Chaser covers Bob Marley

Chaser have released a cover of “Three Little Birds” by Bob Marley. The song is available digitally now and will be on their upcoming 7-inch, called Gonna Be Alright, along with a reworked version of their song “My Promise” which will be out on May 29. Chaser released their album Small Victories in 2024. Check out the song below.

Videos: Sixteen Scandals: “C.O.R.P.(SE).”

Sixteen Scandals have released a video for their new song “C.O.R.P.(SE).” The song is off their EP Dorkmantrois: Whackronyms which is out now via Cartridge Heart. Check out the video below.

DS Book Club: “Passion Is A Fashion: The Real Story of The Clash” by Pat Gilbert

The Clash have been the subject of many books and documentaries, but only one of these has extensively captured the band: Pat Gilbert’s Passion Is a Fashion: The Real Story of the Clash. Originally released in 2004 to commemorate twenty-five years of London Calling’s release, Aurum and the Quarto Group have re-released Gilbert’s tome on […]

The Clash have been the subject of many books and documentaries, but only one of these has extensively captured the band: Pat Gilbert’s Passion Is a Fashion: The Real Story of the Clash. Originally released in 2004 to commemorate twenty-five years of London Calling’s release, Aurum and the Quarto Group have re-released Gilbert’s tome on the only band that matters with a new edition, expanded by about 10,000 words and edited for accuracy. It is the quintessential and most complete book about The Clash.

Courtesy of the Quatro Group

The first quarter of the book is dedicated to the backgrounds of the essential players of The Clash, namely Joe Strummer, Mick Jones, and Paul Simonon, by exploring their childhoods through meeting and forming the band. Each of these chapters starts with Gilbert giving an idea of where each of the band members were at the time of the interview. Gilbert’s talks with Joe happened weeks before his untimely passing in the early 2000s. Mick’s conversation happened weeks after and provides a somewhat somber tone for the book.

These introductions don’t just give us each member’s background, but also how they remember their time in The Clash. It makes me wonder if Strummer’s death softened Mick’s memories of his former bandmate and how things ended. Would the memories feel more raw if Joe were still alive? It’s mentioned that Joe and Mick were talking in the months before Joe’s death, and while they may have worked out their issues then, the passing of anyone will make someone look back with a softer heart.

It’s interesting to see who is canonized and who is considered a bit player. The expanded sections seem to be reserved for Strummer, Jones, and Simonon. People like Topper Headon, Keith Levene, or Terry Chimes, who actually played in the band, are held in the same reverence as some of the other adjacent figures of The Clash, like Don Letts and Kosmo Vinyl. However, Clash Manager Bernie Rhodes does get one of these extended origins. He’s treated like another member of the band, not only because of his importance to The Clash but to the UK punk scene in general. Fans of The Specials will recognize the name shouted at the beginning of the song “Gangsters,” which documents their experience with him. Most accounts about Bernie Rhodes are not flattering, no matter how much the band praises his support and how much it helped them.

The research Pat Gilbert has culled and updated is nothing short of a Herculean task. This book has some sort of history for nearly every person and place, even if it’s a paragraph or two. Sometimes with punk rock books, it’s hard to wade through what’s lore and be able to pull facts from legend. Gilbert does a great job of taking everyone’s account and weaving their memories into a finite version, but also succeeds in making England’s punk rock scene feel cohesive rather than just each band sticking to the pockets of their own scene.

Sometimes the piling of the details can get to be a bit much. Gilbert’s writing is dense, but it would have to be given the amount of information he’s unloading, between his own research, interviews, and the amount of information to update in the years since his book has been released. It seems that he makes some sort of reference to every book written about the Clash. Gilbert is not overly friendly with the band, at least not in this writing, but there is some camaraderie. Even so, this book is immensely entertaining. He does keep things as structurally disciplined as you can in regards to an English punk band in England’s punk rock scene.

“Passion Is a Fashion” is hands down the best book you will ever read about the Clash. While it takes a moment to start with the actual story proper of the band itself, once it gets going, be prepared to have your brain overloaded. Every nook, cranny, and nugget about the Clash is explored and done so thoroughly. Passion Is a Fashion: The Real Story of the Clash is the only book that matters when it comes to the story of the Clash. Its telling of the band’s rise and fall and the impact they’ve had on music, not just punk rock cannot be overstated, but is well written with Pat Gilbert’s pen.

Passion Is a Fashion: The Real Story of the Clash by Pat Gilbert is available through the Quarto Group.

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No Cure to release debut album, share "Convulsing In The Dark" video

Alabama-based hardcore punks No Cure have announced that they will be releasing their debut album. It is called It Is Going To Get Dark and will be out on July 10 via SharpTone Records. The band has also released a video for their new song “Convulsing In The Dark” which was directed, edited, and coloured by Nicholas Chance. No Cure released their album I Hope I Die Here in 2024. Check out the video and tracklist below.

Belvedere: "Dormitory"

Belvedere have released a new song called “Dormitory”. The song is off their upcoming album Seven Years of Bad Luck which will be out on June 19 via Thousand Island Records. Belvedere will be playing Anarchy in the OK in September and released their album Hindsight Is the Sixth Sense in 2021. Check out the song below.

Festivals & Events: High Vis, Spencer Krug, La Sécurité, Truck Violence, more to play POP Montreal 2026

POP Montreal has announced its first wave of artists for this year’s festival. High Vis, Plants and Animals, Spencer Krug, La Sécurité , Truck Violence, Shunk, Thee Soreheads, Dune Rats, Luna, Think About Life, Infinity Song, A Winged Victory For The Sullen, Thunder heist, Squirrel Flower, and Charlotte Cornfield are among the bands and artists playing the festival. Nardwuar will also be putting on a Video Vault presentation. POP Montreal runs September 23-27 across several venues in Montreal.

Shawn Stern issues statement on Punk Rock Bowling

As you know, there was no Punk Rock Bowling in 2026, which had it taken place, would be wrapping up just about now. To that end, Shawn Stern, one of PRB's organizers, along with his brother Mark, issued a statement on the reasons there was no installment this year. He also comments on the possibility of a PRB 2027. You can see the statement below.

Videos: Stand Atlantic: "Velcro"

Stand Atlantic have released a video for their new song “Velcro”. The video was directed and edited by Brandon Lung. The song is available digitally now via Virgin Australia. Stand Atlantic released their deluxe version of their 2024 album WAS HERE in 2025. Check out the video below.

DS Show Review: Dave Hause and The Mermaid with Apes Of The State and RooFTops, Sinclair – Cambridge MA

While Dave Hause has certainly not been a stranger to playing shows in and around the Boston area for the last several decades, it had been a while since he and his revved-up band The Mermaid had played a big revved-up rock-and-roll show in the greater Boston area. Four-plus years, in fact, since the Mermaid […]

While Dave Hause has certainly not been a stranger to playing shows in and around the Boston area for the last several decades, it had been a while since he and his revved-up band The Mermaid had played a big revved-up rock-and-roll show in the greater Boston area. Four-plus years, in fact, since the Mermaid had played alongside Joe Gittleman’s Avoid One Thing at Sinclair in Cambridge. Sure, there were a couple years of Sing Us Home festival warm-ups at Faces in Malden, but the makeshift stage at the rear of a brewery in a repurposed bank is wonderful but a different feel than the Sinclair, a well-lit, tremendous-sounding yet unassuming industrial/subway style authentic rock and roll club. It’s big enough that a band has a chance to stretch their collective wings and really soar (see past coverage of barn-burning shows from Weakened Friends and The Hold Steady, for example) but intimate enough to allow for the symbiotic energy between artist and audience to transcend into something truly magical. And that’s exactly what happened last Saturday night when Dave Hause and the Mermaid made their triumphant return to the Harvard Square spot.

When we chatted with Hause about his latest record last year, he made frequent mention of the realization that the Mermaid, as currently assembled, was the best band that he’s ever been in, and that there was a desire to capitalize on how tight the band was and how fired up he was to be out in front. I can say emphatically that the Dave Hause and The Mermaid set last Saturday night at Sinclair was the best and most cathartic live musical set I’ve seen in that – or any – room in quite a long time. Years, really. Yes, I am fully aware of the hyperbolic nature of that statement, but to quote the great Brian Fallon during stage banter about pizza or dogs or Jersey (I forget)…”it’s not a lie if it’s true!” Hause and company – brother and longtime running mate Tim Hause on guitar, Kevin Conroy on drums, Luke Preston on bass, Mark Masefield on keys (and accordion!) and, for this year’s run of Mermaid shows, Matt “Mattsimum Waves” Wilson on guitar to fill out the sound – burst on stage and immediately ripped into “Cellmates” from the most recent record, a charged-up singalong rocker about spending time in the trenches with your comrades, as and making it out the other side. The song is a perfect encapsulation the crowd at-large, the rankers and rotters who’ve been along with Hause for the fifteen years of his solo career or the two-plus decades since The Loved Ones burst on the scene, a sort of post-script to the early-thirties eye-opening crises of Devour.

Speaking of which, while the Dave Hause…And The Mermaid record was the focal point for this show, the set did contain tracks from each of Hause’s seven full-length solo records. “Autism Vaccine Blues,” a personal favorite track from a desert island record for yours truly, was second in the set, a song that’s as cathartic with a full, six-piece band as it was the first time I heard Hause perform it solo, on Flogging Molly’s Green 17 tour in 2013. I know that I’ve used the word ‘cathartic’ a few times already and that’s probably poor form, but the reality is that’s the overwhelming feeling I had for the duration of the sixteen-song main set and two-song encore. The sort of poignant emotional release that comes with gathering with a few hundred friends and kindred spirits and hollering together about past loves and past lives and the cold realities that the world we’ve inherited is a far cry from the one we were sold. Even the less traditionally charged up rock songs, like “Rumspringa” from the Mermaid record or “Surfboard” from Blood Harmony took on arm-in-arm singalong vibes. (The former, for what it’s worth, featured an accordion-clad Masefield stage diving, while the latter featured an appearance on steel drum by Rhode Island’s Aaron Abramson Cote.) By the time main-set closers “Look Alive” and encores “With You” and “We Could Be Kings” rolled around, the lines between band and crowd had long-since been blurred in favor of one big, sweaty, celebratory mass.

Apes Of The State provided direct support on this little run in the Northeast after an appearance earlier in the month at the Hause brothers’ Sing Us Home festival. Appearing as a four-piece on this run sans guitarist/mandolinist Dan Ebersole, the Lancaster-PA folk punks – April Hartman on guitar and vocals, Mollie Swartz on violin and kazoo yes really, Ian Cornele on drums and Moth Rogers on bass – were met with a rousing singalong chorus of their own from the crowd, particularly on tracks like “They Can’t Kill Us All” and “Sober Intentions” and had won over the bulk of those who weren’t previously familiar by the time “What Am I Doing With My Life?” rolled around.

The local opener spot was occupied by RooFTops on this occasion. With roots that extend deep into the Boston punk and hardcore communities for many years, RooFTops has been doing the solo acoustic thing for a decade-and-a-half now. But this isn’t your parents’ acoustic folk balladeer; RooFTops is throat-shredding, anti-war, working-class punk rock to the bone (with a fun Descendents cover for added measure)!

Check out more photos from the evening’s festivities below!

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This Show Is Tonight: David Lee Roth leverages his lunacy on Lansdowne

<p>Out of all the elder statespeople who received the “Coachella bump” after their special appearances across the two-weekend shitshow extravaganza in the California desert last month, perhaps none was more unexpected than David Lee Roth. The legendary frontman was one of the special guests during Teddy Swims’ set, a literal revolving door onstage which also saw Joe Jonas and Vanessa Carlton join the “Lose Control” singer in front of the sweaty masses. Unsurprisingly, Roth and Swims dueted on the synth […]</p>
<p>The post <a href="https://vanyaland.com/2026/05/24/this-show-is-tonight-david-lee-roth-leverages-his-lunacy-on-lansdowne/">This Show Is Tonight: David Lee Roth leverages his lunacy on Lansdowne</a> appeared first on <a href="https://vanyaland.com">Vanyaland</a>.</p>