Welcome to Four Records! Each episode we feature one guest as they go over four records at four different times in their life. This week Forrest, Karina, and Jason speak with Josh Jurk of School Drugs. School Drugs released their latest record, Funeral Arrangements, earlier this year. You can purchase it here. Josh and School […]
Welcome to Four Records! Each episode we feature one guest as they go over four records at four different times in their life. This week Forrest, Karina, and Jason speak with Josh Jurk of School Drugs. School Drugs released their latest record, Funeral Arrangements, earlier this year. You can purchase it here. Josh and School Drugs has one more show this year:
The Bouncing Souls finished out the last night of their East Coast! Fuck You! tour at the House of Blues in Anaheim. Bringing a murderers’ row of East Coast bands with them, the Bouncing Souls curated an amazing show of bands who don’t always get out to the West Coast enough. This allowed an opportunity […]
The Bouncing Souls finished out the last night of their East Coast! Fuck You! tour at the House of Blues in Anaheim. Bringing a murderers’ row of East Coast bands with them, the Bouncing Souls curated an amazing show of bands who don’t always get out to the West Coast enough. This allowed an opportunity to three sets from bands I hadn’t yet seen. Let’s dig in.
Opening the night was New Jersey’s Mercy Union, a fantastic choice for this East Coast-centric group of bands touring. Tearing through their thirty-minute set, Mercy Union warmed the crowd up just right for the night ahead. You can definitely feel the Springsteen influence dripping off of them like a lot of bands from that area, which is why the clearly Cure influenced “Prussian Blue” was the highlight of Mercy Union’s set for me. I’m not sure if it is typical for the bass guitar to be a little louder in the mix during their set, but I’m here for it and Mercy Union.
After listening to Dying Scene Editor Jason Stone praise Dave Hause from the top of a digital mountain for the last year and a half, I got to experience a set for myself. Everything he’s said is accurate. Dave Hause and the Mermaid were another great addition to this lineup. I think this was one of the most energetic sets I’ve ever seen in a long time. While Dave (and most of the bands on this bill) broke the punk rock rule of playing songs longer than a couple of minutes, his set moved along pretty well. Playing songs like “Mockingbird Blues,” “Damn Personal,” and “Dirty Fucker,” kept the energy and the crowd moving.
Despite years of enjoying their songs, I finally got to see H2O. While it would have been great to see them before I retired from the pit, seeing them from the barricade is just as good. Hitting the staples like “Everready,” “Faster Than The World,” and “One Life One Chance,” Toby Morse led the band through an intense thirty-minute set that culminated with a cover of Madball’s “Guilty by Association.” As I’ve started writing concert reviews, I love watching drummers. H2O has a phenomenal one with Toby’s son, Max. The speed and precision shows a skill way beyond practice.
I’ve only seen the Bouncing Souls a handful of times growing up, and most of the time they’ve walked out to Simple Minds’ “Don’t You Forget About Me,” a song they covered decades ago and wish they would again. Watching the set and processing the song choices over their vast discography made me appreciate the history this band has within punk rock itself. Jumping between their harder punk songs and more midtempo ones, the Bouncing Souls played their usual mix of silly and serious songs, moving the set through a myriad of emotions. While there are songs that I wish they still played, the Bouncing Souls hit some of my faves like, “Kate is Great,” “The Gold Song,” and “Here We Go.” They also took requests from the crowd for “Shark Attack,” “Better Things,” and “Kid.” They closed the night, as they often do, with “True Believer” and “Gone.” It was a reminder of the amazing output this band has consistently had throughout their decades long career.
This was one of the best lineups I’ve seen all year, and I can’t wait for either of these bands to come through again. I wouldn’t be surprised if most of the crowd was hoarse the next morning; I certainly was. Looking at the other legs of the tour, the Bouncing Souls certainly know how to stack a tour and give fans their money’s worth. While none of these bands seem to be slowing down, they should be bands you don’t miss when they come to town.
Some say rock n roll is a young man’s game. The long drives, early load ins, tense interpersonal relationship struggles, poor health choices and constant uphill climbing to scratch at the faintest hint of recognition has wrecked the dreams of many a poor kid. It’s true that this life is not for the faint […]
Some say rock n roll is a young man’s game. The long drives, early load ins, tense interpersonal relationship struggles, poor health choices and constant uphill climbing to scratch at the faintest hint of recognition has wrecked the dreams of many a poor kid. It’s true that this life is not for the faint of heart nor the weak of will, but for those suited to it, rock n roll is everything. Lifers know, and you can see it in their eyes. The first time I met the gentlemen in On The Huh, it was plain to see that these guys had dedicated their lives to this. Boasting members of UK punk legends Infa Riot, Special Duties, and Braindance, it’s fair to say these blokes have been around the block a time or two, and they are here to tell us all what they’ve seen.
Second Time Around shows solid growth from the band’s previous offering, Bit On The Side, continuing to showcase the big gang choruses and working class themes of previous work while amping up the rock n roll influences. The guitars are big, pleasantly overdriven and bluesy. The vocals are delivered with authority and charm in equal measure. The bass work, while slightly muted is sharp and steady. The drums are tight and driving throughout. The production is clean and straightforward, creating a lean and muscular set of recordings. It wouldn’t be out of left field to compare this to fellow UK pioneers like Cocksparrer, Sham 69 or even a less contentious Peter and The Test Tube Babies, but this is no rehash. The proof is in the songwriting.
There are plenty of the sort of genre requisite tunes here about working class solidarity, drinking and the importance of loyalty that one might expect from this particular brand of street punk, as well as a healthy dose of irritation and indignation at a new generation of technologically obsessed youth poised to inherit the earth. However, while these songs have their value and certainly contain some standout sing along choruses, it’s when the band delves into less standard territory that my ears start to perk up. Thrown into the mix are songs that lean into the routine and mundane in a way that actually makes them far more relatable and sincere. “Can’t Be Arsed” looks at marriage through the lens of a perpetual adolescent (also referred to as musicians) whose better half has long left the party scene behind them in favor of a quiet life at home. Regardless of which side you fall on, the premise is refreshing and played with tongue firmly planted in cheek and heart pinned sturdily to sleeve.
Other standouts include “Elf N Safety”, which may be the first time I’ve ever heard a song attacking job site health and safety inspectors. As a former carpenter’s apprentice, I can fully empathize. Bureaucracy and red tape are the bane of the working man and it’s about time someone gave em what for. I also particularly enjoyed “Fry Up”, in which the fellas extol the virtues of going wild on a greasy plate of eggs, sausage, beans, tomatoes and mushroom lovingly known as a full English breakfast. If you haven’t experienced the pure unadulterated joy of a traditional fry up, I’m afraid your life is severely lacking. Book yourself a ticket to Old Blighty and live a little, why don’t ya?
All in all, Second Time Around is a solid sophomore outing from a band that knows what they are doing, and who they are doing it for. If you love bands like Evil Conduct, CockSparrer, or Vanilla Muffins then On The Huh might just be your next obsession. If you have the chance to catch them live, I highly recommend doing so. Their energy and humor are infectious, and you are guaranteed to walk away grinning. Pick up your copy of Second Time Around from Sunny Bastards Records or stream it on your favorite service today!
On December 6th, Punk Rock & Paintbrushes held their 10th annual art show in Los Angeles where they showcased tons of iconic pieces. One of those featured artists was Lisa Johnson. You have definitely seen some of Lisa’s photos before. She’s worked with everyone from Nirvana and Linkin Park, to The Vandals and NOFX. She […]
On December 6th, Punk Rock & Paintbrushes held their 10th annual art show in Los Angeles where they showcased tons of iconic pieces. One of those featured artists was Lisa Johnson. You have definitely seen some of Lisa’s photos before. She’s worked with everyone from Nirvana and Linkin Park, to The Vandals and NOFX. She even took the photos for Smashing Pumpkins “Gish” cover, and Rage Against The Machine’s “Evil Empire” album. Plus all of those black and white Warped Tour photos, you know, the ones on the cover of the compilations? Yeah, that was her! She has had a huge impact on punk rock culture overall, and we got to ask her a couple questions about her career.
Dying Scene (Spike): Thank you so much for taking some time with me, I’m honored because you are such an inspiration to many. First of all, when did you get into punk music?
Lisa Johnson: The first time I heard it really, I just loved it.
It sticks in your blood.
Definitely.
When did you start taking photos?
I started taking photos really young because I had my dolls and I would set them up in like a certain little viviette, and I wouldn’t remove it because I wanted it to stay that way, so my parents negotiated with me. I could take a photo if I would deconstruct all of my elaborate castles that I’d built in my room. So, I took some photos but they did not come out correctly. And I had already deconstructed the castle, so that made my parents very frustrated. They said “do it yourself”. I was about five, and I basically couldn’t just be the art director. I had to do the photo too because my parents did not see my vision. So, yeah, at that early age. I ended up figuring it out.
Why do you lean towards shooting in black and white?
I really love photography in black and white. I think theres something very profound about it. Color is cool too, don’t get me wrong, but with black and white images, there’s just something historically significant. It just pops a little more, and there’s less of a distraction in the colors, you know? But I shoot in both.
Are there any bands that you’ve just really loved working with?
Oh yeah. I mean, there’s so many bands that I love working with. Some of them aren’t necessarily famous but they were a lot of fun. I really love shooting Rage Against The Machine, we have a really awesome work relationship, but it wasn’t always easy. We’d have like five voices trying to come to an equal footing into what we were trying to accomplish, but I think once we nailed it, it was really worthwhile. Suzi Moon is another one of my favorites, and a good friend. She’s always fun to shoot.
Can you tell me about some memories you have working with such legends?
Well, I will tell you a memory about that photo right there on the wall. He (Bradley Nowell) was watching “Sally Jessy Raphael”, and it was really hard to get his attention for the camera.
His wife (Troy Dendekker) wanted to get some work done, so she was like “here, I got to do the dishes, take the baby.” (referring to newborn baby Jakob). And he’s watching Sally Jessy Raphael, doing a photoshoot for a music magazine, had the dog (Lou) and the baby, and I was just kind of like “Could you just look at the camera? Just for a couple shots?” But I will never forget Sally Jessy Raphael. I wish I could remember the exact episode, but yeah, he was really into that show.
Did you ever think it would become as big as it did?
I guess I felt it, you know? I felt the importance of the child. Who else… Kurt was really fun. He would kidnap the camera, it was really powerful and I think he was almost afraid of how powerful his gaze was, like he didn’t know what to do with it. And his blue eyes, he was just amazing. And Chester, oh my gosh, Chester was so sweet. Those guys (Linkin Park) were awesome. I did some of their earliest photos and we were in Hollywood at their rehearsal space, and they thought it would be fun to climb up on the roof. And so we climbed up, we started at least, we went halfway up the ladder and I realized that maybe I was a little afraid of heights… and Mike (Shinoda) had to coax me up the stairs. But they were awesome. The night before the shoot, I got to take home the CD before anyone had heard it, and then I had to return it to them, you know, and I was just like… this is incredible. Belongs on the airwaves.
Are there any other photos you never expected to get as big as they did?
I actually think that more than that, there are some photos that I have that didn’t get big, and I don’t understand why not.
Like that Bert (McCracken) one. I love that Bert one. I guess a lot of people have that same shot, but to me it’s very special.
Is there someone that you haven’t worked with yet, that you would love to photograph?
Oh god, there’s a lot of people I haven’t shot yet. I don’t know, maybe someone like Billie Eilish or something. That would be a fun one to do.
Are there any bands that you’re into right now, and would like more people to know about?
How about working with Warped Tour for 30 years now, what has that been like?
So awesome and rewarding. That was a situation where I walked in, and I don’t think they realized how historically significant it would be. But I walked in knowing that it was, so I just started shooting it with that eye to the future looking back. That’s literally how I photographed it every time. So it’s the future looking back, and maybe that’s why they’re in black and white.
Also you work with The Punk Rock Museum too, right?
I do! Like I’m the director of photo acquisitions, and I’ve acquired most of the acquisitions there.
I can attest to that. Whether you’re alone, with a partner, friends, or family, your experience at The Punk Rock Museum will be one you won’t forget. Then you can see some of Lisa’s iconic work for yourself, and support these amazing women that work so hard behind the scenes. It is an absolute honor that I can now say I have a photo by one of the most iconic photographers in punk and rock history, Lisa Johnson.
It took me a moment to pick up what Catbite was putting down, but like most things I’m wrong about, I’m happy to have fixed that. The five-piece band from Philadelphia, PA plays some of the most infectious and poppy ska punk I’ve heard in years and they don’t seem to be slowing down. With […]
It took me a moment to pick up what Catbite was putting down, but like most things I’m wrong about, I’m happy to have fixed that. The five-piece band from Philadelphia, PA plays some of the most infectious and poppy ska punk I’ve heard in years and they don’t seem to be slowing down. With opening bands Reckoner and Public Opinion, their show at the Constellation Room, Catbite’s show made for one of the best show experiences I’ve had this year.
I’ve had the pleasure of watching Reckoner evolve in the last year and it’s been great to see. Despite some fluctuating band members in the last year, Reckoner sounded fantastic. While we’ve been treated to a cover of Elvis Costello’s “What’s So Funny About Peace, Love, and Understanding” in previous sets, Reckoner replaced it with a new and yet-to-be-released song. It sounded great. The songs that Jennie Cotterill and crew write are catchy in the right spots, but still have that edge to them. Here’s to more shows and songs in the new year.
Public Opinion from Denver, Colorado came out swinging and kept hitting hard. It’s difficult to put them in a specific genre box as their sound on stage felt like a cross between indie and hardcore. Their set was impressive and full of energy. They tore through nine or ten songs in thirty minutes, playing in spurts of three at a time without breaking pace. Public Opinion was heavy without being overtly gruff. I know where I’ll be next time they come through town.
This tour marks Catbite’s first headlining run in many of the cities they’re playing including this show. This was my second time seeing them this year after their opening slot on the Less Than Jakes Ska Circus Tour over the summer. Catbite’s set was one of the most fun I’ve seen this year. While I’m not one for moving my feet too much, even I was dancing a bit through some of their songs. Opening with Doom Garden’s lead track, “Die in Denver,” Catbite led the crowd through nearly twenty songs including “Amphetamine Delight,” “Scratch Me Up,” “Eyes Wide,” and a cover of Paramore’s “Still Into You.” If there’s one thing I’ve learned about Catbite, they know how to choose and execute a good cover.
This was hands down one of the most fun shows I’ve been to all year. Three great bands doing what they love and a receptive crowd made this a night to remember. Each band’s sound was unique enough that there was something for everyone, except for the one common thread of being enamored with live music. Catbite is should be essential viewing when they come to your town.
I got a few minutes to talk with Noodles from The Offspring before his DJ set at Punk Rock & Paintbrushes 10th annual holiday art show in Los Angeles. We talked about being on the road, countries he’d love to play for in the future, and up and coming bands he’s been listening to. Dying […]
I got a few minutes to talk with Noodles from The Offspring before his DJ set at Punk Rock & Paintbrushes 10th annual holiday art show in Los Angeles. We talked about being on the road, countries he’d love to play for in the future, and up and coming bands he’s been listening to.
Dying Scene (Spike): I know you have a set to do so I’ll keep this short and sweet. This is such a great event! I know your wife (Jackie Wasserman) has some work on display, right?
Noodles: She does! For the first time ever. I’ve been trying to talk her into it for 9-10 years, and finally she hung out with Emily (Nielsen) over the summer and Emily talked her into doing it. She wont listen to me, but she listens to people smarter than me, so that’s okay.
I really like all of her stuff, it’s all really cool. Especially how she uses rocks?!
The eyes, yeah! “She Still See’s You”.
I love it. How are you keeping up with the modern punk scene? Are there any bands that you’re really into right now that you want more people to know about?
Yeah there’s a bunch and you know some have blown up in the last couple years, like Amyl and the Sniffers are great. They opened up for AC/DC the other day, so they’ve definitely come a long way. There’s a lot of bands, Slaughterhouse is coming up and doing a lot. A band called Pinkshift, I don’t know how long they’ve been around, I just recently discovered them, but they’re great out of Baltimore. The Rumours band, Die Spitz is great, Spunk is a fun one. There’s always up and coming stuff and a lot of local bands, and I love just finding new bands. Anyone that’s out there doing it and just kind of making noise, and doing it well, I love it.
That kind of ties in with my next question, what does punk mean to you?
Oh god, yeah. I’ve said a lot of things, like punk just means questioning convention or whatever, but really punk rock is kind of like Buddha hood. It’s like something you hope to attain, but might not ever actually achieve it. It’s just staying open minded. I’ve seen a lot of people, even in the punk scene, get to be about my age, and all of a sudden their minds are as rigid as their bodies are! So I think having an open mind and trying to step away from all the rigidity of thought, there’s something punk rock about that.
Did you ever think The Offspring would last 40 years?
Fuck no. I didn’t know how long it would last. First of all, we never thought it would be a career choice, you know. I’m hanging out with my friends like Melvin in NOFX, and the very first time we thought “wow man, these guys are actually making a living playing music”, was when we opened up for NOFX in Europe for like 6 weeks, but we were broke! You know, we all had day jobs and were going to school, but those guys were actually making a living so we thought maybe it’s possible. We saw Bad Religion making a living, but not a career choice, still it’s something we love to do, but never a career choice.
You just got back from tour, and now you’re going back on tour soon. Do you ever rest?
I got about a month and a half. I actually sleep better on the road sometimes. I get into a hotel room, put the blackout lights on, and I’m just out. It’s weird how that works, but a lot of times you have to get up early, and you’re traveling, and it’s crazy. The traveling is pretty brutal. The word traveling has the same root word as travail, so you know travails and travels, they do beat you up. But getting out and playing a show every night is what we love to do. That connection with the audience and fans, and when you’re resonating (with them), it’s the best drug in the world. It really is. There’s nothing like that.
Is there one country that has a really great reaction to you guys?
I wouldn’t say there’s one country, you see fans that are different all around the world. South American audiences in general are one of the most passionate and crazed, like there’s no boundaries. You kind of want to hold them at arms distance because they will rip you apart if you get too close, but they are so much fun to play for. They really are, and we’ve been fortunate enough to have traveled really all over the world. The only places we haven’t played are parts of Asia, Hong Kong, Singapore, Jakarta, and nowhere in India. I would love to play some of those places just to see what the fans are like there.
My last question for you, do you have any advice for a young punk like me?
Yeah, anyone trying to be creative, just keep following those creative things. Whether you’re writing, painting, I mean there’s tons of great art here tonight, there’s tons of great music in the world, just keeping doing it. If you’re in a band, play music with like-minded people that share the same love of the music, and be open to opportunities. If there are no opportunities, make some. Get out in people’s faces and eventually, if you’re good atall, people will notice. And have fun!
Getting first hand advice from Noodles himself, then dancing to his DJ set after was pretty damn cool. Check out the video on Instagram, TikTok, or YouTube.
Who doesn’t like a good ska-punk record, but you know what’s even better? A great ska-punk record. Vending Machine from San Francisco’s Sad Snack is just that: nine horn-driven ska songs that remind me of why I fell in love with ska-punk in the first place. From the first buildup in the opening track, “Survive […]
Who doesn’t like a good ska-punk record, but you know what’s even better? A great ska-punk record. Vending Machine from San Francisco’s Sad Snack is just that: nine horn-driven ska songs that remind me of why I fell in love with ska-punk in the first place.
From the first buildup in the opening track, “Survive This,” Sad Snack feels more horn-heavy than a lot of the ska bands I’ve heard lately. It’s a strong opener. If you were judging this album by the staples of ska, Sad Snack hits them well. It’s hard to single out a few tracks as highlights because all of the songs are fantastic. However, I will say that “Vending Machine” is my favorite.
Smack dab in the middle of the record is “Nervous Jam,” an instrumental that gives a nice little buffer between “Vending Machine” and “The Story Doesn’t End.” The songs on Vending Machine are wordy in a good way. The second side continues the strong wordplay and emotion that the first side did. Closing song, “Garbinger,” is a perfect example of this.
A lot of the songs have serious subject matter despite their mostly upbeat sounds. Ska doesn’t always have to be peppy, but it doesn’t need to be when it’s this well put together. The punk in the ska-punk of this record feels more pop punk and emo in some spots than straight punk rock, and that’s not a bad thing. It lends itself well to their sound.
The clean guitar sound stands out from other releases I’ve heard this year. While there’s nothing wrong with distorted ska chords, sometimes it’s a little much. I also like the back and forth between male and female lead vocals. It’s been a minute since I heard a band do that well, let alone a ska band.
This was my first Sad Snack record, and it’s sure not to be my last. Vending Machine is a fantastic addition to the music released this year. My only complaint is that it’s too short. If I had a little more time with it, it might have made it into my top albums for the year. Do yourself a favor and run, don’t walk, to this album.
An artist recently reached out to us to have their new single reviewed and I’m VERY pleasantly surprised with taking on this track by PoisonLibrary. They have been seen floating around our reviews in the past under a different name and I now have the honor of writing this review for the new release under […]
An artist recently reached out to us to have their new single reviewed and I’m VERY pleasantly surprised with taking on this track by PoisonLibrary. They have been seen floating around our reviews in the past under a different name and I now have the honor of writing this review for the new release under a new name! The artist sent me a small little blurb about the song I’d like to share with you guys:
“After over 20 million views on IG reels, and 50+ live shows, including a sold-out 300-cap show at Chicago’s Beat Kitchen — this release marks the public reveal of a new name, sound, and direction.
For years, I hated autumn (which, as a Midwesterner, is unusual). It’s the season when I went through breakups, went no-contact with my parents, and hit the lowest point of my life. ‘HarvestMoonRebirth’ is the sound of finding optimism, self-love, and hope for the future in Autumn 2025.
‘HarvestMoonRebirth’ is about no longer wanting to die in autumn, and being excited to live.”
The 3½-minute track blends strings, guitar, synth, and vocals, evoking moments of Donnie Darko (in the synths), Attack on Titan (in the emotional bridge), and the cathartic heart of Dashboard Confessional. It was performed, mixed, and mastered by me.“
Honestly, going into this track, I felt like I was about to get early Sleep Token, but then you get hit with that punk sound and transported to a completely different sound. I can’t help but get a strong influence of The Front Bottoms with the way the vocals come in mid-first verse and into that first chorus. It continues with that harmony that we all know and love into the second verse which introduces a catchy and entrancing little synth addition and then the listener is whiplashed a tad when the bridge slides in and gives us a swap into a more raw and live sounding grit to the vocals leading into the third verse that softens back up a bit into the lull of the start. Overall, my boyfriend put it quite perfectly when he heard me listening to it on repeat while writing, this artist gives me La Dispute meets Jack Johnson and I am LIVING for it.
Alright, now for my favorite part, the lyrics. Talking with the artist a bit, I shared that I am a member of AA and he mentioned this song is about a journey navigating challenges in his own life and hoped that I could resonate with it in my own way. Honestly, he was right. These lyrics can be resonated with for so many different walks of life. Grief, recovery, basic life challenges (finances, housing, etc), you name it. This song is very relaxing and I’d almost argue lullaby-like for those of us looking for a way to just escape and turn off our brains for a few minutes. “Sometimes you gotta hit reset // Then everything comes together” hit me personally because it took me a long time to realize that the only way to move passed a challenge that you knew you couldn’t overcome with one avenue or solution, you can’t just pick up where you were with a different method. It’s restarting and resetting everything that puts your perspective fresh for the new method that will give you that higher chance for success. It’s knowing when to admit “okay, that method didn’t work, so back to square one”.
The chorus kinda gave me a “lover’s note” vibe. I’m not sure that was the intention, but from my interpretation. “And I hope the harvest moon // Brings to you a new tune // And I hope that the harvest moon // Brings the time we’ve been waiting for”. Reading it back again, it could be a lover’s note or a note to oneself. A lover who has left due to your choices and hoping the harvest moon will tell them of their new life and new tune to bring them together for the time that they’ve waited to spend together healthily, or a note to oneself, where they’re hoping the moon sees their efforts and bring them a cleansing new life of time gotten back after whatever it is that was challenging you in life. The harmonies and the gritty vocals of the chorus and bridge, mixed with the soft spoken verses, has me really loving the way this song flows. Not to mention that I can genuinely say that I could use this as a lullaby and fall asleep to it if I wanted.
The bridge has a strong and clear message, the rebirth after a challenge is crucial, and it usually feels sudden, unexpected, and it’s never “easy”, but the hours you spend during that rebirth will be more than worth it. The notion that the moon, or this invisible entity that’s sitting with you during this rebirth, is speaking to you and promising to stay along side you while you are bring reborn in the night. “You will be // Reborn tonight // You will be // Reborn tonight // Every hour I’ll stay by your side”, as someone who knows many recovering alcoholics that had it worse than I did, that promise to stay by their side and be that rock and support that so many people desperately need when going through any challenge, really, not just a sober journey, is so important (at least, it is for me).
This last verse, guys. Oof! The third verse is the verse that I resonate with the most. I’m at this point where I am nearly a year sober and I am READY for this to all pay off. This year has been a rollercoaster of challenge after challenge and getting to review this song and it end up having the exact message I needed for the end of this year was just too good. “I know you’re fed up with the life you’ve lived // I know you’re ready for a new subject // Tired of thinking // Fed up with fitting in // Ready for dreaming”, if this isn’t be the last few months, I’m not sure what would be. I’ve absolutely loved this side project of reviewing songs for Dying Scene for this EXACT song. Finding gems in bands and songs like this has been such an amazing horizon expander for me musically and it gives me more music to help me through my own journeys in life. I hope you guys enjoy this song as much as I have and also toss it on your daily playlists!!
“HarvestMoonRebirth” by PoisonLibrary can be streamed anywhere you stream your music as of November 13th, 2025!!
While the history of punk rock scenes in places like the United States and the United Kingdom is well documented, it would be ignorant to assume these are the only places where punk rock made an impact. Throughout punk rock’s existence, it seeped into other countries and established scenes similar to our own. David Vila […]
While the history of punk rock scenes in places like the United States and the United Kingdom is well documented, it would be ignorant to assume these are the only places where punk rock made an impact. Throughout punk rock’s existence, it seeped into other countries and established scenes similar to our own. David Vila Diéguez‘s book, Spanish Punk: Screaming For Democracy in a Postdictatorial State, is a history of Spain’s punk rock scene after the death of Francisco Franco in 1975.
The information presented in the book seems to be an overlooked part of not only punk rock’s broader history but Spain’s own cultural history as well. It’s broken up into five chapters, covering aspects such as Spain’s interpretation of punk rock, comparing it with Movida Madrileña, and its anti-transition, anti-capitalist, and anti-neoliberal stance. The book, for me, really shines when it covers the aspect of Spain’s scene and its interpretation of punk rock.
Focusing on life, attitude, fashion, style, and music, this first chapter does a good job of presenting a Venn diagram of these aspects compared to other scenes. It highlights some of the bigger bands and movements within. Spain’s equivalents of zine and straight edge culture aren’t surprising, but the similarities and differences between them and America’s are still interesting.
Punk rock emerged from Spain’s transition from dictatorship to democracy, protesting the amnesty law of 1977. Similar to punk rock movements in other countries, it wasn’t welcomed by the press or the public in general. Diéguez contrasts the difference between punk rock, which “went for the throat,” and Movida Madrileña, which celebrated the country’s new freedom in more poppy and happier ways. It was interesting how these two movements were related to the country’s ascent out of dictatorship after Franco had passed away.
The book also touches on broader academic perspectives, including a brief bit about the Punk Scholar Network, which examines punk on many different levels and is referred to as Punkademia. There are places where the book is bogged down by dense writing, but that is expected in an academic-type book. Given that this is a book about Spain, paragraphs are sprinkled with phrases and lyrics from the Spanish punk rock scene’s songs, but they are translated in the footnotes when needed from the many different languages spoken in Spain including: Basque, Galician-Portuguese, and Catalan. These footnotes actually help break up some of these dense passages.
David Vila Diéguez’s book is extremely well researched, and in comparison to some of the other academic books I’ve read, this one seems to be edited much better. It is unfortunate that it took this long for this book to come out. While there are a handful of documentaries on the Spanish Punk scene, this seems to be the first book to examine it as a whole. PM Press continues to release poignant books that make even the smallest niche feel essential.
It’s the holiday season, a time for giving, and what better way to do so than with Punk Rock Gives Back and their Third Annual Charity Ornament Auction. From December 6th to the 13th, Punk Rock Gives Back will auction off ornaments online from some of punk rock’s greatest contributors. Check out the list of […]
It’s the holiday season, a time for giving, and what better way to do so than with Punk Rock Gives Back and their Third Annual Charity Ornament Auction. From December 6th to the 13th, Punk Rock Gives Back will auction off ornaments online from some of punk rock’s greatest contributors. Check out the list of participants below.
The auction itself will benefit a number of charities. The ornament’s artist chooses which charity will benefit and is subject to a tax write-off. All ornaments can be shipped anywhere in the United States, but not outside.
The auction itself will culminate at a free event thrown at Alex’s Bar in Long Beach, CA. Along with the auction itself, there will be vendors like Two Birds Baking, Punk Rock Pottery, and the Outside Agitators. Empired, the Jack Knives, and more will provide live music. There will also be a DJ set from Face to Face drummer Danny Thompson. Start your holiday season right by giving to some charity and supporting local bands and vendors at Punk Rock Gives Back 2nd Annual Charity Show on December 13th, 2025.
