Story and Photography by Meredith Goldberg Back on July 25th, La Armada kicked off a mini tour in Chicago at The Burlington in support of its most recent record, Anti-Colonial Vol. 2. I caught up with founding member, and guitarist, Paúl Rivera, after the show to discuss, influences, legacies, and what drives them musically and otherwise. La […]
Story and Photography by Meredith Goldberg
Back on July 25th, La Armada kicked off a mini tour in Chicago at The Burlington in support of its most recent record, Anti-Colonial Vol. 2. I caught up with founding member, and guitarist, Paúl Rivera, after the show to discuss, influences, legacies, and what drives them musically and otherwise.
La Armada was first formed in 2001 by grade school friends in the Dominican Republic: guitarist Jonathan Salazar, guitarist Paúl Rivera, bassist Mani Marte, and drummer Eric Urrea. Casper Torres has been on vocals for the group for a decade and is from Puerto Rico. “We have been going to play shows in Puerto Rico pretty much since we were 14 or 15 years old, so we all knew each other and grew up as friends,” says guitarist Paúl Rivera.
“We discovered punk, hardcore and metal pretty much in the mid 90’s when internet service became available in the Dominican Republic. Metal is more known in the DR, and we enjoyed it but never really identified with the lyrics and imagery.”
Rivera continues, “Punk came more natural because we were feeling a lot of the same discontent they would be singing about, especially because during that time we were on the tail end of a dictatorship state and on route to a Neo-liberal pseudo dictatorship.”
Growing up in the DR, the band members were exposed to music at very young ages. “Music is always around in the Caribbean. Our first form of musical love was what was around, merengue, salsa, and Bachata. But once we discovered Spanish punk, American metal, and so on that’s when it became an obsession. “
However, that obsession did not cause the band to entirely separate from the music of its native region. Rather, it fused the multiple genres to create its own unique sound.
“When you are young and on the island you kinda rebel against the music your parents listened to, when you grow up and become an immigrant there is a yearning for it and those are the rhythms we try and incorporate into the heavy genres we participate in.”
While La Armada has always had much to say with its music, Rivera notes the group has one strong, recurring theme, “Anti-Colonialism. Which we explain is just not in the historical context of large nations extracting the wealth of the global south. We also lump up what we call “neocolonialism” into this motto, which we define as all external forces that have an influence over masses of people, like news, information, social media, ads, product placements, etc.
Rivera adds: “A lot of these things are destroying our sense of worth, the environment and each other, but we consume it daily because it’s wrapped up as entertainment. It’s hard to know right now what is more dangerous, the physical or the digital sword.”
I also asked Rivera what are some of the bands and sounds most influential, to La Armada. “Musically it’s all over the place. Spanish Punk rock like La Polla, Escuela de Odio, and more. American Hardcore like Bad Brains and Sick of it All, the island music we grew up with like merengue and bachata. Canadian, melodic Punk like Propagandhi, classic metal bands. And on and on.”
Turning to the way the band operates, Rivera says, “As a band model, we take a lot from the DIY hip hop scene. Limited Merch drops, live sampling, owning your own masters, etc.”
From Burlington Bar’s stage, band members spoke repeatedly about pursuing your art and how artists need to really go after it. Rivera expanded on that post-show.
“We’re just at point where we’ve been doing this for so long and are now in our mid and late 30’s that anything other than being the absolute best version of the band wouldn’t be worth it.”
He also noted, “As a small, DIY band that literally carves out any traction or momentum against all odds, we have made our peace with just putting the work in and trusting that the rest will take care of itself.”
Rivera explains, “Basically, if we’re going to do something, we are really going to go for it. Otherwise, none of us really have time for hobbies. For example, our album roll out consisted of 6 singles, 5 music videos and different pieces of visual art. All made in collaboration with artists from the Caribbean diaspora across the world. That was a big effort, but that was the only way we were going to do it. All or nothing.”
Of course, La Armada found itself affected by the pandemic. Rivera addresses this:
“First off, we were lucky that everyone remained healthy, employed and nobody had immediate family affected by it. However, artistically it was rough. We were used to being on tour for 3 to 4 months out of the year and all of a sudden that was taken away from us. It felt like you lost your identity.”
He continues, “We were also planning on heading back out on some tours that coincided when COVID first hit so, we got left holding a bill for goods we had purchased for tour, which also completely sucked.”
Rivera recognizes that despite difficulties, the group members might have been luckier than many others.
“A lot of bands and artists went through the same and much worse situations. Somehow, we made it to the other side and are now able to look at things differently, as in, simply doing the work is the reward.”
That work includes the new La Armada record.
“Our new record is Anti-Colonial Vol. 2 – It is the follow up to 2017’s Vol. 1. We wrote it and recorded it during the pandemic in 3 different spurts at the studio because things kept getting canceled because of Covid protocols.”
Still, Rivera stresses the importance of remaining positive:
“It was a difficult time to do art, but it was the only way to keep the band going and maintain some sense of inspiration going.”
The band has played sporadically thus far in 2022. “This year we had our Chicago release show in February, a weekend in the Midwest in March and now are now touring again in longer spurts.”
The “longer spurts“ began with this particular night at Burlington Bar, where family, friends and fans wished them safe travels and hopes for a good time out on the road.
That road will take them across North America. “We are first doing the eastern US and Canada for 3 weeks during August, then we take a 3-week break and follow that up with 3 more weeks out west for shows with Propagandhi, Tørsö, and headliners of our own.”
In 2001, I moved to the Northern English city of Leeds, in part because of the live music venue, The Cockpit. This small venue put on all my favourite bands of the time, and had a long history of putting on great live music. I worked in another venue in the city on weekends, so […]
In 2001, I moved to the Northern English city of Leeds, in part because of the live music venue, The Cockpit. This small venue put on all my favourite bands of the time, and had a long history of putting on great live music. I worked in another venue in the city on weekends, so Tuesday night was my big night out, and Tuesday nights were Slam Dunk at The Cockpit. A solid mix of ska punk, pop punk, emo, rock, metal and whatever else alternative kids were listening to in the early 2000’s.
So here I am, 21 years later. The Cockpit has long since shut down and whilst the Slam Dunk Club Night plays on at its new home, the Key Club, it’s the festival that I am at today. Now held across two cities with more than 50 bands, across five stages, things have really grown from that two room sweaty Tuesday night under a railway arch.
The lineup covers a wide range of punk and alternative music, but because I’m old and stuck in my ways, I’m mostly staying at the Dickies stage, which is the main stage this year, hosting The Suicide Machines, The Bronx, Hot Water Music, The Vandals, Streetlight Manifesto, Pennywise, The Interrupters, The Dropkick Murphy’s and headliners Sum 41.
I’d originally bought tickets on the basis that Rancid were headlining, but they pulled out for undisclosed reasons. Then support from the Mighty Mighty Bosstones collapsed along with the band. Things were looking bleak, and I actually looked into selling my ticket, only to have two of my close friends and original Slam Dunk allies to buy tickets, so it was to be a big day out for us old guys.
The venue for the festival is Temple Newsam House. For further personal historic links, this was the site of the first music festival I ever went to (V98), and a big part of my musical taste was formed in these park lands. The benefit of this location for me is that it is close to home, the downside is that it still takes an hour and a half to get in, as traffic is not well managed and everything is already getting expensive (£10 to park in a field, £10 for a bus), I’d planned to ride my bike to the event, but for three of us, that didn’t make much sense.
Inside the arena, the stages are far enough apart that there is little noise mix from bands and practicalities like bars, toilets and food concessions are plentiful, the addition of a separate “real ale” bar was a pleasant surprise, and I managed to spend an impressive amount in this tent after and before every band. The tent also provides some welcome shade from the unexpected sun that I was totally unprepared for!
So, on to the music…
Hot Water Music, a band that I’ve discovered backwards through Chuck Ragan’s solo work, come out impassioned and full of energy, although the crowd are a little flat with it being an early set. Despite this we get a solid effort from the band, though possibly things are held back a little by a lack of catchy hooks and sing along choruses in the songs performed. Finishing with “Trusty Chords” gets the crowd interested from hearing a song they know. Whether they know the song from Epitaph‘s Punk-o-Rama compilation, or it’s just a favourite is hard to say, but in a pre-internet world, compilations from Independent punk labels are how a lot of us discovered new bands, especially those that didn’t tour the small northern venues like the Cockpit!
A quick trip to the bar revealed the sound of Punk Rock Factory carrying on the wind from the Rock Sound Stage. I was familiar with the band from their Youtube videos of punked up, harmonized pop covers, and as a father of small children, I found myself singing along to “Let It Go”, whilst appropriately stood at a urinal. If I have to play Disney songs on long journeys, then at least they can have crushing guitars as well, and hopefully, like some kind of gateway drug, this leads my kids down the path of home made tattoos and living in a van (or some other punk cliché).
The Vandals took to the stage with a not too reassuring “We’ll do our best”, and whilst I appreciate their honesty and openness, first song “Café 405”, is out of time and out of tune.
Three songs in, things are starting to tighten up, “People That Are Going To Hell” gets people moving a little, but on the whole, the crowd remain static. “And Now We Dance” raises the energy, “The New You” keeps it going, but there’s just not enough there to hold the attention of the majority of the crowd. My friends desert me to hit the real ale bar, I hate myself for giving up on the mighty Vandals, but cold beer and the Cancer Bats on the Jagermeister stage lure me away. I’m not massively familiar with the Cancer Bats, but the wall of noise, that I could feel through the ground and see vibrating through my pint has led me to listen to more of their back catalogue.
I had a dream the night before Slam Dunk that I took all my family to see Streetlight Manifesto, but instead of their usual set list, they played a really challenging, four hour Jazz set, stopping only to enjoy a sit down meal, where they served soup from tea pots. I was trying desperately to convince my family that really, they’re a great band, whilst simultaneously enjoying the weird spectacle.
Fortunately, there’s no Jazz today as Streetlight Manifesto, a later addition to the bill, take to the stage. There’s a clear sense of excitement in the crowd as the eight piece tear through classic hits “We Will Fall Together” and “The Three Of Us” along with lesser known tracks with a level of energy normally reserved for headline shows. The crowd sings along, dances, moshes; it’s a perfect blend of everything you want on a summers day. The only slight letdown is Tomas Kalnoky shouting “this is the big finish!” and then promptly not playing “Keasbey Nights.” I get the reasons, and I support them in letting go of a song that doesn’t really represent the band, but for many in the crowd it’s the song they came to hear and there’s visible confusion as the band leave the stage, though encores aren’t really a thing at 16:30 on a festival stage are they?
I last saw Pennywise in 1999. So its been a while. Late last year I read Jim Lindberg’s book “Punk Rock Dad,” which renewed my interest in the band, so I’m excited to see this set, and if the number of Pennywise T-shirts I’m seeing are anything to go by, so are the crowd.
From the get go, the band are on full attack. There’s no sign of age in the band and the crowd are loving it. Covers of AC/DC’s “TNT” and “Breed” by Nirvana continues the energy. Early songs “Pennywise” and “Society” lead to Lindberg lamenting to having been “doing this for thirty years,” but it’s not slowing them down.
The crowd holds middle fingers aloft for “Fuck Authority,” and whilst it feels cheesy, a load of middle aged men swearing at the sky, its kind of cathartic, and hey, it’s a great song! Who doesn’t enjoy feeling like an angry teenager (teenagers maybe?).
A cover of “Stand By Me,” which closed 1992 album Wild Card/ A Word From The ‘Wise surprised me, as I was certain it was Lagwagon, so I learned something important today if nothing else.
Set closer “Bro-Hymn” has exactly the effect you’d expect. Huge “wooahs” from the crowd, that epic bass riff and impassioned singing along. Obviously it’s a great song, but I think it hits harder now, after the last few years and I think everyone can take some strength from this song and apply it to someone they’ve lost.
The Interrupters carry a strange position in my mind. I love their songs, they’re great live, but there’s just something not quite right. Something doesn’t sit right with me, and I hate myself for being so negative, but its all a bit too clean cut for me. Like it’s the soundtrack to Disney film where some hopelessly good looking, talented young people form a ska punk band and take over the world with a weird crusty mentor behind them (Called Tim?).
Opener “Take Back the Power” feels stronger than normal. Maybe its that they’re more established, or maybe my cynicism is fading? Either way I enjoy it for what it is, well polished, perfectly-performed ska pop-punk.
Ignoring a weird segue about how they all used to bathe together… “She got arrested” gets a great crowd sing along, and is probably my favourite of their songs, not least as it was my introduction to the band back in 2017 and a great example of the quality story telling in the lyrics of some of their songs.
A cover medley of “Keep ‘Em Separated”/ “Linoleum”/ “Ruby Soho” gets the crowd going before surprise high point for me, a cover of Bad Religion‘s “Sorrow,” which goes down well with the crowd (For reference Bad Religion played Slam Dunk in 2019, as did the Interrupters).
The band finishes with “She’s Kerosene,” keeping the party going, the crowd moving and generally capturing the moment nicely. People are drunk, its sunny, the people want to dance and the Interrupters deliver.
The Dropkick Murphys take to a stage with a full length riser, done out to look like a stone wall, but there is a notable absence. Al Barr, it is announced, has stayed home to care for his sick mother. Ken Casey steps up for lead vocal duties and the evening begins with the sound of bagpipes on the cool evening breeze.
“State of Massachusetts” gets the kind of crowd reaction you’d expect from a classic pop hit or a song about Yorkshire, such passion for such a challenging subject is strange, but hey, it’s a great song and the drunk, bouncy, dancey crowd are loving it.
“Barroom Hero” is introduced as the first song the band ever wrote, which is a bit of trivia I didn’t know, but I remember it from way back in the 90s, so I guess that makes sense. The crowd offer weak “Oi! Oi! Oi!” effort which is a disappointment, maybe the crowd aren’t as au fait with shouting Oi! as I’d like? Though I accept my drive to shout “Oi!” is probably higher than most.
The slip up begins with the instruction to sing along to the 1937 hit “I’ve Still Got Ninety-Nine” by the Monroe Brothers, which although an undeniably good song, probably isn’t too familiar to the crowd today. On the upside, we’re promised an acoustic album in September, which is one to look out for. Whether it’s new material or reimagined classics has not been confirmed, but hopefully there will be an associated tour.
“Rose Tattoo” brings the sing along from the crowd, but lacks the momentum to get the crowd moving. This is exacerbated by the big screen showing bored, static faces in the crowd for the first time. Fortunately, “I’m Shipping Up To Boston” brings the party back before the end of the set. I’ve never seen such passion for a missing wooden leg, as the crowd goes nuts, with crowd surfers from all directions riding above the waves of the crowd. All parties appear to have legs intact, so that’s good.
Headliners Sum-41 were a bit of a quandary for me. The first album was an important soundtrack to my late teens/ early 20s and I saw them play in Leeds twice in 2002, but I haven’t listened to their music since Does This Look Infected from the same year.
A bit of pre-show research suggested they have had seven further releases, including 2019s Order In Decline, but in the spirit of openness, I’ve not felt inspired to check these out.
The band come out to a stage with blood-soaked Marshall speaker cabinets, a giant skull, jets of fire and “Motivation” from the first album, All Killer, No Filler. More people than I expected are really into it, though competition with Deaf Havana and the Nova Twins is limited and the other stages have closed.
The stage is set for a night of big rock and I’d like to say I invested more effort into rediscovering Sum 41, but too much sun, too much beer and a designated driver who wanted to beat the traffic meant we made an early exit.
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…
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!”
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?
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”?
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.
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?
Justin: For sure.
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…”
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…
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.
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.
If you saw my last gallery on Frank Turner, The Bronx and Pet Needs, I was quoted as saying, “[The Bronx] may very well be my favorite live band”. Well I lied … kind of. I forgot about a group of ska-loving punk rockers from Gainesville that played a pivotal role in my musical upbringing. […]
If you saw my last gallery on Frank Turner, The Bronx and Pet Needs, I was quoted as saying, “[The Bronx] may very well be my favorite live band”. Well I lied … kind of. I forgot about a group of ska-loving punk rockers from Gainesville that played a pivotal role in my musical upbringing. I’m not gonna say that the Less Than Jake dudes’ performance topped that of the LA guys in the Bronx, but I’m content having a two-way tie for first on the list of ‘Nathan’s Favorite Live Bands’.
This was a fun show. It’d been almost five years since my last LTJ show, that one being across town at the Mercy Lounge with the Red City Radio boys. This was my first encounter with Doll Skin and Cliff Diver (both of which I mentally labeled as ‘will see again’), and although I am very familiar with Bowling for Soup from my early days of investigating pop-punk, I had never caught a live show of theirs either. So other than reacquainting myself with Less Than Jake’s live set, this was an evening of firsts.
What stuck out most from Doll Skin‘s performance was the sheer chaos and havoc that lead singer Sydney Dolezal rendered during their set. The images here do little justice as an accurate portrayal of the set’s intensity. They are one of few opening bands that I’ve seen that achieve this level of crowd engagement and attentiveness, which speaks volumes about this band’s live show.
Cliff Diver was an excellent opener for the two headliners because their style was a mix of what drew fans of both headliners to the show. They had the early 2000s pop-punk sound that fans of BFS would love. On the other hand, at times they also had a more traditional ska-punk sound that those who came for LTJ could appreciate.
And one other thing … man, can Briana Wright sing!
There seemed a clear division among those attending that I somewhat alluded to earlier. You had those attending for Less Than Jake (the crowd I would lump myself in with), and those who came for Bowling for Soup, and there was not much overlap between the two groups. Between LTJ’s set and BFS’s, the crowd huddled up near the stage was an entire new set of faces.
Although BFS’s glory days may seem to be in the past, these dudes can still hold their own and there’s still a pretty large group of followers who all still have the same question: Are they bowling in order to earn soup, or on behalf of soup?
There’s not much I can write here other than if you haven’t caught the Less Than Jake guys live, you’re probably in the minority of readers of this site, and you need to see them immediately. I’ve seen bands where their stage antics are gimmicky and their humor distasteful, but what could possibly be gimmicky about a damn toilet paper cannon?
In all truthfulness, you could see the sincerity of the performance from each and every member on stage. They were all genuinely having the time of their life up there.
As always, your time and attention here are very much appreciated. Check out all these rad bands, and I’ll have more galleries up in the coming weeks. Until next time, cheers!
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 Tigerhere or get it wherever you buy your digital music!
Camp Cope has long considered Philadelphia to be their home away from home, so when lead singer Georgia Maq greeted the crowd at Union Transfer on Friday night with the exclamation, “It feels so good to be in my favorite city in the entire world!” it wasn’t hard to believe that she was being totally […]
Camp Cope has long considered Philadelphia to be their home away from home, so when lead singer Georgia Maq greeted the crowd at Union Transfer on Friday night with the exclamation, “It feels so good to be in my favorite city in the entire world!” it wasn’t hard to believe that she was being totally sincere. The Australian group was accepted as one of Philly’s own going back to their debut in the City of Brotherly Love at the old Balcony Bar just about 5 years ago to the day. Philly’s vibrant and accepting indie/punk scene is extremely female/LGBTQ-centric and Camp Cope has always been considered one of the gang. It’s with this in mind that I am always willing to make the hour and a half drive down the NJ Turnpike from NY to catch them in Philly.
A lot of water has flowed under the bridge since I last saw Camp Cope at The Church (AKA First Unitarian Church) back in 2019. With that in mind, the current version of the band which graced the stage at Union Transfer was somewhat different from what we last saw 3 years ago. They released a new album earlier in the year and Running With The Hurricane is somewhat of a departure for the band. Of course there’s still precocious Georgia and the backbone of the group, Sarah (Thom Thom) Thompson behind the drum kit but for the album, they added a second guitar and for this tour they’ve added Jenny Aslett to the mix. And then there’s the absence of Kelly-Dawn Helmrich on bass who couldn’t make this trip due to her expecting her firstborn relatively soon. Kelly’s role as bass player extraordinaire is being filled by UK ex-pat and current Philadelphia denizen, Lou Hanman of All Away Lou (amongst a multitude of other bands).
Having seen their show a couple of days earlier at Webster Hall in NYC, I already knew what would be in store as far as the new lineup was concerned. Their set started off with an early single, “Keep Growing” which the band would eventually include on a 4 song split they did with the now disbanded Philly group, Cayetana. With the lyrics:
I’ll keep growing my hair out
It’s not for you
Oh no, it’s not for you
No, it’s not for you
While the song might have been at the time a direct response to a romance gone wrong, it seems that on this tour, Georgia and Camp Cope are doing their own thing, they’re not the same group from 5 years ago and these imminent and obvious changes aren’t for the public but instead for them. They’re growing as a group (both literally and figuratively) because they need to. The need to avoid inertia and stagnation is first and foremost a priority for the group.
Next up was “Jealous” from the new album. This one started out pretty slow with Georgia singing almost dirge-like over Lou’s rolling bassline riffs. That is until the chorus where Georgia’s vocals take off. After experiencing vocal issues a couple of years ago and subsequently having surgery to repair the problem, her voice is back better than ever. With a range much more diverse than before, she is now hitting notes and killing them…killing them in a very good way.
The third song of the evening was another older one, “How To Socialize and Make Friends”, the title track from their incredible sophomore album. A bouncing rocker and crowd favorite, this one would have the crowd swaying and dancing and singing right along with Maq as she danced and swirled all over the stage in not much more than a t-shirt and sandals, eventually kicking off her shoes saying “shoes…they’re so fucking stupid”.
We then got a stretch of new songs from Hurricane to which the crowd was already quite familiar, singing and dancing throughout. At some point during this set of new material, Georgia expressed how sorry she and the band were for the “fucked up things your country is putting you through”. Going on she explained how they were raising money on this tour for reproductive and female rights. This would be an ongoing topic throughout the evening, not at all surprisingly.
Two of the new songs which stood out during this section of the show were “Caroline” and the album’s first single “Blue”. On the album, “Caroline” is sung quite slowly but here Georgia took the bouncy, yet subtle bass riff that plays throughout and interpreted the lyrics with that same bounce, picking up the pace of the song, making it much more of a jaunt than what we hear on the album.
As far “Blue” is concerned, they played it pretty straight up relative to the recorded version. But what struck me was the vocal work on the song. As I’ve said already, Georgia’s voice is sounding superb on this tour and on this song particularly she gets to show it off glowingly. Furthermore, we are treated to something we’ve never had before as far as live Camp Cope is concerned, background vocals. With the addition of Jenny and Lou, the extra vocals only accentuate the power and beauty of Georgia’s pipes.
I guess this might be as good a place as any to mention the unbridled triumph which Lou Hanman is on bass. Kelly’s style of playing bass as almost a lead instrument rather than a rhythm instrument is not at all typical. Matter of factly, off the top of my head, the only other player who does it is Peter Hook of Joy Division/New Order fame. Well, Lou has managed to step into the band and absolutely nail it. While I’m not at all surprised she was able to fill Kelly’s role, but the ease and comfort to which she’s accomplished it blows my mind.
Finishing off the evening’s set were two absolute gems. First, was the title track from the new one, “Running With The Hurricane”, a rollicking freewheeling song that reaches anthemic levels as Georgia pranced throughout the stage shouting the title and main lyric.
And to close things out, the band jumped into what might be one of the most scathing FU songs of all time. Part jilted lover breakup song and part I’m so sick of the patriarchal music biz bullshit, the song oozes with male loathing. And on Friday night Georgia spewed that loathing with an absolute vengeance. The beauty of it all, however, was and is that here was Camp Cope, having just gotten back from a triumphant set at Pitchfork, here was Camp Cope playing Union Transfer in Philly, a steady upward progression from The Balcony Bar to Philly MOCA to The Church and now UT.
Camp Cope killed it in Philly and continues to kill it almost everywhere they go despite all those naysayers who told them along the way to book a smaller venue.
Swipe through below to see more pictures from the triumphant event!
Despite being British, I never really bonded with UK punk music when I was younger. It wasn’t my sound, it wasn’t my history. To me The Pistols were a cliché of what punk was meant to be and I never truly invested in the growing British punk scene, favouring more accessible American bands over local […]
Despite being British, I never really bonded with UK punk music when I was younger. It wasn’t my sound, it wasn’t my history. To me The Pistols were a cliché of what punk was meant to be and I never truly invested in the growing British punk scene, favouring more accessible American bands over local heroes, much to my detriment.
Gimp Fist though. Gimp? Fist? Those two words alone make me a little uncomfortable, together they make a threat of something quite unpleasant, and naïvely the name makes me think this is something I should avoid, but the singer in my band has several Gimp Fist T-shirts so I persevere, and through perseverance we find strength, as despite the name, Gimp Fist truly are a hidden gem of British street punk.
Isolation is the eighth album from Gimp Fist. Over fifteen tracks they show no indication of slowing down, and whilst its immediately recognisable as Gimp Fist, there’s no negativity in being more of the same. No prizes for guessing the inspiration for the title, this being the first album since 2019’s Blood, but the band haven’t been resting, playing all over the country, a slot on the “…Calling” one day festival with the Ruts DC and eight other bands, that travels the UK and an upcoming set at the huge four day punk festival, Rebellion.
Jonny, Mike and Chris have a solid reputation for producing sing along, working class anthems across their back catalogue and are well regarded by all who see them. Having seen the band perform numerous times I’m well aware of the energy they carry, but it was seeing singer Jonny perform solo that really caught my attention to the strength of the song writing behind the music. The driving bass and drums of the full band just pushes this forward harder.
The opening track, “Ambition” starts with a stern telling off from an embittered wife before exploding into a clear statement of the bands feeling around any criticism of lack of drive or determination, and who doesn’t enjoy singing along with a hearty “I don’t give a fuck”? This one really sets the tone for the rest of the album. The anger of earlier Gimp Fist is still there, still presented with sing along choruses, and a surprisingly big sound for a three piece, but the anger feels more personal, more targeted. I’d hate to be on the receiving end of singer Jonny’s pen at the moment.
The next few songs continue in a similar vein, with sing/shout along chorus, lyrics touching on injustice, identity and integrity in the manner that Gimp Fist fans will be used to. “Fuel To The Fire” brings a big solo, and bigger sound, fit for the larger venues the trio find themselves playing.
The very next song “Skinhead Heart” follows the tradition of setting out the staples of skinhead punk imagery in song, but in a mocking manner, for the unnamed skin with “all the gear, but no idea”.
Though there is nothing particularly new to the songs on this album, that is not a bad thing in of itself. Street punk is hardly a genre open to evolution, development or change. What Gimp Fist provides, is more of what the fans want, keeping the genre alive and making accessible, enjoyable and memorable music for punks everywhere.
Album closer, “Bring on the Good Times” feels like an optimistic end to isolation, lockdown and the nightmare of the last few years, let’s hope things keep getting better, both for the band and for everyone.
I don’t normally start album reviews this way but I thought it was maybe sort of important to mention this time that I am, for the record, a big Mercy Union fan and supporter. I’ve known frontman Jared Hart for a long time and have been a fan of his solo work and his Scandals […]
I don’t normally start album reviews this way but I thought it was maybe sort of important to mention this time that I am, for the record, a big Mercy Union fan and supporter. I’ve known frontman Jared Hart for a long time and have been a fan of his solo work and his Scandals work and of sideman Rocky Catanese and his various projects (remember Let Me Run?!?) for quite literally as long as I’ve been involved with Dying Scene, which is to say well over a decade. I was at Mercy Union’s first show billed as Mercy Union (October 2017 supporting Racquet Club at Middle East in Cambridge, MA, if you were wondering) and I was at Mercy Union’s last show before Covid-19 forced us inside for a few years (at O’Brien’s in Boston in March 2020 with Secret Spirit and the Nightblinders and Coffin Salesmen if you were wondering, which I’m sure you weren’t because this is a record review and a not a list of “shows Jay has been too).
ANYWAY, all that is to say that I like Mercy Union a lot. And yet, because I’m a professional (lol) journalist with at least some modicum of integrity (not lol, I actually like to think this latter part is true) I tried to take a 30,000-foot view of the new Mercy Union album and put my personal thoughts about the band aside and listen to it objectively. And so I fired it up on the good speakers in my car went for a drive and about halfway through the album, I got so into the music and the sounds and the textures that I quite honestly got lost, having blown way past my destination. White Tiger is great, kids. Really, really great.
The band’s 2018 debut, The Quarry, laid at least a bare framework of 1990s alternative rock influences through a filter of New Jersey punk sensibility, but White Tiger surpasses it on almost every level. White Tiger, the band’s second full-length, puts any fears about a sophomore slump to bed pretty much from the opening notes of album opener “1998.” It’s an uptempo table setter with swirling guitar riffs and a giant, singalong chorus that combine to serve as an instant revelation that whatever extra time the band spent crafting this album during the doldrums brought on by a global pandemic was put to extremely good use.
The soundscape on White Tiger is both sprawling and crystal clear, and while Hart may the songwriting spearhead, it very much sounds like a collaborative, full-band record (which is not to say that The Quarry wasn’t, necessarily, but when you’ve got multiple accomplished songwriters combining forces in a newer project it’s only natural for some songs to sound like they belong to each individual songwriter rather than “the band.” Hell, The Clash very clearly has Joe songs and Mick songs and Paul songs…but I digress). Even “Basements,” which is a track with roots that extend back to Hart’s 2015 Past Lives & Pass Lines solo record is filled out with a full band treatment that creates an epic, massive feel that would have made the perfect springboard for a wonderfully cinematic video that would have been a staple on MTV back in the years when epic, cinematic videos were actually played on MTV. So, the mid-1990s.
Speaking as a child of the ’90s, there are some very clear throughlines on White Tiger that originate back in that time period, but not maybe in the way you’d expect for an album being covered on your favorite newly-relaunched punk rock website. There were a great many of us that cut our punk rock teeth on the Bad Religions and Rancids and Green Days and other Epitaph/Fat/Lookout bands of the day and who maybe didn’t outwardly state how much we also appreciated the parallel track that was modern alternative rock radio and it’s expertly-crafted, tight and melody-driven power pop goodness. Bands like Gin Blossoms and Soul Asylum and pre-“Iris” Goo Goo Dolls and post-Mats Westerberg and The Wallflowers. Admittedly, it wasn’t “cool” to profess your love for songs like “Counting Blue Cars” or “Desperately Wanting” or “Hey Jealousy” if you also had like a Dead Kennedy’s patch and a NOFX patch on your backpack, but I think those of us “of a certain age” long ago gave up on aspirations of being cool and now don’t mind publically citing our affinity for a well-crafted, mid-tempo, radio friendly, melody driven rock and roll song, and I’m here for it. And White Tiger has a lot of that in spades.
Lead single “Prussian Blue,” for example, is anchored by a fuzzed-out lead bassline from Jorgensen as the guitars weave textured layers of harmonics and swirling melodies, and it’s got a massive arena (or even amphitheater) rock-sounding bridge. “Be Honest” finds Catanese and Hart trading vocal duties, while “Jane Way” puts Catanese solely in the spotlight. the former of those songs…can we call it post-emo? Is that a thing or did I just make that up? It’s got a huge, almost gothic soundscape in the bridge. “Evergreen” could probably stand on its own just fine as a solo acoustic track, but it gradually adds soaring synth and keys and strings (many of which were arranged by the multi-talented Jorgensen) and Benny Horowitz’s massive drums (editor’s note: Horowitz played all of the drums on White Tiger before departing the band and returning to his, uh, full-time day job) and layered guitars all in a full crescendo by the last third of the song.
“The Weekend,” which comes right around the album’s halfway mark, is a track that caught me off guard. It spends the first few minutes as one of those radio-friendly, mid tempo rock songs with a chorus that trends more to the delicate side, before completely switching gears entirely at the halfway point with the riffs getting heavier and Horowitz’s drums in full-on attack mode. This is undoubtedly a standout track and is precisely the moment where I blew well past my exit on the aforementioned evening drive. Other songs, like “Redeye (EWR>SNA)” find Hart taking whatever restrictor plates were left off of his voice, letting it soar to heights we’ve only really ever heard teased before. It’s fair to say that he’s leaned into his voice both a songwriter and a vocalist now, and most of the hardcore-inspired gravel of his earlier works is now a thing of the past.
From a sonic perspective, there is a sort of mid-tempo sameness that serves as a groove that many of the tracks settle into. That’s not bad, necessarily, and the variety of textures, particularly when factoring in the guitars and occasional strings and blended voices keep any particular song from sounding too much like any other, either on the album or in the band’s arsenal. If there’s a song on White Tiger that will inspire high-energy punk-rock style crowd push-and-pull, it’s the singalong, call and response verses on “So Long, Siberia.” And that’s good. Because White Tiger, and really Mercy Union circa 2022 by extension, occupies a space in your record collection that nothing else really does.
Pre-orders for White Tiger are still available here.
Hello, and welcome to the latest installment of the Dying Scene Record Radar! If it’s your first time joining us, this is a weekly column where we cover all things punk rock vinyl. So kick off your shoes, grab a few beers, and break out those wallets, because it’s time to run through this week’s […]
Hello, and welcome to the latest installment of the Dying Scene Record Radar! If it’s your first time joining us, this is a weekly column where we cover all things punk rock vinyl. So kick off your shoes, grab a few beers, and break out those wallets, because it’s time to run through this week’s new releases and reissues. Let’s get into it!
Swedish punk veterans Millencolinhave announced a new LP compiling their first two demo tapes from 1993. Due out in early September, Goofy & Melack will be limited to 500 copies on black vinyl, and 240 copies on red vinyl. Preorder through their webstore starts Thursday, August 4th at 10am Eastern.
Anti-Flag just announced their 13th full-length album Lies They Tell Our Children. It’s due out on January 6th, 2023, and you can pre-order it now here. The record will feature guest appearances from members of Rise Against, Bad Religion, and a bunch of other bands. The cover art’s some avant garde bullshit, which is cool if you’re into that kinda thing. Check out the music video for the first single below.
Asbestos Records has repressed the venerable Against Me!‘s 2007 New Wave LP for the first time in six years. This one’s limited to 1,000 copies on split black/yellow vinyl. Head to the label’s webstore to get yours.
Availfrontman Tim Barry has announced a new solo album titled Spring Hill. This is due out on August 12th, and it sounds like the LP will be available to order the on same day. The “red cloud” variant pictured will only be available at a show he’s playing in Richmond, VA on Friday, August 5th (more details on that here).
Fat Wreck Chords has repressed Frenzal Rhomb‘s incredible Smoko at the Pet Food Factory. Fat doesn’t reveal their colored variants usually, but my super official sources tell me this is what this pressing looks like. Grab your copy here.
British melodic punks Darkojust announced a new EP titled Sparkle. It’s due out on October 21st, and you can preorder it here. The first single “Cruel to Be” is really good; check out the music video below!
Zia Records has a new exclusive variant of NOFX‘s Punk in Drublic, limited to to 500 copies on “Transparent Beer With Red Splatter” colored vinyl. Get it here.
New band alert!Bracket‘s Angelo Celli has a new project called Guilty Party and their debut 7″ Imposter Syndrome is coming out next month. Check out “Circling the Truth” below, and go here to get your preorder in. If you like Bracket, you will like this.
The Homeless Gospel Choir‘s 2020 album This Land Is Your Landfill just got repressed. There are two new variants, each limited to 250 copies. Go here to grab this one.
Now that all the cool stuff has been covered, here’s what I’ve been listening to… Saving money by not buying every new release has given me a chance to dig out some stuff I haven’t played in a while. First up this week was Much The Same‘s Quitters Never Win, a very underrated skate punk record that turns 20 years old next year. MxPx‘s The Ever Passing Moment from last year’s box set got some playing time, too. I also revisited one of my favorite Murderburgers records The 12 Habits of Highly Defective People, and Civil War Rust‘s fantastic debut LP The Fun & The Lonely.
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? Type “Record Radar” in the search bar at the top of the page!
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 Descendents‘ Everything 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.
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.
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.
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!