DS Record Radar: This Week in Punk Vinyl (RKL, Sum 41, The Shivvies, Goldenboy, Misfits & 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 our friends at Punk Rock Radar:

As you’ve probably already heard by now, RKL has risen from the ashes! They just wrapped up a quick run of reunion shows with Tony from Municipal Waste on vocals and now a reissue of Rock N Roll Nightmare has popped up. It’s limited to 500 copies on Green / Orange Swirl colored vinyl, due out in June, and right now the only places you can get it from are both in Europe: Green Hell Records and Rough Trade.

That Descendents / Circle Jerks split 7″ that was released for their co-headlining tour a few weeks ago (and promptly sold out online) is back in stock! So if you missed out the first time around, you can get the red color variant (limited to 500 copies) from the Descendents store once again. Someone was kind enough to rip the whole 7″ and upload to youtube, too, so that’s cool. Enjoy!

Dutch pop-punks The Shivvies took the Ramonescore world by storm with their self-titled debut album in 2021, and now they’re following that up in grand fashion with the announcement of not one, but two brand new records! The band’s sophomore LP Punk Boys will be released on May 31st and an accompanying 10″ EP titled Take on the Night precedes that on May 15th. If you’re in Europe, Shield Recordings is the place to buy. My fellow Americans can save a few chunk of change on shipping by buying from Mom’s Basement Records. PHYSICAL STREET DAY IS JULY 1ST. Check out the lead single to see what all the fuss is about:

Speaking of Mom’s Basement Records, did you catch our exclusive premiere of their latest release last week? If you didn’t, I highly recommend checking out Pool Party, the debut album from The Bacarrudas, a fun new surfy power pop / garage rock band fronted by Dirt Bike Annie‘s Adam Rabuck. Give ‘er a listen and add the shiny compact disc to your cart before you check out with those new Shivvies records!

Sum 41 just released their final album Heaven :x: Hell, but they’re continuing to keep 2019’s Order in Decline in print. I got an email from Spotify imploring me to buy this new pressing, limited to 500 copies on Pink & Blue Swirl colored vinyl. Apparently this is a “Spotify Fans First” release and you need a code to buy it. Go here and use the code OID! if you’d like to do that.

The MisfitsEarth A.D. is getting its 5 trillionth repress, but this one’s special! It’s a Record Store Day Essential release (whatever that means), due out July 26th and limited to I don’t fucking know how many copies on a pretty fucking sweet looking Purple Swirl color variant. You can probably buy this from any record store day in the continental US but I’ll direct you to Lunchbox Records because they’re pretty cool.

Some awesome new records have hit the Punk Rock Radar webstore! Up first is Norwegian punk band Goldenboy‘s new album Qualmbum, available on Blue w/ Splatter (125 copies) and Yellow (also 125 copies) colored wax. This is a highly recommended pickup for fans of mid period No Use For A Name (More Betterness!, Hard Rock Bottom, etc.). Check out the first single below and you’ll get what I mean. Once you’ve done that, click this link and buy the record if you’re in the US. If you live elsewhere, links to a bunch of other labels you can get it from can be found here.

Due out May 24th and also up for pre-order on the Punk Rock Radar store, it’s A Bolt from the Blue, the debut LP from Modern Shakes. These guys are an awesome punk band from London, England (not to be confused with London, Ontario) that also come highly recommended from yours truly. The vinyl release is limited to 125 copies on Electric Blue and another 125 copies on Shocking Pink(!!!) colored wax. You can get the record from Punk Rock Radar (as I previously mentioned), as well as Double Helix (US), Disconnect Disconnect (UK), and Fond of Life + Keep it a Secret Records in Europe.

But wait, there’s more! Cassette appreciators, I have good news for you as well. Our mates at Cat’s Claw Records are releasing this wonderful album on cassette tape, limited to 50 copies total; half of which come in Turquoise colored shells, and the other half housed in Transparent Pink shells. You can purchase each of them for 9 pounds sterling (or get both for the unbeatable value of £17!) riiiiiight here.

Buffalo punks On The Cinder just released their new album Heavy-Handed. Check out the opening track “Smells Like American Spirit” below and go here to get the record. You’ve got five(!) color variants to choose from: Opaque Red, Blue, Violet, Translucent Green and Clear. Or you can save yourself the hassle of choosing and just buy all five perhaps.

DustyWax Records is releasing 88 Fingers Louie‘s 1997 compilation album 88 Fingers Up Your Ass on vinyl for the very first time! It’s a double LP housed in a gatefold sleeve sporting some brand new art all over it. They’ve got two variants available to pre-order on their Canadian webstore: Galaxy Splatter / Red-Blue (320 copies) and the DustyWax exclusive 88 Eye Ball / Chicago Flag (208 copies). Meanwhile, Chicago’s own Loud Pizza Records has their own exclusive “Rocket Pop” color variant, limited to 125 copies; you can get that one right here.

Galaxy Splatter / Red-Blue is the “Indie variant” and can also be purchased from these fine labels all over the world: Bearded Punk Records (EU), TMom-Merch (EU), Revelation Records (US), Thousand Islands (NA), Le Noise (Canada), and Disconnect Disconnect (UK).

Pop-punk troubadour and The Prozacs frontman J Prozac has a new record called Obsession due out June 14th on Rum Bar Records. Check out a few tracks from the record below and pre-order it here on one or more of the color variants: Clear / Orange Splatter (40 copies), Black / White Splatter (40 copies), Opaque Orange (100 copies), Black Wax (100 copies). They’re $22 each or you can get a 4 LP bundle for $70 by ordering directly from Mr. Prozac himself.

And last up on this week’s Record Radar we’ve got Authority Zero frontman Jason DeVore with his brand new solo album Til the Voice Goes Out, due out June 7th and available to pre-order from these fine labels: Double Helix Records (USA! USA! USA!), SBAM Rekkids (Europe, UK… and most importantly also the USA!), Caffeine Bomb Records (Japan!), and People of Punk Rock Records (Canada, eh?). Check out the simply delightful new single “Turn it Off!”:

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 week!

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 Exclusive: Check out Long Island punk band Fake Lighters’ new music video for “Till the Cows Come Home”

Fake Lighters is a bad ass punk band from Long Island, New York. They released their bad ass debut EP Missing the Boat in 2022, and now we’re premiering the music video for “Till the Cows Come Home”, one of the bad ass tracks off that bad ass EP. How fuckin’ bad ass is that? […]

Fake Lighters is a bad ass punk band from Long Island, New York. They released their bad ass debut EP Missing the Boat in 2022, and now we’re premiering the music video for “Till the Cows Come Home”, one of the bad ass tracks off that bad ass EP. How fuckin’ bad ass is that?

Check out the music video below! Get the record on bad ass colored vinyl here! Also, here’s a bunch of words Fake Lighters frontman Nelson Brolly was kind enough to type up for you; please take a moment out of your day to read them:

“Till the Cows Come Home” is a song from our debut EP Missing the Boat which was recorded back in 2022 and got a vinyl release in 2023. The 3 of us have been friends and have been playing music together for over 20 years in one form or another. Fake Lighters is our newest incarnation and we are really just enjoying making music together that we are proud of. We are currently writing new music for a full length which we plan to record this fall.

We filmed the outside part of this video on a cold and windy day at the beach, which was less than ideal to say the least. It features my daughter Evie participating with Long Beach Cleanup, which some of our friends run here in Long Beach, NY. It’s a great group that organizes weekly volunteer beach cleanups. We thought it would be cool to incorporate something into the video that we are involved with, and it also compliments the song, which is about staying positive, putting good into the world, and staying motivated.

This premiere is brought to you in part by Punk Rock Radar. If you’d like your band’s music video to be premiered by Dying Scene and Punk Rock Radar, go here and follow these instructions. You’ll be on your way to previously unimagined levels of fame and fortune in no time!

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In Case You Missed It! – DS Album Review: Basque – “Pain Without Hope of Healing”

Basque is a 4-piece screamo band from Kitchener, Ontario. They released their debut LP, Pain Without Hope of Healing, on March 22nd, 2024, with support from labels all over the globe. Mixing ethereal dream-like riffs with heavy power violence-inspired bursts under a droning wall of noise, Basque has brought forth a record that peaks and falls constantly. A unique take on […]

Basque is a 4-piece screamo band from Kitchener, Ontario. They released their debut LP, Pain Without Hope of Healingon March 22nd, 2024, with support from labels all over the globe. Mixing ethereal dream-like riffs with heavy power violence-inspired bursts under a droning wall of noise, Basque has brought forth a record that peaks and falls constantly. A unique take on the screamo genre that forgoes a linear progression and embraces a chaotic rise and fall of emotions throughout the short 7-song, 20-minute album. The bleak lyricism on the record touches on modern-day capitalism, addiction issues, confessional repentance, and inescapable melancholy. Pairing the simple yet dismal words with the mathematical intensity of the instruments, it is undeniable that Pain Without Hope Of Healing is a highly personal and emotionally charged project.

Going into the first song, I realized they weren’t kidding about the droning wall of noise, in the best way possible. These guys are LOUD and PROUD, and it’s infectious and works great for their vibe. Kicking off the album is the track “Nausea.” The chaotic instrumentation is front and center here, and the lyrics almost serve to complement the music rather than the other way around. This works in their favor for many of the tracks on this album! The lyrics are accessible on their Bandcamp page and, despite being short, they have such deep and relatable meaning. “Discontinue, disconnect; Now I’m trying to forget…” I can only imagine the number of people who can relate to those heavy lyrics.

Track two, “Perks,” is a song that brings in the longing of wanting to just tear off the mask they’re wearing to make others happy. The people pleasers of the world would rally seeing the lyrics to this song. “It’s futile to pretend I’m good at something again…” Incredibly relatable, even behind the vagueness of the surrounding lyrics. Relating to this is going to be a walk in the park for many of us and it’s truly a talent to say so much in so few words. Seeing the trend of this album made me realize just how bad these epidemics are becoming in the modern day.

“Stillness” is my favorite song lyrically, hands down. The way it’s written and executed is just so well-placed and relatable, it definitely elevates the album as you continue to listen. “…Before there was heaven, I hated my chin; Before there was stillness, I was the wind..” The poetry of the lyrics had me captivated as I listened closely to hear them over the chaos of the music. Which, in retrospect, kind of feels similar to all the noise and pointless news we hear every day, with the real problems flying ever so slightly under the radar, much like the lyrics vs the music of the album. It’s a beautiful parallel, if that was their intention!

Bringing us to track 4, another relatable banger. With lyrics coming at you from beyond like with lines like, “I heard but I didn’t listen; I held on too long but I didn’t like it…” from someone who knows the fear of everyone wanting to like you, or relate to them or have them relate to you in some way, “Worry About Everything” is a song that everyone who struggles with making sure everyone likes them needs. I struggle with it myself, and it’s important to just be yourself, and you will surround yourself with people who will be like-minded and compassionate to you and your world. It’s important for not only our mental health, but our physical, too. “…The youthful glow is gone; And in its place another scar; To reinforce the fear that one day it will strike my heart…” Honestly, metaphorical or not, it has a ton of truth. The amount of energy it takes to entertain people who aren’t like-minded and compassionate towards you is unimaginable. BE YOU.

“All Good Things Will Crumble” has a slightly more lax and mellow intro, until the screech of the guitar coming in to (possibly) rub some ears the wrong way, but if you hang in there, the instrumentation gets intricate and chaotic as you grow to recognize! The lyrics would tear any bleeding heart’s heart in two, but the timing of the music makes this song almost impossible for me to skip! I love trying to tap along to each instrument’s timing since they’re each a bit different!

This song has such a beautiful title, at least in my opinion, but call me a sucker for poetic wording. “Concrete Thoughts, Soften” has a soft title, but don’t let it fool you into thinking it’s got a softer sound. The lyrics are a whirlwind of vague, yet relatable, truths. “To say I’m tired is an understatement; So, I’ll lay my head on the pavement; Thinking of the thoughts of today; And the thoughts of tomorrow…” Just the despair of being locked in that depression, sometimes even reaching the point of the next few lines “…No time for sleep; No time to borrow…” It’s a dark place, but I can imagine some could relate. (If you need help with these thoughts and feelings, please reach out to the Suicide Hotline or your local mental health providers for help). As I go through this album, I just become more and more sucked in by the lyrics and the instrumentals they’ve paired with them.

The final track has the heaviest lyrics, yet the softest instrumental intro. I genuinely was FLOORED when I heard the picking and how beautifully slow it was. It gave this album such a beautiful ending. It’s probably my favorite track overall and if they had an entire album where all the songs sounded like this, sign me up for that review, I have DIBS. “Funeral For A Mouse” is incredibly dark, yet beautiful. In all honesty, this song’s lyrics are to be read at your own discretion. I find them beautiful, yet the subject may be triggering to some readers. I absolutely LOVE any and all music that brings awareness to and relates music to suicide and its darkness, having struggled with it myself at one point in time. That being said, I want to mention again; If you or anyone you know is having and struggling with these feelings or thoughts, please reach out to the Suicide Prevention Hotline or reach out to your local mental health professional.

Fans of Jerome’s Dream, Portraits of Past, City of Caterpillar, Blind Girls and Lord Snow will enjoy these guys’ music!

Paint Without Hope of Healing is out NOW on all streaming platforms as of March 22nd, 2024!

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DS Exclusive: Modern Shakes premiere music video for brand new single “Watch it Flicker”, from upcoming album “A Bolt From The Blue”

London punks Modern Shakes are releasing their debut album A Bolt from the Blue on May 24th, and today we’re stoked to be premiering the brand new single “Watch it Flicker”. Check out the music video below! “This song is about diving into a 17 year old flame that was rekindled on the brink of human […]

London punks Modern Shakes are releasing their debut album A Bolt from the Blue on May 24th, and today we’re stoked to be premiering the brand new single “Watch it Flicker”. Check out the music video below!

“This song is about diving into a 17 year old flame that was rekindled on the brink of human existence. Assume we only get one chance at this life. Fear not of the heartache, and pain that we must carry to make it to the end. Keep on shining, don’t be afraid to flicker.” -Philosophical musings from Modern Shakes on their new single “Watch it Flicker”

A Bolt from the Blue is being co-released by these fine labels: Punk Rock Radar and Double Helix are bringing it to the US, Disconnect Disconnect and Cat’s Claw Records are holding it down in the UK, and Fond of Life and Keep it a Secret Records have you covered in Europe. So no matter where you are in the world, you can – and should – buy this record!

This premiere is brought to you in part by Punk Rock Radar. If you’d like your band’s music video to be premiered by Dying Scene and Punk Rock Radar, go here and follow these instructions. You’ll be on your way to previously unimagined levels of fame and fortune in no time!

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DS News: Steve Albini, Prolific Record Producer, Audio Engineer, Musician, Music Journalist and Chicago Punk Scene Icon Dead at 61.

The punk community around the world is mourning the loss of Steve Albini, one of its iconic figures. This is especially true for Chicago, where he helped shape the punk scene, and where his Electrical Audio recording studio is located. Staff members at Albini’s Electrical Audio confirmed to Pitchfork that Steve Albini suffered a fatal […]

The punk community around the world is mourning the loss of Steve Albini, one of its iconic figures. This is especially true for Chicago, where he helped shape the punk scene, and where his Electrical Audio recording studio is located. Staff members at Albini’s Electrical Audio confirmed to Pitchfork that Steve Albini suffered a fatal heart attack late Tuesday night, May 7, 2024

Albini’s death also comes on the heels of the announcement that Shellac, one of Albini’s bands would be opening for OFF! at that band’s farewell shows in New York City, Los Angeles, and Chicago in July. Shellac is also scheduled to release its first new album in a decade, To All Trains, next week.

Steve Albini was born on July 22, 1962, in Pasadena, CA. While Nirvana’s In Utero and The Pixies’ Surfa Rosa are among the most famous of the classic albums he recorded, he also worked with such musicians and bands as PJ Harvey, Jesus Lizard, Breeders, Jon Spencer Blues Explosion, Helmet, Low, Dirty Three, Slint, and Brainiac.

As a musician, Albini founded Big Black in the early 1980’s. Naked Raygun’s Jeff Pezzati and Santiago Durango were members of the band. Pezzati left the band, replaced by Dave Riley before Big Black’s two most seminal albums Songs About Fucking and Atomizer.

Albini, Bob Weston, and Todd Trainor founded Shellac in the early 1990’s. The aforementioned To All Trains will be the band’s sixth studio album upon its release, and Shellac was scheduled to join Off! on its farewell tour, sharing the bill with Fucked Up and Surfbot as well.

Albini was also, at times, a controversial figure, especially in years past. In more recent years, he expressed regret over some of those things.

Outside of music, Steve Albini had another noted talent: championship poker player. Albini won two World Series of Poker bracelets.

All of us Dying Scene send our deepest condolences to Steve Albini’s family, friends and fans. Stay tuned for more Dying Scene coverage of Steve Albini’s life and legacy in the near future.

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DS Exclusive: Salem Wolves unveil “So Desperate,” first single from upcoming 80’s wrestling concept record, “The Psychotron Speaks”

One of my favorite things that happens periodically here at DSHQ is getting a “hey, would you be interested in premiering this track?” request from a band that you’re already stoked on. It is even cooler when the music they want you to debut for them is not only great, but is also genre-bending. The […]

One of my favorite things that happens periodically here at DSHQ is getting a “hey, would you be interested in premiering this track?” request from a band that you’re already stoked on. It is even cooler when the music they want you to debut for them is not only great, but is also genre-bending. The kind of song that makes you want to listen two or three or twelve times to make sure you’re catching all that’s going on. And on that note, we present to you “So Desperate,” the latest single from Salem Wolves!

For the uninitiated, Salem Wolves are a four-piece outfit from straight outta Providence, Rhode Island who have been plying their wares in and around New England for the better part of a decade. They might hail from the smallest state in the Union, but the sound they pack, particularly on their forthcoming record, The Psychotron Speaks, is bold and mighty. It’s also delightfully tough to nail down. The lead single, “So Desperate,” is a layered, anthemic post-rock cacophony, building and ebbing and flowing as it progresses. It’s a sound that would fill up the night sky on a late summer amphitheater stage but also wouldn’t sound out of place bouncing off the walls at a 400-capacity rock club.

The Psychotron Speaks is a concept album of sorts that’s about…well, I’ll ket the band explain it briefly:

An undercard wrestler fighting for his life and legacy. A mysterious entity whispering discord in unearthly tones. Dreams of fire in a house of want and need.

The album was produced by one of my favorites in the game – Jay Maas – and it’s due out July 19th on Tor Johnson Records. You can find out more about it at Salem Wolves’ website. And for now…feast your earholes on “So Desperate”!

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DS Show Review & Gallery: Punk Rock Tacos! Hood Rats; Maharaja; Lengua Salvaje; La Armada. Chicago (4.06.2024)

April has just started and Punk Rock Tacos has already put together three shows as part of their relentless campaign to spread punk rock all over the Chicagoland area. This time the show takes place at the legendary South Irving Park venue, Livewire Lounge. The atmosphere was great even before the first band got up […]

April has just started and Punk Rock Tacos has already put together three shows as part of their relentless campaign to spread punk rock all over the Chicagoland area. This time the show takes place at the legendary South Irving Park venue, Livewire Lounge. The atmosphere was great even before the first band got up on stage; beer in hand, most of the crowd was eager to see some great bands while jamming to the music playing in the bar. A quick shout out to the bartender playing Eskorbuto, one of my favorite bands, which made getting there early truly worth it. 

One of the aspects of the way Punk Rock Tacos puts together shows that make them so enjoyable is their ability to curate a chaotic mix of bands and genres. On paper, this strange combination would not appear to work, but once that initial feedback of the amplifiers’ screeches, as if it was introducing the rest of the distorted noise we call music, it all starts to make sense. On tonight’s bill, the only common thread between all the performers is the crunchy distorted guitars; although to the inexperienced ear they all probably sound similar, these bands could not be more different, both in genre and their artistic expression. 

The first opener for the evening was Hood Rats. The rock n roll and punk rock trio made their way from Montreal to Chicago and put on an incredible performance despite having probably the toughest responsibility – to get the crowd started and excited. They played an energetic set that got everyone at Livewire interested and engaged. 

The band’s lead singer and guitar player, Tony Salador, is the mastermind behind the musical project accompanied by Guillaume Tremblay & Andy McAdam as supporting musicians. At the risk of sounding reductive, Hood Rat’s set could be described as electric. Their music ticks all the boxes needed to have a great time –it is loud, fast, and straightforward. A great balance between street punk, leaning towards hardcore punk, but with a prevalent underlying rock n roll sound ever-present in their catchy riffs. 


Overall, Hood Rats are a great band to see live. Hopefully, they will come back to Chicago soon, and if they do I would suggest any enjoyer of hardcore punk and street punk to see them live. The band describes their music as “in your face, raw music” and that description fits them perfectly. Their studio music is also worth checking out, and a great place to start would be either their song “Do Not Resuscitate” off of their Deep Cuts: The Singles Collection album or their video just released earlier this month “F*** the Police.”


After a few minutes of setting up and getting everything ready, Maharaja took the stage. Not many people were expecting the stark contrast between the first and second acts. This three-piece act from Dayton, Ohio showed they are all well-seasoned musicians; their performance was controlled, clean, and incredibly fucking heavy.

In comparison with the first band and their music perfect for slamming and thrashing, Maharaja brought the meat to the table with a slower-paced, thick, sludge and doom metal more suitable for the long-term neck issues caused by headbanging too hard. Their songs were significantly longer, as is typical in this specific genre. However, when the music is good, does the length of the track really matter? In terms of musicianship, all three members were exceptional, but the vocal skills of the lead singer and bassist alongside the backing vocals of the guitar player are worth highlighting. The brutal, unnatural, guttural sounds gave the music a haunting sound of despair and anguish. Their style is heavy, and gloomy, like being pummeled with a sledgehammer to the skull repeatedly (in the best way possible) and the atmosphere they created while performing complemented that sound perfectly.


Sadly, Maharaja is currently bidding farewell, as they are disbanding soon. All good things must come to an end, and this one specifically is leaving one full-length album and a few EPs to show for it. Not only does the cover image look sick, but their single “Soulless” would be a great soundtrack if there is ever a movie made about Marvin Heemeyer’s Bulldozer Rampage.


At this point of the show, the gears shifted. Lengua Salvaje took over the stage and as they were setting up, it was clear they were there on a mission: to play fast, loud, and with determination. They had things to say, and pulled no punches.

Before beginning their set, as the band members were waiting for their cue, the lead singer standing a bit off to the side gave the impression of someone kind of shy and reserved. However, once the music started playing, the presence of the vocalist seemed to grow larger and larger until it was the stage that felt too small and constrictive. 


Lengua Salvaje added a much-appreciated political tone to the show. Touching on anarchist themes and spreading a fairly overt anti-capitalist message, their music was as untamed as their namesake. In terms of sound, the band was playing an amalgamation of hardcore and crust punk with hints of grindcore; the guitar tone was crunchy, closer to the standard sound of crust punk, but the drums truly shone by setting up the pace that created the back and forth between the styles, keeping each song interesting throughout their set.

A song of theirs worth checking out is the track titled “Machete,” it truly showcases this band’s musical style, a unique sound that combines the best aspects of several subgenres within the more extreme branches of punk. Lengua Salvaje is a great band to see live for an unbridled and savage display of angst and aggression, and a perfect choice to precede the headliners of the evening. 


To close off the evening, the final band of the show took the stage. In between the tambores, y la sazón caribeña they unapologetically embrace as a core part of their sound, La Armada brought unto the table a sound that took all the aspects from the music genres of the previous three bands. The clear influence of metal, punk, and hardcore shone through in every single song. The set was tight, a no-bullshit kind of performance, which makes sense for a band with a clear message of anti-oppression that honors the Caribbean resistance movement. 

Singing in both English and Spanish, this band takes on colonization both as a historical concept and as a modern one as one of their main subjects. Embracing Latin American, and Afro-Caribbean rhythms they have a subversive approach to what has historically been a caucasian music genre, which in a way is their strongest form of protest. 


When talking about their music, they have some explosive, fast-tempo tracks. They do not shy away from their hardcore punk original sound but also are not afraid of brazenly appropriating the characteristics of adjacent music genres to create depth and variation in the songs. Their frontman Enrique Vargas performed incredibly well, connecting and engaging with the crowd as well as delivering each lyric with fierce, and aggression.

Al final del día, el corazón hispano lleva la sangre que anhela la libertad del viento caribeño. Es la razón por la cual es fácil crear una conexión con las letras que rechazan la colonización, y mantienen presente la necesidad de la unión entre los pueblos oprimidos. Fomentar la resistencia latina es parte esencial del deber de los activistas hispanos, y así juntos salir pa’lante.



This article was a collaborative effort with the incredibly talented Ed Kost who produced all the featured images in the article.


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DS Exclusive: Detroit punks Middle-Out premiere music video for “Silhouette” from upcoming Self-Titled LP

We’re just three weeks out from the release of Detroit punks Middle-Out‘s highly anticipated self-titled debut album, due out May 24th on Punkerton Records. The band just released the last in a line of banger singles and today we’re exclusively premiering the music video for “Silhouettes”. Go ahead and check that mother fucker out below. […]

We’re just three weeks out from the release of Detroit punks Middle-Out‘s highly anticipated self-titled debut album, due out May 24th on Punkerton Records. The band just released the last in a line of banger singles and today we’re exclusively premiering the music video for “Silhouettes”. Go ahead and check that mother fucker out below.

Middle-Out’s self-titled LP is being released on a bunch of bitchin’ color variants, all five of which you can pre-order right here. Or hey, if you prefer your plastic music discs smaller and digitized, they’ve got CDs available, too. Whatever suits your fancy! No matter how you listen to it, one thing’s certain: this is gonna be a bad ass record. I know it’s one I’ve been looking forward to for a few months now.

Also, if you’re local be sure to catch the band’s record release show! Middle-Out will be joined by Lame Ass Dads, Frank White and Hidebehind when they play Small’s Bar in Hamtramck, MI on May 24th. There’s even gonna be a raffle for a test pressing of the record. Fuck yeah! More details here.

This premiere is brought to you in part by Punk Rock Radar. If you’d like your band’s music video to be premiered by Dying Scene and Punk Rock Radar, go here and follow these instructions. You’ll be on your way to previously unimagined levels of fame and fortune in no time!

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DS Show Gallery: The Dream Machine Tour! Featuring Jigsaw Youth and Des Rocs in Chicago (Bottom Lounge, 4/26/24)

Chicago got a double-dose of New York bands Jigsaw Youth and Des Rocs who teamed up for a spring North American tour after the release of Des Rocs’ Dream Machine in August 2023 with Sumerian Records. Jigsaw Youth are no strangers to Dying Scene (check out the photos from when they played with Destroy Boys […]

Chicago got a double-dose of New York bands Jigsaw Youth and Des Rocs who teamed up for a spring North American tour after the release of Des Rocs’ Dream Machine in August 2023 with Sumerian Records.


Jigsaw Youth are no strangers to Dying Scene (check out the photos from when they played with Destroy Boys and Pinkshift!) and manage to kick-ass every time they play in Chicago.


After the release of The War Inside Me EP last year, Jigsaw Youth bestowed upon us two new singles: Sit On It and Love Sick.


As of this writing, Jigsaw Youth is currently scheduled for Elsewhere Fest in Wichita, KS on June 22nd, Louder Than Life in Louisville, KY on September 26th and Aftershock Festival in Sacramento, CA on October 11th.

More dates are coming soon, so you better follow Jigsaw Youth and Dying Scene to hear all about it!


Closing out the night with his new brand of rock n’ roll and edgy punk rock Elvis vibes, Des Rocs, aka Danny Rocco, has quickly climbed the charts and becoming known for his unforgettable electrifying performances.

His shows are literal art, from beginning to end, that will have you sweating and dancing to every beat. The amount of energy he brings to the room is no joke!


Des Rocs’ sophomore album Dream Machine is fierce and emotive and certainly worth the time to listen to. You can pick it up via Sumerian Records here! In addition to a few festival dates, Des Rocs recently announced a EU/UK tour happening this fall. Don’t miss it!


Check out photos from both the bands below!



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DS Review: Aaron West and the Roaring Twenties – “In Lieu of Flowers”

The Wonder Years frontman Dan Campbell, has been hard at work; in 2014, he created a well-thought-out alter ego known as Aaron West, best defined as “a character study conducted through music” – basically a fictitious telling about his alter ego’s life. The first album, We Don’t Have Each Other, told the story about Aaron […]

The Wonder Years frontman Dan Campbell, has been hard at work; in 2014, he created a well-thought-out alter ego known as Aaron West, best defined as “a character study conducted through music” – basically a fictitious telling about his alter ego’s life. The first album, We Don’t Have Each Other, told the story about Aaron West’s worst year; in 2019, Aaron West and the Roaring Twenties released the follow-up, Routine Maintenance, which according to Campbell, gave the fictitious alter ego a redemption arc and focused on him learning to deal with tragedy instead of going down the self-destructive route. Five years later, the Americana folk project released a new album, In Lieu of Flowers, the third and final album for Aaron West and the Roaring Twenties

In Lieu of Flowers kicks off with “Smoking Rooms,” a slow acoustic song with voices from a crowded room. Towards the end of the song, horns, guitars, and the beating of drums appear to underline what’s in store for the rest of In Lieu of Flowers. The acoustic guitar is placed in a corner for the following song, “Roman Candles,” which tackles the effects of COVID-19; “But Mom works at the hospital / Every shift is a curse / She’s never seen people this sick before / She says it’s only getting worse”. While we’re two songs into the album, you can already hear it becoming an emotional one because the relatable feeling of wanting to sleep through the horrible pandemic and one’s life standing still throughout it is very evident in the song. 

Jumping to “Alone At St. Luke’s” and “Spitting In The Wind”, take it upon themselves to pick the tempo of the songs again; with “Alone At St. Luke’s”, the lyrics are cheeky, (“Fuck The Tories!”) and begin to tackle the narrator’s downward spiral with alcohol again. The pop-punk anthem “Spitting In The Wind” sees West drinking more frequently and tells the story of how it is affecting his relationships around him. “Runnin’ Out Of Excuses” starts with a gentle piano key while West’s vocals are softer. At the same time, we are taken on a journey of entering rehab after his relapse with alcohol, and throughout the song’s progress, he admits that while he has stuff to do, he is staying to make himself better. 

The title track and penultimate song, which was also the first single from the album, are relatively upbeat and feature a tremendous horn section. The song serves as an apology to those his drinking affected. You want to sing along with the chorus; the glimmer of hope is there, and not everything is as bleak as you thought. The closing song, “Dead Leaves”,  is similar to the opening song—a slow song—but unlike the first song, which was filled with the angst of hopelessness in the air, we hold on to the feeling of hope that came to the surface during “In Lieu of Flowers”. “Up the block when I come to I see our name on the marquee / And smile cause I love you and I know that you found what you need”, finally finding peace. 

The ability to build tension in songs, with the same amount of passion from start to finish, has been one of the most profound abilities that Dan Campbell has done in his decades-long career. While not comparing this to any of The Wonder Years albums, Campbell has always been great at writing lyrics for the listeners to interpret for themselves and sometimes even be able to build the visualization in their heads. However, being able to capture the same level of emotion for a fictitious alter ego really gives the listeners an insight into his creative process.

And the emotional impact of feeling lost during the pandemic, letting yourself fall back into the self-destructive behavior that we all heard him work hard to get out of on Routine Maintenance, can have listeners cheering for a happier ending than how the bleak portrayal of the first half of the album seems to be heading. And do we get it? I don’t know, but we get something: the self-realization of how destructive his drinking got, how it affected his surroundings, and checking himself into rehab, all while the undertone of “I can leave whenever, but what does that help me?” lingers in the air during “Runnin’ Out Of Excuses”. And to the end, where the narrator, Aaron West, sees his ex-wife finally having the life he couldn’t give her and being at peace with it, does maybe explore the theme of forgiving oneself instead of him jumping into the gig and getting wasted. While it’s the final album, those last lines of “Dead Leaves”, “The future’s a rhetorical question / So I open the door, and I walk in,” leaves it up for interpretation. I would like to think that while life has given one hardship, the future is untold. 

I loved the album. The way In Lieu of Flowers weaves storytelling and music together is one of a kind. From the gut-wrenching moments of listening to Aaron West fall back into a downward spiral, to the moment of reassurance of him realizing that it can’t go on and getting help, had me on an emotional rollercoaster. It can be rare to find an album that has the intensity of pulling you in with the ups and downs. The way the album touches on the different genres, blending with Americana, country, pop-punk, and the modern-day emo that reminds one of the likes of Hot Mulligan and Spanish Love Songs. The album isn’t just music; it’s a story. 

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