Elvis Costello brought his band, the Imposters, with Charlie Sexton to The Orpheum Theatre for two nights as part of his Radio Soul: The Early Songs of Elvis Costello Tour. Focusing mostly on the first ten years of his career, Costello played a set that shows why he’s one of the most prolific songwriters of […]
Elvis Costello brought his band, the Imposters, with Charlie Sexton to The Orpheum Theatre for two nights as part of his Radio Soul: The Early Songs of Elvis Costello Tour. Focusing mostly on the first ten years of his career, Costello played a set that shows why he’s one of the most prolific songwriters of our time in several genres.
Given the heavy-handed response to the protests in Downtown Los Angeles the last few weeks, I was elated to find that the show was still happening after the implemented curfew had been lifted. This was my first trip to the Orpheum, and I was surprised that despite sitting up in the balcony, the view was still great. The seats were angled in a way to get a good view of the whole stage, even being near the top of the balcony section.
Like a lot of theaters in Los Angeles, The Orpheum has a history. This ninety-nine-year-old theater was a vaudeville theater opened in Los Angeles in 1926. Many of the biggest performers of that time, such as the Marx Bros., Will Rogers, and jazz greats like Duke Ellington and Ella Fitzgerald, performed there. In the 1960s, rock concerts became more frequent, making way for artists like Little Richard, Aretha Franklin, and Stevie Wonder. Eventually, in 1989, it was remodeled into the venue we have today. The interior still resembles the vaudeville theater it started as nearly one hundred years ago.
However, the band has a history, too. Elvis Costello has been recording for close to half a century which makes for a vast songbook. Each night typically features the hits, but it’s the deep cuts in between that vary throughout the different sets. Costello is one of the few artists who does a great job of weighing the hits and fan favorites with deep cuts. While the song “Green Shirt” definitely falls into the category as a perfect song to play during this tour, it seems to be absent as he has included it in previous years’ outings.
Dressed in a blue suit with gold shoes, Costello walked out to Heaven 17’s song, “(We Don’t Need This) Fascist Groove Thing,” which set a good tone for the night. Steve Nieve was set up house left with a grand piano, a synth, a keyboard, and a Hammond organ behind that. Davey Faragher and former Bob Dylan guitarist Charlie Sexton were set up on the opposite side to Costello’s left. Pete Thomas kept the beat behind Costello as he has for almost fifty years.
From the opening chords of the Mersey beat, “I Hope You’re Happy Now,” this show felt special. Elvis Costello and the Imposters tore through “Mystery Dance” and then steadied the tempo with “Watching the Detectives.” In recent years, a lot of the songs have been rearranged a bit; “Detectives” isnât typically one of them. Yet, ever the master of any instrument with a keyboard attached to it, Steve Nieve played the song’s repeated guitar riff using a melodica. Rearranging songs is nothing new for Costello and it has a great payoff for the most part.
After welcoming the crowd, Costello played “Watch Your Step,” “Big Tears,” and “Accidents Will Happen” with Nieve’s grand piano intro. Costello joked that “early songs” could have also meant songs written earlier that day. He then played a couple of newer tracks out of the scope of the first ten years, “We Are All Cowards Now” and “God’s Comic.â
Eventually, Costello switched over to an acoustic guitar and Davey Faragher picked up a stand-up bass and played some cuts from King of America, and some stripped-down versions of classics like â(The Angels Wanna Wear My) Red Shoesâ and âClubland.â During âClubland,â Costello snuck in a quick verse of the Specialsâ Ghost Town.
When the band went back to their spots, they were joined by Spanish singer La Marisoul, who took over on vocals for âDetonatesâ (âLittle Triggersâ) and a cover of Nina Simoneâs âDon’t Let Me Be Misunderstood.â La Marisoulâs vocals brought the energy back up after a mellow detour in the set. The rest of the set was a grab bag of hits. Itâs not an Elvis Costello show without hearing âAlison,â âPump It Up,â âRadio, Radio,â and of course, â(Whatâs So Funny âBout) Peace, Love and Understanding.â
Seeing Elvis Costello is always a good time. A set list that jumps genres and a band that can play them all with the greatest of ease make for a great show. The Imposters have never sounded better. Watching Steve Nieve swivel around between his synth, grand piano, and keyboard is always a treat. Charlie Sexton’s addition to the band in the last few years has been a wonderful addition. Iâve been going to see Elvis Costello for about fifteen years now. Davey Faragher and Pete Thomas are hands down one of the best rhythm sections Iâve ever seen. I’ve seen Costello close to ten times, and nearly every show is different. Elvis Costello doesn’t seem to be slowing down anytime soon, but he does keep aging like fine wine.
The 6/21 was horrible. Off-key, late & sloppy delivery of vox; two guitar solos that sounded like the guitar tech handed EC the wrong instrument for the tune; an apathetic at best delivery from the front man. This seems to be the same formula for the San Diego show three nights later per the Union Tribune. The orchestra section’s latter rows began to clear 2/3 through the carnage. Total disappointment.
UK pop-punks Goldstate are releasing their brand new single “Nothing To Lose” tomorrow via Punkerton Records, and we’re stoked to be exclusively premiering it a day early right here on Dying Scene! Check that shit out down below đđ Featuring guest appearances from Jaret Reddick of Bowling For Soup and Thomas Nicholas of the Thomas […]
UK pop-punks Goldstate are releasing their brand new single “Nothing To Lose” tomorrow via Punkerton Records, and we’re stoked to be exclusively premiering it a day early right here on Dying Scene! Check that shit out down below đđ
Featuring guest appearances from Jaret Reddick of Bowling For Soup and Thomas Nicholas of the Thomas Nicholas Band, Goldstate frontman Ben Pritchard says “Nothing To Lose” is about “what happens when you hit emotional rock bottom and realize the problem mightâve been you. Itâs the sound of confronting your own mess, taking accountability, facing people who now hate your name, and choosing to grow anyway.”
Pre-save “Nothing To Lose” on the streaming platform(s) of your choice right here, and stay tuned for more to come from Goldstate!
This premiere is brought to you in part by Punk Rock Radar. If youâd like your bandâs music video, song, album or whatever to be premiered by Dying Scene and Punk Rock Radar, go here and follow these instructions. Youâll be on your way to previously unimagined levels of fame and fortune in no time!
The Orange County Museum of Art is showcasing its 2025 biennial, Desperate, Scared, but Social. On Saturday June 21st, the museum celebrated with block party and a performance by The Linda Lindas, Emily’s Sassy Lime, and Brontez Purnell. The block party had booths for kids and families to make crafts, a silk screen booth which […]
The Orange County Museum of Art is showcasing its 2025 biennial, Desperate, Scared, but Social. On Saturday June 21st, the museum celebrated with block party and a performance by The Linda Lindas, Emily’s Sassy Lime, and Brontez Purnell. The block party had booths for kids and families to make crafts, a silk screen booth which gave a demonstration of silk screening and sold bags for the show, along with a workshop on risograph printers used for either posters or shirts.
The exhibit itself takes its name from the title of Emily’s Sassy Lime’s 1995 Kill Rock Star-released album of the same name. The display for the Linda Lindas took a decent portion of the exhibit and had cardboard cutouts of some of the images used on the shirts along with some of the shirts hanging in the museum, as they were designed by Eloise and Bela. Flyers and some of the outfits they have worn were also present, as they were also designed by the band. The next part also serves as a great record of Emily’s Sassy Lime, with pictures of the band and art pieces. There is a wall dedicated to Disneyland with pictures of the theme park from the 1990s, as well as shelves of relics from the decade like cassettes, VHS tapes, shirts, and other trinkets of the time.
The stage was set up outside on the museum’s second-floor terrace next to a bar where you could buy food tickets. On the terrace, there were booths that sold all types of food, from hot dogs and nachos to baked goods. While the arts have caught up to punk rock and recognize it as a valid form of expression (which it always was), it’s always weird when the suits get involved. It always feels like the people in charge have too many contracts with vendors rather than common sense to bring in something affordable.
Brontez Purnell opened the show with vodka and soda in hand. He revealed to the crowd no one was able to curse during the show, but he was able to keep his songs and banter in between just tongue-in-cheek enough to keep the organizers off his back. He played six songs from his albums *Confirmed Bachelor* and *No Jack Swing*, with songs like “He Never Knew What Kissed Him” and “Rudolph Valentino.” Singing to a backing track, Purnell’s set was a journey through a mind with great lyrics and a unique performance. I would like to see an unfiltered live set that wasn’t confined to the censorship limits implemented.
Emily’s Sassy Lime is a three-piece band formed in 1993 in Irvine, CA by Emily Ryan and sisters Amy and Wendy Lao. They were one of the essential early riot grrrl bands along with Bratmobile and Bikini Kill. They played a set that was a little shaky in parts as they just reformed for this, but was still great nonetheless. Playing songs like “Pineapple Boy Need Not Apply,” “1984,” and “Dippity Do-Nut.” At one point, everyone in the band traded instruments. I hope there are more shows in their future; it was a fun set.
Most of the crowd was there to see The Linda Lindas play. As always, they put on a great show. There was a lot of energy from the band and the crowd. They played a set that was heavy on their latest album, No Obligation, but managed to put in first album cuts, “Growing Up,” “Nino,” “Oh!,” and “Racist Sexist Boy.” During the band’s performance “All in My Head” Emily Ryan from Emilyâs Sassy Lime came out and sang with Lucia. The highlight of the night was when the band closed with Bikini Killâs “Rebel Girl” and Kathleen Hanna came out to sing with the band. It made a special night so much better. After the set, everyone who performed stuck around to take pictures with people. It was a great night.
The “Desperate, Scared, but Social” exhibit is on display at the Orange County Museum of Arts through January 6, 2026. Admission is free. For more information, click here.
Punk rock should always be evolving and should be music of the people, but as a straight white guy what do I have to complain about outside mental health, but that’s a conversation for a different time. Recently, as I was scrolling through Facebook I stumbled upon a post from the Middle-Aged Queers. Given that […]
Punk rock should always be evolving and should be music of the people, but as a straight white guy what do I have to complain about outside mental health, but that’s a conversation for a different time. Recently, as I was scrolling through Facebook I stumbled upon a post from the Middle-Aged Queers.
Given that it’s Pride Month, it seems the perfect opportunity to highlight some of the coolest queer bands in the scene right now. Shaun Osburn of the Middle-Aged Queers was kind enough to give me some recommendations and also answer some questions about those lists and his band. Check out the bands/playlist below to find your new favorite band; not just for Pride Month, but for all year long.
Dying Scene:What bands are the usual suspects in these types of lists?
Shaun Osburn: Typically, Pansy Division and Tribe 8. Pansy Division is probably the most notable, as they were on Green Day’s first tour as a major label band, and their catalog spans over 30 years. Tribe 8 were their sapphic contemporaries in the early days. I have a lot of respect for both bands, and I count many of their members as dear friends. However, in the decades since both bands formed, the political landscape has changed greatly, occasionally making some of the songs culled for queer punk roundups feel dated.
Within the last ten to fifteen years, Against Me! or Laura Jane Grace has also been generally included in these lists. She’s fantastic, grinds harder than most, and has been phenomenal in supporting many of our friends by exposing them on her radio show or taking them out on tour.
Do you feel like those lists are always looking for fight songs or protest songs rather than just good music? Not saying that either of those is a bad thing or mutually exclusive.
Protest or anthemic “fight” music can always inspire me, but I often find myself drawn to the more reflective or introspective songs. I think it’s okay to be a queer band and not always churn out songs about struggle; sometimes there’s joyful catharsis in singing songs about love or even silly things like cats, food, sex positivity, friendships, and so on.
From an editorial standpoint, I understand the appeal of including songs that are more outwardly political in nature; Pride Month’s origins stem from the Stonewall Riots, and having more anthemic songs seems like an obvious choice.
I appreciated the diversity in regards to the spectrum of punk rock of the bands you recommended. I feel like everyone expects these bands to all be angry. What would you consider your definition of queer punk?
The sonic boundaries of what should or shouldn’t be considered punk are silly to me now. Even the early 1970s punk rock bands ran a wide spectrum in terms of sound. It is ultimately about the spirit and ethos of the musicians that find themselves playing to like-minded crowds, which is now what defines punk.
The term “queercore” has certainly become nebulous. Unlike other “core” genres like “hardcore” or “grindcore,” there isn’t really a set sound. I have seen folk acts, electronic groups, and hip-hop groups use the term “queercore,” and I think it now primarily serves to define a global fellowship of musicians.
Do you feel a band can have a member or two that identifies as queer and be considered a queer punk band? LIke HĂŒsker DĂŒ for example has Bob Mould, would HĂŒsker DĂŒ or his solo work be considered queer punk?
That’s a really great question! You’ve stumped me here. I wouldn’t consider any of my previous bands to be queer punk, despite all of them having at least two or three queer members. I would consider Mould’s later work, especially with Sugar, as being queer, but perhaps that’s only because I was listening to those songs after I knew he was queer.
Where does someone like Jayne County fall?
Jayne County is a proto-punk pioneer who, sadly, does not receive enough credit for all she has accomplished. I saw her about 6 years ago, still playing at a tiny DIY space to a handful of people. It amazes me that she’s still out there grinding.
I struggled with finding how to present these bands. I feel like the music definitely stands on its own, but I don’t feel like it’s right to be like if you like this straight version you’d like this version over here. Is there another way?
Ya know, Middle-Aged Queers has often gotten comparisons like “You all sound like Gay Grimple” or “Gay Blatz” (I find “Gay Blatz” to be especially numerous because several members of Blatz are gay.) Maximumrocknroll called us “FYP on Poppers.” I’m not sure if it’s fair or if there might be a more tactful way of approaching the comparisons, but people definitely do it.
Also, does that come off too righteous or disingenuous? I never mean it to be. I donât want to come off as this straight savior? Is that even a thing or does it get lumped into white savior?
Nah, you’re good! I don’t think I’d ever really thought of it that way before, so I appreciate the question!
Is it the chicken and the egg type of question to ask what came first, drag names or punk rock names? Clearly, someone like Divine was around before punk, but with witty names using puns. Side note: I recognize that Divine is probably like the Mos Def of drag queens, but Iâm a John Waters fan going way back.
So much of that was brewing at the same places and at the same time. I’m not in a position to provide an answer from a firsthand account, but from what I understand, much of the early drag and punk scenes were intertwined in major cities like London, Toronto, Los Angeles, New York, and San Francisco.
I’m not shocked to find some of these bands on somewhat bigger labels like Kill Rock Star (Trap Girl) or Epitaph (The Muslims), are those labels just really shitty about promoting? Whether it be that there’s no budget anymore or over-saturation from all bands in general?
Record labels matter a lot less than they used to. Streaming has democratized the way we listen to music, and with so much available right now, it’s easy to miss many emerging artists. Trap Girl has been around for a decade and is finally getting their props, and The Muslims have done tour dates with some big names like Jawbreaker and the Descendents.
Trap Girl
Formed in 2014, Trap Girl is punk rock at its rawest and most righteous. Fronted by the unapologetically fierce Drew Arriola-Sands, this four-piece band lashes out with unrelenting force. Tracks like âTranswomen and Chokeholds,â âBlastard,â and âDead Men Don’t Rapeâ hit with blistering urgency.
Trans Panic
Fueled by a steady diet of Against Me!, the Damned, and NOFX, Trans Panic delivers punk with bite and backbone. This trio snarls through tracks like âSmile (for me)â and âI Wanna Be A Necromancer.â Their latest EP is dark where it needs to be, raw where it counts, and never pulls its punches.
Tits on a Bull
Tits on a Bull from San Francisco sounds closer to the architects of punk than modern contemporaries. The band’s steady, unflinching sound grips from the first chord and holds on. Frontman Erik Coreâs vocals cut through like steel and smoke, making every listen a ride worth repeating.
Furious Tits
Hailing from the Bay Area, The Furious Tits drips with snark and swagger. Wrapping razor-sharp riffs around lyrics that drip with sardonic wit. Tracks like âCostco Dommeâ and â(I Love My Boyfriend But) I Wanna Fuck That Girlâ are equal parts hilarious and honest, with just the right amount of chaos and charm.
Bev Rage and the Drinks
Dubbed Chicago’s Best Punk Band of 2024, Bev Rage and the Drinks come out swinging with unapologetic fury and grit. Fronted by seven-foot-tall drag queen Beverly Rage, their sound is loud and brimming with raw charisma. They hit harder than most bands I’ve heard this year.
The Muslims
Formed in 2017 in Durham, NC, The Muslims don’t give a fuck and I’m here for it. When it comes to speaking out against injustice, bold and confrontational barely scratches the surface. With sing along songs like, âFuck These Fucking Fascistsâ and âPunch A Nazi,â there is no lack of great songs to be found in their discography.
Cluttered
Cluttered is a Halifax, Nova Scotia punk supergroup featuring members of Weekend Dads, Designosaur, and Jabber. This four-piece plays distorted riffs and hook-heavy choruses with breakneck precision. Their relentless rhythm section and sharp-edged guitar work make them stand out in the scene.
Iron Roses
If the anthemic rush of the Iron Roses doesnât get you on your feet and dance, their fierce, justice-fueled lyrics just might. Blending shout-along hooks with a social conscience that channels raw energy into songs that beg to be sung loud. The Iron Roses are a force to be reckoned with.
Gay Agenda
The Gay Agenda was formed in San Diego in 2017. The brainchild of David Hurtt who wanted to make hardcore punk as brutal and unapologetically queer. Their sound is a blitz of speed, ferocity, and snarling defiance. Fast, intense, and aggressive, The Gay Agenda doesnât just check the hardcore boxes, they smash them.
COCKRING
Born out of the COVID-19 lockdown, COCKRING is a Sacramento four-piece that channels fury. With one full-length LP, a demo, and a string of bruising singles, theyâve carved out a sound that detonates while delivering anthems that are as relentless as the times that forged them.
Hit Like a Girl
A music project of Nicolle Maroulis, Hit Like A Girl has a poppier sound, but is no less potent than its punk peers. Mellow, melodic, and moody in all the right places, their songs hit with emotional clarity. Nicole Maroulis also channels her energy into “No More Dysphoria,” a nonprofit offering direct support for gender-affirming care in multiple ways. Find more information here.
Middle-Aged Queers
Tell us about the Middle-Aged Queers
Middle-Aged Queers was started as a fun after-work project that had very few ambitions. We figured we’d play a few house parties, maybe record a demo, and fizzle out after a year or two. We certainly never intended to tour or be around for this long. The initial reaction to use was really intense. We didn’t actually intend on releasing an album; our first record was just going to be our demo. The reaction to it landed us a spot at Punk Rock Bowling, then FEST the following year. It’s been a really wild ride.
I always see tour dates for the Middle-Aged Queers, is this a full time thing?
We have toured consistently since 2022, typically for about three to six weeks a year. But that’s only because we’re all fortunate enough to have jobs that allow us the flexibility of working remotely. We still do everything totally DIY, which makes the logistics of tour planning a bit more cumbersome than bands who work with booking agents.
At our current capacity, we certainly don’t lose money on touring, but it wouldn’t be enough to pay our own bills, even if we were on the road full-time. There’s a finite amount of t-shirts and records we can sell at a single show, and the money we get from the door barely covers our travel costs.
We’d love for this to be a full-time thing. If you are a booking agent reading this who wants to take on four incredibly neurodivergent queer punks who prefer playing all-ages shows, slide into our DMs. If you are in a very popular band, please consider taking us on tour so your fans will love us and give us money.
Have you toured with any of these bands you recommended?
We have done a few dates with Trap Girl and The Homobiles (Fureigh from Middle-Aged Queers also plays in The Homobiles, and for that particular tour, I was filling in on bass guitar.), and we did a week of touring with Dog Park Dissidents on the East Coast last year.
Tell us about Theatre of Shame.
Theatre of Shame is our third album, with the title and cover serving as a parody of Motley Crue’s Theatre of Pain. All of our albums have been Motley Crue parodies. I chose Scott Weiner and Caitlyn Jenner’s faces as the masks to represent my disappointment with both LGBTQ+ republican and democratic public figures. Domnic Davi from Tsunami Bomb did the artwork.
The album itself is a much more polished approach. Our first two albums were recorded in just two days, with an incredibly limited budget. We had an attitude of keeping it very stripped down to keep it as authentic and “punk” as we could. Years later, I found myself wincing when listening to both records, not because they’re bad, but because there are vocal harmonies or complementary melodies that could have improved the overall album if we’d allowed ourselves the additional time in the studio. With Theatre of Shame, we tracked the record slowly between tours, taking our time between sessions to give our ears a break and return refreshed later. I’ve done several records over my 30+ years of playing music, and this is the one I am the most proud of. You can stream or purchase the physical album here.
I stumbled across your Sleep Long (Operation Ivy) and Fireman (Jawbreaker) covers. They were fantastic. What other older punk bands do you have high regard for?
Thank you! We are occasionally asked to contribute to tribute albums for legacy artists, and it’s always a pleasure. We’ve covered other bands, such as The Middle Class, Gun Club, Dr. Know, Flipper, and Faith No More.
Do you have any shows coming up?
We’re done with touring for 2025, but we still have a few more California shows before the end of the year. My husband and I are expecting a child in October, so that puts a pause on touring for a bit. Now’s the time to come see us!
A big thanks to Shaun for sharing these bands with us. Catch the Middle-Aged Queers in their last few shows for the year. Tour dates are below.
July 17 – Sacramento, CA @ Cafe Colonial Ă
July 18 – Santa Rosa, CA @ Arlene Francis Center Ă
All images used were taken by the wonderful and talented Put Over Photos at the absolutely wonderful venue, Reasons and Ruckus in Poughkeepsie. Located on Main Street in the heart of the Hudson Valley, it’s become a haven for hardcore, punk, jazz, RnB, and hiphop, taking place of the once legendary Chance Theater only four […]
All images used were taken by the wonderful and talented Put Over Photos at the absolutely wonderful venue, Reasons and Ruckus in Poughkeepsie. Located on Main Street in the heart of the Hudson Valley, it’s become a haven for hardcore, punk, jazz, RnB, and hiphop, taking place of the once legendary Chance Theater only four blocks down.
The first band to play was the doom metal outfit Grim Exit, utilizing the demonstrably amazing soundsystem to massive effect. Driving bass and drums accented the voice of Laurie Safdie, a wonderful combination of grindcore and stoner metal all in one. You could feel every decibel of the drums as they were hammered to near oblivion. Their sound was rich and heavy and the perfect way to start the night.
After that was the Modern Natives, a band I’ve been excited to see live ever since I saw a clip of them on Insta. Their energy, lyrics, and instrumentation were phenomonal. A three person outfit with drums, guitar, and piano lended a unique sound to the night. Their lyrics were angry trans-anarchy, with two delightful and soulful covers given their distinct and soulful gay tinge.
Touring all the way from Asheville, North Carolina, Cam Girl combined the delightully homoerotic with the intense glitter of glam rock. Each song was, in their own beautiful way, horny and covered in a thin coating of sweat and cum, an energetic declaration of transness and sexual freedom. With precise instrumentation that lined up perfectly to the beautiful neon sign behind them, they were a wonderful headliner for the night.
Finally, the hometown Hudson Valley weird bois Alliteration hit the stage. With their usual combination of intimate rhythym ‘n’ blues and driving hardcore sound, they capped off the night with a cacophony of anarchic joy. In the middle of their set they made a point to thank their fans for staying at a set on odd hours on an odd date until ten at night, and proceeded to play one of their classics “Eat Shit, Fuck Off” in defiance of the recent glut of anti-trans legislation.
Check out all of their Bandcamps and support these beautiful bands. You can see more of the show below, once again courtesy of the wonderful Put Over Photos.
Canadian badass and fierce punk rockers NOBRO and Bad Waitress teamed up for The Go For Broke Tour, kicking off at Punk Rock Bowling in May before traveling across the United States. Chicagoâs own Carnivore Mommy started off the night with a performance nothing short of theatrical. We first featured the in-your-face band last fall […]
Canadian badass and fierce punk rockers NOBRO and Bad Waitress teamed up for The Go For Broke Tour, kicking off at Punk Rock Bowling in May before traveling across the United States.
Chicagoâs own Carnivore Mommy started off the night with a performance nothing short of theatrical. We first featured the in-your-face band last fall for H.O.O.F. (Hands Off Our Fest), a Chicago music festival celebrating the women, femmes and thems in punk rock.
On May 25th they released their newest single âDissonanceâ, check it out here! Carnivore Mommy is very quickly becoming one of my favorite local bands; see them live and they will be yours, too.
Next up is Canadian punk rock band Bad Waitress, whom I have been dying to see come through Chicago. Aggressive and lively, the band blasted through fan favorites, including âWhat Do I Want?â, âThat Sedativeâ and âMannersâ, plus their newest single âPlan Bâ.
Guitarist Katelyn Molgard ricocheted through the crowd and on stage while Kali-Ann Butala sang with unique course-textured vocals, keeping the night of unapologetic rowdy energy alive and well.
Fellow Canadian punk band NOBRO closed the night with their own brand of ferocious femme force. They released their debut full-length album Set Your Pussy Freeon October 27th, 2023 via Dine Alone Records to much appraise, winning the 2025 JUNO award for Rock Album of the Year.
The Guillotines are a ska-punk outfit operating out of Glasgow. With their music clanging across streaming services theyâve developed a fourth full studio album, Parcel Of Rogues. Starting the album out, “Breakdown” has a wonderful solo section featuring the trumpet and electric guitar dancing between each other, slowly crescendoing to the final utterance of the […]
The Guillotines are a ska-punk outfit operating out of Glasgow. With their music clanging across streaming services theyâve developed a fourth full studio album, Parcel Of Rogues.
Starting the album out, “Breakdown” has a wonderful solo section featuring the trumpet and electric guitar dancing between each other, slowly crescendoing to the final utterance of the refrain of the song:
We got the matches/We got the gas To burn down the world/Leave you on your ass We got the numbers/To take on your might Weâll breakdown your walls/Leave you out of sight.
With “Breakdown” at the start of the album you can get an excellent idea of what the rest of the album entails. âHalo and Nooseâ features the second singer’s far more gravelly, exhortive voice as he describes the small difference between being an angel and feeling a rope around your neck. The theme of the album, a militant distaste and hatred for the modern status quo, capitalism, and the folly of modern fascism and online culture, spills through in every song.
The excellent musicianship of the album shouldnât be overlooked in favor of fawning over the overtly political messaging. Every song is absurdly well-crafted, with the interplay of each instrument on full display. There are certain points on the album where each artist is allowed to flourish and play in the space, ringing out every moment of bliss they can in their solos.
It is clear yet that I really enjoy this album? I hope so. Itâs classic punk mixed with ska sensibilities. It reminds me a lot of The Offspring’s breakthrough album Smash in how the drums and guitar sometimes take a backseat to the cutting vocals, with the entire thing tied together by an anarchopunk thematic throughline.
Something I especially appreciate is the entire sound and vibe of âNew Wild West,â a song about how the internet (and more specifically Twitter-dot-com, now X, soon to be several 404 error screens) has caused a majority of the public to completely lose sight of the way their words and actions affect people around them. It’s my favorite off the album, especially the masterful playing of the downtuned acoustic guitar to create a singularly country-western sound to accompany the theming of the song.
Itâs a damn good album. The Guillotines know what theyâre doing and every song shines. Go buy the fuckinâ thing once it hits their Bandcamp in late August.
Greetings, and welcome to the Dying Scene Record Radar. If itâs your first time here, thank you for joining us! This is the weekly* column where we cover all things punk rock vinyl; new releases, reissues⊠you name it, weâve probably got it. Kick off your shoes, pull up a chair, crack open a cold […]
Greetings, and welcome to the Dying Scene Record Radar. If itâs your first time here, thank you for joining us! This is the weekly* column where we cover all things punk rock vinyl; new releases, reissues⊠you name it, weâve probably got it. Kick off your shoes, pull up a chair, crack open a cold one, and break out those wallets, because itâs go time. Letâs get into it!
Check out the video edition of this weekâs Record Radar, presented by Punk Rock Radar:
NOFX continues to fund their retirement with represses, with the latest being this 25th Anniversary Pump Up The Valuum reissue. This is a zoetrope record (google that if you don’t know what it means) and it’ll run ya $40 which is pretty lame but it does look sick as fuck. Get it here.
German skate punks Skeetch will be releasing their debut LP Sunny Side of Shitty Town on August 22nd and you can pre-order it now! Punkerton Records has three bad ass color variants up on their webstore, and Cat’s Claw Records has an EU exclusive variant as well. Check out the music video for the new single “Sunny Side” down below đ and lock in your pre-orders for the skate punk record of the year!
Teenage Bottlerocket’s new record Ready to Roll is due out August 29th on Pirates Press Records and pre-orders are going fast, with two of the most limited variants (including the deluxe edition with a foil sleeve and bonus 7″) already selling out. Pick through the scraps and grab one of the leftover variants here.
In case you missed my Record Radar Alert(!) last week, I’ll remind you Mom’s Basement Records is releasing two bad ass albums from 2024 on vinyl for the first time: YES FLAGâs Grand Bystander and Unicorn Dogsâ Age Typical Junk Behavior. You can grab both records on an awesome selection of color variants right now on the Mom’s Basement webstore.
DRAIN …IS YOUR FRIEND or so they say! DRAIN’s got a new record coming out November 7th on Epitaph and there are a fuckload of color variants to get this one on. Links to pre-order all 27 of them can be found right here. Check out their new single “Nights Like These”:
Let’s take a lil break from all the new records and talk about some old records. Here’s a kinda old record! Bayside’s The Walking Wounded was released in 2007 and has been out of print for nearly a decade, but now you can get it on three new color variants by clicking this link and ponying up $40! What’s the deal with this shit? $40 records! Jesus H
SBAM Records is repressing The Ataris’ 1999 classic Blue Skies, Broken HeartsâŠNext 12 Exits on two bad ass new color variants, and picture disc! Who doesn’t love picture discs? Also! They’re doing that liquid filled record thing still. These are only available on their EU and UK stores.
SBAM’s also repressing The Vandals’ Peace Thru Vandalism on three sick nasty color variants – and again, on a $99 liquid filled “Anarchy Burger” variant. These are only available on their EU and UK stores as well.
The fine people at Sounds Rad! Records continue to revive the legendary Lookout! Records catalog one record at time, with their latest endeavor being a big time 30th Anniversary reissue of Squirtgun’s classic self-titled debut, freshly remastered by Mass Giorgini at Sonic Iguana Studios. A red, yellow, and blue splatter variant will be available to pre-order from the Sounds Rad! webstore this Wednesday, June 25th, with a “standard retail variant” coming in October.
13 years after their bad ass debut album The Sound I Know, Ontario skate punks Curbside are back in action and ready to release their sophomore LP A Lifetime to Outgrow August 8th on Thousand Islands Records! Check out the new single “We Were The Thieves” below and pre-order the record on beautiful colored vinyl right here. Also! Thousand Islands is also releasing the debut album on vinyl for the first time ever; you can get that at the same link.
Add Modern Life Is War to the list of bands releasing a new album for the first time in a long time, as they’ve announced Life On The Moon, due out September 5th on Iodine Recordings and Deathwish Inc. They’re pressing this on nine (9) variants! Links to buy all of them can be found here.
Ska revivalist JER will be releasing a new album called Death of the Heart on August 15th via Bad Time Records. Check out the lead single “The Way You Tune It Out” below đ and pre-order the record on three color variants (actually two, since one already sold out đ”) right here đ
Dead Broke Rekerds continues to reissue bad ass kinda obscure 90s punk records, with the latest being from New Jersey’s Humble Beginnings. Their 1998 EP Overanalyzing the Manifestations of the Unconscious has been remastered for its first ever vinyl release, limited to 220 copies on random mixed color vinyl. Get it here!
The Smoking Popes have a new 7″ single Allegiance out now on Anxious and Angry, limited to 300 copies on gold vinyl and another 300 copies on black wax. All proceeds will be donated to the ACLU. Get it here.
Speaking of 7″s! The Dollyrots have a new single called “Get on this Ride” coming out this Friday, and you can get it on a 7″ featuring the exclusive B-Side “You Don’t Own Me”. Get it on evergreen colored vinyl right here.
London, England’s Burnt Tapes are releasing their new album New Lungs August 8th. Check out the new single “MOTHERSGUILT” below and get the record on two color variants from Wiretap Records (US), Lockjaw Records (UK), and Nasty Cut Records (EU). Nasty Cut has an exclusive – and very limited – cassette tape release as well.
More 7″s! Split 7″s even! Mercy Music and Danger Days contribute one new song each on their new split 7″, due out July 11th on Double Helix Records and available on five(!) color variants right here. And that’s not all; Double Helix is releasing another split 7″ from Her Head’s On Fire and Arms Like Roses. New songs from both bands! Three variants! Limited to 100 copies each! Get it here.
Motion City Soundtrack’s first new album in a long-ass time The Same Old Wasted Wonderful World is due out September 5th on Epitaph. You can get it on “Teal Wave” colored vinyl and black wax from the band’s merch store. Other colors include the Electric Fetus exclusive white variant, the US indie exclusive opaque orange vinyl, and the EU indie exclusive blue white marble variant. There’s also a sweet looking tour exclusive red and orange splatter variant, so I guess look out for a MCS tour being announced soon?
Rising from the ashes of Culture Abuse with the release of their 2022 debut Bad to the Bone, San Francisco punks M.U.T.T. are back for more with their brand new record Toughest Street in Town, releasing tomorrow, June 20th on Quiet Panic Records. We’re stoked to bring you the exclusive premiere of the bad ass […]
Rising from the ashes of Culture Abuse with the release of their 2022 debut Bad to the Bone, San Francisco punks M.U.T.T. are back for more with their brand new record Toughest Street in Town, releasing tomorrow, June 20th on Quiet Panic Records. We’re stoked to bring you the exclusive premiere of the bad ass new single “Living After Midnight”. Check that shit out below!
Click right here to pre-save Toughest Street in Town on Spotify, Apple Music, Amazon Music, Deezer (who the fuck still uses Deezer?), etc.
This premiere is brought to you in part by Punk Rock Radar. If youâd like your bandâs music video, song, album or whatever to be premiered by Dying Scene and Punk Rock Radar, go here and follow these instructions. Youâll be on your way to previously unimagined levels of fame and fortune in no time!
On a rainy day in Edinburgh, in an unassuming pub on cobblestone streets, three lads from St. Albans were pulling instruments from their cases and setting up on a stage in the back of the old brick building. One of them, a grinning well-dressed man in a long peacoat was holding a beautiful Gretsch guitar. […]
On a rainy day in Edinburgh, in an unassuming pub on cobblestone streets, three lads from St. Albans were pulling instruments from their cases and setting up on a stage in the back of the old brick building. One of them, a grinning well-dressed man in a long peacoat was holding a beautiful Gretsch guitar. Another was wielding an upright bass, and the third a snare. I knew instantly I was in for a good night. After a bit of conversation, and the typical hurry up and wait tedium that is the true dull reality of the life of a touring artist, the lights went down, the amps flicked on and I was treated to one of the most electrifying 40 minutes of punk tinged old school rock n roll Iâve seen in years. This was my introduction to one of the most entertaining and talented rock n roll bands on the scene today. This was the night I met The Zipheads.
Photo credit: Pauline Di Silvestro
Now, less than a year later, those wonderful greased-up rockers have delivered a slick new collection of 12 instant classics called RockânâRoll Renaissance. If you listen close to these cuts, you will be treated to a sonic tour of the history of one of the most beloved and historically significant musical movements of our time. In these tracks you will find traces of Eddie Cochran, Gene Vincent, Buddy Holly, Bo Diddley, and Brill pop stars like The Crystals or The Shangri-Las. You will hear the punky spirit of the Stray Cats and The Living End, the power pop perfection of Dave Edmunds, the soulful of crooning styles of Jackie Wilson and Nat King Cole, not to mention a plethora of other diverse stylings. This disc has it all and it delivers expertly in every case.
The record’s title track kicks things off with a brief overview of the genre and itâs fight for relevance in modern times. A stomping beat and pleasantly distorted guitars set the stage for the entertaining romp that lies in store. As the track barrels forward, we are treated to layers of strings and bombastic horns, all setting the stage for what may just be the rock record of the year.
âHappinessâ picks up the baton with a little more 70âs style punk spit n growl, but played with all the style and skill of a well-rehearsed rockabilly outfit. Chuck Berry riffs abound, as Ray Waters extolls the virtues of placing self preservation over outward validation, delivered with a sneer and a grin. The shuffling jump blues number âHold Tightâ follows with a guitar centric high speed train ride of a rock n roll romp, while album single âHow Do You Like Me Now?â Opens with a reverb drenched Spanish style guitar lick, complete with strings and bells, only to give way to a brilliant pop hook filled banger of a tune. A tale of resurrection and triumph plays out over the roughly 3 and a half minute run time, buoyed by some excellent guitar work and an ear worm of a chorus that would make RFK Jr. twinge with jealousy. If this doesnât stick in your head faster than Phinneas Gageâs Tamping iron, I just donât know what to tell ya. Maybe get your ears checked?
âIncestuousâ is a punch in face with a sugar-covered fist. Quick and sharp, fun and witty. This tune is bound to get your head bobbing and toes tapping. âWhy Say You Do?â would have fit easily onto an old Ricky Nelson release. Ray croons and swaggers through this song with bubblegum perfection. Itâs a masterclass in pop songwriting, but maintains the razor-sharp hooks and jabs that fill this disc from bottom to top. The doo wop breakdown alone is worth the price of admission.Â
As the album moves into its back half, we are treated to everything from classical pomp and hot jazz swingers to Crickets-esque jungle beats and sugary crooning that wouldnât feel out of place in the American Songbook era of classic pop. We are even treated to a chilled-out reggae-flavored rendition of the Jackie Wilson classic “Lonely Teardrops”. How could you not love these guys?!Â
Photo credit: Paul Smith
Rock’n’Roll Renaissance is one of those rare releases with absolutely no skips. Trying to pick it apart to parse out flaws and imperfections would be an exercise in futility. This thing is a slab of solid rock n roll gold. The Zipheads have outdone themselves and cemented their legacy as a top notch act to watch out for. This will likely stay in my top 5 records of the year, if not the last 5 years. RockânâRoll Renaissance delivers on all fronts and demands repeat listens. Donât believe me? Give it a listen below and find out for yourself.
Sean
Saw them in Portland, Oregon, previously. Great show also. We will see them anytime they are back in town. Sean Patrick Surlow.
Michael DeWees
The 6/21 was horrible. Off-key, late & sloppy delivery of vox; two guitar solos that sounded like the guitar tech handed EC the wrong instrument for the tune; an apathetic at best delivery from the front man. This seems to be the same formula for the San Diego show three nights later per the Union Tribune. The orchestra section’s latter rows began to clear 2/3 through the carnage. Total disappointment.