BERRIES release video for "Jagged Routine"

London, UK-based rockers BERRIES have released a video for their song “Jagged Routine”. The video features footage from their fall headlining tour earlier this year which was filmed by the band, Robyn Skinner, and Kit and Claire. The song is off their self-titled album which was released earlier this year via Xtra Mile Recordings. Check out the video below.

Sweet Pill announce new EP, share 'Unraveled' version of "Cut"

Sweet Pill have announced that they will be releasing a new EP. It is called Unraveled and features reworked versions of their previously released songs. It will be out on January 31 via Hopeless Records. The band has released a reworked version of “Cut”. The original song appeared on their 2022 album Where The Heart Is. Sweet Pill released their EP Starchild earlier this year. Check out the song below.

Direct Hit!: “ONE ONE ZERO”

Direct Hit! have released a new song. It is called “ONE ONE ZERO” and is available digitally now. Direct Hit! released their album Crown of Nothing in 2018. Check out the song below.

Chuck Ragan’s gear stolen after show in NorCal

This weekend, Chuck Ragan played San Francisco. After the gig, he stayed at a hotel in Emeryville. While the band was sleeping, someone entered the "secured" parking lot, broke into his van, and stole Ragan's gear. The exit was found broken the next morning, which was probably done by the perps on the way out. The hotel had no camera in the parking lot. If you have info, you can contact Chuck or the Emeryville police. You can see the list of stolen gear below.

Bridge The Gap to release new album, share "In The Throes" video

Bridge The Gap have announced that they will be releasing a new album. It is called Gainsayer and will be out in spring 2025 via Double Helix Records, SBAM Records, and Pee Records. The band have also released a video for their new song “In The Throes” which was directed by Gearly Beloved. Bridge The Gap released their album Secret Kombinations in 2023. Check out the video below.

Burial Etiquette: "Onyx, Iridescent"

Burial Etiquette have released a new song. It is called “Onyx, Iridescent” and is available digitally now. The band will be releasing four new songs later this week as part of a 4 band split on Hunk of Plastic Records. Burial Etiquette released their EP Wynter Light as well as their debut full-length album Mise-en-scène earlier this year. Check out the song below.

DS Record Radar: This Week in Punk Vinyl (Cigar, Rebuke, The Lockdowns, Random Heroes & More!)

Greetings, and welcome to the Dying Scene Record Radar. If it’s your first time here, thank you for joining us! This is the weekly* column where we cover all things punk rock vinyl; new releases, reissues… you name it, we’ve probably got it. Kick off your shoes, pull up a chair, crack open a cold […]

Greetings, and welcome to the Dying Scene Record Radar. If it’s your first time here, thank you for joining us! This is the weekly* column where we cover all things punk rock vinyl; new releases, reissues… you name it, we’ve probably got it. Kick off your shoes, pull up a chair, crack open a cold one, and break out those wallets, because it’s go time. Let’s get into it!

Check out the video edition of this week’s Record Radar, presented by Punk Rock Radar:

Batting leadoff this week is this bad ass new record from Swedish skate punks Rebuke! Things One Shouldn’t Have to Say is due out February 7th and is available to pre-order on two beautiful color variants: “Fizz Time Splatter” (100 copies) and “Dualist Sundae” (200 copies). Get it now from Punk Rock Radar or Double Helix Records in the states, Lockjaw Records in the UK, and Pee Records in Australia.

Also up for pre-order on the Punk Rock Radar webstore: Bri’ish Ramonescore band Random Heroes’ awesome new record FOUR! Limited to 100 copies on pink colored vinyl and a highly recommended pickup for fellow Screeching Weasel / Riverdales appreciators. Also available from Cats Claw Records in the UK. This record kicks ass!

Speaking of records that kick ass, Cigar’s Speed is Relative has been reissued by Fat Wreck Chords and is already on the brink of going out of print once again. I told you about the black vinyl repress that popped up on Amazon and elsewhere about a month ago, but Fat has since announced the reissue and made colored vinyl available to purchase. As always, they’re keeping a tight lip about variants, but I’ve seen two floating around: a clear w/ yellow and green splatter, and a clear w/ blue pinwheel kinda thing. FatWreck.com is sold out of colored vinyl but their Australian Artist First webstore still has some copies in stock and shipping to the states isn’t obscenely expensive!

Also on from Fat… a new 7″ from a band of children Fat Mike has taken under his wing. The Dollheads’ new single “Teenage Runaway” was written (and I believe produced) by Mr. Burkett. Get the 7″ here.

Our friends at Bloated Kat Records are releasing a 4-way split LP from Heavy Lag, Sekunderna (from Sweden!), Teenage Bigfoot and TV Cop. Pre-order the record on random colored vinyl(!) here and check out a track from each band below to see what you’re getting yourself into:

Our other friendly friends at Mom’s Basement Records have some bad ass shit going on and coming up soon, but what else is new? Up first, the debut album from Houston pop-punks The Lockdowns, out now and available on two bad ass color variants! Also available on black vinyl! And CD! Just buy the fuckin thing!

Coming soon from Mom’s Basement: the killer debut album from Brazilian bubblegum punks the Boogadas! Heartbeats and Heartbreaks is already streaming everywhere (get the digital download from their Bandcamp!) but Mom’s Basement will be releasing it on compact disc (otherwise known as a “CD” by those in the trade). Set a reminder to head over to their webstore and buy this awesome album this Friday, December 20th at noon eastern.

And last up in the “fellating Mom’s Basement Records” segment of this week’s Record Radar, I’d be remiss if I didn’t bring to your attention the awesome international releases they have available for pre-order in their distro at the moment. From Austria, it’s the Mugwumps with their new record Domino! From Brazil, it’s Flanders 72 with their record The TV Show! And from Germany, it’s the Kahuna Surfers with their new 7″ Forever! These are up for pre-order for a limited time only, so act fast.

Revelation Records is giving Glassjaw’s Don Fury Sessions its first official release, nearly 27 years after its original recording. Previously only available on 100 home made cassette tapes, these 1998 demos find new life on a yellow colored record which you can purchase here with money. It’s worth noting some material has been omitted from the vinyl release, the full demo is on YouTube though:

And wrapping up this week’s Record Radar – which by the way might very well be the last one of 2024! – we’ve got Manchester, UK skate punk newcomers BLAGGED with their debut EP Cortex Marks the Spot, out now on Rad Girlfriend and Brassneck Records! 5 tracks and they all kick fuckin ass. Get the 12″ EP on two color variants here (US) or here (UK).

Well, that’s all, folks. Another Record Radar in the books. As always, thank you for tuning in. If there’s anything we missed (highly likely), or if you want to let everyone know about a new/upcoming vinyl release you’re excited about, leave us a comment below, or send us a message on Facebook or Instagram, and we’ll look into it. Enjoy your weekend, and don’t blow too much money on spinny discs (or do, I’m not your father). See ya next time!

Wanna catch up on all of our Record Radar posts? Click here and you’ll be taken to a page with all the past entries in the column. Magic!

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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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Navel Gazing for December 15, 2024

Welcome to Navel Gazing, the Punknews.org commenter community's weekly symposium, therapy session, and back-alley knife-fight. Chime in below with your latest playlists, record store finds, online time wasters, and site feedback.

Dying Scene Album Review: Mundane – “Ultra Sound”

Gothenburg, Sweden’s Mundane formed as a side project in 2018 and eventually became the main focus of members Hannes Wijk, Felix Grennard, Linus Bech, and Melker Lilja. While releasing songs here and there since that time, this full-length debut is the fruits of their labor. Melding their influences of bands like Weezer and the Pixies […]

Gothenburg, Sweden’s Mundane formed as a side project in 2018 and eventually became the main focus of members Hannes Wijk, Felix Grennard, Linus Bech, and Melker Lilja. While releasing songs here and there since that time, this full-length debut is the fruits of their labor. Melding their influences of bands like Weezer and the Pixies with Midwest emo, Mundane brings us Ultra Sound. A twenty-seven-minute record that will have you head-bopping one minute and getting lost in its meditative songs the next. 

Ultra Sound kicks off with “Riff Raff,” a song about the waxing and waning of drinking excessively and its effects on those around you. It’s not the car is in the front yard of Lit’s “My Own Worse Enemy”; it is closer to ruining the relationships you may have by running your mouth a little too much. The lyrically self-deprecating “Fast but Lazy” keeps your head bopping, but ups the ante on the tempo before stabilizing with “Never Change.” While these first two tracks are great, “Never Change” is where Ultra Sound finds its direction by transitioning into a 1990s emo album with traces of Mineral, Built to Spill, and early Further Seems Forever on the tracks going forward. The second guitar is complementary, with its repeating riffs, and mostly does more than just double up the rhythm guitar. “Summer Day” laments waking up alone after a breakup and is a good halfway point for this record. “Had to Be Good” picks up the back end of this record. “Our Bodies Differ” and “Lately” continues our journey into the emo filtered through Mundane. Ultra Sound closes with the track “The Great Indoors,” a song about letting anxiety and depression win this round and staying in bed all day. 

Ultra Sound basks in the loneliness, isolation, and longing of being young. Despite being at an age where I know these feelings will pass, these sentiments still hit. Are these feelings nostalgic or residual? The answer probably differs day to day. In a year that saw the release from Suburban Eyes, veterans of the genre create new sounds of their pasts, Mundane is filtering their own future on those bands’ sound. There would be no reason to not stock this album next to some of the classics. Ultra Sound is a great album to put headphones on and get lost into. The songs aren’t dragged out, which is sometimes my criticism of 1990s emo and the bands that try to emulate it. Mundane has this locked in perfectly. 

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