 4 as a ska song or a reggae song, it just wasn’t working. So the way those songs were written informed the styles. And at this point, we’ve kind of realized that no matter what style it is, if it’s me and Jesse and Kevin playing and Aimee singing, it’s going to sound like The Interrupters. Us just believing in ourselves and pushing it forward that way really helped the process.
JS: When there’s an album I’m really excited about, I try to ignore a lot of the singles and just listen to the album all the way through because, I don’t know, I’m in my 40s and that’s the way we did it when we were kids, right? So I listened to it all the way through and I took notes and next to “My Heart” I wrote “whoa, an Interrupters doo-wop song.” It’s very much an Interrupters song still, but it’s got that sort of 50s diner, doo-wop vibe to it. Which I think is awesome, and it’s cool to see elements like feature in the mix but still be an Interrupters track.
Justin: Thank you!
Jesse: Yeah, initially that was one where we were like “let’s just play like The Ramones would play in 3.” So it was real heavy, but it didn’t serve the song well.
Justin: So dial back a little bit.
JS: I think people are going to dig that song.
Jesse: I think that’s my favorite song on the album.
Justin: Specifically behind the scenes with that song, Aimee had a service dog named Daisy for 13 years, who passed away in 2018. It was like her little girl, and it was devastating when she passed away. She wrote that song about her, and not even just the first time but the first few times I heard it, I couldn’t keep it together. I’d cry every time.
Jesse: Yeah, because when we worked it out in the studio, we just had the choruses, singing “my heart keeps beating, my heart keeps beating…” so that pretty much informed the drum beat just being a heartbeat. And then a couple weeks later when they updated the Dropbox with the verses and said “listen to this,” me and Justin were both sitting right here in our living room with our earbuds on and we’re both just like crying. Like, oh my god this is so emotional, because we all lived with Daisy, she was fantastic. She was a German shepherd/wolf, and we all still miss her a lot. That was a heavy one.
JS: Have you been able to play a lot of this stuff live yet, or are you waiting until the album is out?
Jesse: On the Flogging Molly tour we just did, we were only doing “Anything Was Better” and “In The Mirror,” and then when we dropped “Jailbird” we started doing that. The plan is to play as much of it as possible.
Justin: We tried a few of them at soundcheck on occasion.
Jesse: Yeah, we’d always screw around at soundcheck and be like “do you guys know ‘Kiss The Ground,’ let’s try that”
Justin: Or “Raised By Wolves”
Jesse: But we’re in rehearsals next week for a few days to work on stuff for the European tour, because that’s when we’ve gotta do longer sets, but the plan is to try to learn the whole record.
JS: I think people are going to dig a lot of it. I was just curious about if you’d throw a curveball song like that at people before they’ve heard the album to see what the response is. Because I feel like “In The Mirror” is one of those songs that the first time you hear it, you go “yup, that one’s a classic. That’s going to get the crowd whipped up.” Do you know when you’re writing a song like that that it’s going to be “the one.” Like “She’s Kerosene” was like that. The very first verse when I first heard it, I remember going “well, that’s gonna be a big hit.”
Jesse: When we’re working on it in the studio, I think we’re so lost in the process that we don’t give songs that sort of focus, like “that’s going to be the single, this is going to be the hit.” But there was a point when we were doing “She’s Kerosene” that we had Mr. Brett come in and he was listening to stuff and he when he heard “Kerosene,” he had his little notepad and he was just like “hit.” And we all just looked at each other like “Whoa! Really?”
Justin: We thought there was so much more work to be done with that song and when he gave it that check of approval, we were like “alright, we don’t have to do much more to it.” That was cool. But then also for this record, when there was like 18 or 20 songs, “In The Mirror” was a standout, at least for me. I was like “I think that one is really good.” Then as it dwindled down, it was like “In The Mirror” and “Raised By Wolves” as the top two. They’re different enough, one’s ska, one’s sort of heavy rock, and you’re just like these two are the shining examples of the record and what we’re trying to sound like.
Jesse: And “In The Mirror,” Kevin and Aimee wrote that song ten years ago. That was one that wasn’t written specifically for this record. But when they were doing the inventory for the record, Aimee was like “we should dig this one up, this is a great one.” I remember when we were trying to work that one out in the room as a four-piece, I feel like it was a more difficult one to get away from the demo version, because I’ve been listening to that song for ten years. There is a demo recording of it – it’s not even a demo, it’s a full fledged-out different version of it. And having that ingrained in your brain and trying to get away from it and being like “alright, how would The Interrupters do this,” that was an interesting process. There was definitely a day where I was like “that song’s not going to make the record, we have so many other songs.” (*all laugh*) Obviously, I was wrong, that song rips.
Justin: But it’s wild too, because they wrote it ten years ago. From that time, that’s when they wrote “Easy On You,” “Gave You Everything,” and then “In The Mirror” was in that batch.
Jesse: “Love Never Dies” was in that batch.
Justin: Yup, “Love Never Dies.” I think now if we’re recording, it’s like “hey what else wasfrom that time period? What else did you write then? Anything else we can dig up?” There was some gold.
JS: It’s interesting to hear that it’s from that time period. As I was driving around this morning for work, I listened to the first album and this one back-to-back, because they come out on the same day; the new one comes out on the 8th anniversary of the first one, so I thought it would be cool to listen to them back-to-back. And, I loved the first album when it came out, but it is startling how far you guys have progressed as a band in eight years.
Both: Yeah!
JS: And so to listen to them back-to-back, obviously you can kinda see how ended up here, but at the same time, you’ve progressed so far. So it’s really interesting that that song, in particular, is from that batch.
Jesse: So, one of our little press points about this record and relating it to the previous records is that the first album is kind of like a first date, where you just talk about surface-level things, nothing too crazy. Second album, you start to let them know a little more about you. Third album, you’re kinda getting into the nitty-gritty. Fourth album, all the baggage is out, the drama is revealed, all the secrets are out. That is kind of where we are with this. And talking about the recording of the first record, we were just trying to keep it simple. We weren’t trying to reinvent anything, we were just trying to be a straight-ahead ska-punk band.
Justin: We did like twenty-four instrumentals in three days. Some of them didn’t have any lyrics or anything, we just got the music done. The ones that didn’t have any lyrics done, they just wrote to the instrumentals. There was no going back to redo parts, it was just like “this is it, we’re done.”
Jesse: And keep it simple. Like, for me on drums, it was like “don’t do any crazy fills, just keep it straight, keep it steady.”
Justin: Which is wild, because some of my basslines, I play so many notes! Why did they let me do that?!? (*all laugh*)
JS: Yeah, but they work, and as somebody who wanted to be a bass player when he grew up, I like that they let you play all the notes! …. Thanks for doing this. This was fun. I talked to Kevin and Aimee for I think the first three records, so it’s nice to talk to you guys. It’s been a while!
Jesse: Yeah we’re being let off the leash a little bit. (*all laugh*)
JS: Well and that’s good, you should be. It’s fun that you guys have your own language with each other, and I know that that’s talked about in other places, like the documentary. So it’s perfect that you guys ended up as a rhythm section, and you end up doing this. Is that why you ended up as a rhythm section?
Jesse: Yeah, kinda. It kinda happened naturally. I don’t remember if we talked about it in the movie, but Kevin started out as a drummer. We had a drum set in the house because our dad was a producer and worked with his friends. So there was a drum set always in the house and Kevin gravitated toward that at an early age. But then, one day our dad came home with a guitar and a bass. So Kevin grabbed the guitar, and I was already dicking around on the drums, so then the only thing left over was the bass. So then naturally it was like “well, this is your instrument, this is your instrument…” And then we would just jam as little kids. There’s some video in that documentary but there’s a LOT more video when we were like 7 years old and Kevin is like 9 of us just trying to play like Green Day songs and Blink 182 songs
Justin: Sublime songs.
Jesse: Yeah, Sublime songs! Whatever we were hearing on the radio is what we were trying to play. The crazy thing is that we’ve come full circle and we know a lot of the people we were trying to emulate and we’re lucky enough to call them friends.
Justin: Some are like family.
Jesse: Yeah, some are like family now. It’s been a crazy, crazy life that we don’t take for granted.
Justin: They always say don’t meet your idols but...
Jesse: …we’ve never had a bad experience when we’ve met our idols.
Justin: I couldn’t tell you one person that I had looked up to that I met and they ruined it for me. Everyone’s been amazing.
JS: You know what, I’ve got to say almost the same thing. The amount of people that I’ve gotten to know through doing this for…well, The Interrupters started in 2011 and I started with Dying Scene in 2011. You’re one of the bands that came out right when I was getting started with this whole thing so it’s been a fun sort of parallel, but there’s only a small, small handful of people where you go “wow, that guy’s kind of a dick.” Everybody else has been super cool and super rad and supportive of each other. Especially those people that we grew up listening to in the late 80s and the 90s. It’s a pretty good, supportive group.
Justin: It is, it is. Even when we just started out, to tour with Rancid was amazing, but then to go on and get Rhoda from The Bodysnatchers, we get Horace and Lynval and Terry from The Specials love us. It’s just insane. To have that mutual respect and to get it back is just…yeah…it’s mind-blowing.
Jesse: We did a charity show back in February where we were backing The Specials. I was the drummer of The Specials for a night. We did the whole set, like twelve songs. Justin played piano, Kev played guitar.
Justin: You saw that thing where we played with Tim and Jesse Michaels and did the Op Ivy song?
JS: Yeah, yeah. That was amazing.
Justin: That was the same event. That one song with Jesse was amazing but it overshadowed the fact that we played in The Specials! (*all laugh*)
Jesse: It was just mind-blowing.
JS: Yes! Everyone kinda lost it with the Jesse thing but yeah, that’s awesome. Just awesome.
Jesse: And just being able to sit in a room for a week with Terry and Horace; Lynval got sick so he couldn’t come out, but just to sit there and run the songs with them was mind-blowing.
JS: I’m glad this stuff keeps happening to you, because you certainly deserve it.
British punks Grade 2 have announced their new self-titled album, produced by Rancid‘s Tim Amstrong. The 15-song LP will be released on February 17th, 2023 through Hellcat Records. Check out the music video for their new single “Under the Streetlight” below, and pre-order the record here. Grade 2 last released Graveyard Island in 2019, also […]
British punks Grade 2 have announced their new self-titled album, produced by Rancid‘s Tim Amstrong. The 15-song LP will be released on February 17th, 2023 through Hellcat Records.
Check out the music video for their new single “Under the Streetlight” below, and pre-order the record here.
Grade 2 last released Graveyard Island in 2019, also through Hellcat.
East Bay punk legends Rancid will be releasing their 10th studio album Tomorrow Never Comes on June 2nd through Hellcat Records. Like nearly every other album in the band’s discography, the new 16-song LP was produced by Brett Gurewitz. Check out the music video for the title track below and pre-order the record here. Tomorrow […]
East Bay punk legends Rancid will be releasing their 10th studio album Tomorrow Never Comes on June 2nd through Hellcat Records. Like nearly every other album in the band’s discography, the new 16-song LP was produced by Brett Gurewitz.
Check out the music video for the title track below and pre-order the record here.
Tomorrow Never Comes is Rancid’s first new album in six years, following 2017’s Trouble Maker. They will be touring Europe in support of its release with The Bronx and Grade 2 this June; peep those dates below.
Rancid – Tomorrow Never Comes vinyl color variants PRE-ORDER
Rancid European tour:
Jun. 1, 2023 Bellaria-Igea Marina, Italy @ Bay Arena Jun. 2, 2023 Bellaria, Italy @Slam Dunk Festival Italy 2023 Jun. 3, 2023 Ljubljana, Slovenia @ MEDIA CENTER Jun. 4, 2023 Linz, Austria @ Sbäm Fest 2023 Jun. 6, 2023 Ursus, Poland @ Letnia Scena Progresji Jun. 8, 2023 Hyvinkää, Finland @ Rockfest 2023 Jun. 10, 2023 Stockholm, Sweden @ Annexet Jun. 12, 2023 Berlin, Germany @ Columbiahalle Jun. 13, 2023 Wiesbaden, Germany @ Schlachtof Jun. 15, 2023 Gasteiz / Vitoria, Spain @ Azkena Rock Festival 2023 Jun. 16, 2023 Clisson, France @ Hellfest 2023 Jun. 17, 2023 Dessel, Belgium @ Graspop Metal Meeting 2023 Jun. 20, 2023 London, United Kingdom @ OVO Arena Wembley Jun. 21, 2023 Stretford, United Kingdom @ O2 Victoria Warehouse Jun. 23, 2023 Ysselsteyn, Netherlands @ Jera On Air Festival 2023 Jun. 24, 2023 Münster, Germany @ Vainstream Rockfest 2023 Jun. 25, 2023 Tábor, Czechia @ Mighty Sounds Festival 2023
Operation Ivy bandmates Tim Armstrong and Jesse Michaels have announced their first musical collaboration in over 30 years. The duo teamed up with drummer Joey Castillo (Queens of the Stone Age, Circle Jerks, The Bronx, etc.) and Trash Talk bassist Spencer Pollard for their new project ̶B̶a̶d̶ ̶O̶p̶t̶i̶x̶ (jk, sounds like they had some legal […]
Operation Ivy bandmates Tim Armstrong and Jesse Michaels have announced their first musical collaboration in over 30 years. The duo teamed up with drummer Joey Castillo (Queens of the Stone Age, Circle Jerks, The Bronx, etc.) and Trash Talk bassist Spencer Pollard for their new project ̶B̶a̶d̶ ̶O̶p̶t̶i̶x̶ (jk, sounds like they had some legal trouble and had to change the name to DOOM Regulator).
Armstrong had this to say about reuniting with Michaels:
“I’ve been friends with Jesse since the early 1980s when we were teenagers. We formed Operation Ivy in 1987 and 2 years later we broke up. Jesse and I both continued down our own musical journeys through the years. I always felt a little sadness that Jesse and I stopped making music together. But we never lost touch. And then it happened. A few years ago we started writing songs again! A couple of the songs ended up on Grade 2’s record. Jesse and I just stared writing again a lot. It came back. Just like that. Like when we we were kids. There is a special chemistry between us and I don’t take it for granted.”
Check out the band’s first single “Raid” below, and stay tuned for more to come from ̶B̶a̶d̶ ̶O̶p̶t̶i̶x̶ DOOM Regulator. It sounds like they’ll be releasing a full-length album on Hellcat Records at some point.
Greetings, and welcome to the Dying Scene Record Radar. If it’s your first time here, thank you for joining us! This is the weekly* column where we cover all things punk rock vinyl; new releases, reissues… you name it, we’ve probably got it. Kick off your shoes, pull up a chair, crack open a cold […]
Greetings, and welcome to the Dying Scene Record Radar. If it’s your first time here, thank you for joining us! This is the weekly* column where we cover all things punk rock vinyl; new releases, reissues… you name it, we’ve probably got it. Kick off your shoes, pull up a chair, crack open a cold one, and break out those wallets, because it’s go time. Let’s get into it!
Check out the video edition of this week’s Record Radar, presented by our friends at Punk Rock Radar:
Cassette releases continue to infiltrate the Record Radar, and we’ve got a very special one batting leadoff this week! The friendly people at Tapehead City are partnering with Hellcat Records for this 35th anniversary cassette reissue of Operation Ivy’s Energy. This is the first time this has ever been reissued on the tiny, plastic, rectangular format.
Tapehead City owner Charlie Kaplan had this to say about the reissue: “Me and my friends grew playing in bands that would always cover Rancid and Opivy. These songs have been a part of me for so long. Working on this project was so much fun and such an honor. I really hope the fans are happy with the tapes. I think they came out great.”
There are two variants, limited to 1,000 copies each: a “2-Tone” tape made using scans of the original shell, and a “UV Edition” with an awesome all-over art print on the tape. You can pre-order both here, along with a fun Op Ivy x Tapehead City mashup shirt.
Here’s another bad ass 35th anniversary reissue, and this one’s on vinyl! Indianapolis junk rock pioneers Sloppy Seconds‘ classic debut album Destroyed is back in print for the first time in a long time, thanks to Puke ‘N’ Vomit Records. You can get it on coral (orange) and/or black wax right here.
Up next, we’ve got a big batch of awesome new records coming very soon from our friends at Memorable But Not Honorable Records, the first of which is Rhode Island pop-punk band Pavid Vermin’s debut LP Brutality Is My Only Friend. It’s limited to 100 copies on blood red colored vinyl and will be available on their webstore this coming Friday, May 24th. Keep your eyes glued to Dying Scene the day before, I think we might be doing something cool!
MBNH is also putting out a killer 7” featuring four brand new tracks from pop-punk favorites The Putz. On and Up and Out is limited to 200 copies on clear blue colored vinyl and is being co-released by I Buy Records in Italy. It’ll also be available to purchase from Memorable But Not Honorable Friday, May 24th.
And last but certainly not least in Memorable But Not Honorable’s impressive release lineup is the 2nd pressing of their Saturday Morning Lineup compilation, limited to 100 copies on (Ninja Turtle?) green colored wax. This was originally released this time last year on white colored vinyl, which quickly sold out. It features covers of cartoon theme songs from The Putz, Zoanoids, Atomic Treehouse, Goin’ Places & many other great bands. You can buy it with your money from their webstore on – you guessed it – Friday, May 24th!
A few weeks agoDown By Law announced their new album Crazy Days, due out June 15th on Cleopatra Records, but at the time it was only available to pre-order on CD (otherwise known as compact disc but us in the trade). Now you can get it on beautiful red marble colored vinyl right here.
Guttermouth’s Eat Your Face turns 20 this year and to celebrate SBAM is releasing it on our treasured polyvinyl chloride music format for the very first time. There are two color variants, limited to 250 copies each allegedly. You can get them from any of SBAM’s regional webstores.
AFI’s 1999 classic Black Sails in the Sunset is getting a big time expanded reissue in honor of its 25th Anniversary. It’s due out July 19th and features bonus tracks in the previously unreleased “Weight of Words” and B-Side “Who Knew?”. This is being released on a handful of color variants but all but one of them sold out almost immediately. The one that’s still available to purchase is the Neon Orange retail variant, which you can get from Amazon and pretty much anywhere else (Amazon’s the cheapest though, of course).
Another anniversary! Perhaps not quite as significant as Black Sails but worth mentioning nonetheless. It’s the 10th anniversary of The Flatliners frontman Chris Cresswell’s One Week Record, and Fat Wreck Chords has repressed it for the first time since its original release. There are two color variants to choose from: Pink/white vinyl (150 copies) and green w/ yellow splatter (250 copies). Or, I guess there were two color variants to choose from, because the pink one’s already sold out. The green w/ yellow splatter is still available from Fat Wreck’s European webstore.
That Descendents / Circle Jerks split 7” finds itself on the Record Radar for the third time; perhaps that’s a new record? Anyway, I guess it’s noteworthy that a new European exclusive clear color variant has popped up. You can get it here. And in case you missed it last week, the red color variant (limited to 500 copies) is still available on the Descendents’ US store.
Sammy Kay’s got a new record called July 1960 due out on July 19th. It’s being co-released by Sell the Heart Records (US) and Engineer Records (UK) on Coke Bottle Clear and black wax. Mr. Kay has some copies with a special silkscreened jacket on his Bandcamp as well. Also available: CDs, shirts, etc!
We started this week’s Record Radar with a cassette release, so why not wrap things up with another cassette release? Two street punk bands, Philadelphia’s English Teeth and Las Vegas’ Fool’s Errand, have a brand new split EP out now and you can get it on snazzy orange cassette right here. It’s only $1 but I know damn well they had to have paid more than that to make these so I’d implore you to pay a bit more than that. If cassettes aren’t your thing, digital download is an option as well!
Well, that’s all, folks. Another Record Radar in the books. As always, thank you for tuning in. If there’s anything we missed (highly likely), or if you want to let everyone know about a new/upcoming vinyl release you’re excited about, leave us a comment below, or send us a message on Facebook or Instagram, and we’ll look into it. Enjoy your weekend, and don’t blow too much money on spinny discs (or do, I’m not your father). See ya next time!
Wanna catch up on all of our Record Radar posts? Click here and you’ll be taken to a page with all the past entries in the column. Magic!
Greetings, and welcome to the Dying Scene Record Radar. If it’s your first time here, thank you for joining us! This is the weekly* column where we cover all things punk rock vinyl; new releases, reissues… you name it, we’ve probably got it. Kick off your shoes, pull up a chair, crack open a cold […]
Greetings, and welcome to the Dying Scene Record Radar. If it’s your first time here, thank you for joining us! This is the weekly* column where we cover all things punk rock vinyl; new releases, reissues… you name it, we’ve probably got it. Kick off your shoes, pull up a chair, crack open a cold one, and break out those wallets, because it’s go time. Let’s get into it!
Check out the video edition of this week’s Record Radar, presented by our friends at Punk Rock Radar:
Continuing the Record Radar’s recent trend of diversifying into other formats, this week’s first featured release is a cassette! That’s right, a cassette. It’s Buddy Buddy Belgium, the new album from pop-punk supergroup Scrapped Plans, ft. members of House Boat, the Steinways, The Murderburgers, Wrong Life, Don Blake, aaaaand Mike Erg of course!
A few weeks ago I told you about Bloated Kat Records‘ putting this one out on random colored vinyl (you can still buy that here), but now you can also get it on cassette. This is limited to 50 tapes – half are white, half are black – and it’s Dying Scene Records’ first new release in 6 years! Pay money for it here and it’ll show up in your mailbox in a few weeks, maybe with some other goodies? I’d also like to mention I teamed up with Punk Rock Radar and Cat’s Claw Records on this release, and you can get it from them as well.
Back to our regularly scheduled discussion of flattened 12″ discs of polyvinyl chloride, Punk Rock Radar also has UK skate punk / ska band Stank Finger‘s new record Three Finger Discount up for pre-order. Limited to 100 copies on slime green colored vinyl, this is a highly recommended pickup for fans of Less Than Jake, Reel Big Fish, [spunge], etc. etc. etc. These guys are bad ass! Pick this record up. Our Bri’ish m8s will be able to get the record (or CD!) from the band soon.
Have you heard about Czech melodic punks Krang‘s new album Listens to Krang Once? It’s coming out May 3rd on SBAM Records and spoiler alert: it’s pretty fucking bad ass. The lead single “Cowabunga” is now streaming (check it out down below) and the record is available to pre-order on four different Ninja Turtles themed color variants. Grab yours here (US) or here (EU). Note: The EU store has a bundle with all four variants!
That’s not the only bad ass new record coming soon on SBAM, however. Chaser‘s highly anticipated new album Small Victories lands on June 28th and is being co-released by Thousand Islands and Pee Records. I pre-ordered the Sunburst Orange variant but I don’t think you can really go wrong with any of these. Pre-order your copies here (US), here (EU), or here (AUS). Also, check out the first single:
And last up from SBAM, we’ve got Portland folk punk band the Bridge City Sinners‘ new record In the Age of Doubt, which is due out on July 12th. This one’s being co-released by Flail Records and both labels have exclusive color variants available on their respective webstores. Fail Records also has copies on CD, cassette, and 8 track (and no, I’m not bullshitting about that last one).
Flail Records variants (US): Gold & Black Hand Poured (300 copies) Dark Purple w/ Pink Splatter (700 copies) Clear Emerald w/ Black Smoke (??? copies)
SBAM Records variants (EU, take these pressing numbers with a grain of salt): Tiger’s Eye (100 copies) Agate (100 copies) Jasper (100 copies) Basalt (100 copies)
Just in time for its 30th birthday, the Smoking Popes 1994 classic Born to Quit is back in print! In addition to this being the first pressing in over a decade, it’s also the very first time the original, non-remastered version of this album has been released on vinyl. Very cool! You can get it on pink & white “sunburn” colored vinyl here, and Rough Trade also has an exclusive navy blue color variant limited to 200 copies. Both come in a gatefold jacket emblazoned with the original artwork.
Down By Law‘s got a new record called Crazy Days coming out on June 15th and, what’s that? This is another CD release on the Record Radar? gasp! Yeah, that’s right, this bad boy’s only available on compact disc (and digital) at the moment, but rest assured, vinyl is coming soon for you fucking hipsters (I, too, am a fucking hipster). For now, embrace the affordability and convenience of the shiny lil discs.
Fat Wreck Chords recording artist MakeWar has a new record coming out on June 28th. Check out the lead single from A Paradoxical Theory of Change down below and pre-order the album on colored vinyl (take note of Fat’s new and improved $25 price point!), black vinyl (for the same price colored vinyl was up until a week ago), and/or CD (we like those!) right here.
Joe Gittleman continues to keep busy following the collapse of the (Mighty Mighty) Bosstones. You’ve probably already heard his new project The Kilograms, but did you know he’s got a new solo album on the way? That’s right, the Bass Fiddleman’s debut solo LP Hold Up is due out June 21st on Bad Time Records. Check out the excellent first single “Plastered in the Rafters” below and get the record on Coke Bottle Green colored vinyl (ltd to 250 copies) right here.
Speaking of debut solo albums, Jen from The Bombpops‘ debut solo album East Side of Eden is out now. The full album (did I mention it’s of the debut solo variety?) is now streaming (check it out below!), and you can get it on “Desert Blue” colored vinyl here. There was another bad ass color variant, too, but dat one sold out.
Wait just a god damn second… What’s that? another solo album?! Yessir, it’s the 25th anniversary of Mr. T Experience frontman Dr. Frank Portman’s Show Business is My Life and Sounds Rad Records is doing it right with a sick ass reissue. There are two versions, the Sounds Rad exclusive 180g black wax (200 copies) and the retail variant on turquoise colored vinyl (300 copies). Both come housed in a die cut jacket designed by Chris Appelgren of Lookout! Records fame. You can “call dibs” on the 180g black vinyl here.
Here’s a non-solo album! It’s the new EP from Tampa pop-punk band Atomic Treehouse who I’d describe as MxPx meets Screeching Weasel meets Nerf Herder. Overthrow the Captain is another CD infiltrating the Record Radar; we’re really diversifying here, folks! Check that shit out below and go here to pay money for the compact disc (or perhaps the digital download).
Austin, TX pop-punks the Hoaxxers‘ debut EP is out now and our friends at Mom’s Basement Records still a few copies of the ultra limited (square!) lathe cut 7″ available on their store. You might recognize these dudes from other bands such as Breaklights, Dropped Out, Oldie Hawn, and Joe Jitsu. If that’s not ringing a bell, I’ll just say if you like 90’s pop-punk (Lookout!, Mutant Pop, etc.) you gotta check these guys out. Also, check out all the other awesome shit Mom’s Basement just threw up on their store while you’re picking up this 7″. The Yum Yums! The Smugglers! The McRackins! The Manges! Holy fuck!
Lars Frederiksen & The Bastards’ 2001 self-titled debut album has gotten a new pressing from Pirates Press Records, with 1,000 copies on “Bleach Marble” colored vinyl. I’m not entirely sure the demand exists for 1,000 copies of this, considering the 2022 repress on Red & Black Galaxy colored wax is still in print (that one was “limited” to 1,000 copies as well lul). But hey, maybe you’re going for a full set or some shit. Get it here.
The 10th Anniversary edition of A Wilhelm Scream‘s Partycrasher has gotten a 2nd pressing of 500 copies on Silver / White Swirl w/ Splatter colored vinyl. You can get your hands on this one here (US), here (EU), and here (UK).
The Goddamn Gallows‘ 2011 LP 7 Devils has been reissued as a remastered Double LP with 7 bonus live tracks on the second record. You can get it on gold vinyl (not sure how many copies were pressed but it’s almost sold out) and/or black wax right here.
We’ll end this week’s Record Radar on an interesting note, with a new split LP from Montreal ska-punk band Subb and Sainte Catherines frontman Hugo Mudie. Cat Sounds is a tribute to Kim Shattuck, with each party contributing a Muffs cover, in addition to covers of songs by each other. Could I have phrased that any more confusingly? Probably. Anyway, buy the record here. This is the first new thing Subb has released since 2010. Due out June 21st on Thousand Islands Records!
Well, that’s all, folks. Another Record Radar in the books. As always, thank you for tuning in. If there’s anything we missed (highly likely), or if you want to let everyone know about a new/upcoming vinyl release you’re excited about, leave us a comment below, or send us a message on Facebook or Instagram, and we’ll look into it. Enjoy your weekend, and don’t blow too much money on spinny discs (or do, I’m not your father). See ya next time!
Wanna catch up on all of our Record Radar posts? Click here and you’ll be taken to a page with all the past entries in the column. Magic!
Tim armstrong
Well. That’s kind of
Boring.