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Dying Scene Record Radar: New punk vinyl releases & reissues (Green Day, New Found Glory, OFF! & more)

Welcome to the first installment of the Dying Scene Record Radar! This is a weekly round up of all things punk rock vinyl. We’ll be highlighting new releases to look out for, as well as all those ultra limited reissues that get the collector nerds’ hearts racing. So, let’s get into it… Kicking things off, […]

Welcome to the first installment of the Dying Scene Record Radar! This is a weekly round up of all things punk rock vinyl. We’ll be highlighting new releases to look out for, as well as all those ultra limited reissues that get the collector nerds’ hearts racing. So, let’s get into it…


Kicking things off, New Found Glory! Back in April they released a 20th anniversary reissue of Sticks and Stones. Well, that shit sold out really quick, so they’re doing a second pressing of the reissue, limited to 2,000 copies. Go here this Friday, July 1st at Noon Eastern time to get your hands on it. Or wait ’til they sell out again and pay some clown $100 for it on Discogs.


Bad Religion is also reissuing two of their classic albums. Up first is Generator getting a 30th anniversary reissue. There are different variants for the US, UK, and Australia. Links to order all of those can be found here.


2002’s The Process of Belief is also getting the same reissue treatment for its 20th birthday. This one was announced a few weeks ago but there’s still plenty available. Links to order those are here.


Up next on the reissue train is the best band to name themselves after a Frenzal Rhomb song, Local Resident Failure, with the 10th anniversary reissue of their debut album A Breath of Stale Air. The variants are quite pretty! Americans and Canadians can get it here, Europeans here, and Aussies right here. And you can listen to it, right here! ∨∨∨


Nitro Records participated in Record Store Day 2022 with a reissue of their classic 1996 comp Go Ahead Punk… Make My Day. The compilation features AFI, The Vandals, Guttermouth, The Offspring and Jughead’s Revenge. 5,000 copies were made, and this is its first release on wax. There are still plenty of these out there. You can even get it on Discogs at a very reasonable price.


Now, here’s something that’s sure to ruffle some feathers: Walmart’s Exclusive pressings of Green Day‘s Dookie, American Idiot, and International Superhits. “Green Day? Walmart? That’s not punk!” No fucking shit, but who really cares? Sure the Waltons are one of the most despised families in America and they don’t need any more of your money, but look at the pretty colors! Help fund Billie Joe’s move to the UK, I’m sure he could really use the money.


The Bouncing Souls‘ self-titled record turns 25 this year, so they’re celebrating with four colorful polyvinyl chloride discs. Links to get all the different variants can be found here. East coast! Fuck you!


More reissues! Keith Morris’ OFF! is offering up new pressings of their back catalog, including the stellar First Four EPs, which is now available as a 12″ LP for the first time. These records kick ass. Buy, buy, buy.


Hey, here’s some new music! Screeching Weasel has a new record coming out on July 15th. It’s called The Awful Disclosures of Screeching Weasel. The LP is pricey at $30, but the two songs Mr. Weasel has put up for streaming have been good (stream below), and I enjoyed their last album a lot. Americans can pre-order here, and Europeans can get it here.


Skate punk veterans Cigar have stepped out of a time machine from 1999 to release their sophomore album. The Visitor is due out on September 9th through Fat Wreck Chords. Colored variants are long sold out, but I urge all self respecting skate punk fans to grab it on black wax here in America, here in Europe, and here in Australia. Listen to the debut single while you order!


1-2-3-4 Go! Records has spent the last year reissuing the entire Pinhead Gunpowder discography. The latest installment includes the Shoot the Moon LP (my personal favorite) and 8 Chords, 328 Words 7″. Everything in this series has been Grade A quality, and these reissues are a lot more affordable than original pressings of these records. You can get your hands on these here.


Pop-punk tastemakers Eccentric Pop Records have a bunch of new stuff up on their webstore. For the ridiculously low price of $16 (seriously Travis, how can you sell shit this cheap?!), you can get your hands on Dan Vapid and the Cheats‘ new LP Escape Velocity (listen below), and a new prepress of Horror Section’s long out of print self-titled record. Support a great label and add some awesome records to your collection!


Here’s a highly recommended pickup for those who worship at the altar of Joey Ramone. The Budweisers are a fantastic pop-punk band from Spain, and their new record Look Out Below is great! Plenty of fan service here for everyone who longs for the days when Lookout! Records ruled the pop-punk universe. Monster Zero has it up for pre-order now.


Target joins the “big box store reissuing classic punk albums” party with an exclusive 40th anniversary pressing of The Clash‘s Combat Rock on red vinyl. I grabbed this from my local Target a few weeks ago, and it sounds fantastic. I even signed up for the Red Card and saved 5% – what a deal! I love this record. “Rock the Casbah” is one of mankind’s greatest achievements. There’s a UK pressing on green vinyl as well – you can get that one here.


And I think that oughta do it! There’s undoubtedly a lot of stuff I missed, but hey, shit happens. The world keeps spinning, and we live to see another day. Like I said earlier, these recaps of new colorful plastic discs to waste your money on should be a weekly thing, but I could use a little help. Is there a new record you think should be highlighted in next week’s Record Radar? Suggestions are welcome – send us a message on Facebook or Instagram and we’ll look into it!

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Dying Scene Record Radar: New punk vinyl releases & reissues (Pulley, Anti-Flag, A Wilhelm Scream & more)

Hello friends, and welcome back to the Dying Scene Record Radar! In the unlikely case that you missed me last week, I offer my sincere apologies. I was out of town for my birthday so the Record Radar went on a very brief hiatus. Anyway, I’m back and a lot of exciting stuff seems to […]

Hello friends, and welcome back to the Dying Scene Record Radar! In the unlikely case that you missed me last week, I offer my sincere apologies. I was out of town for my birthday so the Record Radar went on a very brief hiatus. Anyway, I’m back and a lot of exciting stuff seems to have happened while I was gone. So this week we’ll be playing a little catch up. Let’s get into it!

DustyWax Records is giving Pulley‘s 60 Cycle Hum a 25th Anniversary reissue. This is the first time this melodic punk classic will be in print since its initial release in 1997. If you live in Canada, you’ll want to pre-order here. For my fellow Americans, Thousand Islands Records still has some copies available on their webstore. And our European friends can get it here.

Anti-Flag‘s The General Strike is getting a 10th Anniversary reissue (how the fuck was 2012 ten years ago?). This is limited to 2,000 copies on red vinyl, with new artwork and two “previously unreleased” tracks. Pre-order yours here.

FACT CHECK: These songs were, in fact, previously released! They were on a digital EP that was given away to attendees of the band’s tour in support of The General Strike. It hurts me to say Anti-Flag is fake news.

Fat Wreck Chords continues their 25th Anniversary reissue series with the Teen Idols‘ self-titled debut LP. Original pressings of this record are very hard to come by; the cheapest on Discogs right now is $72 after shipping. This reissue is on half black/half yellow vinyl, not sure how many copies were made. We’re late to the party and this is sold out in the US and Europe. If you want this slice of 90’s pop-punk perfection, the only place you can still get it is Artist First Australia.

Also from Fat: a new pressing of Dillinger Four‘s Situationist Comedy, I would assume in honor of its 20th Anniversary, though they don’t market it as such. Anywho, this has been out of print for a while, so good news for anyone who’s been wanting it. Head over to their webstore to get your hands on this one.

Leatherface‘s 1993 LP Minx is being reissued on red vinyl. If you reside in the UK, this is probably the cheapest place to get this record. Americans can save about 20 bucks by grabbing it from Amazon.

No Idea Records has repressed A Wilhelm Scream‘s Partycrasher on “kaleidoscope colored vinyl” (whatever the fuck that means). They made 150 copies, each one is unique. This is a great album. Get your copy here.

A bunch of Rancid records are back in print on vinyl for the first time in a while. This includes both of their self-titled albums, …And Out Come the Wolves, Life Won’t Wait, and Indestructible. Oakland’s own 1-2-3-4 Go! Records has all of these in stock and your order ships for free if it’s over $75. So if you wanna grab a few of these, head on over to their webstore.

California melodic punks Craig’s Brother have announced their first new album in 11 years. Easily Won, Rarely Deserved is due out in November on People of Punk Rock Records. Pre-order the record here. The first single will premiere next week, for now you can listen to the band’s latest EP below.

Now that all the new releases and reissues have been covered, here’s what I’ve been listening to! My awesome mom got me a bunch of records for my birthday – The Adolescents‘ self-titled album, The FlatlinersInviting Light (I wasn’t crazy about this record when it first came out, but I’ve listened to it about three times now and I’m really enjoying it), the latest from Joey Cape and Face to Face, and Millencolin‘s True Brew. I also finally got the Walmart Exclusive(!!!) pressings of Green Day‘s American Idiot and International Superhits I ordered a few months ago. I’m still debating whether I want that new blue variant of Dookie.

And 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, 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. See ya next week!

*Wanna catch up on all of our Record Radar posts? Type “Record Radar” in the search bar at the top of the page!

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From The DS Vault: On The Passing Of Tony Sly (originally appeared August 2, 2012)

Thanks to everyone who has checked out all of the new content we’ve been cranking out since the relaunch of Dying Scene! We’re stoked to be back, and we’re even more stoked that you’ve been checking in! Because we have an awful lot of material from the old site in the Archive, we thought it […]

Thanks to everyone who has checked out all of the new content we’ve been cranking out since the relaunch of Dying Scene! We’re stoked to be back, and we’re even more stoked that you’ve been checking in! Because we have an awful lot of material from the old site in the Archive, we thought it would be cool to take a look back at some of the posts from our past.

First up is a story from August 2, 2012. My memories of writing it are still very vivid. We’d just had it confirmed the night before that Tony Sly had passed away. I remember messaging Dying Scene’s old head honcho (and still head honcho emeritus) Johnny X that I know we had run a news story about it, but that I wanted to say more about what his death meant. I took a little time to process my initial shock, and sat at my desk in my old office and wrote the following post stream-of-consciousness style.

As humans, we’re social creatures, conditioned by nature to thrive off of connections with others. We like to know that other people share in our emotions, both good and bad. So it’s a weird thing when a public figure dies. In trying to make sense of a public loss, it is not uncommon for people to insert themselves in the tragedy of others, searching for connections where none may really exist. The punk rock community can be a jaded one at times, so we turn a condescending eye toward those who vocally mourn the passing of the Whitney Houstons, the Michael Jacksons and the Dick Clarks of the world. But then we lose one of our own, and somehow it feels different.

The punk community is a finite thing, built on a shared set of experiences and beliefs. It goes without saying that to become more than just a gimmick or a passing voice in the annals of punk rock history, your voice has to be one of honesty and integrity. False celebrity and pretension get snuffed out pretty quickly. Tony Sly’s voice resonated for a lot of reasons.  More than anything, Sly’s voice was genuine. Tony Sly wasn’t one of a kind; like most great punk rock poets, he was one of us.

It seems that there’s a common thread for a lot of people who might be of a certain age (let’s say 33 for argument’s sake) while reading this page. For many of us, it was the Green Days and the Offsprings who ushered us into this punk rock community roughly twenty years ago; it was the No Use For A Names that kept us here. Inspired by the Bad Religions and the Social Distortions who blazed the trail a decade earlier, NUFAN were one of the pillars in the skate punk community that exploded in the early 90s, thanks in no small part to Tony Sly’s unique voice and heartfelt lyrics. To many of us, there are less than a half-dozen voices from that pivotal era of our formative punk rock years whose ability to connect with their listeners via their storytelling abilities continues to resonate and has left a lasting impression: Fat Mike, Joey Cape, Trever Keith, Jim Lindberg, and Tony Sly. That foundation crumbled a little with the all-too-untimely passing of Tony Sly.

While Fat Mike’s voice served to take the piss out of people who took themselves too seriously and Lindberg pointed his middle finger directly at the establishment, Sly (along with his later counterpart Cape) was more introspective, directing a lot of that same vitriol toward the man that reflects in the mirror. Sly expressed fear, doubt and insecurity in ways that were very real and relatable, easily allowing the listener to identify with every word. And yet, I always got the sense that Tony wasn’t looking for that sort of connection; instead that he was writing for himself, using his music as a therapeutic tool, actively trying to process and make sense of what he saw unfolding around him in the world around him.

As he progressed as a songwriter, Sly’s frame of reference seemed to narrow, with lyrics that became more personal release-by-release, dealing less with trying to fit into the bigger picture (as on the bulk of the material on the 1995 NUFAN classic Leche Con Carne) and more on trying to make sense with feelings like disappointment and resignation along with the stagnation and inertia that can creep in to long-term relationships. The two solo albums that closed out Sly’s career were perhaps the two most appropriately-titled albums in recent memory (2010’s Twelve Song Program and 2011’s Sad Bear). The former album tells the tale of a man trying to keep a brave (or at least upbeat) face while coping with emotional turmoil; the latter, while very similar in almost every way, adopts the tone of someone who remains stuck in a persistent rut, yet without some of the tongue-in-cheek optimism of its predecessor.

Like most lasting punk rock voices of his era, he wasn’t about gimmicks or style. Tony Sly wasn’t a bondage-pants-and-pink-mohawk type, nor was he a leather-jacket-and-eyeliner type. From afar, Tony Sly seemed like one of the good guys, but equally as important, he seemed like one of the regular guys. He seemed like someone who used his musical platform to cathartically express a lot of the things that many of us go through, particularly with middle age and growing responsibilities that come with it. As he reminded us, Tony Sly wasn’t our savior. Rather, he was one of us. That’s what makes his untimely passing all the more troubling. It means not just losing a made-up face on a television screen or a studio-created voice capable of belting out words that were written in a pop music laboratory. Instead, it makes our own mortality just a little more real.

“Please remember…it must go on…”

  1. I still remember that terrible day and I remember the DS tribute to Tony. No Use was one of my favorite bands growing up (still is). They were just that little bit under the radar from the bands that were blowing up like Rancid, Green Day, Offspring and Bad Religion, that we felt like they were are own, despite being a coast away from where No Use formed. Still one of my favorite memories is being drunk as shit outside the Paradise in Boston where No Use just killed with a great set. Me and my buddy left after No Use played knowing that the Dance Hall Crashers just couldn’t compete with No Use. It was awesome that we saw Tony and Dave Nassie outside the bar that was next to Paradise. They were busting our balls cuz of our thick Boston accents and sayings. I told Tony, in pure Boston bro form, “Hey Tony, fuckin’ Postcaaahd was f’n pissah kid!”. Baffled, Tony turned to Dave and was like, does that mean he liked it or hated it?!! He was awesome to talk to and genuinely loved interacting with the fans it seemed as much as we loved talking to him and listening to his music. I still miss that band. I heard Fat Mike had some recordings of Tony but that they were so unfinished that he’s not sure he can do anything with them. Too bad. Would love to hear some new stuff for sure. Thanks for posting the tribute DS. And thank you so much for coming back.. I missed your site 😉

    • No Use opened for Dance Hall Crashers? At Paradise? Wow, I don’t remember that. I know I saw them both (separately) but it was always at Middle East downstairs. Actually wait, no, I saw DHC (and Unwritten Law) open for Bad Religion at…Axis? Avalon? Anyway, thanks for checking in! I’m glad we’re back too! We’ll have the kinks worked out soon. I hope.

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Joey Cape

Joey Cape is an American singer and musician. Active since 1989, the Caper is best known as the frontman of California punk band Lagwagon.

Lagwagon

Lagwagon is an American punk rock band originally from Goleta, California, just outside Santa Barbara. They formed in 1989, went on hiatus in 2000, and reunited several times over the years. Their name comes from the band’s tour van, which can be seen on the back cover of their 1994 album Trashed.

Me First and the Gimme Gimmes

Me First and the Gimme Gimmes are a punk supergroup cover band, formed in San Francisco in 1995. The band’s rotating lineup has featured members of NOFX, Lagwagon, No Use for a Name, and the Ramones, among others.

Tony Sly

Tony Sly was a singer, songwriter and guitar player. He was best known as frontman for seminal 90s California punk rock band No Use For A Name. He also had a successful career as a solo acoustic troubadour, and appeared as one-quarter of the supergroup Scorpios, alongside John Snodrass, Joey Cape, and Brian Wahlstrom.