Today marks the release of Los Angeles folk-punks Hoist the Colors’ brand new album Dear Wanderlust, available on colored vinyl from HEY!FEVER Records and streaming everywhere. We’re stoked to bring you the exclusive premiere of the music video for track #6 on the album “The Sins of Saints”. Check that shit out below! “The song […]
Today marks the release of Los Angeles folk-punks Hoist the Colors’ brand new album Dear Wanderlust, available on colored vinyl from HEY!FEVER Records and streaming everywhere. We’re stoked to bring you the exclusive premiere of the music video for track #6 on the album “The Sins of Saints”. Check that shit out below!
“The song focuses on the moments of struggle in our lives and the potential for redemption. People have a tendency to give up on their dreams when they fail or are told it’s just not worth it. We wanted to give a nod to one of our favorite movies as a band, “Nacho Libre,” so with the help of two amazing pro wrestlers, Primo and Slice from Santino Brothers Wrestling, we were able to put a really cool story together. Probably the most fun we’ve had shooting a video.” -Josh Linden (Hoist The Colors)
Hoist the Colors will be playing their album release show for Dear Wanderlust on November 1st at Saint Rocke w/ Western Waste, Heartwells and You Second. Go here for tickets and more details.
AFI is currently on a Fall tour of North America to promote their newest album, Silver Bleeds the Black Sun…, released on the same day of their concert at Chicago’s Salt Shed on October 3rd. The tour marks the first full-scale tour since their 2021 album Bodies. The ever-evolving band has made shifts in every […]
AFI is currently on a Fall tour of North America to promote their newest album, Silver Bleeds the Black Sun…, released on the same day of their concert at Chicago’s Salt Shed on October 3rd. The tour marks the first full-scale tour since their 2021 album Bodies.
The ever-evolving band has made shifts in every album, from hardcore, emo, post-punk and genres in between, always pushing the envelope and being their bold, unapologetic selves. With the release of Silver Bleeds the Black Sun…, AFI may have reached their final form and what they were always meant to be; a post-punk gothic rock powerhouse reminiscent of the likes of Bauhaus, Sisters of Mercy and The Cure.
To help set the mood, the Canadian electronic project TR/ST opened for the evening, transforming The Salt Shed into a synthesizer-heavy dark wave night club.
One thing that remains steadfast during AFI’s transformations? The fans. Between powerful lyrics, dark romanticism, melodic riffs, and Davey Havok’s showmanship (not to mention his own fashionable image), seeing AFI live is nothing short of immersive and feels like home.
AFI played an expanded set list across their discography in addition to songs from Silver Bleeds the Black Sun…, including the album’s leading single “Behind the Clock” and a debut performance of “Ash Speck in a Green Eye“. Also notable was the performance of “File 13” from their 1996 album Very Proud of Ya.
Davey and AFI have not slowed down one bit over the years and their live shows are a testament to that. High energy, jumping from platforms, crowd participation and even being held up by fans while standing, you can tell AFI genuinely love what they do and their fans. Whatever the next era may hold for AFI, we the fans are here to stay.
Welcome to Four Records! This week Forrest speaks with Andy Bechdolt, guitarist for the Rad Skulls. If that name looks familiar its because their song , “Loud As Shit,” is the theme for the show. The Rad Skulls most recent release is Seeing Rad, a seven inch with one original and a cover of Minor […]
Welcome to Four Records! This week Forrest speaks with Andy Bechdolt, guitarist for the Rad Skulls. If that name looks familiar its because their song , “Loud As Shit,” is the theme for the show. The Rad Skulls most recent release is Seeing Rad, a seven inch with one original and a cover of Minor Threat’s “Seeing Red.” It’s a fantastic extension of their four song EP, both of which are available at their Bandcamp.
This week marks thirty years of the Voodoo Glow Skulls album, Firme. Released on October 10th, 1995, an instant ska punk classic that blended breakneck horns, grit, and high energy. The album cemented the fanbase the band had been cultivating since their inception seven years earlier. If their first album, Who Is This Is?, lit […]
This week marks thirty years of the Voodoo Glow Skulls album, Firme. Released on October 10th, 1995, an instant ska punk classic that blended breakneck horns, grit, and high energy. The album cemented the fanbase the band had been cultivating since their inception seven years earlier. If their first album, Who Is This Is?, lit the fuse, then Firme was the exploding keg of gunpowder that got the band noticed.
We spoke to Frank about this milestone for Firme and the band’s experiences making the record and how it helped solidify the band’s legacy in the scene.
Dying Scene (Forrest Gaddis): When you guys were making Firme, did you guys have any idea that it would be a cornerstone ska punk album?
Frank Casillas: We did not. I mean, we knew that things were happening for us at the time. I guess it was a lot of perfect timing for us. That whole third wave of ska was on the verge of happening. I would like to think that we were a few steps ahead of that. I guess you could say that’s the first chapter of the Voodoo Glow Skulls book. We’ve got so many albums out now. It was just like a kickstart to the next level, to be honest with you..
How long had you guys been playing at that point?
I think it’d been like five or six years since we started the band. We’d already been touring and doing a lot of stuff on the really DIY level. We had put out a couple seven inches and Dr. Strange Records put out Who Is This Is? That gave us a lot of momentum.
Was there any hesitation to jump to Epitaph from Dr. Strange?
At first there was. Before we signed to Epitaph, there were a lot of major labels that were interested in us. We didn’t really want anything to do with that. We were already a DIY band. We’ve always been, and still believe we are in a lot of ways. It just kind of happened naturally for us. It was kind of like the natural right decision. There were a lot of people that were working at Epitaph at the time that were fans of the band that were already seeing us play. They introduced us to Brett Gurewitz. So for us, it was just the right move. We, obviously, as a band at that time, wanted to get to the next level. We felt like with Epitaph, at that time, we were around a lot of good company.
Did signing with Epitaph shape the sound of the album at all or were they pretty open to what you wanted to do?
Well, as far as the sound goes, the producer Garth Richardson who worked with us had a lot to do with it. It was our first time actually working with a real record label budget and with a well-known producer. He did the Rage Against the Machine album, you know. He was a big-time producer. So for us, it was a new experience. I would say going to legitimate studios and working with a producer that already had success with other albums definitely helped shape the sound of the record.
The producer wanted to change a few things, and we were pretty lenient on some things. We didn’t really let anybody come in and change much of anything. Granted, during that time, Pro Tools was a new thing. We got to experience stuff like that. I would say, as far as the overall concept, the music, and the sound, it was one hundred percent us.
With Pro Tools, maybe it’s something from that era in general, is that how a lot of the movie clips get in there?
I wouldn’t say it was necessarily because of Pro Tools. We always have been influenced by comedy. We grew up listening to Richard Pryor and Eddie Murphy and Cheech and Chong movies, a lot of cult classic stuff, you know? We were just like, this is a part of us. It’s a big influence for us. We weren’t really accepted in the traditional ska scene, as there wasn’t really a ska punk scene yet.
There were like a handful of bands that were doing what we were doing, and we didn’t really exactly fit in with the punk scene. For us to throw those samples in kind of held people’s hands a little bit and led them to like our sound. A lot of people were like, what the hell is this? It’s not ska, it’s not punk, it’s not metal. I mean, during the early 90s, late 80s, it was new to a lot of people. Those samples, throwing them in there, we always had that in the back of our head. Like, hey, we got to throw these samples in there because it’s going to kind of narrate the music and the album.
For me, one of the first albums I got as a punk rock kid was Firme. That guitar tone has always been there for me. I don’t know ska or punk without it.
That’s a lot to be accredited to my brother, Eddie. First of all, before we got started, we were like heavy metal kids, you know? We grew up listening to Iron Maiden, Judas Priest, and Scorpions. We grew up listening to that type of music, and we got turned onto ska and punk when the glam scene started coming along. I’m the older brother. I was always like a few steps ahead of them musically.
I grew up listening to new wave music, heavy metal, and ska. I was way into the British two-tone stuff at that time. My brothers and I pretty much shared record collections, and that’s kind of what helped evolve our music. We were kind of musically confused as to what style we wanted to go into. That’s how you get Voodoo Glow Skulls, man. It’s just like a product of our environment and the music we were listening to at that time.
We didn’t really go, we’re gonna write this type of music and add horns. I mean, the first two or three years of our existence, we were just like a wannabe Red Hot Chili Peppers four-piece punk-funk band. And then we heard, believe it or not, Fishbone. Fishbone and Operation Ivy were the bands that pretty much influenced us to do what we’re doing now. We heard those two bands and we were like, this is new, groundbreaking, innovative music, and this is where we want to go. So that’s pretty much what kind of helped us mold our sound.
When you wrote the album, did you have both English and Spanish versions in mind?
It’s funny because when Firme came out, it was gaining a lot of momentum. We were having these meetings at a conference table at Epitaph with Brett Gurewitz and everybody involved. At that time, it was really going off at Epitaph. Stuff like that would happen all the time. I just mentioned it one day. I was like, “Hey, why don’t we do a Spanish version?” And Brett was like, “Okay, let’s go.” Next thing you know, we’re in the studio doing a Spanish version. It was just quick and simple. I mean, that’s how fun it was back then. There weren’t any formalities to it.
Do you have a vocal performance you prefer over the other?
Well, I mean, the original Firme captured us the most. When you try to duplicate something, no matter what you do, whether it’s English, Spanish, or a re-record, I never think it’s the same. Actually, surprisingly enough, it did very well. It’s still holding its own. I prefer the original. The energy and everything of the original Firme record, I think you can’t top it as far as Voodoo goes.
The English version is the one I’ve heard growing up. I was listening to the Spanish version in the last week; it’s been a minute since I’d heard it. I forgot how different it is. You’re a little more calm with it.
I consider it more like a novelty version. It helped us gain some coverage and some ground on MTV Latino. We actually got some plays out of that. The “Randy Gordo” video did very well on MTV Latino, which was something that we totally did not expect. It definitely opened up some doors for us in the Latin market. It was great that we were able to have that creative freedom.
It’s only because I’m a movie nerd that I know that this song’s in there. I know that “Shoot the Moon” is in Biodome. Was that something you guys had a say in, or was that done behind the scenes?
So, funny story. It was done behind the scenes because we have nothing to do with the publishing end of things, especially when you’re on a bigger label and stuff. We were actually on tour, and one of our horn players, his girlfriend at the time, called and was like, “Hey, I just saw this movie, Biodome, with Pauly Shore, and you guys are the first track on the whole movie.”
We had no idea. We called the record label, and they’re like, “Oh yeah, we got you guys on there.” That’s pretty much how that happens. The band is usually the last to know about stuff like that. It launched us in a lot of ways. A lot of people recognized us through that. It’s always cool to be able to get that. It helps sell records and get you out there and known, for sure.
We were on the Mr. and Mrs. Smith soundtrack. We were not in the movie, but the songs were on the soundtrack. That’s another one of those things where they’re like, “We got you on the soundtrack,” but the song didn’t make the movie, but you’re on the record. It gets you out there.
You had mentioned you had released EPs before, and some of the songs were on those EPs. How many new songs did you write for Firme when you guys started working on it?
There are very few songs that were on those seven inches that we put out before. I think a majority of the songs on Firme were unreleased previously. There were a few. Maybe a handful, two or three of the songs were released before, but we’ve always been pretty clear about not trying to re-release things twice. Even though obviously putting something from a seven-inch EP to a full-length album on a bigger label, obviously you’re gonna get more exposure. So a lot of the stuff we wrote for Firme, though, was all new stuff.
When you put the few that were on the previous EPs, did any of those songs change from the EPs to the full length?
The production changed, but we didn’t really change the music or anything like that. Everything that you hear on the Firme record is pretty much all organic stuff. I think what happened is after Who Is This Is?, we spent a lot of time developing our sound and practicing. We spent a lot of time writing and rehearsing the songs that were on Firme. We wanted to make sure that by the time we recorded the record, we actually were more of a put-together band. Who Is This Is? definitely gained a lot of momentum.
We were still trying to figure out our sound. By the time Firme came around, we were more of a seasoned band, and we had more experience not only playing live but also rehearsing and learning how to play our instruments. I think that’s why Firme came out the way it did. It was just the vibe. Everything we were throwing, the imagery, the album cover, all that stuff kind of came together and helped complete that whole package.
Who did that artwork?
So that was a local guy from Riverside, California, named Ken Stansbury, a very, very good artist. He was just a well-known local hometown artist who always hung around the band. At the time, he was hanging out with us a lot. We had a studio in an art space in Downtown Riverside where a lot of different artists would rent rooms out. So it was like a big community of different visual artists and musical artists.
He was around when we were writing a lot of these songs and grasped the whole concept of what we were trying to do. He was like, “Man, your sound is fierce, but at the same time you have this Mexican vibe and the Southern California vibe.” That’s what he translated the music into. The whole character, which is obviously a rip-off of Rat Fink. I don’t know if you’re familiar with Rat Fink and Ed “Big Daddy” Roth, but that’s Southern California culture and lifestyle, as well. Car culture is a big part of it. So, it kind of all came together.
I would like to say that Ken was like a part of the band. You know, he was always around, and he just kind of embraced what we were doing. We had a lot of good people around us who were visualizing what we were visualizing at the same time.
Did living in Riverside help develop your sound? Did you take anything from living in the area?
We were transplants from East Los Angeles. When we moved to Riverside, it was the late 70s. Suburbia was a thing, you know? People were moving from the big city to rural places like Riverside and Orange County. A lot of tract homes and stuff like that were happening in Southern California. A lot of people were moving there at the time from other different places. We kind of became a product of that environment. We were these confused Mexican-American kids that are kind of thrown into this Anglo-White suburbia type of place. We had to learn how to adapt.
Everything was very new to us. I mean, that’s how Voodoo Glow Skulls kind of came about. At that time, Riverside was kind of like Texas or something. It was very open and rural, with a lot of land and backyard parties. That kind of molded our whole attitude toward our music, our sound.
We just kind of became a product of our environment. That’s why a lot of our early songs were just really adolescent as far as the lyrical content goes and stuff, a lot of partying and stuff. That’s what people were doing at that time. If you were a teenager, you were going to backyard parties, keg parties, shows. Punk rock was still kind of very new. We were just living our life, and Firme was a way for us to express what we were going through and what we were living at the time.
How did you guys land on the Charlie Brown cover?
We grew up listening to oldies through our dad’s record collection. That was a big influence for us, as well. A lot of the stuff you hear nowadays, punk rock and rock and roll, stemmed from the early 1950s and 1960s rock and roll. You hear a lot of it, whether you notice it or not. If you’re into that old music, there’s a lot of stuff you can grasp from bands you hear now. That’s always been a big influence on us as well.
And the band, The Coasters, that played “Charlie Brown” and several other songs, we consider them to be like the 1950s and 1960s version of what we do; kind of funny, fast, manic music. I think The Coasters were ahead of their time. They really appealed to that. They happen to be a big influence on us as well.
Is there anything you’d go back and change on the album, or is there anything you’ve changed on stage?
I think we captured a good moment in our life and in our career with that album. There’s not really much I would change. The producer at the time didn’t think our horn players were good enough to play the music that he wanted to bring in the session, you know? He wanted to bring in session players and stuff like that. This is something we stand behind. Our guys play our music every day live and they rehearse; it’s Voodoo Glow Skulls. If you bring in some guy from an orchestra or something, it’s gonna be different. That’s the only hiccup or snag you could say we had during that whole process, but at the end of the day, we got our way.
How do you feel it holds up in today’s social and musical climate?
I’d say it holds up pretty good, man. Right now we are on a resurgence. I quit the band for seven years, and one of the main reasons I came back is not only because I missed doing what I do; I missed the music, I missed my brothers, I missed the fans, and everything that goes along with it. One thing I noticed was ska music that wasn’t happening back then is happening now more than ever. We’re busier now than we have been in a long time. That influenced me to come back.
I was watching my peers and all my comrades that are in other bands like Buck-O-Nine, Mustard Plug, all these bands that we grew up playing with. They’re out there killing it and shows are selling out. You’ve got these big festivals going on, and I thought it was time for me to come back. The band needs me. I think it’s bigger now than ever, man, honestly.
I saw you play in January at the Ska Smackdown and it was fucking great. That whole show was, but you guys put on an amazing set. I also saw you guys twenty years ago, play at the Anarchy Library and you guys were like two feet from the crowd. I don’t even think you guys could all fit on the stage.
I remember playing there. It’s definitely always been a high energy show for us. You know, obviously, the older you get, the more seasoned you get. You figure out your instruments and your sound and everything. I think right now, the lineup that we have and with what we’re going on with the band in general, I think it’s right now, it’s some of the best times to see our band. I mean, we all want this now. The music will continue.
Did the album teach you anything about songwriting or performing?
You learn a lot when you work with guys that are professionals that get paid a high dollar to record your music in a studio. You learn a lot that you didn’t know before. That was like our first introduction to Pro Tools. Pro Tools was like a new thing when we did the Firme record. Back then it was we’re going to bring in this specialist from France and he’s one of the only guys that knows how to use this program. We’re going to put him in this special room and he’s going to do all the edits and everything.
My brother Eddie, the guitar player, is now our producer. He’s got his studio at home in Riverside and he records a lot of the L.A. bands and a lot of these ska punk bands that are playing now. So we got a lot from working with professionals and paid attention and took notes.
That’s how we’re able to do what we do now is by paying attention to what those guys were doing, asking questions, just not being some band on a major label budget recording and not giving it two shits about our music and just doing what they tell us. We were always hands on from day one and we still are.
If you gave this album to a kid to listen to for the first time. What song would you tell them to start with?
I think “Shoot the Moon” is probably the staple. There’s a lot of cool songs on that record. I think Shoot the Moon kind of defines the record and it defines us the most just with the samples and everything. I just think it just comes out and just hits you in the face from the get go. You got the heavy guitars and it’s loud and you got the horns. People are just like, what the fuck is this? We hear that a lot from people that say, “I heard you guys from the first time that “Shoot the Moon” song, that kind of set the pace for that whole album.
I mean, we’re not for everybody, obviously, and no bands are really. For us, we’re just really abrasive. There’s nothing softer or gentle about us. We’ve always been that way. You got like these up front, you know, guttural monotone vocals and then, you know, you got the heavy horns and the loud guitars that are more like a metal tone. You got like the thumping bass. It’s kind of hard for people to grasp at first. Somehow we’ve managed to make it work and keep us going after all these years, man. So we’re stoked, you know?
Hands Off Our Fest is back! The music festival celebrating the women, femmes and thems of the Chicago punk scene features a mix of live music, stand-up comedy, drag performances, queer expression and joy, and feminine rage, all washed down with plenty of beer. This year the fest will take place on October 11th at the Egyptian Theatre in DeKalb, Illinois. […]
Hands Off Our Fest is back! The music festival celebrating the women, femmes and thems of the Chicago punk scene features a mix of live music, stand-up comedy, drag performances, queer expression and joy, and feminine rage, all washed down with plenty of beer.
This year the fest will take place on October 11th at the Egyptian Theatre in DeKalb, Illinois. We talked to some of the awesome bands about H.O.O.F., check it out!
First things first…introduce yourselves!
Hello !!!!! We are PINKSQUEEZE!! We are a GAY rock n roll band from Chicago and we are tryin to be gay have fun and that’s what we want to share with our community as well.
What made you want to participate in HOOF?
We were very excited to participate in HOOF this year bc we basically live for opportunities to rock with other queer, women, trans, and non-binary people. It feels so special and so important to have spaces like this for our community and we are grateful to join 💕
Why should people go to HOOF?
People should go to HOOF bc the bands ROCK and everyone is NICE and also HOT. But fr, times are feeling dystopian right now with all of the evil attacks by our government on our neighbors and trans people- getting together with community and imagining a better world wherever and whenever you can is really important.
Anything else you want people to know? New music/show announcements?
Why yes, there is new music and shows on the Pinksqueeze horizon… Go to www.pinksqueeze.com to sign up for our email list to keep up with all of our upcoming announcements 🙂
“Hi! We’re Faerie Dream. The band consists of Ana Hinojosa on vocals, Joy Rhodes on bass, Jose Bedoya on drums and me, Kurt Uy, on the guitar.
We wanted to participate in HOOF because want to support femmes in punk. We were approached by Sweetie and it seemed like a lot of fun!
People should go to HOOF to support local music , and most importantly, femmes in local music.
We currently recording a project, stay tuned with us!”
“Hi! We’re Girlrot, an alt-rock teen band from Chicago.
We wanted to participate in HOOF because we wanted to play with more musicians like us. We play a lot of shows with dudes, and this is a really nice change of pace.
Y’all should come to HOOF for the environment! It’s amazing to play and listen to and support music by Queer and femme people. Especially in such a male-dominated industry. In a time like this, having a safe space for Queer people like us is vital.
We are also releasing music soon! Any support to us will go back into the band to help us get studio time.”
“We are Won’t Stay Dead, Chicago’s premier grrrl-fronted, horror-themed punk band.
Birdy is a close friend of ours, and we were lucky enough to play the first HOOF. We had a blast, and we’re so excited to be playing again at a beautiful (and haunted??) new venue.
You’ll hear some killer bands, witness fabulous drag and comedy, and build community, all while uplifting femme, queer, and nonbinary voices that sometimes get drowned out in the scene.
We’re playing FEST in Gainesville, FL at the end of October, and hitting Nashville, TN & Louisville, KY on our way down. We’re heading up to Kenosha, WI in November, and we have an album coming out with some comrades in the near future.”
“I’m Birdy Vee, frontwoman of Chicago lipstick-punk band, Sweetie, and organizer and founder of Hands Off Our Fest (HOOF). My bandmates are Joe Soldati (bass) and Ryan Gowdy (drums). Sweetie has been around since 2019 and HOOF is going into its third year!
I wanted to participate in HOOF because I created it! HOOF is my baby! I started the festival back in 2023 after finally becoming fed up with the misogyny in the punk scene and deciding I wanted to do something about it. HOOF was created to help the women, femmes, thems and queer folks of the Chicago punk scene to collaborate, socialize, and build community.
HOOF is an event that is both joyous and healing! It’s got SO many great bands, EXCELLENT drag performers, and one of the funniest stand up comedians I’ve ever seen. It’s going to be an event that’s full of positive energy and an excellent place to connect and make new friends! Also, this year it will be at the historic Egyptian Theatre in downtown Dekalb, IL, and is apparently haunted. So, the vibes of a slumber party with your besties AND there might be ghosts? I mean c’mon, you GOTTA go.
We released our new album back in June! It’s called La Vie en Rouge and it’s FABULOUS. Also, Sweetie will be back at the Egyptian Theatre on Halloween to open up for the Rocky Horror Picture Show!”
Check out all the fun from last year’s HOOF and catch it again October 11th!
It’s 2004, a time when we burned CDs, had Myspace profiles, Purevolume, and had to find a ride to the local VFW hall. Bayside had just released Sirens & Condolences, and in our adolescence there wasn’t much to worry about beyond heartbreak, friendships, and what the next show was. Life felt heavy then, but looking […]
It’s 2004, a time when we burned CDs, had Myspace profiles, Purevolume, and had to find a ride to the local VFW hall. Bayside had just released Sirens & Condolences, and in our adolescence there wasn’t much to worry about beyond heartbreak, friendships, and what the next show was. Life felt heavy then, but looking back, my worries were simple.
Fast forward twenty-one years, they revisited that era head-on, celebrating 25 years by diving deep into their first four records: Sirens & Condolences, Self-Titled, The Walking Wounded, and Shudder. For fans like myself who grew up with those albums, the night felt like both a reunion and a reminder of just how much those songs still mean to myself and everyone there.
The Sleeping came along to open up on the last leg of the tour.. which was such perfect choice to keep up in the peak 2000’s post-hardcore energy. Playing deep cuts, and also fan favorites like “Don’t Hold Back” and “King of Hearts” had the crowd moving early. For myself and many others, it somehow felt like a reunion within a reunion — as they were were staples of the mid-2000s Long Island/NYC hardcore scene that Bayside also came up alongside.
Bayside’s set opened up with the classic “Montauk”, pulling us all back to where it began.. back to 2005-ish nights at now-legendary venues like Maxwell’s in Hoboken, NJ (R.I.P.) or Crocodile Rock in Allentown, PA (also R.I.P.). Hearing these first three albums live again in 2025 truly felt like unlocking a time capsule that was never really locked in the first place.
Of course other classics like “Masterpiece” and “Devotion and Desire” had the crowd singing back at volume that nearly drowned out the actual band’s vocals. Deeper cuts like “They Looked Like Strong Hands” and “Carry On” gave the night even more sense of nostalgia.. reminding us that Bayside has always been more than just an influential band that we grew up with, but still a part of who we are now.
If you’ve been to The Stone Pony, you know the intimacy and history that this venue carries. The distance between bands and audience is basically non-existent, and becomes a room full of friends who had grown up with these songs, living them again together. Every show at The Pony is underscored by decades of legends who’ve played the same stage.. and Bayside has definitely contributed to that legacy and history.
Twenty-five years later, it’s like we forgot all of the years that have passed since the basement and VFW shows. We may have grown up, grown some back pain, but we haven’t grown out of our roots. Cheers to 25 years and many more to come!
Check out more photos and galleries from night one of 25 Years of Bayside: The Errors Tour on Instagram!
Fall is upon us, dear readers. The leaves are starting to descend and envelope suburban neighborhoods with their desiccated forms, autumnal breezes are bringing their bitter sting to the extremities of all in their path, and AFI is back with a brand new album. For decades now the California kings of creepy cool have made […]
Fall is upon us, dear readers. The leaves are starting to descend and envelope suburban neighborhoods with their desiccated forms, autumnal breezes are bringing their bitter sting to the extremities of all in their path, and AFI is back with a brand new album.
For decades now the California kings of creepy cool have made an art of keeping fans off balance. From the melodic hardcore roots of Answer That And Stay Fashionable, to the horror infused poetics of The Art of Drowning and on through the arena rock bombast of Crash Love and beyond, the only thing you can expect from A Fire Inside is that they will inevitably shed the skin of their previous endeavors with every new turn of the page. Following their experimental, if a bit disjointed 2021 release Bodies, it was near impossible to predict which avenue the band would wander down next. Then in August of this year we got our first glimpse into the next phase, and once again all expectations were shattered.
“Behind The Clock” lifted the blinds, giving us all a furtive glance into the grime and glamour of the forthcoming collection, like peering between the upturned shades of a seedy neon lit motel room. It’s dark Lynchian lyrics, delivered in a dynamic maniacal baritone, danced playfully around a pulsing rhythm and grinding bass line, laying the foundation for the ethereal swirling guitars to sweep in and out of focus and culminating in an atmospheric cloud of reverb and distortion unlike anything in the band’s catalog to date. Both jarring and hypnotic, this brutal beauty of a tune set the stage perfectly for what was to come.
Silver Bleeds The Black Sun…, the twelfth installment in AFI’s stunning discography is an unapologetic love letter to the dark post punk that has influenced and guided the band for years, although never as prominently as with this compendium. Tribal drums and chorus drenched acoustics swell to bursting on tracks like album opener “Bird of Prey” and “Blasphemy & Excess”, bringing to mind seminal acts like Echo and The Bunnymen or dark trilogy era Cure. Singles “Holy Visions” and “Ash Speck In A Green Eye” dip into more groove oriented territory that would make Andrew Eldritch blush with envy. The instrumentation throughout the record, while sparse, leaves space for the songs to breathe, providing dynamic tension and a cohesive spirit that makes it all feel of a piece, rather than a collection of disparate sonic ideas. It’s purposeful, powerful, and expertly executed.
The surprises continue with the Morricone flavored dark western vibes of “Spear of Truth”, one of the most interesting and unexpected songs in the band’s storied history. The soft marching drumbeat, rhythmic acoustic guitar, triumphant synth blasts and ambient whistling add depth to an uncharacteristically mellow and haunting track. Frontman Davey Havok’s lyrics throughout this album paint a bleak and desperate picture of life in a brutal and hedonistic post truth world, making for some of his finest poetry in years. Guitarist and musical mastermind Jade Puget understood his assignment with this album and carried it out with precision and care, rounded out by one of the strongest rhythm sections in rock music. Bassist Hunter Burgan and founding drummer Adam Carson both brought tight grooves and distressed rhythms that form the glue of this sonic masterpiece.
The album closes with an intense explosion of death rock perfection. “Nooneunderground” could have been ripped straight out of the Only Theatre Of Pain tapes. Traditional melody is forsaken in exchange for raw, brutal aggression, breaking the spell cast by the preceding tunes and ending the record with an earth shattering bang. Rozz Williams, eat your heart out.
Overall, Silver Bleeds The Black Sun…is the most complete and well thought out record I’ve heard this year, and a shining black jewel in the crown of one of the most influential bands of my lifetime. Each track blends seamlessly to create a singular work of art that may in time find itself sharing the same rarified air as post punk classics like Pornography, Ocean Rain, Violator and In The Flat Fields. I can’t speak for the entire fanbase, but my little black heart is filled with awe and admiration for this monumental achievement. I recommend grabbing yourself one of the many gorgeous vinyl variants from Run For Cover Records, dimming the lights, and letting this wave of post punk perfection wash over you like cool autumn rain. You can thank me later.
The First Unitarian Church basement has long been a rite of passage for anyone steeped in queer DIY culture. Low ceilings, concrete floors, BYOB, and one of those sick-ass carpets you only ever saw in kindergarten classrooms have all set the stage for generations of legendary shows (Jimmy Eat World, Bouncing Souls, Jeff Rosenstock, The […]
The First Unitarian Church basement has long been a rite of passage for anyone steeped in queer DIY culture. Low ceilings, concrete floors, BYOB, and one of those sick-ass carpets you only ever saw in kindergarten classrooms have all set the stage for generations of legendary shows (Jimmy Eat World, Bouncing Souls, Jeff Rosenstock, The Get Up Kids — just to name a few). That night was all about glitter, leather, and bare butts as Hunx and His Punx descended on Philadelphia, joined openers Tchotchke. Together, they conjured something that played out like a John Waters fever dream.
Tchotchke kicked things off with a set that balances retro-pop hooks with garage grit, truly an homage to ‘60s progressive girl-group shine. Doing a cover of The Tammy’s “Egyptian Shumba” was a peak moment for myself.. often cited as one of the earliest proto-punk songs led by an all-girl group, and one of my personal favorites (so maybe I’m biased).
This tour marked a long-awaited return for Hunx and His Punx, who hadn’t released an album or hit the road in years. Their latest record, “Walk Out On This World”, and tour feel less like a comeback and more like a loud reminder of why they’ve always mattered in the first place. For fans who’d been waiting the last 10+ years, the night carried the charge of reunion energy: part celebration, part exorcism, all catharsis.
They truly wasted no time transforming the basement into a re-united, sweaty, leather dance hall. The setlist was an absolute joyride.. from new songs about being “Alone In Hollywood On Acid”, to some of our favorite classic anthems.
A big part of the band’s power comes from Shannon Shaw (front queen of Shannon And The Clams), whose basslines (and one of my personal favorite bassists of all time) anchor the chaos and whose vocals cut through with a such soul that contrasts Seth’s fire. Her presence on and off stage balances the spectacle, grounding the mayhem with something steady and undeniable.
Didn’t have enough from the day one gallery of Riot Fest 2025? Well here’s our day two with more album plays and a stacked lineup! The Bouncing Souls played through their 2001 hit album How I Spent My Summer Vacation with fans singing along to every song (of course). Day two of Riot Fest had […]
Didn’t have enough from the day one gallery of Riot Fest 2025? Well here’s our day two with more album plays and a stacked lineup!
Day two of Riot Fest had a good variety of post-hardcore/emo bands with Citizen being one of them. Citizen is no stranger to Chicago or Dying Scene, last playing here with Movements and Scowl at the Aragon Ballroom.
Staying on the emo theme, Nashville’s Free Throw performed an energetic and melodic set.
Metal band Phoenix Ashes has ended 2024 with a bang. After releasing two new singles earlier last year, the band has finally released their EP titled The End of the World in December 2024! Working closely with producer Erwin Hermsen of Toneshed Studio, the band crafted a fresh sound. The previously released singles – “Oceans” […]
Metal band Phoenix Ashes has ended 2024 with a bang. After releasing two new singles earlier last year, the band has finally released their EP titled The End of the World in December 2024!
Working closely with producer Erwin Hermsen of Toneshed Studio, the band crafted a fresh sound. The previously released singles – “Oceans” and “Defiance” – introduced a new energy, with the latter even being nominated as Limburg’s Song of the Year at the end of 2024. This newfound strength is carried through to the four-track EP, showcasing both the band’s growth and the vast experience in metal brought by Hermsen.
Thematically, the lyrics of lead vocalist and songwriter Eelko Lommers follow two main lines. The songs “Oceans” and “Shores of Lethe” encourage self-reflection and perspective. Meanwhile, “Defiance” And “End of the World” offer a critical look at the world and humanity’s impact on it.
In addition to the digital release across all streaming platforms, The End of the World will also be available as a physical CD. The band will release a special edition with several older tracks as bonus content. These tracks were previously released digitally as singles but have never been available on a physical disc.
In keeping with the title, the EP was released on Friday, December 13th. Phoenix Ashes celebrated this milestone with a release party at the Muziekgieterij in Maastricht. Along with their good friends in Darkk (DE) and the new band Perennial Void, they provided enough musical fireworks to kick off the new year in style.
Okay, onto the review. This EP had my mouth on the floor. The flow of the tracks and the goosebumps that rose on my skin over the instrumentals mixed with the haunting yet powerful vocals that turned into screams of defiance (pun intended) out of the speakers just begging the listener to hear the lyrics and recognize the parallels in society today.
It’s no secret that I am a BIG fan of these guys, they’ve been with me in my photography journey and watched me start my writing career here at DS, but this ended up being my top album of the year. Honestly, it had a lot to do with “The Shores of Lethe” and the lyrics in there, and we’ll get to that heaviness here in just a second. If you haven’t seen the other two reviews yet and wish to read those first, you can check out “Defiance” and “Oceans“.
“End of the World” is a killer way to start this EP off. It gives this build up vibe right off the bat and immediately tells the listener to strap in. It’s super energetic and automatically makes me want to start jumping to prepare for the breakdown and get rowdy in the pit. The lyrics also are the more “in your face” type like “Defiance” comes at us with, and is the perfect way to lead right into its more mellow counterparts “Oceans”& “The Shores of Lethe”. “End of the World” kicks us in the gut right off rip with a harsh, yet often overlooked, reality in the lyrics “I’m staying up for the end of the world // The headlines are fading like Netflix and Chill”. The headlines that are rotating through the media are changing so rapidly, we honestly have almost too much information to consume. “The city’s alive but everyone’s dead”, to me, just screams everyone is moving and going through their motions, but internally, we are all just husks doing just that, going through the motions. I find my favorite bit of the whole track, though, is the last verse. It’s got this just blaring truth about it and I can’t help but snap back into reality when I hear these lyrics because they hit me pretty hard almost every time it comes on. “A spectacular mess // The world’s gone to hell // No selfies or hashtags // A single farewell // We danced on our grave when we started the fire // And now we’ve lost from our own desire.” Tell me that doesn’t scream even an inkling of truth about today’s world. Truly a genius way to kick off an EP of these themes.
Whoever is credited with the song order for this EP has my highest praise and respect. The song to follow “The End of the World” is “Oceans,” again, click the title to read it’s review because with that being my second favorite track, I have quite a bit to say about it! Now, at first, I thought they were going to have “Defiance” hit after Oceans, because then it would be an in-your-face song, then mellow-ish song, in-your-face song, mellow-ish song, but I was SORELY mistaken! They hit us with Oceans (again, my second favorite song on the EP), and then they go and hit us with just as heavy of a song lyrically with instrumentals that are a tad heavier in spurts throughout the track. For my favorite song on this EP, The Shores of Lethe is about a truth that not all of us realize or even care to understand. First verse already tears my heart in two with its truth, explaining how pieces of us are left with those we love “And everything that lovers lost // Is buried deep beneath your feet // On the shores of Lethe I set sail // All I was is left with those who care.” Then the instrumentals and the repetitive lyrics seems like they’re almost trying to drill these facts that may be right in front of the listener into their heads, force them to listen to the truth in the song. The reason this song tops out as my favorite song on the album is because of the second verse, “Our memories destined to be lost in time // On the shores of Lethe // Take only what you can hold in your heart // For that is all we can carry.” Those words hit me like a freight train when I realized the truth in them. We truly only take our memories with us when we leave, and others will take pieces of us with them as they go. The band wraps up the EP with their killer Suicidal Tendancies-esque track, Defiance, and you can click the title right there to read it (if you didn’t earlier)!
It all was such a core memory moment for me when I truly processed the lyrics of “Oceans” and “The Shores of Lethe” just to fall in love with the two songs (and the others, too!), and I will forever be grateful to Phoenix’Ashes for their love, support, and most importantly, their incredible music they continue to make for those of us that need it for our souls to survive this insane thing called “Life”. Thank you so much, you guys, and I can’t wait to hear more and keep getting the word out for you in the future!
The End of the World is now streaming on all platforms as of Friday, December 13th, 2024!!
