DS EP Review:  Thee Soreheads – “I’m Not Your Fucking Sex Doll”

On November 29, 2025, the four self-described “slightly angry punks” that make up Montreal punk four-piece Thee Soreheads released a debut EP that isn’t “slightly” anything; the unabashedly titled I’m Not Your Fucking Sex Doll is neither sonically nor lyrically measured in any respect, but believe me when I tell you that you wouldn’t want it any […]

On November 29, 2025, the four self-described “slightly angry punks” that make up Montreal punk four-piece Thee Soreheads released a debut EP that isn’t “slightly” anything; the unabashedly titled I’m Not Your Fucking Sex Doll is neither sonically nor lyrically measured in any respect, but believe me when I tell you that you wouldn’t want it any other way.

Featuring tracks with titles like “Riot”, “No Means No” and of course, the titular “I’m Not Your Fucking Sex Doll”, this EP is a full-throated and unapologetic tirade against the quotidian violence and mediocrity of men. Lead vocalist Maria Jiminez hurls her sharp-witted barbs with apparently maleficent glee, delighting in the heads that roll in her wake of her sharpened and straightforward lyricism (and if she doesn’t, well, I certainly do.) With equal parts explosive rage, satisfying catharsis, and finely honed wit, Thee Soreheads deliver six epic, no-holds-barred anthems that even the staunchest chauvinist will find difficult to ignore.

The EP debuts with fuzzy, muted guitar on opening track “3 Strikes” reminiscent of the intro to Richard Hell’s iconic “Blank Generation”, setting the tone for what promises to be an uncompromising record. “I make everyone’s life a living hell,” Jiminez chirps in her signature candyfloss voice – girlish, shrill, and unflinchingly feminine – warning that there will be no second chances for the men who dare cross her. 

Listeners are invited to an intimate dish sesh on the tautological “No Means No” where Jiminez recounts in her cartoonish inflection a classic dive bar tale of unwanted attention and leering glances that invariably backslides into the eye-rollingly predictable “well you’re ugly anyways.” A funky bassline and hooky guitar melody thrum along over a bouncy, hi-hat-accented beat. Every chorus, I found myself shouting “NO!!!” before Jiminez had a chance to finish the titular adage; every woman has longed to shriek the way Jiminez does as the story builds to its inevitable conclusion. If only it were socially acceptable get up on a table and howl at all the men who, like Jiminez says, are “in my fucking space and fucking touching me.”

The record’s title track also serves at its thesis; on “I’m Not Your Fucking Sex Doll,” Jiminez decries a culture of men who treat women like objects, stating in no uncertain terms her refusal to be commodified or taken advantage of. The song contrasts today’s jaded, steel-nerved Jiminez against an earlier, doe-eyed version who might have lacked the experience to recognize the warning signs but who now “wraps [her] fingers ‘round the keys”, a behavioral evolution unfortunately familiar to all women. But Jiminez is no victim; if I’m Not Your Fucking Sex Doll teaches us anything, it’s how to find community in our shared anger in a way that makes us stronger together than we could ever be alone.

The record slows to a more leisurely pace on laid-back “Riot”, a mellow track that nonetheless maintains the sense of defiant fierceness that has been building since the album’s opening chords. Jiminez’s voice swings from sweet to snarling over an ambling, surfy bassline, pausing to let shine a whimsical guitar solo so sweet you’ll almost forget how awful men are. Almost.

Jiminez does some of her best vocal work on the up-tempo “Ratlike”, barking out such gems as “I’m not a violent person but I wish that you would die” over a frantic beat, voice rising to a barely intelligible shriek as she rails against yet another racist, sexist, “white suprema-piece of shit”.

Surf-drenched guitar over a four-to-the-floor beat shines on this EP’s swinging closer, with guitarist Ally McPake delivering another standout solo that bookends the record nicely. This track is something of a counterbalance to a record that thus far has proven to be unyieldingly defiant: “I’m broken, cracked and shattered,” Jiminez admits on the chorus, a moment of sober self-awareness that finds her unsure of where to go after the rage has dissipated, leading us to wonder: after suffering all the bullshit heaped onto us by this evil beast we call patriarchy, how do we go about putting ourselves back together?

It would be inaccurate, or at least incomplete, to assert that I’m Not Your Fucking Sex Doll is merely the cathartic ranting of an angry feminist, as many a miffed misogynist are likely to characterize it in an attempt to soothe their fragile feelings. It’s also a decisive proclamation of a refusal to be further mistreated and a call to arms to all of us to do the same. This explosive EP should be mandatory listening for every whiny man who’s ever made a fumbling, skeevy pass at a demonstrably uninterested woman and every self-proclaimed “nice guy” who bemoans his idle love life but refuses to examine his own behavior. With clever songwriting and the ability to spin a catchy melody and make it stick, I’m Not Your Fucking Sex Doll is a standout debut EP from a talented band that should be on every punk’s radar. The group is promising big things in 2026, so stay tuned for that, and head over to the group’s Bandcamp while you wait to cop a freshly pressed vinyl copy of this riotous record.

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DS Interview: Spike Slawson talks Gimme Gimmes, Process, and New Christmas Single

Gimme Gimme’s frontman, Spike Slawson, has built a punk rock career defined as much by humor as by heart. His Contributions to punk rock over the years have varied from bands like the Swingin’ Utters and the Filthy Thieving Bastards to other projects, such as Uke Hunt and Los Nuevos Bajos. However, for thirty years, […]

Gimme Gimme’s frontman, Spike Slawson, has built a punk rock career defined as much by humor as by heart. His Contributions to punk rock over the years have varied from bands like the Swingin’ Utters and the Filthy Thieving Bastards to other projects, such as Uke Hunt and Los Nuevos Bajos. However, for thirty years, Spike has led the Gimmes Gimmes through a series of cover albums, each with a distinct theme. While the band has primarily played pop classics from the 1960s and 1970s, they’ve occasionally expanded their sound to include other genres, such as show tunes, R&B, and country.

As time passes, even a band with interchangeable parts can lose some of its original members. The Gimme Gimmes have not been immune to this. Legends of the scene, CJ Ramone, “Swami” John Reis, Andrew “Pinch” Pinching, and Jake Kiley, round out the current lineup of the Gimme Gimmes, but this iteration of the band has mostly been intact for the last five years.

This Christmas, Spike and the Gimme Gimmes have released a cover of Mariah Carey’s Christmas classic, “All I Want For Christmas Is You.” Not satisfied with just a digital release, Fat Wreck Chords has pressed a red flex disc along with a calendar for the new year. Spike was nice enough to talk with Dying Scene about leading the Gimme Gimmes to cover band glory and their new holiday-themed release.


Dying Scene (Forrest Gaddis): When the band first started, was there ever any intention for it to grow as big or as long-lasting as it has?

Spike Slawson: We are as mystified as you. I guess it doesn’t hurt choosing songs that were already huge hits and having the handsomest singer of this or any genre.

From the outside, it feels like the band’s success kind of snowballed. Did it feel that way from inside the band, or was it more deliberate? 

The Gimmes don’t decide so much as default. I admit, I was pleasantly surprised by the initial buzz. Again, picking already popular songs probably contributed to our success, like shooting fish in a barrel. All that was left were the outfits.

When you’re deciding on a cover, what makes a song right for the Gimme Gimmes? What are the deal-breakers?

If it takes longer than 15 minutes for us to get something together, we’re probably on the wrong track. It ain’t rocket science, that’s for fucking sure. I generally try to avoid songs I actually like.

Is there a song you loved when you first started covering it, but eventually fell out of love with after playing it so much? 

Seasons in the Sun.

Is there a cover the band has done that you wish fans appreciated more? 

Sunday Morning Comin’ Down, but I really don’t care who appreciates it. The song speaks for itself.

Do you ever feel like the pool of “perfect” Gimme Gimmes songs is shrinking as time goes on?

You build it, we will vandalize it. Luckily for us, ego, megalomania, and self-regard continue to drive people to write shitty pop songs, just as they inspire us to misappropriate them. We will never want for raw materials, and we will never stop exploiting them for our own enrichment and sick pleasure. 

Are there any true “white whale” songs you’ve wanted to cover but just haven’t been able to crack?

Teenage Rampage, by the Sweet, but it’d probably be redundant. Also, I’m a little past my teens.

Has being in the Gimme Gimmes unintentionally made you more aware or more critical of pop music as you’ve dug deeper beyond the obvious classics? 

I love pop music, but most of it is abysmal these days. I guess it’s always been pretty bad and we only end up remembering the cream of the crop. The Gimmes are living proof, however, that the scum also rises.

Despite the band’s rotating lineup over its existence, the current version of the Gimme Gimmes has been pretty stable for a while. What has that consistency changed or improved for the band?

The current iteration has a unique chemistry that feels brand new, yet recognizably rooted in the band’s original sound and spirit. If you play for an hour and a half with the same group of people night after night, year after year, you can’t help but develop personal and musical bonds, which I think resonate out to the listener.

What do the newer members bring to the Gimmes that wasn’t there before?

Sensibilities that weren’t necessarily formed by ‘90s pop-punk music and culture, for starters. I had certainly begun to feel somewhat jaded, and vibing with players with different styles and techniques really put the petrol back in the tank.

Does that freshen up ideas of what songs or genres are worth covering?

Absolutely, but the science behind the selection remains essentially the same. We’ll know in 15 minutes or less if it’s bullshit, which is good because we start with a LONG list.

What’s it like having a Ramone in the band, both musically and symbolically?

A dream realized. A walking, talking, SLAYing piece of punk rock and roll history, who knows exactly where to put it. There is rich symbolism in the fact that even a Ramone couldn’t escape the fate of eventually wearing sequinned pants and playing Paula Abdul songs in a cover band—in THE cover band, that is.

The Gimme Gimmes have tackled Christmas before, but “All I Want for Christmas” is a standalone holiday single. What made this the right time to revisit a Christmas release? 

Christmas is always right around the corner, and we are always ready. Any time is the right time for Christmas time, as I am constantly saying.


The single is coming out as a limited red flexi disc packaged inside a 2026 calendar. How involved was everyone in deciding on that format?

What is this, a fucking democracy? Take it from me, these cover bands need to be run with an iron fist, or they’ll walk all over you. First, they’re weighing in on “formats”, next thing you know they’re picking their own outfits and making song suggestions. 

You’ve been on the road this winter to celebrate the release. Do holiday shows feel different from regular Gimmes shows, either from the band’s side or the audience’s? 

I hope so. We put a lot of work into our Christmas presentation. We are non-denominational, but OH, so devout. 

Does playing holiday material change the energy or pacing of a set compared to usual shows?

People secretly want to sing cheezy Christmas songs till they’re hoarse, and we give them permission. I guess it’s the same with all our songs, but the Christmas stuff is tied to a specific, yearly celebrative experience. Christmas parties are the wildest anyways.

What is it about Christmas songs that still makes them such a good fit for the Gimme Gimmes?

They’re kinda corny, and honestly, that’s our forté. 

Is there a genre you’d still love to tackle as a full concept record?

I feel like we still haven’t even scratched the surface of the ‘70s AM adult contemporary canon. There’s so much sublime mediocrity there, and we are definitely here for it.


“All I Want For Christmas” is streaming everywhere, but for that last minute gift for the record collector on your Christmas you can purchase the physical copy of the single here.

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DS Original Content: Chain Reaction 1996-2025

Cover Photo Credit: Rob Wallace After nearly three decades, the legendary Chain Reaction has shut its doors. Located in Anaheim, California, the 250-person venue was once the center of the Orange County independent music scene. The venue became a stop for many of the biggest acts in punk, hardcore, ska, and emo. It also provided […]

Cover Photo Credit: Rob Wallace

After nearly three decades, the legendary Chain Reaction has shut its doors. Located in Anaheim, California, the 250-person venue was once the center of the Orange County independent music scene. The venue became a stop for many of the biggest acts in punk, hardcore, ska, and emo. It also provided a space for kids to form lasting friendships, cultivate a sense of community, and watch some amazing shows at a time when punk rock was still viewed as childish and a nuisance.

Opening in 1996, the legendary venue started as the Public Storage Coffee Lounge, offering an alcohol-free place for teens to hang out and see bands at a time when most venues were 21 and over. Eventually, it changed its name to Chain Reaction but kept its commitment to being a space for all-ages shows catering to its young patrons. It was a welcoming place for all who were finding themselves in genres of music with no clue where to start.

Photo credit: Chain Reaction

As people posted their own eulogies about Chain Reaction to their social media, a good number of them shared flyers from older shows. Those lineups ranged from bands who became titans in punk, ska, hardcore, and emo. Chain Reaction was a stop for bands like the Ataris, Fall Out Boy, Rise Against, and Avenged Sevenfold. You’d only need to look at the band shirts stapled to the venue’s walls to know who had made their way through Chain Reaction.

Photo Credit: Tazy Phillips

There are stories of bands like Yellowcard signing a record deal in the parking lot after playing a set. While bands like Paramore and My Chemical Romance gained some of their earliest supporters and fans from playing shows in the small room. It wasn’t unusual to see stalwarts of the scene play shows with these bigger up-and-coming acts. Bands like Longfellow, Rx Bandits, and Home Grown are just as integral to Chain Reaction’s legacy as the bigger acts.


A good number of live albums were recorded, too. Bands like New Found Glory recorded their Kill It Live album in 2013, where guitarist Chad Gilbert had collapsed on stage after being shocked by the faulty wiring in his microphone. Chain Reaction was where hardcore band Death by Stereo recorded their live album, Death Alive, in 2007. A couple of years before that, Death by Stereo guitarist Paul Miner did the sound for Boston, MA’s Bury Your Dead’s Alive album. Strung Out‘s contribution to Fat Wreck Chords’ Live in a Dive series was also recorded there. Each of these records documents the many different types of bands that came through the venue.


In 2016, the venue put together a festival to celebrate its twentieth anniversary, the appropriately named Chain Fest. While this wouldn’t be held at the venue itself and would take place at the Observatory Grounds up the road a bit in Costa Mesa, the spirit of the venue was still there. Booking a slew of acts from all sorts of genres and eras of the club, like Underoath, MxPx, and Coheed and Cambria, the festival brought together generations of performers and fans alike to celebrate the importance of Chain Reaction.


There were plans for another Chain Fest in 2020, but due to the COVID-19 outbreak, those plans were nixed for obvious health concerns. Given that a venue only survives when it’s putting on shows, we came close to losing one of Orange County’s oldest institutions. Owners Andy Serrao and Kevin O’Connell put much of their own money into saving the venue. However, bands like Terror and Knocked Loose, along with independent brands like Violent Gentlemen and BlackCraft Cult, made limited Chain Reaction merchandise to help keep the lights on with hopes that shows could resume after restrictions had been lifted.

Photo credit: Violent Gentlemen

However, the little venue that was a staple for many inside and outside Orange County announced that it would be shutting down at the end of December. Final shows were announced at the last minute despite rumblings of the club’s shuttering for the month leading up to the announcement. While owners cite the usual reasons for ending Chain Reaction’s tenure in the scene: economic and operational pressures in a post-pandemic environment, there’s still a feeling that this is the owners’ diplomatic way to appease the city of Anaheim.

After Chain Reaction announced its closure on its social media pages, the City of Anaheim piggybacked and made a post on theirs. While many people expressed the same sentiments and mourned another portion of their childhood dying, a decent number of people pushed back due to rumors that the lot Chain Reaction sits on will become affordable housing. Yet, it only takes a drive down Lincoln Avenue to confirm that assumption as fact: the building of housing, that is, not the affordability of it.

On a personal level, Chain Reaction was the first punk rock club I had gone to in my late teens. I ditched a college class with some friends to see the band Audio Karate headline a set. The night out was an attempt to set me up with a friend of a friend. While that relationship didn’t take off, my love for live music did. It put me on a path to lose myself in a genre and a good portion of my hearing in the process.

I saw many bands in that building, from the power-pop sounds of Ozma and Nerf Herder to local punk rock bands like Bullet ‘n’ Octane and Up Syndrome. I don’t know how many times I’ve seen Kris Roe bring The Ataris to Chain Reaction, but I also experienced the greatness that is Peelander Z for the first time, as they performed their set to a crowd of confused kids in such a tiny space. 

As I got older and time became much more finite, my trips became less frequent. John Lennon once sang, “Life is what happens when you’re busy making other plans.” Despite living a stone’s throw away from the venue for the last decade and a half, I just couldn’t make it out. As my kids have gotten older and found their way in music, I have made the pilgrimage twice in the last year: once for my daughter to see Half Past Two in May, and the other time for Homegrown about a month back, a birthday present to myself. Little did I know it would be my last time.

Photo credit: Home Grown

In the last couple of weeks, the venue had set dates for what would be their final shows. A line to purchase tickets for these events reached past the parking lot and almost to the corner of Lincoln and Euclid. I thought about buying a ticket for the show, but felt satisfied knowing my last show there was special for many reasons. The closing of Chain Reaction leaves a few all-ages venues in Orange County. This week, as I attended shows at the Constellation Room and the House of Blues, it gave me the sad realization that there wasn’t a venue like Chain Reaction left in Orange County. If you throw a rock in the surrounding counties, you can find spaces closer to what Chain Reaction cultivated despite the venue’s pioneering ethos as a safe space for kids.

I’ve seen lots of posts online calling Chain Reaction the West Coast’s CBGB’s, but that’s not accurate. While similar in concept, venues like punk bands are unique in their own way. What makes them special is the people that gather there. It’s what makes punk rock great. You can take punk rock and make your own scene. You can grow it, and if you’re lucky, it will be as successful as what Chain Reaction built.

So long, Chain Reaction, and thanks for all the shows.

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DS Single Review: Bad Fatale – “Black Cat”

Bad Fatale, the Los Angeles band founded in 2025 with frontman Bradley Riot, has a new single out! They describe themselves as “a new force on the scene, blending dark style, raw emotion, and punk rock attitude in all the right ways. With Bradley Riot, Iriel [Lee], and Luke [Silas] bringing energy that captures the […]

Bad Fatale, the Los Angeles band founded in 2025 with frontman Bradley Riot, has a new single out!

They describe themselves as “a new force on the scene, blending dark style, raw emotion, and punk rock attitude in all the right ways. With Bradley Riot, Iriel [Lee], and Luke [Silas] bringing energy that captures the true punk rock spirit, this band is something to behold.”

I got a chance to listen to the song myself.

It’s energetic as advertised – a fast tempo high hat introduces the song, making it sound like it’s always building toward something bigger. The hook, first heard around thirty seconds into the song, has you singing along by the one-minute mark. Despite the catchiness, it’s dynamic, showing variety with a nice bridge around the halfway point before bringing the song back around. It’s complete and provides a solid launchpad for this raw and energetic band.

Not bad, Bad Fatale! Keep the music coming.

Check out the new single here!


They have a big show coming up on December 27th at the Punk Rock Museum in Los Angeles. Go check them out!

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Dying Scene Radio Presents: Four Records – Episode 9: Josh Jurk (School Drugs)

Welcome to Four Records! Each episode we feature one guest as they go over four records at four different times in their life. This week Forrest, Karina, and Jason speak with Josh Jurk of School Drugs. School Drugs released their latest record, Funeral Arrangements, earlier this year. You can purchase it here. Josh and School […]

Welcome to Four Records! Each episode we feature one guest as they go over four records at four different times in their life. This week Forrest, Karina, and Jason speak with Josh Jurk of School Drugs. School Drugs released their latest record, Funeral Arrangements, earlier this year. You can purchase it here. Josh and School Drugs has one more show this year:

Dec 20th, 2025: The Hangar on Hudson Troy, NY

(Photo credit on cover image: JC Carey)

Josh Jurk’s Four Records:

0-10: Daft Punk – Discovery

Teenage: Hunchback – Pray For Scars 

Twenties: The Emotron – Vampire Lunch Lady Tits 

Recent Record: Oingo Boingo – Only A Lad

Listen on Podbean

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Email: fourrecordspodcast@gmail.com

Opening song: Rad Skulls – Loud as Shit

Closing song: Lucas Perea – Underneath Ashes

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Dying Scene Show Review: Bouncing Souls, H2O, Dave Hause and the Mermaid, and Mercy Union at House of Blues, Anaheim, CA (12/14/2025)

The Bouncing Souls finished out the last night of their East Coast! Fuck You! tour at the House of Blues in Anaheim. Bringing a murderers’ row of East Coast bands with them, the Bouncing Souls curated an amazing show of bands who don’t always get out to the West Coast enough. This allowed an opportunity […]

The Bouncing Souls finished out the last night of their East Coast! Fuck You! tour at the House of Blues in Anaheim. Bringing a murderers’ row of East Coast bands with them, the Bouncing Souls curated an amazing show of bands who don’t always get out to the West Coast enough. This allowed an opportunity to three sets from bands I hadn’t yet seen. Let’s dig in.

Opening the night was New Jersey’s Mercy Union, a fantastic choice for this East Coast-centric group of bands touring. Tearing through their thirty-minute set, Mercy Union warmed the crowd up just right for the night ahead. You can definitely feel the Springsteen influence dripping off of them like a lot of bands from that area, which is why the clearly Cure influenced “Prussian Blue” was the highlight of Mercy Union’s set for me. I’m not sure if it is typical for the bass guitar to be a little louder in the mix during their set, but I’m here for it and Mercy Union.

 After listening to Dying Scene Editor Jason Stone praise Dave Hause from the top of a digital mountain for the last year and a half, I got to experience a set for myself. Everything he’s said is accurate. Dave Hause and the Mermaid were another great addition to this lineup. I think this was one of the most energetic sets I’ve ever seen in a long time. While Dave (and most of the bands on this bill) broke the punk rock rule of playing songs longer than a couple of minutes, his set moved along pretty well. Playing songs like “Mockingbird Blues,” “Damn Personal,” and “Dirty Fucker,” kept the energy and the crowd moving.

Despite years of enjoying their songs, I finally got to see H2O. While it would have been great to see them before I retired from the pit, seeing them from the barricade is just as good. Hitting the staples like “Everready,” “Faster Than The World,” and “One Life One Chance,” Toby Morse led the band through an intense thirty-minute set that culminated with a cover of Madball’s “Guilty by Association.” As I’ve started writing concert reviews, I love watching drummers. H2O has a phenomenal one with Toby’s son, Max. The speed and precision shows a skill way beyond practice.

I’ve only seen the Bouncing Souls a handful of times growing up, and most of the time they’ve walked out to Simple Minds’ “Don’t You Forget About Me,” a song they covered decades ago and wish they would again. Watching the set and processing the song choices over their vast discography made me appreciate the history this band has within punk rock itself. Jumping between their harder punk songs and more midtempo ones, the Bouncing Souls played their usual mix of silly and serious songs, moving the set through a myriad of emotions. While there are songs that I wish they still played, the Bouncing Souls hit some of my faves like, “Kate is Great,” “The Gold Song,” and “Here We Go.” They also took requests from the crowd for “Shark Attack,” “Better Things,” and “Kid.” They closed the night, as they often do, with “True Believer” and “Gone.” It was a reminder of the amazing output this band has consistently had throughout their decades long career.

This was one of the best lineups I’ve seen all year, and I can’t wait for either of these bands to come through again. I wouldn’t be surprised if most of the crowd was hoarse the next morning; I certainly was. Looking at the other legs of the tour, the Bouncing Souls certainly know how to stack a tour and give fans their money’s worth. While none of these bands seem to be slowing down, they should be bands you don’t miss when they come to town.

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DS Album Review: UK Punks On The Huh Return With Second Time Around

  Some say rock n roll is a young man’s game. The long drives, early load ins, tense interpersonal relationship struggles, poor health choices and constant uphill climbing to scratch at the faintest hint of recognition has wrecked the dreams of many a poor kid. It’s true that this life is not for the faint […]


  Some say rock n roll is a young man’s game. The long drives, early load ins, tense interpersonal relationship struggles, poor health choices and constant uphill climbing to scratch at the faintest hint of recognition has wrecked the dreams of many a poor kid. It’s true that this life is not for the faint of heart nor the weak of will, but for those suited to it, rock n roll is everything. Lifers know, and you can see it in their eyes. The first time I met the gentlemen in On The Huh, it was plain to see that these guys had dedicated their lives to this. Boasting members of UK punk legends Infa Riot, Special Duties, and Braindance, it’s fair to say these blokes have been around the block a time or two, and they are here to tell us all what they’ve seen.


Second Time Around shows solid growth from the band’s previous offering, Bit On The Side, continuing to showcase the big gang choruses and working class themes of previous work while amping up the rock n roll influences. The guitars are big, pleasantly overdriven and bluesy. The vocals are delivered with authority and charm in equal measure. The bass work, while slightly muted is sharp and steady. The drums are tight and driving throughout. The production is clean and straightforward, creating a lean and muscular set of recordings. It wouldn’t be out of left field to compare this to fellow UK pioneers like Cocksparrer, Sham 69 or even a less contentious Peter and The Test Tube Babies, but this is no rehash. The proof is in the songwriting.


 There are plenty of the sort of genre requisite tunes here about working class solidarity, drinking and the importance of loyalty that one might expect from this particular brand of street punk, as well as a healthy dose of irritation and indignation at a new generation of technologically obsessed youth poised to inherit the earth. However, while these songs have their value and certainly contain some standout sing along choruses, it’s when the band delves into less standard territory that my ears start to perk up. Thrown into the mix are songs that lean into the routine and mundane in a way that actually makes them far more relatable and sincere. “Can’t Be Arsed” looks at marriage through the lens of a perpetual adolescent (also referred to as musicians) whose better half has long left the party scene behind them in favor of a quiet life at home. Regardless of which side you fall on, the premise is refreshing and played with tongue firmly planted in cheek and heart pinned sturdily to sleeve. 


  Other standouts include “Elf N Safety”, which may be the first time I’ve ever heard a song attacking job site health and safety inspectors. As a former carpenter’s apprentice, I can fully empathize. Bureaucracy and red tape are the bane of the working man and it’s about time someone gave em what for. I also particularly enjoyed “Fry Up”, in which the fellas extol the virtues of going wild on a greasy plate of eggs, sausage, beans, tomatoes and mushroom lovingly known as a full English breakfast. If you haven’t experienced the pure unadulterated joy of a traditional fry up, I’m afraid your life is severely lacking. Book yourself a ticket to Old Blighty and live a little, why don’t ya?


  All in all, Second Time Around is a solid sophomore outing from a band that knows what they are doing, and who they are doing it for. If you love bands like Evil Conduct, CockSparrer, or Vanilla Muffins then On The Huh might just be your next obsession. If you have the chance to catch them live, I highly recommend doing so. Their energy and humor are infectious, and you are guaranteed to walk away grinning. Pick up your copy of Second Time Around from Sunny Bastards Records or stream it on your favorite service today!

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DS Interview: Lisa Johnson shares some memories behind rock’s most iconic photos

On December 6th, Punk Rock & Paintbrushes held their 10th annual art show in Los Angeles where they showcased tons of iconic pieces. One of those featured artists was Lisa Johnson. You have definitely seen some of Lisa’s photos before. She’s worked with everyone from Nirvana and Linkin Park, to The Vandals and NOFX. She […]

On December 6th, Punk Rock & Paintbrushes held their 10th annual art show in Los Angeles where they showcased tons of iconic pieces. One of those featured artists was Lisa Johnson. You have definitely seen some of Lisa’s photos before. She’s worked with everyone from Nirvana and Linkin Park, to The Vandals and NOFX. She even took the photos for Smashing Pumpkins “Gish” cover, and Rage Against The Machine’s “Evil Empire” album. Plus all of those black and white Warped Tour photos, you know, the ones on the cover of the compilations? Yeah, that was her! She has had a huge impact on punk rock culture overall, and we got to ask her a couple questions about her career.

Dying Scene (Spike): Thank you so much for taking some time with me, I’m honored because you are such an inspiration to many. First of all, when did you get into punk music?

Lisa Johnson: The first time I heard it really, I just loved it.

It sticks in your blood.

Definitely.

When did you start taking photos?

I started taking photos really young because I had my dolls and I would set them up in like a certain little viviette, and I wouldn’t remove it because I wanted it to stay that way, so my parents negotiated with me. I could take a photo if I would deconstruct all of my elaborate castles that I’d built in my room. So, I took some photos but they did not come out correctly. And I had already deconstructed the castle, so that made my parents very frustrated. They said “do it yourself”. I was about five, and I basically couldn’t just be the art director. I had to do the photo too because my parents did not see my vision. So, yeah, at that early age. I ended up figuring it out.

Why do you lean towards shooting in black and white?

I really love photography in black and white. I think theres something very profound about it. Color is cool too, don’t get me wrong, but with black and white images, there’s just something historically significant. It just pops a little more, and there’s less of a distraction in the colors, you know? But I shoot in both.

Are there any bands that you’ve just really loved working with?

Oh yeah. I mean, there’s so many bands that I love working with. Some of them aren’t necessarily famous but they were a lot of fun. I really love shooting Rage Against The Machine, we have a really awesome work relationship, but it wasn’t always easy. We’d have like five voices trying to come to an equal footing into what we were trying to accomplish, but I think once we nailed it, it was really worthwhile. Suzi Moon is another one of my favorites, and a good friend. She’s always fun to shoot.

Can you tell me about some memories you have working with such legends?

Well, I will tell you a memory about that photo right there on the wall. He (Bradley Nowell) was watching “Sally Jessy Raphael”, and it was really hard to get his attention for the camera.

His wife (Troy Dendekker) wanted to get some work done, so she was like “here, I got to do the dishes, take the baby.” (referring to newborn baby Jakob). And he’s watching Sally Jessy Raphael, doing a photoshoot for a music magazine, had the dog (Lou) and the baby, and I was just kind of like “Could you just look at the camera? Just for a couple shots?” But I will never forget Sally Jessy Raphael. I wish I could remember the exact episode, but yeah, he was really into that show.

Did you ever think it would become as big as it did?

I guess I felt it, you know? I felt the importance of the child. Who else… Kurt was really fun. He would kidnap the camera, it was really powerful and I think he was almost afraid of how powerful his gaze was, like he didn’t know what to do with it. And his blue eyes, he was just amazing. And Chester, oh my gosh, Chester was so sweet. Those guys (Linkin Park) were awesome. I did some of their earliest photos and we were in Hollywood at their rehearsal space, and they thought it would be fun to climb up on the roof. And so we climbed up, we started at least, we went halfway up the ladder and I realized that maybe I was a little afraid of heights… and Mike (Shinoda) had to coax me up the stairs. But they were awesome. The night before the shoot, I got to take home the CD before anyone had heard it, and then I had to return it to them, you know, and I was just like… this is incredible. Belongs on the airwaves.

Are there any other photos you never expected to get as big as they did?

I actually think that more than that, there are some photos that I have that didn’t get big, and I don’t understand why not.

Like that Bert (McCracken) one. I love that Bert one. I guess a lot of people have that same shot, but to me it’s very special.

Is there someone that you haven’t worked with yet, that you would love to photograph?

Oh god, there’s a lot of people I haven’t shot yet. I don’t know, maybe someone like Billie Eilish or something. That would be a fun one to do.

Are there any bands that you’re into right now, and would like more people to know about?

Kerosene Heights, they’re really fun.

How about working with Warped Tour for 30 years now, what has that been like?

So awesome and rewarding. That was a situation where I walked in, and I don’t think they realized how historically significant it would be. But I walked in knowing that it was, so I just started shooting it with that eye to the future looking back. That’s literally how I photographed it every time. So it’s the future looking back, and maybe that’s why they’re in black and white.

Also you work with The Punk Rock Museum too, right?

I do! Like I’m the director of photo acquisitions, and I’ve acquired most of the acquisitions there.

That’s so cool! I got my shirt on today for you.

Oh my gosh! I have to take a picture of that…

(Scroll to photo 5)

Go visit The Punk Rock Museum in Las Vegas!

I can attest to that. Whether you’re alone, with a partner, friends, or family, your experience at The Punk Rock Museum will be one you won’t forget. Then you can see some of Lisa’s iconic work for yourself, and support these amazing women that work so hard behind the scenes. It is an absolute honor that I can now say I have a photo by one of the most iconic photographers in punk and rock history, Lisa Johnson.

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DS Show Review: Catbite, Public Opinion, and Reckoner at The Constellation Room, Santa Ana, CA (12/10/25)

It took me a moment to pick up what Catbite was putting down, but like most things I’m wrong about, I’m happy to have fixed that. The five-piece band from Philadelphia, PA plays some of the most infectious and poppy ska punk I’ve heard in years and they don’t seem to be slowing down. With […]

It took me a moment to pick up what Catbite was putting down, but like most things I’m wrong about, I’m happy to have fixed that. The five-piece band from Philadelphia, PA plays some of the most infectious and poppy ska punk I’ve heard in years and they don’t seem to be slowing down. With opening bands Reckoner and Public Opinion, their show at the Constellation Room, Catbite’s show made for one of the best show experiences I’ve had this year.  

I’ve had the pleasure of watching Reckoner evolve in the last year and it’s been great to see. Despite some fluctuating band members in the last year, Reckoner sounded fantastic. While we’ve been treated to a cover of Elvis Costello’s “What’s So Funny About Peace, Love, and Understanding” in previous sets, Reckoner replaced it with a new and yet-to-be-released song. It sounded great. The songs that Jennie Cotterill and crew write are catchy in the right spots, but still have that edge to them. Here’s to more shows and songs in the new year. 

Public Opinion from Denver, Colorado came out swinging and kept hitting hard. It’s difficult to put them in a specific genre box as their sound on stage felt like a cross between indie and hardcore. Their set was impressive and full of energy. They tore through nine or ten songs in thirty minutes, playing in spurts of three at a time without breaking pace. Public Opinion was heavy without being overtly gruff. I know where I’ll be next time they come through town. 

This tour marks Catbite’s first headlining run in many of the cities they’re playing including this show. This was my second time seeing them this year after their opening slot on the Less Than Jakes Ska Circus Tour over the summer. Catbite’s set was one of the most fun I’ve seen this year. While I’m not one for moving my feet too much, even I was dancing a bit through some of their songs. Opening with Doom Garden’s lead track, “Die in Denver,” Catbite led the crowd through nearly twenty songs including “Amphetamine Delight,” “Scratch Me Up,” “Eyes Wide,” and a cover of Paramore’s “Still Into You.” If there’s one thing I’ve learned about Catbite, they know how to choose and execute a good cover. 

This was hands down one of the most fun shows I’ve been to all year. Three great bands doing what they love and a receptive crowd made this a night to remember. Each band’s sound was unique enough that there was something for everyone, except for the one common thread of being enamored with live music. Catbite is should be essential viewing when they come to your town.

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DS Interview: Noodles from The Offspring gives advice and music recommendations

I got a few minutes to talk with Noodles from The Offspring before his DJ set at Punk Rock & Paintbrushes 10th annual holiday art show in Los Angeles. We talked about being on the road, countries he’d love to play for in the future, and up and coming bands he’s been listening to. Dying […]

I got a few minutes to talk with Noodles from The Offspring before his DJ set at Punk Rock & Paintbrushes 10th annual holiday art show in Los Angeles. We talked about being on the road, countries he’d love to play for in the future, and up and coming bands he’s been listening to.

Dying Scene (Spike): I know you have a set to do so I’ll keep this short and sweet. This is such a great event! I know your wife (Jackie Wasserman) has some work on display, right?

Noodles: She does! For the first time ever. I’ve been trying to talk her into it for 9-10 years, and finally she hung out with Emily (Nielsen) over the summer and Emily talked her into doing it. She wont listen to me, but she listens to people smarter than me, so that’s okay.

I really like all of her stuff, it’s all really cool. Especially how she uses rocks?!

The eyes, yeah! “She Still See’s You”.

I love it. How are you keeping up with the modern punk scene? Are there any bands that you’re really into right now that you want more people to know about?

Yeah there’s a bunch and you know some have blown up in the last couple years, like Amyl and the Sniffers are great. They opened up for AC/DC the other day, so they’ve definitely come a long way. There’s a lot of bands, Slaughterhouse is coming up and doing a lot. A band called Pinkshift, I don’t know how long they’ve been around, I just recently discovered them, but they’re great out of Baltimore. The Rumours band, Die Spitz is great, Spunk is a fun one. There’s always up and coming stuff and a lot of local bands, and I love just finding new bands. Anyone that’s out there doing it and just kind of making noise, and doing it well, I love it.

That kind of ties in with my next question, what does punk mean to you?

Oh god, yeah. I’ve said a lot of things, like punk just means questioning convention or whatever, but really punk rock is kind of like Buddha hood. It’s like something you hope to attain, but might not ever actually achieve it. It’s just staying open minded. I’ve seen a lot of people, even in the punk scene, get to be about my age, and all of a sudden their minds are as rigid as their bodies are! So I think having an open mind and trying to step away from all the rigidity of thought, there’s something punk rock about that.

Did you ever think The Offspring would last 40 years?

Fuck no. I didn’t know how long it would last. First of all, we never thought it would be a career choice, you know. I’m hanging out with my friends like Melvin in NOFX, and the very first time we thought “wow man, these guys are actually making a living playing music”, was when we opened up for NOFX in Europe for like 6 weeks, but we were broke! You know, we all had day jobs and were going to school, but those guys were actually making a living so we thought maybe it’s possible. We saw Bad Religion making a living, but not a career choice, still it’s something we love to do, but never a career choice.

You just got back from tour, and now you’re going back on tour soon. Do you ever rest?

I got about a month and a half. I actually sleep better on the road sometimes. I get into a hotel room, put the blackout lights on, and I’m just out. It’s weird how that works, but a lot of times you have to get up early, and you’re traveling, and it’s crazy. The traveling is pretty brutal. The word traveling has the same root word as travail, so you know travails and travels, they do beat you up. But getting out and playing a show every night is what we love to do. That connection with the audience and fans, and when you’re resonating (with them), it’s the best drug in the world. It really is. There’s nothing like that.

Is there one country that has a really great reaction to you guys?

I wouldn’t say there’s one country, you see fans that are different all around the world. South American audiences in general are one of the most passionate and crazed, like there’s no boundaries. You kind of want to hold them at arms distance because they will rip you apart if you get too close, but they are so much fun to play for. They really are, and we’ve been fortunate enough to have traveled really all over the world. The only places we haven’t played are parts of Asia, Hong Kong, Singapore, Jakarta, and nowhere in India. I would love to play some of those places just to see what the fans are like there.

My last question for you, do you have any advice for a young punk like me?

Yeah, anyone trying to be creative, just keep following those creative things. Whether you’re writing, painting, I mean there’s tons of great art here tonight, there’s tons of great music in the world, just keeping doing it. If you’re in a band, play music with like-minded people that share the same love of the music, and be open to opportunities. If there are no opportunities, make some. Get out in people’s faces and eventually, if you’re good atall, people will notice. And have fun!

Getting first hand advice from Noodles himself, then dancing to his DJ set after was pretty damn cool. Check out the video on Instagram, TikTok, or YouTube.

@murderc1ty

i asked noodles what he’s been listening to lately… and a couple other things xD🖤 @dyingscene #theoffspring #punkrock #poppunk #90s #y2k #noodles #amylandthesniffers #bands #guitarist #alt #emo #fyp

♬ original sound – cam / spike

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