New Found Glory have announced the release date and track listing of ‘From The Screen To Your Stereo 3’. Due out May 3, 2019 via Hopeless Records, the album is the third installment of their movie cover records. They have also announced The From The Screen To Your Stereo To Your Town Tour!! They will be joined by Real Friends, The Early November and Doll Skin

Both the previous movie soundtrack covers by the band were a fun listen (especially the first one!). It will be interesting to see what they do with the familiar songs. Bassist Ian Grushka recently said on the ‘This Was The Scene‘ podcast that we can expect some guest vocals as well.

The track listing and tour dates can be found below.

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Allister have released ‘Twenty Years And Counting’ on Universal Japan. This ‘best of’ features songs from all of their albums along with four previously unreleased tracks. They have reworked the songs from their first three albums (released on Drive Thru) because they do not own the rights.

If you are fan, it’s really interesting to see what they have done to the old songs, there’s loads of extra guitar parts and some new harmonies. The new songs are sounding good too (notably Stay With Me and Back To Brookline).

It’s streaming on all music platforms, so go and have a listen if these guys were ever your bag!

Lenny Lashley’s latest solo artist under his Lenny Lashley’s Gang Of One moniker is due out in a couple weeks. It’s called All Are Welcome, and you can now listen to the second single, “Truth Or Blood.” It actually appears as the first song on side A of All Are Welcome, and provides an uptempo taste of what’s to come. Check it out here.

Also, pre-orders for the Pete Steinkopf-produced All Are Welcome are available now through Pirates Press Records; check out the myriad options (as well as some new, album-specific merch) right here. You can also pick much of it up on the upcoming Dropkick Murphys US tour, which finds Lashley backed by a full-band in a primary support role for his fellow Massachusetts brethren. Dates for that tour are here.

All Are Welcome is due out February 15th, and marks Lashley’s first solo album since 2013’s Illuminator, though he’s obviously been busy with Street Dogs and (The New) Darkbuster since then as well!

The legendary Bob Mould has got a brand-new solo album coming out in less than a week. It’s called Sunshine Rock, and it marks Mould’s thirteen studio album as a solo artist. The third sneak-peak we get from the album comes by way of a slightly long-form video for the track “Lost Faith,” which finds the songwriter a target of constant, increasing surveillance in his current home country of Germany. It’s pretty well done, if you ask us. Check it out below.

Sunshine Rock is due out February 8th on Merge Records. It marks his first release since 2016’s Patch The Sky.

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Dollar Signs, the Charlotte based folk-punk powerhouse, have released a short but very sweet EP of re-recorded tracks from their early days. I Need Some Space, released on January 18th, 2019, is only four tracks long, coming in at a tight less than 10 minutes, but is a little something anyone who hasn’t heard the band before should dive into.

Dollar Signs always bring this lively, humorous, and often painfully relatable energy and with I Need Some Space they just keep killing it. A mixture of pop-punk, the fun of ska, the melancholy of emo, all set to a depressive backdrop masked with a partying atmosphere. In a sonic sense Dollar Signs bring a pleasing sound, bringing new life to these old tracks. It’s hard not to bounce along to each and every track, even the slower more downbeat tracks have a decidedly Dollar Signs rhythm to them that makes them addictive.

It’s only four tracks, less than 10 minutes in all, but it’s a great way to dip a foot into Dollar Signs’ extended catalogue and check out some rad tunes from their earlier days. Whilst it’s only a new coat of paint to older tracks, it’s still good fun, and after the brilliance of their latest album This Will Haunt Me, going back to their earlier days to show they’ve always had a special something is a great feeling. The opening track, “Endless Bummer,” comes from an album of the same name released in 2012, which is perfectly within the era this EP takes place in.

The method of storytelling, literal representations mixed with harsh metaphor, and consistent references to drinking gives off a bit of a Wil Wagner/The Smith Street Band vibe. Though even with the connection, Dollar Signs have their own style, and manage to talk about relatively ridiculous events and use rather strange choices of words whilst still maintaining a very real and emotional vibe. “It’s not my party, but do you guys gotta do coke off the TV?” on “2011,” “That was the Summer, when I first got rocky mountain spotted fever,” on “Endless Bummer,” almost awkward lines with an almost awkward delivery which just add to the charm and appeal of the band.

With the leaps and bounds the band has taken over the year, and the growth the band’s music has undergone, it’s great to hear them up-scaling their old tracks. There are of course a few tracks I think would’ve fit perfectly on this little release and been an amazing experience to hear re-done from their past, such as “Come On Eileen, Seriously,” “Hikikomori,” or even “The Pizza Man Cometh,” but the four collected here are also perfect choices.

I Need Some Space is a delightful EP detailing the past of a delightful band. With last year marking the release of what could be Dollar Signs’ greatest album, revisiting some deeper cuts is a good refresher on their journey forward. You can listen to the EP below.

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Megabus-frequenting technical hardcore act, The Affect Heuristic, and Canadian thrashers Wolfrik have announced a European tour. The two bands will perform 16 shows across a total of six countries in April and May. On the way they’ll be stopping off at Manchester Punk Festival and SBAM in Austria.

You can check out the full list of cities on a larger version of the tour poster below. For now, only some of the specific venues are available at either band’s Facebook page. No doubt these will be updated soon.

The Affect Heuristic’s previous release was the 2018 split with German skate punkers Money Left to Burn titled Vs. Wolfrik’s was the E.P. Skeleton City, which came out the previous year.

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As if the latest lineup announcement from the UK’s finest DIY punk gathering wasn’t enough to get you pumped for its fifth instalment, those fine folks from Manchester Punk Festival have put out another collection of tunes from bands performing this year. The compilation is the third for the 2019 event and the 21st for the festival overall.

Amongst those comprising the track list are Italian face melters, Actionmen; ska-swing shamans, The Mighty Bossmags; Holy Roar’s Pijn; and progressive shred mongers, Almeida (who are currently on the hunt for a permanent bass player). With 29 tunes taken from such an eclectic festival lineup, there really is something for all tastes on the latest edition of the official compilation.

The release is “pay-what-you-want” with all funds raised going towards promoting the event. You can check it out below.

Manchester Punk Festival takes place over three days in Manchester, UK, on 19-21 April 2019. All ticket information can be found at the official website. 

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Dying Scene favorites (or favourites, depending how North and/or East of our home office you live) MakeWar are making a new album!

The New York based trio recently holed up at the Barber Shop Studio in North Jersey to get to work on a full-length follow-up to 2016’s Developing A Theory Of Integrity. They’ve posted a few photos as evidence: check ’em out here. stay tuned for more on this one as it comes down the ‘pike.

Developing A Theory Of Integrity was released on Red Scare.

Last October, Saves the Day released their ninth studio album. Appropriately (or maybe lazily) titled 9, the album has been said to be an autobiographical representation of the band’s 20-something year career in music. And honestly, that sounds like a great idea on paper. Quite frankly however, maybe it should have stayed on paper, with the history of Saves the Day getting a book treatment instead.

If you take 9 at face value, it’s an enjoyable album. The music sounds good- the first half of the album is full of throwbacks to the band’s earliest days when they were primarily Lifetime wannabes. “Suzuki” is barely a minute long, and “It’s Such a Beautiful World” was written to be shouted by a crowd back at the band. Even the cheesefest that is the album’s opening track, “Saves the Day” is fun if you just want to hear Saves the Day play a song like it’s still the late 90’s. Chris Conley’s voice is still nasally, but his singing on this record is at a considerably lower register than the last few Saves the Day records.

The main fault with 9 is that it’s really only good when taken at face value. With a lyricist like Chris Conley at the helms, an autobiography telling the Saves the Day story should work. But in a cruel and ironic twist, the album is Conley at his most lyrically shallow. Gone are the images of being a jukebox, or served up as pig. Even the clunky metaphors of throwing out his heart (that surely became the inspiration for several tattoos) are missing. This album is all about what it’s like to be a member of Saves the Day. And while that has worked in the past (just listen to “Shoulder to the Wheel”), being in Saves the Day is not a universal feeling despite the sheer number of people who have played in this band. But what’s even worse is that the songs all romanticize nearly everything: “Side By Side” skips through the years recalling highlights of recording and playing to large crowds, “Rendezvous” paints a picture of a perfect overseas tour, and “It’s Such a Beautiful World” is about how perfectly fun touring with friends can be.

Positivity, especially in this day and age, is important to hold on to, but if we’re being honest it’s the darker aspects of Conley’s lyrics are what attract people to Saves the Day to begin with, and it’s probably why it feels like so much of 9 is a very middling album. But then you get to the closing track: the 21 and a half minute long “29.” Similar to Daybreak’s title track, “29” is a suite of songs stitched together, and it offers some of the strongest moments on the album, with the lyrics finally diving into the darker side of a touring lifestyle. From run-ins with black ice to strained relationships with loved ones back at home, “29” injects some much needed realism into the story being told on this album. It’s just unfortunate that it’s all in a single song instead of being broken up and scattered throughout the track list.

To reiterate: 9 is not a terrible album, and the songs can be fun if you don’t think about them too much. But as far as being an entry to the Saves the Day discography goes, it’s the least essential chapter in the band’s history to date.

2.5 / 5

Tennessee based emo/indie upstarts Rough Dreams (featuring members of wolves&wolves&wolves&wolves and Bad Idols) have announced the release of their debut 7” EP to help kick off Knoxville’s new, vinyl only DIY label, Coffin Curse Records. The three tracks were partially recorded right there at home in The Marble City by White Chapel’s Zach Householder with the rest being finished up in Saginaw, Michigan with the help of Nick Diener (formerly of The Swellers), who also mixed and mastered the band’s self titled debut album. Keep up with pre-order and release details over at their Bandcamp and Facebook pages!