DS Show Review & Gallery: Touché Amoré w/ Soul Glo, Soft Blue Shimmer and Portrayal of Guilt (Bottom Lounge, Chicago)

As I power through the daily grind of being alive, every once in a while I find myself in a place that can only be described as an emotional lull. Waking up, getting ready for work, and dealing with crowded buses that are always late, I feel my life wasted at a job that barely […]

As I power through the daily grind of being alive, every once in a while I find myself in a place that can only be described as an emotional lull. Waking up, getting ready for work, and dealing with crowded buses that are always late, I feel my life wasted at a job that barely covers the bills. Then, I commute back home to prepare for the next day, repeating the cycle. 

Throughout these periods of emotional drought, I have found that music becomes background noise—just something that fills the gaps between conversations at work. I forget the reason I enjoy it or was drawn into these subcultures and alternative scenes in the first place. In a way, this may be by design, as it is significantly easier to maintain the high levels of unrealistic hyper-efficiency that fuel a capitalist system when the average worker is too tired to feel anything other than the need to produce for fear of financial instability. At the same time, empty promises of happiness, love, and success are forced upon us by a constant barrage of advertisements and popular media—including mainstream music.

But where did all the rage, all the sadness, the loneliness, the joy, love, euphoria, and the sense of community and connection to something larger than us go? The answer is incredibly obvious and within reach. Sifting through the dullness of routine and pushing beyond it, music that comes from introspection, exploring our human condition instead of merely being a commodity to be sold, answers that question. It’s a matter of once again paying attention to the message, the delivery, and sharing those experiences with others. 

Seeing the flyer for this show felt like a wake-up call, a short break from the bleakness, overloaded with emotions and a journey exploring a vast range of sounds, rhythms, and vocal deliveries. The entire show felt like an appropriate allegory for the human spirit when it’s not subdued by societal expectations to be quiet and reserved at all times.

Like an oasis in the middle of the desert, Soft Blue Shimmer started their set by creating an atmosphere that I would describe as almost ethereal. Meredith Ramond, with her beautiful and delicate voice, elevated the Bottom Lounge into a realm of tranquility. It was a mesmerizing combination of peacefulness and melancholia.

Soft Blue Shimmer’s sound is difficult to categorize into a specific genre. Not that it ultimately matters, but risking criticism from genre purists, I would describe it as a blend of shoegaze with elements of alternative or indie pop. The guitar riffs are very melodic and complement the dynamic changes well. To me, those musical shifts in tempo and volume, contrasted with the soothing and steady vocal delivery, were the highlight of their set and helped me connect with their music and the tone they set.


One thing worth noting is that, although their lyrics are not overtly political, they performed with signs—one that said “ACAB” and another supporting Free Palestine.

As their set neared its end, I felt it was time to return to reality from the place the band had transported us to—and realized I could have stayed there listening to them for hours. 


Had I not been familiar with the next band, Portrayal of Guilt, before the show, the musical whiplash from the previous band to this one would have sent me right to the hospital. The Texas trio took us to the opposite end of the spectrum. With a chaotic blend of black metal, hardcore, and punk, they created a dark ambiance driven by heavily distorted guitars and guttural screams, with misanthropic lyrics.

Their performance was the least dynamic of the evening in terms of physical movement, but they made up for it with the intensity of their music. The bass, in combination with the drums, drove the foundation of the music, preventing the musical tension they created from resolving, while a barrage of oppressive riffs filled the room with dissonant chords. 

At this point, the tone of the show was the complete opposite of the first band’s, and the dark melodies—if they can even be called melodies—painted a picture of solitude, grief, blasphemy, and despair, which the audience related to as catharsis.

Portrayal of Guilt’s music draws heavily from several genres, which makes it somewhat difficult to categorize under a specific style. That said, they take some of the best elements and make them work: the speed of punk, hardcore breakdowns for the spin-kickers, and the typical blast beats, dissonant riffs, and high-pitched gutturals of black metal. It’s the perfect amalgamation of these genres.


For the third act of the evening, Soul Glo took the stage. This band embodies chaos. Unpredictable and energetic, they brought a completely different energy to the show. Their music is fast, raw, and confrontational—pure irreverence.

Unconstrained by the stage’s boundaries, the band’s vocalist, Pierce Jordan, turned the entire venue into an extension of the stage. At one point, showing complete disregard for the venue’s barriers, Jordan jumped over and immersed himself in the audience while security ran around, trying to predict what he would do next. His vocal delivery consists of high-pitched screaming, intentionally amelodic, alternating between his regular singing voice and aggressive, at times chilling, screams.


Musically speaking, Soul Glo also draws from several genres. Their music is straight-up hardcore punk, and I doubt anyone would argue with that label, but they push boundaries with hip-hop elements and even incorporate funk and soul elements, along with audio samples throughout.  

Their performance and lyrics are politically charged; they vocally supported the Palestinian struggle, and their songs reflect these values. What I found particularly interesting, as I analyzed the emotional range of each band individually and throughout the show, is that Soul Glo and Portrayal of Guilt are two sides of the same coin. Soul Glo expresses anger born from frustration—with the system, ourselves, and others—evident in their rebellious and confrontational attitude, while Portrayal of Guilt comes from a place of pain and despair. Both are equally valid and represent different aspects of how we experience the world. Their ferocity and attitude were contagious.



As the show neared its end, the crowd’s energy was revitalized as Jeremy Bolm, lead singer of the evening’s headliners, Touché Amoré, joined the rest of the band on stage. They began their set, and it was evident how much of an impact this band had on the crowd. Smiles lit up the venue as fans gazed with unwavering fixation, following every move Jeremy made, engrossed by the music and lyrics of the songs.

The relationship between the crowd and performers was mutual as Jeremy performed the deeply personal and emotional lyrics with a constant smile throughout the show. It felt like the physical barrier in front of the stage formed a metaphysical mirror, allowing the crowd and band to reflect their shared connection. 

For more than a decade and a half, Touché Amoré has been delivering their signature emotional post-hardcore with some of the most honest and personal lyrics. It’s easy to feel spoken to, and I believe this happens due to the vocal delivery, which is more screamed spoken-word than straight-up singing, contrasting with the highly melodic riffs. Every song is a heart-wrenching confession, spoken in words that most of us can’t find.

The performance included a variety of songs from their entire repertoire, including some new tracks. Most people knew the lyrics, and those not moshing sang along throughout the show.

 

Touché Amoré did an incredible job of bringing the crowd back from this journey. It was a cathartic experience, allowing everyone to participate in an emotional experience. 

Still wearing the biggest smile in the room, Jeremy and the rest of the band said their goodbyes, and as the final chords of their set echoed through the venue, there was a lingering sense of connection—an emotional bond that transcended the music—before returning to the monotony of daily life.


This article’s photos are a collaboration effort with @Maximilian_Pegasus who kindly provided the images of Touché Amoré featured in this article.

Check out the rest of the photos of this amazing show below!


Post a Comment

Your email address will not be published. Required fields are marked *

DS Show Review & Gallery: Keep Flying, Ballyhoo! Robot Heart Throb – Beat Kitchen, Chicago

Article and Photos by Katia Jackson (Katia Sentry Photography) The Chicago music scene is known for its intimate venues, one of the most well-known is the Beat Kitchen. Saturday, November 16th saw a sold-out show at the venue as East Coast outfits Keep Flying and Ballyhoo! stopped through on their winter tour. Chicago-based Robot Heart […]

Article and Photos by Katia Jackson (Katia Sentry Photography)


The Chicago music scene is known for its intimate venues, one of the most well-known is the Beat Kitchen. Saturday, November 16th saw a sold-out show at the venue as East Coast outfits Keep Flying and Ballyhoo! stopped through on their winter tour. Chicago-based Robot Heart Throb opened the night with playful and honest energy. The crowd came ready to party as the mood was joyful throughout the evening. Robot Heart Throb are self-described as “made-up genre-fluid music,” mixing elements of folk and hip-hop into improvisational riffs. Jared Hochberg is the creative master behind Robot Heart Throb; a jazz background that informs his style in flute and saxophone playing in combination with crowd interaction makes for a unique show experience. Their newest single “Midwest Breakup” is a pleasant melancholic treat that embodies all things Midwest emo. Robot Heart Throb definitely created a lively atmosphere to begin the evening.



New Yorkers Keep Flying followed with a positive, uplifting spirit that reminded us to keep our heads up in these trying times. Daylight is their latest release which they are on tour supporting. Saxophone and trombone-infused melodies add to the themes of remaining hopeful throughout life’s highs and lows found in their music. Keep Flying embodies the high energy of their name itself with songs like “Transparency’ and “198 Broadway” featuring punchy lyrics and sax riffs that can carry us into daylight in our darkest moments.


Lastly, Maryland beach rockers Ballyhoo! took to the stage heating up Chicago’s brisk November air. The Beat Kitchen turned into a beach party with the sounds of reggae and ska reminiscent of Summertime Chi and simpler times. “Clip My Wings” and “Shellshock” from their latest release, Shellshock are standout tracks to get your body moving. Ballyhoo! made sure that there was no one standing still, the crowd became one with their melodies and funky riffs. A perfect way to close out the good vibe night.

Check out the Photo Galleries for the show Below!


Post a Comment

Your email address will not be published. Required fields are marked *

DS Show Review & Gallery: Red Scare Industries 20th Anniversary: The Bollweevils, The Brokedowns, Brendan Kelly and the Wandering Birds – Chicago

While Red Scare Industries is not old enough to drink yet, it can certainly throw a kick-ass party. In its 20 years of putting together albums, it has curated a selection of artists that have touched lives across the globe. For those unfamiliar with Red Scare Industries, the label was founded by Tobias Jeg, an […]

While Red Scare Industries is not old enough to drink yet, it can certainly throw a kick-ass party. In its 20 years of putting together albums, it has curated a selection of artists that have touched lives across the globe. For those unfamiliar with Red Scare Industries, the label was founded by Tobias Jeg, an alum of Fat Wreck Chords who decided to do his own thing. In 2004, he produced two albums for The Falcon and Enemy You.

A 20-year-long legacy is no small feat, and they have used this time wisely, working with and shaping an impressive catalog of artists. In Chicago, at the very least, some of the most iconic bands have worked or are still working with the record label; Red Scare has managed to, in a way, help shape the sound of the Chicago punk scene’s sound without a doubt. 

A very interesting aspect of how Red Scare operates is how they maintain good relationships with their artists and the appreciation they have for each other. The clearest proof of this appreciation is their recently released album, 20 Years of Dreaming and Scheming, featuring songs from their artists and even a few bands that came out of retirement to participate. To list a few, Won’t Stay Dead, the Bollweevils, The Brokedowns were all part of the event, both the album and the live shows. 

The album released was just half of the party. Two shows in Chicago, one each in Wisconsin, Portland and Seattle and to wrap it all up, two more at the Punk Rock Museum in Las Vegas. All in the span of three weeks. What a busy month it will be. But hey- you only turn twenty once. 


To kick off the party, playing their characteristic spooky and mesmerizing blend of pop and horror punk, Won’t Stay Dead was the first band on the ticket. Sadly, due to typical Chicago traffic, I was unable to get there in time to photograph and give a proper review of their set. That being said, Won’t Stay Dead generally are incredible performers so go ahead and check out their cover of Enemy You’s “Ex-Machina” which is also a part of Red Scare’s anniversary compilation and a certified banger.

Chicago punk rockers The Bollweevils took the stage and as per usual, the crowd’s excitement went through the roof almost immediately. Standing still is nearly impossible when the Punk Rock Doc is on stage. His contagious energy fills up the entire venue as he jumps, high kicks, and joins the crowd in the mosh pit. The way he connects with the audience is truly special and never gets old. The fans and them always seem to have such an incredible almost symbiotic relationship in which both feed off each other’s energy, escalating to a point where everyone regardless of how many times they have seen them live, if at all, feels like they too are a part of the show.


In between songs, the banter between the band members is hilarious, constantly joking and teasing each other, but when the first chord strikes it is time for business. Once the music starts, the playful banter transforms into some of the most solid punk rock anyone could ask for. Their repertoire includes an impressively solid collection of thoughtful lyrics while retaining the speed and aggression that has been part of their core sound for decades. 

One thing about the band was different this time, though: joining them on the drums was Timmy Lydon, who made playing the drums seem effortless while matching the tempo and energy of the rest of the band. As always, the band delivered a tight performance that was both energetic and fun.

“Honk If You’re Horny” is both the cheesiest bumper sticker and one hell of a catchy tune by Elgin Illinois’ punk quartet The Brokedowns. Hilarious and irreverent immediately come to mind when thinking about this band. With songs titled “Osama Van Halen,” and “Kony 2022” this band’s tongue-in-cheek lyrics are put in contrast with a musical set that is both fast, and gritty but at the same time oddly melodic. It is a unique blend of concepts that in theory should not work but synergize perfectly well to create their distinct sound.

The Brokedowns were more than just the music, just like the previous band, the banter in between songs made it easy to relate with them and feel like the space in between songs was just as much a part of their set as the music they play. These guys managed to put together equal parts of catchy riffs, cheeky lyrics and a gritty voice that make them a band that is easily enjoyable to listen to and even more to see live.

A few moments after The Brokedowns finished their set, a familiar face, and even more familiar voice took up the stage. Sporting a bandana around his neck, followed by his stylish bandmates wearing matching tracksuits, Brendan Kelly and the Wandering Birds pick up their instruments and begin their set. Well, two familiar faces, as Deanna from Sincere Engineer joined the band for the evening playing the electric guitar and backup vocals.

Brendan Kelly, from The Falcon and The Lawrence Arms, played his acoustic guitar and sang for the crowd with his very iconic raspy vocals and a demeanor that somehow made me nostalgic for something I didn’t know I missed. As a masterful storyteller, with every song he was able to transport the audience through a journey of emotions; some songs sounded sorrowful, other songs were joyful, but all of them made you feel something. The perfect balance between folk, punk, and rock and roll served as the perfect catalyst for the experience.

And so, the night ended with a most perfect band to bring closure to the evening filled with music, laughter, and the beginning of the rest of Red Scare Industries’ anniversary party. What a great experience it must be to see so many people, both artists and fans, come together to celebrate the hard work and the influence of what once was a small project has turned into over the course of two decades.

Check out the photo gallery below for a few more photos of the show!


Post a Comment

Your email address will not be published. Required fields are marked *

DS Show Review & Gallery: The Bollweevils and Sludgeworth, Together In Chicago

After about three decades since the last time they put out new music, Sludgeworth makes their way back into the scene with their new EP Together Not Together. Backed by the Chicago-based record label Red Scare Industries and the beloved suburban punks The Bollweevils, friends, fans and family showed up to celebrate the much anticipated […]


After about three decades since the last time they put out new music, Sludgeworth makes their way back into the scene with their new EP Together Not Together. Backed by the Chicago-based record label Red Scare Industries and the beloved suburban punks The Bollweevils, friends, fans and family showed up to celebrate the much anticipated EP.


From the get-go, everyone at the Beat Kitchen felt cheerful and friendly. It seemed like everybody knew each other despite the fact that it was a sold-out show. Though the venue was packed to the brim, the atmosphere was reminiscent to a house party or a basement show, but with better lighting and sound quality.


Very few bands in the Chicagoland area are better openers than The Bollweevils. They do a terrific job getting everyone in the audience engaged, they truly make every single person feel like they are not just spectating, but also a part of the show. Their live performances are a masterclass for anybody wanting to learn how to keep the crowd active and energized.

After seeing The Bollweevils live a few times, some of the faces in the crowd start becoming familiar, it is as if the biggest fans of the band are also their friends, which speaks volumes about the synergy the band creates with the audience, it is a celebration, a party every single time.


Their frontman, Daryl Wilson, with an intimidating build towering over most at the venue, could not be more inviting and friendly. He’s jumping up and kicking all throughout the show and even jumped into the moshpit so the crowd could join in and sing with him. The rest of the musicians, Ken, Pete and Joe, complement Daryl’s style best; they’re laser-focused, keeping the show grounded and allowing the punk rock doc to jump around the stage.


What a fun treat it is to see The Bollweevils perform live. From their classic suburban punk rock songs, to the way they engage with the crowd, and the banter amongst themselves, it is always a riot. This is without a doubt one of the Chicago punk bands that everyone must see perform, at least once.


In a swift and seamless transition, Sludgeworth took over the stage and even though they had been performing for the past couple of years, the excitement about sharing their new music with their fans and friends was palpable. After thirty years, the excitement of both the crowd and the musicians is just expected.


The performance was everything you would want from a punk band of the caliber of Sludgeworth. The music was fast, it was loud, and felt quite fresh and relevant, which goes to show how good music really does not have an expiration date. 

Dan Schafer, also known as Dan Vapid, who has been previously involved with punk household names such as The Queers, Riverdales, and Screeching Weasel truly showcased his skills as a vocalist. From the moment he got on stage to the moment the show ended, it was a full-force, all-gas-no-brakes show. This is the reason it was a sold-out show, that kind of performance is worth every penny.


This show felt like a celebration of the Chicago punk scene. Two beloved bands got together under the incredible production work of the label Red Scare Industries to bring together friends, family, fans, and other members of the scene. It was a special thing to witness, most everyone there singing the lyrics of every song and watching the band-audience barrier disappear.

It was like a trip back in time to simpler days going to a basement show to see a friend of a friend’s band, where everyone was a stranger but with a deep sense of familiarity. Shows like this one are a fantastic opportunity to experience both the nostalgia of what shows were like, and celebrating that these bands are still around putting out new music and incredible live performances.



Post a Comment

Your email address will not be published. Required fields are marked *

DS Show Review & Gallery: Punk Rock Tacos! Hood Rats; Maharaja; Lengua Salvaje; La Armada. Chicago (4.06.2024)

April has just started and Punk Rock Tacos has already put together three shows as part of their relentless campaign to spread punk rock all over the Chicagoland area. This time the show takes place at the legendary South Irving Park venue, Livewire Lounge. The atmosphere was great even before the first band got up […]

April has just started and Punk Rock Tacos has already put together three shows as part of their relentless campaign to spread punk rock all over the Chicagoland area. This time the show takes place at the legendary South Irving Park venue, Livewire Lounge. The atmosphere was great even before the first band got up on stage; beer in hand, most of the crowd was eager to see some great bands while jamming to the music playing in the bar. A quick shout out to the bartender playing Eskorbuto, one of my favorite bands, which made getting there early truly worth it. 

One of the aspects of the way Punk Rock Tacos puts together shows that make them so enjoyable is their ability to curate a chaotic mix of bands and genres. On paper, this strange combination would not appear to work, but once that initial feedback of the amplifiers’ screeches, as if it was introducing the rest of the distorted noise we call music, it all starts to make sense. On tonight’s bill, the only common thread between all the performers is the crunchy distorted guitars; although to the inexperienced ear they all probably sound similar, these bands could not be more different, both in genre and their artistic expression. 

The first opener for the evening was Hood Rats. The rock n roll and punk rock trio made their way from Montreal to Chicago and put on an incredible performance despite having probably the toughest responsibility – to get the crowd started and excited. They played an energetic set that got everyone at Livewire interested and engaged. 

The band’s lead singer and guitar player, Tony Salador, is the mastermind behind the musical project accompanied by Guillaume Tremblay & Andy McAdam as supporting musicians. At the risk of sounding reductive, Hood Rat’s set could be described as electric. Their music ticks all the boxes needed to have a great time –it is loud, fast, and straightforward. A great balance between street punk, leaning towards hardcore punk, but with a prevalent underlying rock n roll sound ever-present in their catchy riffs. 


Overall, Hood Rats are a great band to see live. Hopefully, they will come back to Chicago soon, and if they do I would suggest any enjoyer of hardcore punk and street punk to see them live. The band describes their music as “in your face, raw music” and that description fits them perfectly. Their studio music is also worth checking out, and a great place to start would be either their song “Do Not Resuscitate” off of their Deep Cuts: The Singles Collection album or their video just released earlier this month “F*** the Police.”


After a few minutes of setting up and getting everything ready, Maharaja took the stage. Not many people were expecting the stark contrast between the first and second acts. This three-piece act from Dayton, Ohio showed they are all well-seasoned musicians; their performance was controlled, clean, and incredibly fucking heavy.

In comparison with the first band and their music perfect for slamming and thrashing, Maharaja brought the meat to the table with a slower-paced, thick, sludge and doom metal more suitable for the long-term neck issues caused by headbanging too hard. Their songs were significantly longer, as is typical in this specific genre. However, when the music is good, does the length of the track really matter? In terms of musicianship, all three members were exceptional, but the vocal skills of the lead singer and bassist alongside the backing vocals of the guitar player are worth highlighting. The brutal, unnatural, guttural sounds gave the music a haunting sound of despair and anguish. Their style is heavy, and gloomy, like being pummeled with a sledgehammer to the skull repeatedly (in the best way possible) and the atmosphere they created while performing complemented that sound perfectly.


Sadly, Maharaja is currently bidding farewell, as they are disbanding soon. All good things must come to an end, and this one specifically is leaving one full-length album and a few EPs to show for it. Not only does the cover image look sick, but their single “Soulless” would be a great soundtrack if there is ever a movie made about Marvin Heemeyer’s Bulldozer Rampage.


At this point of the show, the gears shifted. Lengua Salvaje took over the stage and as they were setting up, it was clear they were there on a mission: to play fast, loud, and with determination. They had things to say, and pulled no punches.

Before beginning their set, as the band members were waiting for their cue, the lead singer standing a bit off to the side gave the impression of someone kind of shy and reserved. However, once the music started playing, the presence of the vocalist seemed to grow larger and larger until it was the stage that felt too small and constrictive. 


Lengua Salvaje added a much-appreciated political tone to the show. Touching on anarchist themes and spreading a fairly overt anti-capitalist message, their music was as untamed as their namesake. In terms of sound, the band was playing an amalgamation of hardcore and crust punk with hints of grindcore; the guitar tone was crunchy, closer to the standard sound of crust punk, but the drums truly shone by setting up the pace that created the back and forth between the styles, keeping each song interesting throughout their set.

A song of theirs worth checking out is the track titled “Machete,” it truly showcases this band’s musical style, a unique sound that combines the best aspects of several subgenres within the more extreme branches of punk. Lengua Salvaje is a great band to see live for an unbridled and savage display of angst and aggression, and a perfect choice to precede the headliners of the evening. 


To close off the evening, the final band of the show took the stage. In between the tambores, y la sazón caribeña they unapologetically embrace as a core part of their sound, La Armada brought unto the table a sound that took all the aspects from the music genres of the previous three bands. The clear influence of metal, punk, and hardcore shone through in every single song. The set was tight, a no-bullshit kind of performance, which makes sense for a band with a clear message of anti-oppression that honors the Caribbean resistance movement. 

Singing in both English and Spanish, this band takes on colonization both as a historical concept and as a modern one as one of their main subjects. Embracing Latin American, and Afro-Caribbean rhythms they have a subversive approach to what has historically been a caucasian music genre, which in a way is their strongest form of protest. 


When talking about their music, they have some explosive, fast-tempo tracks. They do not shy away from their hardcore punk original sound but also are not afraid of brazenly appropriating the characteristics of adjacent music genres to create depth and variation in the songs. Their frontman Enrique Vargas performed incredibly well, connecting and engaging with the crowd as well as delivering each lyric with fierce, and aggression.

Al final del día, el corazón hispano lleva la sangre que anhela la libertad del viento caribeño. Es la razón por la cual es fácil crear una conexión con las letras que rechazan la colonización, y mantienen presente la necesidad de la unión entre los pueblos oprimidos. Fomentar la resistencia latina es parte esencial del deber de los activistas hispanos, y así juntos salir pa’lante.



This article was a collaborative effort with the incredibly talented Ed Kost who produced all the featured images in the article.


Post a Comment

Your email address will not be published. Required fields are marked *

DS Album Review: Lost Legion – “Behind The Concrete Veil”

Emotions are categorized as primary – the initial emotions felt as a reaction to a situation – and secondary – the emotions that follow up as a response to the primary. Anger is usually categorized under the latter group; it is a human reaction which sometimes acts as a mechanism for self-defense when facing disgust, […]

Emotions are categorized as primary – the initial emotions felt as a reaction to a situation – and secondary – the emotions that follow up as a response to the primary. Anger is usually categorized under the latter group; it is a human reaction which sometimes acts as a mechanism for self-defense when facing disgust, sadness or surprise which would be some of the recognized primary emotions. With this in mind, the perspective in which we see bouts of anger completely changes since there is now another layer of complexity to the situation for analysis; it is not only a matter of just anger, but a primal response to the emotion caused by something.

In their latest LP, Behind The Concrete Veil by Chicago’s own hardcore and Oi! Punk band Lost Legion, lies an incredibly powerful exploration of the anger and underlying emotions experienced by the ever-growing feeling of disenfranchisement in today’s cultural setting; sometimes heightened by psychedelics, and sometimes caused by a collective deterioration of mental health. In terms of sound and content, the 10-track album features an ever-present dark and cynical tone, both musically and lyrically all throughout, which helps bring all the songs together cohesively, and allows the study of different topics without jarring changes between the tone and mood each song creates.

Without fully deviating from their sound established in previous eps and demos, in “Behind The Concrete Veil” the band crafts a significantly more defined tone that comes across as significantly more confident and assertive. Every musical element in this record works together in the same way a “war machine” would. The pummeling, explosive drums synchronize with the blade-sharp, dry, distorted guitars that set up the general sense of emotional dread that reoccurs throughout the LP. The metallic sound of the bass drives the songs forward coupled with unrelenting and aggressive vocals creating a rough and oppressive sound that alludes to the primal nature of mankind and the angst and frustration depicted all throughout.

Within the context of Oi! Punk and Hardcore, this LP achieves what it sets out to do quite effectively. It is raw and visceral. In a way, it also seems quite contained within its genre. This album is not trying to redefine the musical style, or experiment within it. Whether or not that is a positive or a negative, it really depends on the listener, but in this specific sub-cultural context it sets a space for itself perfectly well; just like a puzzle piece in the most efficient way possible. The guitar licks, and riffs, for example, are not necessarily simple — a better way to describe them would be pragmatic, just like a war machine is supposed to be.

One notable track from this album would be the third one titled “The Animals We Used to Be.” This nostalgic song exemplifies one of the recurring themes explored, humanity’s repressed most basic and primal instincts in the dystopian present in which we live. The track is a longing cry for the freedom humans had and lost somewhere along the way, and the complexity of the frustration and sadness that comes with it. Conceptually, this idea seeps through “War Machine,” “Fangs,” and “Primitive,” creating a common thread all through the album.

While neither the band itself nor this LP are overtly political, to create an introspective exploration without touching on some of the fears and emotions that lead to some of the root causes for what are considered political topics is inevitable. “Silhouettes in Blue Lights” and “Disposed” are the two examples of the political undercoat of the album —the first one touches on the tension and divide in between the police and civilians, and the latter about the societal and economic use and disposal of humans for profit. There is an argument to be made for the whole album to be seen as political, but ultimately the human condition, the fears, the anger, the frustration, will always transcend politics, and are universal by nature. 

Overall, this album is a great listen; it pulls elements from bands like The Effigies, and The Trouble, while still sounding much like themselves. The LP was released under the Basque punk and hardcore record label Medeku Diskat, and can be found in the band’s bandcamp site as well as Spotify.


Post a Comment

Your email address will not be published. Required fields are marked *

DS Show Review & Gallery: x.Oracles.x, Reaganomics, Disinfo, The Dennies, Eskes. Chicago (12.30.2023)

And that is it for 2023. We wrap up the year with one last show put together by the folks behind Punk Rock Tacos. It is time to bring the community together one more time before the end of the year at Cobra Lounge. The lineup for the show was an eclectic mix of very […]

And that is it for 2023. We wrap up the year with one last show put together by the folks behind Punk Rock Tacos. It is time to bring the community together one more time before the end of the year at Cobra Lounge.

The lineup for the show was an eclectic mix of very different bands in terms of genre and sound. Surprisingly that was not an issue whatsoever; once each band got on stage the music spoke for itself, regardless of what kind of sound they were producing.


The first band for the evening was one of Punk Rock Taco’s own x.Oracles.x. If there is one thing to reiterate about this band, it is their consistency to put on a killer show.


Ms. Lynch, the lead singer, likely delivered the strongest vocal performance of the evening. With strong support from the rest of the musicians, her voice is the key that makes their punk rock sound work seamlessly with blues riffs and rhythms. The scratchy guitar riffs add some grunge elements to the music that are supported by the walking bass lines that create an uncompromising mixture of both blues and punk.


Their set consisted of a mix of mostly original songs and an incredibly fun rendition of Talking Heads’ classic track “Psycho Killer.” Their song “Shotgun Blues” from their EP “Gitcha Gitcha” is a certified banger.


Is Party Punk a genre? That is probably the best way to describe The Reaganomics’ sound. Vocal harmonies, some ridiculously catchy riffs, and speed summarize their music. These guys did everything you want a punk band to do, and they did it well.


The self-described “sweaty dads playing punk” truly were, and did just that. Whether the songs were played in between banter or the banter in between songs, it was funny, enjoyable, and showcased solid musicianship from all four band members. The bassist and both guitarists took turns as lead singers throughout the show keeping each song fresh, and worked super well together when doing gang vocals or harmonies. The drummer, sporting the coolest shirt there and a groovy sweatband, did a stellar job as the driving force behind the constant rhythm changes and aggressive sound of the band.


The Reaganomics are definitely worth adding to your playlist. Their music is just so much fun, and a must-see live for sure. Take a listen to their song “Don’t Worry. We’ll Play First” from their album Lower the Bar. This is a great place to start if you are not familiar with this band.


Next on the ticket was Disinfo. The three-piece band took all the harmonies and catchy riffs that the previous bands had played and threw them out the window. There’s no need for vocal harmonies or complicated guitar solos when you’re trying to make a point, and Disinfo did just that, and very effectively.


This band is confrontational as hell, and they are not shy about it. Playing a mix of hardcore, d-beat, with some thrashy sections in some songs. These guys have one mission only and it is to send a message loud and clear – emphasizing the loud part.


For a healthy dose of whiplash, check out Disinfo’s song “Verbal Abuse” from their brutally blunt ep Nothing is True. Pay attention to these guys if politically charged, contentious punk is your thing.


While the lineup seemed eclectic at first, there was some genius behind the order in which these bands were scheduled to take the stage. As the show went on, the bands also got progressively faster, heavier, and more aggressive. So when the next band, The Dennies, got on stage I was caught off guard.


The next thing I see is a small army of teenagers getting on stage setting up their instruments. Not knowing what to expect I do have to admit that I had really low expectations, but then Noah Corona, the mastermind behind Punk Rock Tacos, grabbed a mic and promised us that the next band was going to “rock our socks off,” and oh boy he was right.


Despite their young age, The Dennies put up a performance that was easily on par with their more experienced counterparts on the ticket that evening. Their music sounded like some sort of amalgamation of punk, alternative, grunge with a bit of metal sprinkled all throughout. What an incredible combination. Jumping up and down, their lead singer had everyone up front moshing and slamming, and at one point even joining the moshing themselves.

The crowd requested an encore and The Dennies ended their set with a powerful rendition of “Raining Blood” by Slayer.


Overall, the band put on a great performance. I was honestly somewhat embarrassed at the end for making assumptions based on their age but they really did rock our socks off. It was teenage angst that got us all into this scene in the first place. that some of us somehow forgot along the way, and The Dennies are here to remind us of it. It is angst straight from the source. If you do not believe me, check out their song “Flesh,” Don’t tell me I didn’t warn you.


To end the night, the headliners, playing high-quality hardcore punk as Eske (short for Los Eskeletos), granted us the perfect ending to the year. While 2023 is over and 2024 may not be much better, at least we have some awesome music to get us through it all.


Their songs were short – as most Hardcore Punk songs should be, if you ask me – but they made up for the length by playing some of the best hardcore I have seen live in a while. I am pretty sure they played their entire set in 20 minutes, but honestly if they were to play their set from start to finish again, I would not have complained. 


While I do have to admit that I have a soft spot for specifically Latinx hardcore punk bands, Los Eskeletos is such a great band that I highly recommend it to anybody that is into that specific subgenre, and if you go to one of their shows I can guarantee their music will make you want to jump into the mosh pit. Their album Sobras is a must-listen.


Head below to check out the full photo gallery of the show!


x.ORACLES.x


The Reaganomics


Disinfo


The Dennies


Eske


Pit Shots

Post a Comment

Your email address will not be published. Required fields are marked *

DS Show Review & Gallery: Punk Rock Tacos w/Downhill Runner, The Run Around, Sushi, The Usuals, The Queers! Chicago (12.15.2023)

About 45 years ago, Crass made one of the most iconic and important statements in punk history. In their poignant critique of the commercialization of punk, its rise in popularity, and the state of the scene in the late ’70s, Steve Ignorant boldly declared that Punk is dead. For the following decades, this question remained […]

About 45 years ago, Crass made one of the most iconic and important statements in punk history. In their poignant critique of the commercialization of punk, its rise in popularity, and the state of the scene in the late ’70s, Steve Ignorant boldly declared that Punk is dead.

For the following decades, this question remained a topic of debate, with many individuals eager to contribute their thoughts. From The Exploited responding with their iconic song “Punk’s Not Dead,” to this very publication’s namesake— the question is still out there: Is our scene alive, or is it dying?

Honestly, Crass’ brutal criticism of their more famous peers and the zeitgeist of the punk scene at the time remains as relevant today as it was back then. Now, nearly half a century after the movement began, the generational divide between those who witnessed its inception and those just discovering their first punk record or strumming their initial three fast chords widens. This leaves us in a precarious position, uncertain about the future of the subculture we are a part of. 

But there is a lifeline, though. Amidst big production companies, ticket sellers and their scummy practices, unaffordable music festivals, and multi-million dollar fast fashion companies appropriating and turning punk aesthetic into a product still exist people who do this for the very same reason this scene started. People who are sick and tired of the routine, of music tracks that are too long and slow, who want to be the bridge between those who were there when it all began, and those who will keep it going. Punk Rock Tacos and the folks behind it are a prime example of those that keep this whole damn thing going.

Noah Corona and the Punk Rock Tacos team have consistently organized shows for the past couple of years. These DIY, grassroots events, born from a love for music and the scene, might not appear as such at first glance. Despite that, they exhibit excellent organization, high production quality, and showcase incredible bands. While their professionalism might deceive you into thinking this is their primary occupation, it’s actually a passion project that has steadily grown, establishing itself as a vital part of the Chicago suburban punk scene.

On the evening of Friday, December 15th, our friends from Punk Rock Tacos put together a very memorable all-ages show featuring five bands from all over the Chicagoland area and as headliners, the iconic punk rock trio, The Queers. The venue, a Mexican restaurant serving some tasty tacos, was filled to the brim with punk rockers eager to mosh and slam dancing during the sold-out show.


The show started with Downhill Runner taking the stage. Seeing this band live for the second time remains an absolute treat. They’ve skillfully captured the sound of early-aughts pop-punk and skate punk, refining and reintroducing these sounds, ideal for an evening of partying and drinking. If I was any good at it, these guys would definitely make it to my skating playlist, but since I am not, I will just listen to them as I walk places. 


One of the more exciting characteristics of Downhill Runner is the back and forth between the drummer and the bass player on vocals. It definitely gives the songs an extra layer of vocal complexity which, paired with the slightly grittier vocals that you would expect from a band playing this type of punk, make them stand out. But the vocals are not the only interesting bit about this band, as their songs generally are energetic and fast with some tempo changes to keep the crowd invested, as well as some instrumental breaks changing up the pace of the songs.


Downhill Runner will be taking a short break from live performances, but don’t fret as they’ll be putting out some cool stuff during early next year, stay tuned! In the meantime, check out their new-wave(ish) alternative-punk song La Resistance from their album Rebel Radio.


Next up on the lineup, The Run Around takes the stage by storm. This self-proclaimed ensemble of friendly party hooligans thrilled the audience with their rendition of classic Midwestern punk rock. Their live performances stand out due to their knack for crafting irresistibly catchy tunes that have the potential to become anthems. It’s nearly impossible not to have a fantastic time when they’re in action.


Their song ‘Bombs Away,’ for example has all the ingredients for a punk rock song that could become a classic any moment, and seeing it performed live reinforces that as it made me want to jump and sing along, which I would have had I not been juggling a camera and maybe a can of PBR.


The Run Around put on an excellent show. Their music is solid, and the vibes they create are fantastic. I’ll definitely be humming their songs for the rest of the week and keeping an eye out for their upcoming shows. If you haven’t already, I highly recommend checking out their song ‘Bombs Away‘ from their EP of the same title.


Sushi, the third act of the night among the five bands, marked the halfway point of the event. Hey Fat Mike, wondering when punk rock became safe? Well, Noah Corona challenged that notion—at least for the workplace. Stripping down to his vibrant Keith Haring underwear, flaunting a summer body in the midst of winter, Noah delivered a wild punk rock performance.


It was hectic, violent, erratic as hell, it was awesome. Sushi opened up their set with the song “the Alcoholic,” a self-aware confession about self-destruction screamed over a catchy surf-punk riff and followed up with some intentionally raw hardcore punk akin to that of early Black Flag.


As their set progressed, the energy surged, with Noah engaging the stage, singing with the crowd in the mosh pit, and even rolling on the floor—creating an electrifying atmosphere. What struck me most was their riff-heavy compositions; had Sushi emerged in the early ’80s, they’d undoubtedly have shared stages with Black Flag and Dead Kennedys. Sushi picked a very specific style of punk rock and it was the right one for them as all the musicians in the band were in their element, I would say like fish in water but more like… fish on a plate… raw… like Sushi? Ok, that analogy does not quite work, but the point is that all four members of the band knew what they needed to do and did it well. Check out the live recording of their set that day!


With an imposing presence, The Usuals made it to the stage. Their time to blow us away had come, and that they did. With over twenty years of experience, these dudes have created a pretty wide array of songs that go from melodic to a more classic punk sound, and honestly everything in between.



Playing a tight set, and displaying some great musicianship, what stood out to me the most is that they were having just as much fun on stage as we were in the crowd, well, that and their guitar player was wearing an incredibly funny tropical button up shirt with what I believe was the face of his bandmates surrounded by Monstera leaves. As these guys played their faster and more aggressive songs, the pit just kept on getting more and more active, a sign of a great set.


A few songs into their set, there was an unexpected surprise as Curt Harrison, the lead singer, invited his young son onstage. The budding punk rocker grabbed a guitar and stood beside the microphone, becoming the band’s rhythm guitarist and backing vocalist alongside the seasoned members. As The Usuals neared the end of their set, bass player Justin Schenk decided to share his bass with the crowd, sparking absolute mayhem! The instrument became a tool for the frenzied punters in the pit, doubling as a prop and, at times, a mock weapon. If you enjoy these kinds of shenanigans, I would highly recommend catching this band live, but in the meantime my recommendation would be to listen to their song ‘Cheers to No One’ from their EP From the Valley to the Alley.


And finally the band everyone had been waiting for, the one band of the evening that needed no introduction, The Queers. With an iconic and immediately recognizable melodic and sometimes leaning more towards pop punk, the entire venue erupted into singing and jumping to their more well known songs like ‘Fuck the World’ and ‘See You Later Fuckface.’


Playing their signature songs filled with obscenities, crass lyrics, and eternally youthful angst, us in the crowd were able to enjoy a true classic act of punk rock. Not having had the opportunity to see The Ramones live, I think this is probably as close as I will ever be to listening to that very particular type of what some people refer to endearingly refer to as bubble-gum punk.


Despite Joe Queer’s pleasant and occasionally sweet vocals, in contrast to the raw and abrasive styles of the earlier bands, it did not stop those up front from moshing, slamming and pushing people around in a frenzy fueled by the fast guitar, and driving beat of the drums. Singing about crushes, and the frustrations that come with growing up as an outcast it is easy to see how this band would still be relevant to this day, and how they were able to connect both with the older folk at the show and also with the younger members of the audience. 


With an extensive setlist spanning across The Queers’ active decades, the phenomenal night drew to a close. Standing under what seemed – at least from the perspective of a photographer – the world’s brightest spotlight, it was time to say goodbye. With a prolonged and well-deserved ovation, Joe Queer concluded the set offering an encore with a few additional songs before concluding the night.


Head below to check out the full photo gallery of that great evening!


Downhill Runner


The Run Around


Sushi


The Usuals


The Queers

Post a Comment

Your email address will not be published. Required fields are marked *

DS Show Review & Gallery: Off With Their Heads, The Bollweevils, and Lost Legion – Chicago (12.10.2023)

It is often forgotten that activism is an essential element of punk culture. While, yes, we enjoy complaining about the system and bringing awareness to personal and social injustices, actively doing something to address them is what this is all about. On the second Sunday of December, Chicago’s legendary Liar’s Club hosted a sold-out show […]

It is often forgotten that activism is an essential element of punk culture. While, yes, we enjoy complaining about the system and bringing awareness to personal and social injustices, actively doing something to address them is what this is all about.

On the second Sunday of December, Chicago’s legendary Liar’s Club hosted a sold-out show to raise funds for KT’s Kids, a Chicago non-profit that specializes in providing kids and youths with disabilities with fun and enriching activities such as field trips, camps, and holiday parties throughout the year. You can learn more about how to support KT’s Kids by checking out their website

During this particularly warm(ish) winter evening, people were waiting outside before the sold-out event even started. Some had their tickets ready, others were waiting in case a spot opened up to get in.


The first band opening that evening was Lost Legion. These guys were not playing around; they were loud, aggressive, and put on one hell of a show. The lead singer kept the crowd engaged and fired up, while the rest of the band had us all headbanging to some great tunes. Had it not been early, you would have thought they were a headliner band.


The next band needed no introduction as everyone at the venue seemed to either know them personally or at the very least of them. The Bollweevils made their way onto the stage and the crowd immediately knew it was time to party. In between the in-band bickering over the set list order and friendly banter with the spectators, The Bollweevils delivered a performance that proved that these experienced punks still got it. 


Frontman and birthday boy of the evening, Daryl ‘The Doc’, showed us that you do not need to be in your twenties to jump around and keep up with punk music’s fast tempo. Showing off some strong knees, Daryl kept the crowd entertained by jumping off the stage into the pit to give the chance to the fans to join him singing some of their classic songs. The rest of the band kept up as well, delivering a great and memorable performance.


The Bollweevils have been nominated for “Best Punk Band of Chicago” as well as “Best Local Album Of The Year” by The Chicago Reader. If you enjoy their music, you can support them (as well as other artists and venues) by voting in the poll.


The last band of the evening, Off With Their Heads, swiftly took over the venue and made it their own for the rest of the evening. The gruff-punk trio originally from Minnesota truly put on a great show; no wonder they have been able to do this for over two decades. 


Lead singer and guitarist Ryan Young as well as the rest of the punk power trio put on a solid performance going through songs from their extensive repertoire including songs from their album Home, which is one of those punk albums everyone should give a listen through at least once in their lives.


Head below to check out the full gallery of the evening, and do not forget to support KT’s Kids.


Post a Comment

Your email address will not be published. Required fields are marked *

DS Show Review & Gallery: Punk Rock Tacos, Carnitas Cranberries! Downhill Runner; The Neighborhood Threat; Skapital Corruption; Iron Spiders; X Oracles X. Chicago (11.22.2023)

It is the weekend after Thanksgiving, and while most people probably sat at home with their families engaged in heated discussions over current hot topics, the Chicago Punk Rock scene got blessed with an incredibly fun night filled with loud music, beer, and some kick ass tacos; I’m sure that’s something to be grateful for. […]

It is the weekend after Thanksgiving, and while most people probably sat at home with their families engaged in heated discussions over current hot topics, the Chicago Punk Rock scene got blessed with an incredibly fun night filled with loud music, beer, and some kick ass tacos; I’m sure that’s something to be grateful for.


The host for the evening, event organizer and very energetic cameraman, Noah Corona, started off the night by introducing the first band and urging everyone to get some tacos before they run out.

As soon as Downhill Runner, the first band of the fest, got on stage everyone knew we were going to have a great time. Catchy pop-punk riffs, solid vocals, and a drummer that did not miss a single beat! What else could we ask for?


The Neighborhood Threat followed up by quite literally taking over not only the stage but the entire place. TNT put on an explosive show that had the crowd slamming and jumping. Be on the lookout for their upcoming music video, and EP coming out early next year.


We had tacos, beer, and punk but there was one thing missing and Skapital Corruption knew exactly what it was — we needed ska! Performing both in Spanish and English, they had the crowd skanking to some great renditions of beloved tunes like Time Bomb by Rancid and the incredibly relevant and catchy Intifada by Ska-P.


The Iron Spiders definitely won the award for best hair of the evening. Playing punk rock classics like DK’s “Nazi Punks Fuck Off!”, and “Waiting Room,” The Iron Spiders had us all singing along and headbanging. The band put on an incredible show while showing off the singing skills of all three members.


x.ORACLES.x wrapped up the first evening of the Punk Rock Tacos Cranberries Carnitas edition by performing a blend of Punk Rock and Chicago Blues. What a way to end the night. This band delivered a great set with the powerful vocals of Ms. Lynch, and the energetic vibes of the rest of the band.


Shout out to the crew behind the delicious carnitas tacos with cranberry sauce! Head below to check out the full gallery of the evening.


Post a Comment

Your email address will not be published. Required fields are marked *