Punk rock’s newest singer/songwriter Mirko Liang’s life has taken him many places. Born in Italy, relocated to Australia, and now living in Taiwan, Mr. Liang has led a much more adventurous life than yours truly; I’ve lived in the same area code my entire life. His next adventure is in music, and he’s off to […]
Punk rock’s newest singer/songwriter Mirko Liang’s life has taken him many places. Born in Italy, relocated to Australia, and now living in Taiwan, Mr. Liang has led a much more adventurous life than yours truly; I’ve lived in the same area code my entire life. His next adventure is in music, and he’s off to a great start with his debut album Art of the Wheel, just released today and streaming on Spotify and probably everywhere you might listen to music.
Your friends at DyingScene.com are bringing you the exclusive premiere of the music video for the album’s lone single “Inferno”, which features backup vocals from Mirko’s friend Andrew Jackson. Fun fact: Andrew used to be in Good Riddance and played drums on the band’s first recording, the 1990 Santa Cruz Hardcore demo.
This premiere is brought to you in part by Punk Rock Radar. If you’d like your band’s music video to be premiered by Dying Scene and Punk Rock Radar, go here and follow these instructions. You’ll be on your way to previously unimagined levels of fame and fortune in no time!
Day 2 of Riot Fest 2022 took place on September 17th. The temperatures rose and because it was a Saturday, so did the crowd size. It was a day of both music and expressions of solidarity with one nation under attack. Red Scare Industries’ No Trigger was assigned to the smallest music stage in the […]
Day 2 of Riot Fest 2022 took place on September 17th. The temperatures rose and because it was a Saturday, so did the crowd size. It was a day of both music and expressions of solidarity with one nation under attack.
Red Scare Industries’ No Trigger was assigned to the smallest music stage in the park, the Rebels stage. However, that did not stop the boys from Boston from giving a powerful performance, including the tunes “Antifantasy,” “Holy Punks,” “No Tattoos,” and “Neon National Park.” There is little doubt in my mind, or at least lots of reason to hope, that No Trigger will be promoted to a larger stage at its next Riot Fest appearance. I’m not much of a gambler but I’ll take the bet that they will indeed be back at the festival, and sooner than later.
Fans of Bully were fortunate to not only see one of their favorites treat them to a fantastic set, but they did so from the Radicals Stage. That stage provided the most shade and the coolest setting on an otherwise boiler of a day. Rolling through “Trash,” ”Where to Start, ”Stuck in Your Head, ”Kills to Be Resistant, ”Milkman,” “Hate and Control,” “Lightsabre Cocksucking Blues” Bully gave the crowd what it was looking forward to and needed.
A formidable amount of joy was felt as The Joy Formidable took over the Roots stage. That line might be of questionable quality, however, the performance by the pride and the Formidable Joy of Mold, Flintshare, Wales (ok, I’ll stop now) was quite palpable. The band, presently based in London, and composed of Rhiannon “Ritzy” Bryan, Rhydian Dafydd Davies, and Matthew James Thomas performed solidly a set that included “The Greatest Light Is the Greatest Shade,” “Y Bluen Eira,” “Sevier,” “CSTS (Come See the Show),” and “Whirring.”
The Get Up Kids were one of the 2022 Riot Fest bands doing an “album play” set. The album in this case was its classic Four Minute Mile on its 25th Anniversary. Though not dedicated to running legend Roger Bannister, as the title might suggest to near-lifelong runners (such as myself), it does feature track runners on the cover. More importantly, the band’s debut studio album transformed the members of the group into stars of the emo punk sub-genre. For attendees who became fans at the album’s first release and those just discovering its music, it was great to hear the full track listing, including, “Stay Gold Ponyboy,” “Lowercase West Thomas,” “Washington Square Park,” “Michelle With One “L”,” and “I’m a Loner Dottie, a Rebel.”
7Secondsannounced their retirement in 2018, citing health issues as the primary reason. For that reason, the band appearing at Riot Fest this year was especially compelling. The band returned to touring earlier this year as support for Circle Jerks, alongside Negative Approach. Sammy Siegler sat in the drum chair in place of Troy Mowat, whose health issues continue to keep him sidelined. Kevin Second’s voice was strong and the setlist featured many entries from the band’s classic 1984 album The Crew. The album was remastered and reissued in deluxe style by Trust Records in 2021. Among them: “Here’s Your Warning,” “Definite Choice,“ Not Just Boys Fun,” “This Is the Angry,” “Here’s Your Warning,” “Definite Choice,” “Not Just Boys Fun. 7Seconds also played “We’re Gonna Fight,” plus covered “99 Red Balloons” by Nena.
For those who might not know, Alexisonfire is from St. Catharines, Ontario, Canada and named after an American porn actress. There was some controversy surrounding that latter fact but let’s move now to its Riot Fest appearance. It was a crowd pleaser, featuring in the setlist “Accidents,” Boiled Frogs,” “Sweet Dreams of Otherness,” “Pulmonary Archery,” and “Drunks, Lovers, Sinners.” For a hot late summer day, near that stage was a pretty cool place to hang.
Yungblud is an excitable boy (a nod to Warren Zevon there) and an exciting performer. Dressed in black dress pant style shorts held up by a single suspender over a long sleeve black and white striped shirt added up to him looking a bit like a post-modern day Pinocchio sans the pointy cap. Yungblud’s infectious charm was obvious, as he bounced across the stage almost nonstop through “The Funeral,” “superdeadfriends,” “parents,” “Tissues,” “I Love You, Will You Marry Me,” among others. His set ended with a show of support for the Ukrainian activists at the festival as the English rising star brought a group of them onstage. The Ukrainian flag being held high by said activists demonstrated again the solidarity for the war-torn nation on display at Riot Fest 2022.
Bad Religion is yet another of what I call FORFs — Friend of Riot Fest. As in, the band is a regular part of the festival’s lineups over the years. This should continue ad infinitum. They are a brilliant group every bit deserving of the word legend which has long been attached to them and the innumerable tattoo tributes across the globe. One crowd member expressed their love with the BR symbol shaved into and painted onto his skull. Meeting Greg Graffin for the first time, in the media tent, he exuded humility and kindness. Graffin: “Hi I’m Greg.” Me, in an attempt to be professional and not fan girl the PhD Punk icon from one my top 5 bands: “Thanks, I gotta go shoot 7Seconds now.” Yes, I’m a dork. But I’d hazard a guess Graffin was ok with that awkward bailing out. Back to their performance though. When the music kicked in Graffin, Jay Bentley, Brian Baker, Mike Dimkich, and Jamie Miller got straight to the point with “Recipe for Hate.” That was followed by “New Dark Ages” and “Fuck You.” With so many classics over the decades of its existence, the band couldn’t possibly hit all of them. However, it did a pretty good damn job of getting in a lot of them. Among those they drove through were “Dept. of False Hope, “We’re Only Gonna Die,” “Suffer,” and “21st Century (Digital Boy),” They concluded the set with “Fuck Armageddon… This Is Hell,” “Sorrow,” and my personal favorite, “American Jesus.” Whew and Wow. That about sums up Bad Religion in general and its Riot Fest performance in particular.
Gogol Bordello returned to Riot Fest as a replacement for Bauhaus which had to cancel its American tour due to lead singer Peter Murphy entering rehab. The Gypsy Punks released their latest album, Solidaritine, just one day before its set at Douglass Park. It appeared clear a priority for the band was to continue increasing and solidifying support for Ukraine and its efforts to fight back against Russian Vladimir Putin, his government, and the Russian military (Putin, of course, directed the military invasion of Ukraine on February 24, 2022). Earlier in the day, Eugene Hutz, the Boyarka native singer of Gogol Bordello, participated in a moving tribute to his homeland in a performance alongside a Ukrainian dance troupe. The full band known for its rousing performances did not disappoint as they ran through “Immigrant Punk,” “Wanderlust King,” ”My Companjera,” “Immigraniada (We Comin’ Rougher),” “Think Locally, Fuck Globally,” and “Mishto!”
Yellowcard was one of the three Saturday Night headliners. The band performed in full, its fourth album, also its major label debut, 2003’s Ocean Avenue. “Way Away,” released as the album’s first single, and credited as Yellowcard’s injection into the realm of mainstream popularity, started off the set. Title tune “Ocean Avenue,” was followed by ”Empty Apartment,” and “Life of a Salesman.” The rest of the album including “Miles Apart,” “Twentythree,” “View From Heaven,” “One Year, Six Months,” “Back Home” took diehard Yellowcard fans on a nostalgia trip. But what a trip!
The Riverboat Gamblers are celebrating the 20th Anniversary of its 2003 Something to Crow About. The band decided it was a good time to reflect on the significance of the record. I asked the below questions of two of The Riverboat Gamblers’ band members, singer Mike Wiebe (MW) and guitar player Ian MacDougall (IM). I also […]
The Riverboat Gamblers are celebrating the 20th Anniversary of its 2003 Something to Crow About.
The band decided it was a good time to reflect on the significance of the record. I asked the below questions of two of The Riverboat Gamblers’ band members, singer Mike Wiebe (MW) and guitar player Ian MacDougall (IM). I also spoke to the pair about how the Riverboat Gamblers came to be and where it is now. Along with Wiebe and MacDougall, the band also includes Fadi El-Assad on lead guitar, Rob Marchant on bass, and Sam Keir on drums.
On Something to Crow About:
(NOTE: The Q&A below has been edited and condensed for content/clarity’s sake.)
MG: How did the decision to re-release the record come about?
IM: “We’ve been wanting to have all of our releases available and we wanted to start with the one that’s been unavailable the longest.“
MG:Was it simply a matter of 20 years being a milestone amount of time?
IM: “This record is really special to all of us and to have it back is awesome. 20 years just happened to be how long it had been when we got it back. It sort of lined up perfectly.”
MG:How long have been planning/working on the re-issue?
IM: “I had met this great dude John Kastner over the years touring in other bands and he helped facilitate this so we that we could re-release this ourselves and have it distributed properly. Everything has been pretty in house here now which is at the time great.“
MG: What went into the decision-making as far as the artwork and presentation of the re-release?
IM: “As far as artwork etc. We brought in original bass player Pat Lillard that recorded on this album, to help update some things. We added a quote from producer Tim Kerr and changed some fonts around that had always bugged some of us.“
McDougall summed it up with:
“We got a great remaster from Jack over at Enormous Door here in Austin. He really woke this thing up and gave it a shower, shave and a hot pot of coffee.“
Mike Wiebe (vocals) “Long story short- after Gearhead went under it was tied up for a bit…“
MG: Reflecting on the album now, were you aware or did you have a sense of how special it was at the time and how important in might become in the future (and now history) of The Riverboat Gamblers?
MW: “I knew we worked really hard on it we were happy with it but no, I didn’t really know how special it was and that it would be such an important factor in our lives 20 years later. I knew people liked it at the time but it’s kind of hard to see or feel that stuff when you have nothing to compare it to. ”
MG: Was it simply a matter of 20 years being a milestone amount of time?
MW: “In editing the video for “Rattle Me Bones” a few weeks ago and looking at all the old footage of us playing I really started to feel the weight of all of it. I think for the most part I/we are always kind of moving forward and thinking about the next record or the next project and I don’t really take a lot of time to reflect on that stuff. So it was nice to look back and really appreciate how lucky it is to have the experience of a little magical pocket where everything kind of clicked at the same time.”
On the Past, Present, and Future of The Riverboat Gamblers
MG: How have things changed since you started the band?Have your goals been met and are there new goals?
MW: “I mean it’s you know it’s completely different. I mean we were little babies when we started. I know the band’s over like 25 years old I think. The band can rent a car. You know, the (band) living on its own, can vote and drink and everything.
Honestly my goal is just like I just want to see the band name on a screen-printed poster. I want to have a 7-inch out like that was that was the big goal or whatever.”
MG: What was scene like back when you started?
MW: “So, (back) then you know, we were in Denton, TX. It was really just like playing these house shows mostly, and the scene was really big and booming then. Right when Green Day was like blowing up and Rancid and all these bands.
My friend calls it the “Gilman Gold Rush.”It was something to sign all these punk bands. It was just this really exciting fun time to be a band in Denton Texas because Denton, this little suburb outside of Dallas where there was like one or two clubs.
So, there’s all these old houses that everybody lived in kind of, you know, just college kids and we were just throwing these house shows, and it became this really kind of like underground famous place to play a show at the time for touring bands. Touring bands, a lot of times, they would skip Dallas. They would skip a club show in Dallas to play Denton because – especially punk bands would do that – because that was such a popular place. It was just kind of like this known fact that like if you come, you do a show in Denton. A lot of times like this you’re like, you know, a smaller touring punk band. It’s going to be the best show of your whole tour and the word kind of got out.”
MW: “So, between all the houses we were living at, there was there was just plenty of opportunities to play and like kind of cut chops as it were. And so, we were just kind of like playing shows all the time and setting up shows and kind of making connections for when we were going to go out, ultimately later.
I would say, I mean, I would think this started up when I was like 20-ish, you know? Probably 20, like 19, 20… This is, this is before Something to Crow About. But yeah, this is maybe even before the Gamblers, like when the scene was just kind of getting started. But we were all in different bands and you know? Fadi and I were in a band together and then some of the other guys, we all, everybody kind of just started playing in multiple bands. And sometime, you know, over the course of a couple years, we all started Gamblers together.”
MG: I have always had an interest in the origin of band names. How did you come up with the name The Riverboat Gamblers?
MW: “I don’t remember exactly all except for kind of It was at the time, band names were really, and felt like, you know, our purview that, like a lot of bands were…there’s a lot of very…emo at the same time. The emo movement was like, really kind of up-and-coming. It was kind of like the pre, before emo kind of became what it is like now. Or what it would become.
But the emo movement was very like pretentious long-winded names, you know? I mean you know you name your band after some obscure French poets. Then there’s like a band called something like – and they might have been great, I don’t mean to disparage them – but their name was Fall into the Seer and the Yellow Leaf, and there was always very like very and on the flipside of that, the pop punk bands would kind of be like The Veronicas! or you know, the Choppy Boys or whatever. And so we were, The Riverboat Gamblers seemed like it stuck out in a weird way. At the time I think we liked it kind of sounded like a little bit more like oh this could be like a country band or like a classic rock band.
Yeah, it kind of fits there. Texas swagger to it which ultimately, it’s fine, but there was a period where it kind of bit us in the ass, because it was like everybody just assumed because we were from Texas and called The Riverboat Gamblers that we were like a stand-up bass rockabilly band. And everywhere we go it would be like ‘what rockabilly band in town are you going to play with?’ Rockabilly can be great and all, but at some point it was it was like…it was a little bit of effort in like no, that’s not, you know, that’s not what we want to do. We’re not in that world you know, and that was what it felt like and can’t accept it, that people the world kept trying to put us into that universe and was a little bit of effort to not stay in there.
But there was a lot of that in the Dallas area. There was at that time, especially.
IM: Yeah, Dallas had the Rockabilly thing. I feel like Dallas has like a huge skinhead thing too here as well but…Because there’s also less of a line between. But it was. It was. I remember being a kid and being freaked out going out to shows for sure for a while there. It was kind of a mix. I feel like there was. I feel like with any of that stuff, there’s always going to be some sort of, you know, people coming out of the woodwork. “
MG: Ian how did you get involved with the Gamblers?
IM: “I met the guys when I was probably like, the guys in Gamblers. I met them when I was probably about 15 and I caught the tail end of what Mike was talking about. Like the house shows, and the Gamblers were already a band. They were kind of playing around and yeah, I would go and see them. And then eventually, like, go up to them and I met all the guys. There was a record store across the street from my school [in Carrolton, TX, where MacDougall lived at the time] called CD Addict. And I’d go there after school and I bought a Buzzcocks record from, you know, it’s just like, oh, I’ve always wanted to check this out and I bought a Buzzcocks record and the guy behind the counter was like, oh man, well if you like this, you might really love my brother’s band. And that band was The Marked Men. And it was Jeff Burke’sbrother. [Jeff Burke plays bass player for The Marked Men. His brother, Mark Burke, opened CD Addict in Carrollton, and now owns Mad World Record Shop in Denton] And so, I came back, and I was like, I love this. He was like, well, they’re actually playing this weekend. He gave me a flyer and I got my buddy to give me a ride and we both went up to the show and saw The Marked Men. And I don’t remember who else was on the show. It might have been The Marked Men and The Dirty Sweets.
For me, when I was a kid going there like Mike, I had a little bit different of an experience with it because I didn’t live there and so I would come up. [Carrolton is just under 25 miles southeast of Denton] I mean, I spent like all of my time up here though and it was really cool to come up. And we had a really cool little group. I would come up whenever I got out of school, and everybody else is still working jobs or not working, and we would just all hang out at somebody’s house and then there would be a show there or something like that at night. And because it was a college town, every house would be having some party or something and so we would just like walk around and go in just like party hop and then eventually go to some show and then you end up back in somebody’s house staying the night or hanging out staying up listening to records and stuff.”
MG: Mike, what was Ian like, with him being much younger? Do you recall what you thought of the kid at time?
MB: “I was 10 years, yeah, about 10 years older. You could say who you know who you are. Again, kind of game meet game as far as like somebody that’s into the same type of music. It’s still, you know, even though that was defined as a cool Bohemian (place), Denton it wasn’t like this is the sort of specific style of punk music style of. Punk music and stuff that we were into was a little bit more obscure. So, you know, Ian kind of came in and like kind of had the same background of genres of rock and roll and punk music and stuff like that. So, it was really easy. Old soul too. And I’m very immature. So it was easy to kind of meet there and then when we recorded Something To CrowAbout and he didn’t play on that but right after, right after we recorded it, we started touring a whole bunch. He hopped in the van with us and our guitar player couldn’t do it because it was looking like an extensive amount of touring, and it was more than he could do for work and stuff. That’s when the band kind of went from being a weekend warrior band to kind of like a full-time deal. Ian was just graduating high school.“
MG: Ian, what was it like to tour so young, and being too young for some of the venues?
IM: “That was around was in the mid -90s. Around the first tour that I did with Gamblers, you know I was pretty young. I wasn’t 21. We toured with this band Burning Brides for the first tour that we did together and Burning Brides they had that advance money where they got money. We were still in the van and trailer but they had a bus on this tour. And so, there were a lot of shows where I couldn’t go in. I could go in and do sound checks, play the show, but I couldn’t hang out. And so they would let me come and hang out on the bus. I just watched TV in the back with Dimitri [Coats] the singer in Burning Brides. It was, you know, just hanging out.“
MG: So now you both are in the band. How long before you starting hitting the goals, like you had the 7 inch and next…
MW: “It felt pretty natural, but there was definitely some huge buzz surrounding Something To Crow About. We toured and toured on that record for a long time and shortly thereafter it was time for the next record. And so around then it’s when things really started changing because, you know, we wanted to do something bigger scope and to get out there. I don’t know, there were demos that were floating around that we had done and then there were, you know, we started working on songs and so we actually were talking about working with all these different producers and labels and you know, the people that really came out and really went above and beyond to show us that they cared were Volcom. Volcom Entertainment. They had a really great team of people, and you know we were kind of like gonna be their first dance. They were kind of basically treating us like it was going to be their first real big like “we’re going to go all in on this” (thing).
And that’s really where it started to feel like things were changing because all of a sudden we’re living in an apartment at the Oakwoods (Apartments in Los Angeles), which like actors and other bands and were there for like a month and we have an allowance and where So, all of a sudden we’re in LA for like, you know, for a month or more. I feel like it feels like so long that we were out there, but we all lived in an apartment together and we were out there, you know. It wasn’t uncommon. This was, like, a super common thing for bands to go out there and live at this giant apartment complex, that was for like entertainment industry folks. So, there was a lot of actors there. Here was I remember like being in a swimming pool with Pat, our old bass player and like all the kids from Malcolm (In The Middle) on the grounds. “
IM: “Like that, like sort of that thing where, yeah, like we go to the gym and there would be like Garrett Morris from Saturday Night Live. It’s crazy, but around then you know, and then afterwards, we were working on a record with this guy Andrew Murdock. Same things, as he went above and beyond to really prove that he wanted to do this record and because of that, we knew that we wanted to spend more time on Confusion. You know this is my first experience. I had recorded stuff in the past, (but this was) my first experience like, you know, working with the guys and Gamblers in the studio and it was a lot of fun. We had a lot of fun working on that record.“
MW: “During that was that was that during a time it was a cool experience. Not that I thought like oh it’s going to be like this every time. I think I knew it was kind of special but now in retrospect like wow what a unique experience.”
IM: “Cool, weird, lucky thing that we got to do that. A lot of bands maybe don’t get to do that. And you know, we didn’t really get to do it yet. But it was, yeah, it was what years were those? That’s when there was still money in the music industry. Remember that one, 2005 maybe? [Mike adds: “yeah something like that “].”
MG: When did you notice the crowds getting bigger. When the floors where you were earlier on the bill were filling up? Was out slow or all of a sudden?
IM: “It was at around the time that we started this touring constantly and there was headlining stuff, and also a lot of like support act stuff. But for big bands, where we were actually playing, we went from playing little clubs to getting to open up for bigger bands in really big rooms. And noticing the people were staying for the early acts and I think that was just like from touring.”
MW: “It took a really long time to get to get used to that. I think maybe it was everybody else acquiesced easier. But for me, it took a long time to get used to, like figuring out the animal of those big stages far away from the crowd. There’s like less people to try and figure out how to translate that. To do what we had been doing, what I had been doing in those little clubs, and to try and translate that to giant things. Well, it was slow. Like you notice here and there in some towns, I mean there’d be little pockets of like ohh wow we just kind of leveled upin this one area.
For us was really slow. We never really had an overnight kind of thing you know and never any like real…umm… navigating all of it was pretty confusing and weird and still is just the business side of music. The business part is something we’re still kind of, you know…I mean I think we’re more aware of it now but now of course it’s changed so much but back then it was, like, confusing. Really confusing.“
MG: How soon did you get out of Texas and start doing national tours, criss-crossing the country?
IM: “That was like immediately. I mean like the first tour that I did with Gamblers like we, it was a full U.S. tour and all of these things that we did when they were all like we would go out like everywhere. And that’s one thing. It’s like getting out of Texas. I remember that always being like, oh, we got to start this tour in New York. So, we would drive 24 hours from Austin or Denton and go straight to go and meet some tour out in like. New York or like Morongo, California…that’s where we started the X and Rollins tour. And these things would go all over the place We would go all over the place and then we’d hop over to Europe and play everywhere you possibly could over there too.“
MG: What was the first huge tour and was there any nervousness or sense of starstruckness?
IM: “I think you know like we the the one of the like one of the bigger ones that we went on early on like we toured with Flogging Molly and that was like that was a pretty big one…but there was no like starstruckness with that. I think when we had when we toured with X and the Rollins Band. That was when it was like, like, holy shit, there’s that dude from Black Flag. And then that’s X Oh my God.
And then it was cool to the eventually like befriend these people. Like, I remember an experience in DC and being at the 9:30 Club and sitting there and talking with Ian McKaye and Henry Rollins, like about about Eater. You know, this old 70s punk band. I was wearing an Eater T-shirt and they were like, “Can you believe that there’s kids wearing an Eater T-shirt?” We were talking about that. And I was like, Oh my God, this is so crazy. I got pictures from that still from that night and I look like I’m a child. And then we toured with Joan Jett and that was another very like, wow. “
MG: And were they all pretty cool with you?
IM: “Yeah, everybody, we got along with pretty much everybody we’ve toured with. Yeah, yeah, for the most part. That’s the cool thing with this bandandits experiences. Not only are you meeting all of these band people, but you’re meeting the crew as well that worked for these folks. And like the world is so, so small, you know. Because I mean, like eventually, I started working in in crew stuff, doing tour management stuff. And you know, lifer types, you’re going to run into these people like 10 years from now. And it’s been pretty neat because it’s all been from, you know, our time with Gamblers. And I’ve worked with some of these crew members that we met in the early days when I was a teenager and, you know, worked with them like, you know, 10 or 15 years later.“
MG: Looking back have your views on the scene changed? Are you still as eager?
MW: “Yeah, well, I mean like I think for me it’s, you know, getting older and still doing it and still feeling like there is no room and stuff to say. And the goals are a lot different, like all that hype and stuff is not…you know we’re not young anymore. So, the only reason to keep doing it, not that we were doing it for any other reason before, but the only reason to do it really when you’re older is because you still really love it, and it’s you like creating music and performing it and stuff like that.
I mean, you know, it’s less about like, well let’s get out there and conquer the world, touring and stuff. It’s more like let’s keep it real pure, like let’s just make some cool shit because there’s not any pressure of like being super, super full-time with it in that way. There’s not any you know…we’re kind of on our own right now. There’s just not that like vice-like pressure of like, well, we gotta tour six months out of the year and we have to, you know, fulfill this record, by this date, by this time for these people. It’s more just like, no, we wanna do it. So, no time limit. It’s just, it’s just for the for the love of the game.
IM: As we got older, people go off and do other things and start families, but we’ve always been writing music together. We had all this time, like our last record came out in 2012. And I mean, we have songs from back then that didn’t get released, that only for the sheer fact that they didn’t really fit kind of the vibe of the record. It wasn’t like they were kind of throwaway things.
So, we’re kind of revisiting a lot of stuff and we’re also. I mean Mike and I and Fadi and Rob, you know, like we constantly have these ideas that we’re in little song demos and stuff that we’re shooting each other. It’s a cool thing.
Everyone’s like, you know, the guys with kids, the kids are old enough now that that, you know, they can kind of get away for a little bit to hop in the studio and knock out some stuff or we can go and do these weekends. And so right now it’s sort of like, you know, picking up the pieces a lot. For things, you know, because all of our labels that we had releases on, they’ve all dissolved.
So going back and getting these records back available for everybody that want them and making sure that you know…like Something To Crow About was out of print for, you know, over 15, close to 20 years. And you know, it’s kind of like a shame that nobody could buy it at the merch table, because it’s still like 80% of our set are those songs.
And so we got that back together and we’re going to rerelease Confusion as well, or repress it. And we’re also just like we did a 7-inch last year. Over this last year for the songs, one of them is super old, but you know, nobody heard it, so it’s brand new. There’s that new generation and hopefully you know hopefully also reading Dying Scene will help our little tiny bit but just getting out there and yeah word of mouth.
MW: You know, like what is? I’m just excited to make new stuff. You know it’s always…this band has been around for so long and there’s like a core of what we are, what we keep. We’ve always kind of evolved and tried to do a little bit different stuff and you know now being so old and like it’s kind of like I said like I feel this real…there’s no… I don’t really feel a lot of pressure that I might have even like 10 years ago of what a record should or shouldn’t be. Like I have in my head some stuff that I want, some parameters that I think that we should kind of be, that the Riverboat Gamblers are in my opinion. But it’s still it’s still really open and it’s really like the thought not that we were ever like, you know, overthinking like well what what are people going to like? But now the thought doesn’t really necessarily cross my mind so much. It’s more just like, man, let’s just get in there and make some cool stuff and that feels pretty good.”
MG: Mike, I was incredibly impressed with your energy level at the show at Reggies [late 2022). Are you finding more aches after a show and are you more careful now about that type of thing?
MW: “I find aches and I’m 48 and I find aches without playing a show. Like, I’m definitely stretching. I’m stretching as we’re talking right now because I’m about to go into the studio and just knowing that I’m going to be on my feet for a long time, I’m making sure I get my stretches in.
I’m just a little bit more careful. I think, when the mood strikes me, I’ll do whatever I feel like. here’s a little bit more like, let me look and see where I’m going to fall. Well, there’s a little voice in my head that says, like, how we can’t recover like we used to. Yeah, you know, the Wolverine’s healing factor. And now? Not so much.“
The Riverboat Gamblers recently announced its Inaugural “AC Hell Festival” set for October 14, 2023. The band will be playing Something to Crow About in its entirety. The bill also features, amongst others, The Starving Wolves, The Get Lows and User Uauthorized. Further information on the event and tickets can be found here.
South Florida (Ft. Lauderdale, specifically) pop-punk band A Decade At Sea just released their new EP Fuego in February and today we’re premiering the music video for one of the singles “From Crazy, With Love”. Check it out below and find the full EP on Spotify, Apple Music, or pretty much anywhere else you can […]
South Florida (Ft. Lauderdale, specifically) pop-punk band A Decade At Sea just released their new EP Fuego in February and today we’re premiering the music video for one of the singles “From Crazy, With Love”. Check it out below and find the full EP on Spotify, Apple Music, or pretty much anywhere else you can consume music on Al Gore’s world wide web.
If you wanna keep up with A Decade At Sea, might I suggest following the band on one or more of their social media accounts? I just might.
This premiere is brought to you in part by Punk Rock Radar. If you’d like your band’s music video to be premiered by Dying Scene and Punk Rock Radar, go here and follow these instructions. You’ll be on your way to previously unimagined levels of fame and fortune in no time!
Drive a few miles south on US19 from Dying Scene editor Screeching Bottlerocket’s hometown of Clearwater, FL and you’ll find yourself in St. Petersburg, FL. It’s just like Clearwater, but with slightly less Scientology. Why does this matter? Because the band we’re premiering a new song from today is St. Pete’s own Spanish Needles! The […]
Drive a few miles south on US19 from Dying Scene editor Screeching Bottlerocket’s hometown of Clearwater, FL and you’ll find yourself in St. Petersburg, FL. It’s just like Clearwater, but with slightly less Scientology. Why does this matter? Because the band we’re premiering a new song from today is St. Pete’s own Spanish Needles!
The band’s debut EP Sifting Through the Wreckage is due out on May 3rd and they just launched pre-orders for the purple colored vinyl (limited to 200 copies). If you pre-order the record from their Bandcamp before May 1st, you can get it for the low, low price of $12! At $1 per inch, that’s a value you simply cannot beat.
To coincide with this momentous occasion, your friends at Dying Scene are premiering a brand new track from the EP, track #4 “Dom DeLouise”, so go ahead and check that shit out below. Also! One last thing; Spanish Needles will be playing a record release show on May 31st at Bayboro Brewing. You can get a ticket and a copy of Sifting Through the Wreckage on vinyl for just $20. Another unbeatable value. Go here for more details.
This premiere is brought to you in part by Punk Rock Radar. If you’d like your band’s music video to be premiered by Dying Scene and Punk Rock Radar, go here and follow these instructions. You’ll be on your way to previously unimagined levels of fame and fortune in no time!
SoCal melodic punks Strike Twelve are gearing up to release their new album Last Band Standing out June 30th via Thousand Islands Records. We’re stoked to bring you this exclusive premiere of the latest single a day before it goes live on all major streaming platforms. Check out the brand new music video for “Watch It Burn” […]
SoCal melodic punks Strike Twelve are gearing up to release their new album Last Band Standing out June 30th via Thousand Islands Records. We’re stoked to bring you this exclusive premiere of the latest single a day before it goes live on all major streaming platforms.
Check out the brand new music video for “Watch It Burn” below, and pre-order Last Band Standing on vinyl and/or CD here.
Happy Friday, and more importantly, Happy St. Patrick’s Day, comrades! We’ve got a fun new exclusive for your earholes today, and it comes to us all the way from the mountains of…Asheville, North Carolina! It’s from a band called The Deathbots, a trio who’ve been described as “a brawling mix between Bad Religion and Johnny […]
Meet The Deathbots!
Happy Friday, and more importantly, Happy St. Patrick’s Day, comrades! We’ve got a fun new exclusive for your earholes today, and it comes to us all the way from the mountains of…Asheville, North Carolina!
It’s from a band called The Deathbots, a trio who’ve been described as “a brawling mix between Bad Religion and Johnny Cash, that combo of super speedy melodic punk and killer bad-ass country” which sounds pretty awesome to us!
The song is called “Thumper,” and it appears on The Deathbots’ upcoming split EP with their pals in Cardboard Box Colony. The EP was recorded in the bands’ shared practice space before being shipped off to the almighty Blasting Room to be mastered by the iconic Jason Livermore. Here’s what the lads had to say for themselves:
I’m super excited to share this split 7”/EP with our good buddies, the awesome Cardboard Box Colony. With our two contributions, a song about what happens when cartoon rabbits get pushed too far, and a song about a pirate ghost ship, we perfectly showcase the essence of our band: a bunch of punk rock nerds just trying to stave off the ennui of existence through music. – Alex (bass guitar, screams)
There’s something a little magical about vinyl records, it means a lot to be able to offer all of our fans something they can hold after so many years of virtual releases. It’s even better to be able to do it with our good friends in Cardboard Box Colony. Plus it’s definitely our best material to date, come out April 15th and get your grubby little mitts on it! – Karl (guitar, vocals)
“Having the ability to self-record, mix and produce this split at our home studios is rewarding, and I’m proud of how all these songs turned out. Plus being able to play drums on both sides of a split EP in 2 different bands was an awesome experience on its own.” – Brandon (drums, more vocals)
The split is out April 14th on all streaming platforms and will also be available on a white “Box/Bot” shaped 7-inch record. There’s a hometown record release throwdown on April 15th if you’re in the Asheville neck-o-the-woods too. Pre-order the split here, and check out “Thumper” below. (Sadly, we’re pretty sure it’s not an ode to 1990s Boston-based ska/punk/metal band Thumper, but a boy can dream, can’t he?)
Dying Scene is proud to bring you the exclusive premiere of The Speakeasy‘s new music video for their latest single “Bright Side“. This song offers the first taste of the Montreal punk band’s upcoming debut full-length album, coming later this year on Thousand Islands Records. If you like fast, melodic, feel-good punk rock, these guys […]
Dying Scene is proud to bring you the exclusive premiere of The Speakeasy‘s new music video for their latest single “Bright Side“. This song offers the first taste of the Montreal punk band’s upcoming debut full-length album, coming later this year on Thousand Islands Records.
If you like fast, melodic, feel-good punk rock, these guys are right up your alley. Check out the brand new music video for “Bright Side” below. Go here to listen to the song on the streaming platform of your choice and stay tuned for big things to come from The Speakeasy.
Brighton, UK skate punks Making Friends‘ upcoming album Fine Dying is one of my most anticipated releases of 2023, and with good reason! The first three singles “Damage Report”, “ATM” and “Heroes Die” were absolute rippers, and Dying Scene is pleased to bring you the exclusive premiere of another brand new single from the album! Check […]
Brighton, UK skate punks Making Friends‘ upcoming album Fine Dying is one of my most anticipated releases of 2023, and with good reason! The first three singles “Damage Report”, “ATM” and “Heroes Die” were absolute rippers, and Dying Scene is pleased to bring you the exclusive premiere of another brand new single from the album! Check out “Happy Fucking Whatever” below.
Here’s what the band had to say about the new track:
“Happy Fucking Whatever is the latest single from the upcoming LP release. It’s already a firm favourite in the live set with the band because it’s so much fun to play. We’re looking forward to releasing it, so that those who haven’t had to catch it live yet will get a chance to hear it. The song is about a desire to mask your problems and pretend they never existed. It ends with a bit of a tribute to No Use For A Name, a band we all grew up with.”
California punk supergroup Versus The World have a new record coming out this Friday on SBÄM Records, and guess what?! We’re premiering the album’s final single “The Miserable”, right now! Check it out below, along with details on the band’s upcoming tour dates. Here’s what singer Donald Spence had to say about “The Miserables”, which […]
California punk supergroup Versus The World have a new record coming out this Friday on SBÄM Records, and guess what?! We’re premiering the album’s final single “The Miserable”, right now! Check it out below, along with details on the band’s upcoming tour dates.
Here’s what singer Donald Spence had to say about “The Miserables”, which features guest vocals from Brenna Red of The Last Gang:
“The Miserable was the last thing we did for the record and it felt like a good way to book-end everything. The lyrics were inspired by the way I had felt about the 14 month lockdown in California. It starts frantic and dark – the minor chords give a bit of an ominous feeling – but by the last chorus it’s much bigger and brighter. I took inspiration from Les Miserables, which I have been lucky enough to see a few times, to make the ending feel the way it does. It was a blast to put all these weird ideas together.”
For the uninitiated, Versus The World’s lineup includes names like Lagwagon guitarist Chris Flippin and Good Riddance drummer Sean Sellers, among others. The band’s new album The Bastards Live Forever releases Friday, May 26th.
2023 US tour dates:
16.06. Long Beach @ Supply and Demand w/ Mercy Music and Love Equals Death 17.06. LA @ Permanent Records Roadhouse w/ Mercy Music and Love Equals Death 07.07. Portland @ Dante’s w/ Diesel Boy 08.07. Seattle @ El Corazon w/ Diesel Boy
2023 European tour dates:
28.07. Berlin @ Wild At Heart 29.07. Hohenstaufen @ Vert Rock w/ Urethane 01.08. Erfurt @ Tiko w/ Urethane 02.08. Brussels @ Le Lac 03.08. Wermelskirchen @ AJZ w/ Authority Zero & Cigar 05.08. Duffel, B @ Brakrock 06.08. Düsseldorf, D @ Pitcher w/ Diesel Boy 07.08. TBC 08.08. Stuttgart @ Im Wizemann w/ Pennywise 09.08. Vienna, AUT @ Rhiz w/ Diesel Boy 10.08. Tolmin, SLO @ Punkrock Holiday 12.08. Rimini, ITA @ Bayfest
