DS Record Radar Alert: Ratbones’ new album “Spaghettification” out this Friday on Mom’s Basement & I Buy Records

April 17, 2025 | 11:56 am

We’re hot on the heels of the digital release of Italian Ramonescore band Ratbones’ brand new album Spaghettification – out now and streaming on Bandcamp! Our friends at Mom’s Basement Records here in the states and I Buy Records over in Italy will be releasing the album on vinyl and CD this Friday, April 18th; […]

We’re hot on the heels of the digital release of Italian Ramonescore band Ratbones’ brand new album Spaghettification – out now and streaming on Bandcamp! Our friends at Mom’s Basement Records here in the states and I Buy Records over in Italy will be releasing the album on vinyl and CD this Friday, April 18th; the day otherwise known as tomorrow!

On this special 🚨 Record Radar Alert 🚨 we’re thrilled to bring you the exclusive(!) world premiere(!!!) of all three color variants you’ll be able to grab the record on. These include Scoffera Sky Translucent Turquoise, Yellow Titania Tint, Green Dargos with Black Splatter – limited to 100 copies each! Feast your eyes upon them below and set a reminder to grab the record at noon eastern tomorrow.

A few other fun facts about Spaghettification before I let you go: It’s a concept album about aliens and cool sci-fi shit! It features guest vocals from Lucy Ellis of Lucy & The Rats and Pat Termite from the Beatnik Termites! And most importantly it’s fuckin bad ass!

‘MERICANS BUY HERE

ITALIANOS BUY HERE

by Staff Writer Screeching Bottlerocket

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DS Book Club: “Room 100: Sid, Nancy, and the Night Punk Rock Died” by Jesse P. Pollack

April 17, 2025 | 10:17 am

Plenty of stories have come out of punk rock throughout the years, but none have received the attention that the story of Sid and Nancy has. Sometimes dubbed punk rock’s Romeo and Juliet, their relationship is often shown as turbulent as the scene it came from. Most famously depicted in Alex Cox’s Sid and Nancy, the film gives a hyperbolized overview of the tumultuous couple and the uproar it caused with the Sex Pistols‘ accelerated disintegration. Jesse P. Pollack’s book Room 100: Sid, Nancy, and the Night Punk Rock Died, does its best to set the stage for the story of the first rock star convicted of murder.

While there have been documentaries, dramatizations, and true crime TV shows about the night of Nancy Spungen’s death and Sid’s subsequent overdose, they have felt very scant. This book doesn’t speak in facts as much as it does witness accounts. Pollack’s chapters focus on one aspect of the killing and then stack up witness accounts next to each other. Everyone gives their side of the story; Pollack leaves in the contradictions and differences between each interviewee, even putting their direct responses together.

There is a short prologue describing the Sex Pistols’ on-stage implosion at their last gig in San Francisco. From there, it alternates chapters, back and forth between Nancy’s murder and the histories of Sid and Nancy. As with most true crime books, it is padded with short biographies of some of those involved, starting with Sid Vicious’s mother, but it doesn’t overdo it. These parts are succinct enough to avoid sounding like a textbook.

We learn about the understandably rough pasts of our subjects and get the history of the Sex Pistols, from Sid’s entry into the band through everything leading back to the prologue and their ill-fated twelve days on the road in the US, as well as the aftermath and the four months between Nancy’s and Sid’s deaths. If you thought the story was straightforward, Pollack’s book presents enough evidence to show there is much more to it.

My one complaint, and this is more of the true crime genre than Pollack’s book, is that there are photos for reference, including crime scene photos and photos of other suspects. It does that thing that true crime books do, placing all the pictures in the middle of the book, leaving the context for only half the pictures you have read about.

While my younger self loved the raw emotion of Cox’s telling Sid and Nancy, my older self has settled into detective and true crime stories and finds these details of the story more interesting now. It is a true crime book, full of dense retellings pieced together by evidence and small print. It’s not exactly a tough read, but the amount of information sometimes thrown at you regarding the case can be overwhelming. It was smart of Pollack to break up the chapters the way he did. Pollack pulls on the strings with the possibility of other suspects.

I know many of these things are cornerstones of true crime novels, but Pollack’s presentation of Nancy’s killing has more twists and turns than you would expect. If you thought Kurt Cobain’s death warranted an investigation, Nancy’s has just as many unanswered questions. Jesse P. Pollack spent six years going through mountains of evidence and transcripts, and the work has paid off. Room 100: Sid, Nancy, and the Night Punk Rock Died walks the line between true crime and rock history book seamlessly. The book is available here for purchase.

by Staff Writer Forrest Gaddis

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DS Record Radar: This Week in Punk Vinyl (Green Day, Refused, My Chemical Romance, Rabies & More!)

April 13, 2025 | 1:52 pm

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 […]

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

Up first we’ve got Czech skate punks Rabies with their brand new record High on Sugar, due out May 15th. Check out the new single “MTV” down there 👇 and pre-order the record on black wax from Punk Rock Radar (US) and the band’s webstore in Europe.

Also coming out next month on Punk Rock Radar, it’s the new LP from Madrid, Spain’s WEAK! Strangers At Home is the band’s third full-length album and it’s available to pre-order now on orange and/or black vinyl from Punk Rock Radar here in the states, as well as La Agonia De Vivir in Spain, Morning Wood Records in the Netherlands, and Exabrupto Records in Mexico.

Refused is currently rolling off into the sunset on their final tour and they’re also releasing a “Final Version” of 1994’s This Just Might Be… the Truth. This reissue comes with bonus LP featuring a full album’s worth of previously unreleased demos from 1993. They’re also repressing Everlasting on “red gold” colored vinyl and Songs to Fan the Flames of Discontent on a beautiful “sparkle/starlight” variant. And finally, they’re re-releasing all three records on cassette! Send your money here.

Laura Jane Grace has a new record called Adventure Club due out July 18th and there are a bunch of beautiful color variants for you to choose from – or you can do the smart thing and just buy all of them! Why choose? You can find links to where you can pre-order all of the variants right here.

The good people at Revelation Records are releasing deluxe editions of all three Nerve Agents records. 1998’s self-titled LP and 2000’s Days of the White Owl have been out of print for over a decade, and this is the first time 2001’s The Butterfly Collection has ever been reissued. In other words, this is fuckin YUGE! Get all three records here.

Gainesville Rock City’s You Vandal have signed on with Euclid Place Records for the release of their brand new record This is Where People Come to Die, due out May 23rd and limited to 100 copies on beautiful transparent blue splatter colored vinyl. Check out the lead single “Feeling Zen -or- Covered in Shit” down below and pre-order the record here.

The Smoking Popes’ just released a brand new record called Lovely Stuff and you can get it on ~~three~~ two(!) color variants right here. I’m late to the draw on this one and the cool-ass Sweet Tart variant is already sold out. Oops!

Here’s a must have for the discerning pop-punk appreciator. Mike Erg! Grath Madden! A bunch of the other usual suspects! It’s Whimysland! with their new 7″ Bounty Bay, out now on Bloated Kat and Worst Idea Records here in the states, Stardbumb Records in Europe, and Waterslide Records in Japan. Available on “Bounty Bay Blue” colored vinyl and black wax. This shit is bad ass!

New Found Glory’s From the Screen to Your Stereo covers album is getting a 25th Anniversary reissue from Drive-Thru Records, with new cover art and three color variants to choose from. Get it here.

Just shy of its 40th anniversary (and out of print for as long), 7Seconds’ New Wind is getting a big time reissue thanks to Trust Records. The record has been remastered and comes with a 24-page book and – more notably – a bonus LP with a totally reimagined version of the album called Change In My Head, featuring two previously unreleased tracks. There are two variants up for pre-order on the Trust Records store, along with 7Seconds store exclusive, Revelation Records exclusive, and what looks like the retail variant on purple colored vinyl you can get on good ol Amazon.com.

Useless ID’s No Vacation from the World is being released on vinyl for the first time ever, 22 years after its original release on the beloved CD format (CD means “compact disc” btw for those not in the trade 😉). Get it now on yellow colored vinyl!

Green Day is stealing a page from Blink 182’s playbook double dipping with a deluxe edition of a record that only came out a year ago. Saviors (édition de luxe) is a 2xLP set featuring 5 brand new bonus tracks and acoustic versions of 2 of the worst songs on the record! There are two variants – clear w/ pink splatter & pink w/ white splatter – each of which is supposedly limited to 2,500 copies. Either Green Day’s sales are down yuge or that’s bullshit because I find it hard to believe these haven’t sold out in a full-ass week. ANYWHO! You can get it here.

I told you about this big time reissue a few weeks ago, but it’s time to pay the piper now because it’s finally up for pre-order. The Gamits! Endorsed By You! 25th Anniversary! Featuring a resequenced tracklis and a handful of bonus live recordings, this is due out May 9th and you can pre-order it on yellow and/or green colored vinyl right here.

A year after its digital release, Quebec melodic punks XXsmile’s self-titled debut album makes its way to vinyl with an ultra-limited pressing of 100 copies on Lemonade Yellow colored wax. Head over to People of Punk Rock Records and snap this one up.

Speaking of old albums being released on vinyl for the first time, Bowling For Soup’s 2016 album Drunk Dynasty is being released on vinyl for the first time! 2022’s Pop Drunk Snot Bread is back in print, too, but that’s been released on vinyl before 😉 Double Helix Records has US exclusive variants up for pre-order on their store, while SBAM Records and Lockjaw Records have you covered in Europe and the UK. SBAM has some fancy uber limited “liquid filled” variants as well.

The almighty Hives have a new record on the way! The Hives Forever Forever The Hives is due out August 29th and you can get it on black & white splatter colored vinyl (signed by the band!), black wax and/or gold vinyl from the band’s webstore. There’s also a silver variant and signed version of the gold variant available exclusively from Rough Trade. Very cool! Check out the fuckin bad ass lead single “Enough is Enough” 👇

UK power pop band The Speedways have a new 7″ singled Visiting Hours coming soon and you can pre-order it now on red, white, blue, and black vinyl right here. Co-released by Stardumb Records FOLC Records, and Beluga Records! Check out the wonderful title track below 👇

We’re putting a bow on this week’s Record Radar with a big time DELUXE! reissue of My Chemical Romance’s 2004 breakout album Three Cheers for Sweet Revenge. There are an absolute fuckload of variants for this thing. It’s got new cover art. It’s remixed! It’s got 4 bonus live tracks. And I don’t care what anyone says this record kicks ass! Find links to pre-order all 5 billion variants rite here.

Well, that’s all, folks. Another Record Radar in the books. 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!

by Staff Writer Screeching Bottlerocket

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DS Show Review: Punk OC: From the Streets to Suburbia at the Fullerton Museum Center Opening 4/5/2025

April 13, 2025 | 10:13 am

As punk rock bands in the 1990s were making waves, they would praise the names of the bands that had influenced them or in some cases had been peers. A lot of these bands had either broken up or had a fraction of their original members that were still carrying the torch. The anthems they created became the anthem for the next couple of generations. After years and years of flag-waving, Orange County’s punk rock scene is getting its due at The Fullerton Museum Center with its exhibit, Punk OC: From the Street to Suburbia. On Saturday April 5th, the museum celebrated the opening of the exhibit with a concert featuring two of the scene’s most enduring acts, T.S.O.L. and D.I.

Doors for the sold-out event opened at about 5 p.m. A stage was set up in the plaza to the left of the museum. Each band had a booth set up for merch, along with a few others including one from the Orange County Record Show that had records on hand for people to buy. Vandals bass player, Joe Escalante, DJed a set that was a wide variety of OC punk bands and old punk rock favorites. The night was hosted by comedian Chris Estrada, who quipped that he was who you hired for your punk rock events when Fred Armisen is too expensive.

The crowd was a grab bag of punk rockers from all walks of life. While it was mostly an older group of people, there were some kids walking around. It’s endearing to see these songs live on in the next generation. It was also cool to see some of my punk rock heroes walking around in the crowd. I’m pretty sure I spotted Mike Patton from Middle Class in the crowd. I was also able to buy T.S.O.L. lead singer Jack Grisham’s newest book, Transmission, from the man himself with a signature and a warning at how insane it is. For those not lucky enough to get a ticket, some people watched from the parking structure adjacent to the Fullerton Museum Plaza. The one complaint I had was that the stage was too short. It was a bit hard to see the bands at some points.

D.I. was the first band to play that night. You won’t find anyone who loves Orange County more than Casey Royer and his crew. The forty-five-minute set was heavy with songs from their first few albums. Opening with their cover of “Rock and Roll, Part 2,” Royer led the band through a forty-five-minute set that included favorites like “Johnny’s Got a Problem,” “Hang Ten in East Berlin,” and “Amoeba.” While Rikk Agnew did not play, there was definitely love shown for him as D.I. played two of his songs, “Falling Out” and “OC Life,” the latter with a dedication to Fullerton added to its introduction. If it’s been some time since you’ve seen D.I., definitely check out a show.

I have never seen a bad TSOL set. The four remaining members, Jack Grisham, Ron Emory, Mike Roche, and Greg Kuehn always play hard. In the last year or so, Mike Roche has not been able to tour with the band due to his Parkinson’s diagnosis, but does come up for “Code Blue.” Drummer Antonio Hernandez and touring bass player Brandon Reza hold their own with the punk rock veterans. TSOL played a wide variety of songs, but like D.I. mostly stuck with stuff from their older albums. They were able to sneak a song from their anthologized, but anomalous album, A-Side Graffiti. Grisham reminisced about some memories he had of living in Orange County, such as buying some equipment from the pawn shops that once occupied some of the storefronts in downtown Fullerton to being sentenced to county jail at a courthouse down the street for sneaking into Disneyland with machetes to vandalize the park. When one kid told him he could play the drum part for “Dance With Me,” Jack allowed him to come up onstage and play with the band. Despite being a little fiery on the kit, the kid did well. It was a cool moment.

The line for the exhibit stretched around the building and only died down when the bands started playing. I was able to get in between sets. The exhibit itself is amazing. I haven’t had a chance to visit the Punk Rock Museum in Las Vegas, so I cannot compare it, but the care and love shown for the Orange County scene is evident. Walls are dedicated to classic bands like Middle Class, The Vandals, and Agent Orange, but also bands like the Cadillac Tramps, who are as important but don’t get the credit they deserve. The two biggest Orange County bands, Social Distortion and the Offspring, have spots, too. The exhibit also highlights L.A. bands X and the Circle Jerks, as well as the Agnostic Front and the New York Hardcore scene. The defunct, but still legendary venues of the scene like the Cuckoo’s Nest and Safari Sam’s are mentioned, and there is a section dedicated to Anaheim’s Doll Hut, where most, if not all, of these bands played. The Fullerton Museum Center has really put together a great event, giving these bands their due.

While the Fullerton Museum Center celebrates the genre that caused the city so much trouble in the 1980s, there was a weird vibe. Of course, this event was cool. It’s great that this music is getting recognized for its contribution to the world, but at times it felt like the city officials were treating it as this cute baby being kept at arm’s length after massively shitting itself. City Council member Nick Dunlap said some nice things about the genre and referenced some of the locations listed in Social Distortion’s “Story of My Life,” but it’s not like this was billed as a family event. D.I. played “Chiva,” a song about heroin. T.S.O.L. closed with “Code Blue.” Despite the content of the songs alone, the show was relatively mild. Don’t get me wrong it was amazing to see both of these bands in a space reserved for cover bands playing at the city’s weekly farmer’s market, but punk rock still feels like the red-headed stepchild.

by Staff Writer Forrest Gaddis

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California DI Fullerton orange county punk rock

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DS Record Review – Split System – “Vol.2”

April 12, 2025 | 10:30 am

Admittedly, I only know anything about Australia through pop culture, so if the place isn’t as cool as the picture I’ve painted in my mind, forgive me. If nothing else, it’s given me good bands like Royal Headache and Rose Tattoo and the television show Mr. Inbetween. Upon my first listen to Split System, I […]

From Melbourne, Split System have released two albums since 2022. Their debut, Vol. 1, and 2024’s follow-up—you guessed it—Vol. 2. Tidy and categorizable. Sonically, they’re a little harder to place. They do share some similarities to the aforementioned Australian punk touchtones, minus the often soulful and melody-first vocals of those bands. Here, depending on the track, the vocals move between a borderline hardcore bark and a smirky rasp similar to (last Australian reference, I swear) Chris Bailey of The Saints.

No frills, tough guitar riffs. The album doesn’t let up over its 11 tracks. Hardcore influences mixed with some party-punk energy. A drone-y quality to some of the repeated guitar parts and the driving rhythm section that adds a bit of post-punk darkness to the recipe. There’s an economical tightness akin to modern punk like Radioactivity and classic street punk in the vein of The Partisans. There’s a lo-fi warmness to the guitar tone that keeps things veering too far into maxed distortion territory. It’s heavy but keeps some clarity in there.

They don’t rely on big, bright choruses to carry the tunes but that’s not to say there aren’t hooks to be found. The lead guitar and the chanted chorus of “The Wheel” will have you fist-pumping if you’re more extroverted than myself. The standout track to my ears is “Alone Again”. It brings to mind The Saints again with a real head-bobber of a lead line and probably the poppiest vocal delivery on the album (even with a throat shredder of a shouted refrain). It is a well earned restart-before-its-over song.

While it is difficult to place exactly what they sound like, they’ve found a sound that is completely natural and unique. Anywhere you land on the punk Venn Diagram, this band has something you can latch onto. Listen here and pick up the record from Goner Records.

by Staff Writer Lanny Durbin

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australia Garage Punk goner records melbourne Punk

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DS Premiere: The Jack Knives unveil video for new track “Kill Me First” from upcoming album “Into The Night”

April 11, 2025 | 4:29 pm

Anaheim’s The Jack Knives are back! The foursome recently spent some time in Asbury Park working with the one-and-only Pete Steinkopf, and the result is probably their tightest and most focused work to date – though given that they worked with Pete at Little Eden, you’d expect nothing less. The new album is called Into […]

Anaheim’s The Jack Knives are back!

The foursome recently spent some time in Asbury Park working with the one-and-only Pete Steinkopf, and the result is probably their tightest and most focused work to date – though given that they worked with Pete at Little Eden, you’d expect nothing less.

The new album is called Into The Night and it’s out May 2nd on digital platforms, and you can check out the lead video, “Kill Me First,” below!

The Jack Knives will make key festival appearances this summer, including: Punk Rock Bowling’s 25th Anniversary — a special club show appearance with Hot Water Music Hoochenanny Whiskey and Music Festival in Rochester, NY — sharing the stage with Joan Jett and The Blackhearts. In an effort to reward their loyal fanbase, Into the Night has been exclusively available on vinyl for the past three months ahead of the digital release.

by Staff Writer jaystone

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anaheim asbury park into the night kill me now pete steinkopf

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DS Feature: Who the Hell is Sammie Augusto?

April 11, 2025 | 11:00 am

Image created by Golden Amplifier (Monica Ritchie) A Young Punk Dynamo Sometime last year, a friend told me, “You won’t believe the voice of this 14-year-old I’m producing.” Naturally, I expected to hear some raw talent, but what I got completely floored me. Sammie Augusto hit me like a power chord. The passion, the grit, […]

Image created by Golden Amplifier (Monica Ritchie)

A Young Punk Dynamo

Sometime last year, a friend told me, “You won’t believe the voice of this 14-year-old I’m producing.” Naturally, I expected to hear some raw talent, but what I got completely floored me. Sammie Augusto hit me like a power chord. The passion, the grit, the soul in her voice weren’t just impressive for her age; it was powerful, period. I found myself asking, “how is this kid singing with so much intensity and wisdom beyond her years?” It made me think back to what I was doing at 14, and man… I wish I had focused on something as cool as being in a punk band. Sammie isn’t just dabbling in music — she’s living it.

I’ve been lucky enough to catch her live a few times now, and each appearance has been unforgettable. Watching her go from a giggling teen off-stage to a full-blown punk powerhouse onstage in a matter of minutes is something else. The switch flips, and suddenly she’s leading the room like she was born to do this. It’s out of this world.

Sammie Augusto is a name rapidly gaining traction in the punk scene. Raised in San Diego, she stands out not just for her raw musical talent but for her fierce stage presence and her ability to front two distinct bands: Flailing Idiot and The Cherry Bombs. While some artists are chasing fame, Sammie is building a reputation through unapologetic performances and uncompromising punk ethos.

Image created by Golden Amplifier (Monica Ritchie)

Early Life and Musical Origins

Sammie grew up immersed in punk from day one. Her parents regularly brought her to shows around San Diego, and her father plays in the local punk band Dead on the Wire. At just six years old, she watched him perform live—and that was the moment it all clicked. The energy, the crowd, the music—it sparked something in her.

By age eight, she was already fronting her first band, Wasted Years, a metal group covering Iron Maiden, Metallica, and Slayer. Those early years helped her build confidence onstage and sharpen her skills as a vocalist and performer. Sammie’s connection to punk has always been personal, shaped by community, family, and a DIY spirit.

Flailing Idiot

Formed in 2020, Flailing Idiot is a pop punk trio born out of North County San Diego’s DIY scene. The band features Sammie Augusto on guitar and vocals, Miya Schultheis on bass, and Lillee Gillee on drums. In early 2025, the band reunited its original lineup by welcoming Lillee back into the fold, reinforcing their chemistry and solidifying their core sound.

Flailing Idiot’s sound blends the rawness of classic punk with a sharp pop sensibility. Their fan-favorite, “Is It Just Me,” released in 2024, has become their most popular track to date, earning them a loyal following. Other standout songs include “Queen of Hearts,” “Murder Kitty,” and their most recent single, “Insomnia,” which dropped in January 2025.

Known for their chaotic, high-energy shows, Flailing Idiot has performed at more than 50 fairs, festivals, and venues across Southern California. They’ve shared stages with acts like Jax and Punk staples Bad Cop Bad Cop, and are slated to open for The Dickies later this year. Whether in a packed venue or at a local all-ages show, the band delivers a performance that captures the urgency, humor, and heart of modern punk.

Illustration: “F is for Flailing Idiot” by @hecreative, from My Very First Women in Punk ABC Book.

The Cherry Bombs – A Melodic Counterpart

In 2023, Sammie Augusto formed The Cherry Bombs alongside her close friends Bella Novak and Evelyn Boren. The project gave Sammie a creative outlet to explore a more melodic, pop-punk sound while keeping her punk roots intact.

Unlike the raw energy of Flailing Idiot, The Cherry Bombs lean into catchy riffs, theatrical stage presence, and anthems about youth, identity, and rebellion. Their most recent release, “20/20 Vision,” showcases this evolution — blending melody and grit with a rebellious charm that still hits hard live.

Their performances are just as intense, but with a different flair — Sammie brings a playful, engaging persona to the stage that reflects the band’s glam-punk spirit and tight-knit friendship.

Photo: @cherrybombsofficial / Instagram

Creative Duality and Vision

Sammie’s ability to balance two distinct musical projects — Flailing Idiot and The Cherry Bombs — speaks to her versatility and creative vision. With Flailing Idiot, she channels raw emotion, tackling political unrest and personal grit with fast, unapologetic energy. In contrast, The Cherry Bombs allows her to explore a more melodic and theatrical side of punk, blending vulnerability, rebellion, and catchy, glam-infused hooks. This duality showcases Sammie’s growth as both a songwriter and a performer. Few artists can dominate a chaotic pit one night and deliver a glam-punk anthem the next — Sammie does both with ease, staying true to her craft in each project.

Her philosophy toward life and music is simple: “Live Like Jamo.” This mantra, inspired by her late uncle, embodies living fully and doing what you love. For Sammie, that’s music, and she brings that energy to everything she does, whether she’s rocking out with Flailing Idiot or bringing theatrical flair with The Cherry Bombs. Sammie’s journey is about more than just the moment — it’s about perseverance. Her advice to young women wanting to break into punk? “Just do it! Pick up an instrument and practice every day! You will only get better.” It’s this drive that has brought Sammie to where she is today, and it’s clear she’s just getting started.

Looking ahead, Sammie has big plans. Flailing Idiot is gearing up for shows at Doll Hut in Anaheim on April 12th and Harvard and Stone in LA on April 19th. Fans are eagerly awaiting what’s next, as Sammie’s creative spark continues to push boundaries. She has big aspirations: touring with her bands, stepping into Broadway, and releasing a book she’s been working on for years. There’s no limit to where she’s headed.

If you’re new to Sammie’s music, check out “My Love”, a solo track she wrote at just 11 years old. It’s the perfect introduction to her undeniable talent and the passion she’s been pouring into her music from the start. Ultimately, Sammie’s mission is clear: she wants fans to leave her shows feeling alive and wanting more. Whether it’s a high-energy punk anthem with Flailing Idiot or a melodic, anthemic moment with The Cherry Bombs, her goal is the same — to make you feel something, to make you feel everything.

Image created by Golden Amplifier (Monica Ritchie)

Punk Isn’t Dead— It’s Just Getting Louder

Sammie Augusto isn’t here to play it safe. With the maturity and grit of a seasoned performer, she’s carving her path through raw talent and unapologetic authenticity. Whether leading the charge with Flailing Idiot or belting anthems with The Cherry Bombs, she refuses to blend in. At just 14, Sammie is already showing the world that age doesn’t define artistry— drive, passion, and fearlessness do! It’s a rare thing to witness someone so young yet so fully committed to their craft. With every performance, she leaves a mark. As one fan put it: ‘You don’t just watch Sammie Augusto—you survive her set.’ She’s proving that the future of punk is in more than capable hands. I can’t wait to see where she takes this.

by Staff Writer Monica Ritchie

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all female Female Fronted Flailing Idiot punk rock san diego punk

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DS Gallery: Refused are fucking dead…and this time they really mean it. (Chicago 3/25/25)

April 10, 2025 | 1:38 pm

Refused are fucking dead…and this time they really mean it. The hardcore punk band just finished their North American farewell tour after initially reuniting in 2012, with plans to continue the tour in Europe and the UK in the summer and fall. Joining Refused on this leg of the tour is New York’s post-hardcore punk […]

Refused are fucking dead…and this time they really mean it.

The hardcore punk band just finished their North American farewell tour after initially reuniting in 2012, with plans to continue the tour in Europe and the UK in the summer and fall. Joining Refused on this leg of the tour is New York’s post-hardcore punk band Quicksand. Chicago’s own Racetraitor also joined the lineup for this show at the Salt Shed.

Racetraitor is a hardcore punk/metalcore band formed in 1996 and kicked off the night of steadfast punk rock energy with powerful political rally cries. They are known for addressing a variety of issues through their music, such as systemic racism, inequality, and social justices.

Quicksand played next with legendary frontman/guitarist Walter Schreifels. He is known for being the main visionary charge behind the Gorilla Biscuits and Rival Schools, and the bassist for Youth of Today. Quicksand, Gorilla Biscuits and Rival Schools all played sets at Riot Fest 2023.

Formed in 1991 in Umeå, Sweden, Refused are renowned for their creative fusion of hardcore, punk, and metal, which has left a lasting impact on the music scene. Their 1998 album, The Shape of Punk to Come, is often hailed as a fundamental album that influenced numerous bands spanning many genres.

The lyrics of Refused emphasize far-left politics, with influences from anarchism, socialism, and other related principles. Between songs frontman Dennis Lyxzén gave inspiring speeches on today’s political climate, with the backdrop behind him read the daunting message of “THIS IS WHAT OUR RULING CLASS HAS DECIDED WILL BE NORMAL.”

They performed “Hate Breeds Hate” for the first time in 30 years and paid tribute to Iggy Pop’s Stooges by covering “Loose” who played at the Salt Shed the night before.

Refused has always been one of my all-time favorite bands and they will dearly be missed by all their fans…I certainly would not complain if they decided to rise from the dead once again, especially in an era where their resonating message of social justices are needed now more than ever. Refused may be fucking dead but their legacy will live on forever.

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by Staff Writer Mary_Sunde

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Refused (band) performing at Ogden Theatre in Denver (photo by Tay Hansen for Soundboard)

DS Feature: Refused Are (Still) Fucking Dead: Refused’s Enduring Legacy & Farewell Tour

April 9, 2025 | 12:30 pm

Words and photos by Tay Hansen, founder of Soundboard, a music media collective and creative studio based in Denver, CO. Refused set the Ogden Theatre on fire last week in Denver. It was one of those rare shows that feels both like a funeral and a resurrection. As part of their 2025 farewell tour, the Swedish […]

Words and photos by Tay Hansen, founder of Soundboard, a music media collective and creative studio based in Denver, CO.

Refused set the Ogden Theatre on fire last week in Denver. It was one of those rare shows that feels both like a funeral and a resurrection. As part of their 2025 farewell tour, the Swedish hardcore legends stormed through a set that spanned decades, tearing through songs with razor-sharp precision and raw emotion. Dennis Lyxzén moved like a man possessed, like someone trying to squeeze every drop of life from this tour.

If this is the end, it’s a damn good one.

But to talk about Refused as just a band that rages on stage would miss the point entirely. Refused were, and still are, a political act. Their music is a manifesto, a call to arms, and a confrontation. With their 1998 landmark album The Shape of Punk to Come, they did more than break up the sound of punk rock—they broke open its ideology, structure, and future.

Formed in Umeå, Sweden, in 1991, Refused quickly carved a name for themselves in the European hardcore scene, fueled by radical politics and an unapologetically Marxist outlook.

When they dropped The Shape of Punk to Come, they were fed up with punk’s stale repetition and co-opted aesthetics. So they made something that didn’t just stand out—it veered hard left, both sonically and ideologically.

Jazz, techno, classical, ambient, metal, hardcore—it’s all there, chopped up and restitched into a Frankenstein of genre. At the time, no one knew what to make of it. Now, it’s regarded as one of the most influential hardcore albums ever recorded.

The irony, of course, is that they broke up almost immediately after releasing it. Their U.S. tour was chaotic—marked by modest turnouts, rising internal tension, and, in what now feels like a perfectly on-brand finale, a final show shut down by police mid-set in a Virginia basement.

“Refused Are Fucking Dead,” the now-legendary breakup letter was less of a press release and more of a middle finger to commodified punk and anyone still clinging to its rotting corpse.

But you can’t kill ideas. And Refused was always an idea more than a band. So, of course, they came back.

Their 2012 reunion was met with both elation and skepticism.

Could a band so radically anti-capitalist return to play Coachella and maintain credibility?

They answered the question the only way they could: with more fire. Freedom (2015) and War Music (2019) didn’t try to recreate Shape…. They just continued the mission—uncompromising, anti-fascist, anti-capitalist, intersectional punk that refused (yes) to go quietly.

Last week’s show proved that nothing about that mission has changed. Lyxzén’s stage presence is unmatched—part frontman, part preacher, part performance artist. He joked about how many times they used the word “revolution” in their songs, but the laughter was knowing. That word still means something in a world drowning in disinformation, corporate corruption, and fascist creep. And in a genre that often sways into apathy, Refused never stopped standing for something.

The band’s influence is everywhere. From post-hardcore to metalcore to politically charged punk, Refused blew open a portal for everyone else to walk through. Bands like Rise Against, Thursday, letlive., Gallows, and even Paramore have cited them as foundational. They proved that punk didn’t have to sound a specific way to mean something.

As Refused closes this final chapter with blistering shows across the U.S. and a 25th-anniversary reissue of The Shape of Punk to Come, it’s hard not to feel like they’ve come full circle.

But this isn’t nostalgia.

This is a reminder that Refused’s vision is still terrifyingly relevant. The co-opted aesthetics Refused once railed against have seeped into everyday life—where radical messaging is repackaged as branding, and rebellion is sold back to us as lifestyle content. Social media platforms reward spectacle over substance, turning even protest into performance. Donald Trump rode memes and outrage into the presidency, and corporations now sponsor Pride floats while lobbying against our rights.

In a time when everything feels corrupted and commodified, Refused’s refusal to play along still resonates. Punk can be intellectual. Anger can be visionary. And music—when it isn’t sanitized or stripped for parts—can still be revolutionary.

Refused didn’t just predict the shape of punk to come; they challenged us to shape it ourselves. And in 2025, surrounded by algorithms, ad campaigns disguised as activism, and an endless feed of capitalist ideas, their music feels less like a time capsule and more like a warning.

Read my full concert review—including more photos of post-hardcore legends Quicksand and local opener Cleaner—now live on the Soundboard site.

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by Staff Writer Tay Hansen

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DS Show Review: Linda Lindas, Be Your Own Pet, and Chicano Mosh at The Glass House in Pomona, CA (4/1/2025)

April 8, 2025 | 4:00 pm

My family and I have gone to see the Linda Lindas play at least once a year for the last four or five years. It’s been good to see them grow as musicians in that time and still stay humble. Whether they’re opening for staples of the scene like Green Day or Jawbreaker or playing legendary venues varying in size and history, they always give a good show full of energy and positivity. Something that is much more present in the scene and not always so much outside of the venue walls.

This was my first visit to the Glasshouse in Pomona, mostly out of laziness, which can be a pain to get to due to traffic. Please note: it is not lost on me that my first time there would be on a Tuesday in my forties. It’s a pretty basic venue, with a bar on the back wall and a second story for merchandise and bathrooms, the decor is plain white walls with a wood floor and a disco ball hanging from the ceiling, placed directly in the middle of the venue. The downtown area around the Glasshouse has grown over the years with specialty stores and restaurants, art galleries, and even a pinball arcade carving out a nice little space in Downtown Pomona.

The night opened with the band Chicano Mosh from Corona, CA. These kids put on a pretty fun set with their reverby indie surf rock. Lead singer Bryan Bugarin led the band through songs like “Brown Cats” and “Ojos Flojos,” sung in both English and Spanish. Chicano Mosh held their own throughout their forty-minute set with varied moods in their songs, but always full of emotion and excellent arrangements. They would make a great addition to any lineup, and I can’t wait to see more from them.

Nashville, TN’s Be Your Own Pet was second on the bill. I had heard very little from them before, but was blown away by their energy. They played punk rock and riffy garage rock that reminded me of Black Flag in some places, especially on songs like “Goodtime!” They were fast, fun, and kept their set interesting with an urgent need to keep moving, even in the few mid-tempo songs. Lead singer Jemina Pearl’s constant moving and marching to the songs kept the set unpredictable in all the right places.

The Linda Lindas played a No Obligation album-heavy set; in fact, they played all of it. This would be a problem if the album wasn’t so damn good. It was the band’s first time headlining the Glasshouse, and they took full advantage. On top of playing all of No Obligation and hits from their first album, they fit in a few covers includin their Talking Heads cover, “Got a Job,” and “Tren al Sur” from Los Prisioneros. It’s great seeing them play their Spanish songs from their albums; they have become highlights, and I love seeing them incorporated into their set. They ended the set proper, as they do, with “Racist, Sexist Boy,” but came out for an encore, melding Green Day’s “When I Come Around” with Jawbreaker’s “Want,” “All in My Head,” and closing the night with their cover of Bikini Kill’s “Rebel Girl,” with all the bands joining them onstage to help sing. That summer with Green Day really tightened up their sound and helped with their nerves.

The crowd was great for the most part. It’s always endearing to see some of the Linda Lindas watching the bands with their fans in the crowd, no matter the size of the venue. As sometimes happens, a drunk guy tried to ruin the show by running up and grabbing people to jump into the pit, but he was dealt with very quickly when most of the people pointed him out to the band and got security to kick him out. The Linda Lindas pride themselves on trying to keep their shows safe spaces, despite how aggressive the music can get sometimes. The scene is evolving in more ways than one, and The Linda Lindas seem more than content to help.

by Staff Writer Forrest Gaddis

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Be Your own pet California Chicano Mosh Glasshouse linda lindas