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DS Band Spotlight: Proper.

If you’re unfamiliar, Proper. are a three-piece formed in NYC roughly 5/6 years ago (as The Great Wight initially) but hailing really from a variety of locations across the country and bringing with them all of their collective experiences and musical influences and creating something that hasn’t really been done before. I remember hearing their […]

If you’re unfamiliar, Proper. are a three-piece formed in NYC roughly 5/6 years ago (as The Great Wight initially) but hailing really from a variety of locations across the country and bringing with them all of their collective experiences and musical influences and creating something that hasn’t really been done before. I remember hearing their last album, I Spent The Winter Writing Songs About Getting Better admittedly a little late and thinking “damn…I’ve never really heard anything like this before.” The new album, The Great American Novel, takes all of the things that were great about the last one and pushes the needles way past 10. It’s important music. It’s music about alienation and about not fitting in and about being a queer person of color in a land that, despite it being 2022, is at times becoming even less comfortable with people that check those boxes. It’s raw and it’s powerful and it’s somehow still hopeful. Oh, and if fucking rips. I feel lucky that I was able to catch up with the whole band (not just with Erik Garlington who spearheads the whole thing shredding on guitar and vocals but with the full band, new mom Natasha Johnson on bass and Elijah Watson on drums and whom you may also know from his “day job” as a journalist for Okay Player) for the (*both laugh*) podcast a couple months ago – you can check that our here or wherever you listen to your podcasts. In the meantime, fire up The Great American Novel and be ready to be blown away. we were able to catch up.


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DS Exclusive: Voice of Addiction – “Divided States”

Just in time for today’s volatile political climate, Chicago’s Voice of Addiction has returned with a brand new thirteen track LP (their ninth studio release) which is due out August 5th. But don’t fret, comrades, you don’t have to wait to hear it because you’re no normal person! You’re a glorious, loyal, worthy reader of […]

Just in time for today’s volatile political climate, Chicago’s Voice of Addiction has returned with a brand new thirteen track LP (their ninth studio release) which is due out August 5th. But don’t fret, comrades, you don’t have to wait to hear it because you’re no normal person! You’re a glorious, loyal, worthy reader of Dying Scene and with that honor comes some privileges. This is one of them. So, give it a few spins and tell all of your friends about it, then go preorder the album at Bandcamp. Also, the lads are hitting the road in support of the album, so if you’re in/near one of the cities they’re coming to (dates/stops below), go say ‘thank you’ to them in person for giving us such a wonderful gift!

Upcoming Tour Dates
7/22 – Milwaukee, WI @ Quarters
7/23 – Oshkosh, WI @ Reptile Palace
8/5 – Detroit, MI @ New Dodge Lounge
8/6 – Grand Rapids, MI @ Pyramid Scheme
8/18 – Youngstown OH @ Westside Bowl
8/19 – Rochester, NY @ Photo City Music Hall
8/20 – Holyoke, MA @ Apeland
8/21 – Boston, MA @ Midway Cafe
8/22 – Providence, RI @ Alchemy
8/23 – New York City, NY @ Heaven Can Wait
8/24 Brooklyn, NY @ Kingsland
8/25 – Philadelphia, PA @ The Fire
8/26 – Pittsburgh, PA @ 222 Ormsby
8/27 – Cincinnati, OH @ Mockbee

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DS Photo Gallery: Frank Turner and Kayleigh Goldsworthy, Crossroads, Garwood NJ (6/20/22)

The hardest working man in punk rock, Frank Turner has been no stranger to the pages of Dying Scene for more than a dozen years now. We last touched base a couple of months ago to chat about his latest album, FTHC – it was Episode 53 of our (*both laugh*): The Dying Scene Quarantine […]

The hardest working man in punk rock, Frank Turner has been no stranger to the pages of Dying Scene for more than a dozen years now. We last touched base a couple of months ago to chat about his latest album, FTHC – it was Episode 53 of our (*both laugh*): The Dying Scene Quarantine Chat Show podcast, in case you were curious. When the tape stopped rolling, Turner let yours truly in on a little secret; he was planning on announcing a Summer US Tour that would find him covering all 50 States in the span of just 50 days. Like most people he told the idea to, I agreed that it sounded absolutely nuts, Covid-19 pandemic or no.

But here we are! The tour kicked off in the great state of New Hampshire on June 13th. Our pal Ray was at show #11 at Crossroads in Garwood, New Jersey. It was a solo acoustic show that came immediately after show #10, which took place in Brooklyn earlier the same day. See what we mean about hardest working man in punk rock? Crossroads is one of my all-time favorite places to see a show (well worth the five-hour drive from the Boston suburbs), and it’s shows like this that demonstrate why. Check out more of Ray’s work on Instagram.

Anyway, this show featured an opening set by none other than Kayleigh Goldsworthy, the immeasurably talented multi-instrumentalist singer-songwriter who most recently hails from Philadelphia and just put out a solo record of her own, Learning To Be Happy, back in May.

Check out Ray’s dynamite photos below, and stay tuned for more coverage from the ’50 States In 50 Days’ tour coming soon!

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DS Photo Gallery: Mercy Union “White Tiger” record release w/Lenny Lashley, Early Riser and Felons (Crossroads, Garwood NJ – 8/5/22)

If you read our review of Mercy Union‘s dynamite sophomore album, White Tiger, last week, it should probably come as no surprise that even though I live in Massachusetts and the official record release show occurred on a Friday in New Jersey, I was going to be there. And I was! My “forever-plus-one” and I […]

If you read our review of Mercy Union‘s dynamite sophomore album, White Tiger, last week, it should probably come as no surprise that even though I live in Massachusetts and the official record release show occurred on a Friday in New Jersey, I was going to be there. And I was! My “forever-plus-one” and I hopped in the car, dropped our teenager off at her grandparents’ house, and made our way to Crossroads in Garwood, NJ, a club that has become a sort of home-away-from-home for us the last half-dozen years or so. (Really, if you live in the greater NYC area, you should make it a point to go to Crossroads for dinner and a show. You won’t regret it.)

Felons were the first band out of the gate on this evening. Astute followers of the New Jersey music scene will no doubt remember Zak Ferentz from Ferentz and the Felons. The Hudson County street folker retooled his band during quarantine lockdown. Now known simply as Felons, the band still features Ferentz on acoustic guitar and vocals, but he’s backed by a bass player and, well, I don’t have nearly enough knowledge of electronic music to have even the foggiest idea to know what Plantcham was playing on stage right, but I know that it combined for a really cool and weird and interesting sound. Sort of acoustic folk punk meets drone synth with all sorts of samples in the mix. Ferentz at one point introduced a song as being “about doing too many psychadelics” and I’d say that sounds about right. Check the video for “Sheep’s Wool” here for a pretty accurate example.


Brooklyn’s Early Riser were next up, and I have to say, I’m really, really glad I finally got the chance to see them. For the uninitiated, it’s safe to say that Early Riser continue the evening’s theme of bands that are tough to confine to a specific genre box. The sound is centered around Kiri Oliver’s playful vocals and small body Martin acoustic with additional texture provided by Heidi Vanderlee on cello and Nicole Nussbaum on bass. Drums are handled by none other than Mikey Erg, and all members provide harmonies. It’s like posi folk punk power-pop and it inspired a random and unexpected dance break in the crowd!


Much like yours truly, Lenny Lashley made the trip down from Massachusetts. Accompanied by frequent collaborator, the multi-talented Cody Nilsen on pedal steel, Lenny occupied the night’s direct support slot. I think Lenny is the artist I’ve seen most since Covid started a couple years ago because I tend not to wander too far away from home now, so it was fun to actually see him play a road game. Lashley bounced between acoustic (a 1937 Martin reissue, I believe) and electric (a tele-style Nacho Guitar if you’re into that sort of thing) and, while he’s got a massive catalog, stuck to songs mostly from his solo repertoire, including a few tracks from his upcoming album Five Great Egrets (more on that later). Lashley and Mercy Union frontman Jared Hart go back to the days when the former welcomed the latter’s old band, The Scandals, to Boston many years ago, so it’s been fun to watch the connection continue across state lines well over a decade later.

Which brings us, of course, to the Mercy Union portion of the evening. Hart and the gang (Rocky Catanese on guitar and occasional lead vocals, Nick Jorgensen on bass and backing vocals, recent recruit byt familiar face Matt Olsson on drums) fired up the margarita machine and fired straight into “1988,” “The Void” and lead single “Prussian Blue,” the three tracks that open White Tiger and set its sonic tone. The new material was, naturally, pretty well received from the home crowd, most of whom had clearly been listening to the album on repeat for at least the duration of release day if not, in some special cases, considerably longer. The 16-song set was heavy on White Tiger, naturally, with a few songs from their debut album, The Quarry, a couple reworked Hart solo songs, and a completely on-brand singalong cover of Goo Goo Dolls classic “Black Balloon” for good measure.


It was apparent from the earliest notes of their set that the band wore not only loaded for bear, but were having fun in the process. It is obviously a bit of a daunting task to put out an album on your own label two-and-a-half years into a global pandemic, and then to host a record release show at a well-respected club in your backyard (a club that, coincidentally, yours truly traveled to for a Scandals record release show a bunch of years ago). The night was full of smiles and gratitude and shoutouts and guest appearances on gang vocals, proving that while the sound may have branched out from traditional punk rock, the vibe and the ethos once you’re inside the four walls of a sweaty club remains every bit the same.


Look below for photo slideshows from each set of the night. You can still order Mercy Union’s White Tiger here or get it wherever you buy your digital music!


MERCY UNION

LENNY LASHLEY (W/CODY NILSEN)

EARLY RISER

FELONS

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DS Show Review and Photos: The Beths, SASAMI & Charlotte Cornfield Live At BRIC Celebrate Brooklyn

I will be the first to admit that my main (aka only) interest in venturing over to Prospect Park on a hot & humid Friday night was to see New Zealand’s one and only The Beths. I knew next to nothing about the 2 opening acts, Charlotte Cornfield and SASAMI. I can only say now […]

I will be the first to admit that my main (aka only) interest in venturing over to Prospect Park on a hot & humid Friday night was to see New Zealand’s one and only The Beths. I knew next to nothing about the 2 opening acts, Charlotte Cornfield and SASAMI. I can only say now that am I REALLY glad I got to The Lena Horne bandshell early enough to witness one of these sets.

Cornfield took the stage promptly at 7 PM and proceeded to treat the crowd to a steady and competent set of rather quiet and subdued indie folk to which the NPR types in the crowd thoroughly enjoyed. For my ears, however her set just didn’t resonate all that much with me and after the 3 song photo allotment was met I found myself chatting with some of the other photogs in attendance for what seemed like a rather long time considering Charlotte was an opener on a three-band bill at an outdoor show that had a strict New York City mandated 10 PM curfew. Before I go any further, to be clear, Cornfield’s set did seem to be quite good but it just wasn’t my thing and I just kind of lost interest. That’s not to say that she didn’t make a lot of those in attendance very pleased with her set.


Next up was SASAMI who hit the stage shortly after 8 PM.  Truth be told, I had given SASAMI a bit of a listen on Spotify prior to the show and was merely lukewarm about what I had heard. Their first (self-titled) album released in 2019, was a quite polished indie pop album which while very listenable, didn’t exactly get my juices flowing.  And then there is this year’s second full-length LP, Squeeze which hit the shelves back in February. You’d have to do some serious searching in order to find a sophomore LP which takes as strong a departure from its predecessor as does Squeeze

The set started off with Sasami Ashworth’s “The Greatest” off the new album. And while the song on the album is rather subdued, the band came out and raged. They took what already sounded like a homage or at least a response to Whitney Houston’s “The Greatest Gift Of All” and turned it into Whitney’s Greatest Gift from an alternative (much less hospitable) dimension.  From here the set only got darker, darker in a heavy metal kind of way with thundering bass lines and loud abrasive guitar chords coming from both Ashworth’s axe as well as the other guitarist who’s name I did not get. To say the least I was almost completely shocked. From here the band ripped through song after song with a fiery electric vengeance which I for one was 100% unprepared for. 


SASAMI

Sticking with a setlist comprised entirely of titles off the new one, SASAMI’s set was absolutely mesmerizing. The energy set forth by Ashworth and the rest of the band was transfixing. A combination metal hell fest combined with an almost performance art presentation made for a show to which I (and virtually every other photographer in the pit) was paralyzed to stop clicking the shutter button. Every moment following every moment felt like something that needed to be captured.  

SASAMI’s set lasted roughly 40-45 minutes yet it flew by in a flash. I for one felt winded after witnessing the whirlwind of a set which they had treated us all to. My initial reaction when it was done was, “I can’t believe it’s over so soon”.  Looking at their other setlists online however, it looks like we got pretty much their entire show.

Which brings me to the headliner, The Beths. It wasn’t all that long ago, you read from me that they were the only real impetus for me being at Prospect Park in the first place. And now as I stood and waited for them to take the stage, I couldn’t help but ponder, “How the hell are they going to top THAT?!?”  Having seen the band make a steady progression from DIY venue, Alphaville to 400-person Music Hall Of Williamsburg to 1000-person capacity Webster Hall, they were now faced with the unenviable task of playing (BY FAR) their most high-profile show ever in New York at the 5000 to 7000 person capacity Lena Horne Bandshell AND having to do that following an absolutely blistering set from the opener, not to mention their backs against the wall relative to a 10 PM curfew.


With it already being after 9, it appeared that we were most likely going to get a truncated set.  The band came on about 9:15, opening with “I’m Not Getting Excited” but clearly they were because they came out answering the call.  Despite what appeared to be some lighting irritations, Liz Stokes was exactly that, STOKED. She, along with guitarist, Jonathan Pierce, bassist, Ben Sinclair and Tristan Deck on drums hit the stage running. Barreling through stalwarts ” Happy, Unhappy” and “Out Of Sight” before offering up the lead single and title track to the upcoming album, “Expert In A Dying Field” due to drop in mid-September.


It was right about here in the set that it dawned on me that the band had figured out how they were going to get their entire set done in roughly three-quarters the normal length of the set. They were speeding everything up and HOLY SHIT, it was working masterfully!  I mean they were almost approaching Ramones kind of tempos and the songs and the vibes and the atmosphere were just perfect.

After “Dying Field” we got three more older songs before they cracked open another new one called “Knees Deep”, a bright sun-shiney rocker (come to think of it a Beth’s song and sun-shiney is just redundant…aren’t they all like that?)

Attacking each upcoming song at a breakneck pace which seemed different yet also quite right.  “Jump Rope Gazers” into “Uptown Girl” into “A Real Thing”, all done fast but not quite furious.

When all was said and done, The Beths managed to come out of the evening having sleighed the dragon. They overcame the adversity which faced them and finished the evening around 10:10 after a two-song encore of “You Are A Beam of Light” and “Little Death” to the delight of all. Liz and crew put on a masterful show which while certainly sped up, never felt rushed. As a matter of fact it appeared that the band had as much fun as the packed crowd. The normally stoic Jon on guitar was flashing a big grin much of the evening. Liz showed off a little Chuck Berry-esque duck walk and the rhythm section of Tristen and Ben were amazing keeping the sped up pace at bay and even keeled.

When all was said and done, all I could possibly say was, “What a night!”

NOTE:  For those in the NY/NJ area The Beths will be at The Asbury Lanes on August 26th and for those in or around western MA, they will be at Courtney Barnett’s Here and There Festival at MassMoca in North Adams on August 13th.

  • SASAMI
  • The Beths

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Dying Scene Record Radar: New punk vinyl releases & reissues (Descendents, Rancid, Joe Strummer & more)

Hello, loyal readers! Thank you for joining us for this week’s edition of the Dying Scene Record Radar, where we cover all things in the world of punk rock vinyl. Kick off your shoes and make yourself at home, because it’s time to run through this week’s releases. I hope you’re feeling spendy, because there’s […]

Hello, loyal readers! Thank you for joining us for this week’s edition of the Dying Scene Record Radar, where we cover all things in the world of punk rock vinyl. Kick off your shoes and make yourself at home, because it’s time to run through this week’s releases. I hope you’re feeling spendy, because there’s a lot of good stuff that might find its way into your record collection. Let’s get into it!

Up first, we’ve got 1-2-3-4 Go! Records with another killer exclusive pressing of a classic record. This time it’s the DescendentsEverything Sucks, limited to 1,000 hand numbered copies on blue vinyl. This will be available on their webstore Friday, August 5th at 8am Pacific (11am Eastern). Join 1-2-3-4 Go!’s mailing list to be among the first to know when it goes up.

Rancid‘s Let’s Go is getting repressed, this time as a red and black splatter LP. It’s limited to 1,000 copies, and is only available from Newbury Comics. Head over here to get your hands on this one.

Brooklyn Vegan has an exclusive green 2xLP pressing of Social Distortion‘s Hard Times and Nursery Rhymes up to pre-order on their webstore. It’s limited to 300 copies and the color is pretty cool. Not a huge Social D fan myself, but this album’s alright. Also, if you join Brooklyn Vegan’s mailing list, you’ll get 10% off your order! Very nice.

Asian Man Records has brand new pressings of two classic Alkaline Trio LPs available right now. These new variants of Goddamnit and Maybe I’ll Catch Fire are limited to 1,000 copies each. Head on over to Asian Man’s webstore to order.

It’s been a long time coming but No Trigger has finally announced a follow-up to their fantastic sophomore album Tycoon. The new record’s called Dr. Album, and it’s being released next month on Red Scare. Check out the first single below, and pre-order the LP here.

Power pop singer/songwriter Geoff Palmer has re-recorded Dee Dee Ramone’s “rap” album Standing In The Spotlight. The first single, his cover of “Emergency” (my favorite song off the record), can be heard below. Stardumb Records is releasing this on vinyl; head over here to pre-order it.

The Mugwumps just released a new live album, recorded at Italy’s premiere punk festival Punk Rock Raduno in 2021. Check it out below – it kicks ass! My fellow Americans can get this here; our European friends can buy it here.

Mom’s Basement Records has announced their upcoming Queers tribute compilation God Save The Queers Vol.2 will be available to pre-order this Friday, July 29th, at Noon Eastern. Head over to their webstore to grab your copy. Canadians can get this one from Insipid Records, and our Bri’ish mates will wanna hit up Council-Pop Records.

Hardcore punk supergroup OFF! has announced a new record! Free LSD is the band’s first new studio album in eight years. They’re describing it as “a heavy punk industrial free jazz soundtrack recording”. Watch the music video for the first single “War Above Los Angeles” below, and pre-order the record here. There’s also an orange variant available from Brooklyn Vegan.

Making their second Record Radar appearance in three weeks, it’s the Dropkick Murphys with a Newbury Comics Exclusive variant of their upcoming album This Machine Still Kills Fascists. This one’s due out on September 30th, it’s limited to 500 copies on red vinyl, and you can pre-order it here.

British punk pioneers The Vibrators have announced their final album Fall Into the Sky will be released on August 12th through Cleopatra Records. Listen to the first single below, and pre-order the record on pink or blue vinyl here.

Santa Cruz pop-punks Too Bad Eugene just announced their first new album in 20 years! Distance is due out September 14th on People of Punk Rock Records. Listen to the title track below, and pre-order the record here.

Italy’s Radiation Records has reissued two LPs from Los Angeles punk veterans The Generators: 2005’s The Winter of Discontent, and 2007’s The Great Divide. Get ’em here. These are available in the US through Merchbar, too, but the price after shipping is basically the same as importing from Italy.

A decade after the downfall of The Clash, frontman Joe Strummer would spend the last three years of his life making new music with his band The Mescaleros. A box set compiling the band’s three albums and a bonus LP of demos, outtakes, rarities, has been announced. This is due out on September 16th, and can be pre-ordered here. These records go for $100+ each on the resale market, so this is actually a pretty great deal.

Reminder! If you are attending SBAM FestBrackrock Festival, or Punk Rock Holiday over the next few weeks, Fat Wreck Chords is going to have exclusive new variants of a shitload of records at their merch booth. Titles include Lagwagon‘s Hoss, Strung Out‘s Suburban Teenage Wasteland Blues, the new Face to Face album, and many others. These European festivals are the only place in the entire world these will be available. Check out Fat’s Instagram for more info.

Canadian friends, check out Forbidden Beat! They’re a punk distro that always has good shit going up on their Instagram page, at very good prices. They also seem to be the only place in North America with copies of the new Screeching Weasel LP in stock, so if you’re looking for that, hit ’em up!

Now that all the new and upcoming releases have been covered, I thought I’d share what I’ve been listening to lately! I saw my favorite band Less Than Jake for the 19th(?) time last week, so I’ve been on a LTJ kick lately. I got Losers, Kings, And Things We Don’t Understand at a show in Orlando back in… 2012? And this red pressing of See The Light was one of two Christmas variants limited to 100 copies. It had been a while since I listened to either of these, so I gave them a few spins.

That’s all, folks! Thanks as always for tuning in to the Dying Scene Record Radar. 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, don’t blow too much money on spinny discs. See ya next week!

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

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Dying Scene Record Radar: New punk vinyl releases & reissues (No Use For A Name, Gogol Bordello & more)

Good day, fellow humanoid beings! Welcome to another installment in the Dying Scene Record Radar. If you’re new here, thank you for joining us! This column provides a weekly round up of all things punk rock vinyl. We highlight new releases, as well as all the ultra limited reissues that get the collector nerds’ palms […]

Good day, fellow humanoid beings! Welcome to another installment in the Dying Scene Record Radar. If you’re new here, thank you for joining us! This column provides a weekly round up of all things punk rock vinyl. We highlight new releases, as well as all the ultra limited reissues that get the collector nerds’ palms sweaty. Open up your wallets, fire up your Paypal account, and let’s get into it…

Fat Wreck Chords gets us started with an awesome full discography box set for the almighty No Use For A Name. Black Box includes 13 LPs and a bonus 7″, and for $275 this beast can be yours. Lots of pretty colors, lots of great tunes. Grab it here.

Hot Water Music has repressed their latest record Feel the Void. Three new splatter variants (each limited to 250 copies) are now available here. The yellow and red one is my favorite 🙂

SBÄM Records will be releasing California hardcore punks Dead Fucking Last‘s 1997 album Grateful on vinyl for the first time. There are two variants, limited to 200 copies each. Grab it here.

Gogol Bordello has announced a new record! Solidaritine is due out on September 16th. You can listen to two songs from the album below, and pre-order the vinyl here (split blue/yellow), here (solid yellow), or here (yellow w/ blue splatter).

Sound Speed Records has a new release up pre-order. It’s the debut LP from Los Angeles melodic punk band Failing Up. Check the record out below, and buy it on vinyl here.

Hardcore punk supergroup Dead Cross have announced their sophomore album II. For those who are unfamiliar, this band features Mike Patton (Mr. Bungle, Faith No More, etc.) and Slayer’s Dave Lombardo, among others. The record’s first single can be heard below. Links to pre-order all the different vinyl variants can be found here.

The good people at Pirates Press Records are having a summer sale! Tons of great records for very, very cheap. I’m talkin’ dirt cheap. Seriously, head over to their webstore and just look at how cheap this shit is!

Melodic hardcore vets Stretch Arm Strong are reissuing their 1999 LP Rituals of Life. There are a bunch of variants for this one, but Revelation Records seems to be the only place that still has any in stock. Hit up their store to get it on yellow vinyl.

Independent record store chain Zia Records has announced a new exclusive pressing of Millencolin‘s classic Pennybridge Pioneers. It’s limited to 300 copies, so act fast and grab it here.

Modern Baseball‘s 2016 LP Holy Ghost has been repressed. This one’s also limited to 300 copies on “olive green smoke” vinyl. It’s also a Zia Records exclusive, so if you want it, that’s the only place you’re gonna get it!

Now, for the segment where I show you what records I got this week! I’m putting my collection’s expansion on hold for a bit. Rent’s going up fucking 18% and having shelter is slightly more important than collecting colorful music discs. But I did get some stuff I ordered a while ago in the mail, including 1-2-3-4 Go! Records‘ reissue of my favorite Pinhead Gunpowder record Shoot the Moon, and an awesome repress of Satanic Surfers‘ skate punk classic Hero Of Our Time from Chase the Glory Records. Both of these look and sound fantastic, and will be in my regular rotation for a bit.

Time for me to get outta here! I’ve got places to go and people to meet (not really, but you get the point). Anyway, I’m sure there’s some stuff I missed, but hey, nobody’s perfect. As always, I need your help to make these weekly recaps of new colorful plastic discs to waste your money on. So if there’s a new record you think should be highlighted in the column’s next installment, send us a message on Facebook or Instagram, and we’ll look into it. Thanks again for tuning in to the Dying Scene Record Radar. See ya next week!

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Early Riser

Early Riser is band from Brooklyn, NY founded in 2014 by Kiri Oliver (vocals/guitar) and Heidi Vanderlee (cello/vocals) and later joined by Nicole Nussbaum (bass/vocals) and Mikey Erg (drums/vocals).

MakeWar

MakeWar is one word. It’s a state of mind, not a statement. #PSA #PMA

Brooklyn-based punk rock.