By Tay Hansen, founder of Soundboard, a music media collective and creative studio.Featured image by Brock Marlborough. Scowl is one of the most exciting hardcore bands right now—and one of the most divisive. Fronted by Kat Moss, they’ve become a flashpoint for conversations around genre, gatekeeping, and the evolving face of punk and hardcore. Their […]
By Tay Hansen, founder of Soundboard, a music media collective and creative studio. Featured image by Brock Marlborough.
Scowl is one of the most exciting hardcore bands right now—and one of the most divisive. Fronted by Kat Moss, they’ve become a flashpoint for conversations around genre, gatekeeping, and the evolving face of punk and hardcore.
Their just-dropped album Are We All Angels (via Dead Oceans) is bold, emotional, melodic, and, for some, controversial. But for many of us, it’s precisely the kind of shake-up this scene needs.
As someone who’s been part of the punk and hardcore scene since I was 13, I’ve seen firsthand how closed off it can feel—especially to girls. When I was growing up, the scene around me was overwhelmingly masculine. There was only one punk girl at my school, and while I looked up to her, most of my journey into punk, hardcore, riot grrrl, and feminist punk happened alone. I didn’t have a crew of girls to trade zines with or go to shows with. For a long time, I didn’t even know that kind of community existed.
To see that landscape change—to see artists like Kat Moss take the stage in full neon glam and scream her guts out—is honestly wild. And badass.
Scowl emerged from the Northern California hardcore scene with all the raw aggression and energy that defines the genre. But their rise to prominence hasn’t come without friction. With Are We All Angels, the band makes it abundantly clear that they don’t intend to conform. They’re here to expand what hardcore can be.
The new record, produced by genre-bender Will Yip, leans into grungy riffs, soaring melodies, and moments of emotional clarity that contrast sharply with the band’s earliest, more punishing material. Tracks like “Not Hell, Not Heaven” and “B.A.B.E.” are pop-leaning, sure, but they hit just as hard. Moss is less interested in fitting into a box and more focused on making something real. In the process, Scowl is pushing back against a culture that often punishes women for standing out—especially when they refuse to shrink themselves to make others comfortable.
If you’ve spent any time in the hardcore scene, you know the brand of gatekeeping that starts to fester once a band finds success. For Scowl, things came to a head when they played a Taco Bell-sponsored halftime show during the Women’s World Cup. The internet backlash was immediate and brutal: sellouts, industry plants, not “real” hardcore. Kat, in particular, became a target—for her voice, appearance, social media, and presence.
But instead of backing down, Scowl doubled down. Are We All Angels doesn’t just respond to the noise—it transforms it. The album reflects the isolation, the exhaustion, and the complexity of carving out space in a genre that historically hasn’t made much room for softness, queerness, or feminine energy.
Artists like Kat Moss, Marisa Dabice (Mannequin Pussy), Ecca Vandal, Karen Dio, Die Spitz, Initiate, and so many others are redefining what heavy music can look and sound like. They are loud. They are stylish. They are unapologetically themselves. And they are, by far, making some of the most exciting music in the genre right now.
Scowl’s willingness to mix genres and textures doesn’t dilute their identity. Their music resonates because it reflects the emotional messiness and complexity that most of us carry. In a time when too many people still want to draw sharp lines around genre, identity, and legitimacy, Scowl is doing something radical: they’re refusing to choose. And in doing so, they’re making hardcore feel more accessible, more interesting, and more honest than it has in years.
Are We All Angels is more than an album.
It’s a challenge. To the gatekeepers. To the purists.
To anyone who forgot that punk was always supposed to be about breaking rules, not enforcing them.
Kingston, Ontario’s Screamin’ Sins may be a new face on the horror scene, but they are coming out swinging with their brand new EP Living Nightmares. This collection of dark crooning tunes is ripe with the type of cartoonishly dark lyrical fare one would expect from a horror punk trio, but don’t chalk these gothabilly […]
Kingston, Ontario’s Screamin’ Sins may be a new face on the horror scene, but they are coming out swinging with their brand new EP Living Nightmares. This collection of dark crooning tunes is ripe with the type of cartoonishly dark lyrical fare one would expect from a horror punk trio, but don’t chalk these gothabilly ghouls up as just another Misfits tribute. These folks bring a sound all their own to the world of horror rock.
The mini album kicks off with the Wes Craven-inspired creepfest “The Hills Have Eyes”. Has this particular earth been tread before? Sure, but with such fertile ground, there’s no reason not to keep digging into this 80’s classic. The reverb-drenched guitars and tribal drums kick things off, followed by a raucous stomping verse. Reverend Paul Sin’s clean melodic vocal stands out from the pack, periodically filled out by a ghostly unison chorus provided by bassist Vanessa Von Voodoo. What better way to invite listeners into the party than with a little radioactive mutant boogie?
“Living Dead” keeps the spooky vibes going with another helping of reverb-soaked guitar work and thrashing four-on-the-floor beats, courtesy of drummer Landon Dane Martin. The off-kilter guitar work and catchy chorus keep things interesting as we delve into the familiar lament of a man feeling more dead than alive. I don’t think anyone can deny, we all sometimes feel a bit like the walking dead.
Here the EP takes a turn into more rockabilly flavored fare. “Love You to Death” takes us into an unhealthy love affair, followed by an apocalyptic peak into a nightmare landscape with the appropriately titled “Nightmare”. The band clearly feels comfortable in this gothabilly mold, and it fits them like a well made coffin.
“Haunted Dreams” brings out the requisite outlaw country ballad we’ve come to expect from the genre. The train track rhythm and lonesome acoustic guitar, offset by the wailing vocal and trembling lead guitar make for a fun diversion, and showcase another side to the group that adds some depth and variety to this batch of spine-tingling tunes.
The final nail in this sonic coffin is a swampy blues banger entitled “Curse On You”. It’s here the album veers heavily into Concrete Blonde territory. This swampy, sleazy stomp sets a perfect tone for the voodoo tale portrayed in the lyrics. We’ve entered a creepy moonlit bayou, and these Canadian creepers seem right at home in these brackish waters.
Overall, Living Nightmares is a solid entry in what is sure to be a stellar discography from this terrifying trio. If you are a fiend for genre originators The Cramps, this might be right up your darkened alley! Check it out, if you dare!
Celebrating their 10th anniversary, Barcelona skate punks Fastloud are back in action and gearing up for the release of their brand new record Rice Again!?. We’re thrilled to bring you this exclusive premiere of the music video for the lead single “A New Disease”. Check it out below! Rice Again!? is due out in May […]
Celebrating their 10th anniversary, Barcelona skate punks Fastloud are back in action and gearing up for the release of their brand new record Rice Again!?. We’re thrilled to bring you this exclusive premiere of the music video for the lead single “A New Disease”. Check it out below!
This premiere is brought to you in part by Punk Rock Radar. If you’d like your band’s music video, song, album or whatever 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.
Aaron Cometbus has been self-publishing the Cometbus zine since 1981. These slice-of-life writings became a way to document the East Bay punk rock scene with band interviews, artwork, and personal diaries. Indie book publisher PM Press has started reprinting some of the back issues and other writings by Aaron, starting with The Loneliness of the […]
Aaron Cometbus has been self-publishing the Cometbus zine since 1981. These slice-of-life writings became a way to document the East Bay punk rock scene with band interviews, artwork, and personal diaries. Indie book publisher PM Press has started reprinting some of the back issues and other writings by Aaron, starting with The Loneliness of the Electric Menorah and Downtown Locals.
Originally released as Cometbus #51 in September of 2008, The Loneliness of the Electric Menorah chronicles the history of businesses on Telegraph Avenue in Berkeley, California. Known as a somewhat sketchy side of town due to its location being a haven of poverty and drugs. Cometbus personalizes the area with a story of rivaling bookstores that would go on to make some controversial books available to their customers for the first time, starting a revolution of sorts. Mostly focusing on the bookstore Rambam and the fall out between its two owners, this book catalogues the history of Telegraph Avenue, along with the scenes and zines it created.
Mentions of pioneering comic figures like Robert Crumb and Art Spiegelman who were a part of the underground comix scene in the Bay Area during the late 1960s and connections to the Symbionese Liberation Army including its remaining members Emily and Bill Harris and Patty Hearst make this a counterculture historian’s wet dream. Cometbus also discusses his possible participation in the 1989 riots with his lawyer and the opening of Amoeba Records, a California indie record store staple that has grown over the years. Cometbus’s text gives skin and bones to an area that was demonized for its inhabitants rather than celebrated for giving them something to think about rather it be socially, economically, or academically
Compiling articles that appeared in other issues of the Cometbus zine and other smaller publications, Downtown Locals is a different beast altogether. It offers more of the same slice-of-life stories, but these are more bite-sized pieces set in New York City. There are personal stories such as “When The Cat’s Away,” “Mary,” and “Skip,” which focus on one person, but also broader narratives like “Three weeks in the Epicenter,” where Cometbus details his experience in NYC during the first three weeks of the COVID-19 pandemic. The most humorous entry in the book is “The Monster” referring to the nickname he called his girlfriend in front of a friend at one point who now feels inclined to do the same. There’s an interview with Punk magazine co-founder John Holstrom. It’s a fantastic conversation with one of the early constructors of punk rock and independent comics scenes.
These stories show a different part of New York City; not the touristy part you’re expected to see when visiting on vacation, or the hyperbolized mugging-and-murder side from an episode of Law and Order. This is a depiction of people under the radar no one notices as they go about their day. I don’t want the tourist’s version of New York; I want Aaron Cometbus’s version.
If you know the name Aaron Cometbus as a drummer, you would know his body of work in punk rock is revered. One could argue that he plays drums in bands in between working on his writings. While these may not be everyone’s cup of tea, they are interesting and give perspective on an often-missed part of life. If you can’t track down old issues of Cometbus, these books from PM Press are a good start.
Le recueil des clowns (roughly translated as “The Clown Compendium”) is the debut EP by Montreal-based punk band Conflit Majeur, released in 2023. Fun, frenzied, and fast paced, Recueil is a joyous whirlwind of classic, high-energy punk. The Terrebonne, Quebec natives’ record is a great starting point for anyone looking to break into the Francophone […]
Le recueil des clowns(roughly translated as “The Clown Compendium”) is the debut EP by Montreal-based punk band Conflit Majeur, released in 2023. Fun, frenzied, and fast paced, Recueil is a joyous whirlwind of classic, high-energy punk. The Terrebonne, Quebec natives’ record is a great starting point for anyone looking to break into the Francophone punk scene.
Track 1: Bienvenue au Cirque
The instrumental “Bienvenue au Cirque” (Welcome to the Circus) opens the EP with a bang as the sound of tapping sticks counts the listener in to an unrelenting minute of drumming, setting the definitive tone and pace for the rest of the record. If you’re new to Conflit Majeur, this opening track is an excellent example of the kind of energy you can expect from the group.
Track 2: Depanneur Blowjob
“Depanneur Blowjob” tells a tale in two acts – initially upset that the neighborhood depanneur (the Quebec equivalent of a bodega or convenience store) has made you redundant by offering its customers blowjobs, your frustration quickly dissipates when you head inside for a happy ending of your own. The walking bassline meanders up and down, adding a new dimension of melody and texture to the chorus. A live show crowd favourite, I can tell you that nothing feels quite like thrashing around in a packed venue full of sweaty, shirtless lunkheads all screaming “DEPANNEUR BLOWJOB!” at the top of their lungs. Cathartic, absolutely.
Track 3: Quel Genre de Dieu
My personal favourite on the record, “Quel Genre de Dieu” (What Kind of God), opens with an intriguing, thumping drum intro, building quickly into a thrashing guitar hook. The lyrics are piercingly punchy (ex: “You’re the reason I don’t believe in Him / What kind of God would let you see the face of the Earth”), and the way vocalist Justin Thibault shouts “quel genre de dieu?” over the chorus is convincing enough to make you genuinely wonder.
Track 4: Pâte à Modeler
A Rancidesque bassline on “Pâte À Modeler” (Modeling Clay) cheerfully closes out this four-track EP. The song’s chorus is both catchy and poignant – “I’m fed up with being taken for a lump of modeling clay,” sings Thibault: “It’s not money that is going to shape me” – demonstrating the group’s more serious lyrical capabilities and cementing their status as ones to watch.
Clocking in at a whopping 8 minutes and 14 seconds, Lerecueil des clowns is quintessentially punk –fun, fast, and with mention of blowjobs. Conflit Majeur’s passion and enthusiasm shine bright in this record, its exuberant yet grounded sound setting a solid foundation for the band’s growing local popularity.
The group is currently finishing up their next project, likely due for release some time this year. If it has half the vibrancy and energy of Recueil des clowns, I’d say we’re all in for a pretty good time.
Who is Dusty, and Did They Ever Cheer Up? You might have heard the name Cheer Up Dusty buzzing around the Philadelphia pop-punk scene, but it was the name itself that immediately piqued my curiosity. As someone who’s often described as overly energized and maybe a little too cheerful, I couldn’t help but think: I’m […]
Who is Dusty, and Did They Ever Cheer Up?
You might have heard the name Cheer Up Dusty buzzing around the Philadelphia pop-punk scene, but it was the name itself that immediately piqued my curiosity. As someone who’s often described as overly energized and maybe a little too cheerful, I couldn’t help but think: I’m about to make it my mission to cheer up Dusty—if their frown is even still upside down.
What I found wasn’t just a band; it was a whirlwind of raw energy, unfiltered humor, and relentless passion— a sound that embodies everything pop-punk is supposed to be. Something real, built from Philly grit and a refusal to compromise.
Since their debut in 2019, Cheer Up Dusty has been carving their own lane in the DIY scene, blending nostalgic pop-punk sounds with a fresh, unfiltered twist that’s hard to ignore. Their latest EP, Don’t Take It Personally, Take It Seriously (2023), and the upcoming wave of new music make it clear—they’re not just keeping the pop-punk torch burning; they’re throwing gasoline on the flame.
So, who exactly is Dusty?
As it turns out, Dusty isn’t a specific person per se. “It started as a joke with a friend who called me ‘Justy,’ and it eventually turned into Dusty,” Justin Humenik, lead singer, says. “Every time I disagreed with something, it was always ‘cheer up, Dusty.’ So, I named the band that as an ‘F-you’ to him.”
The name Dusty has become something more than just a playful jab among friends. “Dusty has become an enigma,” Justin continues. “We get asked all the time who it is. Honestly, I prefer to leave it open-ended. Dusty is whoever needs cheering up, whoever’s kicked down. It could be you, it could be me, it could be anyone. That’s the beauty of it.”
From the beginning, the band came together around a shared love of music and friendship. With Justin Humenik on vocals, Brayan Marin on lead guitar, Nick Silvidio on rhythm guitar, Pat Desiato on bass, and Caleb Kerr on drums, they created more than just a pop-punk group. They found a way to speak directly to anyone who’s ever needed to hear that they weren’t alone in the chaos of life.
What does Cheer Up Dusty sound like?
Blending 2000s pop-punk with their own unique flavor, Cheer Up Dusty’s sound is both familiar and fresh. “Our biggest influences come from classic pop-punk bands like Good Charlotte, Sum 41, A Day to Remember, and Blink-182,” says Brayan Marin, lead guitarist. “But we’ve also got Caleb, who’s into hardcore, and me—well, I listen to a lot of Bad Bunny. Somehow, it all mixes together, and we all learn a lot from each other.”
From the very first track, “Everybody Hates Me,” which has become a fan favorite, to their latest creations, their sound has continually evolved. “It’s been a constant evolution,” Brayan adds. “When we first started, Justin was doing everything. But now, we’ve got a solid core, and with the help of our producer Pete Zen, we’ve been growing together.”
Their lyrics mix humor with real emotion, reflecting the band’s unapologetic approach to life. “I’m not the most serious guy,” states Justin. “I write about things I’ve experienced or that I find relatable, and then we all contribute ideas to add our own flavors to it.”
Philly isn’t just home— it’s a battleground.
Cheer Up Dusty has become deeply rooted in the DIY culture of Philadelphia, a city that’s known for its gritty, no-nonsense attitude. “The Philly scene is really something special,” explains Brayan. “There’s so many artists putting in real work, and the fans here respond to that. You can feel the love, and that pushes us to always give more.”
Being an independent band in today’s industry isn’t easy. “The biggest challenge is balancing everything,” Brayan admits. “We’ve got to work, practice, promote, and still find time for our families and ourselves. It’s a constant struggle, but it’s worth it. Pressure makes diamonds, right?”
Their success also comes from embracing social media. “We try to just be ourselves,” Brayan laughs. “Even if it’s cringe. People respect authenticity, and we’re just putting it out there.”
The Creative Process
For Cheer Up Dusty, songwriting is a true collaboration, built on sharing ideas, trading demos, and refining their sound together. Once they land on something that feels right, they bring it to producer Pete Zen, whose expertise helps shape the final product. Each member plays a crucial role in supporting the message of the song, ensuring that every track captures the raw energy and authenticity they strive for.
With new music on the horizon, the band is gearing up for an exciting year. Their first single drops on April 15, 2025, kicking off a wave of releases and a packed schedule of live shows and bigger tours. The goal is simple: to reach more people, play more music, and do what they love.
Looking ahead, their vision is clear— turning their passion into a full-time career. Leaving the day jobs behind to dedicate themselves entirely to music is the ultimate dream. But beyond success, their true mission is to create a lasting impact. Every song, every show, every interaction is about sharing their love for music and the energy they pour into it. If listeners walk away feeling something real, knowing they’re part of something bigger, then Cheer Up Dusty has done exactly what they set out to do.
As I tell our fearless leaders here at Dying Scene, I swear to you all I’m not trying to turn this site into a comic book site. However, there is no denying that the ethos and DIY spirit of punk rock intersects with indie comics or most forms of art for that matter. It can […]
As I tell our fearless leaders here at Dying Scene, I swear to you all I’m not trying to turn this site into a comic book site. However, there is no denying that the ethos and DIY spirit of punk rock intersects with indie comics or most forms of art for that matter. It can sometimes be a lot of hours of work for little, if any success. Which is why it has been great to see Apollo City Comics grow over the years.
Initially starting as a podcast by founder and creator Brandon Bloxdorf, Apollo City Comics takes a punk rock approach to publishing by releasing an anthology series similar to the compilations released by indie record labels we all loved growing up, starting with …And Out Come The Comics. Over the last year, Apollo City Comics has released a number of titles from some of the creators featured in this and other anthologies they have put out. We caught up with Brandon to talk about Apollo City’s latest anthology, This Comic Kills Fascists and other projects coming soon.
Dying Scene: For the people who read this and don’t know about Apollo City Comics, give us a little bit of a history.
Brandon Bloxdorf: Essentially, this was a podcast I started because I had been writing for comic book websites and I was trying to figure out how to break into comics. I was a musician most of my life. I had been in bands and they just didn’t work out the way I wanted. It was too much drama and too much crap. And so I thought, “I love comics. I love literature. I should try this out.” I just didn’t know how to break into the industry. I didn’t know how to make a comic. I didn’t know how to find an artist or how to pay an artist. Just all of it was a mystery. So I started the podcast in 2018 to find a way to study craft. If I could study craft, I could learn some secrets and develop a series. I’ll go to school for English. I’ll just take a creative writing approach. If you fast forward a few years, I was just stuck doing the podcast and talking about books. I actually started interviewing indie creators primarily because I wanted to find out stuff from them. They’re the ones who I’d be on the level with. It didn’t make sense for me to interview Scott Snyder and Tom King and all these bigger industry people. And I was like, indie people, that’s what I got to do. So we started interviewing them.
I met a guy named Mark Bernal and he was starting up a publishing house called Lesser Known Comics. It seemed like such a good opportunity to be a part of. They’re like a hippie commune that kind of exists through one another. I had a bunch of life stuff happen that caused me to move over here to Virginia. Luckily enough, that’s where Mark lives, too. He lives right outside of DC. I got fired from my job. I was at a low point. We went to Baltimore Comic-Con trying to pitch Teenage Babylon. He suggested just making a punk anthology that’s on theme with your story, build an audience, and then you’re not starting from zero. I put together this punk anthology. I opened submissions through the podcast. I had like eighty people submit. The Kickstarter was funded in under an hour for a $1,000 goal. We made five times our goal with that Kickstarter. Then I had people asking me questions about how to put together an anthology. Apollo just took off in 2023. Like, right when that punk anthology finished up. It’s been a year and a half, and we’ve put out 14 books. We just launched a dual anthology this morning. It’s crazy where Apollo’s gone from to a pinnacle point in the indie community. I also work for a very popular printer that indie comic creators use, Comix Wellspring. I’ve just maneuvered myself into the indie comic scene in an insane way.
The first anthology was …And Out Come the Comics. Did you have any… I don’t wanna say rules, because it’s punk rock, there shouldn’t be any rules. Were there any parameters, I guess?
Yeah, I’m very inspired by Heavy Metal, the 1980s movie. It transformed me as a kid. I wanted to do my version of that in a way— A bunch of short stories one to six pages long. That way we could get a variety. I just wanted to know, what does punk mean to you through this story? How does punk reflect in your mind? Is it an ethos? Is it like an attitude? What is it? All of these creators submitted a story basically telling their best version of what punk means to them. There’s so many mixtures and ways to interpret art and some of these stories, but that was the whole thing. Punk rock and indie comics saved me, they gave me hope. I just wanted people that were involved with comics in the punk rock scene and had something to say about it. Granted, there’s a lot of goofy, cool stuff, you know, and there’s some personal stories, some funny stories, or just dragons getting their heads cut off.
I was gonna say Big Fucking Sword feels like a Heavy Metal comic.
Hell yeah. That was one of my favorites, man. Dylan’s such a good artist.
I like those little blurbs about punk rock means to you and the other writers. It was a nice little touch.
That goes back to finding myself. You hear so many people talk about what’s punk rock, and what’s not punk rock, like, it’s a very loose definition. I think we need to follow a loose definition versus being nitpicky about it. You’ve met those punks, you know what I mean?
Yeah, I knew all those punks growing up. I’ve got kids and they’re about to be teens. So, I’m teaching them to not be those punks.
Yeah, I used to get made fun of as a high school kid for not being punk enough. I’m more punk than you guys because I don’t give a fuck.
So, the newer anthology is, “This Comic Kills Fascists.” When does the physical version come out?
I got it from the printer on Tuesday. So, I’m gonna go to this convention. After that, I’ll be mailing out all the physical copies. The digital version came out in January. I think we put it up just to start raising funds when we go to print since we didn’t do a kickstarter for it. That’s one of the most exciting books we did. It was such a fast turnaround and kind of showed us that we know how to make a book on the fly. The election happened and literally the day after we decided we were doing this book. We opened submissions within our circle. We got twelve in and we narrowed them down and we created this resource book.
I really liked that part of it.
And honestly, so much has changed since the election itself. We’ve already wanted to do part two. There are so many communities that are heavily affected by what’s going on. We really want to keep on doing this. It really came out being a big fan of Anti-Flag. Chris No. 2 was who I modeled myself after as a bassist stylistically. I really loved Anti-Flag because they gave me hope. They informed me about politics, gave me a viewpoint and gave me something to understand that was tangible. Since they’re not around anymore, I wanted to do that, but through comics. How do I figure out how to be what Chris No. 2 is and Joe Strummer was, but through what I have and what I could provide in my community?
That was the missing component and missing your favorite band in general. They would inspire me and just be the anchor I needed to know things would be alright in the world. What happened to that band hurts a little extra because of those details, but we’re always trying to be our heroes. We want to respect our heroes and do what we can for them. So I thought it was a good way to honor them in a sense, you know?
You have a couple other anthologies on the website.
That’s where things kicked off with Alex Batts, the co-owner of Apollo City Comics Publishing. He saw the punk anthology and had this idea for a cyberpunk anthology. He just didn’t know how to execute it and wanted some advice. I didn’t know him at all. We met in person and it was like a great first date. We talked for like four hours. It just worked so well. He was such a productive person and understood the vision and scope of what I wanted to. He really became the backbone of everything. I’m good at organizing and managing community. Back end stuff is where my brain just clicks out. It takes me forever to do some stuff. I’m good at being in front of people. He’s good at taking care of all the technical tidbits and contracts and staying organized and keeping me on track.
That’s how CyberSync came together. That was a great book. We gotta bring it back in print. We’ve sold out of all of our first run. The same thing kind of happened with Kai Brown and The Shadow Anthology: Dark Sides Calling. We’re publishing two of her other books this year. These three anthologies kind of defined what Apollo City Comics is. We have punk rock, we have sci-fi, and we have a book about introspective passion, you know, like really looking inside yourself. It’s always been about passionate people making passionate comics and we’ve kind of ran with that since then.
I was looking at your other books. What are some of your other favorite books? Are they ongoing series, or are they on going as they can be?
Hyperforce is an ongoing series. That’s with Adam Matthew Smith. Issue two is launching at the end of March. That’ll be on Kickstarter. We’re actually opening up the pre-launch page. That could be up to twenty issues, but there’s a long stretch for that series. Outerspaced, that’s with our friends, Eric Allred and Ben Collins. That has about ten issues planned as of right now. Another part of Apollo that works out really well is our stoner line. All of us are very 420-friendly. They’re doing another book called Too High to Die, which is probably coming out next year..
Oh, nice. Is it like a horror thing?
It’s actually Home Alone meets Die Hard. It’s about big pharma versus little farm growers and how big corporations are taking out these like the bottom half. It’s a comedy, but we’re going to have them making these crazy devices to fight off this brigade of big pharma people trying to take over their shop. There’s a lot of humor in it. There’s a lot of anti-establishment stuff sprinkled in.
Awesome. Those all sound fun.
I have the Broadcast Dialogues. That’s my other book; it’s an eight-page book that will be my big space opera sci-fi book, launching this year, too.
That’s awesome. Those all sound fun. Tell me about the Found Footage anthology.
That one just wrapped. It was our February Kickstarter. I teamed up with a great creator, Jade Lauder, who has his own line of comics called It’s a Horror Show. He’s done four issues of it already. They’re kind of like one-off stories. Some of them were also in the Punk Anthology in his submission with the punk rock werewolf. His love of Trick r Treat, Creepshow, and VHS kind of brought this about. He’s actually making art that goes in between some of these submissions. It’s kids going into a comic book shop and they’re reading these stories. Those are the submissions we’re reading from the creators. I have Teenage Babylon short story in there.
You have your two anthologies that you just launched today, Kick Out the Jams and The One Hitters.
I actually have Kick Out the Jams. It’s a beautiful book, forty pages. I printed it because we had the funds. We’re doing this one week Kickstarter because right now we’re wrapping a documentary this week. We’re doing an in-store event and going to Indie Creator Con. A bunch of the Apollo team is crashing at my place starting tonight. I have someone driving in from New York and some people driving up from Texas. Eric Allred and Javi Martinez—they just had these stories kind of floating about, and we made it happen. Kick Out the Jams is really about how much we love music in itself. We got all these cool music stories from our friends, put them into one anthology. The title is an homage to the MC5. It’s always fun to do those things too.
For One Hitters, we were going to do a preview book at Indie Creator Con. It’s a twenty-four page anthology. We are actually debuting a series that I’ve been working on, The High Adventures of Weed Wizard and Bong Boy. Our first chapter is going to be in this anthology. I’m excited for that story to come to life.
That’s awesome, man. It’s good to see how much Apollo City Comics has grown.
Yeah, believe me, it’s a trip. June will be our two-year publishing anniversary. So it’s kind of wild. It felt at the time like I wasn’t making progress, but then all of a sudden we’re publishing 14 books in a year and a half. I’ve been doing this since 2018, trying to figure it out. Yeah, it just happened to click, and it just worked. And when it works, you just run. That’s what people need in the community, from music to comics, is just someone to listen, check it out, and give it a chance. We’re going to make our dreams come true because all of us who do this don’t want to live in regret. I don’t want to do that day job thing and then just have it take over my life. I’m glad that we’re shooting these shots now because you never know when things can change. I think you’ll like so many of our upcoming releases. We’re doing volume two of the punk anthology. My book, Teenage Babylon, which is a cosmic punk rock love story, will be out this year as well.
I liked what I saw of Teenage Babylon in the punk rock anthology.
It’s way different now, too. We have a new artist on it, and Christian has taken it in a totally new direction. It’s gonna be a gorgeous book.
I’ve always felt it’s much more difficult to get something great out of the fewest layers than the other way around. For all the music nerds, yes, diminished chords, modulation, etc: all cool too, but you’re just showing off at some point. If you can catch that “hell yeah” feeling with just a few tools then you’re […]
I’ve always felt it’s much more difficult to get something great out of the fewest layers than the other way around. For all the music nerds, yes, diminished chords, modulation, etc: all cool too, but you’re just showing off at some point. If you can catch that “hell yeah” feeling with just a few tools then you’re cooking with gas, in my completely unwanted opinion.
The Sleeveens seem to have figured that equation on their debut self-titled full-length, release in 2024 via Dirtnap Records. Based in Nashville with frontman from Dublin, the locations seem to have informed the sound. There’s a healthy dose of 70s Irish punk bands like Stiff Little Fingers (bassist James Mechan is also the guitar tech for the legendary band and also produced this record) and The Undertones (whom are covered here on the album with a ripper version of “Get Over You”) mixed with the American garage punk style found on Goner Records and, well, a number of bands from Dirtnap Records, so the landing place for the release makes sense.
Outside of the cool pedigree and name drops, the tunes are simply great. There is a timeless quality to the songs. To those who haven’t wasted most of their brains on learning recording technique and guitar tone, I could say this came out anywhere between 1978 and yesterday and it might make sense. That mostly speaks to the simplicity and resilience of the punk rock n roll style. It always has and likely always will sound really cool! But, really what matters here is that it just sounds perfect. It’s big and loud coming through some good speakers while still sounding nice and lo-fi, hardly any edges smoothed down. It has the trappings of garage with the simple, buzzing riffs and the microphone-might-be-inside-this-guy’s-mouth vocals.
Though it feels fresh and doesn’t come out as a pastiche or hero worship like a lot of power pop or punk bands often can, you hear some influences. All good ones, too, so it works. The riff of “Metallica Font” has a bit of pub rock in the vein of Dr. Feelgood. “Aretha Franklin” makes me think of Australian garage icons Royal Headache. Let It Be-era Replacements is once again brought to mind, always a good thing in my mind. For instance, a real burner on the record, “Haunted Neighborhood”, has some echoes of the Minneapolis band’s “Unsatisfied” in its refrain.
What stands out the most on this record is Stef Murphy’s songwriting style. Thematically, garage punk often leans into the nihilistic or satirical. That exists here (“Gloryholes”), but the best songs, for me, are the ones that lean a bit more romantic. Dare I say, poetic. Many of the songs feel like they would only need slight tweaks and they’d sound just fine on an old country record, or a Billy Bragg-style troubadour record. The song that represents that the most and the jewel of the record is the opener, “Give My Regards to the Dancing Girls.” Within seconds of my first listen, I started it over and paid attention. I’m likely to have said to myself, “yes, now we’re talkin’.” I initially thought it must be a cover of an old standard Celtic tune, with the lilting melody and feel-good vibe of a tune sung in a bar I’m imagining is a real place somewhere. While it’s more Pogues in spirit than in practice, unplug the guitar amp and turn the Chuck Berry lead line into a fiddle and you’ve got a song right off of an alternate reality Rum Sodomy & the Lash. I don’t have a better superlative than that.
Orange County’s Movements is currently on a hefty North American spring tour with special guests Citizen, Scowl, and Downward; of course Dying Scene would not miss this (and neither should you!) Tulsa, Oklahoma’s dreamy shoegaze band Downward opened the night with a set of beautifully light and ethereal songs. They recently released Downward (LP2) on […]
Orange County’s Movements is currently on a hefty North American spring tour with special guests Citizen, Scowl, and Downward; of course Dying Scene would not miss this (and neither should you!)
Tulsa, Oklahoma’s dreamy shoegaze band Downward opened the night with a set of beautifully light and ethereal songs. They recently released Downward (LP2) on March 5th and are slated to play Furnace Fest this year in October.
Scowl took the stage next with furious and infectious energy as the crowd grew larger. Lead singer Kat Moss’s iconic lime green hair illuminated the stage along with her fierce prowess that bellowed through every note she sang.
Scowl is releasing their newest album Are We All Angels on April 4th via Dead Oceans and I cannot tell you how psyched I am for it. You can pre-save the album here! Bonus: watch the video for “Not Hell, Not Heaven” here!
According to their Bandcamp, “Much of Are We All Angels grapples with Scowl’s newfound place in the hardcore scene, a community which has both embraced the band and made them something of a lightning rod over the past few years… At every turn on Are We All Angels, the band explores ambitious new directions and bends genre norms. Moss makes the most immediately noticeable evolution, dropping some of the gnarling bite of the band’s previous work in favor of a more textured and sometimes delicate approach. She flexes harmonies and melodic sensibilities that might surprise even the most dedicated Scowl fans.”
Post-hardcore emo band Citizen played to an eager audience that sang along to every song, which comes as no surprise from my fellow elder emos. After the release of their debut full-length album Youth in 2013, they became a featured act on the Vans Warped Tour. Ten years later Citizen released their fifth studio album Calling the Dogs on October 6th, 2023 via Run for Cover Records.
Bringing the night to a close, Movements brought even more melancholic post-hardcore emo to Chicago to a now packed house. Their newest single “Where I Lay” was released on February 19th through Fearless Records.
Tacoma is a special place. Often overlooked as a sister city to the dominant metropolis of Seattle, the town has long had a history of nurturing it’s own unique music scene apart from that sprawling cultural behemoth of the Pacific Northwest with whom it is historically and intrinsically entwined. It’s the birthplace of such greats […]
Tacoma is a special place. Often overlooked as a sister city to the dominant metropolis of Seattle, the town has long had a history of nurturing it’s own unique music scene apart from that sprawling cultural behemoth of the Pacific Northwest with whom it is historically and intrinsically entwined. It’s the birthplace of such greats as garage originators The Sonics, surf veterans The Ventures, mathcore legends Botch and current street punk heroes NOi!se, among countless others. One of the many venues keeping that tradition alive in this bustling nest of creative incubation is the historical Jazzbones, and it’s here that I found myself on a rainy Friday night to bear witness to the return of the mighty Koffin Kats and their touring partners The Last Gang!
After stopping by nearby hidden gem The Red Hot for a pre-show bite and a brief sojourn to local arcade The Triple Knock for a few rounds of pinball, I made my way over to Jazzbones just as the opening act Distorted Times were taking the stage.
Although a fairly new band, this collection of Portland punk scene veterans have been kicking around and honing their skills for over a decade in various bands such as Ground Score, PROBLEMS and Dirty Kid Discount. Despite only having played a handful of shows at this point in time, it is clear that these folks take their craft seriously and put their all into their well-crafted tunes. Keep an eye out for these upstarts, and check out their recently released singles via Crash Assailant Records, including the most recent offering “Hella Highwater“ featuring Jay Navarro of Suicide Machines fame. Blasting through a set that ranged from skate punk speed, street punk fury, and ska-tinged melodic punk, aided by the horn section of fellow Portland scene stalwarts Los Mal Hablados, they drew the growing crowd in and kept them enraptured from start to finish. As their time neared its end, they closed their set with their final number, “Another Wasted Night”, and its sweet refrain “remember somehow, somewhere, somebody still loves you.” A simple, but an effective message, and one that resonated in these trying times.
Next to take the stage were Orange County road warriors The Last Gang. From the first note, these Fat Wreck alum set out to prove to the crowd that they have what it takes to grab the room by the throat and hold them enthralled and entranced for the duration of their allotted 40 or so minutes on stage. Bashing and grooving through a collection of tunes from across their discography, Brenna and the boys gave the audience far more bang for their buck than I’m sure new listeners were expecting from the California collective. They clearly had their fair share of fans in attendance as well, as evidenced by the enthusiastic crowd seen pumping their fists at the front of the stage, and singing along from the opening verse of “The Others” all the way through to crowd favorite closing tune “Blood Drunk”.
Despite their punk leanings, The Last Gang proved to be more than just one trick ponies as they seamlessly transitioned from fist pumping punk barn burners like “Dogmatic Capitalizer” from recent album Obscene Daydreams, and classic pop centric reggae tinged single “Gimme Action”, to the mellow dark groove of personal favorite “Noise Noise Noise” from their 2021 release of the same name. Not a second was wasted, as the incredible all-star team of Sean, Sam and Ken blasted through the set with precision and impeccable energy, keeping the crowd screaming with glee as Brenna mugged and postured with effortless control and infinite cool.
Finally, with the crowd buzzing, The Koffin Kats took to the stage. Foregoing their usual walk on music, they immediately plowed into their intro, leading the crowd in a pulsing chorus of whoas bleeding deftly into their opening number, “Riding High” from their classic album Our Way & The Highway, straight into crowd favorite “Graveyard Tree” without a moment to breathe. The hits just kept coming, as the denim cutoff-clad charmers grinned and galavanted around the stage with plenty of humor and a remarkable amount of grace. One thing can be said for these Detroit greasers, if nothing else, and that is that nobody could ever accuse them of taking themselves too seriously. Though the content of their lyrics may be dark and brooding, their delivery is friendly, comedic and welcoming. As Vic lifts his beautifully decorated upright bass into the air, the crowd is given a glimpse of what may as well be the mantra of this ragtag group etched on the back of the instrument: Party Time. That it was.
As they steam rolled through numbers covering witches (“Witch In The Woods”), muscle cars (“V8 Nightmare”), love lost (“Graveyard Tree III”), and even a spirited punkabilly rendition of the Hall and Oates classic “Maneater”, the audience is treated to a well rehearsed act complete with instrument swapping solo sections, rowdy singalongs, and the creative use of Vic Victor’s double bass as a jungle gym mid song. Not to be outdone, Tommy Koffin adeptly strangles his beautiful sparkle black signature Reverend guitar with deftness and finesse, pulling grit and aggression out of it one moment, and seasick clean reverberations the next, never disrupting the well-oiled showmanship this trio are known for. It’s truly a sight to behold.
Holding things down in the back, Eric “E Ball” Walls vacillates between rousing four-on-the-floor stomps and hypnotic tribal beats, blending his steady kick and snare with the slap of Vic’s bass to perfect effect. These three have clearly put a lot of time and elbow grease into their show, and the efforts are well-received by the crowd here at Jazzbones. Though not the typical leather jacket and motorcycle boot-clad crew one might expect for a psycho or punkabilly headliner, the diverse crowd seemed to be made up of a wide swath of subculture enthusiasts, all thrilled to watch the Michiganders set the stage ablaze for their entertainment.
As the night drew to a close, the band ripped into a block of crowd pleasers including “The Bottle Called”, “The Way of the Road”, and “Koffin Kat Rock” before bidding the audience a fond farewell with their closing ditty, “For Hire”. This however was not the end, as they jumped straight into a reprise of their intro, joined on stage by Brenna and Ken of The Last Gang, as well as their tour manager Andrew, daringly clad only in a pink thong and a Burger King crown. A fittingly ridiculous end to a raucous and thoroughly enjoyable evening.
If you love good music, good company, and good times, I highly recommend looking out for these bands the next time they roll through your area. I guarantee you will be glad you did!
