DS News: Frenzal Rhomb release video for new single “Thought It Was Yoga But It Was Ketamine”

Australian punk veterans Frenzal Rhomb have released another single from their upcoming album The Cup of Pestilence. Check out the music video for the new song “Thought It Was Yoga But It Was Ketamine” below. The Cup of Pestilence is set to release on April 7th through Fat Wreck Chords; pre-order the record here (US), here (EU), or here […]

Australian punk veterans Frenzal Rhomb have released another single from their upcoming album The Cup of Pestilence. Check out the music video for the new song “Thought It Was Yoga But It Was Ketamine” below.

The Cup of Pestilence is set to release on April 7th through Fat Wreck Chords; pre-order the record here (US), here (EU), or here (AUS). This will be the band’s 10th full-length album. It follows 2017’s Hi Vis High Tea.

If you missed the album’s first single “Where Drug Dealers Take Their Kids”, you can check that out here.

New Releases

Social Distortion 05-08-2026
Born To Kill
The Flatliners 05-08-2026
“Cold World”
Middle Aged Queers 05-01-2026
Greatest Hits

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DS Album Review: Bridge The Gap – “Secret Kombinations”

After months of hype and anticipation, Bridge The Gap have some serious expectations to live up to with their debut album Secret Kombinations. The 13-song LP was recorded at legendary Fort Collins, CO recording studio The Blasting Room. You may know the producer; I think he’s some drummer guy named Bill Stevenson? No big deal. […]

After months of hype and anticipation, Bridge The Gap have some serious expectations to live up to with their debut album Secret Kombinations. The 13-song LP was recorded at legendary Fort Collins, CO recording studio The Blasting Room. You may know the producer; I think he’s some drummer guy named Bill Stevenson? No big deal.

Secret Kombinations has all the hallmarks of the 90’s “Epifat” skate punk sound. The album serves up a heaping helping of everything from hard charging, Pennywise-ish sociopolitical anthems, to feel-good melodic punk songs in the vein of bands like No Use For A Name, Pulley, and the slightly more contemporary Chaser. Of course, there’s no shortage of whoas and oozin’ aahs sprinkled throughout the entire album.

The record starts strong with its title track, immediately followed by “Road Less Traveled”, delivering a solid 1-2 punch that grabs you right off the bat. “Over the Target” keeps things moving along at a brisk pace with its riffy guitar work and a driving, whoa-filled chorus. “Open Heart Purgery” and “My Creation” are much slower, but still manage to match the energy of the album’s fastest tracks. I’ve seen plenty of people comparing the latter to Pulley’s classic “Insects Destroy”, and I wholeheartedly agree with the comparison.

The back half of Secret Kombinations is where the band starts to really hit their stride; standout tracks include “Found in a Fire”, “Up”, and “Whippersnapper”. Lyrically, these are some of the album’s most introspecticive, personal songs. There’s a really earnest tone on these tracks that echoes NUFAN’s late-90’s output, somewhere between Making Friends and More Betterness.

This may be the band’s maiden voyage under their current moniker, but these guys are no greenhorns. Bridge The Gap’s lineup is comprised of members of long defunct Salt Lake City punk band Unfold, in which they released an album over 20 years ago. When paired with the warchest of knowledge Bill Stevenson brings to the table, that past experience pays dividends on Secret Kombinations. Bridge The Gap put their spin on the skate punk conventions of yesteryear, and the end result is an ultra-polished record with laser focused musical direction.

Super official review score: 4.25 out of 5 star emojicons ⭐⭐⭐⭐¼

Secret Kombinations releases March 24th on People of Punk Rock Records. Head over here to get the album on vinyl and/or CD. Digital download is available on Bandcamp.

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DS News: Less Than Jake announce Welcome to Rockview Tour w/ Voodoo Glow Skulls, The Toasters & more

Gainesville ska-punk veterans Less Than Jake have announced a US tour celebrating the 25th anniversary of their 1997 album Hello Rockview. The Welcome to Rockview Tour runs from early July through the end of August and features support from Voodoo Glow Skulls, The Toasters, Spring Heeled Jack and the Venomous Pinks, among others. LTJ will […]

Gainesville ska-punk veterans Less Than Jake have announced a US tour celebrating the 25th anniversary of their 1997 album Hello Rockview. The Welcome to Rockview Tour runs from early July through the end of August and features support from Voodoo Glow Skulls, The Toasters, Spring Heeled Jack and the Venomous Pinks, among others. LTJ will be playing Hello Rockview in its entirety every night.

General admission tickets go on sale to the public Thursday, March 23rd. VIP packages are available right now. Check out the tour dates below and go here for tickets.

Before the Welcome to Rockview Tour kicks off, Less Than Jake will be touring Europe and the UK. More info on that here.

Tour dates:

7/6 Nashville, TN @ Brooklyn Bowl *!
7/7 Louisville, KY @ Mercury Ballroom *!
7/8 Chicago, IL @ Concord Music Hall *!
7/9 Detroit, MI @ St Andrews *!
7/11 Cleveland, OH @ House Of Blues Cleveland *!
7/12 Pittsburgh, PA @ Mr. Smalls Theatre *!
7/13 Buffalo, NY @ Town Ballroom *#
7/14 Philadelphia, PA @ TLA *#
7/15 New York, NY @ Irving Plaza *#
7/16 Asbury Park, NJ @ House of Independents *#
7/18 Baltimore, MD @ Rams Head Live *^
7/19 Virginia Beach, VA @ Elevation 27 *^
7/20 Carrboro, NC @ Cat’s Cradle *^
7/21 Atlanta, GA @ Masquerade *^
7/22 Orlando, FL @ House Of Blues Orlando *^
8/11 St. Louis, MO @ Delmar Hall $^
8/12 Milwaukee, WI @ The Rave $^
8/13 Minneapolis, MN @ Varsity Theatre $^
8/15 Lincoln, NE @ Bourbon Theatre $^
8/16 Oklahoma City, OK @ Tower Theatre $^
8/18 Denver, CO @ The Summit $^
8/19 Salt Lake City, UT @ The Depot $^
8/21 Seattle, WA @ Showbox $~
8/22 Portland, OR @ Revolution Hall $~
8/24 San Francisco, CA @ Great American Music Hall $~
8/25 Los Angeles, CA @ Echoplex $~
8/26 Santa Ana, CA @ Observatory OC $~
8/27 Tempe, AZ @ Marquee Theatre $~
8/29 Dallas, TX @ Granada Theatre $~
8/30 Austin, TX @ Mohawk $~

* = with Voodoo Glow Skulls
! = with Pink Spiders
# = with Spring Heeled Jack
^ = with Devon Kay & The Solutions
$ = with The Toasters
~ = with Venomous Pinks

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DS Photo Gallery: St. Patrick’s Day in Boston Dropkick Murphys, Turnpike Troubadours and The Rumjacks

Despite living in the Greater Boston Area for the four-plus decades I’ve been alive, and despite having seen numerous Dropkick Murphys lineups play numerous Dropkick Murphys shows – from a show where they appeared sandwiched between The Mr. Rogers Project and The Pietasters at The Living Room in Providence to headlining the hometown Agganis Arena […]

Despite living in the Greater Boston Area for the four-plus decades I’ve been alive, and despite having seen numerous Dropkick Murphys lineups play numerous Dropkick Murphys shows – from a show where they appeared sandwiched between The Mr. Rogers Project and The Pietasters at The Living Room in Providence to headlining the hometown Agganis Arena over St. Patrick’s Day weekend – I’d never actually seen the band live and in person on the most Boston Irish of holidays itself. Until now. The 2023 installment of the Dropkicks’ annual St. Patrick’s Day weekend festivities took three days at the massive new MGM Music Hall that serves as the literal back door to Fenway Park, with Sunday’s wrap-up show happening across the street at the comparatively quaint 2200-capacity House Of Blues.

As has been customary for many of the St. Patrick’s Day weekend festivities that Dropkick have thrown over the years, this run capped off what had been a pretty busy tour schedule in support of their latest album, in this case This Machine Still Kills Fascists, the Woody Guthrie-inspired record that they put out on their own label last year (a follow-up, Okemah Rising, is due out this Spting). Openers rotated slots across the four main shows (Saturday also had an early “soundcheck”-style abridged set and meet-and-greet); St. Patrick’s Day itself featured The Rumjacks and Turnpike Troubadours; Nikki Lane and Jesse Ahern also took their respective turns in the rotation at the weekend’s other shows.

The Rumjacks kicked off the St. Patrick’s Day festivities promptly at 6:30pm to a fairly robust crowd in spite of the early set time. Probably helps that the holiday fell on a Friday and that it’s spot at the end of Lansdowne Street puts MGM right at the start (or end, I suppose) of a run of bars eager to cash in on the most pub-crawlingest of holidays. The Australian lads’ set had a bit of a hometown feel to it, not just because most Celtic/Irish punk bands do pretty well in this market, but because not only is local boy Mike Rivkees manning frontman and tin whistle duties, but his fellow Mickey Rickshaw bandmate Kyle Goyette has been handling accordion duties and may/may not officially be a Rumjack now? The band ripped through a baker’s dozen Irish bangers including “Through These Iron Sights,” “One For The Road” and, of course, “An Irish Pub Song.”

Turnpike Troubadours occupied the middle slot on the bill, and they’re a band I’d been looking forward to catching again for a long time. The last time I saw Turnpike was back in 2018 at Lucero’s Family Block Party in Memphis. It was good, but it wasn’t, from my understanding as someone who was considerably late to the Turnpike game, a really representative set for a variety of reasons, and the band went on hiatus early the following year in order to allow frontman Evan Felker to sort out some personal demons. The band reunited about a year ago and good grief are they making up for lost time. 

Earlier in the week, Turnpike had played in front of something like 75,000 people at the Houston Rodeo and Livestock show which, I’d imagine, is something like Texas’ version of St. Patrick’s Day in Boston. And while that’s a level of nerve-wracking that I can only begin to wrap my head around, it probably has to be a different sort of nerve-wracking to be main support for a long-running Boston Irish punk rock band on their home turf on THEIR day, particularly when you’re A) not from around here and B) playing a style of music that doesn’t always translate to the rowdy, occasionally finicky Boston punk crowd. But make no mistake – Turnpike killed.

The band took the stage and immediately dove into “Long Hot Summer Days,” a boot-stomping cover of a John Hartford track that Turnpike have made their own over the last decade-or so. The song leans heavily into the fiddle and even heavier into multi-part vocal harmonies, and I heard someone up along the barricade comment once the song was done that it was probably the most “punk rock” moment they’d see tonight, and in many respects, that sentiment wasn’t wrong. But at it’s core, “Long Hot Summer Days” is a blue-collar working song and Dropkick Murphys are one of the last local vestiges of a blue collar core that is all but falling by the wayside, and so maybe Turnpike as a band are not unlike Dropkick’s cousins from Oklahoma. From there, the band ripped through a total of ten songs of love and heartache and rebellion. “7&7” and “Gin, Smoke & Lies” and “A Tornado Warning” were particularly well-received by the crowd that, sure, was chock-full of scally caps but was also not without it’s own share of cowboy hats. In Boston!

From there, obviously, it was time for the main attraction, the one-and-only Dropkick Murphys. As per usual, the band took the stage to the Sinead O’Connor/Chieftains rendition of “Foggy Dew” before immediately ripping into “State Of Massachusetts” from their 2007 classic The Meanest Of Times. Frontman and founder Ken Casey handed off live bass playing duties to longtime touring member Kevin Rheault years ago, leaving him free to endlessly, tirelessly pace the stage and interact with the crowd from both behind and atop the barricades at stage front.

Dropkick Murphys have had a bit of a nebulous lineup over the years, and the 2022/3 edition is no different. With Al Barr still sidelined to tend to his ailing mother, the current lineup finds Casey joined longtime drummer Matt Kelly, guitarist James Lynch, multi-instrumental virtuosos Tim Brennan (that’s him on accordion on the right) and Tim Brennan joined by Rheault on the bass and Campbell Webster on bagpipes and tin whistle and maybe percussion during some of the Woody Guthrie songs? It was a little tough to tell because the high-energy show was filled a constantly changing pre-programmed digital backdrop and the stage was replete with myriad moving parts, barely two songs goind by without some change in instrumental duties for at least one if not more Dropkicks.

The band was also joined on stage by a host of special guests on the evening. Erin McKenzie (seen at left), most notably of The Doped Up Dollies but also collaborator with the likes of Big D and The Kids Table and Lenny Lashley and, of course, the Dropkicks, joined for a charged-up rendition of “The Dirty Glass.” Turnpike Troubadours’ Evan Felker came out for “The Last One,” the track he lent his vocal talents to on record on This Machine Still Kills Fascists. They were also joined on stage by Woody Guthrie’s grandson Cole Quest on dobro.

Dropkick Murphys have done a lot of good for both the music community and the community-at-large, particularly here in Massachusetts, over the course of the last quarter-century. Even if you strip away some of the over-the-top garish green shamrock imagery in the crowd (and out on the street), St. Patrick’s Day weekend serves as a way for the community to come together and both celebrate with the band and, ultimately, celebrate the band and what they stand for and to repay the favor to the band who now carry the torch for the punk music scene in Boston. It’s like old home day but for a full, unofficial long weekend, and I’m glad to say I finally shot the weekend’s crown jewel event. See below for more slideshows from each of the bands performances!

The Rumjacks Slideshow


Turnpike Troubadours Slideshow


Dropkick Murphys Slideshow

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DS Album Review: The Bouncing Souls – “Ten Stories High”

Dropping the needle on a new Bouncing Souls record is like feeling the warm embrace of an old friend. That’s especially true with the New Jersey punk vets’ latest LP Ten Stories High. The album welcomes you in with open arms, as frontman Greg Attonito delivers the opening lines to the uplifting title track: “Ten […]

Dropping the needle on a new Bouncing Souls record is like feeling the warm embrace of an old friend. That’s especially true with the New Jersey punk vets’ latest LP Ten Stories High. The album welcomes you in with open arms, as frontman Greg Attonito delivers the opening lines to the uplifting title track: “Ten stories high… Words in the sky… Every day we live to grow… Life is all we really own… Ten stories high”. This is as good an introduction as any in the Souls’ expansive discography, going toe-to-toe with fan favorites like “That Song” and “Apartment 5F“.

Without hesitation, the band kicks things up a notch with “Back to Better” and “Another Night In Denver”, two blazing fast punk anthems that sound like they could have been lifted straight out of a classic Souls record. Bryan Kienlen continues to cement his legacy as one of punk rock’s all time great bassists, delivering an onslaught of his signature bouncy, rumbling basslines. “True Believer Radio” provides a healthy dose of nostalgia, calling back to perhaps the band’s most iconic song, while still having what it takes to stand on its own as a modern classic. I can definitely see this one becoming a fixture in the Souls’ live setlists for years to come.

And because it wouldn’t be a Bouncing Souls album without a few good love songs, “Shannon’s Song” and “Andy and Jackie” mark the halfway point of the record. There’s no debating that these Jersey boys are among the best in the game when it comes to writing sappy love songs, but if I had to pick favorites on Ten Stories High, these more mid-tempo tracks would likely find themselves on the chopping block. “Shannon’s Song” has a bit of a “Simple Man” feel at times and is definitely the more high energy of the two songs.

Track #7 “Vin and Casey” rights the ship and picks up the pace once again. Greg says this song was inspired by the heartbreaking story a fan told him about their friends, Vin and Casey: “They took them to their first show, which we were playing, but shortly after that both of them actually passed away. And ever since then they’ve been going to Bouncing Souls shows to sort of keep that connection. It was just this really tragic but also beautiful story.” 7Seconds frontman Kevin Seconds provides vocals on the song’s second verse, and overall, this is an expectedly heartfelt tribute from a band that’s always made it a point to honor their fans.

The album marches forward with another feel-good track in “Magnus Air Organ”, before rolling into the hard-charging “To Be Human”. Both songs sport the big choruses the Souls are known for, but there’s a stark contrast in their tonality. The latter has an almost Hard Rock-like feel, and while it’s a little different from the band’s standard fare, I think they pull it off pretty damn well.

Rounding out Ten Stories High is “Higher Ground”. This is pure, unadulterated, classic Bouncing Souls. Listening to this song when it was premiered as one of the album’s first two singles took me back in time to the first time I heard the Souls. This track instantly clicked with me, and as cliché as it may sound, blasting “Higher Ground” on my morning commute on a gloomy Florida morning brought more than a few tears to my eye. The title track got me amped on this record, but this song was what really sold me on Ten Stories High. Everything from Greg’s tender delivery of the sentimental lyrics to The Pete’s one-note guitar lead during the first verse is quintessential Bouncing Souls. It’s hard to imagine a more fitting conclusion to this album.

The Bouncing Souls are back, folks! This is their best record in 20 years.

I give Ten Stories High 4.5/5 Stars

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DS Record Radar: This Week in Punk Vinyl (Box Car Racer, Face to Face “Over It” EP reissue, Teenage Bottlerocket & 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. It was another very busy week and we once again have a […]

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. It was another very busy week and we once again have a shitload of records to cover. So 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!

Quick editor’s note: I’ll also be doing video versions of the Record Radar going forward! Pretty cool, right? Here’s this week’s episode, presented by our friends at Punk Rock Radar:

First up to bat this week is this repressing of short-lived Blink 182 side project Box Car Racer’s 2002 self-titled LP. This one’s back in print on 180 gram “white/ultra clear cornetto” colored vinyl, not sure how many copies (probably a lot). It’s $40! Get it here, and pro gamer tip: don’t waste your time signing up for the mailing list for the 10% discount code because it doesn’t apply to this record.

Teenage Bottlerocket announced a new 7″ called So Dumb / So Stoked. It features four previously unreleased tracks from the recording sessions for their last album Stay Rad!. Pirates Press Records will be launching pre-orders for their store variant on April 14th, and the band will have a tour variant at their west coast shows (dates here). We’ll circle back on this one when more details are revealed.

Italian pop-punk veterans The Manges are reissuing their All is Well LP for the first time since its original release in 2014. Limited to 500 copies on yellow wax with a subtle matching color accent added to the cover art. Grab your copy here (fellow Americans, if you’re deterred by the shipping cost, stay tuned for details on US distro).

While you’re grabbing that Manges record from Striped Music, consider picking up this reissue of fellow Italian punk band Crummy Stuff’s 1997 album Never Trust a Punk. This is its first time on vinyl, ever! Get it here.

Direct Hit! and Decent Criminal are releasing a split 7″ on Dirtnap Records. It features a new track from Direct Hit! called “Wasteland”, supposedly from their to-be-announced next album, and two songs from Decent Criminal. Listen to the new Direct Hit! song below. This is due out April 28th. US pre-order here, EU pre-order here.

How ’bout another split?! Days N’ Daze‘s 10″ split with Night Gaunts is getting reissued as an LP with some new bonus tracks thrown in. There are two color variants: clear pink (1,000 copies) and purple w/ pink swirl (100 copies). Get it here (US) or here (EU).

The Expendables are reissuing their 2004 album Gettin’ Filthy in honor of its *checks notes* 20th anniversary? Hold on a second… 2023 – 2004 = 20? False alarm, folks! The math checks out. Buy it here.

Face to Face‘s Over It EP is getting its first new pressing in almost 30 years. The 10″ EP has been remastered and comes in “deluxe packaging” (very fancy!). There will be 1,000 copies spread across three very interestingly named color variants:

333 orange crush/piss yellow half and half
333 blood red/canary yellow splatter
333 halloween orange/brown color in color

And I know that does not add up to 1,000 but being a math stickler is getting exhausting so F2F wins this time. The release date is listed as June 15th, but I’m not sure when pre-orders go live. Keep an eye on this product page.

One final note before we wrap up this week’s column: I know you’re probably tired of hearing about the AFI Sing the Sorrow 20th anniversary reissue, but I have some good news to share with our friends in the Great White North: it’s now available to pre-order from a Canadian distributor! Hit up Le Noise and save on shipping.

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 week!

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 Photo Gallery: Joshua Ray Walker and Vandoliers at The Middle East in Cambridge, MA (3/8/23)

Remember a bunch of years ago when Joe Strummer (RIP) was asked his thoughts about what constituted “punk” and his answer was along the lines of “punk isn’t about the boots or the hair dye” and instead it’s about having exemplary manners to your fellow humans and especially about not being an asshole? Because I […]

Remember a bunch of years ago when Joe Strummer (RIP) was asked his thoughts about what constituted “punk” and his answer was along the lines of “punk isn’t about the boots or the hair dye” and instead it’s about having exemplary manners to your fellow humans and especially about not being an asshole? Because I do, and because if you ask me – and I’m operating on the assumption that you did because you’re reading Dying Scene – some of the most “punk rock” music that’s being created in American music nowadays doesn’t come from bands that are on “punk” labels or play music that involves Les Pauls and Marshall stacks or mohawks or skateboards or two-tone wingtips or come from places like southern California or the streets of Boston. Instead, some of the most important and progressive and culturally-inclusive and, in that sense, most “punk rock” music being created comes from places like Tennessee and Texas and the Carolinas and the Deep South and comes from music we’d traditionally call “Americana” or “outlaw country.” There is something inherently “punk rock” about sticking up for the poor or the marginalized or the different or the outcasts when you live in a place that those of us in our safe, suburban coastal elite homes might otherwise look down upon for the Redness of their political views.

And so it was that a tour featuring a pair of acts that have been featured at places like the Grand Ol’ Opry and the Ryman Auditorium and the State Fair of Texas and onThe Tonight Show w/Jimmy Fallon became, in my mind, one of the most eagerly-anticipated “punk rock” tours of the early stages of the year that is 2023. I’m talking, of course, about the recent Joshua Ray Walker/Vandoliers tour that found itself upstairs at the iconic Middle East in Cambridge, Massachusetts, last week. It was the first time that either of the acts – who both hail from the Lone Star State – had played in Massachusetts, and safe to say it was a resounding success.

Vandoliers had been very recently in the news for auctioning off their stage-worn dresses after a show in Tennessee in protest of that state’s abhorrent anti-drag legislation, and they carried that energy through a barn-burning hourlong show-opening set. Frontman Josh Fleming pointed out how he’d spent many hours in his younger years watching old YouTube videos of punk shows that had taken place at the Middle East over the years, and while his band’s sound may include a fiddle and a trumpet and a large-body Gibson acoustic and songs about highways in its home state, the live show is every bit as “punk rock” as many of those performances from years-gone-by. Personal highlights included “Cigarettes In The Rain” and “Every Saturday Night” and, of course, their rousing cover of “I’m Gonna Be (500 Miles),” a song that I’m 99% sure I saw Down By Law cover in that same venue more than a quarter-century ago.


Headlining this run – although both acts played hourlong sets so it made it feel like a co-headlining affair – was the one-and-only Joshua Ray Walker. If you’re not familiar, here’s the brief version: Walker is a Texas-born-and-bred singer and songwriter and dare I say guitar virtuoso. He’s a larger-than-life figure both in myriad ways and writes songs that can make you smile (see “Sexy After Dark”) and songs that can make you cry (see “Voices” or “Canyon” or like 3/4ths of the rest of the catalog) and, quite frequently, songs that can do both at the same time (see their honky-tonkified version of “Hello”). Oh, and he’s got a voice like a goddamned angel.


The live music scene in the greater Boston area can be a bit of a fickle beast at times, particularly for bands that aren’t from around here; I’ve seen far bigger “punk rock” names play the very same venue to far smaller and less enthusiastic crowds than the one that showed up to party and dance and holler on this particular late winter Tuesday evening. Because it’s not about the mohawks or the hair dye – it’s about the people and the connection. See more pictures from the shindig below!


Joshua Ray Walker Slideshow

Vandoliers Slideshow

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DS Exclusive: The Deathbots debut “Thumper” from upcoming split with Cardboard Box Colony

Happy Friday, and more importantly, Happy St. Patrick’s Day, comrades! We’ve got a fun new exclusive for your earholes today, and it comes to us all the way from the mountains of…Asheville, North Carolina! It’s from a band called The Deathbots, a trio who’ve been described as “a brawling mix between Bad Religion and Johnny […]

Meet The Deathbots!

Happy Friday, and more importantly, Happy St. Patrick’s Day, comrades! We’ve got a fun new exclusive for your earholes today, and it comes to us all the way from the mountains of…Asheville, North Carolina!

It’s from a band called The Deathbots, a trio who’ve been described as “a brawling mix between Bad Religion and Johnny Cash, that combo of super speedy melodic punk and killer bad-ass country” which sounds pretty awesome to us!

The song is called “Thumper,” and it appears on The Deathbots’ upcoming split EP with their pals in Cardboard Box Colony. The EP was recorded in the bands’ shared practice space before being shipped off to the almighty Blasting Room to be mastered by the iconic Jason Livermore. Here’s what the lads had to say for themselves:

I’m super excited to share this split 7”/EP with our good buddies, the awesome Cardboard Box Colony. With our two contributions, a song about what happens when cartoon rabbits get pushed too far, and a song about a pirate ghost ship, we perfectly showcase the essence of our band: a bunch of punk rock nerds just trying to stave off the ennui of existence through music. – Alex (bass guitar, screams)

There’s something a little magical about vinyl records, it means a lot to be able to offer all of our fans something they can hold after so many years of virtual releases. It’s even better to be able to do it with our good friends in Cardboard Box Colony. Plus it’s definitely our best material to date, come out April 15th and get your grubby little mitts on it! – Karl (guitar, vocals)

“Having the ability to self-record, mix and produce this split at our home studios is rewarding, and I’m proud of how all these songs turned out. Plus being able to play drums on both sides of a split EP in 2 different bands was an awesome experience on its own.” – Brandon (drums, more vocals)

The split is out April 14th on all streaming platforms and will also be available on a white “Box/Bot” shaped 7-inch record. There’s a hometown record release throwdown on April 15th if you’re in the Asheville neck-o-the-woods too. Pre-order the split here, and check out “Thumper” below. (Sadly, we’re pretty sure it’s not an ode to 1990s Boston-based ska/punk/metal band Thumper, but a boy can dream, can’t he?)

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DS Band Spotlight: Swedish melodic punks Nonthewiser hit the ground running on debut LP

Swedish melodic punks Nonthewiser come flying out of the starting gates with their self-titled debut album, out now on Melodic Punk Style. If you like Bad Religion, I highly recommend checking these guys out (also, if you don’t like Bad Religion, I don’t like you). This album is a throwback to The Gray Race-era BR, […]

Swedish melodic punks Nonthewiser come flying out of the starting gates with their self-titled debut album, out now on Melodic Punk Style. If you like Bad Religion, I highly recommend checking these guys out (also, if you don’t like Bad Religion, I don’t like you). This album is a throwback to The Gray Race-era BR, complete with fast, galloping drums and a surplus of vocal harmonies and oozin aahs. They do it all and they do it well. Listen to Nonthewiser’s debut album below and head over to Bandcamp to grab it on colored vinyl, CD, or digital download.

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DS News: NOFX guitarist Eric Melvin details solo album “The Rise of the Melvinator”, releases music video for “Regaining Unconsciousness”

Eric Melvin of NOFX has announced the debut album from his solo project Melvinator. The LP titled The Rise of the Melvinator was produced by Fat Mike and features EDM infused re-recordings of NOFX songs. If that sounds interesting to you (or you’re having a hard time imagining exactly what that sounds like), check out […]

Eric Melvin of NOFX has announced the debut album from his solo project Melvinator. The LP titled The Rise of the Melvinator was produced by Fat Mike and features EDM infused re-recordings of NOFX songs.

If that sounds interesting to you (or you’re having a hard time imagining exactly what that sounds like), check out the music video for Melvinator’s revamped take on “Regaining Unconsciousness” below.

The Rise of the Melvinator is set to release on May 12th through Fat Wreck imprint Bottles to the Ground. Pre-order the record here.

The Rise of the Melvinator tracklist:

1. American Errorist
2. Suits and Ladders
3. Bottles to the Ground
4. Drop the World (Melissa’s Version)
5. I Believe in Goddess
6. Regaining Unconsciousness
7. Reeko
8. American Errorist (BAZ Remix)

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