Comin’ straight outta Lahti, Finland, Part Time Killer are streaming their debut LP, “People – Religion – Death” on their bandcamp page. The album is officially set for release on all of the normal formats (CD/LP/Digital) somewhere around March 18th through Australia’s Pee Records.

Part Time Killer’s last release was a three-way split with Burning Fiction and Jet Market.

The My Chemical Romance magical history tour keeps rolling. In the wake of the BBC Radio documentary that we told you about a couple of weeks ago, MCR have posted the second installment of their interview at the Grammy Museum.

In it, the band talk of their earliest music listening experiences and touch on some of the inspiration for the evolution of their sound over the years. It’s actually a pretty good listen if you are a music fan. Click here to check it out.

My Chem’s latest, “Danger Days: The True Lives of the Fabulous Killjoys,” was released last November on Reprise Records.

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You may remember last month when we reported that SoCal punk act Chaser announced that guitarist Cameron Denning had left the band. At long last, they’ve found their replacement: Blake Kardashian (no relation to..well…you know who).

They also mentioned that their upcoming “Action” EP  and “Accion” 7-inch will be released on April 19th on Felony Records.

The 7″ version consists of B sides from their last full-length “The Big Picture,” and the CD version will have the same four songs, plus one bonus track. All vinyl records will also come with the CD version of the EP.  You can pre-order it here.

“Ideologies” marks the first album that I’ve reviewed for Dying Scene that I’d genuinely consider a “punk” album in the traditional sense. If you aren’t familiar with them, The Bogarts are a four-piece from Thousand Oaks, CA. “Ideologies” marks their second release (following 2009’s “Better Than Before,”) and finds the band embarking on the “road out of Suckville and into Kindofokayland” (their words, not  mine). Gotta love a young band with a sense of humor. Anyway, “Ideologies” was recorded in the bedroom of Zack from The Braces, and is composed of five tracks of hardcore-influenced skate-punk (or perhaps skate-punk influenced hardcore) that sounds like it came straight out of the early 1990s SoCal scene.

“Nothing To The World” kicks things off right in classic skate-punk style. Think Screw 32 or old Pennywise.

“The Runaway” follows with a fast-paced bass riff as an opener (not quite Matt Freeman, but in the same vein), and quickly the whole band catches up and puts the pedal to the floor. High energy song for the first 90-seconds, though the “pseudo-ska” breakdown features lyrics that were straight out of a high schooler’s journal (I can’t believe/ the shit you spew/ you were an asshole/ I forgive you) that sound a little cheap and low-brow compared to the rest of the album. The cool little metal-influenced guitar lick that follows makes up for it though.

“Sticks and Stones” is a little slower on the tempo front (though only a little), but features an interesting indie-rock style guitar riff (a la Jet) that shows the range of The Bogarts influences. Well-crafted song from start to finish.

“That’s Heavy, Doc” has an interesting tempo that is not entirely in the same formula as the rest of the album. Reminds me of something, but I can’t put my finger on what it is. Angst-ridden vocals that keep coming back to the line “at this point you’re better off dead.” Group chant-along bridge/outro is very reminiscent (in a good way) of Pennywise’s “Bro Hymn.”

Title track “Ideologies” is the most indie-rock influenced song on the album, and contains very poignant lyrics that sound exactly what you’d expect a young person to write when trying to come to terms with life outside their own little bubble and starting to pay attention to the world around them. Nick and Alex trade vocals throughout the album, and whomever took the verses on this track at times comes across like like a melding of Tim Armstrong’s slur and early Billie Joe Armstrong’s snarl.

A quick peruse of The Bogarts’ facebook page reveals that they are, in fact, youngsters. Don’t let that fool you, however: they have a very obvious grasp on the history of the modern punk scene, and it comes across in their sound. The album is not without its flaws, and in point-of-fact a 3.5 star review is probably accurate, but I’ve gotta give props to a young band that isn’t cheaping out and taking the bubblegum pop-punk or cookie-cutter screamo route.

**The Album Reviews published on Dying Scene are written and submitted by fans of punk music, just like you. If you disagree with an album’s rating, feel free to voice your opinion and give it your own rating in the comments. If you’d like to submit your own review do it here.

Yeah, I don’t really know how to speak French very well at all, but that doesn’t really matter when it comes to listening to Les Rasoirs Electricques. Here are a few things that do actually matter:

-Do you like music?
-Do you like punk?
-Do you like pop-punk?
-Do you like super-awesome-great-pop-punk?

If you answered yes to at least two of those, then you meet all of the criteria necessary to enjoy Les Rasoirs self-titled debut EPalbum, regardless of it being in another language. If you speak French, like The Bear does, then you may enjoy it even more. But, understanding the lyrics doesn’t really matter, because, as Aziz Ansari would say, these songs are dope.

The album kicks off with the song “60M2:, and you’ll immediately notice the similarities to bands like The Ergs, Teenage Bottlerocket, Screeching Weasel, and pretty much any awesome pop punk band you can think of. It’s essentially French Ramone-core pop-punk, and it’s really catchy and fast-paced. This is how it feels for the entire album; it’s all infectious and fast and punk and you’ll love every minute of it.

Favorites of mine on this album are “Envie de chier,” “Qu’ai je à répondre ?,” “Dans ma télé,” and “T’es qu’une merde.” I love them all, but that’s the short list for my favorites on the EP. There is a lot of noticeable Descendants influence in these songs, and they also remind me a lot of Dear Landlord and The Steinways. It’s fun music, and you’ll want to play this album over and over again. The only downside is not really being able to sing along, unless you’re cool like The Bear. I guess we’ll survive.

The album closes with “A voir sur scène absolument,” and you couldn’t be happier with the quality of this EP through and through. It’s a great album, and the musicians are really great guys. I’ve talked to the singer Alex Ayrault and the bassist Antho Logique and they’re both super nice guys and are excited to have a foreign fan, so why not give their album some listens and tell the band what you think?  Thanks for reading, dudes! Au revoir!

**The Album Reviews published on Dying Scene are written and submitted by fans of punk music, just like you. If you disagree with an album’s rating, feel free to voice your opinion and give it your own rating in the comments. If you’d like to submit your own review do it here.

Cover songs are like a box of chocolates; you never know what you’re going to get.  We here at Dying Scene love hearing punk bands do their own take on other band’s songs.  Sometimes they pull off amazing interpretations of old classics, sometimes they’re not much more than humble tributes to a fellow artist, and other times they’re just downright laughable renditions of otherwise great songs.  Good or bad.  Intriguing or mundane.  We’ll let you be the judge.

This week it’s Face To Face covering The Jam’s song “That’s Entertainment.”  Check the cover and compare it to the original right here.

The cover song appears on Face to Face’s cover album “Standards & Practices” which was released in 1999 through Vagrant Records. The original version appears on The Jam’s 1980 seven inch “Sound Affects”.

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Denver pop-punk band The Gamits have announced that their bass player Scott Weigel will be leaving the band in April and they are looking for a replacement.  The replacement must be able to play bass well and sing harmonies.

For a full announcement go here.

The band released their last album, “Parts,” as a joint venture between Suburban Home Records and Paper + Plastick Records in October.

Sister Sin is hitting the road with some hard-rocking ladies. The group will play with In This Moment, Straight Line Stitch, and System Divide on the Hottest Chicks in Hard Rock “Hell Hath No Fury” tour.

Check out the full list of dates here.

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Ska/punk act We Are The Union is officially down a member. Trombone player Matt Belanger announced his split from the group on their blog today:

“As of this week, I have decided that being in We Are The Union isn’t the right path for me anymore. There’s been no real drama to speak of. I’ve simply spent a lot of time recently thinking about what I really want to be doing in life right now, and I’m just not enjoying the band or my role in it like I used to. Wouldn’t be fair to myself or my four friends in the band for me to keep going through the motions.”

Read the full statement here. D-Ray from Fatter Than Albert as well as Dave Lackey of The Know How will be taking over horn duty for the group’s upcoming tour.

The band’s last album Great Leaps Forward was released March 30th, 2010 on Paper + Plastick Records.

Metal act Hope for the Dying have announced some details for their upcoming album, Dissimulation. The record will come out April 26 on Facedown Records, and the artwork is <— over on the left. The group is also streaming the first track from the album, “Transcend,” over at their Facebook page.

This new album will be the latest work from Hope For The Dying since their self-titled 2009 release, which came out on Strike First Records.