Happy Friday, friends! There’s a lot of awesome new releases out today, but I’ve made the executive decision to shine the spotlight – the Dying Scene Band Spotlight, that is đ – on one record in particular. That record is Hurry Up and Wait! This is the third full-length entry in Canadian pop-punk band Wasting […]
Happy Friday, friends! There’s a lot of awesome new releases out today, but I’ve made the executive decision to shine the spotlight – the Dying Scene Band Spotlight, that is đ – on one record in particular. That record is Hurry Up and Wait! This is the third full-length entry in Canadian pop-punk band Wasting Time‘s growing discography.
Here’s what the band had to say about their brand new record, which just came out today on People of Punk Rock Records:
“Hurry Up And Wait is a melodic journey encapsulating many moments throughout our lives with reflective, ambiguous and occasional dark lyrics. These 11 songs reflect a modern spin on our favourite pop-punk bands from the 90s while also displaying an expansion of our sonic palette as a band. We’re happy to have it released today and hope listeners can take in how much fun we had writing, arranging and recording these songs.”
If you are a fan of MxPx, The Ataris, No Use For A Name, etc. you’ll like these guys for sure. But hey, don’t take my word for it, check out the record! You can listen to right below, or on Spotify, Apple Music, YouTube Music (do people use that shit?), etc. by clicking this link. And my fellow physical media appreciators can get the album blue colored vinyl and/or compact disc right here.
Also! And this is the last thing, I promise. If you happen to reside in the Greater Toronto Area, consider attending Wasting Time’s album release show tomorrow, April 13th at the Bovine Sex Club. More details here!
Local Drags is back with a new album called City in a Room, due to be out May 17th on Stardumb Records. We’re stoked to be premiering the music video for the album’s leadoff single “Left in the Sunâ”, another catchy power pop nugget, something people who followed Lanny Durbinâs in both this band as […]
Local Drags is back with a new album called City in a Room, due to be out May 17th on Stardumb Records. We’re stoked to be premiering the music video for the album’s leadoff single “Left in the Sunâ”, another catchy power pop nugget, something people who followed Lanny Durbinâs in both this band as well as Starter Jackets have come to expect from him. Check the video out below and pre-order the record here!
After dipping into alt country accents with its predecessor Mess of Everything, Local Drags makes an even sharper left turn with their fourth LP City in a Room. Lanny Durbin’s songwriting is still razor-edged and to the point, with a mix of darker indie rock vibes sinking into the instrumentation. Melody and optimism still make their way to the top. Fighting depression with power pop!
This premiere is brought to you in part by Punk Rock Radar. If youâd like your bandâs music video to be premiered by Dying Scene and Punk Rock Radar, go here and follow these instructions. Youâll be on your way to previously unimagined levels of fame and fortune in no time!
In what may be one of the more random and unique turns of events in the recent memory of at least one long-time DS staffer (read as: me), we had the opportunity to shoot night two of Sessanta at Bostonâs Wang Theatre. What is Sessanta, you might ask? Valid question. Sessanta – the word – […]
In what may be one of the more random and unique turns of events in the recent memory of at least one long-time DS staffer (read as: me), we had the opportunity to shoot night two of Sessanta at Bostonâs Wang Theatre. What is Sessanta, you might ask? Valid question. Sessanta – the word – translates from the original Italian to âsixtyâ and not, contrary to popular belief, to âsexy Santa.â But Sessanta in this case is so much more. Specifically, itâs a touring celebration in honor of noted oenophile and Brazilian jiu-jitsu enthusiast Maynard James Keenan turning – you guessed it – sixty years old, a fact that is at least as mind-blowing as the show itself that celebrated the momentous occasion. (SeriouslyâŠElvis died at 42 and Wilford Brimley was like 49 when he started shooting Cocoon and Jerry Garcia died at 53 and Maynard still looks like has aged maybe two weeks since he was stalking the stage at Lollapalooza 1993 during the handful of Tool appearances on that iconic tour. Maybe thereâs something to a life of wine and martial arts and not, in Elvisâ case, Demerol and tranquilizers and, well, and martial arts. But I digress. As usual.)
The Sessanta touring monster is a three-headed beast that features Primus and two of Maynardâs non-Tool-related musical projects, A Perfect Circle and Puscifer. The tour marks the first A Perfect Circle dates since 2018 – and I think the first dates with Josh Freese on drums since like 2011. Each band is certainly more than capable of headlining a similarly-sized venue (now in its hundredth year, the historic Wang Theatre holds 3,500) in their own right, so having all three on the same bill creates the problem of âwho is going to headline?â To tackle that, Keenan and company created an evening event with all three bands trading spots and hoping on and off each other’s sets over the course of three hours. The stage was set up with three drum kits on a shared riser that was bookended at stage right and stage left by staircases that lead to seating areas each adorned with dual couches for the rotating cast of characters to hang out on and watch the festivities when it wasnât their respective turns to perform.
All told, the trio of rock heavyweights pounded out twenty-nine songs over the course of the evening, with none of the bands really taking much in the way of precedent over the others. After a series of video reminders about the consequences of violating the showâs cell phone/camera policy, the musical portion of the celebration kicked off with a trio of songs from A Perfect Circle – âThe Package,â âDisillusionedâ and âThe Contrarianâ who then gave way to Primusâ well-received run-throughs of âThose Damn Blue-Collar Tweakers,â âToo Many Puppies,â and âAmerican Life.â Then it was Pusciferâs turn to take center-stage, with commanding performances of âGalileo,â âHorizonsâ and âIndigo Children.â With each bandâs initial three-song mini-set out of the proverbial way, the evening turned progressively more collaborative. Act 2 kicked off with Primus playing a trio of their biggest hits in succession: âJerry Was A Race Car Driver,â âMy Name Is Mud,â and âTommy The Cat,â the latter of which saw Keenan himself taking Tom Waitsâ position in the titular role from atop the stage left staircase. Puscifer returned for what really was the heart of the set – a four-song collection of âFlippant,â âMomma Said,â âBullet Train to Iowaâ and âThe Underwhelming.â A Perfect Circle returned for âThe Hollowâ with Primusâ Tim Alexander on drums. Astute observers will recall that Alexander was APCâs founding drummer and his drumming on the studio version of that song marks his only recorded appearance in the APC catalog. On this night, as he did in the band a quarter-century ago, Alexander then handed the reins back to Freese for âSo Long, And Tanks For All The Fish,â âWeak And Powerlessâ and âThe Outsider.â
Act 3 started with a Puscifer return, closing out their portion of the evening with âThe Humbling Riverâ and âThe Remedy.â A Perfect Circle then played arguably their two biggest hits – âThe Nooseâ and âJudithâ before Primus closed out their portion of the main set with an extended âSouthern Pachyderm,â which featured Freese and Olsen joining Alexander as a three-headed drum soloing monster. The set closed with each band performing their new tracks that appear on the tour-exclusive new EP; APCâs âKindredâ performed with Pusciferâs Carina Round, Pusciferâs âNo Angel,â and finally Primusâ âPabloâs Hippos,â performed with Keenan himself. Then it was time for the grand finale; the entire twelve-headed monster took to the stage simultaneously to bang out what I guess you would call a cover of Pusciferâs âGrand Canyon.â You really should watch the latter – it’s something to behold.
As I alluded to before, the show brought with it a strict “no cell phone/no photography” policy which was startlingly well adhered to. It sounds weird maybe to mention in a show review, but we’ve reached the day and age where it is truly noteworthy – and undoubtedly refreshing – to be at a show filled with people who are just reveling in the experience in real life and not through a screen…and I say that as someone who watches shows through a screen for a (pretend) living. The atmosphere made for a compelling watch. Certainly, it seemed most show-goers were most stoked to see A Perfect Circle, especially with the powerhouse that is Josh Freese supplying the drumming duties. I think Billy Howerdel is a tremendous writer of poignant, heavy yet atmospheric music, and it creates for a live performance that borders on haunting at times. Primus, though, had a large contingent of their own fans singing and dancing along as Les Claypool and crew frog stomped their way through their particular brand of psychedelic prog funk jam rock. Puscifer are a band that I think a lot of people traditionally sleep on, because maybe of the sort of juvenile band and song/album names sometimes, and because I think they’ve been mischaracterized as a catch-all for Maynard’s non-Tool/APC musings and, as such, not as “serious” a band, but let me tell you…that band rules. Hard. Especially live. The interplay between Maynard and the spell-binding Carina Round’s voices and personalities was captivating, and genuinely lent itself perfectly to the gothic, theatrical setting.
I was going to write a more thoughtful outro to this show review, but in my brain, I keep hearing Stefon, Bill Hader’s brilliant city correspondent/club promoter from SNL’s Weekend Update like 15 years ago. “This show had everything; a birthday cupcake for Maynard James Keenan, three drummers at the same time, Les Claypool in a pig mask playing standup bass with a bow, an Ameriglide stair lift, Josh Freese and Billy Howerdel playing ping-pong, not a single cell phone in sight for three full hours (minus a ten-minute interlude); a hundred-year-old theater where they filmed Witches Of Eastwick.” It really was a special sort of show, and for being only night two of a tour filled with a lot of chaotic moving parts, it seemed from where I was sitting to go off without a hitch. Check our more photos below, albeit only from the show’s finale because that’s all we could shoot. The greedy photographer part of my brain thought it was super unfair because the people deserve to see pics of such an amazing atmosphere…but the cranky old man show-goer part of my brain feels happy we got an uninterrupted treat all to ourselves!
Dying Scene went to Indianapolis to catch this absolutely sick line up of bands that span from across the nation. Check out the photos and be sure to follow and support these bands! The Rosies opened up the night with high-octane energy, keeping true to their own artist bio: “Fueled by cheap beer and the […]
Dying Scene went to Indianapolis to catch this absolutely sick line up of bands that span from across the nation. Check out the photos and be sure to follow and support these bands!
The Rosies opened up the night with high-octane energy, keeping true to their own artist bio:
“Fueled by cheap beer and the power of lightning, The Rosies are here to fill your ears with the sound of the truth. From Cleveland, Ohio these Lake Erie Surf Punk rockers are all about high energy, good vibes, and just being yourself. So crack open a cold one and enjoy the ride.“
Local Indianapolis hardcore band Senescence might have stolen the show with their heavy hooks and stage presence alone. They clearly have a dedicated fan-base who sang along to all their songs, thrashing and dancing throughout. Senescence proved themselves to be exemplary examples of Midwestern hardcore punk.
East LA-based post hardcore band Death Lens was another band I was super stoked to see. How a band can be both chill and have in-your-face hype energy is something I am still trying to wrap my brain around. Their Epitaph Records debut album Cold World will be released on May 3rd, but you can listen to some of their singles right now to tide you over until then (“Vacant” really slaps!)
Finally, the two-piece garage punk duo Teen Mortgage took the stage to a now packed venue of fans of all ages. An older gent told me how excited he was to finally see this band live, and I told him the same. The diversity of fans this night was unreal.
In true punk fashion, the songs were short, fast, but packed an intensity that left you begging for more.
Side note: Drummer Ed Barkauskas is a super nice and cool guy (I was not paid to make this statement, I swear).
Teen Mortgage came from the ethos of Washington, D.C. DIY culture, eventually touring with the likes of OFF!, Alkaline Trio and Red Fang. Their self-titled LP is streaming now and also available at King Pizza Records (if you can get your hands on it!)
Dan Wleklinski, aka “Dan Precision,” is one of the Chicago area punk scene’s top-level multi-hyphenates. As a musician, Wleklinksi was a founding member of 88 Fingers Louie; Rise Against; Soulscape; Break the Silence, and now The Iron Spiders. He is also a prolific record producer. I recently spent a few hours documenting his production work, […]
Dan Wleklinski, aka “Dan Precision,” is one of the Chicago area punk scene’s top-level multi-hyphenates. As a musician, Wleklinksi was a founding member of 88 Fingers Louie; Rise Against; Soulscape; Break the Silence, and now The Iron Spiders. He is also a prolific record producer. I recently spent a few hours documenting his production work, on the upcoming Bumsy and the Moochers record, at The Bombshelter Recording Studio. He founded the studio in the basement of his suburban childhood home in 1999. Later, in a wide-ranging interview, in which we discussed his work as a musician and as a producer, he recalled some of his wildest experiences, his love of road trips on his motorcycle, and more.
MerGold (Dying Scene): How did you get into music to start with?
Dan Wleklinksi: My parents had a very slight musical background, and my dad started to teach me some basic piano playing when I was around 5 years old. I started taking actual piano lessons at the age of 10, but I really wanted to play guitar. Unfortunately, my parents didnât have enough money to buy a guitar for me and said that I couldnât take guitar lessons. I told them that I would quit piano out of spite if I couldnât take guitar lessons, and being the little a**hole kid that I was, I quit piano a few days later. Looking back, I wish I hadnât done that because I would have been a much better and learned musician at this age. Luckily I started learning guitar at the age of 13.
Were there any shows or events you find particularly memorable? Good or bad?
The memorable events and shows are beyond countâŠboth good and badâŠlike having 13 cop cars called on us in 2004 [in Fresno, CA when a member of Break The Silence] after we threatened a venue owner for not paying up. We were on tour with A Wilhelm Scream and Much the Same. Or in 1999, [with 88 Fingers Louie], almost fighting some Germans in Hamburg for accusing us of trashing their van. The dudes in At The Drive-In were going to back us up if that fight ever happened, but we got out of that one.
One of my favorite times was the weekend in 2014 [again, with 88 Fingers Louie] where we played Rock Fest in Montebello, Canada. There were so many cool bands that we shared the stage with, including Blink-182, Primus, Motley Crue, Megadeth, Danzig, Weezer, Cypress Hill, and so many more. Most of the bands stayed in the same 5-story hotel on the site of the festival, so we got to hang out and talk with so many cool musicians. We also had a view of several stages from our hotel rooms, so if we didnât feel like going down, we could watch the bands from the comfort of our own rooms.
Favorite venues and events in Chicago; the same question for other locations?
How do you decide which projects, bands, or musicians with whom to work?
As a musician, I really enjoy working with other players who share the same long-term vision and talent. Iâve been lucky to have started bands such as 88 Fingers Louie, Rise Against, Break the Silence, Soulscape, and now The Iron Spiders. At this point in my life, if I were going to consider being in a professional band, they would need to be a touring band. One of the most difficult things to deal with is the fact that I have the freedom to tour while several bands Iâve been a part of have lost that ability over time.
How did you then get into producing records? What was your first record?
My first real band, 88 Fingers Louie, recorded multiple times starting in 1993 with the esteemed producer, Mass Giorgini, at his studio, Sonic Iguana in Lafayette, Indiana. We recorded a bunch of EPs and 2 full albums there, including âBehind Barsâ and âBack on the Streets.â During the âBack on the Streetsâ sessions, Mass commented that I had a very good ear for music and asked if I wanted to learn how to be an audio engineer. I agreed. I started by comping vocal tracks on âBack on the Streetsâ so that was technically the first record I ever worked on.
I opened my studio, The Bombshelter Recording Studio, in 1999, and the first band I recorded was The Poonanies. The singer, Tony, went on to form Chicagoâs very own, Shot Baker.
How do you decide which musicians to work with? Are there parameters for which you will turn down bands or projects?
Typically, bands ask to work with me from word-of-mouth of past clients, or seeing my name in the credits of albums Iâve recorded. I feel that with the rise in streaming over the last decade, the latter has been increasingly difficult to achieve visibility. I believe Spotify recently has started showing recording/producing/mixing credits if you click on the release, but the bands still need to input that information.
Most bands are great with sharing the recording credits to streaming platforms, and I feel itâs in their best interest to do so. Not only could it possibly open up other avenues of listeners, but it also helps the engineers and producers get their names out to other musicians who might like their production.
I donât really turn down bands or projects. Iâve worked with bands who were 13 and 14 years old who were eager to learn. Iâve also worked with seasoned musicians in their 40âs, 50âs, and 60âsâŠand everything in between.
I have suggested bands to possibly go to a different producer if I feel we wouldnât be a good fit. For example, I feel that bands and producers need to take time in the studio to make their recording the best it can be. If a band wants to record 10 songs in 2 days, I let them know that I donât work that quickly as I believe the process and the quality suffers.
How collaborative is the process? Do you want the bands to come in with specific ideas, or do you take the lead?
The recording process can be very collaborative, and thatâs one of my favorite parts in producing bands. I enjoy when bands have specific ideas and together, we can combine all of our musical experience and hone each song. However, there are many times when the band would like me to take the lead, and I am happy to do so.
That can be a little more difficult when I work with a band for the first time, but luckily, I have a lot of repeat clients, and each subsequent time, the collaboration becomes easier and more fruitful. It really is a beautiful thing to be creative with other musicians who may have different musical styles and backgrounds.
Have you worked on some musicianâs debut albums? As in the musician has never been in a studio? What is that experience like?
Yes, Iâve worked with a few bandsâ with it being their first time in the studio. Typically, those are teenaged bands looking to cut their first EP. Iâve also worked with guest musicians who are singing backing vocals or playing an accompanying part on an established bandâs recording. Sometimes they are youngâŠlike a band memberâs son or daughter. Other times they are talented mothers and fathers of the band currently in the studio. Either way, itâs always an enjoyable experience as they leave having learned something. I think Iâm a bit like my father, who was a great teacher. Itâs an awesome feeling to have bands return and to see the progress they have achieved since their last recording with me.
Related to being a producer, what are the best parts of owning your own studio? Are there challenges you were not fully aware of before owning your own studio?
As you may have gathered frommy earlier answers, I love being in the studio, working with musicians, and also mixing and mastering on my ownâŠbasically, I love the audio portion of running the business. One of the more difficult parts for me is the advertising aspect. While Iâm proud of the work I do, and I enjoy promoting bandsâ releases, I donât really like âtalking myself up.â When I first started, I think I was lucky because people heard about the Bombshelter through the bands I was in. Over the years, word-of-mouth from happy clients has helped me continue to do what I loveâŠfor 25 years! Iâm still slightly shocked that the month of September 2024 will be the 25th anniversary of The Bombshelter Recording Studio. âThank youâ to all of my past and especially return clients who have helped me do what I love for so long!
Last year you left the studio and the stages for a really cool reason. You embarked on a solo motorcycle road trip across part of the country, and brought your friends and fans with you via photos and video. How and when did you start riding? What does riding do for you?
Although I started riding 30 years ago, my first solo motorcycle tour was in 2022. Riding is usually very relaxing for me, and I believe the joy I experience on longer tours are an extension of my time touring with bands. There are so many memorable moments Iâve experienced the last few years, like riding the âMillion Dollar Highwayâ in Colorado and through the âNeedles Eye Tunnelâ in South Dakota.
What was the journey like? Were there any particularly memorable moments good or bad? Any hair-raising moments?
I ask that last question recalling some of my own hair-raising moments riding in vans through Southeast Asia, and buses when I lived in Guatemala. Some of those steeply curved mountainsides were pretty scary. I can’t imagine how nerve-wracking it might be on a motorcycle.
I try not to think back too much on the âbadâ or âhair-raisingâ moments like when animals jump in front of you, or trying to stay awake during the last hour of your Saddlesore 1000 (traveling 1000 miles in under 24 hours). However, I will always remember last yearâs 10-hour ride from Fort Collins to Montrose, Colorado over Trail Ridge Road through Rocky Mountain National Park. It was both hair-raising and memorable to cross the highest point of 12,183 feet in 34 degree (1 degree Celsius) weather with snow on the sides of the road. Luckily the roads were mostly clear of snow and ice due to the warmth of the rising sun.
One of the more difficult things when touring in a band is having the time to enjoy the cities, environments, and scenery along the way. I get to enjoy all of those things while on my motorcycle trips. It is a goal of mine to combine both touring in a band while riding a motorcycle. The late Neil Peart wrote about his time doing that exact thing on several Rush tours, and it sounds heavenly to me!
Wleklinski is one of the most genuine, humble, and all-around nicest people I’ve met, not just in the punk scene, but anywhere. And of course, he has one of the best heads of hair in this scene as well. His long silver mane makes for some amazing on-stage images as he rocks it all over the place.
Those of us photographers who have had the pleasure to shoot him in concert will rue the day he ever decides to cut it off. However, thatâs one move I donât see Wleklinski making.
I do look forward to the future moves he makes in music, in record producing, as well as documenting further two-wheel adventures.
Thanks Dan, safe travels on your next road trip, and cheers!
Road trip images courtesy of Dan Wleklinski. All other photography by MGold for Dying Scene.
Greetings, and welcome to the Dying Scene Record Radar. If itâs your first time here, thank you for joining us! This is the weekly* column where we cover all things punk rock vinyl; new releases, reissues⊠you name it, weâve probably got it. Kick off your shoes, pull up a chair, crack open a cold […]
Greetings, and welcome to the Dying Scene Record Radar. If itâs your first time here, thank you for joining us! This is the weekly* column where we cover all things punk rock vinyl; new releases, reissues⊠you name it, weâve probably got it. Kick off your shoes, pull up a chair, crack open a cold one, and break out those wallets, because itâs go time. Letâs get into it!
Check out the video edition of this weekâs Record Radar, presented by our friends at Punk Rock Radar:
Last year, we loyal Against All Authority fans were graced with the long awaited All Fall Down Reissue. The year of our lord 2024 brings more gifts for the AAA faithful with the equally long awaited reissue of 24 Hour Roadside Resistance. Due out June 28th on Red w/ Black Splatter colored vinyl, pre-order this MF here and say a prayer for a Destroy What Destroys You reissue.
UK ska-punks Eat Defeat’s new record My Money’s One Me is due out May 10th on Uncle Style Records. Check out the lead single “Slip Through the Cracks” below and go pre-order the green vinyl variant here and/or the red vinyl variant here.
Fun fact: the Dying Scene Record Radar is contractually obligated to talk about a new NOFX record every week! This week’s NOFX record is Clay Pigeon, which is a collection of demos from the recording of Coaster (also known as Frisbee). This is the first in a new series of releases from Mr. Burkett’s Punk Rock Museum and apparently similar demo collections from RKL and Get Dead are coming soon. Very cool! There are three color variants available to pre-order here and a splatter variant that will only be available in person at the Punk Rock Museum gift shop.
These guys commented on last week’s Instagram post about the Record Radar saying we didn’t include their “new” record, so here ya go fuckers. Long Birds are a skate punk band from Elgin, Illinois (wherever the fuck that is). They released their latest record On Speed last October, so it’s not really new, but it’s probably new to you. It reminds me of early Millencolin – there’s even a ska-ish song! Get it out and consider purchasing the blue polyvinyl chloride disc, cassette, compact disc, or digital music files from their Bandcamp.
Did your band release a bad ass record that you want me to talk about and tell people to buy? Drop me a line and I’ll include it in the next Record Radar
Fat Wreck’s 25th Anniversary series rolls on with this reissue of Sick of It All‘s Call to Arms. What color is it? Nobody knows! Order it and find out I guess. All copies come with a free tub of creatine and 30 day Gold’s Gym membership.
A few weeks ago I told you about Rancid‘s B Sides and C Sides seemingly being reissued after listings popped up on Amazon and a few other stores. Right after that Pirate’s Press made the official announcement, revealing the Neon Magenta and Neon Green w/ Black Splatter (try saying that 5x fast) color variant, confirming it’s a 2xLP, and also confirming the cover art’s pink for some reason.
This is limited to 1,000 copies – Pirate’s Press has already sold out and most other retailers have as well. Merchbar still has it available for pre-order but buyer beware: I’ve had them switch stuff from “In Stock” to “Backordered” after ordering and then hold my money for a literal year before the order ended up being canceled. Absolute clown show.
Some more reissues from Hopeless in addition to that AAA record: Volume 1 of the Hopelessly Devoted to You comps is back in print on red vinyl (500 copies). With songs by Guttermouth, Falling Sickness, 88 Fingers Louie, the Bollweevils & more how can you go wrong? This one’s due out on May 22nd. You can pre-order it here.
And last up from Hopeless is this 25th Anniversary reissue of Mustard Plug‘s Pray for Mojo. There are three variants: the very tastefully named Hopeless Records webstore exclusive Blue w/ Monkey Poo Splatter (1,000 copies), the Smartpunk exclusive Blue w/ Yellow Splatter (200 hand numbered copies), and the blue retail variant (1,000 copies) which you can probably get at most record stores. All three variants come with updated cover art and the following bonus track:
Iron Chic’s debut album Not Like This is back in print for the first time in a while. This is the 10th pressing and it’s limited to 435 copies on black wax (purchase here), 226 copies on Clear Blood Smoke (purchase here), and 122 copies on Hyacinth (google tells me this is “a small genus of bulbous herbs, spring-blooming perennials” which is a pretty purple-ish color) colored vinyl (SOLD OUT!).
What do you get when you take Grath Madden (House Boat, the Steinways, Robot Bachelor, etc. etc. etc.), Michelle Shirelle (also from the Steinways), Mike Erg (from every band on the planet), Fraser Murderburger (The Murderburgers, Wrong Life, FUCK! (It’s Pronounced SHIT!), etc. etc. etc.), and Kieron Jordan (Don Blake) and put them in a rural barn-turned-recording studio in Belgium? A extremely long sentence, apparently – but also an unsurprisingly bad ass pop-punk record!
That’s what Scrapped Plans’ new record Buddy Buddy Belgium is, a simply splendid 16 minute long 10 song album out now on Bloated Kat Records. If you like any of the affiliated acts, you’ll 100% like this record. I highly recommend checking it out below and pre-ordering it on random colored vinyl here. Also, cassette enjoyers, I should have some exciting news to share relating to this very soon! Stay tuned.
Also out now from our friends at Bloated Kat Records: the new Split LP from Brooklyn’s Heavy Lag and Milwaukee’s Bad Crime. Recommended if you like fuzzy lo-fi-ish shit. Check it out and add it to your cart while you’re picking up that Scrapped Plans record!
Here’s a band that’s been around 20+ years that I’ve somehow never heard of. I found out about Budapest, Hungary’s The Idoru when their new record Undertow went up for pre-order on the Blackstar Foundation’s Bandcamp, which I’m apparently still on the mailing list for after buying some Atlas Losing Grip records like 10 years ago. Anyway, the first few singles from this record are bad ass, and kinda remind me of the last two ALG albums which I loved. Undertow is due out April 26th and is available to pre-order on a bunch of awesome color variants right here.
Back by popular demand, Illinois Ramonescore newcomers Ghost Party‘s critically acclaimed 2023 debut album Afterlife of the Party has been repressed by our friends at Mom’s Basement Records. They did a bunch of very limited screen printed versions of the jacket with mixed color variants, but all of those sold out already. The good news is you can still get it on mixed blue colored vinyl with the normal jacket (limited to 100 copies). Head on over to the Mom’s Basement store before those are gone, too! If you’re in the UK you can get the first pressing from our friends at the Punk Rock Vinyl distro.
Asian Man Records‘ latest release is from Raleigh, North Carolina’s Teens in Trouble. Their debut LP What’s Mine is out now and you can get it on random colored vinyl (limited to 600 copies) right here. My favorite song on the record’s “Autopilot” – check that shit out:
Cock Sparrer just released their new album Hand on Heart (I already told you about that) but they also just released a 7″ single for the album’s closing track “Here We Stand (I’m telling you about that now!). The 7” features a B-Side called “We’re Alright Now” and is available on these three color variants:
Beer w/ Blood Red Splatter – Captain Oi! Records (500 copies, btw their store is dogshit and I can’t find this thing on there lmao)
Sounds Rad Records fully committed to April Fool’s this year, pressing two new variants of The Mr. T Experience‘s Revenge Is Sweet and So Are You with Dr. Frank and co. being bumped from the front cover in favor of a stunning portrait of some feline friends. They pressed 100 copies of Revenge Is Sweet and So Are Miaou on Orange, White, and Black Cat Splatter (sold out! womp womp) and 4000 copies on Cat Scratch Fever Green colored vinyl. The latter is still in stock and can be purchased here.
London (UK, not Ontario) indie/punk solo artist James Sullivan is releasing his sophomore album Vital Signs on April 19th via Stardumb Records. If I had to describe it in a concise manner, I’d say it’s a mix of The Cure, Oasis, and Joe Strummer’s later output with The Mescaleros. If that sounds interesting to you, I recommend picking this record up! You can get it on Van Gogh Green and/or black wax here (US), here (UK), or here (EU).
The last two Atom and His Package LPs, 2001’s Redefining Music and 2003’s Attention! Blah Blah Blah, are both back in print for the first time since their original release. These are limited to 500 copies each – you can get them from Asbestos Records in the US and Le Noise in Canada.
And last but certainly not least on this week’s gargantuan Record Radar, we have a new pressing of beloved Chicago punk band The Arrivals‘ debut album Goodbye New World. It’s limited to 270 copies spread across four variants and you can get it here.
Well, thatâs all, folks. Another Record Radar in the books. As always, thank you for tuning in. If thereâs anything we missed (highly likely), or if you want to let everyone know about a new/upcoming vinyl release youâre excited about, leave us a comment below, or send us a message on Facebook or Instagram, and weâll look into it. Enjoy your weekend, and donât blow too much money on spinny discs (or do, Iâm not your father). See ya next time!
Wanna catch up on all of our Record Radar posts? Click here and youâll be taken to a page with all the past entries in the column. Magic!
DS caught a KILLER show showcasing female punk rockers! Otoboke Beaver, Drinking Boys and Girls Choir, and Ovef Ow played an amazing SOLD OUT show at the historic music venue Thalia Hall in Pilsen district. Fans came out and supported this exciting line up. Japan’s punk band Otoboke Beaver headlined a mind blown show in […]
DS caught a KILLER show showcasing female punk rockers! Otoboke Beaver, Drinking Boys and Girls Choir, and Ovef Ow played an amazing SOLD OUT show at the historic music venue Thalia Hall in Pilsen district. Fans came out and supported this exciting line up.
Japan’s punk band Otoboke Beaver headlined a mind blown show in Chicago! This quartet consists of Accorinrin – main vocals, Yoyoyoshie – guitar, Hirochan – bass, and Kahokiss – drums. Fans came out and were not disappointed. Find them here.
South Korea’s skate punk band Drinking Boys and Girls Choir brought their amazing sound and vibrant energy to Thalia Hall. This dynamic trio are Meena – bass, MJ – drums, Megan – guitar and everyone contributes to the vocals. Fans had a great night! Find them here.
Chicago’s art/post punk band Ovef Ow opened the show with some killer riffs and sound. Members are Marites Velasquez -bass, vocals, Nick Barnett – guitar, Sarah Braunstein – drums/vocals, and Kyla Denham-synth. Find them here.
Dying Scene sat down with the great Drinking Boys and Girls choir before their show. Stay tuned for that interview. In the meantime, check out our galleries from each band below!
The Pacific Ocean, sunshine, warm weather, sitting at the beach, spending time with friends, laughing, feeling joy, eating tacos, baseball, Los Angeles, Hollywood, Disneyland. All of these come to mind when thinking about the state of California. This is probably what you’re thinking about at this moment, right? Who are you kidding? You know why […]
The Pacific Ocean, sunshine, warm weather, sitting at the beach, spending time with friends, laughing, feeling joy, eating tacos, baseball, Los Angeles, Hollywood, Disneyland. All of these come to mind when thinking about the state of California. This is probably what you’re thinking about at this moment, right?
Who are you kidding? You know why you’re here. Okay, maybe all of us are thinking about tacos. Who doesn’t love tacos? Before you make that taco run, you’re going to need some mood music. There is no better band out there to get the blood flowing at any time of day than skate punk legends Strung Out. That’s right, legends. We know music is subjective, and everyone is entitled to their opinions, but knowing what this band has done for the genre, the scene, and the fans it is only fair to hold them among the best to rock a stage.
Strung Out is a five-piece melodic skate punk band from Simi Valley, California that has been busting ear drums and raising fists since 1989. They are more than just a melodic skate punk band, also mixing elements of heavy metal and progressive rock. Combining punk, metal and progressive rock has built a style for Strung Out resulting in a very diverse and appreciative fan base.
One of the very first bands to ever sign with the label Fat Wreck Chords, Strung Out has released nine albums and three EPs. Twisted by Design, Suburban Teenage Wasteland Blues, An American Paradox and Exile in Oblivion are just a few of the albums the band has released that are classics in their own right. These albums showcase the melodic sound, fast guitars, relatable lyrics, and the passion the band emulates.
2024 begins a new chapter for Strung Out. The band is set to release their tenth studio album Dead Rebellionon April 5 via Fat Wreck Chords. This will be the first album with Daniel Blume on drums. Blume has filled in for Strung Out in the past but is now a full-time member of the band.
Dead Rebellion opens with the track “Future Ghosts,” boasting pounding drums and heavy hitting guitar riffs. The song as a whole seems to be a different approach musically for the band, mid-tempo and not as fast-paced but still melodic and aggressive. This is a great way to start an album. Show us something a little different but remind us why you kick ass. “Signal Fires” picks up the pace a bit, flashing those fast guitars and snarl from singer Jason Cruz. This is a standout track and will sound excellent live. The third track “New Gods” was released as a single on February 14, along with a music video, and this track gives off the vibes of a radio single. The lyrics are catchy, and fans will sing along at the band’s upcoming live shows. Here’s another example of Jason Cruz’ howling vocals and the pulsating guitar riffs presented by Jake Kiley and Rob Ramos.
“Life You Bleed” seems to embrace more of the melodic sound of the band. Slower in tempo and lyrics sung out this time more than shouted. “Nobody here is getting it right, everybody is losing the fight,” proclaims Cruz, referring to the current divisive state of society. “Veronica’s Song” almost sounds like it could have been made in the late 1990s but at the same time it is very much a Strung Out track.
There are many reasons to be excited about this album. The band continues to do what they always have done with their music, relay a message and hype up a crowd. While some of the tracks on this album may feel or sound different compared to the band’s previous work, the elements of the album are essentially the same. You still hear the melody; still feel those heavy and fast paced guitars and you’re still going to want to rock out while listening to Dead Rebellion.
This is a quote from Singer Jason Cruz when he was talking about the album title (note this is from source Fat Wreck Chords), “At the end of the day, when the lights go out, we all want the same thing. And that’s where the title Dead Rebellion came from – like, we got so far and here we are right back again, just fragmented and at each other’s throats constantly.”
Dying Scene interviewed Brian Amalfitano of Deaf Club before their show at Thalia Hall in Chicago. Other bands on the bill included Meth, See You Next Tuesday, Usurp Synapse, and DJ Speedsick. Dying Scene: Tell me about yourself and Deaf Club. Brian Amalfitano: My name is Brian Amalfitano. It’s very Italian. I’m the guitarist. This interview has been edited for length and […]
Dying Scene: Tell me about yourself and Deaf Club.
Brian Amalfitano: My name is Brian Amalfitano. It’s very Italian. I’m the guitarist.
This interview has been edited for length and clarity.
BA: I started this band with Justin Pearson. Originally, we played in our former bands. He used to be in Retox and I toured with him. We played three or four shows, and I was a huge fan of his projects, The Locust in particular. Six months later, I was in San Diego, which is stomping grounds for Three One G Records, Justin, and everybody, we saw a band called Metz from Canada, and he was like, âLook, what are you doing? And âI’ve been on hiatus for a little bit.â So, he said, âHey, letâs start a project.â And I thought he was joking. He had a lot of projects going on and I thought, well, this guy is Justin Pearson, what’s he going to do with me? But essentially, we met again, and he started sending me drummers. He was touring with Dead Cross at that time. And so, Jon Syverson from the band Daughters at the time had recommended Scott Osmond, who is our drummer, and he said, yeah, why don’t you try jamming out with this guy? And that kind of became the nucleus of the band. Scott and I sort of wrote all the riffs and guitars and drums together. So, after we sort of wrote all that, we sent it to Justin, he put vocals on everything, and that became our first demo of five songs. I think it was six minutes. It was quick, and weâve been sort of fleshing it out from there. That’s how Deaf Club started.
DS: So, this is my first time seeing Deaf Club. What can you tell someone like me about your band?
BA: Well, it’s a little bit of…Justin had this one lyric, âhighbrow caveman,â so it’s a little bit neanderthally, very abrasive, but a little bit highbrow. We’re trying to be a little bit smarter about what we do. It’s chaos, but it’s controlled chaos. We try to turn on a dime and it’s just very fast, but also very weird. We’ve always been influenced by the weirder aspects of music, so we use a lot of pedals and stuff like that. Obviously, he did that in The Locust, but he’s not playing anything. So, when we started this, I asked him if I could play pedals in this band and he said, âyeah, absolutely!â The weirder the better. So, I think it’s a little bit weird, but aggressive in a positive way. We’re not trying to scare people. We donât want to be a hardcore band that’s a beatdown band, a macho band. Some people obviously throw elbows and kicks in the pit, but we’re not trying to send anyone to the dentist the next day. We’re trying to be nice and sort of be a community band.
“Some people obviously throw elbows and kicks in the pit, but we’re not trying to send anyone to the dentist the next day. We’re trying to be nice and sort of be a community band”.
– Brian Amalfitano
DS: Tell me about the bands you are touring with today.
BA: Meth, See You Next Tuesday, and Usurp Synapse. Seb Alvarez of Meth put together the tour. He’s friends with our drummer, Scott, for many years. Scott was in Meth for a little bit. He was playing drums with them; he plays drums with Glassing. So, he kind of knew Seb already, and Seb wanted us to come out here to play. So, between Scott and Seb, they just kind of emailed everybody and we’re like, let’s do this. Itâs more of a DIY network sort of thing. We do have booking agents and things like that, but sometimes we just reach out to our friends, and we say, hey, let’s do this, and whatever route we could do. So, just the camaraderie of bands and communities in little pockets of America is kind of cool.
DS: How’s the tour going?
BA: It is fresh. It’s the second day. Weâve only had one show. The first show we blew out a tire on the van, which is kind of what happens, and we deal with what comes to us, so it’s all good now. We were on tour with Converge I think the first day out of California or out of Los Angeles we also blew a tire. And then we also blew three hoses on that entire tour, which was kind of wild. Our tour has van has 420,000 miles on it, so it’s been beat to shreds. The Locust used it. Retox used it. A bunch of bands used it, it’s a historical piece. Everyone’s great people, so that makes it better.
DS: So, it’s early in the year. What does 2024 look like for you?
BA: Personally, I think it’s great for Deaf Club. We have a couple tours coming up including a European tour. I’m not quite sure if they’re panning out and I don’t want to say anything before theyâre confirmed. We’ve been writing material. I think we have a good amount almost for a full length, so hopefully a full length. We have some stuff for a split that we’re doing. We have the tour with Fuck Money, which are our label mates on Three One G. They’re also from Austin, Texas. They’re a phenomenal band. Austin’s kind of like our third home. It’s like LA, San Diego, and Austin. They treat us well and all the bands there are great. It’s looking good this year.Â
DS: What accomplishments do you see yourself achieving in the next five years as a band?
BA: Honestly, the hardest part of a band is just surviving the money situation of anything. If anyone cares enough in five years for us to be writing what we’re doing, that’d be great. We’re always trying to push the envelope and create new things, sort of carve out our sound a little bit better. I think even now for the next year, we’ve been writing songs that are a little bit lengthier. Our first album maybe had a song that was like 48 seconds. So, now it’s like, oh, it’s the two-minute mark and that seems reasonable. So, we’re writing better songs. Yeah, so for the next five years I hope we keep doing that and progressing as a band.
DS: Can you tell me a little bit about Three One G Records?
BA: Three One G is Justin’s label. It’s been around 25 years now. I remember, probably about 25 years ago, I started listening to Three One G and listening to the Locust and Gold Standard Labs and other labels from around that time from San Diego and sort of being in awe of the DIY aspect of it, the community aspect of it. And they were not tough guy hardcore. They were sort of skinny dudes doing things and getting essentially beat up by being what people would call them, effeminate, weird, nerdy or whatever. So, it gave me hope, it’s like punk can be weird. Punk cannot be a clique. San Diego created its own DIY community. It didn’t have to go to LA. It didn’t have to be a part of something. So, it kind of helped me think of those things where you could be an outlier even in an outlier subculture like punk and still find a little niche for yourself. And Three One G sort of has always done that. I think they’ve released a lot of great records, a lot of seminal records of just bands that were a little bit askew, a little bit weirder than your normal punk. And yeah, I think Justin has good taste in that regard, trying to find new things.
DS: Tell me about how you all keep the momentum going, especially with all your other projects.
BA: I think it’s just, it’s a lifer thing. It’s something that you don’t really think about. I own a record store. During the pandemic, we couldn’t tour. So, we were like, what do we do? And we opened a record store like, well, music is the one thing that keeps us all going and saves us and lets us have creative outlets and positive outlets. I think my first conversation with Justin in San Diego about creating Deaf Club was, I’m a big Sonic Youth guy and I was like, I’d rather be an underground band for 25 years or 30 years rather than this huge band that just breaks up after a couple of years. I’d rather have the longevity of creating good solid things and keeping it going. I think because we are all dedicated to that concept it helps us go, okay, yeah, maybe we don’t get all the love or the accolades or whatever for a couple years, but eventually someone might be listening, and you want to help that one person. We do get some people that say, âlistening to you guys made my year,â or âsaved meâ helped us. And that’s some positive reinforcement that you just can’t buy it. So, it’s cool.
DS: You mentioned you have a record store. Tell me about it.
BA: We started it a year into the pandemic. It’s called Spinning Plate Records and we do a little bit of everything. I’m from Argentina, so the demographic is very much Latino. We started bringing in Rock En EspanĂ”l, hip hop, Three One G records, music that I grew up listening to, and things that I, through the DIY community, was like, Hey, I’m going to sell my friends’ records. I started just creating a community based around that. That kind of transferred into Spinning Plate Records. It’s been cool. It’s been a good three years.
DS: So, tell me about your favorite performance as a band.
BA: One of my favorite performances weâve played was at Elysium in Austin, Texas. We played at Oblivion Access Fest, which was a DIY and the first year of the festival. It was this young kid had thrown it, a friend of Scott’s. So, they invited us to play, and we played with Metz, which is again how Deaf Club sort of started, but I love Metz and so we were kind of honored to play with them. Three One G put out a seven-inch for them and that was just a good show and we did an after party. We’ve done SXSW where we played four shows in one day. But Metz for sure, that was a great show at Oblivion Access. I think Roskilde Festival was maybe our top show ever. That was in Denmark with a thousand-plus people. It was a whole festival. It was just phenomenal to get out of the States and be treated like…these people are like, oh, we just want to have you here. It was cool.
DS: So, are there any musicians who inspire you? Who would you like to collaborate with?
BA: I’m was huge Nirvana fan. Kurt Cobain is the reason that I play. I was eight or nine years old when he passed away. I bought Bleach and it said, this is Nirvana’s first record. So, I thought this must be the good one and it was super heavy. Then I started playing guitar soon after and we did a Nirvana cover for this band and a live set. If I could collaborate with anyone, Kurt Cobain. I know the other guys; we have different tastes.
DS: So, what song did you cover?
BA: “Tourettes.” So, we were on tour, and I think we’re like, oh, let’s do this cover song. We figured, I mean it has lyrics, but it’s just kind of yelling them. And so, we’re like, well, Justin, you don’t have to learn the lyrics, so you could just yell this rhythm and we could play it. At the time, the fill-in bass player, Collin Smith, played in a band called Se Vende, and was on tour with us, he’s a big Nirvana guy, too. so, we bonded over that. We’re like, let’s do it. Justin kind of makes fun of me. Heâs good.
DS: What four bands should we be listening to?
BA: Fuck Money for sure. Fuck Money is a phenomenal band from Austin, Texas. I think Snooper is great. Meth is a phenomenal band. There’s Scott’s other band, Glassing. Just so many of our friendsâ bands are doing such cool things. Sometimes it’s cool to see your own band members in those bands. Then you see what they could do or how creative they are in different aspects. You’re like, oh, I didn’t know that you could do that. So, Fuck Money, Meth, Glassing, and Snooper are really good bands.
DS: What bands are you listening to this week?
BA: I love Gilla Band, they’re Irish noise kind of post-punk weird. I love Metz. I love Tropical Fuck Storm, Australian band they’re more rock, but a little bit skewed and weird. I don’t necessarily listen to a lot of hardcore. I feel like you just start getting those ideas and those riffs. So, I like chiller bands. We listen to a lot of chill stuff in the band, even a lot of indie dream pop. Scott likes a lot of chill stuff, even though he’s a brutal drummer. I love Amyl and the Sniffers, King Gizzard & The Lizard Wizard, The Murder Capital, and Crows. Yeah, it’s a little bit everywhere for me. There are so many good bands.
DS: What advice do you have for musicians and others in the music industry?
BA: I think you must do what you love. It’s a risk and rewarding, if you’re just looking to make money or just looking to do these things, you’re not going to do it. We all have our jobs. Justin has been running a record label for a long time, Jason works for Fender, and I have a record store. We get to go out on tour and do what we love. I retired young and started going on tour playing in cover bands and played in friendsâ bands. If you’re a lifer and you really love it, maybe something will happen.
BA: First, I’m amazed at the wit and the sharpness that Martin Atkins has. The number of stories and jokes that he has. His quick sense of humor and his dry wit and the way that he delivers things was just mesmerizing. It’s almost like heâs a comedian. He could do standup if he wanted to. But then the collection that he has. The things with PIL and John Lydon. Gabe Serbianâs Locust uniform. And just seeing that, because I knew Gabe and I went to a lot of Locust shows and I helped them, and it felt really at home as well. This person cares about these things and it’s nice to see. And so yeah, just Nine Inch Nails and Ministry, all these historical things. People not only visit his museum, but they also send him things. That just reinforces that even a person of this level can be part of this DIY community. So, last time we stayed for two days at the museum. He allows bands to stay there as well, which to me is crazy. If you allow, I mean a punk rock band…I’m like, wait, you’re going to just allow a bunch of punk rockers around all these priceless artifacts? I’m like, what if they pocket something? So, it was kind of amazing that he just allowed us to stay there. He just gave us a key and was very welcoming to us. We went downstairs and listened to some secret tracks of the Johnny Lydon singing over The Beatles and this and that. I was like, this is blowing my mind. I love his merchandise, the Pigface stuff. I bought this âEat Shit You Fucking Redneckâ shirt and I wore that in Texas. So, yeah, just the sweetest guy. This reinforces the belief that even weirdos are nice, goth industrial people…that people think are scary, they wear all black or whatever. And it really helps you mentally to go somewhere like that. Sometimes you just stay in the flea bag hotel, and we have and there’s bugs or something that get me, and you’re like, no, no, no, we’re leaving. But just for someone to offer that, it is very welcoming, open. It’s nice. We couldn’t stay this time. We had planned it, but he was out of town, and he had to do an open house and all these things.
DS: Yeah, weâve been to several events there and enjoyed it.
BA: There’s always things that you miss. It’s like going shopping at an antique mall and you’re just looking at everything and what am I going to see? And then he’s like, look at that little ticket stub. Look at that little thing. He has so many stories about that little thing and that little thing and that little thing. How do you remember that? Especially back in those days, I imagine the partying and the drinking or whatever. I’m like, I can’t remember what happened last week and I’m not even doing anything. There’s too much mayhem now.
DS: You’ve got some pretty incredible tattoos there, especially that Daniel Johnson one. Obviously, these things are important to you, so tell me about that and what they mean.
BA: So, on my upper right arm, I have all my novelists and stuff. So, I have Albert Camus, Tolkien, and George Orwell. I have the K Records because Kurt Cobain had a K Records tattoo but also K Records is a label from Olympia, Washington. But my twin brother, Sergio, and I got this for our birthday just for Kurt, and it’s the only one that I have on my left arm. But these are all musicians, Iggy Pop, Radiohead, Sub Pop, which was the first label that I really loved. Sub Pop and Three One G were sort of the things like grunge and punk and weirdo punk. And yeah, it got me into Nirvana, Soundgarden, and got me into playing.
“Daniel Johnson’s not the best singer, but because he does it and he loves it earnestly, he gained a following”.
– Brian Amalfitano
BA: Daniel personally for me, I love him as far as, he had a lot of mental health issues. For him to sort of overcome them enough to write love songs and to write by himself on a little pump organ piano. And his guitar and sort of show you in a different context…maybe Bob Dylan‘s not the best singer, or John Lennon‘s not the best singer or Daniel Johnson’s not the best singer, but because he does it and he loves it earnestly, he gained a following. He also sat there and dubbed his own cassettes, drew his own drawings, and handed them out to people. If that’s not one of those penultimate DIY ethics, maybe even not knowing that that’s part of DIY and punk rock, just having that mindset of I just need to get this out of my brain and I need to hand it to people to see if they relate. I doubt he ever thought he was going to be famous or anything. I got to see him before he passed. And even just listening to his voice and still having that same refrain, that same sort of childlike voice. And even though he kind of would shake in the middle of the songs when he was singing, he was very calm. His body was very calm. I thought that that sort of spoke to the power of music. And so Lo-fi, DIY, Daniel, maybe it’s not what a hardcore kid would do or not but it’s very much wearing your heart on your sleeve. A little bit of innocence is necessary in music.
DS: The great Wayne Kramer recently passed away. I know youâre a fan. Youâve spoken about losing Kurt Cobain and Daniel Johnston. How do we survive losing our heroes?
BA: I think for me personally, I grew up an atheist. My grandfather gave me a lot of books on atheism growing up and sort of the reverence of life to realize that people are human and frail and maybe they’re not going to be here the same way that none of us are going to be here, but to enjoy them, to enjoy their influence. Some of these books, music, film, they stay with us for a very long time, and they stay here longer than us. Nick Cave, I think said it, âI’m creating these things that are going to outlive me and hopefully will influence someone and help them live a better life.â And I think Wayne particularly as well, I got to see him recently when he did the shows with Kim Thayil (Soundgarden) and the MC5 stuff, the reunions, for him to have lost all his band members prior and for him to have been in jail but to still come out and do Jail Guitar Doors and to help people come out of that, just giving back to the community, I think he did a lot more than people give credit. Sure. Kick Out The Jams. But these heroes, especially because I was very young when Kurt died, it was an impressionable sort of thing. I remember them playing, I was in Argentina at the time. I was living there with my family. They’re from Argentina, and they played unplugged in New York nonstop on MTV Three. It was, and it sort of made me fall in love with the soft side of it as well, the melodic side of things, and to sort of listen to these words and listen to what these people care about and your heroes are sometimes flawed but they also teach you about beautiful things. If you could take that with you, then I think they’ve done their job. And that’s really all we could do for each other as far as humans.
DS: Do you have any other thoughts for the Dying Sceneâs readers?
BA: Yeah. Just do what you love. Be as weird as you are. Just be yourself. It seems hard when you’re young because there are scenes. Everyone says punk is just for the outsiders. And sometimes within punk, you’re like, I’m a crusty, I’m hardcore. You can’t be part of our clique because you don’t dress a certain way. I think that the youth seem to be open to not only gender fluid, but genre fluid and sort of just being fluid in general. Just being able to go from hip hop to punk rock to this. Hopefully, being less judgmental of each other but also being less judgmental on yourself. There’s a lot of growing up in your youth where you just doubt yourself and you could cause harm to yourself. We all find something. It’ll be good the longer you stay in the game, it’ll be good for you.
Big things are happening lately! Baseball season has begun, I just won the Dying Scene company Easter egg hut (3x consecutive champ btw), and today we’re premiering a new track from Dallas punk band Morocco! “Livin’ in the City” is the lead single from the band’s forthcoming Shitheds EP. Check it out: Here’s some background […]
Big things are happening lately! Baseball season has begun, I just won the Dying Scene company Easter egg hut (3x consecutive champ btw), and today we’re premiering a new track from Dallas punk band Morocco! “Livin’ in the City” is the lead single from the band’s forthcoming Shitheds EP. Check it out:
Here’s some background on the song, provided by drummer Forrest Cook:
“Livin in the city was written by our bass player Bob over the course of a decade through the really traumatic breakup of his last band, involving heavy drug use, hospital visits and jail time for the parties involved, through alcoholism and homelessness and followed him to his current state of sobriety, employment and being the rockin fucking bassist he is in our little band Morocco. As for me Forrest the drummer, Livin’ in the City was the reason I wanted to get back to jamming with Bob in the first place. I am soo incredibly happy that we were finally able to record this song, and that it is going to see some light. It is incredibly meaningful and always was to me and especially for my friend Bob.”
This premiere is brought to you in part by Punk Rock Radar. If youâd like your bandâs music video to be premiered by Dying Scene and Punk Rock Radar, go here and follow these instructions. Youâll be on your way to previously unimagined levels of fame and fortune in no time!
