DS Show Review & Gallery: Me First & The Gimme Gimmes/The Black Tones/Son Rompe Pera (House of Blues – Chicago, IL – 10/1/22)

The foremost punk rock supergroup cover band hit the House of Blues in Chicago, IL on the first day of October 2022. The band brought the humor and fun, performing others’ classics but at break-neck speed. Me First and the Gimme Gimmes has a rotating cast of characters. At this House of Blues Chicago, only […]

The foremost punk rock supergroup cover band hit the House of Blues in Chicago, IL on the first day of October 2022. The band brought the humor and fun, performing others’ classics but at break-neck speed.


Me First and the Gimme Gimmes has a rotating cast of characters. At this House of Blues Chicago, only one of the original members, Spike Slawson, was on stage. Joey Cape of Lagwagon and Fat Mike of NOFX were unable to join Slawson due to both bands being on tour. However, Slawson did have a pretty solid set of bandmates: CJ Ramone on bass, Speedo aka John “The Swami” Reis of Rocket From the Crypt on guitar, Jake Kiley from Strung Out, and Andrew “Pinch” Pinching formerly of The Damned, on drums. The entire band was decked out in white denim and glittery pink shirts, accented by white ties Slawson added a white sports jacket and Elton John style specs, as well his Lounge Lizard persona.


The band zoomed through a pair of John Denver tunes, “Leaving on a Jet Plane” and “Take Me Home Country Roads,” as well as Paul Simon’s “Me and Julio Down by the Schoolyard,” Paula Abdul’s “Straight Up,” “ScienceFiction/Double Feature” by Richard O’Brien


The set also featured Dolly Parton’s “Jolene,” Willie Nelson’s “On the Road Again,” “Rocket Man (I Think It’s Going to Be a Long, Long Time)” by Elton John, “Mandy,” by Barry Manilow and Gloria Gaynor’s “I Will Survive.”


Me First and the Gimme Gimmes serves up a reliably good time, no matter what the lineup at any given time. It’s all in good fun, though there was an early oof moment when Slawson joked about John Denver’s skills as a helicopter pilot (Denver died when the home-made aircraft he was flying crashed. The National Transportation Safety Board determined the crash to pilot errors). Aside from that, the band members play with an earnestness rather than a mocking spirit underneath the levity. They seem to be enjoying this insouciant break from their “day jobs.” The crowd was all for it and left asking for more.


The Black Tones, on its first national tour, got the show started in a big way. The duo, comprised of Eva Walker on vocals and guitar, and her twin brother Cedric Walker on drums and vocals, have built a devoted fan base in the state of Washington. The Seattle duo’s hit song, “The Key Of Black (They Want Us Dead)” speaks to police brutality fueled by racism.The name of the Walkers’ first album, Cobain & Cornbread, is a nod to both their hometown of the Emerald City, and their family’s southern roots in Louisiana.

On stage, joined by family as back-up musicians and singers they soared. Eva Walker is both an indefatigable shredder and a dynamic vocalist. Cedric Walker is a thunderous drummer, every bash complementing his sister’s swaggering stage presence. With songs like “Mr. Pink,” “Ghetto Spaceship,” and “Mama, There’s A Spider In My Room,” this band will continue to knock the socks off of those lucky enough to see them in the future.


In the middle slot of the evening were the rising stars in Son Rompe Pera. The band, like The Black Tones, is led by siblings. The three brothers Gama: The two Marimberos/Vocalists, Mongo and Kacho, and percussionist/vocalist Kilos. The family is from Naucalpan de Juárezon the outskirts of Mexico City. They are joined in Son Rompe Pera by Raul Albarrán on bass and Albarrán’s cousin, Richi López on drums. The band has played nearly every size of music venue, and was interviewed by National Public Radio. They were also featured in a video for NPR’s Tiny Desk Sessions, On this Windy City Saturday night, Son Rompe Pera buoyantly showcased its sound which is traditional marimba music and cumbia fused with garage punk and psychobilly. Marimberos Kacho’s and Mongo’s synchronized rapid fire banging of their mallets across their marimbas, whilst furiously dancing, building momentum, caused them to appear breathless as they hit the crescendos. Those moments elicited gasps from the crowd followed by roaring cheers. Son Rompe Pera did not just warm up the crowd for the headliners, Instead, it was introducing to many of the Me First and the Gimme Gimmes fans a piece of the members’ heritages and family traditions. In the process, they were also garnering new fans of their music and of the marimba and cumbia.


See below for more photos from the show!

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DS Show Review & Gallery: Violent Femmes & Las Cafeteras (Thalia Hall, Chicago, IL – 10/4/22)

Violent Femmes took to the stage at Chicago’s Thalia Hall on Tuesday, October 4, 2022, for the first show of a sold-out two-night stand. Four decades past the Violent Femmes’ eponymous debut album, the band demonstrated it still has the ability to thrill audiences.  I had not seen Violent Femmes perform since I was in […]

Violent Femmes took to the stage at Chicago’s Thalia Hall on Tuesday, October 4, 2022, for the first show of a sold-out two-night stand. Four decades past the Violent Femmes’ eponymous debut album, the band demonstrated it still has the ability to thrill audiences.  I had not seen Violent Femmes perform since I was in the photos pit for its Riot Fest 2019 set so this was one of the shows I most looked forward to this month.


Founding Violent Femmes members Gordon Gano and Brian Ritchie flanked percussionist/drummer John Sparrow. Multi-instrumentalist Blaise Garza remained mostly toward the rear of the stage, where one of his instruments, a Contrabass Saxophone, towered over him. I played alto sax for several years so I was especially fascinated by very tall instrument.

The band ran through a substantial number of its best and most popular songs, “Add It Up,” “I’m Nothing,” “Country Death Song,” “Jesus Walking on the Water,” “I Held her in My Arms,” “Waiting for the Bus,” and “Gone Daddy Gone,”


Violent Femmes, from Milwaukee, WI, also included in its set a song about a horrific event in the history of Milwaukee and the USA at large. Playing “Dahmer Is Dead” seemed less a cheeky wink and a nod, and more a straightforward recognition of the Dahmer-mania (beyond normal anthropological fascination) that has taken hold of a disturbing number of American tv viewers (and streaming services programming executives). Granted, the song was written years ago, but still, it was a bit eerie to hear hundreds of fans chanting gleefully along to:

“Dahmer is Dead / Am I supposed to feel outrage? / Am I supposed to feel sorrow? / Jeffery Dahmer has no right tomorrow / Dahmer is Dead / Dahmer is Dead / A broomstick bashed him upside his head”

Songs are given to varying interpretations by those who write them, and by those who listen to them. I find it intriguing, and for the better, that the song does not necessarily provide answers to the questions being asked. That is, alongside its otherwise “just the facts” approach. Again, strictly my interpretation as one who has far more questions than answers.


Personally, I was waiting for two songs in particular, two of the band’s biggest hits.

As a cold war (part 2 – the 1980’s) kid, I wasn’t quite a teenage anarchist but I WAS looking for a revolution. At a time when I was an idealistic political junkie (still one though, sadly, a bit of cynicism has crept in as so often it does as we age), writing letters to US Senators, and participating in protests among other actions, “Children of the Revolution” struck a chord. It still ranks as one of my all time favorite songs and I listen to it at least weekly along with Pegboy’s “Strong Reaction,” Dead Kennedys “California Über Alles,” and Bad Religion’s American Jesus. And of course “Know Your Rights,” among too many other The Clash songs to mention here. Alas, Violent Femmes did not play its phenomenal cover of the T-Rex song on this night. But any related disappointment was short-lived toward the end of the evening.

As soon as the familiar first notes to their smash hit song “Blister In the Sun” started in there was an electrical feeling throughout the venue. Actually that electrical feeling was there all night long but it was ramped up ten-fold.


Gordon Gano’s very unique voice sounded almost all but drowned out at certain points by the fans down on the floor and those fans near my then position in the balcony close to the stage. Or perhaps Gano just gave the lead over to the crowd  How it sounded on the ground level might have been very different. Whichever was the case, it mattered little because in every part of the venue were ecstatic fans by time the starting lyrics kicked in.  

“When I’m out walking / I strut my stuff / And I’m so strung out / I’m high as a kite / I just might stop to check you out…”

One small kick I got during “Blister in the Sun” was watching John Sparrow playing a Weber Grill. Yes, a Weber Grill. The only thing which might top that is watching Sparrow play one with the band’s name and logo scrolled across it as with traditional drum sets.

If you have a chance to stop and check out the Violent Femmes for the very first time or the 20th or more time, I’d suggest you get on that. The show was unlike any other I’ve documented this season. Then again, the Violent Femmes continue to be unlike any other band, during any season.


Las Cafeteras, from East Los Angeles, provided a diverting warmup to the evening. The band blends folk music, Son
Jorocho, and Zapateado dancing. Son Jorocho is a style of folk music from Mexico, in the region near the Gulf of Mexico. Zapateado dancing is similar in some ways to tap dancing. An important aspect of it is the sound of the dance shoes hitting the stage. Las Cafeteras had a small wooden square on which members repeatedly danced. Combined with a set full of lively tunes, it all added up to an enjoyable whirlwind of a set.


See below for more photos from the show


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DS Photo Gallery: Lagwagon, Grumpster, SecondSELF in Nashville, TN 9.24.22

The ageless and invincible Lagwagon came to town a couple weeks ago and I found myself questioning why this was my first time seeing them. This being their “30ish Years on the ‘Wagon” tour (35 to be exact), they’ve been around long enough that surely I would have caught them at least once. But no, […]


The ageless and invincible Lagwagon came to town a couple weeks ago and I found myself questioning why this was my first time seeing them. This being their “30ish Years on the ‘Wagon” tour (35 to be exact), they’ve been around long enough that surely I would have caught them at least once. But no, once again I have saddened the punk rock gods by having not seen the live performance of yet another punk staple.

With that little piece of baggage out of the way, I can assure you that I finally made it to Eastside Bowl (my first time as well). I saw the Laggy boys do what they do best, was introduced to Grumpster whom I had never even heard of but was truly impressed by, and hung out with the dudes in SecondSELF, the last minute replacements for Bigwig.


SecondSELF was the replacement for Bigwig, and, although we were all saddened to hear of their untimely departure from the tour, I heard no complaints about the local favorites taking the stage. It’s always nice getting to see some good friends of yours absolutely blow the roof off the place, especially opening for one of my all-time favorites.


For a lot of aging punk fans, there’s a phase early in life where you’re in love with pop-punk. For many, that’s a phase that is soon left in the past, myself included. I had an early-high school interest in many of the bands on Pure Noise Records, but have since trended more towards the East coast skate-punks on Fat Wreck Chords.

What I will say is, thanks to bands like Grumpster, part of my music taste is trending back to that of my early days discovering punk. Grumpster performed a version of pop-punk that exhibited some qualities of what I enjoy now, merged with what might appeal to those already fans of Pure Noise. It’s unknown to me whether this trend for myself will continue, but what’s certain is this three-piece was an excellent opener and fucking killed it in front of a near-capacity crowd.


I’ve used forms of the word ‘professionalism’ as an artist description on the site before, but if it applies to anyone in punk, I think these guys deserve it (I think I used that description on Frank Turner, so I’d be okay putting these two in that same category).

Having never seen them before, I was able to truly appreciate the show that the Lagwagon dudes put on: the difficulty and complexity of what they were playing, the wittiness behind their stage banter, their tasteful showmanship. No wonder these guys have been at it 30+ years, whatever formula they’ve got for songwriting and performing sure is working.


At times during the show, I had to remind myself to actually take the pictures I was there for and stop admiring the mastery that was taking place before me. This might have been my favorite show all year and I was glad a band of this caliber drew close a near-capacity crowd in a city where that’s often difficult to do.

As always, thanks for your time both here and wherever else on the site you may wander off to. Cheers!

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Dying Scene Album Review: The Manges – “Book of Hate for Good People”

The beautiful country of Italy has provided us with countless luxuries for which we should be eternally grateful. The list includes but is certainly not limited to: Subway’s Italian herbs & cheese bread, the Super Mario Bros. video games, and arguably their greatest export, The Manges! An Italian pop-punk institution since 1993, the Manges are […]

The beautiful country of Italy has provided us with countless luxuries for which we should be eternally grateful. The list includes but is certainly not limited to: Subway’s Italian herbs & cheese bread, the Super Mario Bros. video games, and arguably their greatest export, The Manges!

An Italian pop-punk institution since 1993, the Manges are back with their sixth full-length album, and I think it may be their best one yet. I was extremely impressed with 2020’s Punk Rock Addio. At the time, I thought it was by far the band’s most well produced, polished, and complete studio recording. With their new record Book of Hate for Good People, the Manges have once again one-upped themselves.

The songwriting is on another level from anything this band has done before. Starting things off is the high octane album opener “Lucky Tiger”, complete with an infectiously catchy chorus and a healthy dose of Screeching Weasel style lead guitar parts. This song sets the bar quite high, but the rest of the album has no difficulty clearing that bar. “Back to Bangcock” – a song that’s been in my regular rotation since its release as a single months ago – keeps the energy up and delivers big time with its hook: “Once again, dripping red, a small fish in the net, feeling trapped, in the same old crap”.

Having listened to this album about a dozen times, I can pick out a few songs that I’m not totally into. “Jesus is My Homeboy” is an fun little rock ‘n’ roll track, but it kinda ruins the flow of the tracklist being sandwiched between ultra-energized songs like “I Shot Cyrus” and “High on Stress”. The only other song that doesn’t quite stick the landing is “Too Many Freaks”. Obviously, the Manges are massive Ramones fans, but this attempt at a Dee Dee style hardcore song doesn’t quite do it for me.

Enough negativity, back to blowing smoke up some asses! The back end of this record is killer. “The Hate Parade” and “I’m Not a Sissy” throw back to the Manges’ tougher sound from their Bad Juju record. “Red Flags” closes out the album on one final high note. This one’s got another chorus that super glues itself to your brain; the guitar driven melody on this track is awesome as well.

So yes, this record has surpassed Punk Rock Addio as the best Manges record. I can say that with absolute certainty. Book of Hate for Good People is essential listening and is one of my Top 10 albums of 2022.

Buy Book of Hate for Good People:

Digital / CD / Blue vinyl / Yellow vinyl

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DS Exclusive: Riot Fest 2022 – Day 2 (Yellowcard, Bad Religion, 7Seconds, Yungblud, Gogol Bordello and more)

Day 2 of Riot Fest 2022 took place on September 17th. The temperatures rose and because it was a Saturday, so did the crowd size. It was a day of both music and expressions of solidarity with one nation under attack. Red Scare Industries’ No Trigger was assigned to the smallest music stage in the […]

Day 2 of Riot Fest 2022 took place on September 17th. The temperatures rose and because it was a Saturday, so did the crowd size. It was a day of both music and expressions of solidarity with one nation under attack.


Red Scare IndustriesNo Trigger was assigned to the smallest music stage in the park, the Rebels stage. However, that did not stop the boys from Boston from giving a powerful performance, including the tunes “Antifantasy,” “Holy Punks,” “No Tattoos,” and “Neon National Park.” There is little doubt in my mind, or at least lots of reason to hope, that No Trigger will be promoted to a larger stage at its next Riot Fest appearance. I’m not much of a gambler but I’ll take the bet that they will indeed be back at the festival, and sooner than later.


Fans of Bully were fortunate to not only see one of their favorites treat them to a fantastic set, but they did so from the Radicals Stage. That stage provided the most shade and the coolest setting on an otherwise boiler of a day. Rolling through “Trash,” ”Where to Start, ”Stuck in Your Head, ”Kills to Be Resistant, ”Milkman,” “Hate and Control,” “Lightsabre Cocksucking Blues” Bully gave the crowd what it was looking forward to and needed.


A formidable amount of joy was felt as The Joy Formidable took over the Roots stage. That line might be of questionable quality, however, the performance by the pride and the Formidable Joy of Mold, Flintshare, Wales (ok, I’ll stop now) was quite palpable.  The band, presently based in London, and composed of Rhiannon “Ritzy” Bryan, Rhydian Dafydd Davies, and Matthew James Thomas performed solidly a set that included “The Greatest Light Is the Greatest Shade,” “Y Bluen Eira,” “Sevier,” “CSTS (Come See the Show),” and “Whirring.”


The Get Up Kids were one of the 2022 Riot Fest bands doing an “album play” set. The album in this case was its classic Four Minute Mile on its 25th Anniversary. Though not dedicated to running legend Roger Bannister, as the title might suggest to near-lifelong runners (such as myself), it does feature track runners on the cover. More importantly, the band’s debut studio album transformed the members of the group into stars of the emo punk sub-genre. For attendees who became fans at the album’s first release and those just discovering its music, it was great to hear the full track listing, including, “Stay Gold Ponyboy,” “Lowercase West Thomas,” “Washington Square Park,” “Michelle With One “L”,” and “I’m a Loner Dottie, a Rebel.”


7Seconds announced their retirement in 2018, citing health issues as the primary reason. For that reason, the band appearing at Riot Fest this year was especially compelling. The band returned to touring earlier this year as support for Circle Jerks, alongside Negative Approach. Sammy Siegler sat in the drum chair in place of Troy Mowat, whose health issues continue to keep him sidelined. Kevin Second’s voice was strong and the setlist featured many entries from the band’s classic 1984 album The Crew. The album was remastered and reissued in deluxe style by Trust Records in 2021. Among them: “Here’s Your Warning,” “Definite Choice,“ Not Just Boys Fun,” “This Is the Angry,” “Here’s Your Warning,” “Definite Choice,” “Not Just Boys Fun. 7Seconds also played “We’re Gonna Fight,” plus covered “99 Red Balloons” by Nena.


For those who might not know, Alexisonfire is from St. Catharines, Ontario, Canada and named after an American porn actress. There was some controversy surrounding that latter fact but let’s move now to its Riot Fest appearance. It was a crowd pleaser, featuring in the setlist “Accidents,” Boiled Frogs,” “Sweet Dreams of Otherness,” “Pulmonary Archery,” and “Drunks, Lovers, Sinners.” For a hot late summer day, near that stage was a pretty cool place to hang.


Yungblud is an excitable boy (a nod to Warren Zevon there) and an exciting performer. Dressed in black dress pant style shorts held up by a single suspender over a long sleeve black and white striped shirt added up to him looking a bit like a post-modern day Pinocchio sans the pointy cap. Yungblud’s infectious charm was obvious, as he bounced across the stage almost nonstop through “The Funeral,” “superdeadfriends,” “parents,” “Tissues,” “I Love You, Will You Marry Me,” among others. His set ended with a show of support for the Ukrainian activists at the festival as the English rising star brought a group of them onstage. The Ukrainian flag being held high by said activists demonstrated again the solidarity for the war-torn nation on display at Riot Fest 2022.


Bad Religion is yet another of what I call FORFs — Friend of Riot Fest. As in, the band is a regular part of the festival’s lineups over the years. This should continue ad infinitum. They are a brilliant group every bit deserving of the word legend which has long been attached to them and the innumerable tattoo tributes across the globe. One crowd member expressed their love with the BR symbol shaved into and painted onto his skull. Meeting Greg Graffin for the first time, in the media tent, he exuded humility and kindness. Graffin: “Hi I’m Greg.” Me, in an attempt to be professional and not fan girl the PhD Punk icon from one my top 5 bands: “Thanks, I gotta go shoot 7Seconds now.” Yes, I’m a dork. But I’d hazard a guess Graffin was ok with that awkward bailing out. Back to their performance though. When the music kicked in Graffin, Jay Bentley, Brian Baker, Mike Dimkich, and Jamie Miller got straight to the point with “Recipe for Hate.” That was followed by “New Dark Ages” and “Fuck You.” With so many classics over the decades of its existence, the band couldn’t possibly hit all of them. However, it did a pretty good damn job of getting in a lot of them. Among those they drove through were “Dept. of False Hope, “We’re Only Gonna Die,” “Suffer,” and “21st Century (Digital Boy),” They concluded the set with “Fuck Armageddon… This Is Hell,” “Sorrow,” and my personal favorite, “American Jesus.” Whew and Wow. That about sums up Bad Religion in general and its Riot Fest performance in particular.


Gogol Bordello returned to Riot Fest as a replacement for Bauhaus which had to cancel its American tour due to lead singer Peter Murphy entering rehab. The Gypsy Punks released their latest album, Solidaritine, just one day before its set at Douglass Park. It appeared clear a priority for the band was to continue increasing and solidifying support for Ukraine and its efforts to fight back against Russian Vladimir Putin, his government, and the Russian military (Putin, of course, directed the military invasion of Ukraine on February 24, 2022). Earlier in the day, Eugene Hutz, the Boyarka native singer of Gogol Bordello, participated in a moving tribute to his homeland in a performance alongside a Ukrainian dance troupe. The full band known for its rousing performances did not disappoint as they ran through “Immigrant Punk,” “Wanderlust King,” ”My Companjera,” “Immigraniada (We Comin’ Rougher),” “Think Locally, Fuck Globally,” and “Mishto!”


Yellowcard was one of the three Saturday Night headliners. The band performed in full, its fourth album, also its major label debut, 2003’s Ocean Avenue. Way Away,” released as the album’s first single, and credited as Yellowcard’s injection into the realm of mainstream popularity, started off the set. Title tune “Ocean Avenue,” was followed by ”Empty Apartment,” and “Life of a Salesman.” The rest of the album including “Miles Apart,”  “Twentythree,” “View From Heaven,” “One Year, Six Months,” “Back Home” took diehard Yellowcard fans on a nostalgia trip. But what a trip!


See more Riot Fest 2022 day 2 photos below!


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Dying Scene Record Radar: This week in punk vinyl (Blink-182, Masked Intruder, the Interrupters & more)

Hello, and welcome to the latest installment of the Dying Scene Record Radar! If it’s your first time joining us, thank you! This is a weekly column where we cover all things punk rock vinyl. So kick off your shoes, pull up a chair, grab a few beers, and break out those wallets, because it’s […]

Hello, and welcome to the latest installment of the Dying Scene Record Radar! If it’s your first time joining us, thank you! This is a weekly column where we cover all things punk rock vinyl. So kick off your shoes, pull up a chair, grab a few beers, and break out those wallets, because it’s time to run through this week’s new releases and reissues. Let’s get into it!

Pulley‘s 1999 self-titled record got reissued a few years ago by Spanish indie label La Agonía de Vivir. It was limited to 500 copies, and it sold out pretty fuckin’ quick. Good news! If you missed out on the first run, they’ve repressed the record once again, with 200 copies on grey colored vinyl, and 300 on black vinyl. Go here to grab it, or don’t and regret it forever (or until they repress it again).

Up next is yet another classic skate punk reissue from La Agonía de Vivir: Adhesive‘s 1996 ripper Sideburner. Like the Pulley record, this is the second run of these, and it’s also on 500 copies (200 “milky clear”, and 300 on black vinyl). Get your copy here.

The Clash‘s iconic self-titled debut album is getting repressed on some purdy hot pink wax in honor of “National Album Day”. This is the first time I’ve been alerted to this holiday’s existence, I guess it’s some Bri’ish thing, innit? Amazon seems to be the cheapest place to get this one, and even then it’ll cost you 40 god damn freedom dollars!

Sorry if I sound like a broken record complaining about prices, but holy fuck! The thousand dollar tickets to Blink-182‘s upcoming “reunion tour” aren’t the only thing that’s pricey. Their new record – their first with Tom DeLonge since 2011’s Neighborhoods – is $37 fucking dollars!!! Holy Christ my brothers. Check out the first single below (it blows ass in my humble opinion, but you’re free to form your own opinion), and buy the record here if you want.

In case you didn’t know, Green Day‘s Nimrod is another record that turns 25 years old this year! They’re going all out for the album’s birthday, with a 5xLP box set featuring previously unreleased demos (check one out below!) and a live album recorded on their 1997 tour in support of Nimrod (there’s a poster and some other shit, too). Save some money by grabbing this one from our friends at 1-2-3-4 Go! Records – they have free shipping on orders over $75 and this box set clears that hurdle by a fair margin. Get it here.

Masked Intruder‘s sophomore album M.I. is back in print on colored vinyl thanks to the good people at Fat Wreck Chords. What color? I have no clue! The people at Fat are a secretive bunch. But hey, if you want this, or your a collector nerd and want the new variant regardless, you can acquire it here.

Also from Fat: Cobra Skulls‘ last 7″ Eagle Eyes is 10 years old, and the band is kinda back in action, so they reissued it as a 12″ EP with some bonus tracks. They did reveal the color for this one, and boy is it a sight for sore eyes. Buy it here (US), here (EU), or here (Down Under).

Lavasocks Records is releasing Canadian party punk folk heroes The Smugglers‘ 1993 album In the Hall of Fame on vinyl for the very first time! Grab your copy of the 2xLP on gold colored vinyl here.

Millencolin‘s Life on a Plate is back in print for the first time in a few years, with two brand new colors of wax. Newbury Comics has a cool “orange and cloudy clear” variant that you can get here, while Brooklyn Vegan has it on red vinyl which you can buy here.

While you’re visiting Newbury Comics to grab that Millencolin record, perhaps you’d like to get this new pressing of Bad Religion‘s latest record? This exclusive blue variant of Age of Unreason is available here. It’s limited to 500 copies.

Speaking of retailer exclusive variants (who came up with that idea anyway?), my fellow Central Floridians at Smartpunk have some super exclusive, limited pressings of two Interrupters records: Say it Out Loud and Fight the Good Fight. Very nice! You can get these here.

Here’s an upcoming release I’m personally very excited about. It’s an LP from Wrong Life featuring their first two EPs and some new bonus tracks. If you’re unfamiliar, this is former Murderburgers frontman Fraser’s current project (they were included in our Ten Underrated Bands feature a few months ago!). I highly recommend giving this a listen below, and grabbing the LP here (US), or here (EU).

Remember last week when we brought you the breaking news(!!!) that NOFX‘s So Long and Thanks for All the Shoes had a 25th Anniversary reissue on the way? Of course you do! Anyway, Epitaph still hasn’t officially announced this thing, but it seems a few retailers have jumped the gun and launched their pre-orders early. Loud Pizza Records has the US indie exclusive “Neapolitan Striped” variant listed on their webstore, and Danish retailer imusic.co has a brown color variant on their online store. Stay tuned for more!

RECORD OF THE WEEK!

We here at Dying Scene are all about trying new things, so this week I’m challenging you, loyal reader, to listen to something new! Or, in this case, something kinda old that is likely new to you! This week’s Record of the Week comes from my favorite hometown ska band Victims of Circumstance. These guys have released many albums – five to be exact – but 2011’s Acupunkture is the only one to receive a vinyl release. Coincidentally, this is also one of my all-time favorite ska-punk albums (it’s right up there with Less Than Jake‘s Losing Streak), and for the asking price of just $12 it’s a fucking steal. Buy this record!!!

And 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, 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. See ya next week!

Wanna catch up on all of our Record Radar posts? Type “Record Radar” in the search bar at the top of the page!

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Dying Scene Album Review: No Fun At All – “Seventh Wave”

There are few feelings quite as good as finding out one of your favorite bands is releasing a new record. You’ve been waiting years for this moment, and the time has finally come. This excitement and anticipation are amplified even more if that band is coming off a great previous album. In this case, the […]

There are few feelings quite as good as finding out one of your favorite bands is releasing a new record. You’ve been waiting years for this moment, and the time has finally come. This excitement and anticipation are amplified even more if that band is coming off a great previous album. In this case, the band in question is Sweden’s No Fun At All, who last released Grit in 2018. And while I did love that album and continue to listen to it fairly often to this day, I have to admit I was slightly disappointed that it lacked the in-your-face aggression of classics like Out of Bounds and The Big Knockover. Regardless, I’ve spent the last four years patiently waiting for what might be next.

With their latest album Seventh Wave, No Fun At All puts their full repertoire on display. The result is a very diverse record that gives every NFAA fan something they will enjoy. Tracks like “Tear Me Down”, “It’s Not a Problem”, “Dead and Gone”, and “Time for Devotion” perfectly channel the relentless speed and power of fan favorites like “Beat ‘Em Down” and “Catch Me Running Round”. On other songs such as “Wonderland”, “Everything’s Gonna Be Alright”, and “Heart and Soul”, the veteran skate punk band slows things down to a more relaxed State of Flow-like pace, directing the focus toward the more melodic aspects of their sound.

Great songwriting, top-notch production, and excellent track sequencing: Seventh Wave checks all the right boxes. If you’re a fan of No Fun At All’s harder stuff, about 3/4 of this record will satiate your hunger for the band’s signature blend of blazing fast skate punk. For those who enjoy the more relaxed, poppier side of NFAA, the remaining quarter of the album gives you what you need. If you’re like me and you like everything these guys do indiscriminately, Seventh Wave is a dream come true.

What No Fun At All has accomplished here is commendable. Very few punk bands 1) stay together for 30+ years, and 2) release one of their best records 30+ years into their career. Seventh Wave is a testament to NFAA’s longevity as a band who continue to defy the odds. And though the band’s sound has remained very consistent throughout their career, they’ve never been afraid to try something new. I think that’s a big part of why No Fun At All has retained such a loyal following; it’s definitely what’s kept me coming back for more.

Check out Seventh Wave below, and go to one of the following places to buy the record:

Digital / Physical (US) / Physical (EU)

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DS Festival Recap: Riot Fest Day One – Part Two (9/16/22) w/ L.S. Dunes’ Live Debut, Destroy Boys & More!

Did you miss Riot Fest this year? Or want to relive those last days of summer seeing your favorite bands? Good news! Fellow Dying Scene contributor Meredith Goldberg and I have all the photos you’ll need of the three-day music festival held in Chicago from September 16-18th, 2022. We are recapping some of the bands […]

Did you miss Riot Fest this year? Or want to relive those last days of summer seeing your favorite bands? Good news! Fellow Dying Scene contributor Meredith Goldberg and I have all the photos you’ll need of the three-day music festival held in Chicago from September 16-18th, 2022.


We are recapping some of the bands from day one here with the live premiere of supergroup L.S. Dunes, one of my personal favorites Destroy Boys, along with Foxy Shazam, Bob Vylan, Boston Manor and Pale Waves.


The day kicked off with UK pop punk/synth pop band Pale Waves who released their third studio album Unwanted about a month prior. They were the first of several bands that travelled to the fest from the UK. Pretty cool!


Boston Manor is next coming from (you guessed it) the UK (Blackpool, England to be exact). This pop punk/post-hardcore band was featured on Punk Goes Pop Vol. 7 in 2017 for their rendition of Twenty One Pilots’ “Heathens”.


One of the beautiful things about music festivals is discovering new bands you may have never otherwise heard of. The two-piece English band Bob Vylan is exactly that; I never knew I needed them in my life until I saw them at Riot Fest. This gritty-abrasive rap punk duo blew me away with their energy and unapologetic outcries against government oppression and xenophobia. The pair is vocalist Bobby Vylan and drummer Bobbie Vylan, together becoming Bob Vylan!


Glam rock stars Foxy Shazam dominated the fest with their dazzling performance (and attire) and quickly became a crowd favorite. There was so much happening on stage, one minute you see keyboardist Schuyler White jumping into the crowd WITH his keyboard, and the next there’s guitarist Devon Williams balancing his guitar in the air with his mouth. Absolute insanity.


Next up is a band I’ve been digging for the last year. I first saw Destroy Boys in December 2021 at the Cobra Lounge in Chicago and was excited to see they were on the line up for Riot Fest this year. Definitely listen to “Locker Room Bully” and “Crybaby” when you get the chance.


Finally, we have L.S. Dunes! They are the post-hardcore supergroup fronted by Circa Survive and Saosin vocalist Anthony Green, with My Chemical Romance guitarist Frank Iero, Coheed and Cambria guitarist Travis Stever, and Thursday bassist Tim Payne and drummer Tucker Rule. They made their live debut at Riot Fest with heavy riffs and aggressive energy, certainly living up to the hype we were all hoping for. Be sure to check out their album Past Lives when it drops on November 11, 2022.


Check out the rest of the photos below and stay tuned for day two!

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DS Festival Recap: Riot Fest Day One – Part One (9/16/22) w/Descendents, Lagwagon, Sincere Engineer and more

For the first time, Team Dying Scene had two photographers on the ground and in the pits in Chicago for the annual 3-Day Riot Fest. It was a blast to have another great photographer documenting RF. We both have our own perspectives. This is mine for day 1, Friday, September 16, 2022.   On the […]

For the first time, Team Dying Scene had two photographers on the ground and in the pits in Chicago for the annual 3-Day Riot Fest. It was a blast to have another great photographer documenting RF. We both have our own perspectives. This is mine for day 1, Friday, September 16, 2022.

 

On the day 1 train rides to Riot Fest, I queried those headed to Douglass Park about whom they were most looking forward to seeing play. It would have taken several pairs of hands to count how many attendees on the nearly full CTA train cars of the red and pink lines responded with Sincere Engineer. Chicago area’s Deanna Belos, performing under the stage name of Sincere Engineer, has been on a rocket ship to national stardom these past several years. It’s not hard to see why. Sincere Engineer combines infectiously great tunes with a self-effacing wit and an utterly charming stage presence. This was not her Riot Fest debut, but it was her first on one of the event’s main stages. She blasted out a set list including “Trust Me,” “Bottle Lightning Twice,” “Dragged Across The Finish Line” and of course, “Corn Dog Sonnet No.7.” That last song was the inspiration for the “Corn Dog Mosh Pit,” in which participants held up corn dogs as they slammed into each other. Back to those fans on the morning “L” rides headed to Riot Fest? Eager as they headed to Douglass Park and left Riot Fest satisfied. If Belos ever asked  “what am I supposed to do now?” I think a good response would be “pretty much whatever you want.”

Please look for an upcoming DS special feature on Sincere Engineer. 


Carolsdaughter, aka Thea Taylor, from Temecula, CA, is just a couple of months shy of her 18th birthday. However, has already witnessed her song “Violent” featured in over a quarter-million TikToks. Taylor, as Carolsdaughter, has also amassed 882.7K followers on her own TikTok channel. That’s in addition to the 183K followers on her Youtube channel. But the musician/comedian demonstrated that she is no flash-in-the-pan influencer too many often assume of young people with such large social media fan bases. Her performance at Riot Fest proved this. With an appearance recalling Gwen Stefani in her No Doubt days, Carolsdaughter utilized the entire stage, running from one corner to the next, with a few pogo jumps sprinkled in whilst belting out haunting lyrics. This included the aforementioned “Violent”: “don’t make me get violent,
I want my ring back, baby, that’s a diamond,
You don’t listen anyways, I’ll be quiet
I don’t really feel like fighting” was quite captivating.

As accomplished as she is at such a young age, it will be fun keeping an eye out for her future projects. We will be listening.


Boston Manor was founded in March 2013, in Blackpool, Lancashire, England. “Datura,” the band’s latest album is scheduled to be released on October 14, 2022, to critical acclaim. The record has thus far generated three singles, “Foxglove,” “Passenger,” and “Inertia.” As with the past Boston Manor releases, its sound is a fusion of punk, emo, dance, and electronica. The band’s Riot Fest set was intense as demonstrated through “Foxglove,” one of the above-mentioned recently released singles.

There was also a nice touch by guitar player Mikey Cunniff. Cunniff appeared on stage with a sports car yellow guitar emblazoned with Topo Chico branding and wearing a Placebo t-shirt. Placebo, one of the top billed Riot Fest 2022 artists, was forced to pull out of the festival, according to a statement the band put out, “…due to unprecedented visa and logistical issues beyond our control.” 


Taking Back Sunday, from my native land of Long Island, was back at Riot Fest after performing at the event in 2021. The band played a solid set much to the appreciation of many fans in the crowd. Those fans eagerly sang along as TBS ran through “Set Phasers to Stun,” “Timberwolves at New Jersey,” “You’re So Last Summer,” and “Flicker, Fader’.”

Taking Back Sunday, a Riot Fest semi-regular, was yet again a reliable part of the event and I’m sure this will be far from its last performance there.


The legendary Descendents kicked off their set with “Everything Sux.” Considering that the festival’s long-time slogan is “Riot Fest Sucks,” this was a great choice. Through nearly 30 songs, the Californians held their fans in sway as crowd surfing fans continually made it to the barricades before being pulled to safety by security personnel. In addition to the opening tune, Descendents also jammed through “I’m Not A Punk,” “I’m the One,” “Coffee Mug,” “When I Get Old,” “Merican,” “My Dad Sucks,” and “I Don’t’ Want to Grow Up.”

Descendents may sing about everything sucking but the band itself has never earned such a description.


San Diego’s Rocket From The Crypt has long been a fan favorite. With all members dressed in matching black attire with white trimmings, the group brought to mind a Mariachi band. Rocket From The Crypt had a common Riot Fest musical assignment: Playing one of its best albums in full, from start to finish.  In this case, it was the band’s penultimate album, 2001’s Group Sounds which features the very popular  “Savoir Faire,” and also includes “Straight American Slave,” “S.O.S,” “Carne Voodoo.” RFTC also performed “Sturdy Wrists”, “Glazed” and “Don’t Darlene “ from its second album Circa: Now!

Rocket From The Crypt members Speedo, Petey X, ND, Apollo 9, JC 2000, and Ruby Mars provided die-hard fans what they were looking for and it’s hard to imagine they didn’t pick up more than a few new fans in the process.


Yet another great band from California played, Goleta’s Lagwagon. The band’s walk-on music was Theme from “The Warriors” (composed by Barry De Vorzon) and its set sprinkled with humor as frontman Joey Cape led Lagwagon through a set which included “After You My Friend”, “Falling Apart,” “Wind in Your Sail,” “Island of Shame,” “Razor Burn.”

Many fans at the very front wore Lagwagon attire and appeared ecstatic that their time waiting, often crushed up against the metal barricades, paid off with an experience they’ll remember for years. 


Chicago’s own Alkaline Trio matched Lagwagon and perhaps even superseded them with choice of walk-on music. This time it was a tune that had stage and security personnel, the fans, and yes even us photographer singing in hearty unison. The tune which provoked this sunshiny moment in the darkness of just past the gloaming? One of the biggest hits by the legends (and Riot Fest alums) from just 85 miles west-northwest past Chicago. Of course the tune was “Surrender” by Cheap Trick. It was glorious.

Once on stage Alkaline Trio blazed through a set which included “Time to Waste,”  “Calling all Skeletons,” “Sadie,” “Fatally Yours,” “Bleeder,” and “Radio.” 

Matt Skiba, Dan Andriano and Derek Grant also had a couple of dedications to gift. 

“How about a love song? How about a love song for Chicago? Tonight. Another one” proposed guitarist/vocalist Skiba as he introduced “Every Thugs Needs a Lady,” on which bassist/vocalist Andriano took the lead vocals. The conclusion of the song led to this delightful (partial) exchange between Skiba and Andriano as drummer Derek Grant sat back took it in:

Skiba “That, that was a 9 and a half.” 

Andriano “Thanks buddy… see I’m getting better.”

Skiba: “I would have given you a ten I just don’t want you getting cocky on me right?”

Andriano: “I can’t be reading my clippings” …”…I get a little confidence boost though with that, thank you Matt”

Skiba: “…No problem bro.”

This was immediately followed by Skiba declaring “This song’s for the Descendents, it’s called “Mercy Me.”

Alkaline Trio capped an enjoyable day 1 for Dying Scene correspondents.


Coverage of days 2 and 3 coming soon. See below for more day 1 photos.


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Blink-182 tickets going for hundreds of dollars thanks to Ticketmaster’s “dynamic pricing” model

Blink-182 recently announced their reunion with frontman and founding member Tom DeLonge. They’ve recorded a new album, and will be embarking on a world tour next year. But things are not all sunshine and roses in Blink-182 land. Ticketmaster is starting to launch ticket presales for the band’s world tour, and the monolithic event ticketing […]

Blink-182 recently announced their reunion with frontman and founding member Tom DeLonge. They’ve recorded a new album, and will be embarking on a world tour next year. But things are not all sunshine and roses in Blink-182 land.

Ticketmaster is starting to launch ticket presales for the band’s world tour, and the monolithic event ticketing empire is taking full advantage of the hype surrounding DeLonge’s return. For those who don’t know, Ticketmaster has a little thing they call “dynamic ticket pricing”. Basically what that means is the list price of event tickets can fluctuate quite rapidly based on the current demand for those tickets. Supply and demand, baby!

In situations like this one – Blink-182 announcing a world tour the same day they end their seven year breakup with Tom DeLonge – the demand, and in turn the fluctuations in prices for tickets can be quite drastic. Fans hoping to attend the tour have taken to social media to voice their outrage with this dynamic pricing model. Many claim the price for tickets they selected jumped significantly even as they added them to their cart. Fans are paying anywhere from a few hundred dollars to over $1,000 for tickets to see Blink-182. And bear in mind folks, these are not resale prices. These are tickets being sold by Ticketmaster.

With all that said, I do not think artists like Blink-182 should be absolved of any guilt in this dynamic pricing model. After all, they directly benefit from these sky high ticket prices, and according to Inside Hook, artists can opt out of dynamic pricing altogether. But it seems that, for some, the incentive is too great. And being able to hide behind the big bad boogeyman known as Ticketmaster certainly makes it easier to protect your brand while exploiting your eager fans’ FOMO. That’s capitalism, folks! Enjoy the Blink-182 show.

  1. You forgot to mention the Blink 182 sucks with or without Tom.

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