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DS Record Radar: This Week in Punk Vinyl (NOFX, Bad Religion & More)

Greetings, fellow degenerates! Welcome to the latest installment of the Dying Scene Record Radar. If it’s your first time here, thank you for joining us! This is a weekly column where we cover all things punk rock vinyl; new releases, reissues… you name it, we got it. So kick off your shoes, pull up a […]

Greetings, fellow degenerates! Welcome to the latest installment of the Dying Scene Record Radar. If it’s your first time here, thank you for joining us! This is a weekly column where we cover all things punk rock vinyl; new releases, reissues… you name it, we got it. So 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!

NOFX makes yet another appearance on the Record Radar, this week with two releases! Up first is their upcoming record Double Album, which is now available to pre-order on colored vinyl. Fat Wreck has the LP (along with a shitload of bundles) available on their webstore. Europeans can grab it here, and our Australian friends can buy it here. Check out the album’s latest single “Punk Rock Cliché” below.

The other NOFX record making an appearance in this week’s column is a brand new EU-exclusive color variant (see the picture) of the almighty Punk in Drublic. Go here to get your hands on this one.

Next up is Bad Religion with a new pressing of 2004’s The Empire Strikes First. This red and black marbled LP is a Newbury Comics exclusive, limited to 600 copies. Grab it here.

Also from Newbury Comics: a new pressing of Flogging Molly‘s Drunken Lullabies, limited to 500 copies on “clear with yellow and purple splatter” colored vinyl. Get your copy here.

In addition to recording a new album, Frenzal Rhomb recently announced 2003’s Sans Souci would be released on wax for the first time. If the “Russel Crowe Shit Brown” colored vinyl didn’t do it for you, they’ve revealed additional variant! The LP is available to pre-order on “Ballchef Blood Red” colored vinyl here.

Another recently-announced reissue to get a new color variant is Less Than Jake’s ever-divisive In With the Out Crowd. In addition to the purple LP limited to 1,000 copies, LTJ now has a blue variant on their webstore. It’s limited to 500 copies and they want… $40 for it.

Revelation Records has an exclusive color variant of the upcoming LP from Lenny Lashley’s Gang of One. This pressing of Five Great Egrets on yellow vinyl is limited to 100 copies. Check out the first single “Heart of Stone” below, and grab the record here.

The Dickies have announced a new 7″ with some old-ass (previously unreleased) songs. “Blink 183” was supposedly recorded for a Fat Wreck Chords compilation but didn’t make the cut, and “Clean Money” is a b-side from their 2001 album All This And Puppet Stew. These are good songs (listen below for yourself), but $16 for a two-track 7″ is insane. If you can stomach the asking price, feel free to buy it here.

The 1991 debut album from French melodic punk veterans Burning Heads is getting a 30th Anniversary reissue on Radiation Records. If you’re a fan of that fast, melodic 90’s Epifat sound, I highly recommend checking these guys out (they were briefly on Epitaph btw). Check out my favorite track below, and go here to get a copy of this great record.

Spanish Love Songs‘ 2018 LP Schmaltz is back in print on a few new color variants, limited to 250 copies each. Grab your copy here. A few colors have already sold out, so you’ll want to act fast.

Citizen‘s Youth has been reissued on “highlighter yellow” colored vinyl. Head over to their Bandcamp page to grab this one.

Today’s the day! Now available to order (and shipping immediately) are three brand new reissues from MxPx. After being out of print since the turn of the century, Life in GeneralSlowly Going the Way of the Buffalo, and The Ever Passing Moment are back on wax. Head over to the band’s webstore to get a piece of the action.

RECORD OF THE WEEK!

We here at Dying Scene are all about trying new things, so this week I’m challenging you, loyal reader, to listen to something new! This week’s Record of the Week comes from a band featured on our recent “Ten Underrated Punk Bands That Should Be On Your Radar” column. If you like blazing fast skate punk in the vein of Belvedere and Mute, you’ll wanna check out Quebec City’s Fullcount and their 2018 LP Part of the Game. Give it a listen below, and grab that beautiful colored wax here.

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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DS Staff Picks: Jay Stone’s Top 25 of ’22

We’ve made it to the end of 2022, comrades! In some ways, it feels like it was long year. It was certainly a year that was chock-full of great releases, almost overwhelmingly so. In part, that’s because we’ve started to hear the fruits of the labors that songwriters and bands and artists cooked up while […]

We’ve made it to the end of 2022, comrades! In some ways, it feels like it was long year. It was certainly a year that was chock-full of great releases, almost overwhelmingly so. In part, that’s because we’ve started to hear the fruits of the labors that songwriters and bands and artists cooked up while they were in Covid-related lockdown. A lot of really talented people had a lot of time on their collective hands and had to get creative about how they wrote and recorded and released their material, and it was to all of our benefit.

And so here we go. The top 25 of 2022. You know the drill (at least you know MY drill): studio full-lengths only; no EPs or singles or live albums. All “punk rock,” although the older I get, the more I identify with the concept of punk rock being less about three chords and Les Pauls and Marshall stacks and more about and more about people making music that’s true and authentic and that doesn’t care about fitting into sonic boxes but does care about speaking truth to power and holding mirrors up to society. If you want a broader listen to the full scope of stuff I dug this year, that playlist is here. Without any further ado…


#25 ThickHappy Now

I don’t remember when Thick first came on my radar, but I’m glad they did. The Brooklyn-based trio followed up their dynamite 2020 album Five Years Behind with the even more dynamite Happy Now. It’s smart and it’s fun and it kicks you right in the teeth and it’s exactly the kind of record that I’m glad Epitaph got back to putting out.



#24 Rip RoomAlight And Resound


If you haven’t put Bay Area art-punks Rip Room on your radar yet…what the heck are you waiting for?! Alight and Resound is their debut full-length and it’s killer. It’s got a real heavy 90s post-punk sort of vibe; think Fugazi meets Sleater-Kinney.



#23 Michael Kane & The Morning AftersBroke but not Broken

Michael Kane and The Morning Afters have been a staple in the Boston-area scene for a decade or so at this point. The lineup has solidified itself and the result of years of gigging and writing coalesced into Kane’s finest and most focused work to date. There are whispers of Petty and the Replacements and some old Boston street punk snarl.



#22 No TriggerDr. Album

I think No Trigger‘s last album, Tycoon, came out when I had only been with Dying Scene for like a year or so, and I think it was on like half the staff’s year-end best-of lists, and so I thought this would become a perennial thing. An effing decade later, the Worcester natives are back…and dare we say better than ever? Or at least weirder and more frantic and more diverse than ever, and that’s like the same thing. No wonder they’ve found a new home on Red Scare. This album takes a few listens to fully appreciate because there’s so much going on in it.



#21 Bartees StrangeFarm to Table


Bartees Strange first popped up on my radar when he appeared on Dave Hause’s Patty Smith covers EP, Patty, a couple years back. Strange’s sophomore full-length, Farm To Table, was released on 4AD this year and it’s as fun to listen to as it is hard to nail down genre-wise. It’s emo but it’s hip-hop but it’s R&B but it’s rock and roll, and it’s personal and it’s powerful and it feels important.



#20 Sarah Shook & The DisarmersNightroamer

Sarah Shook and the Disarmers went into the studio to record a brand new album and then, as it turns out, the world closed down for a while. That, coupled with the demise of their former label home, meant that this album took a little longer than many of us had hoped for to finally make its way to our ears. The wait was well worth it. This is a grown-up record: focused and fun and personal and experimental. They might have cut their respective teeth in whiskey-and-beer-soaked barrooms but the future is much wider for Shook and company. Here’s our interview with Shook about the album!



#19 The Venomous PinksVita Mors

The Venomous Pinks formed in 2012 and finally put out their debut full-length album in 2022 and holy smokes does it rip. It’s loud and fast and aggressive and cathartic and it finds the crew full of fire and brimstone. Let’s just hope they don’t wait another decade until their second album! Here’s our (*both laugh*) episode that featured all three of the Pinks!



#18 Tim BarrySpring Hill

There are a few things in life that we can be certain about: death, taxes, and Tim Barry putting out a killer album of high-quality, working-class anthems every couple of years. There are gut-punches and tear-jerkers and anthemic singalongs, and Barry appearing as comfortable in his skin as he ever has.



#17 The VandoliersThe Vandoliers

The Vandoliers put it all together on their self-titled record, so perhaps it’s perfect that it’s a self-titled record. They’ve been called “country punk” for years, and they are at the core, but they’ve really morphed into their very own thing: a marauding batch of shirtless, whiskey-infused bandits singing songs of love and heartache and, occasionally, good times!



#16 MightmareCruel Liars

Realistically, this should be a top-ten album for sure, but that just speaks to the strength of the music that was released this year. In case you missed it, Mightmare is the side project of Sarah Shook and the Disarmers centerpiece River Shook. It’s a project that was birthed out of quarantine isolation and it takes some of the stylistic differences they’d been hinting at on Nightroamer to new and different heights. Dark pop and fiercely independent. Here’s our recent chat about the album!



#15 DonaherGravity And The Stars Above

I’ve been doing year-end best-of lists for Dying Scene since like 2011, so I’ve got a couple of hundred albums that have been present and accounted for, and yet I’m about 99.9% sure this is the first album to hail from the great State of New Hampshire, where I was born and raised and first introduced to this thing we call punk rock. Donaher play a super catchy, super fun, wicked joyful brand of power-pop that sounds like the Smoking Popes if they hailed from the Chicken Tender Capital of the World!



#14 Adeem The Artist White Trash Revelry

Okay so holy shit this record is great. This record is great enough that it came out this month, after I’d already completed my year-end list, and forced me to completely reevaluate it. I can think of very few things as punk rock as growing up outwardly non-binary and pansexual in a Christian household in the working-class South. Adeem is unafraid to call out hatred and bigotry and at the same time to embrace love and compassion and has crafted a wonderful record that’s equal parts Against Me! and Homeless Gospel Choir but with, like, Will Hoge or American Aquarium’s pop-infused country melodies. If we re-rank this list a year from now, White Trash Revelry might end up quite a bit higher.



#13 American AquariumChicamacomico

I remember first hearing American Aquarium a number of years ago and thinking “hey that’s kinda good but I think it’s a little too country for me.” The lineup has changed a few times and frontman BJ Barham has gotten sober and has himself a family and, with it, I think a newfound focus, and he’s become one of my favorite songwriters – and figures, really – in the scene. There’s a recurring theme here about people growing up in the South and yet not standing for the sort of traditional negative Southern stereotypes and railing against some of the bigotry and backwardness and I’m here for it. Also, the title track is one of my most-listened-to songs of the year.



#12 Frank Turner FTHC

Hey, remember when Frank Turner put out the most “punk rock” record of his career and it also happened to be his first #1 album in his native UK, and then we spoke to him the morning after receiving that award for our quarantine-inspired podcast and coincidentally, the day before he announced his “50 States In 50 Days” tour which he told us about off the record after we stopped recording, so we knew about it first? That was just this year! (Also, yes, FTHC has the most nods to his hardcore past as any record in the Turner oeuvre, but his somber ode to the life of Frightened Rabbit’s Scott Hutchison is among the album’s standouts.)



#11 New Junk CityBeg A Promise

Okay so I get a lot of press emails. Like…A LOT of them, spread out through the various different Dying Scene email accounts. I have to say that I don’t always read beyond the headlines or the opening paragraphs, but this one caught my eye. I don’t know why I’d never heard New Junk City before, but I chalk it up to my history of not reading all the way through emails…but I’m glad I got this one. Anytime a band is referred to as “Tom Petty as played by Green Day,” I’m going to stop and honestly probably roll my eyes because really…but then I’ll also listen because what if it’s actually as good as that portends to be. And I’ll tell you what…New Junk City is exactly as good as that portends to be. It’s like the best parts of 90s alternative and early 00s emo but with a classic Americana rock filter.



#10 Lenny Lashley’s Gang Of OneFive Great Egrets

It’s a pretty remarkable thing when a person who has been in the game for as long as Lenny Lashley has continues to raise the bar for themselves musically and professionally, but that’s what we’ve got on Five Great Egrets. There’s nobody quite like Lenny, who can write a gut-wrenching song about relationship troubles and then a ballad dedicated to Boston-based 1930s comic Eddie “Parkyakarkus” Cantore, and have them both come across as genuine and sincere.



#9 Will HogeWings On My Shoes

We’re starting to get into the territory where o the right day and in the right light, any of these albums could realistically be #1 on the list. Will Hoge might be alt-country or just Americana or Southern rock-and-roll or he might be all of those things together. What he definitely is is a guy who can write a down-and-dirty concise rock song and he can also write a lengthy narrative that’s both smart and thoughtful and razor-tongued and that will make you appreciate it more the more times you listen to it. Plus, the very first line on the album is “Meatloaf and mashed potatoes/Jesus Christ ain’t gonna save us” and that’s about the most John Prine intro to a song that wasn’t written by John Prine.



#8 Proper.The Great American Novel

Holy shit this album melted my brain. Here’s the intro I wrote to (*both laugh*) Episode 56, which featured the three-headed monster that is Proper.

Every now and then you come across an album that becomes a benchmark moment for you; like, life existed before that album and then the world shifted and things weren’t the same after that.  My own personal list includes the likes of: Vs. Recipe For Hate. Question The Answers. Badmotorfinger. The ’59 Sound. The Low End Theory. Stay Positive. 36 Chambers. Caution. 1372 Overton Park. And now, realistically, The Great American Novel.



#7 Sweet PillWhere The Heart Is

Leave it to the greater Philadelphia area to come out with another one of those “where have you been all my life” bands. Where The Heart Is came out in May and I was maybe a little slow on the uptake at first but I’ve since made up for lost time. This band rules. This album rules. It’s poppy (in a good way, not a cheesy overproduced way) but it’s also super intense melodic hardcore and it fills a lot of gaps in my catalog that I didn’t know existed.



#6 Mercy UnionWhite Tiger

Whether through The Scandals or his solo career or now Mercy Union, we’ve been big fans of Jared Hart’s musical output since the earliest days of Dying Scene. White Tiger raises the bar on that previous output in every possible way (in no small part due to the noted presence of fellow scene vets Rocky Catanese and Nick Jorgensen and, in his last appearance on a Mercy Union record, Benny Horowitz). Much like the Sweet Pill record above, it fills a gap in the record catalog that you didn’t necessarily know existed, blending a sort of Americana rock with hook-infused late-90s alternative rock. A wonderful amalgam of styles and big swirling guitars and vocal harmonies for days.



#5 The InterruptersIn The Wild

Okay so I know that the idea of scene vets putting out their best work this deep into their respective careers is a bit of a recurring theme twenty albums deep into this list, but this might be the best example of that yet. You’d think that writing and recording the album from the comforts of your own garage/practice space/studio might make you develop lazy habits, but on In The Wild, The Interrupters managed to pull off an album that remains true to the band’s stylistic roots but does everything better. It doesn’t hurt that Aimee wrote her most personal – and powerful – songs to date.



#4 Hot Water MusicFeel The Void

Yet another dynamite album that found a group of veterans having to switch up their normal processes during quarantine and having the results bear serious fruit. Hot Water Music reconnected with producer Brian McTernan (whose own band, Be Well, put out my favorite EP of the year, Hello Sun) for their first full-length since Chris Cresswell joined the ranks and turned the forever four-piece into a five-piece. Hot Water Music have expanded their sound in myriad ways over the years, and on Feel The Void, it sounds like they’re still having fun doing so.



#3 Kayleigh GoldsworthyLearning To Be Happy

If I weren’t using the base ten number system, this album might actually be #1a or 1b. If you’ve been a fan of the punk and punk-adjacent scenes at any point over the last, say, decade, you know doubt know Kayleigh Goldsworthy from her Revival Tour spots or for filling out the sound in Dave Hause and the Mermaid for a while or for Frank Iero and the Future Violents or with Bayside or with Kevin Devine, and she’s a wonderfully talented addition to each and every project she joins. But all of that glosses over the fact that she’s also been a powerhouse songwriter in her own right for a long time, and that shines as bright and as focused as ever on Learning To Be Happy. It’s honest and it’s melancholy but it doesn’t wallow in the dark parts, but it instead cherishes the bright parts and life’s harmonies. Opening track “Losing My Mind” is probably my favorite song of the year, and “Little Ghost” and “You’re Good” aren’t far behind. Probably should have actually reviewed this album when it came out so I didn’t have to spend 500 words extolling its virtues at the end of the year.



#2 Cory BrananWhen I Go I Ghost

It’s been just about 20 years since Lucero’s “Tears Don’t Matter Much” was released; in it, Ben Nichols states emphatically that “Cory Branan‘s got an evil streak / and a way with words that’ll bring you to your knees.” I’m not sure that’s ever been more true than it is on When I Go I Ghost. The haunting parts are more haunting; the evil parts are more sinister (see “The Pocket Of God,”) and the rare occasions where he’s writing about his on life (see “That Look I Lost”) are gut-punches, albeit with Memphis horns to lighten up the mood. Read our recent interview with Cory here.



#1 The FlatlinersNew Ruin

Okay, so we’ve reached the pinnacle. Numero uno. The Album Of The Year (AOTY if you’re nasty). It of course belongs to none other than The Flatliners. The Flats’ career arc has been really impressive to behold. From starting out as upstroke-infused punk rock whippersnappers to signing to Fat Wreck and sharpening their teeth in the process for a series of increasingly caustic, anthem-driven albums, to the stylistic left-hand turn that was Inviting Light to the absolute kick-in-the-teeth that is New Ruin right from the time you drop the needle on track one. More than two decades into their career, Canada’s finest are as sharp and focused and targeted as ever, and have another benchmark album to show for it.


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Dying Scene Resurrection Show – Lowell, MA

The second installment of Dying Scene’s ‘Resurrection’ shows took place on Friday, June 10th, at Thirsty First in the blue-collar mill town of Lowell, Massachusetts. Lowell native Kevin Stevenson kicked off the evening’s festivities. One of Stevenson’s many bands, the locally-beloved The Shods, kicked off a handful of the very first shows I went to […]

The second installment of Dying Scene’s ‘Resurrection’ shows took place on Friday, June 10th, at Thirsty First in the blue-collar mill town of Lowell, Massachusetts.


Lowell native Kevin Stevenson kicked off the evening’s festivities. One of Stevenson’s many bands, the locally-beloved The Shods, kicked off a handful of the very first shows I went to in my days as a teenage punk rocker, including a memorable set at the Mighty Mighty Bosstones‘ Hometown Throwdown in 1996, so it was a pretty special moment to have him get things started on this night. Bonus points for the Elvis Costello cover – complete with requisite wide-rimmed spectacles!


Next up were Stereo Vulture, who also hail from a little bit farther down the Merrimack River Valley in Haverhill. All four are longtime scene vets, so you’d never know that it was only their fourth show as a unit. Their sound is a combination of hardcore and old-school punk and good, old-fashioned rock-and-roll, and feels right at home in a gritty, working class bar.


The show was running a little ahead of schedule (I know, right?! A punk rock show ahead of schedule?!) so who better to help fill a little air time than longtime radio man and veteran of the local hip-hop and rock scenes D-Tension, appearing in this format with his Secret Rock & Roll Band. He’s got stories for days, and did well to weave them through an eclectic mix of danceable, sing-alongable rock tunes backed by a band that borders on virtuosic.

DNZL played the evening’s penultimate set, and to call it a barn-burner would be to put it mildly. For the uninitiated, the four-piece are a hardcore/thrash outfit from the Boston area who play songs inspired by the cinematic oeuvre of a certain actor with whom they share a name. They’ve got songs called “Blue Magic” and “Remember The Titans” and “Book Of Eli,” if you still need a hint… ANYWAY, frontman Mel Allington and crew wasted no time in getting the show-goers whipped up into the first “pit” of the night. It was also a bit of a monumental occasion, as it was DNZL’s last show for the foreseeable future, as Allington is moving to the Pacific Northwest (and, in fact, has probably already moved by the time you’re reading this). Hopefully the scene won’t be without him long, as he’s got the kind of dynamic presence we certainly need.

Longtime Boston scene veteran – dare we say ‘legend’? – Lenny Lashley closed out the show under his Lenny Lashley’s Gang Of One moniker. One of the beautiful things about Lenny’s Gang Of One project is that you never really know what the makeup of the band will be. It might be Lenny playing solo acoustic, it might be Lenny with a pedal steel player, hell, it might be Lenny with former Street Dogs bandmates Pete Sosa and Johnny Rioux. In what’s at least the seventh or eighth different lineup I’ve seen over the years, this particular night found Lashley and his beautiful Gretsch Black Falcon fully plugged in, backed by a rhythm section of the mighty Jonathan Ulman (drums) and John Sheeran (bass) with Tom West on keys. Lenny’s been around a long time and his reputation as an honest and hard-working songwriter and supportive member of the scene has won him favor with a wide cross-section of individuals; see the on-stage shoutout from DNZL’s Mel Arrington and the presence of Gang Green great Chris Doherty in attendance as proof.

A fun night was certainly had by all – especially by the guest tambourine player! Thanks to everyone who came out to celebrate the relaunch of Dying Scene. It certainly felt like the hot and sweaty and diverse and positive sort of night that made us remember why we fell in love with this scene in the first place! Check out more photos below!

*If you’re interested in donating to our cause but couldn’t make it out to one of our shows, you can send your extra dollars and cents to paypal.me/dyingscene!

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Lenny Lashleys Gang Of One

There’s no question about it: Lenny Lashley is an institution in New England. Whether appearing as part of a band or as a solo artist, the power of his songwriting connects with audiences from Boston to all corners of the globe.

Turning his eye to both the injustices of the world and personal struggles closer to home, it is his honesty, compassion, and humanity that never fail to shine through and connect deeply with people.