DS Gallery: Post-hardcore band Movements play Chicago’s Aragon Ballroom with Scowl, Citizen, and more! (3/22/25)

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. 



Check out the full galleries below!


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DS Show Review: Koffin Kats, The Last Gang and Distorted Times at Jazzbones in Tacoma, WA (03/21/2025)

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!

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DS Exclusive: Ratbones premiere music video for “Piero Zanfretta” from upcoming LP “Spaghettification”

Italian Ramonescore quartet Ratbones are back with their new record Spaghettification set to release April 18th on Mom’s Basement Records. What’s more, we’re bringing you the exclusive world premiere(!) of the music video for their brand new single “Piero Zanfretta”! Check that shit out below and keep an eye on Mom’s Basement (US) and I […]

Italian Ramonescore quartet Ratbones are back with their new record Spaghettification set to release April 18th on Mom’s Basement Records. What’s more, we’re bringing you the exclusive world premiere(!) of the music video for their brand new single “Piero Zanfretta”!

Check that shit out below and keep an eye on Mom’s Basement (US) and I Buy Records‘ (Italy) webstores for Spaghettification vinyl pre-orders launching soon.

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.

SPAGHETTIFICATION
RELEASES APRIL 18TH

MOM’S BASEMENT RECORDS (US)
I BUY RECORDS (ITALY)

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DS Spotlights: Punks Doing Good March 2025: Six Feet Over. Working to Prevent Suicide and Helping Survivors of Suicide Loss.

Mental Health issues affect nearly every, if not every, family and every community. The Punk community is no different. The good news is that there are people within this community doing their level best to improve the lives of those dealing with such issues, working to prevent suicide, and working with the surviving loved ones […]

Mental Health issues affect nearly every, if not every, family and every community. The Punk community is no different. The good news is that there are people within this community doing their level best to improve the lives of those dealing with such issues, working to prevent suicide, and working with the surviving loved ones of those who have taken their own lives.

One such organization is Six Feet Over (SFO). The Michigan-based 501(c)3 non-profit organization was founded in 2012 by Katie Hardy following the suicide of her mother. Hardy has also survived the suicide of eight friends so for her, this is a way forward and her calling.

Its mission statement per the SFO website:

To provide financial and emotional support for survivors of suicide loss and individuals with lived experience of suicide, while engaging in community prevention through mental health education and advocacy to support healthier futures.

The organization’s Administrative Coordinator Laura Lukofsky described how Founder and Executive Director Kate Hardy came to start Six Feet Over,

She began this journey by selling tee shirts at Detroit Punk Rock shows simply to promote awareness and normalize conversations about suicide loss due to her personal experiences, and she wanted to be there for the communities she was/is a part of.

The non-profit does a multitude of things but it is also composed of two major programs. The first is called Suck It! Suicide (SIS).

On its website, SIS describes what it is and its approach,

Suck It! Suicide (SIS) is the outreach program of Six Feet Over, which also does the bulk of the fundraising for Six Feet Over through merchandise sales and in person donations. SIS specializes in community outreach, doing so in unconventional ways and places.

We keep it real. Suicide is a serious issue, but that doesn’t mean we can’t bring laughter and light into our outreach. Our tables are full of hugs, laughs, and sometimes tears—along with merch to help raise funds and keep our mission going strong. Because supporting mental health can be real, raw, and still a good time.

The second major program run by Six Feet Over is called Lemon Aid.

Often overlooked by the general public are the issues, financial and otherwise, faced by survivors of a suicide loss. This is where Lemon Aid, described as “Postvention & Support,” comes in to help. Six Feet Over describes “postvention” this way,

Postvention is the response and services provided following a death by suicide. Postvention includes working with loss survivors and the larger community to provide debriefing and support services, including linking with resources and providing emotional support. We consider postvention as prevention, as we know that those who are exposed to suicide are at a greater risk for suicide themselves.

The program assists with funeral and memorial services, helps with obtaining granite memorials and headstones as well as urns and caskets, It also assists with bio-cleaning services & others.

The program is presently available in Michigan and Kansas but the organization is working hard to expand it to other states. For those in the aforementioned states, the application and details of its requirements are available on the website.

Funding for Six Feet Over is achieved in several different ways.

In Kansas, the Lemon Aid program is funded by a grant from the Kansas Department for Aging and Disability Services (KDADS).

In Michigan, funding is done through Donations from the public, state grants, event and program sponsors, and sales merchandise and from fundraising events via Suck It Suicide.

Six Feet Over does crucial work and donations are important to, as Laura Lukofsky told me,

“Keep the doors open” as it were. It’s one of the very few non-profits that all the proceeds go to our mission.

Six Feet Over is doing so much more than can be fully described in a few paragraphs. As Katie Hardy told me,

Beyond our programs Suck It! Suicide (outreach) and Lemon Aid (loss survivor support) we also do a bit of consulting, and a lot of talks and presentations. Our main focus though are the programs. Our foundation is built on knowing our wheelhouse, perfecting the services, keeping up on best practices, listening to those with lived experience to better understand and provide what people are asking for, and maintaining the highest quality and standards we can. People deserve nothing less than the best we can do. Period. 

If you can, PLEASE consider donating here. You can also volunteer with SIS, starting by filling out a quick application here.

Six Feet Over can be followed on Facebook and Instagram. Check it out and help them out!

****

Artwork Credits:

SFO logo: Brook Brewster, Multi-medium artist. Instagram: @broken_glass_co

SIS logo: Cheryl Tash, Tattoo artist.Instagram: @cheryldoestattoos

Lemon Aid logo: Nadia Garver, Tattoo artist/shop owner. Instagram: @bogwitch

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NastyNate also put together a playlist of punk songs related to mental health. You can check it out here.

If you or someone you know is in crisis please call or text 988 for the Suicide & Crisis Lifeline; call 911; or visit your nearest Emergency Room.

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DS Gallery: Flatfoot 56’s St. Patrick’s Day bash in Chicago featuring Catch 22, The Copyrights and MANIA! (Reggie’s Rock Club, 3/8/25)

It is March, which means it is time for Flatfoot 56’s annual St. Patrick’s Day bash in Chicago! Held at Reggie’s Rock Club, this year’s sold-out show included Catch 22, The Copyrights and MANIA.  MANIA is one of Chicago’s newest punk bands featuring members of Bad Sons. They are surely here to stay as they left […]

It is March, which means it is time for Flatfoot 56’s annual St. Patrick’s Day bash in Chicago! Held at Reggie’s Rock Club, this year’s sold-out show included Catch 22, The Copyrights and MANIA. 


MANIA is one of Chicago’s newest punk bands featuring members of Bad Sons. They are surely here to stay as they left an impressive mark with their high-energy and aggressive scowls, hyping up an increasingly packed house. 



Pop punk band The Copyrights have been around since 2002 and are currently signed with the infamous Fat Wreck Chords. The Carbondale, Illinois band certainly has their own following, especially being around for as long as they have been. The Copyrights are a midwestern pop punk staple. 


Adding to the varied punk genres of the night, New Jersey’s ska band Catch 22 made an appearance. Their 1998 debut studio album Keasbey Nights is a ska essential. We have a feeling you will be seeing more of them in the future! They currently have several fests lined up this year: Derby Punk Fest, Pioneer Valley Ska Fest and Supernova International Ska Festival


Bringing the late night to a close, Flatfoot 56 brought the aggressive Celtic punk to the St. Patrick’s Day bash, making everyone a little Chi-rish. You can catch them in April for a couple of shows with The Koffin Kats and the absolutely stacked line up that is Punk in the Park Denver this summer. 



Check out all the pictures below! Happy St. Patrick’s Day!


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DS Exclusive: Listen to Ottawa punks Sunshine Overload’s new single “Wrong or Rite” from upcoming album on Mom’s Basement Records

Ottawa punks Sunshine Overload have signed over their souls to Mom’s Basement Records for the release of their new self-titled album – coming soon! To celebrate the momentous occasion, your best buds at Dying Scene are bringing you this exclusive premiere of the album’s opening track “Wrong or Rite”. Check that shit out below(!) and […]

Ottawa punks Sunshine Overload have signed over their souls to Mom’s Basement Records for the release of their new self-titled album – coming soon! To celebrate the momentous occasion, your best buds at Dying Scene are bringing you this exclusive premiere of the album’s opening track “Wrong or Rite”. Check that shit out below(!) and stay tuned for more to come.

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.

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Dying Scene Show Review: Kraftwerk at The Anthem, Washington, DC (03/16/2025).

On Sunday, 16 March 2025, legendary German electronic band Kraftwerk brought their Multimedia Tour 2025, celebrating 50 Years of their groundbreaking fourth album, Autobahn, to a packed crowd at The Anthem located on The Wharf in Washington, DC.  The party started early with fans lining up well before doors opened at 6:30 pm, with the […]

On Sunday, 16 March 2025, legendary German electronic band Kraftwerk brought their Multimedia Tour 2025, celebrating 50 Years of their groundbreaking fourth album, Autobahn, to a packed crowd at The Anthem located on The Wharf in Washington, DC. 

The party started early with fans lining up well before doors opened at 6:30 pm, with the queue wrapping around the block. Fans piled in, and bought merchandise, and took their seats. The show started at 8:00 pm sharp, with synths, drum machines, and laser lights taking this small community on an otherworldly adventure to the synth-dimension. The band wrapped up their two-hour set at 10:00 pm.

The band was celebrating the fiftieth anniversary of their fourth album, Autobahn, which released in November 1974, and Autobahn made it onto the set-list with Kraftwerk’s recognizable scenic visual. This album is important as it marks the group’s shift from experimental krautrock to an electronic pop sound that is dominated by synthesizers and drum machines. Kraftwerk’s distinct minimalist electronic sound, lyrics about technology and the human condition, and their distinct visual aesthetic laid the foundation for many synthpunk, post-punk, new wave, and industrial artists that followed them down their cultural Autobahn.

The audience went wild to these songs as they escaped the grind of life in the nation’s capital. The band left the stage one by one and as they each received a heartfelt standing ovation at the of the night. 

  • Here are the songs featured in this night’s setlist:
  • “Numbers / Computerworld” 
  • “Home Computer”
  • “Spacelab”
  • “Airwaves”  
  • “Tango” 
  • “The Man Machine”
  • “Electric Cafe”
  • “Autobahn”  
  • “Computer Love”
  • “The Model ” 
  • “Neon Lights”
  • “Radioactivity”  
  • “Tour De France”
  • “La Forme”
  • “Vitamin”
  • “Trans-Europe Express”
  • Encore:
  • “The Robots”
  • “Planet of Visions”
  • “Boing Boom Tschak”

This was a night to remember. Don’t miss your chance to take a trip on the Autobahn with Kraftwerk!!!

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DS Album Review – Bad Leavers – “Give and Take”

While ska is on the rise all over the US, one scene that is typically under-represented is the South. Under-represented definitely isn’t the same as unrepresented, and the number of ska bands from the south continues to grow, from Stuck Lucky in Tennessee to Mississippi’s Flying Raccoon Suit, from a growing scene of bands in […]

While ska is on the rise all over the US, one scene that is typically under-represented is the South. Under-represented definitely isn’t the same as unrepresented, and the number of ska bands from the south continues to grow, from Stuck Lucky in Tennessee to Mississippi’s Flying Raccoon Suit, from a growing scene of bands in the Carolinas to Joystick!, Bad Operation, and the Ghost Town Steppas in Louisiana. The newest band to add to explode onto the Southern Ska scene is Atlanta, Georgia’s very own Bad Leavers.


Bad Leavers’ 6 song EP Give and Take is their debut studio recording on Jabroni Records and features trad, two-tone, and reggae influences in a nice, clean recording. The lead vocals from Joe Hottel (formerly of The Skunks) are calm and clear while being harmonized with the backing vocals of A Sherman.


Hottel also handles the guitars and pairs with Reid Stegall on the bass to lay most of the rhythms and upstrokes that are constant throughout the album. A Sherman plays the trumpet while not taking care of backing vocals, and teams up with Rein Stegall and Dave Sherman on tenor and bari sax respectively to fill out a stellar horn section that mostly adds texture to the songs without ever becoming over-bearing or stealing too much attention except when given room to shine in instrumental portions like the outstanding finale in “Going Nowhere.” Finally, drummer Luis Nieves sets up solid tempos to keep the songs moving that definitely carry the tracks forward.


With only 6 tracks to the album, there definitely isn’t any filler, but to me, two tracks stuck out in particular- the opener in “Bait & Switch,” and the closer, “Song for Nobody.” Both tracks are somewhat uplifting, songs about overcoming problems and validating others. “Bait & Switch” is more of a slow reggae jam with a nice, solid horn line in the intro, calm, clean vocals, and a strong duet for the chorus. This track feels like it gives the vibes of a laid-back, smoky, speakeasy, and the end of the track lets the horns out a little bit to breathe. The closer, “Song For Nobody,” is much more two-tone inspired. The rhythm picks up; it requires a dance floor, but definitely not a mosh pit. The horns are a little sharper, the backing vocals are echoed for punctuation in the verses, and harmonized in the chorus. The drums definitely beg the listener to move their feet and the constant upstrokes do their part as well. There is a nice mixing of pace with a short bridge with no guitars to help keep the texture of the track fresh and fluid.


Sure, Give and Take is only six tracks, but in my opinion, this already cements Bad Leavers with the likes of bands like Joe Gittleman, The Operators, and the Prizefighters when it comes to bands that deliver on that reggae, trad, and two-tone sound. It’s such crisp, clean, easy-to-listen-to music that feels instantly familiar and easy to appreciate, with a rhythm that begs to get you moving while also demanding that you listen to the lyrics. The talent level of Bad Leavers is top notch, and it’s evident that everyone in the band has years of experience in the music industry because the mastering and production is equally flawless. It’s so easy to isolate and appreciate every instrument on every track. This is just the beginning far Bad Leavers, and I expect much more to come.

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DS Exclusive: Chicago lipstick-punk band Sweetie release new video for “Bulletproof”: a love letter to queer joy

The darlings of the Chicago punk scene are back with another stunning music video, and you’ll see it first here at Dying Scene! In honor of the International Day of Transgender Visibility on March 31st, Sweetie is releasing their new music video for “Bulletproof” which celebrates queer joy, friendship, and resilience.  “I have always loved […]

The darlings of the Chicago punk scene are back with another stunning music video, and you’ll see it first here at Dying Scene! In honor of the International Day of Transgender Visibility on March 31st, Sweetie is releasing their new music video for “Bulletproof” which celebrates queer joy, friendship, and resilience. 

“I have always loved La Roux’s song ‘Bulletproof’ and it is one of my favorite songs to cover, and I especially love a cover song that sits very differently from the original. For me, it started out as just a fun dance-pop song to play at shows, but the more that I played it, the more I found my own meaning in the lyrics.”

Birdy discusses that for her, this song has become an ode to resilience and friendship. “My journey through the music scene has been a really tough one, but time and time again, when something knocks me down, my friends are always there to catch me. I’ve dealt with some pretty intense stuff, so when I sing this song, sing it with all the defiance and strength I can muster, saying ‘This time baby I’ll be bulletproof.’ It’s really the idea of ‘what doesn’t kill you makes you stronger,’ and what has made me stronger is my friends. That’s who this video is for.”


The video, which was filmed and edited by Elliot Lubicz, portrays a delicious mélange of on-stage and behind-the-scenes footage from drag shows, Sweetie gigs, and the Rocky Horror Picture Show. “My friend group is a very vibrant group of some of the most beautifully talented and queer beings to ever walk this earth,” Birdy explains. “I describe my friend group as the loves of my life, and the joy and color everyone brings to the world is something I wanted to celebrate in this music video. I wanted to keep it simple, but still show the beauty and energy that I witness every time we are all together, and I knew Elliot would be perfect for putting this music video together.”


Elliot Lubicz, a non-binary drag performer from Dekalb, is also one of the directors of the Irrational Master’s shadow cast of the Rocky Horror Picture Show. Birdy details why she thought that Elliot would be a perfect fit to create this music video. “Before every Rocky Horror performance at the Egyptian Theater in Dekalb, our shadow cast starts every show with a really kick-ass montage video. Elliot picks out a song that always has so much drive, and finds footage from old movies and music videos and edits them all together. They have such a magic touch when it comes to editing, and these videos are always SO intensely cool. They get the audience so pumped up for the show. I knew Elliot would make something insanely cool for us.” Birdy states how she wanted the music video to be a celebration of the resilience and beauty of her friend group, and that centering queer joy was essential to that portrayal.


Director Elliot recounts their inspiration and motivation behind the music video, “Queer joy is revolutionary. It is strength, resistance, and authenticity. It is rage, power, and magic. Our resilience allows us to weather the storms of ignorance. We take part in the delight of creation and transformation; we shatter binaries and expectations. Living a queer or trans experience is divine. Capturing a snapshot of intertwined queer lives in our Midwestern tiny corner of the world fills my heart with comfort, and radiates a hopeful energy that is needed, especially now. This video concept for ‘Bulletproof’ is a representation of the moments we fight for: a celebration of our truest selves, our ability to dance in the face of evil, and our dedication to carry on. It shows we are everywhere, and we’ll continue to be here no matter what. Now, it’s time to put our armor on. Keep fighting, keep protecting, keep taking care of yourselves, keep dancing!” Elliot ends their statement with a note to the viewers, “ I love you and thanks for watching!”


The video release is just in time for Sweetie’s next performance at The Venue in Aurora, IL on March 30th. The event is hosted by Open Door Health Center of Illinois, which provides primary health care, human immunodeficiency virus (HIV) and sexually transmitted infection (STI) prevention, testing and treatment, and mental/behavioral health counseling and treatment, specializing with those living with HIV/AIDS, with an emphasis on those who are part of the LGBTQ+ community. The event is free but registration is required and can be accessed by following this link. Executive Director of Open Door Health Center, Perry Maier, tells us, “The theme for Trans Day of Visibility 2025 is, “Take the Stage.”  Please join Open Door Health Center of Illinois at the Venue as we welcome Sweetie to the Stage.  We celebrate the resilience and determination of our trans friends.”

Here it is! Check out the video for “Bulletproof”!


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DS Interview: The Legend of Sam Ilich the Pirate and The Thrillkillers– A Punk Rock Shipwreck of a Journey

Sammy, Snake, The Punk Rock Priest, The Forrest Gump of Rock and Roll, and ‘Lil Ely’ I first met Sam at a small fundraiser. He wasn’t on stage yet, but you could already feel his presence, like the calm before a storm. There was undeniable energy about him— wild, untamed, like a punk rock pirate […]

Sammy, Snake, The Punk Rock Priest, The Forrest Gump of Rock and Roll, and ‘Lil Ely’

I first met Sam at a small fundraiser. He wasn’t on stage yet, but you could already feel his presence, like the calm before a storm. There was undeniable energy about him— wild, untamed, like a punk rock pirate who had somehow washed up in the modern world. He wasn’t just another face in the crowd; he was the guy you noticed, even before he grabbed the mic.

It didn’t take long for us to hit it off. Just two souls goofing around, shooting the shit like we’d known each other for years. But then, when he finally stepped onto that stage, the air changed. I’d never been serenaded in hardcore before and let me tell you, Sam had a way of making it real. Every scream, every riff, wasn’t just sound— it was a raw, primal truth. It was something deeper, something unfiltered, something real. That’s the magic of Sam: he makes you believe, not just in the music, but in the moment itself, in the madness of it all. In a scene that thrives on authenticity, he is authenticity incarnate.

But as much as Sam thrives in chaos, the story of who he is (and why he’s still standing) is a testament to survival. Sam didn’t just stumble into Punk rock; it was his salvation, his anchor. In his own words, “Music saved my life… literally.” Before Punk, his life was a struggle— a constant battle with darkness that could’ve easily ended in tragedy. But then came Punk, his lifeline, the force that pulled him from the edge.

Punk: A Lifeline

For Sam, Punk wasn’t just a phase or a passing interest, it was a lifeline. Growing up on the South Side of Chicago, Sam’s world was shaped by grit, struggle, and survival. His Yugoslavian immigrant family, always helping others, taught him the value of hard work. But Sam’s escape came in the form of music. Punk rock spoke to him in a way that nothing else did. The rawness, the rebellion, the noise, it clicked when nothing else had. Punk became his anchor, and in it, he found the courage to keep going.

Before Punk, life wasn’t easy for Sam. The streets of Chicago were tough, and his best friend, Mike Morales, was a constant in his life until tragedy struck. Mike, a star athlete, was lost in an accident, and it changed Sam forever. But Mike’s influence, particularly his introduction to Black Sabbath sparked something in Sam that never left. Metal became the catalyst that led him to Punk, the place where he would truly find himself.

A Childhood in the Streets: Running and Rocking

Sam’s childhood was filled with running. And I mean running. From rooftop jumps to snowball fights with the local cops, his youthful rebellion knew no bounds. But it wasn’t just about causing trouble, it was about living life on the edge; learning what it meant to be tough and developing a bond with the people around him.

It was Mike who introduced Sam to something that would shape his future: Black Sabbath. After one fateful afternoon smoking weed, Mike popped in an 8-track of We Sold Our Soul for Rock & Roll, and the rest, as they say, was history. Iron Man. War Pigs. Fairies Wear Boots. Sam was hooked. From that moment on, he was a metalhead for life, forever changed by the dark, heavy sounds of Sabbath’s genius.

But tragedy struck early for Sam. His friend Mike, a football star in the making, tragically lost his life when a homemade zip gun accidentally discharged. Sam never forgot the man who opened his eyes to rock and roll, and it was Mike’s influence that continued to drive him throughout his life.

The Thrillkillers: Born from Chaos

The Thrillkillers, Sam’s band, were forged from this chaos. But it wasn’t just about the music; it was about the spirit. Sam, with his raw energy and unapologetic Punk rock ethos, needed a crew to help him steer his ship and that’s how The Thrillkillers came together.

The name? It wasn’t just cool; it reflected their ethos. It was about living on the edge and constantly balancing destruction with transcendence. Early shows were chaotic, full of technical difficulties and all the messes Punk shows thrive on. But that chaos was what made it beautiful. The energy was pure magic, and they weren’t just playing music— they were living it. Sam, like the pirate he is, brought something that no one else could: authenticity and survival.

However, it wasn’t all easy. There were struggles with self-doubt and rejection, but Sam never stopped pushing. Through the highs and lows, from DIY shows to sold-out venues, The Thrillkillers carved out a place in the Punk scene. Sam’s relentless energy and drive turned obstacles into opportunities.

The Punk Rock Pirate Mentality

Sam’s pirate spirit isn’t just a gimmick, it’s him. The devil-may-care attitude, the charm that makes you believe in the madness— this defines both Sam and The Thrillkillers. Their sound is raw, fast, and unpolished, just like Sam’s spirit. There’s no safety in their music, no compromise. It’s part hardcore, part rock ‘n’ roll swagger, part bar fight. It’s for those who never fit in, the ones who need Punk to save them, just like Sam once did.

Punk, for Sam, isn’t just a genre; it’s a philosophy. It’s about survival in a world that doesn’t make it easy, about living out loud and unapologetically. It’s about making space for people who don’t fit the mold and building a community where the only rule is be yourself. Sam’s not just making music; he’s building a movement— a way of life.

The Future: A Legacy in Vista and Beyond

Sam’s journey has evolved far beyond just making noise. He’s now building something bigger, a space where the scene can flourish, create, and rebel with purpose. In Vista, California, he’s creating a home for music, a sanctuary where the chaos can breathe and the underground will thrive. With plans for his podcast, Sam aims to amplify voices that deserve to be heard, giving a platform to those who are often overlooked. But at the heart of it all, it always comes back to the music. For Sam, it’s about ensuring that no one else has to feel as lost as he once did. Punk isn’t just noise— it’s a survival instinct, a way of fighting back against the world and carving out a space to call your own.

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