On Wednesday, 17 September 2025, Denmark-based Danish-Brazilian garage rock duo, the Courettes, played a sold-out show to a packed crowd at Comet Ping Pong in Washington, DC, with local band Jake Starr and the Czars as the opening act. Comprised of Brazliian singer/guitarist Flavia and Danish drummer/vocalist Martin Couri, the Courettes is a married couple […]
On Wednesday, 17 September 2025, Denmark-based Danish-Brazilian garage rock duo, the Courettes, played a sold-out show to a packed crowd at Comet Ping Pong in Washington, DC, with local band Jake Starr and the Czars as the opening act.
Comprised of Brazliian singer/guitarist Flavia and Danish drummer/vocalist Martin Couri, the Courettes is a married couple that really packs a punk rock and roll punch with their take on garage rock. They started their set with The Boy I Love, which let Martin lead with the drums and allow Flavia to take the stage delivering some wild riffage before launching into her raw and beautiful vocals. The crowd rocked out stomping, clapping, and singing through the show.
The band endured a 30-hour flight before driving straight from the airport to the venue with only some of their equipment, which made for a special night. Usually accompanied by backing bass and synth tracks, the Courettes were forced to deliver their songs in their rawest form with vocals, guitar, and drums. They also shared that their working visa cost a whopping $7,000.00 and implored the crowd to buy some merch and make the best of this rought first night of their North American tour.
Despite their jet lag, misplaced equipment, and daunting business expenses, the Courettes delivered a classy set of garage rock with all the pop elements of Phil Spector style 1960’s rock and all the energy of 1970’s punk. Be sure to check out their new album, The Soul Of… The Fabulous Courettes, on Damaged Goods Records, and go see them for yourselves here.
The Courettes’ setlist follows:
The Boy I Love
R.I.N.G.O.
Until You’re Mine
Trash Can Honey
Want You! Like a Cigarette
Night Time (The Boy of Mine)
Tough Like That
Better Without You
Boom! Dynamite!
Won’t Let You Go
Hop the Twig
Encore
Keep Dancing
SHAKE!
Jake Starr and the Czars got the night started the night off with their take on 60’s garage rock. Starr, the vocalist, informed the crowd that he had just returned from a trip to Iowa and was much in need of this night of rock and roll. Starr explained that he and the band had just recorded an album in Europe and that most of the night’s songs would be available on that forthcoming record.
The band is comprised of Jake Starr (vox/tambourine/maracas), formerly of Adam West as well as Jake Starr & The Delicious Fullness, along with Peter Greenberg (guitar), Sean Crowley (guitar/vox), Nathaniel Osbood (drums), and Mike Lewis (bass) of legendary Boston-based garage band DMZ. Jake Starr and the Czars’ set included a powerful cover of Every Minute of Every Day by the Primitives. Be on the lookout for their It’s the Bad Times album release on 17 October (digital) and vinyl LP release on 21 November 2025. Go see them here.
Director Alex Cox has been making films since the late 1970s, starting with his first short film, Edge City. After writing Repo Man in 1978, Cox finally sold the film to Mike Nesmith of The Monkees, who got Universal Studios to back the film. Cox hired punk rockers and punk bands, such as the Circle […]
Director Alex Cox has been making films since the late 1970s, starting with his first short film, Edge City. After writing Repo Man in 1978, Cox finally sold the film to Mike Nesmith of The Monkees, who got Universal Studios to back the film. Cox hired punk rockers and punk bands, such as the Circle Jerks and the Untouchables, to populate his version of Los Angeles, a practice he would continue in his next few films: Sid and Nancy, Straight to Hell, and Walker.
Alex Cox’s early films are cult classics among punk rockers, film students, and other seekers of the strange. However, in 1988, Cox was essentially blacklisted from Hollywood. Since then, he has been working outside the Hollywood system, opting to work independently and mostly on his own terms, raising funds as needed. If there’s anyone who’s body of work has kept the punk rock ethos through out his career, its Alex Cox.
Cox has continued to present stories using his unique voice and take on genres; one in particular is Westerns. Cox has spent many years studying and presenting his interpretation of them. Whether it be in a more modern setting, as with the films Straight to Hell or Searchers 2.0, or period pieces with unexpected elements like Walker or Tombstone Rashomon Cox has done extensive work in the genre and continues to push its limits in new and unexpected ways.
We caught up with Alex Cox to talk about his new film Dead Souls, Westerns, and some of his older films.
Dying Scene ( Forrest Gaddis): Tell us about your current movie, Dead Souls.
Alex Cox: It’s a Western, written by me and Gianni Garko, based on Gogol’s Dead Souls, shot last year in Almería and Arizona with two crews, one Spanish, one American.
What drew you to adapt Gogol’s Dead Souls as a Western and what themes still feel relevant?
I’m always looking for excuses to make Westerns, and Gogol’s story, with its hero crossing vast distances for mysterious reasons, is a natural. What are its themes? What I drew from the story was the commodification of human beings – whether they be serfs, or slaves, or prisoners, or “illegal” workers or “collateral damage” – but the book no doubt has many other themes. Since it isn’t finished (Gogol only completed volume one of three) we don’t know what Chichikov’s purpose was, or how it all ends.
What attracts you to the Western Genre?
The desert! Some fine Westerns, such as The Great Silence, don’t take place there. But most of them do.
Is there any part of the Western Genre that doesn’t work for you and what have you done to make that aspect your own?
The worst aspect of the Western, and all narratives, is that it can be reduced to a story of good versus evil, where good (i.e., middle-class capitalism in support of railroads and genocide) triumphs. Good Westerns usually do not do this. Some examples are The Searchers, Kirk Douglas’ Posse, Sergio Leone’s films, A Bullet for the General, and Sollima’s, Questi’s, Petroni’s, Lizzani’s, and Peckinpah’s Westerns.
You’ve said this may be your last film. How has that shaped your approach to Dead Souls?
I called the Kickstarter campaign ‘my last movie’ to encourage people to support the project, in the same way as The Who have announced multiple farewell tours. Will it be my last movie? Possibly. I’m 70 years old and raising money for films is very time-consuming.
How did crowdfunding shape the creative process compared to traditional financing?
If you work for a single financier they will most likely have a say in the project, particularly in terms of casting. With El Patrullero, the Japanese executive producers gave us complete casting freedom. Usually, that isn’t the case – unless the budget is so low that you can’t afford ‘star’ actors. In the case of a $250K crowdfunded film, no one is pushing you in that hopeless direction.
Can you tell me a little about how you got into punk rock? How active in the LA punk scene were you while you were at UCLA?
Devo was the first punk band I saw, in a basement in Hollywood off the Strip. Then there were all these LA bands – the Plugz, the Screamers, X, Black Flag, Circle Jerks, Wall of Voodoo, GoGos (they were a punk band at first, and not all glamorous). More bands visited. I saw 999, Gang of Four, Talking Heads, and The Clash. The Sex Pistols were supposed to come to LA, but they broke up in San Francisco, the day before. Happy times.
Repo Man and Sid & Nancy are classic punk rock movies. How did punk ideology influence the storytelling and aesthetic of your films?
You would have to ask a film critic. I don’t analyse the stuff – just churn it out.
Was there any pushback from the Repo Man script, in regards to it skewering American culture, but being written by someone from England?
Michael Nesmith, the executive producer, liked the script a lot.
I don’t think the execs at Universal ever read it.
I know Repo Man 2 is in the works. Is any of that script based on Waldo’s Hawaiian Holiday or connected to Repo Chick?
Neither one. Right now Repo Man 2: the Wages of Beer is just a mouldering press release. But who knows?
You’ve worked with musicians like Joe Strummer, Courtney Love, Elvis Costello, and The Pogues. What did they bring to a set that trained actors could not?
The ability to play musical instruments! Some actors can’t do that but all musicians can. On Dead Souls I worked with a number of actor-musicians – Ed Tudor Pole, Sarah Vista, Zander Schloss, Javier Arnal, Dick Rude. Some actors are trained, some are not. Some people have a natural acting talent, a talent for impersonation, and telling stories.
You’ve said punk rock wasn’t just about music, it was about “bringing down the government.” How does that manifest in your films now?
When did I say that? And which government? The funny thing is that punk rock burst forth in rebellion against the Labour Government in England and Carter in the US. There were definitely many things to complain about in the late 1970s, but we rebel punks had no idea how bad things were about to get.
Is there an era of your filmmaking you consider your best, and a film from that era?
Again, that’s a question for somebody else to answer. I like almost all the films I made. There was very good source material – Borges, William Walker – and I worked with some very good writers – Rudy Wurlitzer, Lorenzo O’Brien, Tod Davies, Thomas Middleton…
Do you feel your films are misinterpreted by the audience? Which one do you think is the most misunderstood?
I hope they aren’t misinterpreted. I try to be pretty clear about things and to make the story comprehensible to the viewer. If a film has a point, then you want that point to come across. I think Sid & Nancy may be a failure in that regard. Abbe Wool and I wanted to make a salutary tale about a frivolous pair who betrayed the punk ethos (Sy Richardson’s speech in the methadone clinic is what the film was all about) but a sentimental stew ensued.
Are there any movies or projects that didn’t work out that you wish had?
There are a couple of scripts I wrote with Rudy – Body Parts and Out of Control – which I would still love to make. They are 1980s action thrillers set in Tucson and Central America. Both are coming out as a book soon – one of those double novels you turn upside down to read in both directions.
Where can we buy your books or films?
Where to buy my books? I always check Thriftooks and A Libris, or go to the bookshop in town. Or the library!
You can order new books or discs online directly from the publisher (Oldcastle / Kamera books in my case, disks from BFI in England and Kino Lorber in the US). No Amazon or its subsidiaries (AbeBooks etc.)
A number of Alex’s films are also available on the Criterion Collection. For updates on all things Alex Cox. Check out his website, here.
Riot Fest, celebrating its 20th year in 2025, is most publicly about the bands on stage. But so often, the much more compelling stories are found on the grounds of the music festival’s home in Douglass Park. Here are a few of those stories. Love and Heartbreak at the Riot Fest Wedding Chapel Olivia Beck […]
Riot Fest, celebrating its 20th year in 2025, is most publicly about the bands on stage. But so often, the much more compelling stories are found on the grounds of the music festival’s home in Douglass Park. Here are a few of those stories.
Love and Heartbreak at the Riot Fest Wedding Chapel
Olivia Beck married her husband, David Martin Beck, [03.11.1982 -12.14.2023] at the Riot Fest Wedding Chapel in 2022. The following year, her husband was tragically killed in a confrontation in his apartment building. This year, Beck paid tribute to him by scattering some of his ashes beside and in front of the wedding chapel. She also left a framed photo of her husband. Being a young widow with a child is challenging, but Beck is determined to carry the spirit of her husband forward as she knows he would hope for and expect of her.
Olivia: David and I met at this dive bar in San Antonio called the Texan 2. Its the grossest bar ever, and he worked there forever. He made me cry the first time I met and he laughed. I found it funny eventually. He then invited me and my ex over for a game of Magic The Gathering, so we met because we were nerds. This was in 2018.
His favorite bands were Bad Religion,Senses Fail, Rise Against, and Thrice. He was a through-and-through punk, and I loved that. He introduced me to a lot of bands, so we had similar tastes in music. Some of my favorites are NOFX, Bad Religion, and Less Than Jake. I have those on repeat a lot.
Our honeymoon at Riot Fest was EXHAUSTING. It was hot that year, and we walked so much! My veil flew off after we married, and a homeless man caught it. The dude offered it back only if we gave him $20, which David gladly did. The last day, we were ready to start our lives back in our hometown.
When I lost my husband, I was 2 months pregnant. We tried for a year to get pregnant, and so we were extremely ecstatic. My stepdaughter, Ellie, was also excited to be a big sister. When David was murdered, [Shawn Pivonka was charged with murder, but the trial ended with a not guilty verdict] I succumbed to a deep depression and almost attempted suicide. I had to be in the mental hospital for 2 weeks, and honestly, dealing with that mental anguish and witnessing everything was much harder than labor and birth itself. I lost all hope, but I eventually went on to support myself and my unborn baby until I was 9 months pregnant as a bartender.
When we received the verdict (not guilty), it felt like losing David all over again. I rarely ate, and I slept all week. I kept going over all the “what ifs?” “What if I was outside when his life was taken? Could I have done something? Could all of this have been prevented, and we’d be in a timeline where our family is all together as one?”
Spreading his ashes was cathartic. To be honest, I almost didn’t go to Chicago because I didn’t feel strong enough, but I could hear David yelling at me, “YOU SPEND THAT MONEY, GET YOUR ASS UP THERE, BABY!” I was nervous about breaking down and crying, but it actually felt like a weight lifted off my shoulders. People recognized me and gave me their condolences – and these were people I’ve never even met, from all over the world. I was afraid of being alone, but I certainly wasn’t.
This Riot Fest was more than I could ever have asked for. I went in with NO expectations. Last year, I fell in love with someone, the first person I ever had feelings for after losing David. We had such a strong connection that we made plans to go to Riot Fest together. Things didn’t work out, and we had a falling out. Well, as the universe would have it, I ran into him at the festival, and he told me that he had been looking for me and that he’d been missing me every day. We rekindled a close friendship, and we saw all the bands together. He even put me on his shoulders at Green Day, and it was magical. On top of that, I made new friends from NY and California. Everyone seemed drawn to me this year, [Beck had posted in an unofficial Riot Fest-related Facebook group about her plans to spread David’s ashes]. I feel like it was David’s spirit making sure that I was okay and had fun
Brothers in Arms Together Again
Sean Elliot [left, in the above photo, and Robert Taylor] first became friends more than three decades ago as young soldiers in the United States Army. After having lost touch for decades, they reconnected and reunited at Riot Fest. Here is their story:
Sean:I moved a lot as a kid but settled here and went to Downers Grove North with Mike Vinikour[featured in Dying Scene in 2023] joined the army because I didn’t know what else to do with myself. I always had that rebellious streak, so punk just clicked right away with me. I got stationed at Ft Hood, Texas (about an hour from Austin) after training in 1988. There were not a lot of punks in the army or in Texas in the 80s. Rob and I met at the mall in Killeen (just off base) and immediately became great friends, bonding over our love of punk music and culture. We were in Austin every weekend with some other friends.
After I got out, Rob visited me here in Chicago a few times. But it was pre-Internet, and it was easy to lose a number and contact in those days, which is what happened.
On his role as a veteran in today’s political climate and how being punk plays into that:
I’m not sure if being a punk and being a vet is incongruent or not. That’s probably a question for somebody smarter than me. I don’t think it is because I’m patriotic in the fact that I love what this country is supposed to be and should be, and things like that. [For example] My need to be protective. I am overly protective by nature.
Having served definitely plays into who I am as a man. Although, unlike some people, I don’t make it my entire personality. As a punk and a man, I just tried to move through the world with intent. I lead with kindness and try to know. Make as many people smile in a day, or help as many people in a day as I can…A fairly sizable guy who can handle himself. I try to make sure that I always protect those who aren’t as strong and need protection.
What does Sean love most about his friend and brother by service and by choice:
As far as Rob goes, he’s just an awesome human being. Rarely in a bad mood, we kind of see the world the same way. We’ve always been super close and 3 plus decades in between. Then and now didn’t change any of that. That’s my brother till I’m dead, just a smart. Solid, funny friend I could tell anything to. That dude is Downtown Julie Brown kind of down.
Robert: I grew up in a small Kansas farm town nestled between Topeka and Lawrence called Perry, population 900. My dad served 6 years in the Army and loved every minute of it. He was planning on making a career of it, but the Army had become too undisciplined for him, due to the draft and the Vietnam War. He said that the day he saw a Private with his arm around a Lieutenant, he knew that the Army wasn’t for him anymore. It was decided from the day that I was born that I was going into the Army. I grew up hearing “When you’re in the Army…” my entire childhood. I had a good relationship with my dad and I knew that it was important to him that I serve. Also, I wanted to go to college and the Army was just about my only option to make that happen.
Three days after graduating high school, I was being shipped off to Basic Training. After completing my training in 1987, I was sent to Ft. Hood, TX. Summer of 1988, I had just bought a car and was finally getting away from the barracks in the evenings. I spent a lot of time at the mall in Killeen, because that’s what you did as a teen in the 80’s, and that’s where I met Sean. I’ll never forget, I was walking out of a record store and saw another punk! I didn’t know any other punks at Ft. Hood at that time. We immediately gravitated towards each other. We started talking and Sean asked what I bought at the record store. It was Mama’s and the Papa’s greatest hits, not punk at all, but I had grown up listening to them. When I showed Sean, he said, “My mom’s a hippy, I love the Mama’s and the Papa’s!” I knew immediately that we were going to be good friends…!
Sean got out of the Army in the Summer of 1989, and I still had a year left. We kept in touch, and Summer of 1991, I went to Chicago to visit him. I visited him again on NYE 1993/1994. That was the last time that I had seen and spoken to him. Sean had a wife and daughter, and life just got busy. I was terrible about writing and keeping in touch with people. All of my friends at that time had finished school and were getting married and having kids. I switched majors halfway through college and was focusing on finishing school and starting my life.
Time went on, the internet happened, and then social media. I tried for decades to find Sean online. MySpace, Facebook, Google, PeopleSearch…no luck at all. For whatever reason, a year ago, I was doing my monthly search for Sean when his Facebook profile finally appeared!
We had talked about getting together in July but Sean had suggested Riot Fest. I was all in. Seeing Sean after 31 years was amazing! It’s amazing how you can just pick right back up where you left off with someone.
Being in the Army in the late 80s was…interesting. All my life, I had heard that people loved soldiers, that women loved a man in uniform… but none of it was true. Vietnam was still fresh in everyone’s mind, and people near military towns hated you. I don’t blame them, their town is overrun by 18 to 25 year old shitheads…. The punks, especially, did not understand why I was in the Army.
Post-Active Service, Robert thinks about his role as a retired veteran. Cautiously saying:
My role as a vet today, hmmm. With everything that’s going on in this country today, that would take too long to answer. I’m currently a GIS Analyst for a local government, living in the SF Bay Area.
Riot Fest was a blast! I had been to the Denver RF for the Misfits reunion, but never to Chicago. I go to Punk Rock Bowling every year, and many of the West Coast Punk in the Parks, so it was nice to be at a midwest fest!
What is the best thing about Sean? The guy has one of the biggest hearts ever, fierce and loyal! We will absolutely stay in touch, and we’re hoping to make RF an annual event!
A Festival Newbie
Riot Fest has also long been the first music festival and even the first concert for many pint-sized punks. Kacie and her husband, Tim (first names only per request), joined that tradition when they brought their one-year-old daughter Madison to Riot Fest 2025.
Kacie:We are from Las Vegas. Kacie and Madison (daughter), husband is Tim. We loved the festival! It was our very first one, have been wanting to go since we saw the lineup a few years ago but didn’t get a chance to until this year. My favorite sets were Weird Al and Green Day!
We decided to bring her because we want to introduce her to lots of different music and activities. She thrives when we’re out of the house, so it was just natural to bring her along. Also, because she was free lol. My husband prefers more of the bands than I do, but it’s always nice to hear new things.
The only other festival we considered taking her to was When We Were Young, but we would have needed to buy a ticket for her. When we saw the lineup for Riot Fest and that we could bring her for free, we went all in.
She did keep the ear protection on when we were closer to the stages, when she was sleeping, and when we were walking around. But when we sat in the shade at the back of the stages, she wouldn’t keep them on.
Judging by the huge smile on Madison’s face, it won’t be long before she is rocking out at another show and maybe even Riot Fest 2026. Start them young!
My favorite quote related to photojournalism has also long acted as a sort of mission statement or modus operandi as a photojournalist. It comes from the legendary William Albert Allard:
I think the best pictures are often on the edges of any situation, I don’t find photographing the situation nearly as interesting as photographing the edges.
Allard is my inspiration to look for the stories from the grounds and not just on the stages at a festival such as Riot Fest. There are so many stories out there, I wish I could share them all.
Smelvis Records nailed it again with their annual Skalloween show and for it’s 24th year, it was a celebration of all things spooky, Spanish, and skanking. There was also a costume contest, so dressing up was encouraged which was awesome to see so many characters ripping it up in the pit. So if you were […]
Smelvis Records nailed it again with their annual Skalloween show and for it’s 24th year, it was a celebration of all things spooky, Spanish, and skanking. There was also a costume contest, so dressing up was encouraged which was awesome to see so many characters ripping it up in the pit. So if you were wondering, Beetlejuice, Spider-Punk, Nacho Libre, and Shrek are all ska fans!
Based in the Inland Empire, Romano’s Chicago Pizzeria is located inside a Riverside shopping center. You would never guess that attached to it is a perfect intimate venue for punk shows. I thought we were at the wrong place until I saw people standing outside in costumes. The creativity was mind blowing and the energy was unmatchable. It wasn’t just the crowd either. The stage was decorated with skeletons, creepy dolls, and all kinds of Halloween props.
The first band to play was Trinidad Suave from South Central, and immediately the entire crowd was jumping. They played for about 45 minutes and frequently brought up current political/societal issues, while giving advice on how to deal with them, which is one thing I deeply appreciate. Then they gave the stage to Undisputed World Champions.
Undisputed World Champions turned up in bulletproof vests, keeping the energy with their amazing sound and stage presence. Their front man really knows how to control a crowd. Even when they switched it up and shocked everyone by doing a cover of Oasis’ “Wonderwall”, the audience was still intrigued… they were that good! After their 45 minutes was the next band on the lineup, Los Rudos, a Spanish ska core band playing in their hometown. They were insanely talented. Their technical skill was awesome but it was the bass lines that really stole my heart and left me eager for more.
Finally, it was time for the headliner and after an anticipating warm up, La Pobreska started out the set with their song “El Inmigrante“. The entire room collided in a beautiful chaos. Those are some damn talented musicians. Each one of them, from the vocalists, to the trombonists, are so fluent yet so intense in everything they do. And the crowd was brutal to say the least. Especially during “Hasta La Victoria“, “Rebeldia“, and “Las Cruces de Tijuana“. It was over an hour of raw substance, movement, and passion. Their onstage energy and presence is so excellently symbolic, it is a must see.
Smelvis Records 24th annual Skalloween was a night full of outright love and solidarity. Seriously this was one of the most unified crowds I’ve ever been in. I already can’t wait until next years.
The latest album from New York State heartfelt pop-punks, the Jukebox Romantics, is called This One Looks Cool. This album is ten infectious songs about life, heartbreak, and everything in between. The record marks their first full-length LP since 2018 and their first release after a four-year hiatus. While long waits are sometimes hard between […]
The latest album from New York State heartfelt pop-punks, the Jukebox Romantics, is called This One Looks Cool. This album is ten infectious songs about life, heartbreak, and everything in between. The record marks their first full-length LP since 2018 and their first release after a four-year hiatus. While long waits are sometimes hard between releases for both bands and fans, a record of this caliber is worth the recharge.
“Coffee, Cigarettes & Damp Church Basements” comes off as a bit of a preamble to a record that isn’t afraid to give all the feelings. Its acoustic guitar intro readies us for an emotional rollercoaster. While the opening track is not a bad song by any means, “Packing Up My Knives” feels like where the album takes off. It’s melodic, riffy, and dark in just the right places.
Leading up to its release, the band has released three singles, including “Honolulu Sun” and “March 24, 1984.” The highlight is the album’s last song and third single, “The Walk to Heartwood,” a nearly nine-minute opus that barrels through multiple genres, leaving the question: why isn’t there more ska on this album?
The wide range of influences seems to waver between a lot of 1990s punk rock, but lean heavily into the Alkaline Trio and Good Riddance. Some lyrics feel rough around the edges, which always gives an album a layer of authenticity not always obtainable on something more polished. The song titles are quippy. Their lyrics are witty and raw, but not as self-deprecating as expected in this type of album. Overall, this sounds like street punk with a bigger, and somewhat beaten heart; balancing grit and melody
I’m a sucker for a therapy record, and that’s what this feels like. This One Looks Cool is thoughtful and catchy. The Jukebox Romantics wear their influences on their sleeves, but know just the right amount of how much to interject and where. If you like catchy pop punk with a bit of a dark edge, check out this album!
New York has a long history of producing some of the most iconic punk rock and pop acts around. Hell, without that storied city we wouldn’t have the foundations that have held our scene up for decades. Ricky Rochelle came up in the Long Beach area of New York as the drummer and singer of […]
New York has a long history of producing some of the most iconic punk rock and pop acts around. Hell, without that storied city we wouldn’t have the foundations that have held our scene up for decades. Ricky Rochelle came up in the Long Beach area of New York as the drummer and singer of pop punk upstarts The Young Rochelles. Now, with his second solo record Second Layer, Ricky is delving into a deeper reservoir of inspirations and the results are stunning. Elements of synth, reggae, and big pop hooks swirl and mingle with his established punk foundations to create a confection that is both light, sweet and easy on the ears. However, beyond the surface lies a story of trauma, disconnection, and redemption. It’s in this second emotional layer that the true beauty of this record hides.
I caught up with Ricky to chat about the record, what inspired him and the process of making Second Layer. Go check out the record and read on to get the low down!
DS: Hey Ricky! Thanks for taking the time to chat. The new record sounds great! It’s definitely a bit of a departure from the Ramonescore style of your previous projects. What influences were you pulling from that lead to this new batch of songs?
RR: Hey, thanks!! You know, not many of the layered sonics were present in my mind while I wrote my new album, Second Layer. I’m very open to what my music productions can become, especially these days when I’m not writing within the confines of a Ramonescore box, or whatever pop punk style defined The Young Rochelles. I enter the recording studio with the songs written, and I come to perform them with that day’s natural energy.
I trust my producers 100%, and while I co-produce my music, I let the main producer lead the way. My current producer, Gregg Gavitt, has impressed me with his musical intelligence, playing abilities, and important additions to my songs. His bass guitar and keyboard playing are pure wizardry. Gavitt seemingly has endless knowledge of all music from 1970 to today. The power pop-esque keyboards, The Police/The Slackers homages, and leaning into grunge and other sounds I’m not known for, mostly come from Gregg. He’ll hear my pop punk songs and sometimes want to take them on a slightly different journey. Admittedly, it occasionally can be out of my comfort zone to let him steer me into somewhat new territory, but those risks have defined Second Layer, making it stand out in my discography. Gavitt and I make a complimentary combination, and it’s always a super fun process to record music with him.
DS: The recording is very tight and clean. Can you tell me a little about the recording process?
RR: I’m a recovering perfectionist, known for obsessing over vocals and song mixes. Lately I’ve been more relaxed with artistic decisions, so I don’t get stuck in the process, but yes, a lot of care is taken into making things sound the way they need to sound. Additionally, these songs were recorded one at a time, rather than in the same chunk of time. I’m more inspired that way. I’ve retired from doing demos.
DS: There is definitely a bit more of a dreamy pop gloss to songs like “Head Voice” and “Good News, I Love You,” while still maintaining some grit. There’s also some deeply personal and emotional stuff on the back end of the record. I hate to use the dreaded m word, but it does have a maturity that sets it apart from the sort of adolescent snottiness that most attribute to the pop punk scene. Was it a conscious decision to go the more earnest and heartfelt direction with this record?
RR: A lot of heavy and personal feelings came up during the recording process. The story can be heard on this album, but the long and short of it is that I became estranged from my Dad after a lifetime of surviving his verbal and emotional abuse. My parents divorced when I was two years old; My mom left with me in the middle of the night, fearing for our lives after what she felt was a direct threat. At that age, I believed my parent’s divorce was my fault, and wasn’t told otherwise. I was always caught in the middle of him and my mom, who he consistently tried to hurt…using me as his pawn. He had severe mental problems, and I should have been more protected. I suffered for many years.
As a son seeking his father’s love, I gave my Dad the benefit of the doubt until I truly believed we couldn’t continue our communication any longer. It was time to stand up for myself. The final straw broke when he went into a rage that lasted for months regarding him not knowing my wedding date, even though no invitations had even gone out by that time. He didn’t know any less than anyone else in my family did. But he flipped. He had a history of ruining personal events for me, and it ultimately became unsafe to invite him to my wedding… so he wasn’t there. Fast forward almost two years of no communication, and I found myself on the phone with my Dad telling me he had stage 4 esophageal cancer. He ended up in the hospital shortly after that. Then a nursing home. Then a hospice care center. It was in those final two months of his life that we reconnected after a lifetime of ups and downs. He finally offered some sort of non-apology, minimizing the significance of the harm he caused, which I hesitantly accepted. After all, it was the only option. We buried the hatchet, and weeks later, he was gone forever. The songs on Second Layer, especially the back half, tell the story of me and my Dad. I hope that my story can provide some relief to other survivors, who too often fall through the cracks of society, and are expected to be self-sufficient in a sometimes cruel world. We are all human and there is hope beyond our problems. We thrive by finding support and solutions.
So, I didn’t set out to make Second Layer a serious album from the start. The maturity of themes on the album was just a reflection of the tough times I endured during the years of its creation.
DS: Sounds like a heavy experience. I’m glad you were able to use that emotional journey to fuel your creative output. With a couple of solo releases under your belt now, what has the general response been to this turn of your career so far?
RR: The response has been great. People are enjoying the variety of themes and sounds and taking it for what it is: personal and artistic growth, if you will. I keep seeing the words, “Emotionally resonant” describe my new album in reviews. I think that’s a good thing… haha. Anyone who’s taken the plunge into my new work has expressed many kind words. Perhaps people thought all I could do was Ramonescore, but it was always clear to me that I have more to offer. My mission is to keep relaying important messages through relatable stories, wrapped in the uniquely catchy melodies I receive from the universe. I’m happy to report that my records are selling and my streams are growing, with prominent playlist placements helping the cause.
DS: You’ve certainly broken the mold with this album. What prompted the move to Germany based Lighthouse Records for this release?
RR: Lighthouse Records was the most enthusiastic about Second Layer and heard something special in it early on, before I had even realized its strength. He made a solid offer and I accepted. (Thank you Niko!! I enjoy working with you).
DS: Very cool! So, what can fans expect in terms of touring for this record? Are there any shows on the horizon that we should know about?
RR: I’m starting with localized shows and will be branching out from there. There are always a million things happening at once for me, so it’s just another plan, but touring remains on my mind. If I can get the right crew for the job, I’ll be out there again. My next show is on November 8th in Brooklyn, NY at The Gutter with Goin’ Places and The Downstrokes.
DS: Thanks so much for your time and for bringing this gorgeous record into the world! Is there anything else on your mind that you’d like our readers to know about?
RR: I’m continuing my climb and you should too!! Keep making music, art, and all that. Live and love life while there’s time!! Support the artists you like. And as always, fuck fascism. Thank you again for your kind words and all the great questions. Dying Scene rules. See ya!!
Sometimes I’ll listen to a single and get the complete vibe of the entire band in one go. I think this single pretty effectively encompasses that. Plus, the cassette came with a discount code for Bandcamp, which is something I haven’t seen before and a welcome addition to the fun game of physical media purchasing. […]
Sometimes I’ll listen to a single and get the complete vibe of the entire band in one go. I think this single pretty effectively encompasses that. Plus, the cassette came with a discount code for Bandcamp, which is something I haven’t seen before and a welcome addition to the fun game of physical media purchasing. Coupons! Yippee. Slotting the cassette into my yellow Walkman, I was excited to finally hear the vocals, considering I was absurdly high and dancing way too hard to hear them accurately at the show.
“FY&FYGT” features the stellar vocal work of Fred Kanyon, something you need to see live to feel the power of. The band’s electric energy radiates from the vocals, the moments where Fred leans into the microphone and really screams the repetitive eponymous refrain. I know quite a few bands that manage to blur the line between live performance and recorded sound well, but Rat Bath really shines both live and recorded.
Time seems to go on, and as it goes, the music follows it. Political music has its place deep in the annals of time and history, and Rat Bath is leading the way. They mix queercore, grunge, emo, and pulse-pounding pop punk into a delightful smorgasboard across their discography. You can feel the hands of each band member across the music, a mix of influences screamed out on-stage, and “Fuck you and Fuck yur god too” is a wonderful example of that.
The b-side on the single, “DM Stands For Dungeon Mommy,” follows the lead’s vibes and sound while featuring a truly delightful conceptual track. Leaning into the grungier aspects, we hear them sing about a dominatrix doing dominatrix things. They are both fantastic songs that have been stuck in my head since I first heard them.
Rat Bath has something to their work. Since 2019 they’ve been releasing an album every year along with relentless singles. Talking to them reveals their love for their fans, their love for music, and a relentless forward movement towards growth and improvement. The cross of queerpunk and grunge is sorely needed, and this band embraces it beautifully. Check out the single on their Bandcamp.
The Pocket is a more than just a funky practice studio, it seems to be the place to be rather you are practicing, hanging out, or seeing a show on the second floor which is outfitted with a stage and a bar. On this night Kiss the Tiger, touring their Infinite Album, was supported by […]
The Pocket is a more than just a funky practice studio, it seems to be the place to be rather you are practicing, hanging out, or seeing a show on the second floor which is outfitted with a stage and a bar. On this night Kiss the Tiger, touring their Infinite Album, was supported by DC local band BUKO BUKO and Baltimore’s own Suppai Helwa. Each band brought their own unique style to The Pocket, filling the stage with unforgettable energy and standout performances.
The night kicked off with Suppai Helwa, a queer and trans rock band from Baltimore, who lit up the stage with electrifying energy that carried through the fans. BUKO BUKO followed with a killer set full of punk joy where fans were all smiles as Rebecca handed out gummies mid-show and fed a few. Closing the night, Kiss the Tiger delivered a powerhouse performance, with the entire band commanding the stage in a finale that left the crowd roaring.
Kiss the Tiger is a Minneapolis band comprised of six members: Megan (lead vox), Michael (guitar/vox), Alex (lead guitar), Isabella (keys/vox), Paul (bass), and Alyse (drums). Megan’s dynamic stage presence was energetically full of raw and catchy hooks which we all sang along to. Be sure to find them near you here.
BUKO BUKO is a DC trio punk band with Rebecca (vox/bass), Brandon (guitar), and Allan Rubenstein (drums). The band is known for their playful and rebellious sets. Check them out here at Jammin Java on 31 October 2025.
Rebecca handed out gummies mid-show and fed a few fans.
Suppai Helwa is a Baltimore trans band with influences of punk, rock, glam, and grunge. Band members include Min (vox), Vikki (guitar), Ebi (bass), and Hellcat (drums). The band opened with a killer set. If you are in DMV area be sure to find them here.
We have the final day’s gallery of Riot Fest 2025! Dying Scene caught a ton of killer bands…IDLES, Lambrini Girls, Jawbreaker, Bad Religion? An unforgettable headlining performance from Green Day? This might have been the best day yet. Check it out! British post-punk band IDLES may have had one of the best performances of the […]
We have the final day’s gallery of Riot Fest 2025! Dying Scene caught a ton of killer bands…IDLES, Lambrini Girls, Jawbreaker, Bad Religion? An unforgettable headlining performance from Green Day? This might have been the best day yet. Check it out!
British post-punk band IDLES may have had one of the best performances of the day with their insane energy; right out of the gate guitarist Lee Kiernan ricocheted into crowd, sending fans into a frenzy. Jack White made an appearance joining IDLES performing “Never Fight a Man With a Perm” and if that was not enough, Soft Play took the stage as well for “Rottweiler”.
I hyped up Soft Play a lot in the last year; first in my top picks of 2024 for their song “Act Violently” and album Heavy Jelly, and again for their sold out show at Chicago’s Bottom Lounge in April with Babe Haven. No surprise, Soft Play’s Riot Fest performance was also fantastic and insanely fun. The two-piece duo Isaac Holman and Laurie Vincent own the stage wherever they play.
Keeping up with the English punk rock theme, Lambrini Girls hit the ground running with the release of their debut album Who Let the Dogs Out on January 10th, 2025 via City Slang Records. The record received widespread praise and charted at #16 on the UK Albums Chart. The album has themes of calling out misogyny, transphobia, homophobia, and politics with their live shows being no different. Personally, they are also one of my favorite bands and finally seeing them live at Riot Fest was nothing short of magical.
Influential and poetic Jawbreaker played a highly anticipated set at Riot Fest. Their controversial major label debut Dear You was released 30 years ago on September 12th, 1995 (and we are so happy they are back!).
Fans flocked early Sunday for Footballhead as they opened the day. I became a fan of Chicago-based alt rock band after hearing their single “Face to Face” on a local college radio station.
Atlanta pop punk band The Paradox was not previously on my radar but I can say I became a fan after their Riot Fest performance. Outrageously fun, the band quickly rose to stardom after just a short period of time opening for Green Day and playing at Warped Tour.
Take a look back at our day one and two galleries if you’re feeling nostalgic. Riot Fest may be over but we are already thinking about what magic they are cooking up for next year. What’s your dream lineup? We’re dying to hear about it!
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.
