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!


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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!


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Slackfest 2024: The Slackers, The Operators, Rude Girl Revue, Meskales, Todd Hembrook; and Danny Rebel & The KGB. Chicago (11.15.2024 and 11.16.2024))

The Slackers returned to Chicago once again to host another Slackfest at Reggie’s. The NYC legends headlined both nights and brought along some friends for the fun. Night 1, the band was supported by Todd Hembrook from Deal’s Gone Bad and The Hemispheres, Meskales, and Danny Rebel & The KGB. Night 2 support came from […]

The Slackers returned to Chicago once again to host another Slackfest at Reggie’s. The NYC legends headlined both nights and brought along some friends for the fun. Night 1, the band was supported by Todd Hembrook from Deal’s Gone Bad and The Hemispheres, Meskales, and Danny Rebel & The KGB. Night 2 support came from the Operators, Rude Girl Revue, and a solo set by Danny Rebel.



Night 1: Friday


The Slackers have been playing great ska, reggae, and soul for more than three decades. The NYC legends have hosted Slackfest in Chicago for 7 years. It is arguably the most eagerly anticipated event for Chicago area ska fans and many others who travel to the Windy City to attend this annual weekend.

Frontman Vic Ruggiero, on organ and guitar, shared vocals with trombone player Glen Pine. Saxophonist Dave Hillyard, Bass player Marcus Geard, Jay Nugent, on guitar, and drummer Ara Babajian completed the powerhouse sextet.

The Slackers started the revelry with “Don’t Forget The Streets.” The extensive set also included “I Still Love You,” “Old Dog,” “Pick and Choose,” “Married Girl,” and “Wasted Days.”

Ruggiero and Hillyard performed a delightful cover of the Louis Prima classic “Just A Gigolo.”

The Slackers never disappoint the long-time fans and bring new ones into the fold with each performance.


Meskales, from the capital city of state next door jumped into its high-energy set immediately. The Madison, WI crew blasted through a set that included “Enfermo Ska,” “Guerra Fría,” “1312,” “El Muro,” “Skawboy,” and “Mis Amigos.”

A few days after the show, singer Salvador Luna described to me what it meant to participate in the weekend,

Playing at Slackfest was so much fun! We can’t wait to do it again. It was an honor to share the stage with The Slackers”

Meskales serves up some great Spanish language ska. Whilst it’s great to know the language, it’s not a necessity. No matter what language you speak, this band will have you skanking and grooving from the first note played. But yeah, being bilingual is always the way to go if possible.


Montreal, Canada’s Danny Rebel & The KGB made its Chicago debut at Slackfest 2024. The band engaged the crowd from the jump and found itself receiving a warm welcome on this cool Friday evening.

The breezy set included “Spiral Eyes,” “You Must Learn,” “Mad Man,” “Chew Toy,” and “Fire.”

Slackfest meant double duty for frontman Danny Rebel. He also played a nifty solo set on Saturday.

After the weekend, Rebel recalled the experience for me,

The show was a lot of fun. It’s always good to play a city we haven’t played before. Always honoured to directly support our heroes, The Slackers. We opened for them a few times since 2008. Also, really appreciate Reggie’s crew for their accommodation and making sure our cups were always full.


Todd Hembrook of Deal’s Gone Bad (DGB) and The Hemispheres returned to his one-time city with two former bandmates: Keyboardist Anthony Abbinanti of the former and T.J. Annerino of the latter on bass. Hembrook’s deep, soulful voice was warmly welcomed by many of his friends and fans in attendance. Among those were Tony Duggins of The Tossers and Dave Simon of The Crombies and Anger, as well as Hembrook’s bandmate in DGB.

Hembrook, Abbinanti, and Annerino played a tight but powerful set with “California & 26th,” “Things Are Gonna Get Better,” “Enjoy The Ride,” “The Liar & The Thief,” “AZ Plates,” “Put On Your Coat,” and “Movin’ On.” That last tune was from Hembrook’s DGB days.

Hembrook now lives in Northern Kentucky, “…literally right across the river from Cincinnati,” as he told me. However, the Chicago music community will forever claim Todd Hembrook as one of its own.


Night 2: Saturday


Prior to its second regular set of the weekend, The Slackers performed in a more intimate setting. On the floor level of the venue, mostly known for hosting comedy nights, the band mixed storytelling and song for a nice precursor to the final set of the weekend.

Closing out the event, The Slackers truly delivered with a set including “Keep Him Away,” “Watch This,” “Don’t Let The Sunlight Fool Ya,” “Cooking For Tommy,” and “Sarah.” Ruggiero also performed an acoustic version of “The Happy Song.”

For those on stage and those in attendance, this was a pretty happy weekend. Well, at least while the music flowed.


Rude Girl Revue is a supergroup composed of members from such bands as Hub City Stompers, The Scotch Bonnets, Stop The Presses, The Skluttz, and others.

My first impression of the band was to imagine a ska musical version of “A League Of Their Own,” with the matching baseball jerseys. But Rude Girl Revue is in a league of their own for sure on stage and as nearly a dozen members tore through a rollicking set including “Rude Girl Shake,” “Lioness,” “Get a Grip,” “Behind Every Santa, there’s a Mrs. Clause,” and “Slay Belles.”

Belles were slayed but so too was the stage. Give me more of this Rude-ness! If you are in the Baltimore, MD area you can check out Rude Girl Revue at Metro Baltimore on December 13, 2024.


The Operators, from eastbound and down from Chicago, are vets to the Reggie’s Rock Club stage. Hailing from Indianapolis, IN, The Operators hit the State Street venue with a very rambunctious set including “Better Off Alone,” “Don’t Do Me Dirty,” “Waste My Life,” “Ain’t It Obvious,” and “Catfished.”

Both Reggies and The Slackers hold a special place in the heart of The Operators frontman Brandon Sanders. He has played the venue four times thus far: three times as The Operators and once as Brandon Sanders and Friends.

As for The Slackers, Sanders estimates that he’s shared a bill with the group “about 15 times thus far.”

Vic Ruggiero is a mentor of sorts to Sanders and was the one who prompted the Indy-based musician to start The Operators in 2018. Sanders described to me the origin of his friendship with Ruggiero,

We met in 2015. We immediately got along so it was quick getting him down to Indy. I started booking The Slackers in Indianapolis in 2015, and he would crash at my place. Vic is definitely a friend first, then mentor. He has sound advice.”

The Operators return to Chicago on December 28 for Mustard Plug’s Home For The Skalidays 2024. The event takes place at the Bottom Lounge and sounds like a great way to close out this crazy year.


On Thanksgiving eve, I asked Vic Ruggiero what Chicago means to him and The Slackers. Reflecting on it, he had this to share:

So, Chicago has always been a great scene for us, they were the first of a few cities that really welcomed us early on in the 90s. I’ll never forget them singing our lyrics with us from the first record at Fireside Bowl…and that place and others often had DJ nights before or after the gigs, so I’d meet folks…after parties… the local bands and guys like Chuck Wren did a lot to keep a thriving local scene… And cuz Chicago is a touring hub, we’d often be on a bill with bands from all over that I was curious to see anyway… so it was a show for me, too..with our own Slackfest gigs we try to invite em!
Seems the Rust Belt was always our bread and butter for years… a close drive from NYC and tons of gigs between Ohio, Indiana, Michigan… PA, Western NY, Toronto included, and Chicago is in the middle of all that… there’s folks from Iowa, Nebraska, Minnesota, Missouri, and Wisconsin too… places we don’t go often enough cuz we make big circles these days…
It used to take us a year to get back everywhere, now it’s 2 at least, and some we’re lucky to get to every 3-5… or 10 like Omaha!!
so having these congregation spots like Chicago or Austin makes it so we can stay in touch with folks.
I love touring so I go out solo or with a small group to lots of places, but the Slackers is 6 guys, 8 people total, that gotta drive, fly, sleep… staying somewhere for a weekend is like the old jazz bands that’d play weeklong stints… and we get to play more variety of songs cuz we don’t wanna repeat stuff.
We do that when we play shows near each other, too, for the folks that come to more than one.
Plus, Chicago lets us do that nerdy storytelling behind the songs afternoon, which is demented for the band cuz we never talk about that stuff, even with each other…

Slackfest gets better each year. We at Dying Scene are already waiting eagerly for the 2025 date announcement. We’ll see you there! Thanks, and Cheers!

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DS Show Review: The Hammerbombs, Middle-Aged Queers, Reckoner, Se Vende (The Sardine – San Pedro 11/16/2024)

The Sardine is a small venue in the heart of San Pedro on Pacific Ave. Similar to other bars, it has memorabilia on its walls, this one has an emphasis on horror posters, pictures of punk rock heroes, and the occasional clown. Beyond the bar is a room with a stage that holds fifty people. […]

The Sardine is a small venue in the heart of San Pedro on Pacific Ave. Similar to other bars, it has memorabilia on its walls, this one has an emphasis on horror posters, pictures of punk rock heroes, and the occasional clown. Beyond the bar is a room with a stage that holds fifty people. Unsurprisingly, the bathroom is littered with stickers, and I only found one dick drawn on the wall. It was strategically placed over a picture of a mic Henry Rollins had in his mouth.

The night started off with Se Vende from San Diego. Clad in white t-shirt and jeans, they are a hard and melodic three piece very much in the vein of Jawbreaker. I couldn’t tell you the names of any of the songs, but did enjoy their set. Guitarist Johnny Cuz and bass player Collin traded lead and back up vocals while drummer Ono slapped the skins with plenty of fills to satisfy the most curmudgeonly elder punk rocker. Their set seemed short, but did seem to pack a good number of songs into it. If you see them on a bill make sure to catch their set. You won’t be disappointed.

The only band I had heard songs from was up second. Reckoner is a four piece band out of Los Angeles. Jennie Cotterill’s guitar and vocals lead the band consisting of Sven Wallwork (LA Crimes) on guitar, Kyle O’Neil (Fireworks) on bass, with Candace Hansen, drummer for Alice Bag, keeping time. Reckoner played a six song set, which I believe is all they have at the moment. If you’ve had a chance to pick up the band’s self released seven inch record, the songs were mostly similar to it, poppy and biting in the proper places, and just as great. They did play a cover of Elvis Costello’s “(What’s So Funny About) Peace, Love, and Understanding” that was fantastic. It’s always great to find other Costello fans in the wild. Keep an eye on them in the new year.

The next band had the most fun set of the night. Hailing from Oakland, CA, the Middle-Aged Queers are here to smash the prostate and make punk rock gay again. Featuring former members of bands such as the Cost, Fang, the Insaints and the Shondes, the band did just that. Shaun, the lead singer, turned on a bubble machine and let out a bag of pink balloons with the band’s logo all over them. The crowd did their part in hitting the balloons and at  each other and back at the bands. Playing songs about hot dogs (not penises) and PJ parties, The Middle-Aged Queers had the most energetic set of the night. One highlight is a cover that started off as Peaches’ “Fuck the Pain Away,” but then morphed into Faith No More’s “We Care A Lot.” It was a great transition and fit perfectly. The Middle-Aged Queers closed the set with Theme Song. The band’s declaration statement and with a crowd participation chant of “Go Fuck Yourself.”

Headlining the show was Oakland’s The Hammerbombs celebrating the release of their sophomore album “F For Effort.” This four piece sang songs about beer, heartbreak, bad roommates, and pancakes. Vocals were mostly handled by Rob Green (guitar), but Ilya Slabodkin (guitar) and Jen Louie (bass) had their moments to shine on vocals, also. The high energy from Matt Diamant drums and their fun brand of pop punk kept an older crowd awake towards the end of a late night. I can’t believe it took this long for me to discover this band. 

There wasn’t a big crowd for the show, despite a ten dollar cover charge. I don’t think there were many people under thirty, but that was probably due to the twenty and over age restriction. It’s been a while since I went to a show where I hadn’t heard or at least heard of the bands. It’s been longer since that same gamble has paid off. There used to be this attitude of what if we’re still doing this in our forties or fifties. It’s a worn out trope used in movies or TV shows. The old (punk) rocker chasing either their youth, or some stupid version of it, that can only be stifling our maturity, but it’s wrong. We should be so lucky that life hasn’t worn us out to where we don’t want these things anymore.

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DS Exclusive: HOOF music festival brings a voice for the women, femmes and thems of Chicago’s punk music scene

The Chicagoland music festival celebrating the women, femmes, and thems of the Chicago punk scene and beyond was a raging success this year. Complete with music, stand-up comedy, drag and tattooing, H.O.O.F. (Hands Off Our Fest) took place on October 19th at Blue Island Beer Co. and we are already excited to see what they […]

The Chicagoland music festival celebrating the women, femmes, and thems of the Chicago punk scene and beyond was a raging success this year. Complete with music, stand-up comedy, drag and tattooing, H.O.O.F. (Hands Off Our Fest) took place on October 19th at Blue Island Beer Co. and we are already excited to see what they have in store for next year.

Thank you to my fellow Dying Scene contributor Brian Nielsen for collaborating with me for more awesome photos, check them all out in case you missed this year! 


First on deck we have Sparkling Urbana, an alternative trans and queer rock band from Chicago. You can check out our interview with them about H.O.O.F. here! Side note: it is a total experience to get a tattoo while a punk band is playing right in front of you. Teddi Garson did a fantastic job providing on-site flash tattoos, donating part of their proceeds to Youth Outlook, a local charity supporting local LGBTQ+ youth. 


Photo by Brian Nielsen

Carnivore Mommy followed Sparkling Urbana, complete with some horror-esque clown attire. This WAS a costume contest, but I have a feeling this was not too far off from their normal performance attire (it was fantastically well done!) I was blown away by the feral energy vocalist Lauren Memery brought to the stage. 


Photo by Brian Nielsen

“Cow town” punk rockers Peach Vomit had an incredibly fun scream-filled set with vocalist Mama Vomit decked out as Spongebob SquarePants.

To round out the first set of bands playing, pop punk band Second City Seance played afterwards before the stand-up comedy and drag performances by Queeny, Dr. Caligirlie, Dolce Vita and Ichabod Vicious.


Photo by Brian Nielsen
Photo by Brian Nielsen

Photo by Brian Nielsen

The second half of H.O.O.F. was equally incredible. Grindcore trio The Cell Phones quickly made an impression with Lindsey’s scowls through the crowd.


Photo by Brian Nielsen

Just when you thought it could not get any better, glam punk duo from Bowling Green, Kentucky The Daddy Sisters had an enthusiastic and fun performance. Think 60’s garage rock meets 70’s glam rock with a dash of lipstick and ripped fishnet stockings. Chick Falcon owns the stage, well-deservedly.


Photo by Brian Nielsen

We also interviewed the second round of bands about H.O.O.F. that you can read about here!


Chicago’s Boybrain, self-described as “a snarling pissed off baby reminiscent of 1980s Punk with a touch of woven in melody,” stayed true to just that with the raspy angsty snarls of Patti on vox/guitar.

Dying Scene’s Brian Nielsen did a special in-depth interview with Boybrain about their single “Ratmouth” and H.O.O.F.!


Photo by Brian Nielsen
Photo by Brian Nielsen
Photo by Brian Nielsen

Last to take the stage for the bands was Sweetie who never seemed to run out of energy and always puts on a great show.

Birdy V. of Sweetie is the mastermind behind H.O.O.F., and just by the turnout and sheer joy the crowd had, you could tell this was a much-needed music festival the Chicago punk scene needed. Her sheer dedication is appreciated by all the women, femmes and thems of the scene and I can think of no one better to be running such a festival! Dying Scene is ready for H.O.O.F. 2025! 



Check out more photos from H.O.O.F. below and give them a follow!


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Chat Pile

DS Show Review & Gallery: Chat Pile, Agriculture, Porcelain – Minneapolis

There are few cities in America that boast as robust a music scene as the Twin Cities of Minneapolis – St. Paul. On any given night, one can stroll into one of the many music venues in the city and see iconic artists, local bands, or some of the most exciting up-and-coming acts from across […]

There are few cities in America that boast as robust a music scene as the Twin Cities of Minneapolis – St. Paul. On any given night, one can stroll into one of the many music venues in the city and see iconic artists, local bands, or some of the most exciting up-and-coming acts from across the country.

On Wednesday November 6, 2024, one such show took place at the Fine Line. A small club that opened its doors in 1987. The Fine Line is just a stone’s throw from the iconic First Avenue. Like First Avenue, the Fine Line is home to some of the best showcases of live music in the Twin Cities. On that night, it played host to Chat Pile, one of the most exciting names in the noise rock landscape.

Before Chat Pile took the stage, two opening bands primed the crowd with great sets of their own. Porcelain and Agriculture each brought their own brand of noisy rock and metal to the table.

Porcelain

The first band of the night, Porcelain, proved to be the most melodic. Even with that distinction, they still played a great set of abrasive post-hardcore with noise rock influences. The Austin-based quartet released their first album in February and have wasted no time getting their name out there with a spot on this tour. Porcelain consists of Eli Deitz (Drums) Jordan Emmert (Bass), Ryan Fitzgibbon (Vocals/Guitar) and Steve Pike (Vocals/Guitar)

Porcelain played a short but sweet set that sounded reminiscent of OFF! at times. The show was Porcelain’s final date on the tour, and the entire band donned Chat Pile merch for the first few songs in appreciation for the opportunity to play on the tour. Porcelain certainly made the most of their opportunity and seemed to gain several new fans. The set left no time for stage banter as the band chugged through a performance that set the atmosphere for a night of noisy soundscapes.

Agriculture

The next band to take the stage was Los Angeles-based black metal band Agriculture. The four-piece consists of Richard Chowenhill (Guitar), Kern Haug (Drums), Daniel Meyer (Guitar and Vocals) and Leah Levinson (Bass and Vocals). The band describes their music as an “ecstatic black metal band” that is “inspired by the glory of the ocean.” The group has made waves over the last couple of years releasing a series of well-received singles, EPs and a self-titled album.

Throughout their set, the most striking thing about Agriculture is their pure ferocity. The music rarely relents and its heaviness is palpable. The performances of vocalists Dan Meyer and Leah Levinson are downright violent. Someone unfamiliar with their music (as I am) would have trouble deciphering most of their lyrics live, but that may also be a byproduct of the venue’s acoustics. Regardless of whether you pick up every word or not, the vocals are just as effective as a sonic texture that adds to the heavy soundscape. There are bands that open and are good but don’t make much of a lasting impression on a concert-goer, and there are bands that beckon fans to learn more about them. Agriculture is certainly the latter.

Chat Pile

After a night of crushing rock music, Chat Pile took the stage for a headlining set. For the uninitiated, Chat Pile is a band from Oklahoma City that is often described as sludge metal. The band themselves see their music more fitting in the noise rock category, and that’s reflected in their influences. However one wants to categorize Chat Pile, one thing is certain. The band is making waves in the alternative music genre. Their debut album, God’s Country, was released in 2022 and garnered critical acclaim for its harrowing depiction of society’s ills such as drug addiction, homelessness and more. The band consists of a four-piece group going by the pseudonyms Raygun Busch (Vocals), Luther Manhole (Guitar), Stin (Bass) and Cap’n Ron (Drums).

Chat Pile’s performance began with a ripping rendition of “I Am Dog Now” a single from their newest album. The song is one of the standouts of the record, and is even better live. On the recording of the track, Raygun Busch’s vocals are slightly buried in the mix. Live in a room, though? The powerful cacophony of the singer’s labored screams are haunting in all the best ways. Busch has pointed to David Yow of The Jesus Lizard and H.R from Bad Brains as vocal influences. Before the first song is even over, Busch has taken his shirt and shoes off and looks more like a beach bum than a standout front man. Looks are deceiving. Like a lot of Chat Pile’s music, the track is brutal instrumentally and in terms of lyrical content. Chat Pile is adept at writing some of the most ferocious social commentary in music and scoring it with an equally ugly soundscape. The band counts Big Black as one of their biggest influences and it shines through with their blend of punishing instrumentals with lyrics exploring the worst aspects of society.

The chaotic nature of the live show is also reflected in the banter carried on by Raygun in between songs. He spends the downtime switching between making references to movies set in Minnesota and asking how close the venue is to celebrated author Louise Erdrich’s book store. His scattered thoughts on movies, literature, and jokes about local culture draw a parallel to the band’s music. What may seem directionless, pointless or ugly is actually the vehicle for a well-read and thoughtful message. Chat Pile is just as comfortable talking about Jean-Jacques Rousseau’s Social Contract as they are whipping the crowd into a nervous frenzy.

And excite fans is just what they do. There isn’t a moment of the show where you don’t feel like you’re part of a wave of humanity as the audience crushes towards the stage. This is especially true in the Fine Line, a fairly narrow venue that’s crowd area is longer than it is wide. It feels like there’s nowhere to escape throughout the band’s hour-long show. A sense of claustrophobia that only enhances the experience. Indeed, Chat Pile isn’t for everyone. For some, their music may seem unpleasant, unfocused or unfiltered. All those things are true, but as they finished a set consisting mostly of their new album with a few favorites from God’s Country thrown in, you wouldn’t want to experience the band in any other way.

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DS Show Gallery: Duff McKagan, Range War at The Outset. Chicago (11.08.2024)

Just days after the Presidential election, more than a few of us were looking for a pleasant distraction from the results and the unending post-mortems that followed. Duff McKagan, of the legendary rock band Guns ‘N Roses, made a solo stop on his Lighthouse Tour, at one of the newest Chicago music venues, Outset. He […]

Just days after the Presidential election, more than a few of us were looking for a pleasant distraction from the results and the unending post-mortems that followed. Duff McKagan, of the legendary rock band Guns ‘N Roses, made a solo stop on his Lighthouse Tour, at one of the newest Chicago music venues, Outset. He brought along Lee Ving, founder of the famous/infamous band FEAR, performing under the Range War moniker. This was a little bit different from what we at Dying Scene usually cover. Different but good. It served well as that aforementioned much-needed distraction.


Before helping found the legendary rock band Guns ‘N Roses, Duff McKagan was known for his work in the Seattle punk bands The Fartz and Fastbacks.

On his Lighthouse tour, McKagan brought an optimistic feel to the venue just days after the dramatic national news. But he was not up for anything heavy. At one point, McKagan thanked the crowd members for taking time to be there together, noting the varied professional and personal lives of the fans. It was a much-needed night of lightheartedness backed by really good music.

The set included “Forgiveness,” “Chip Away,” “This Is the Song, “I Saw God on 10th St.” He also was joined on stage by FEAR frontman Lee Ving at one point, as the two performed “All Turning Loose.”

It was a set that spanned various genres and years, covering numerous iconic songs. These included The Stooges’ “I Wanna Be Your Dog,” Johnny Thunders’ “You Can’t Put Your Arms Around A Memory,” “I Fought The Law” by The Crickets, and David Bowie’s “Heroes.” Of course, he covered his own most famous band, Guns ‘N Roses, performing “You’re Crazy.”

The evening was a pleasant one. For the large number of fans wearing G ‘N R shirts, a great opportunity to see one of their favorite rock stars in an intimate setting. That’s not a bad way to end such a tumultuous week.


It might come as a surprise to some Lee Ving, founder of the infamous punk band FEAR, has a country band. It sure was to me. But Ving, with his FEAR bandmate Frank Meyer, took the stage as Range War. Ving brought his still fierce vocals, his guitar, and a harmonica to a laidback setting. It was an engaging set, which included not only songs off Range War’s 2014 album Home On The Range but also the FEAR hits, “I Love Living In The City” and “I Don’t Care About You.”

Ving and Meyer also just dropped the final FEAR album recently. The Last Time was just released by Atom Age Industries/FEAR Records. Here’s our review from earlier this month.


This was the first time Dying Scene has covered a show at Outset. The West Town neighborhood venue is a new addition to the Chicago music scene. With dark wood accents and clean lines, it has a modern yet warm and cozy feel to it. Fans can enjoy the shows from the ground floor or balcony, and each level is equipped with a bar. The sound quality was also pretty terrific. The venue also has a large patio area, which I imagine is quite lovely on warmer evenings. I look forward to covering more shows at Outset for Dying Scene.

Thanks, and Cheers!

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DS Gallery: Dynamic Duos Death From Above 1979 & Teen Mortgage Electrify Stage Together (Metro, Chicago, 11/7/24)

This year Chicago has had a powerhouse of concerts; OFF!’s farewell show, the Jigsaw Youth/Bob Vylan combo and Knocked Loose, just to name a few. Adding to the list is the absolutely magnetic combination of garage punkers Teen Mortgage and noise-dance-punk legends Death From Above 1979 at Chicago’s Metro. Teen Mortgage is the two-piece garage-punk […]

This year Chicago has had a powerhouse of concerts; OFF!’s farewell show, the Jigsaw Youth/Bob Vylan combo and Knocked Loose, just to name a few. Adding to the list is the absolutely magnetic combination of garage punkers Teen Mortgage and noise-dance-punk legends Death From Above 1979 at Chicago’s Metro.


Teen Mortgage is the two-piece garage-punk band from Washington, DC that is quickly rising the ranks through the punk scene with guitarist and vocalist James Guile and drummer Edward Barakauskas. 


We covered them last time from their headlining show at HI-FI Indy in Indianapolis on April 1st this year. Since then, they have released a live Audiotree album on May 22nd and new single “Burn No Bridges” via King Pizza Records on September 20th.

They also kept busy touring the UK with The Smashing Pumpkins and Weezer, played music festivals Louder Than Life, Aftershock and Levitation, and more recently played some US dates with another favorite band of mine, Destroy Boys. Teen Mortgage immediately jumped from the Destroy Boys tour to the You’re a Woman, I’m a Machine 20th anniversary tour with Death From Above 1979.  


Both bands being two-piece acts, noisy, with tons of distortion and face paced riffs, the Teen Mortgage/DFA1979 combo is pure raw perfection.

While Teen Mortgage is finishing up some remaining Canada dates, next year they already have some big plans: playing Germany’s Rock am Ring, UK’s Download Festival, and a stop in Dublin with Weezer.


Hailing from Toronto, Canada, Death From Above 1979 is a unique combination of Jesse F. Keeler on bass and keyboards and Sebastien Grainger on drums and lead vocals. In 2004 they released their debut album You’re a Woman, I’m a Machine and have been touring extensively this year for its 20th anniversary. 


The first time I saw DFA1979 I was in complete awe of the stage productions, particularly the lights, and this show was no different. Beams of different colored lights shot through heavy fog in different directions, perfectly choreographed to every song.


With their abrasive synth and piercing screams, DFA1979 is an exemplary example of what dance punk is meant to be.


This sold-out show at Metro was part of their USA/Canada Part II tour with Teen Mortgage; Part III will begin in 2025 with San Francisco punk band Spiritual Cramp (remember them at Riot Fest this year? We do!) followed by a stint in Australia with DZ Deathrays. 



Check out the full gallery below!


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DS Gallery: Genre-defying Knocked Loose perform epic show in Chicago with DRAIN, Militarie Gun and Danny Brown (Aragon Ballroom, 11/1/24)

Kentucky-based hardcore band Knocked Loose has made quite the name for themselves this past year. On May 10th they released their critically acclaimed album You Won’t Go Before You’re Supposed To, earning praises from several top music outlets and critics. As part of their 18-date Fall North America tour, Knocked Loose stopped at Chicago’s Aragon […]

Kentucky-based hardcore band Knocked Loose has made quite the name for themselves this past year. On May 10th they released their critically acclaimed album You Won’t Go Before You’re Supposed To, earning praises from several top music outlets and critics. As part of their 18-date Fall North America tour, Knocked Loose stopped at Chicago’s Aragon Ballroom on November 1st with support from DRAIN,  Militarie Gun and Danny Brown. With a stacked bill like this you know you are about to get a wild show!


First up we got Militarie Gun! Militarie Gun is based out of Los Angeles, California and released their debut album, Life Under the Gun, on June 23, 2023 through Loma Vista Recordings

Melodic, catchy and so much more, Militarie Gun rose to stardom soon after forming in 2020 through frontman Ian Shelton’s pure dedication and drive. 



The Santa Cruz, California crossover thrash band DRAIN has an impressively intense show, but this should not be new news for Chicago; the band played at Riot Fest in 2023 and stirred up a bit of chaos. During their final song, “California Cursed”, frontman Sammy Ciaramitaro encouraged fans to jump the barricade to join the band on stage. Security understandably had an oh shit moment but did a great job to keep everyone safe. (Ciaramitaro did later apologize for the antics and meant no harm).

Clearly, DRAIN is not afraid to have fun with their fans and deliver an enthusiastically exciting performance. 


This show was no different; DRAIN’s backdrop in huge letters stated, “DRAIN is not responsible for anything you do in the next 30 minutes.”

Ciaramitaro jumped into the crowd, engaging with fans and crowd surfing with them. DRAIN makes it impossible to NOT have a great time.

DRAIN released their second full-length album Living Proof on May 5th, 2023 through Epitaph Records



Next up was a unique addition to the line up- rapper Danny Brown performed for the hardcore fans, but for only five stops of the Knocked Loose tour.

The pairing worked fabulously, mixing genres at concerts definitely needs to be more of a thing!



To say I was blown away by Knocked Loose would be an understatement. They are certainly making the metalcore genre their own and becoming the best in the game. You would not expect the type of banshee-screaming vocals from frontman Bryan Garris when you see him, but he knocks it out of the park.

Much like DRAIN, Knocked Loose is also well known for their hectic and intense shows and Chicago was no different. Moshing, crowd-surfing, pure chaotic energy only begins to describe it. The Aragon Ballroom was packed front to back with eager fans for the show of the year. Knocked Loose is what hardcore is about. 


The visuals were top-notch, too. The iconic glowing cross towered over the stage, as seen on the cover of You Won’t Go Before You’re Supposed To.

Knocked Loose is far from done as they have announced an EU/UK spring tour in 2025 with support from Basement, Harms Way, and Pest Control. You can also catch them at the When We Were Young festival on October 18th, 2025 in Las Vegas. Here’s a list of the current remaining tour dates!


November 7 – Grand Rapids, MI: GLC Live at 20 Monroe+# 
November 9 – Wallingford, CT: The Dome at Oakdale+ 
November 10 – Washington, DC: The Anthem^+ 

^: with The Garden 
+: with DRAIN 
#: with Militarie Gun 

2025

March 17 – London, UK: O2 Academy Brixton 
March 18 – Manchester, UK: O2 Vi
March 20 – Tilburg, NL: 013 Poppodium 
March 21 – Paris, FR: Le Bataclan 
March 22 – Lille, FR: L’Aéronef 
March 25 – Cologne, DE: Palladium 
March 27 – Berlin, DE: Columbiahalle 
March 28 – Leipzig, DE: Haus Auensee 
March 29 – Munich, DE: Tonhalle 
October 18 – Las Vegas, NV: When We Were Young music festival 



Check out all the photos from the show below!


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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!


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