Rejoice, fellow punkers…the opening of the Punk Rock Museum is nigh…almost! Since Dying Scene was still in hibernation when news of the Punk Rock Museum first really broke, let’s catch you up real quick. Located at 1422 Western Avenue in Las Vegas, the Punk Rock Museum will be a 12,000-square-foot ode to all things punk […]
Rejoice, fellow punkers…the opening of the Punk Rock Museum is nigh…almost!
Since Dying Scene was still in hibernation when news of the Punk Rock Museum first really broke, let’s catch you up real quick. Located at 1422 Western Avenue in Las Vegas, the Punk Rock Museum will be a 12,000-square-foot ode to all things punk rock. It was an idea initially concocted by Fat Mike and friends, and will eventually be home to nearly fifty years worth of memorabilia, a bar, a tattoo shop, a wedding chapel, a jam spot, and more.
The official opening date will be March 10, 2023. Starting a couple weeks later – April 1, to be exact – the Museum will be open for guided tours, as given by a who’s who of scene vets. The current list includes:
Having already announced plans to release 3xLP live albums of shows on their final world tour earlier this week, NOFX continues making collector nerds sweat with their latest announcement: a 10″ box set called NOFXxX. Each of the ten 10″ records in the box set will feature a demo (and acoustic version) of a song […]
Having already announced plans to release 3xLP live albums of shows on their final world tour earlier this week, NOFX continues making collector nerds sweat with their latest announcement: a 10″ box set called NOFXxX.
Each of the ten 10″ records in the box set will feature a demo (and acoustic version) of a song from the band’s next LP Everybody Else is Insane, which we now know will be released in November, 2023.
Read Fat Mike’s explanation below and go here if you wanna fork over $150 for 10 songs.
Dear people,
I am announcing a new cool thing that I am very stoked on…. And I am announcing it at a time that is not ideal. NOFX are releasing a new box set of 10 new songs on 10, 10 inch records. Each 10 inch has the original demo version of the song, and an acoustic version of the song. These are the songs that we recorded during our “live in the studio” thing last year. The finished versions of these songs will be on our new album “Everybody Else is Insane” that comes out in November 2023.
The really cool thing about these 10 inches is the artwork. We got original art by Mark de Salvo, Cam Rackam, Jennie Cotterill, Shepard Fairey, Tokyo Hiro, and more. Unlike the 7 inch of the month club…. We spent money getting really great artists! I’m super stoked on the songs too! I’ve never done so many acoustic songs before and the demos sound pretty rad too.
This will be our last 10 inch vinyl box set club. I’m proud of it. I hope you enjoy it too.
Very Sincerishly,
Fat Mike
For a weekly rundown of all things punk rock vinyl, check out the Dying Scene Record Radar every Friday!
Howdy comrades! As you know, we’re fired up to have turned the lights back on at Dying Scene Headquarters earlier this year. It’s been fun cleaning out the cobwebs and dusting off the bookshelves and trying to restore the place to its former glory. As you’ve probably noticed, a lot of the old content is […]
Howdy comrades! As you know, we’re fired up to have turned the lights back on at Dying Scene Headquarters earlier this year. It’s been fun cleaning out the cobwebs and dusting off the bookshelves and trying to restore the place to its former glory. As you’ve probably noticed, a lot of the old content is still in the Archive, but it doesn’t look right. Missing photos, outdated hyperlinks, etc. So, when we’re so inclined, we’re going to freshen up some of the old content that seems good enough to share. And with that, here’s the first installment of the From The Dying Scene Vault. It’s a story that originally ran 12/22/12, which was the tenth anniversary of Joe Strummer’s untimely death. Somehow…it’s been ten years since then. Crazy how time flies, yet it’s entirely accurate to say that we need Joe’s words and lessons as much now as we ever have.
As a general rule, I try to live life without regret, particularly surrounding trivial matters, like whether or not to go to a punk rock show. To me, there’s no sense in spending precious time fretting over something you wish you had done (or wish you hadn’t done, I suppose). That being said, there is one thing that I’ve spent countless hours kicking myself over for more than a decade: not seeing Joe Strummer live.
I’m too young to have seen The Clash in concert. Topper Headon left the band when I was three, Mick Jones the following year. My parents weren’t big on the 70s punk sound, so it wasn’t until junior high that I was introduced to The Clash. That introduction came by way of having seen the video for “Rock The Casbah.” Admittedly, I thought it was incredibly goofy at the time (and I still believe that – see for yourself here), so The Clash still didn’t really weave their way into my consciousness.
A few years later, I finally caught wind of London Calling. The rest, as “they” say all too frequently, was history.
Fast-forward to November 1999. One of the guys at the liquor store I was working at asked if I could cover a shift for him one Monday night because he had tickets to see Joe Strummer & the Mescaleros at the Roxy in Boston. Actually, he had asked if I wanted to go with him to the show, but as I was working my way through undergrad at the time, I figured I could use the money and catch Joe the next time around. I balked at the chance to go, and picked up the extra shift instead. Stupid, stupid, stupid.
Exactly three years to the day later (11/22/02), Joe Strummer and the Mescaleros would play a show at Liverpool University. Little did anybody know at the time, but that night would go down in rock history as Joe Strummer’s last show: he died exactly one month later, unexpectedly and at home, due to a congenital heart defect that realistically could have taken him at any time.
Entire volumes can be written on Strummer’s life and legacy; in fact, a good many of them have been already. The point herein is not to rehash all that has been said or add anything new to that narrative. Instead, on the tenth anniversary of Strummer’s passing, I thought it would be the perfect opportunity to showcase some of the work that spanned his career. Joe’s music was important. While the sound may have changed over the years, it remained vital: thought-provoking, boundary-pushing, genre-fusing, in ways that most artists could only wish to match. To Joe’s credit, much of his work sounds just as relevant today as when it was first released.
What follows is a mix of ten songs from all periods of Joe’s career: the 101ers, The Mescaleros, The Pogues, The Latino Rockabilly War, and a duet with Johnny Cash. Oh, and of course The Clash. There are obviously going to be things that I missed, but I think there’s a pretty cool mix, including a live performance of “White Man In Hammersmith Palais,” performed during the encore of that show in Liverpool that proved to be his farewell to the music world. Check it out …the louder the better!
American Thrills grabbed my attention about a year ago thanks to one of those pesky Instagram ads that everyone seems to despise. For once, I’m thankful one of those scrolled across my screen because it introduced me to another New England punk band to obsess over (and another possible candidate for my upper-arm collection of […]
American Thrills grabbed my attention about a year ago thanks to one of those pesky Instagram ads that everyone seems to despise. For once, I’m thankful one of those scrolled across my screen because it introduced me to another New England punk band to obsess over (and another possible candidate for my upper-arm collection of New England punk tattoos).
It was their Discount Casket EP that gave me a little taste of what these guys had to offer. The only problem was I was left craving more, something a full-length could only satisfy. Luckily, my cravings were satisfied after a relatively short wait, and when I say satisfied, I mean that these dudes released a fuckin’ ripper.
Their recent release Parted Ways hints at the familiar Northeast sounds of the Gaslight Anthem and the Menzingers (who coincidentally were competitors of the same time slot during Fest 20) that many have compared AT to, yet they play their own unique brand of punk rock that I was glad to see added to the always reputable Wiretap Records lineup, one I can always count on the turn out stellar under-the-radar artists.
It was truly a pleasure to shoot the shit with 50% of one of my recent favorite Limp Bizkit-loving bands. These dudes have put out two EPs and a full-length that are truly worth checking out. Parted Ways is linked below, followed by the awesome chat I had with Jamie and Jeff. Cheers!
(Editor’s note: The following has been edited and condensed for clarity’s sakebecause a good chunk of this interview was just three guys shooting the shit.)
Dying Scene (Nathan Kernell NastyNate): Hey, it’s great to talk with you guys. I’ve followed you guys for quite a bit, I think right before Discount Casket came out. So yeah, I wanted to get started and talk to you guys obviously about the new record. Starting off, was this just like a collection of songs that you guys kind of built up and you’re just like ‘okay now we’ve got enough for a record’ or did you sit down with the end goal of like ‘let’s write enough stuff to release a full-length’?
Jamie Otfinoski: You know we wanted to write a full-length, but we did it kind of segmentally, we would do like chunks of songs and it was just a process. We would have demos we’d start to work on, then we’d jump to something else, then like come back to it. But ultimately the end goal was like ‘let’s put out a fuckin’ full length’. Because from my perspective, a lot of bands today do like single after single after single, and I get that because there’s like a method to the madness with like Spotify and all that shit, but at the end of the day like the bands I’m really into, like I’m into a record. I want a whole fuckin’ record and listen to a band to really get the vibe of the band.
Right, I get that. With you guys, you kind of released a single at a time leading up to the record, right, then you put out the whole thing?
Jamie: Yeah we did like four or five singles then we dropped like the last four songs all at once. And once again, that’s the whole thing with the internet, like Spotify and trying to build buzz, they want you to do singles. But ultimately we wanted to roll them into some sort of full-length so people could like sit down and check out our band with a little more than just like one song here and there.
So that was kind of a different approach from these previous eps you released?
Jamie: Yeah, you know we really wanted to, like we did two EPs, we’re like ‘we really wanna go all in and do a full-length’. And the guys at Wiretap were down to work with us on it which was totally rad and it made it that much more awesome. But we wanted to do something full and cohesive where we could do vinyl and finally put out like our first full-length record.
So what was the songwriting approach on this? Do you guys have one main songwriter or is it more of a team effort, what’s that look like?
Jamie: So Kurt, our vocalist/ guitarist, he kind of like, I wanna say he takes some of the reins. We always have a group text going and Kurt will like come up with a chunk of a song and go like ‘hey, check out this chorus?’. And then what we’ll do is we’ll get together and practice and we’ll kind of just like start playing it and rolling until we’re like ‘oh, that’s cool, what’s a cool verse to follow’ or vice versa. It’s like a collective approach, but somebody’s always bringing stuff to the table. Same thing with Paul, the other guitarist, he’ll have like a cool riff, he’ll lay it down and then we’ll turn that riff into a song. So it’s collective, but the two guitarists are kind of bringing the big chunks to practices.
So is there kind of a theme with this new record?
Jamie: You know, we’re like a bunch of old salty dudes that kind of like hate our hometown…
Jeff Wielk: I wouldn’t say hate…
Jamie: We don’t hate it, but you know, we don’t love it either. You know the record’s about like getting older, losing friends, losing family, you know just being disheartened by the people we kind of grew up with who maybe ended up turning out to be maybe not who we thought they would be. It’s just a theme of like get the hell out of our hometown, you know we’re old and salty.
Are you guys born and raised up there [in Connecticut]?
Jamie: Born and raised, yeah.
Jeff: Yeah all of us, we’re from the same hometown originally.
Jamie: You know up here in the North, we talk crap about our community, but ultimately, Connecticut’s not a bad place to grow up, kind of expensive I guess. But outside of that, it’s good people, it’s what we’re used to.
Jeff: We definitely could’ve grown up somewhere worse. New England’s got some great music.
Jamie: That’s the one thing about Connecticut too is like, the tours they come and they play in New York and then they skip Connecticut and play Boston. So we’re like right in the middle, you gotta either drive to New York or Boston to see the shows, nobody wants to play Connecticut.
So yeah, I wanted to talk now about specific tracks here. My favorite track off the record was “Ivy League Swing,” and I wanted to talk about what the songwriting for that looked like, the meaning behind it, some of its background.
Jeff: Paul, uh, wrote that initial riff in the beginning after the song starts with singing. And that first riff, that was like the first thing to come out for that song.
Jamie: That was one that Paul brought to the table and was like ‘I have this really cool guitar riff, let’s make it into a song’. We heard it and we were jazzed up on it and just kind of melded its way into that tune.
So this is more of a ‘me’ question, something I’m always curious about. What’s your guys’ songwriting look like, like how does it work; do you guys come up with like riffs first and then lyrics later, or I know some guys start with lyrics and then kind of build the song around it. It’s something I’ve always struggled with, how to kind of progress through writing a song.
Jamie: It goes both ways; sometimes Kurt will come to the table with like some lyrics over a little riff or a chorus and then we’ll expand on it, where other times, like that song “Ivy League Swing,” Paul actually came with a riff. He’s the guitarist, he doesn’t put the vocals over it, so Kurt kind of took the riff, changed it a little bit, and was able to make it into a song, put lyrics over it. Yeah it actually goes both ways with us, but I’d say for the most part, like 75% of the time, Kurt will have like some part of the song that has some sort of vocal guitar part together and we’ll just build off of it.
Jeff: Yeah like the main hook or whatever…
Yeah like I said, I’ve kind of heard it both ways and I’m always curious with everybody I talk to, I like asking that.
Jeff: Yeah I think it’s mostly instrumental. I’m 90% sure that Kurt kind of comes up with the lyrics afterwards.
So yeah “Ivy League Swing,” that’s my favorite track off the record. What about you guys, you guys have a favorite?
Jeff: Yeah, “Interpretation.” It’s just so different from what we normally do you know. Little bit different of a time signature, I don’t know. I’m like a mid-2000s emo-core kind of guy you know *laughs*
Jamie: I like “Sinking,” when we play live, it just starts off like fast and it’s got an interesting beat to it. It’s a quick little ripper. I like those songs live, they’re just fun to play because there’s so much energy.
You guys had that album release show the other night, what, at Stonebridge? Yeah how was that?
Jamie: Yeah a good old place in our hometown.
Jeff: It’s like a towny bar…
Yeah how was the reception there?
Jamie: It was awesome. Yeah we sold the place out, maybe like 150, 170 people. It was a blast. Andy from Hot Rod Circuit came out and he did an acoustic set. Split Coils played, which is Jay also from Hot Rod Circuit, they’re incredible. And this newer Connecticut band called Shortwave was just fuckin’ awesome. I mean it was really a great time seeing you know all the friends and just having all our buddies come out to see us play our hometown, it was just an awesome thing to be a part of.
Awesome, yeah. So I wanted to talk about Fest 20 a little bit. I was down there and it was actually my first Fest, wasn’t a bad Fest to start out on for my first one I guess.
Jeff: Yeah probably the best one yet.
How was your guys’ show down there?
Jeff: It was awesome, yeah. Super sick.
Jamie: The only downside was our set was right when the Menzingers were playing, which is like tough competition there. But all our buddies came out, we had a good showing, I mean it was fun. I like the smaller venues at Fest. Like I go to the big venues, like I go to Bo Diddley and I watch these bands, but I love seeing bands at like these smaller venues, like Loosey’s, and, where’d we play this year…
Jeff: Palomino, it was awesome.
Jamie: You like pack it out with a hundred people in there and it’s just awesome.
Yeah I think my favorite show from the entire thing was the Dopamines over at the Wooly. That was insane. Do you guys have a favorite set from Fest?
Jeff: This Fest I made it a point, I never even went to Bo Diddley. I never made it there this year. I made it a point to see like not big bands you know. So yeah, my favorite set, there’s this band, I wanna say they’re from Atlanta, and they’re called Seagulls. Dude that band was literally insane. And another set, they’re called You Vandal, they’re from Gainesville, their set was sick. They also did an AFI cover set.
Yeah I kind of agree with what you guys were saying about the smaller venue vibe, it kind of got overwhelming. Like here in Nashville, any of the punk shows, they’re all real intimate, not a lot of people there usually, they’re never sold out. So going to like Bo Diddley it’s a little overwhelming, like I’m seeing Avail but I’m all the way in the fuckin’ back, you know. But seeing like Dopamines, that’s more of what I’m used to. It was cool seeing these bands in these smaller venues that I’ve kind of idolized forever.
So then circling back to Wiretap, how’d you guys get on there, can you walk me through that a little bit?
Jamie: So you know, I’ve always liked a lot of the bands on there, like I’ve had a vinyl from like Spanish Love Songs and all these bands that I’ve followed and looked up to. And some newer bands too are on the label, American Television, some like kind of local guys that are just awesome. So we hit up Rob, we sent him something, we sent him like “Discount Casket” and he was like ‘hey, this is really cool, I wanna put this on …’ he does like a bimonthly charity comp towards like a good cause. He put that on one of his comps. And we were like ‘ oh cool, we’ll keep in touch.’ So then as we started kind of sitting down and putting tracks together for the full-length, we just hit him up again and we’re like ‘hey, we’re thinking about putting out a record, we’re gonna put it out hopefully before Fest. Are you interested?’. But Rob was really like gung-ho and down for it and got us rolling really early on. He was just a great guy to work with, I mean Wiretap has put out so many great releases and he’s so involved with like the scene and a lot of great charity efforts; he’s just overall a great dude in so many ways. So we’re happy to work with him and we’re lucky that we get the chance to put out a record with him.
Yeah I can’t remember when I realized you guys were on Wiretap, but I was happy to see you guys on there because they always have a real solid lineup, everybody on Wiretap I always love.
Jamie: Yeah it’s great.
So you mentioned the Menzingers down at Fest and your guys’ set times clashing, and when I first started listening to you guys, I immediately started getting Gaslight Anthem and Menzingers vibes. I think it was with Punk Rock Theory that they talked about sounding like GA also. But coming from your point of view, what are your guys influences?
Jamie: We get a lot of the Gaslight Anthem, I don’t know, maybe Kurt’s vocals and kind of in that vein. You know, we were in like old school pop-punk bands in the early 2000s, you know we grew up on bands like Hot Rod Circuit, the Get-Up Kids, and kind of like that genre of bands. But more recently, I’ve personally listened to a lot of the Gaslight Anthem, the Menzingers, they all kind of fall into the mix too. So I like to think we’re somewhere in between like those bands and that original scene with all the like emo punky bands. Some sort of blend of the two, I hope, maybe.
So what about a tour, do you guys have anything planned coming up for promoting the record?
Jamie: We’re trying to get something together for the Spring. We have a show coming up, but we’re gonna kind of lay low for the Winter and the holidays. We have a show coming up in January with Teenage Halloween, one of the local bands up here. Awesome if you don’t know those guys, they’re from Jersey actually, incredible. And then we’re trying to get something together for the Spring, we’re talking to some of our buddies around here to do a few dates, but we’re just trying to get everything together, we don’t have anything set in stone quite yet.
So Jamie, you’re the surgeon right?
Jamie: Yeah.
So how do you juggle that with playing shows like that; how do you juggle having enough time with your band and with work because when I hear ‘surgeon’ you kind of think like 80-hour work weeks, crazy work times, no time off.
Jamie: When I was in residency doing all my training stuff, I wouldn’t be able to do what we do now. But now that I’m in private practice, I’m in a good group, I’m on reasonable call schedule. And they’re all supportive of what I do, they think it’s cool. But it is a balancing act with like trying to book shows and playing out around the call schedule. You know all of us are in like our mid-30s to late-30s, so we’re all like career, kids, jobs. So we get out there when we can, just little tours and runs, try to get down to Fest every year. But you know, I don’t see us going out for like a month on the road. We’re kind of weekend warriors at this point.
So a little off-topic, but let’s talk Limp Bizkit here *laughs*.
Jeff: Oh yeah that’s why we’re here!
In your Fest bio, you were called a Limp Bizkit cover band. Give me some background on that.
Jamie: You know *laughs*, we listen to Limp Bizkit. We grew up in the 90s…
Jeff: My first band was a straight-up nu metal band…
Jamie: Dude he was straight up playing Korn covers. You know like people shit all over these bands, we grew up on this stuff and we love this stuff, we embrace this stuff. As much as I like the Gaslight Anthem, I’ll spin a Limp Bizkit record too.
Jeff: Think about this, how many hardcore kids in the late 90s hated Slipknot, but those same hardcore kids now love Slipknot. Yeah I don’t know…
Jamie: With Limp Biskit it’s kind of like a funny thing, but we really like Limp Bizkit and people are just joking around like shitting on it. We listen to Limp Bizkit and we want everyone to know, we’re just trying to put that out there *laughs*.
Right that’s confidence right there *laughs*. Most people are too proud to admit it.
Jeff: Their newest record is fire man.
I’ve heard bits and pieces and it’s not bad. Well that about covers everything I think, I really wanted to hit hard on the new record, hopefully this can help promote it a little bit. We’ve actually been steadily seeing reader numbers rise since the relaunch, especially with that blink-182 thing a while back.
Jamie: Yeah Dying Scene used to be the shit man. Yeah back in the day it was like Absolute Punk, and then Punknews was always there, and then Dying Scene. They were like the three big ones. At least outside of like AP and all that shit I don’t really care about. All the bands I liked were on those sites, that’s where I was checking to find the new stuff. Glad you guys are back.
Yeah I appreciate you guys sitting down with me.
Jamie: Yeah thanks for reaching out and talking with us man, we appreciate it.
Harley Flanagan hit the stage at Reggies Rock Club, fronting New York hardcore legends Cro-Mags for a raucous and rainy Wednesday night. Cro-Mags was born in New York City’s Lower East Side during the Big Apple’s grimy 80’s heyday. Four decades later, founder and only remaining original band member, Harley Flanagan continues to grind out […]
Harley Flanagan hit the stage at Reggies Rock Club, fronting New York hardcore legends Cro-Mags for a raucous and rainy Wednesday night.
Cro-Mags was born in New York City’s Lower East Side during the Big Apple’s grimy 80’s heyday. Four decades later, founder and only remaining original band member, Harley Flanagan continues to grind out exhausting performances. Flanagan, compact and muscular, snarled and smiled and told of being one of so many who have dealt with post-traumatic stress disorder. Even as he repeatedly bumped fists with fans, he warned crowd members against grabbing at the microphone to sing. He was the one performing after all. Cro-Mags current lineup along with Flanagan, is composed of drummer Garry “G-Man” Sullivan, who has been with the band on and off since 1999, and two newer members Hector Guzman on lead guitar and Dom DiBenedetto (formerly of Boston hardcore group Slapshot) on Rhythm Guitar. This stop was just one in a grueling 2022 tour year. There were the same number of shows this past spring and summer as the years Flanagan has been alive, 55. December alone has the band performing 13 shows.
Nonetheless, band members appeared inexhaustible as they pummeled through the set list, which included “From The Grave,” “Down But Not Out,” “Street Justice,” “Life Of My Own,” “Hard Times,” and “Apocalypse Now.”
Si Dios Quiere is a newer Chicago hardcore band, having been founded in 2020. They also introduced a new vocalist, Ozzy, recently. The band is comprised also of brothers Roberto Velazquez and Ricardo Velazquez, and Louie Flores. The intense set included “Sacrificio,” “Desperate Measures,” “Sufriemento/End of Compromise,” “Sin Justicia,” and “Roll The Dice.” Si Dios Quiere is an exciting new voice in the Windy City hardcore community.
Insult To Injury was founded thirty years ago in Chicago, IL. On this night, it demonstrated it was still able to pound it out on stage. The band, led by vocalist Tim Kucharski, gave a hard-driving performance that kept the crowd moving.
Crime Spree, yet another member of the Windy City hardcore scene, was primarily active between 2014 and 2017. It reunited at the start of 2022 for two memorial performances for a late friend, and four additional shows. Getting this show started, Crime Spree played, what vocalist Jimmymack Jacquez described as, “most likely the last gig for a very long time.”
Jacquez, along with Jim Slattery, Calvin Mathis, and Fabian Arroyo, hammered through “Let’s Drink,” “South Side,” “Sick Fucks,” “Sock Full Of Quarters,” and “Violence Is The Only Answer.” Crime Spree might be over for now or for good, but at least a few members are still active in other bands. Cool.
If you’ve never heard of NOT, you are NOT alone. I was browsing the New Releases section on Spotify late last night when I stumbled upon these guys and decided to give their new single (and first song ever) “Stop the World” a listen. Within a few seconds of pressing play, I thought to myself […]
If you’ve never heard of NOT, you are NOT alone. I was browsing the New Releases section on Spotify late last night when I stumbled upon these guys and decided to give their new single (and first song ever) “Stop the World” a listen. Within a few seconds of pressing play, I thought to myself “Holy shit, these guys sound exactly like ALL!”. I suspected the sonic similarity was too blatant to be a mistake, and a quick peek at the band’s bio confirmed that suspicion.
NOT is a four piece featuring Davey Warsop (Beat Union, Suedehead and Sharp/Shock), Brendan Scholz and Jarred Cooper of Mercy Music, and drummer Kyle Whitmore. They have a full Descendents/ALL inspired album on the way (same title as the single), which promises to deliver “14 hyperactive, caffeine fueled pop songs boasting hook after hook choruses about love and heartache”.
Warsop had this to say about the motivation behind the project: “So many musicians have unapologetically paid tribute to bands like the Ramones or the Clash… It’s about time someone did the same for ALL. We’re just trying to fly that flag as proudly as possible.”
Punk legends NOFX have announced the first dates on their 40 Years, 40 Cities, 40 Songs farewell tour, set to take place on May 19th and 20th, 2023 in Barcelona. The two shows will see them playing So Long and Thanks for All the Shoes, White Trash, Two Heebs, and a Bean, Wolves in Wolves’ […]
Punk legends NOFX have announced the first dates on their 40 Years, 40 Cities, 40 Songs farewell tour, set to take place on May 19th and 20th, 2023 in Barcelona. The two shows will see them playing So Long and Thanks for All the Shoes, White Trash, Two Heebs, and a Bean, Wolves in Wolves’ Clothing, and Punk in Drublic in their entirety. Tickets are available here.
It appears they’ll also be recording these shows and releasing them as live albums. A 3xLP of the Barcelona dates is available to pre-orderright now for the low, low price of 60 Euros! For the more frugal among us, the digital download is only 15 bones.
Since this story went live, SBÄM Records has launched a pre-order for a live record of the show taking place in Linz, Austria on June 2nd, 2023. Like the Barcelona release, little details are revealed, but we do know the 3xLP will be pressed on “surprise color vinyl”. Pre-orders available here.
At least 38 more cities on this tour are TBA. We’ll keep you posted when that happens. NOFX recently released Double Album and Fat Mike says they have three more records on the way.
For a weekly rundown of all things punk rock vinyl, check out the Dying Scene Record Radar every Friday!
Sad news to kick off Christmas week. Terry Hall, the iconic vocalist of legendary, genre-defining 2-Tone ska band The Specials, has passed away after a brief illness. Hall was 63. If you’re only aware of Hall through his music, he had a pretty incredible life story, particularly his early years. Check out the bio the […]
Sad news to kick off Christmas week. Terry Hall, the iconic vocalist of legendary, genre-defining 2-Tone ska band The Specials, has passed away after a brief illness. Hall was 63. If you’re only aware of Hall through his music, he had a pretty incredible life story, particularly his early years. Check out the bio the BBC did here.
It is with great sadness that we announce the passing, following a brief illness, of Terry, our beautiful friend, brother and one of the most brilliant singers, songwriters and lyricists this country has ever produced. (1/4) pic.twitter.com/qJHsI1oTwp
As you might imagine, love and respects have been pouring in from all corners of the music world.
We have to acknowledge one of the greats. One of the pioneers. One of the real ones. Fishbone sends @thespecials , their family, their fans (which we are part of) our love. Makes you appreciate and love every day we have together. Enjoy Yourself. It’s later than you think. pic.twitter.com/yZ8rX4Y373
Sad to receive the news of Terry Hall’s passing last night from Lynval Golding. Terry’s voice was the perfect instrument for the true and necessary songs on “The Specials”. That honesty is heard in so many of his songs in joy and sorrow. My condolences to his family and friends.
God damnit. Just heard the news about Terry Hall. What an absolute sadness. The Specials were one of the most important bands for me as a kid. Taught me many things I needed to know. Gutted. RIP.
The Specials were a celebration of how British culture was envigorated by Caribbean immigration but the onstage demenour of their lead singer was a reminder that they were in the serious business of challenging our perception of who we were in the late 1970s. RIP Terry Hall pic.twitter.com/PVwbXyXubq
“Ghost Town” might have been The Specials’ biggest commercial hit, but “A Message To You Rudy” was the first Specials’ song I ever heard, so let’s all check it out together and reminisce.
Fraser Murderburger has released a new four-song EP from his latest project Absolute Melt. It’s a lot less poppy than most of the former Murderburgers frontman’s previous work, but it’s a nice change of pace nonetheless. Check it out below! The physical release on a limited lathe cut 10″ is sold out (and raised over […]
Fraser Murderburger has released a new four-song EP from his latest project Absolute Melt. It’s a lot less poppy than most of the former Murderburgers frontman’s previous work, but it’s a nice change of pace nonetheless. Check it out below!
The physical release on a limited lathe cut 10″ is sold out (and raised over £600 for Scottish Women’s Aid!). You can still buy it digitally here.
Absolute Melt is one of a few projects Fraser is working on right now. His other band Wrong Life recently released an LP titled Early Workings of an Idea and I’ve heard they have another record coming soon.
My favorite thing about writing for Dying Scene has always been discovering new bands. One of my more recent discoveries is Crash-11, an awesome skate punk band hailing from Bristol, UK. Their sound mixes the speed and melodicism of bands like No Use For A Name and Atlas Losing Grip with the hard-nosed aggression of […]
My favorite thing about writing for Dying Scene has always been discovering new bands. One of my more recent discoveries is Crash-11, an awesome skate punk band hailing from Bristol, UK. Their sound mixes the speed and melodicism of bands like No Use For A Name and Atlas Losing Grip with the hard-nosed aggression of early Sum 41.
The band just released their debut full-length album I’m Sorry, I Was Wrong and it is excellent. Give it a listen below and head over to their Bandcamp page to grab a copy of the album; they even have CDs!
