DS Exclusive: HOOF music festival brings a voice for the women, femmes and thems of Chicago’s punk music scene

The Chicagoland music festival celebrating the women, femmes, and thems of the Chicago punk scene and beyond was a raging success this year. Complete with music, stand-up comedy, drag and tattooing, H.O.O.F. (Hands Off Our Fest) took place on October 19th at Blue Island Beer Co. and we are already excited to see what they […]

The Chicagoland music festival celebrating the women, femmes, and thems of the Chicago punk scene and beyond was a raging success this year. Complete with music, stand-up comedy, drag and tattooing, H.O.O.F. (Hands Off Our Fest) took place on October 19th at Blue Island Beer Co. and we are already excited to see what they have in store for next year.

Thank you to my fellow Dying Scene contributor Brian Nielsen for collaborating with me for more awesome photos, check them all out in case you missed this year! 


First on deck we have Sparkling Urbana, an alternative trans and queer rock band from Chicago. You can check out our interview with them about H.O.O.F. here! Side note: it is a total experience to get a tattoo while a punk band is playing right in front of you. Teddi Garson did a fantastic job providing on-site flash tattoos, donating part of their proceeds to Youth Outlook, a local charity supporting local LGBTQ+ youth. 


Photo by Brian Nielsen

Carnivore Mommy followed Sparkling Urbana, complete with some horror-esque clown attire. This WAS a costume contest, but I have a feeling this was not too far off from their normal performance attire (it was fantastically well done!) I was blown away by the feral energy vocalist Lauren Memery brought to the stage. 


Photo by Brian Nielsen

“Cow town” punk rockers Peach Vomit had an incredibly fun scream-filled set with vocalist Mama Vomit decked out as Spongebob SquarePants.

To round out the first set of bands playing, pop punk band Second City Seance played afterwards before the stand-up comedy and drag performances by Queeny, Dr. Caligirlie, Dolce Vita and Ichabod Vicious.


Photo by Brian Nielsen
Photo by Brian Nielsen

Photo by Brian Nielsen

The second half of H.O.O.F. was equally incredible. Grindcore trio The Cell Phones quickly made an impression with Lindsey’s scowls through the crowd.


Photo by Brian Nielsen

Just when you thought it could not get any better, glam punk duo from Bowling Green, Kentucky The Daddy Sisters had an enthusiastic and fun performance. Think 60’s garage rock meets 70’s glam rock with a dash of lipstick and ripped fishnet stockings. Chick Falcon owns the stage, well-deservedly.


Photo by Brian Nielsen

We also interviewed the second round of bands about H.O.O.F. that you can read about here!


Chicago’s Boybrain, self-described as “a snarling pissed off baby reminiscent of 1980s Punk with a touch of woven in melody,” stayed true to just that with the raspy angsty snarls of Patti on vox/guitar.

Dying Scene’s Brian Nielsen did a special in-depth interview with Boybrain about their single “Ratmouth” and H.O.O.F.!


Photo by Brian Nielsen
Photo by Brian Nielsen
Photo by Brian Nielsen

Last to take the stage for the bands was Sweetie who never seemed to run out of energy and always puts on a great show.

Birdy V. of Sweetie is the mastermind behind H.O.O.F., and just by the turnout and sheer joy the crowd had, you could tell this was a much-needed music festival the Chicago punk scene needed. Her sheer dedication is appreciated by all the women, femmes and thems of the scene and I can think of no one better to be running such a festival! Dying Scene is ready for H.O.O.F. 2025! 



Check out more photos from H.O.O.F. below and give them a follow!


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Dying Scene Album Review – Sean and The Dead – “Rude and Obnoxious”

Rude and Obnoxious, the debut EP from Sean and The Dead, is here. Sean Vertigo rips through five punk rock tunes with the ferocity and heart of someone who has nothing but love and respect for the genre. Drinking anthem “Five Point Nine” cracks open a can of beer as the guitars dive into a […]

Rude and Obnoxious, the debut EP from Sean and The Dead, is here. Sean Vertigo rips through five punk rock tunes with the ferocity and heart of someone who has nothing but love and respect for the genre.

Drinking anthem “Five Point Nine” cracks open a can of beer as the guitars dive into a track about the night of drinking and bar hopping with friends and one request: “Save The Last Call For Me!” Second track “Dead Undead” plays fast and short, channeling the hardcore punk of the Suicidal Tendencies. Smack dab in the middle of Rude and Obnoxious is a cover of Tom Petty’s “Walls.” To a casual fan, this song lands closer to deep cut rather than the single it intended to be, but including this song only shows the range of Sean Vertigo’s influences on the album which is definitely an asset. Moving on to “Regenerate,” Vertigo sings about recharging your batteries and getting some alone time without getting caught up in life’s daily bullshit. Closing song “Life is Strange” kind of lists some of the weird things that have happened and the people who were involved—the song’s lyrics reminded me of Jim Carroll’s “People Who Died,” but way, way less new wavey.

Rude and Obnoxious is a good time, but doesn’t feel like an album for the kids, and that’s okay. The lyrics are blunt, and the music accompanying the songs makes them durable. The fans and bands mostly grow with the genre, but still need an outlet. Dripping with influence from your favorite bands, Sean and the Dead melds a lot of the hardcore and skate punk we all loved growing up. Each track shows a different direction Sean and the Dead could go in and either one would be great. The only downside is that there are only five songs at this time. Hopefully there’s more on the way. Check out Rude and Obnoxious here on Cleopatra Records.

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Chat Pile

DS Show Review & Gallery: Chat Pile, Agriculture, Porcelain – Minneapolis

There are few cities in America that boast as robust a music scene as the Twin Cities of Minneapolis – St. Paul. On any given night, one can stroll into one of the many music venues in the city and see iconic artists, local bands, or some of the most exciting up-and-coming acts from across […]

There are few cities in America that boast as robust a music scene as the Twin Cities of Minneapolis – St. Paul. On any given night, one can stroll into one of the many music venues in the city and see iconic artists, local bands, or some of the most exciting up-and-coming acts from across the country.

On Wednesday November 6, 2024, one such show took place at the Fine Line. A small club that opened its doors in 1987. The Fine Line is just a stone’s throw from the iconic First Avenue. Like First Avenue, the Fine Line is home to some of the best showcases of live music in the Twin Cities. On that night, it played host to Chat Pile, one of the most exciting names in the noise rock landscape.

Before Chat Pile took the stage, two opening bands primed the crowd with great sets of their own. Porcelain and Agriculture each brought their own brand of noisy rock and metal to the table.

Porcelain

The first band of the night, Porcelain, proved to be the most melodic. Even with that distinction, they still played a great set of abrasive post-hardcore with noise rock influences. The Austin-based quartet released their first album in February and have wasted no time getting their name out there with a spot on this tour. Porcelain consists of Eli Deitz (Drums) Jordan Emmert (Bass), Ryan Fitzgibbon (Vocals/Guitar) and Steve Pike (Vocals/Guitar)

Porcelain played a short but sweet set that sounded reminiscent of OFF! at times. The show was Porcelain’s final date on the tour, and the entire band donned Chat Pile merch for the first few songs in appreciation for the opportunity to play on the tour. Porcelain certainly made the most of their opportunity and seemed to gain several new fans. The set left no time for stage banter as the band chugged through a performance that set the atmosphere for a night of noisy soundscapes.

Agriculture

The next band to take the stage was Los Angeles-based black metal band Agriculture. The four-piece consists of Richard Chowenhill (Guitar), Kern Haug (Drums), Daniel Meyer (Guitar and Vocals) and Leah Levinson (Bass and Vocals). The band describes their music as an “ecstatic black metal band” that is “inspired by the glory of the ocean.” The group has made waves over the last couple of years releasing a series of well-received singles, EPs and a self-titled album.

Throughout their set, the most striking thing about Agriculture is their pure ferocity. The music rarely relents and its heaviness is palpable. The performances of vocalists Dan Meyer and Leah Levinson are downright violent. Someone unfamiliar with their music (as I am) would have trouble deciphering most of their lyrics live, but that may also be a byproduct of the venue’s acoustics. Regardless of whether you pick up every word or not, the vocals are just as effective as a sonic texture that adds to the heavy soundscape. There are bands that open and are good but don’t make much of a lasting impression on a concert-goer, and there are bands that beckon fans to learn more about them. Agriculture is certainly the latter.

Chat Pile

After a night of crushing rock music, Chat Pile took the stage for a headlining set. For the uninitiated, Chat Pile is a band from Oklahoma City that is often described as sludge metal. The band themselves see their music more fitting in the noise rock category, and that’s reflected in their influences. However one wants to categorize Chat Pile, one thing is certain. The band is making waves in the alternative music genre. Their debut album, God’s Country, was released in 2022 and garnered critical acclaim for its harrowing depiction of society’s ills such as drug addiction, homelessness and more. The band consists of a four-piece group going by the pseudonyms Raygun Busch (Vocals), Luther Manhole (Guitar), Stin (Bass) and Cap’n Ron (Drums).

Chat Pile’s performance began with a ripping rendition of “I Am Dog Now” a single from their newest album. The song is one of the standouts of the record, and is even better live. On the recording of the track, Raygun Busch’s vocals are slightly buried in the mix. Live in a room, though? The powerful cacophony of the singer’s labored screams are haunting in all the best ways. Busch has pointed to David Yow of The Jesus Lizard and H.R from Bad Brains as vocal influences. Before the first song is even over, Busch has taken his shirt and shoes off and looks more like a beach bum than a standout front man. Looks are deceiving. Like a lot of Chat Pile’s music, the track is brutal instrumentally and in terms of lyrical content. Chat Pile is adept at writing some of the most ferocious social commentary in music and scoring it with an equally ugly soundscape. The band counts Big Black as one of their biggest influences and it shines through with their blend of punishing instrumentals with lyrics exploring the worst aspects of society.

The chaotic nature of the live show is also reflected in the banter carried on by Raygun in between songs. He spends the downtime switching between making references to movies set in Minnesota and asking how close the venue is to celebrated author Louise Erdrich’s book store. His scattered thoughts on movies, literature, and jokes about local culture draw a parallel to the band’s music. What may seem directionless, pointless or ugly is actually the vehicle for a well-read and thoughtful message. Chat Pile is just as comfortable talking about Jean-Jacques Rousseau’s Social Contract as they are whipping the crowd into a nervous frenzy.

And excite fans is just what they do. There isn’t a moment of the show where you don’t feel like you’re part of a wave of humanity as the audience crushes towards the stage. This is especially true in the Fine Line, a fairly narrow venue that’s crowd area is longer than it is wide. It feels like there’s nowhere to escape throughout the band’s hour-long show. A sense of claustrophobia that only enhances the experience. Indeed, Chat Pile isn’t for everyone. For some, their music may seem unpleasant, unfocused or unfiltered. All those things are true, but as they finished a set consisting mostly of their new album with a few favorites from God’s Country thrown in, you wouldn’t want to experience the band in any other way.

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Dying Scene Book Club – “Autonomy – Portrait of a Buzzcock” by Steve Diggle

Steve Diggle is the lone remaining original Buzzcock. He and Pete Shelley started the band in Manchester, England, back in 1976. They remained the two constant members until Shelley’s unfortunate passing in 2018. Since then, Diggle has become the de facto leader of the band and recounts it’s history in his book, “Autonomy: Portrait of […]

Steve Diggle is the lone remaining original Buzzcock. He and Pete Shelley started the band in Manchester, England, back in 1976. They remained the two constant members until Shelley’s unfortunate passing in 2018. Since then, Diggle has become the de facto leader of the band and recounts it’s history in his book, “Autonomy: Portrait of a Buzzcock.” I went into this book wondering why Steve Diggle would be the one to tell this story and at this time. With Shelley’s passing, it seems like that ship has sailed, but Diggle’s contributions to the band are more significant than you would think.

The book is broken up into two parts. The first part describes Diggle’s childhood through the forming of the Buzzcocks. He details discovering rock ‘n’ roll and becoming a Mod in Manchester in the mid-70s. Being unemployed led to him having time to write songs, and an accidental meeting with Pete Shelley and Howard Devoto set him on his path to rock ‘n’ roll. Diggle speaks about writing his first few songs including “Autonomy” and “Fast Cars,” but just as the band gets some traction, Howard Devoto leaves to form Magazine. Devoto’s exit serves as the cut-off point for the second part of Diggle’s book.

Part two of Diggle’s book starts with what could be called Buzzcocks proper. Diggle talks about Pete Shelley and their friendship, sometimes drinking and debating in the pub but always in sync with songwriting for the band. Diggle understands the backlash of Pete Shelley’s promotion to lead singer after Howard Devoto’s departure. He brings up Pete’s bisexuality and the ways Pete tested Steve. While writing, he was fine with Shelley’s orientation; he seemed a tad uncomfortable discussing it. Yet he does more than just write a quick paragraph and move on; he describes the cross-section of how the Gay Punk Rock scenes in Manchester crossed more than people realized and what’s written about it. Most of the events that may make him look undesirable do get more page space than most autobiographies. It is a byproduct but is still there for all to see. Diggle basks in the truth uncomfortably of these revelations well.

I always assumed the Buzzcocks was the Pete Shelley show, but Diggle wrote a good number of the band’s hits, specifically “Promises,” “Harmony in My Head,” and “Autonomy.” These, outside of Pete Shelley’s anthemic “Ever Fallen in Love (With Someone You Shouldn’t’ve),” are amongst the band’s most durable hits. Given the vulnerability of the band’s lyrics, he spent many a night talking with fans about the problems.

Diggle is as formal as a punk rocker in his late sixties can be as he details his past exploits. While not a criminal like Steve Jones of the Sex Pistols, he did stir up some trouble. He relishes the rinse-lather-repeat motions between touring and recording even when Pete Shelley did not. As with many recollections of the past, the tone and gears shift between nostalgia and wistful regrets of should-haves. He is very matter-of-fact about his and the band’s drug use and the substance problems that led to the selfish ending of his relationship with his longtime on-and-off-again girlfriend, which he chalks up to a selfish moment emulating John Lennon.

While not one of the British scene’s biggest characters like Sid Vicious or Joe Strummer, Steve Diggle’s adjacent time in it makes for a great reading experience. There is a lot of crossover with Manchester pillars like Martin Hannett and Tony Wilson of Factory Records and bands like the Clash and Joy Division. He details the strange ways the band’s songs have been commercially used but loathes the use of the band’s name on the nearly thirty-year-strong BBC pop music panel show, “Never Mind the Buzzcocks.”

Bone up on your British slang because this book is not Americanized at all, which I liked. There were a few terms I had to look up myself even being an Anglophile obsessed with the country’s books, films, and television. I was convinced that keeping the Buzzcocks going post-Pete Shelley was a money grab; this book proved me incorrect, and I’m happy to be wrong. With the infighting of a lot of the bands whose material endured this long, it’s good to know this incarnation isn’t the Steve Diggle band and had been blessed by Pete Shelley before his passing. Pick up “Autonomy: Portrait of a Buzzcock” on Omnibus Press here.

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Dying Scene Album Review – The Chains – “Crying On The Dance Floor”

If you told me my favorite ska record of the year was going to be released by a band from Denmark, I wouldn’t believe it, but here we are. Copenhagen’s The Chains brings us a twelve-song ska and reggae album that fills and breaks your heart in various ways. Singer Pato Siebenhaahr leads us through […]

If you told me my favorite ska record of the year was going to be released by a band from Denmark, I wouldn’t believe it, but here we are. Copenhagen’s The Chains brings us a twelve-song ska and reggae album that fills and breaks your heart in various ways. Singer Pato Siebenhaahr leads us through a spectrum of emotions.

Opening track “My Baby Is A Hooligan” presents the double-edged sword of having a rough-and-tumble girlfriend who gets a little punchy and overly protective when she drinks. “Every Hour On The Hour” is a love song that may explain the appreciation of said hooligan girlfriend from the opening song. The album picks up speed a bit with “The Kid Got That Fire.” “Daddy Got A Gun” talks about being very afraid of your girlfriend’s dad and with good reason, but also that love you have for her should outweigh the fear of him no matter how much damage can be applied to you. “Stone Cold Killer” talks about a love gone cold with a heartless and not always present partner. Guitarist Kevin Leo sings on the tracks “Your Love is on Fire” and “Here She Comes,” a Stax Records-influenced soul song. “The Breeze” takes on this structure and vibe heard on a Nick Cave and the Bad Seeds album. It’s dark and beautiful and takes this album to an unexpected place. A cover of the Rancid classic “Poison” is a big surprise before closing strong with “So Unkind” and “Murder Tune.” It’s hard to say the back half of this album is risky or deviates because these songs fit well within the genre and overall tone of the album.

The songs and their moving parts do not overstay their welcome. The instruments sound tight and knit the melodies well. “Crying on the Dance Floor” is the most accurate name for this album. There’s an undertone on this album of pride in your love for a person but the disappointment when they fail you. You can say this is the basis for most songs of this nature, but Pato’s voice gives it all the feelings it needs through the tumultuous relationships shown to us.

It turns out I have some homework to do. The Chains boasts three generations of musicians from Copenhagen’s ska scene—something I had no clue existed until researching this record, but I am not surprised it does. Writing for Dying Scene, I feel lucky to have been given the opportunity to review records for smaller bands I wouldn’t have found otherwise. Ska is in more than capable hands with The Chains. This album is a document of that. If there is one thing your record collection is missing, it’s “Crying on the Dance Floor,” out now on Black Cheese Records.

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DS Album Review: Drug Church – ‘PRUDE’

Albany’s post-hardcore force, Drug Church, is back with their fifth full-length, PRUDE. For fans who heard singles like ”Myopic” and the hard-hitting ”Demolition Man”, ”Chow”, and ”Slide 2 Me,” – the anticipation got thoroughly built over the summer since they announced PRUDE back in July. But PRUDE doesn’t just pick up where their fourth album, […]

Albany’s post-hardcore force, Drug Church, is back with their fifth full-length, PRUDE. For fans who heard singles like ”Myopic” and the hard-hitting ”Demolition Man”, ”Chow”, and ”Slide 2 Me,” – the anticipation got thoroughly built over the summer since they announced PRUDE back in July. But PRUDE doesn’t just pick up where their fourth album, Hygiene, left off – it takes the gritty, self-reflective storytelling and sounds a touch deeper. With ten tracks packed into a tight 29 minutes, this album proves that Drug Church isn’t interested in holding our hand throughout, and indeed, we shouldn’t expect a soft-landing post-listening. Instead, they are back to remind us of how well Patrick Kindlon is at storytelling with lyrics and how life’s messy choices can come back and bite us in the ass, forcing us to face the shitty truths that we’d much rather ignore.

PRUDE feels like the introduction to a band maturing, but without losing their edge. They continue to stay as raw as before but add a touch of unpredictability. Kindlon continues to impart his wisdom upon us with a layer of self-awareness; he doesn’t hold back. It’s the kind of album that asks you to listen but demands you sit down and look in the mirror while you do.

PRUDE opens with ”Mad Care,” and from the first note, we’re introduced to an album that isn’t pulling any punches. The guitars, drenched with distortion, manage to pulse a kind of energy while the feedback from the amps adds a sharp edge to the sound. While Kindlon enters with sneering vocals, hitting you with some hard truths: ”This is your situation / this is your circumstance / this is your fork in the road,” setting the tone for many of the other songs on the album, filled with self-reflection as we hear on ”Myopic,” and uncomfortable truths as the album goes on. ”Mad Care” is, in itself, an unapologetic rush of energy, full of moments that would have you screaming along. Kindlon’s vocal delivery gives a sense of frustration towards the end, daring us to take a good hard look at our self-destructive ways: ”Nice things coming your way / but you want something worse”. As the song hits its peak, ”Mad Care” isn’t about setting a sonic atmosphere but a statement: Take a good look at your goddamn choices, mate.

”Hey Listen” is one of my standout tracks on PRUDE, and for a good reason. While the album is packed with aggressive, unrelenting moments, this track offers a necessary breather, shifting the tone just enough to maintain coherence. It doesn’t feel like your typical Drug Church sound – there’s a softness to it, with its emo-esque guitars that guide Kindlon to match the pacing of the instruments. Compared to PRUDE’s opener, ”Mad Care,” ”Hey Listen” feels less frustrating, yet it still doesn’t feel out of place. In fact, Kindlon’s vocals are laced with a different kind of anguish here. Not the same biting frustration we hear on many of the other tracks, but a sense of helplessness, as in lines like ”It’s tough to find an upside / In what seems like a cursed life,” offering a glimpse into self-reflection.

The drumming by Chris Villeneuve keeps the tempo steady throughout the song while helping create a nuanced sonic foundation for the track. But what really sets ”Hey Listen” apart from the rest isn’t the tempo or sound – it’s how it plays with contrast. The lyrics may seem bleak, but the music feels overall expansive, giving the track room to breathe on its own, in a way some of the other great tracks on the album don’t. It’s a rare moment of emotional clarity, capturing the energy of PRUDE while offering a deeper level of introspection that feeds into the frustration heard throughout the album.

Another standout track for me is ”Business Ethics,” which stands out not just for the humorous lyrics but for the highly energetic delivery. It balances the heavy instruments and Kindlon’s vocals. It offers a breather from the more significant dissatisfaction that runs throughout PRUDE. It’s one of the album’s memorable moments, giving the listener a moment to engage in the sense of humor, as heard with the lyrics, ”He found a scheme to rely on / now he works in finance”. With ”Business Ethics,” Drug Church proves they can be just as biting in their humor as they very well can be with their anger and frustration, which is why the song becomes memorable.

Drug Church has always been, in my opinion, a band that has prioritized quality over quantity. They take great pride in their musicianship, focusing on making music that resonates rather than simply churning out songs to fill a setlist. Every track on PRUDE stands as a testament to how far they’ve come since their early days, showcasing their growth and evolution, individually but also as a band. As the band matures, so does their sound, and that maturity shines through in every moment of this album. The confidence that radiates from PRUDE makes it not just a milestone for Drug Church but one of the standout releases of 2024. This is Drug Church at its sharpest, boldest, and most unapologetic selves.

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Dying Scene Photo Gallery: Change Today, Palladists, Darker Than, and Sex Faces: Pie Shop, Washington, DC (10/4/2024).

The Pie Shop in Washington, DC hosted a great show with headlining band Change Today featuring Joe Wood, former vocalist of T.S.O.L. Bands from DC and Baltimore shared the stage and it was great to see the up and coming bands play to an appreciative audience. Joe Wood, who was in T.S.O.L. from 1983 to […]

The Pie Shop in Washington, DC hosted a great show with headlining band Change Today featuring Joe Wood, former vocalist of T.S.O.L. Bands from DC and Baltimore shared the stage and it was great to see the up and coming bands play to an appreciative audience.

Joe Wood, who was in T.S.O.L. from 1983 to 1993 formed Change Today which is named for the first T.S.O.L. album he sang on. Change Today includes Joe Wood -vox and guitar, Jimi Zolo-guitar, Marc Campbell – bass, and Chris Ogard -drums. Wood put on a show with the energy you might have expected 40 years ago.

Palladists is a gothy punk rock band from DC and have been touring along side Change Today’s Fall 2024 Tour on the east coast. The band consists of Andy – guitar/vox, Caleb – bass, and Luke – drums. If you missed the show you still have a chance to see them here.

Baltimore’s own, Darker Than came out strong with this female fronted garage punk band. Members are Hanna – vox, Ben – guitar, Scott – bass and Mikey – drums.

Find them here next.

DC’s own, four-piece band, Sex Faces was a great opening band to a killer night. The band consists of Sal Go – vox/guitar, Hana Racer – viola, Jack Cougar – drums, and FiFi Allin – bass. Give Ultraviolence a listen here.

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DS Record Radar: This Week in Punk Vinyl (Bad Religion, Descendents, Unwritten Law, Mustard Plug & More!)

Greetings, and welcome to the Dying Scene Record Radar. If it’s 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, we’ve 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 it’s 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, we’ve probably got it. Kick off your shoes, pull up a chair, crack open a cold one, and break out those wallets, because it’s go time. Let’s get into it!

Check out the video edition of this week’s Record Radar, presented by Punk Rock Radar:

Bad Religion is celebrating the 30th anniversary of Stranger Than Fiction with a colored vinyl reissue, and compared to most reissues they’re showing a lot of restraint limiting this to just 2 color variants. The Infected Splatter variant is clear w/ red, black and grey splatter and the 21st Century Splatter one is white w/ transparent purple, white, black and silver splatter. Both are limited to 1,000 copies and you can get them here.

The ALL / Descendents split live album Live Plus One has been released on vinyl for the first time, 23 years after its original release on the once-beloved compact disc format (which, for the record) is still beloved by yours truly). Epitaph pressed two variants of this double LP: Sky blue w/ yellow splatter (1,500 copies) and Green / Blue (500 copies). The second one’s already sold out; you can still get the splatter variant right here.

Unwritten Law’s Elva joins the “early 2000s records getting reissued” club with a yuge 5 color variant drop. These are super limited and have already sold out for the most part; you can still get the “Babalon” from Smartpunk, but their exclusive “Evolution” (ruby & blue w/ yellow & black splatter) and “Hellborn” (yellow / magenta / black swirl) are long gone. The Alternative Press exclusive milky clear w/ orange splatter variant limited to 200 copies has also sold out, and from what I can tell Parting Gift Records’ webstore is closed so even if you wanted to buy their exclusive “Seein’ Red” variant you’re SOL. Quite the conundrum!

Though Fat Wreck Chords hasn’t officially announced it themselves, they will be doing a 25th anniversary reissue of Cigar’s 1999 cult skate punk classic Speed is Relative. If you’re impatient you can pre-order it on black vinyl from Amazon and various online record stores such as Skeletunes. If you’re patient, hold out for the inevitable color variant(s) to come from Fat Wreck direct. Street date looks like December 13th.

Ska-punk legends Mustard Plug are following their 2023 album Where Did All My Friends Go? with a new 8-song EP called Hey!. Limited to 300 copies on maroon colored vinyl, this features four brand new songs, their cover of Fugazi’s “Waiting Room”, and a few other goodies. Get it here and catch the band on tour this winter.

Buffalo’s The Abruptors are another ska band that just put out a new record last year, and they’re staying hot with another full-length record coming next month on Asian Man Records! Everything You Know is Wrong was produced by MU330’s Dan Potthast and features 11 brand new tracks. It’s limited to 600 copies on random colored vinyl and you can get it here.

We’re going three for three with awesome new ska records on the Record Radar, but this ones different (in the best way possible). Keep Flying’s guitarist Dustin created a super cool LoFi version of the band’s Daylight EP. Check it out below 👇 and get one of the 100 copies they pressed on vinyl from their merch store.

SoCal melodic punk band Dogwood’s 1997 album Through Thick & Thin is getting its first-ever vinyl release thanks to People of Punk Rock Records. You can get it on three color variants – gold, orchid, and gold / orchid split – as well as CD right here.

Marky Ramone’s Blitzkrieg is releasing… something? It’s a record! Exactly what’s on that record? No fuckin clue. There’s no tracklist or anything on the product page, just the promise of a “New studio album by MARKY RAMONE with his band MARKY RAMONE’S BLITZKRIEG, in which he covers all-time classics in the Ramone style”. Limited to an unknown # of copies on 180g transparent vinyl. Get it here. And before you get sticker shock, the price is in Argentinian Pesos, not USD 😉

Ramones disciples the Huntingtons’ 1998 album High School Rock is back in print once again thanks to Hey Suburbia Records. They pressed 500 copies on this beautiful yellow w/ blue splatter color variant and you can get it right here.

Slam Dunk Festival is doing something pretty cool this year and releasing exclusive color variants of records by bands who are playing the fest in 2025. The latest to join the club is this 20th anniversary Dropkick Murphys’ The Warrior’s Code reissue on green and white pinwheel colored vinyl, which you can get right here. One of the previously announced exclusives that I missed somehow is this bad ass Sum 41 Heaven :x: Hell splatter color variant.

Our friends at Thousand Islands Records are keeping their eternal hot streak alive, adding Massachusetts melodic punk band Oh the Humanity!’s new album Ground to Dust to their list of bad ass upcoming releases. Check out the brand new single “Gutted” down there 👇 and pre-order the record on translucent blue colored vinyl here and/or “black ice” wax from Sell the Heart Records (US) and Engineer Records (UK).

And we’ll put a bow on this week’s Record Radar in an unconventional manner: with a cassette release! The good people at Tapehead City scored a big time exclusive with this 25th Anniversary reissue of The Shape of Punk to Come by Refused. This is limited to 1,000 copies on an awesome looking UV printed (I had to look up what that means and I’m still not sure) cassette. Dust off your Walkman and pick up a copy from Tapehead City. They did a reissue of Operation Ivy’s Energy a few months ago; I recommend picking that up, too!


Well, that’s all, folks. Another Record Radar in the books. Short one this week! As always, thank you for tuning in. If there’s anything we missed (highly likely), or if you want to let everyone know about a new/upcoming vinyl release you’re excited about, leave us a comment below, or send us a message on Facebook or Instagram, and we’ll look into it. Enjoy your weekend, and don’t blow too much money on spinny discs (or do, I’m not your father). See ya next time!

Wanna catch up on all of our Record Radar posts? Click here and you’ll be taken to a page with all the past entries in the column. Magic!

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DS Show Gallery: Duff McKagan, Range War at The Outset. Chicago (11.08.2024)

Just days after the Presidential election, more than a few of us were looking for a pleasant distraction from the results and the unending post-mortems that followed. Duff McKagan, of the legendary rock band Guns ‘N Roses, made a solo stop on his Lighthouse Tour, at one of the newest Chicago music venues, Outset. He […]

Just days after the Presidential election, more than a few of us were looking for a pleasant distraction from the results and the unending post-mortems that followed. Duff McKagan, of the legendary rock band Guns ‘N Roses, made a solo stop on his Lighthouse Tour, at one of the newest Chicago music venues, Outset. He brought along Lee Ving, founder of the famous/infamous band FEAR, performing under the Range War moniker. This was a little bit different from what we at Dying Scene usually cover. Different but good. It served well as that aforementioned much-needed distraction.


Before helping found the legendary rock band Guns ‘N Roses, Duff McKagan was known for his work in the Seattle punk bands The Fartz and Fastbacks.

On his Lighthouse tour, McKagan brought an optimistic feel to the venue just days after the dramatic national news. But he was not up for anything heavy. At one point, McKagan thanked the crowd members for taking time to be there together, noting the varied professional and personal lives of the fans. It was a much-needed night of lightheartedness backed by really good music.

The set included “Forgiveness,” “Chip Away,” “This Is the Song, “I Saw God on 10th St.” He also was joined on stage by FEAR frontman Lee Ving at one point, as the two performed “All Turning Loose.”

It was a set that spanned various genres and years, covering numerous iconic songs. These included The Stooges’ “I Wanna Be Your Dog,” Johnny Thunders’ “You Can’t Put Your Arms Around A Memory,” “I Fought The Law” by The Crickets, and David Bowie’s “Heroes.” Of course, he covered his own most famous band, Guns ‘N Roses, performing “You’re Crazy.”

The evening was a pleasant one. For the large number of fans wearing G ‘N R shirts, a great opportunity to see one of their favorite rock stars in an intimate setting. That’s not a bad way to end such a tumultuous week.


It might come as a surprise to some Lee Ving, founder of the infamous punk band FEAR, has a country band. It sure was to me. But Ving, with his FEAR bandmate Frank Meyer, took the stage as Range War. Ving brought his still fierce vocals, his guitar, and a harmonica to a laidback setting. It was an engaging set, which included not only songs off Range War’s 2014 album Home On The Range but also the FEAR hits, “I Love Living In The City” and “I Don’t Care About You.”

Ving and Meyer also just dropped the final FEAR album recently. The Last Time was just released by Atom Age Industries/FEAR Records. Here’s our review from earlier this month.


This was the first time Dying Scene has covered a show at Outset. The West Town neighborhood venue is a new addition to the Chicago music scene. With dark wood accents and clean lines, it has a modern yet warm and cozy feel to it. Fans can enjoy the shows from the ground floor or balcony, and each level is equipped with a bar. The sound quality was also pretty terrific. The venue also has a large patio area, which I imagine is quite lovely on warmer evenings. I look forward to covering more shows at Outset for Dying Scene.

Thanks, and Cheers!

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DS Gallery: Dynamic Duos Death From Above 1979 & Teen Mortgage Electrify Stage Together (Metro, Chicago, 11/7/24)

This year Chicago has had a powerhouse of concerts; OFF!’s farewell show, the Jigsaw Youth/Bob Vylan combo and Knocked Loose, just to name a few. Adding to the list is the absolutely magnetic combination of garage punkers Teen Mortgage and noise-dance-punk legends Death From Above 1979 at Chicago’s Metro. Teen Mortgage is the two-piece garage-punk […]

This year Chicago has had a powerhouse of concerts; OFF!’s farewell show, the Jigsaw Youth/Bob Vylan combo and Knocked Loose, just to name a few. Adding to the list is the absolutely magnetic combination of garage punkers Teen Mortgage and noise-dance-punk legends Death From Above 1979 at Chicago’s Metro.


Teen Mortgage is the two-piece garage-punk band from Washington, DC that is quickly rising the ranks through the punk scene with guitarist and vocalist James Guile and drummer Edward Barakauskas. 


We covered them last time from their headlining show at HI-FI Indy in Indianapolis on April 1st this year. Since then, they have released a live Audiotree album on May 22nd and new single “Burn No Bridges” via King Pizza Records on September 20th.

They also kept busy touring the UK with The Smashing Pumpkins and Weezer, played music festivals Louder Than Life, Aftershock and Levitation, and more recently played some US dates with another favorite band of mine, Destroy Boys. Teen Mortgage immediately jumped from the Destroy Boys tour to the You’re a Woman, I’m a Machine 20th anniversary tour with Death From Above 1979.  


Both bands being two-piece acts, noisy, with tons of distortion and face paced riffs, the Teen Mortgage/DFA1979 combo is pure raw perfection.

While Teen Mortgage is finishing up some remaining Canada dates, next year they already have some big plans: playing Germany’s Rock am Ring, UK’s Download Festival, and a stop in Dublin with Weezer.


Hailing from Toronto, Canada, Death From Above 1979 is a unique combination of Jesse F. Keeler on bass and keyboards and Sebastien Grainger on drums and lead vocals. In 2004 they released their debut album You’re a Woman, I’m a Machine and have been touring extensively this year for its 20th anniversary. 


The first time I saw DFA1979 I was in complete awe of the stage productions, particularly the lights, and this show was no different. Beams of different colored lights shot through heavy fog in different directions, perfectly choreographed to every song.


With their abrasive synth and piercing screams, DFA1979 is an exemplary example of what dance punk is meant to be.


This sold-out show at Metro was part of their USA/Canada Part II tour with Teen Mortgage; Part III will begin in 2025 with San Francisco punk band Spiritual Cramp (remember them at Riot Fest this year? We do!) followed by a stint in Australia with DZ Deathrays. 



Check out the full gallery below!


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