Fresh out of the mountains of East Tennessee, Dying Scene is pumped to bring you a first listen to Reckless Threat’s Goodnight, and Thanks for All of the Trauma. Their third full-length – the group’s first since adding J. Ruger on second guitar – features 11 tracks of hard-hitting, in-your-face punk rock elegance influenced by […]
Fresh out of the mountains of East Tennessee, Dying Scene is pumped to bring you a first listen to Reckless Threat’sGoodnight, and Thanks for All of the Trauma. Their third full-length – the group’s first since adding J. Ruger on second guitar – features 11 tracks of hard-hitting, in-your-face punk rock elegance influenced by the likes of Ignite, Strike Anywhere and A Wilhelm Scream.
“Breathe” serves as the record’s lead single and chronicles the battle of overcoming suicidal thoughts. To put it frankly, I fuckin’ love this track. It’s catchy, it’s vulnerable, and it’s got the signature “Reckless Threat” fusion of melodic hardcore and punk rock that I’ve come to love so much.
You’d be doing yourself a mighty disservice by merely checking out the lead single; this thing rips from beginning to end. You’re in luck because we’ve got the whole thing linked below, along with the music video for “Breathe”.
Goodnight, And Thanks For All Of The Trauma comes out everywhere December 8 on Coffin Curse Records. Be sure to show some love to one of the hardest-working groups I know and one of the coolest labels around. As always, thanks for checking out the site, Cheers!
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:
We’re starting off this week’s Record Radar strong with new pressings of not one, but two classic Suicide Machines records! Asbestos Records has repressed Destruction By Definition and Battle Hymns for the first time in a decade. Head over to their webstore to grab a copy of each record on one of three color variants (or succumb to your addiction and buy three copies of each!).
And hey while you’re over there, Asbestos also reissued the Suburban Legends’ Rump Shaker for its 20th birthday. One of the variants already sold out and the red swirl colored LPs are almost gone, too. Get your copy here.
Continuing our ska-heavy start to this week’s column, Asian Man Records is next up to bat with the first ever vinyl release of the 1999 MU330 Christmas album Winter Wonderland. Limited to 500 copies on green vinyl – get it here.
And Less Than Jake will put a bow on the ska portion of this Record Radar, with the latest batch of color variants for their 25th Anniversary Hello Rockview reissue. Three new variants of the 2xLP deluxe reissue were announced last week and they’ve all sold out. However! LTJ also just announced a 2024 leg of their Hello Rockview anniversary tour, so perhaps those who missed out will have a shot at another tour variant? Here are all the color variants so far:
Blue w/ White Splatter & Yellow w/ White Splatter (2023 Tour Variant)
Half Silver / Half White (300 copies, Fest Exclusive)
Red inside Yellow & Brown inside Blue Vinyl (500 copies, Smartpunk Exclusive)
Blue w/ Red Splatter & Yellow w/ Pink Splatter (1,000 copies)
Pink/Yellow Cornetto & Red / Blue Cornetto (1,000 copies, Band Exclusive)
Oh wow, a new release! Portland Ramonescore troupe Mean Jeans will be releasing a new album in February, 2024 on Fat Wreck Chords. It’s called Blasted and the first single “I Don’t Give a Shit Anymore” is streaming now. Get the record here.
The non-Jello Biafra sanctioned “2022 Mix” of the Dead Kennedys’ Fresh Fruit for Rotting Vegetables has a new color variant exclusive to our friends at Newbury Comics, home of the $35 record. They pressed 750 copies of this new Clear Smoke color variant for some reason; wait a few months and you’ll probably find this in Newbury’s $9.99 section along with the rest of their landfill fodder.
Speaking of expensive records, this one’s a doozy. Screeching Weasel‘s Kill the Musicians has been released on vinyl for the very first time, 28 years after its original CD release on Lookout! Records. Here’s the catch: this is a long-ass record (the runtime’s a little over an hour). So you’d expect it to be a 2xLP release, right? Wrong. They’ve split it across two separate “volumes”, each of which is $30. So the choice is yours, get a CD copy off discogs starting at $9 or fork over $60 for two separately released large, colorful etched plastic discs.
SBÄM Records continues the trend of old albums getting first time vinyl releases, announcing a very limited colored vinyl release of Authority Zero‘s 12:34. The 2007 album is available on two splatter variants, each limited to 150 copies. Grab yours here.
Short-lived Dan Andriano fronted Chicago punk band Tuesday’s lone album Free Wheelin is back in print once again thanks to Asian Man Records. This 4th pressing is limited to 300 copies on random colored vinyl. Get it here.
German punk veterans Wizo have a new album called Nichts Wird Wieder Gut (I believe this means “nothing will be good again”) coming out in January. Check out one of the singles below and get the record on clear vinyl (Ltd to 500 copies) here.
Bad Time Records has announced a 2xLP compilation featuring live recordings of We Are the Union, Kill Lincoln, Joystick & more from the 2023 Bad Time Records Tour. In addition to featuring four exclusive tracks, the records come in a gatefold jacket with a poster included. They’ve got three color variants up for pre-order here.
An official repressing of the Misfits’ Collection has been announced, just in time for Halloween… er Christmas… uhh I mean next Easter! This Record Store Day Essentials release on glow in the dark colored vinyl will hit store shelves March 22nd, 2024. You can pre-order it here or from your local record store (assuming you have one).
Chris from the Lawrence Arms’ acoustic side project Sundowner’s debut album Four One Five Two has gotten a new pressing for the first time since its original release in 2011. I don’t know how many copies of this white vinyl reissue Red Scare pressed but it looks like it’s almost sold out – get your copy here.
Australian melodic punks The Decline are bringing up the rear on this week’s Record Radar. Their 2019 album Flash Gordon Ramsay Street is back in print on a beautiful new color variant. You get get a copy from these labels: Thousand Islands (North Amurica), Disconnect Disconnect (UK), Bearded Punk (EU) & Pee Records (Australia).
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!
The first full-length solo album by Gina Volpe, of the seminal NYC punk band Lunachicks, is scheduled for release on February 23, 2024. Delete The World was produced by Barb Morrison, and will be available on all streaming platforms. The first single off the record – “Drink Me” – and its accompanying video dropped on […]
The first full-length solo album by Gina Volpe, of the seminal NYC punk band Lunachicks, is scheduled for release on February 23, 2024. Delete The World was produced by Barb Morrison, and will be available on all streaming platforms. The first single off the record – “Drink Me” – and its accompanying video dropped on November 3, 2023. A second single, “The Plan,” follows on December 1, 2023. I caught up with Volpe via email to discuss her new music, her legacy, and more.
DS:What inspired you to do this album at this time?
GV: I had always intended to record a full-length album. It just took a little while to find the time and come up with the funds. I started releasing my solo stuff in 2017 with a 5 song EP followed up by several singles over the past couple of years. An LP was a long time coming so I’m pumped that I’m now finally able to release a full body of work.
DS: How is this album different from the music in Lunachicks?
GV:My solo stuff is different in that it’s more diverse stylistically and not as easily categorized into one particular genre. Sometimes it’s pop, sometimes it’s punk, indie, retro, or rock. Sometimes it’s more singer-songwriter. I have the freedom to shape-shift and experiment. I use synthesizers, acoustic guitars, and samples – along with heavy guitars when called for, so I get to color outside the lines and be as messy as I wanna be.
DS: Will there be more to come from BANTAM?
GV: We got together last year and messed around in the studio for the first time in over a decade. We even released a single entitled “Yo-Yo.” I’m not sure what the future holds for us though. We’re kind of spread out across the country now but none of us would be opposed to playing some shows and putting out more new music. We left the door open so anything is possible.
DS: How did your work with Lunachicks inform you as a musician and prepare you for solo and other work?
GV:I received a hands-on education coming up in the ’90s with Lunachicks. We started very young so I was able to cut my teeth on writing, arranging and recording songs (as well as learn my instrument) throughout our career. Plus, just watching all of the amazing bands we got to play with over the years really brought so much insight and inspiration to me.
DS: The trippy and surreal video for “Drink Me” reminds me of some of the technicolor joy of the 1980’s MTV heyday. Was that intentional?
GV: I came across Stanzii‘s work on Instagram and was immediately drawn to it. It’s very much my same artistic sensibility with all of the bright colors, details, and surrealism she uses. I was so mesmerized by it that I sent her a DM not sure if she would get back to me being that I was a complete stranger. To my surprise, she did get back to me and was totally into making a video for the track. I feel like I hit the jackpot by getting to work with her.
DS: How did the idea come about? Did you approach Stanzii with your own ideas about it or did Stanzii come up with the concept wholecloth? How collaborative was it?
GV: I trusted her to do whatever she wanted. It was important to me that she have the freedom to create in her style and employ the imagery she envisioned for the song. I would put my two cents in here and there but ultimately, I left it up to her to steer the ship. I helped with some of the editing and grunt work – like wiping the greenscreen from the clips and photos but the creative work was all her genius.
DS: Please describe what the video is trying to say, or the ideas being communicated.
GV: The song is about obsession, addiction, and escapism. It relates to the vices we use to check out. Maybe it’s the use of a substance or maybe it’s an addictive relationship with someone who is no good for you but you can’t let go of. I wanted the video to be a trip down the rabbit hole of self-destruction, then coming out through the other side only to go through the whole process all over again. The secondary reference is to Alice In Wonderland. “Drink Me” is labeled on the bottle she drinks in order to make her small enough to go through the door, which is clearly (to me at least) a metaphor for exiting the world and entering into another portal of being.
DS: What is it about NYC, especially at the time Lunachicks was formed, especially the part of NYC from which you hail, that sprouted so many punk legends?
GV:I think what makes NYC so special is the pure infusion of ideas and cultures from all over the world. There is always so much happening here. So many creatives are drawn to this city and with them comes all of the contributions to music, art, performance, etc. that they make continually laying a foundation for the next wave of artists coming in to build upon. There seems to be an endless supply of inspiration due to the sheer number of artists packed into this one crowded city.
DS: Do you see the same spirit there now with newer musicians?
GV: I do and it’s always cool to see all the different generational influences the up-and-coming bands are drawing from. Sure, it may look different from an older generation’s perspective but really, the kids are alright.
DS: I first met you at Riot Fest 2022 . From what I heard around the park so many people agreed with me that Lunachicks were one of the highlights of the weekend [I agree. Plus, I found the band members to all be so nice and fun].
GV: Love to hear that. We had a blast playing Riot Fest. Although it was really hot if you remember [I do recall that it was an absolute scorcher all weekend long]. Chip. our drummer had heat stroke during the set and puked so stealthily in the middle of a song that none of us noticed what was happening lols.
DS: That must feel pretty damn good to know that decades on you are still making such an impact and garnering new fans.
GV:It really is an amazing feeling. We didn’t realize that we had so many younger fans that became aware of us well after we had stopped playing. So for a lot of the people in the audience it was the first time they had ever seen us live even though they had been listening to us for a decade or so.
DS: What was writing Fallopian Rhapsody like, and do you feel it was a comprehensive history of Lunachicks or is there still much to say?
GV:Writing that book was such a great experience. It was hard though and it gave me a newfound respect for authors. It’s a long arduous process and a lesson in patience and grit. In the end though I feel like we got it all in, said what we wanted to say with the expert help of co-author Jeanne Fury and overall I’m super proud of it.
DS: How did you see the response to the book?
GV:We were happy with all of the positive responses we got. People really seemed to enjoy the book whether they knew the band or not. A lot of fans wrote in to say that they identified with a certain story, experience, or feeling and that it impacted them, inspired them, or simply gave them a new perspective to try on.
DS: What has it been like to create an identity outside of Lunachicks with the music you do as a solo artist and with other bands? Of course, even with these questions, there are a lot of references to Lunachicks
GV: Well most people know me because of Lunachicks which is fine because I’m super proud of our band and our history but it can be also tough to get away from that label and just be a solo artist without the qualifying “Gina from Lunachicks” tag. I do understand though that people need reference, they want to know “Who is this person?” and I totally get that. But, my solo music doesn’t always translate over to the Lunachicks’ fanbase, some of my fans don’t even know who the Lunachicks are (most do) but in a perfect world I’d just be able to be me -insert terrible Sammy Davis Jr. impression, “I gotta be me…!” sing-along folks!
DS: How is creating music for a film different from creating music for a more traditional record or band?
GV: It’s certainly a different exercise in that you’re not actually songwriting, there’s no lyrics or any kind of verse/chorus song structure necessarily. It’s also a practice in pairing down and being mindful of where and how you place certain textures and sounds so they don’t step on dialog or feel too intrusive in the scene. I lean towards less happening in a score than more. I’m not a fan of music scores that overdo it.
DS: You played most of the instruments for this record? How is that experience different from playing in a full band or having a full band contribute to an album?
GV:I usually record most of the guitar, bass, and synths in my home studio. Then I bring it all into a professional studio with my producer Barb Morrison and their engineer to finish the track. We do vocals, drums and adding all the cool layers and textures. It’s quite the opposite experience of recording live in the studio with a band. This way I have a lot of room to manipulate the track, try different arrangements etc. and change my mind a hundred times about it all–which is not always a good thing!
DS: Are there newer bands, up-and-coming bands, or artists that excite you at this moment?
DS: Can you see any influence you might have had on them?
GV:Hmmm, doubt any of the bands listed above would have known who we were!
DS: You came up as a musician when there were not as many female-fronted, or mostly female-comprised bands. How much of an improvement has there been in the way such bands are accepted? Is there still a struggle to be known less as a female-fronted punk band and just a punk band. Or is that label something you are ok with?
GV: I’m really glad to see so many more women in bands. It really doesn’t seem to be such a novelty anymore. When we played Riot Fest last year there were some women kicking ass both in mixed-gender bands and all-female bands. But as you mentioned that was one of the things that was the most maddening for us, no matter what music we were making we were always categorized by our gender instead of musical genre. “All girl band music” became the genre we were placed in, what the fuck does that mean?!
Sadly (that) element is present today when I listen to Spotify’s algorithm. If you were to put on a Lunachicks radio on Spotify, the algorithm will mainly stick to suggesting only other female-fronted bands, then conversely, if you were to start a Rancid radio station the algorithm won’t be offering any recommendations for bands with female singers therefore reinforcing this gender separation in rock/punk music.
I am proud to celebrate being a woman and if women and girls (and non-binary people) find inspiration in seeing people up onstage rockin’ out that look more like themselves (as I had when I went to see my she-ros play live) then I am all for it. But we need to do away with thinking that there are two different musical genres solely based on gender.
DS: There is still so much toxicity in the punk scene as we have seen with recent disbandings of decades-old groups. Anti-Flag situation, of course, being the most recent example. How have you tried to confront that? Is it something you have still encountered?
GV: Have to admit that I literally just heard about this, I don’t want to comment until I read more about it. But from what I’ve seen over the years things have gotten better – I mean we wouldn’t even be having this conversation back in the ’90s – or even the ’00’s. And I do believe it will continue to get better and that we will evolve. Sometimes that’s hard to see and there will certainly be setbacks and shitty humans messing it all up but I’m an optimist and I do think eventually we’ll get our shit together, may not be alive to see it, but we’ll get there.
Gina Volpe’s new record will be released in February. A documentary film “Pretty Ugly- The Story of The Lunachicks,” directed by Ilya Chaiken, had its world premiere in NYC in November and just finished an initial online run.
In case you haven’t already heard, SoCal melodic punks Strike Twelve put out a new record earlier this year. It’s called Last Band Standing and it was released by the friendly people at Thousand Islands Records. We, the friendly people of Dying Scene, are simply chuffed to bring you the new music video for “Not a Phase”, which […]
In case you haven’t already heard, SoCal melodic punks Strike Twelve put out a new record earlier this year. It’s called Last Band Standing and it was released by the friendly people at Thousand Islands Records. We, the friendly people of Dying Scene, are simply chuffed to bring you the new music video for “Not a Phase”, which happens to be a song from the aforementioned album. Go ahead and check it out below!
Here are some words an unnamed member of Strike Twelve was nice enough to type for us regarding “Not a Phase” and its accompanying music video:
“The music video is a compilation of archived videos, photos and flyers from our 20+ years as a band. It was painstakingly pieced together by the one and only Felony Ron of Felony Records. We joke around that when people like our wives first met us, they thought the band was a temporary phase. Now, decades later, we’re still going strong. While being in a band has great potential to be disruptive to the rest our lives, it is in fact the glue that holds us together.”
You can get Last Band Standing on colored vinyl here (NA), here (EU), and here (Australia). Strike Twelve will be playing a show in San Diego with Diesel Boy and Versus the World on December 10th; you can get tickets for that here. Fuck yeah.
Woolworthy, on the heels of releasing their first new record in 21 years, returned to the stage on November 22, 2023. Taking place at Montrose Saloon, the Chicago band performed in an intimate show before a crowd filled with family and friends. Acoustic Pike – an acoustic version of Cisco Pike – and Dave Suh […]
Woolworthy, on the heels of releasing their first new record in 21 years, returned to the stage on November 22, 2023. Taking place at Montrose Saloon, the Chicago band performed in an intimate show before a crowd filled with family and friends. Acoustic Pike – an acoustic version of Cisco Pike – and Dave Suh and Dirty Wings played in support, with the latter band making its live debut.
Woolworthy was a popular Chicago pop-punk band founded in 1995 and active until 2005. The group just released a new album entitled Electric Heartbreak, on Boss Tuneage Records on November 17th. Woolworthy received a warm welcome back as it ripped through a set stacked with old favorites and new tunes. Rudy Gonzalez and Dave Suh traded lead vocals as they also manned their respective guitars. Rick Uncapher on bass and Mark Doyle on drums provided a steady backline.
Billing itself for this event as Acoustic Pike, the trio was made up of Tom Szidon and Pat McIntyre of Cisco Pike, and McIntyre’s daughter Cece McIntyre on violin. It was a lovely set with a folksy feel. One highlight was a cover of John Denver’s “Leaving on a Jet Plane.” It was a version of the classic tune decidedly more faithful to the original than that of Me First and The Gimme Gimme’s popular (and fun) take on the song.
Dave Suh of Woolworthy kicked off the evening by making the first of his two performances this night fronting Dave Suh and Dirty Wings in its debut. Just as Suh had double duty, the evening as a whole did so as well. The tables, some decorated with balloons, were covered with large containers of food and cupcakes. Along with being a punk show, it was also a celebration of Suh’s birthday and the birthday of Pat McIntyre’s wife, Rachel McIntyre.
Suh was in obvious good cheer and it shined through during the band’s sprightly set. It was a pleasant way to get the show started.
Please see additional photos from the show. Thanks and Cheers!
Slackfest, the annual event presented by The Slackers hit Reggie’s Rock Club recently. Dying Scene was on the floor at the S. State Street venue. The ska fest was a night of joyful noise featuring plenty of the subgenre’s signature horns. The Slackers, the iconic NYC ska group, once again provided an energetic capper to […]
Slackfest, the annual event presented by The Slackers hit Reggie’s Rock Club recently. Dying Scene was on the floor at the S. State Street venue. The ska fest was a night of joyful noise featuring plenty of the subgenre’s signature horns.
The Slackers, the iconic NYC ska group, once again provided an energetic capper to the weekend’s festivities. It was a dynamic set with trombonist and singer Glen Pine out front and center with an especially animated performance. The band is playing out west for the next couple of weeks before heading back to its native east coast. Don’t slack on catching a set (yes I know that was lame. But the band is everything opposite of that).
Eastern Standard Time, from Washington DC, led by the smoothly charismatic Unikue Peace on vocals and percussion. It was a lively set and the perfect penultimate one to the headliner.
Los Vicios de Papá, out of Chicago, performs its music in Spanish. I once was more fluent in the language than I am now. No matter, it was a high-powered performance combining Latin ska, reggae, and Cumbia. Los Vicios de Papá had the crowd stomping on the venue’s concrete floor in the very best way.
Lady Hatchet, aka Kristin Forbes, kicked off the night with a fun set. Dunia Best joined her for several songs which upped the already entertaining level a notch. This is the first time I have seen them perform. It was also the first time I have seen performers literally dancing as they set up and take down their gear before and after their set. I look forward to seeing both parts of these musicians’ performances in the future.
Please see more photos from the 6th Annual Slackfest night 2 below. Thanks and Cheers!
Here in America we’re still recovering from Thanksgiving and the food comas that ensued. Meanwhile across the pond, London punks Old Chase are releasing a new single. Here at Dying Scene, we’re all about bringing the punk to the people, so we’re stoked to premiere the band’s brand new music video for “Superman Diazepam”. Check it out […]
Here in America we’re still recovering from Thanksgiving and the food comas that ensued. Meanwhile across the pond, London punks Old Chase are releasing a new single. Here at Dying Scene, we’re all about bringing the punk to the people, so we’re stoked to premiere the band’s brand new music video for “Superman Diazepam”. Check it out below!
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:
Frequent flyers here on the Record Radar, Fat Wreck gets us started this week with not one, but two new 25th Anniversary reissues. Up first is the Honest Don’s Greatest Shits compilation. There are three variants of this one that I know of so far; a beautiful green/brown/gold splatter, a red splatter, and gold (not available to buy but thrown in with randomly selected orders). And as I’m writing this I’ve realized this shit already sold out. Womp womp.
Also from Fat: a 25th Anniversary reissue of the Mad Caddies’ Duck and Cover, the first new (colored) pressing of this record since 2011. This one’s still in stock! Get it here before that’s no longer the case. Also lookout for the Caddies’ new record coming soon on SBÄM Records.
Bay Area punk band Tess & The Details’ debut album Runaway is out now on Double Helix Records. This one’s available on three beautiful color variants, all of which are housed in a gatefold sleeve. Check out the title track below and grab the record here.
Dischord Records is releasing a new Minor Threat 7” on December 1st to commemorate the 40th anniversary of the Out of Step EP. The Out of Step Outtakes 7” features recently unearthed recordings from the original studio session in 1983. Get it on clear vinyl here.
Green Day‘s new record Saviors is now available on 19(!) unique variants, as a new “Bluejay Marble” color variant has gone up on their webstore. We are continuing to monitor this developing situation on this post dedicated to the many vinyl color variants of Green Day’s new album Saviors.
Your favorite Dying Scene editor JayStone‘s 4th favorite(?) solo artist Sam Russo has a new Christmas 7” out now on Red Scare. Listen to the two songs from Mistletoe Pier below and get the rekkid here.
What’s up with all the 7″s this week? Here’s another one from The Flatliners. It’s somehow been 10 years since Dead Language came out, and to celebrate the good Canadian boys are releasing a 7” with two acoustic versions of songs from the album. Listen to stripped down recordings of “Quitters” and “Bury Me” below, and grab the Dead Decade 7” here.
If you’re a dedicated reader of the Record Radar (I trust that all of you are), you’re already aware of this 20th Anniversary reissue of Rancid‘s Indestructible. After all, we did tell you about it over a month ago… and again a week later when another variant was revealed. Now the band has officially announced the reissue and revealed a pretty slick red/black webstore exclusive color variant. While I have your attention, I’d like to remind you this album is home to one of the all-time worst Rancid songs:
Earlier this week we had the pleasure of spilling the beans on the new Ramonescore Brigade Vol 3 comp from Mom’s Basement, Council Pop & Insipid Records. This vinyl-only comp features songs from the McRackins, The Putz, Mark Murphy & the Meds and a bunch of other great bands. The color variants look awesome, too.
Dying Scene editor JayStone’s 17th favorite punk frontman-turned-solo artist Chuck Ragan released a bunch of songs a long time ago (is 16 years a long time?) that were only available as a subscription based 7” series (and a CD). Now End Hits Records is bringing these songs to the masses with the Blueprint Sessions 2xLP. There are a bunch of color variants available here (US), here (Canada, exclusive screen printed cover variant(!!)), and here (UK).
Kill from the Heart, the 1983 debut album by the very eloquently named Dicks, is getting a 40th anniversary reissue on translucent red colored vinyl. This one’s been out of print since 2012, grab a copy from Superior Viaduct.
Los Angeles ska-punks Matamoska!’s 2014 album M is for Murder has gotten its first-ever vinyl release, courtesy of Asbestos Records. The 10th Anniversary reissue on bloody red vinyl has been remixed and remastered; get your copy here.
Dine Alone Records just reissued literally every Gob album a few months ago, but they’ve announced another pressing of Foot In Mouth Disease for the album’s 20th birthday. This one’s limited to 750 copies on a red/white split colored LP and includes a bonus 7”. It goes on sale in store and online on Black Friday.
Speaking of Black Friday, the sales have already started and that includes deals on vinyl! Epitaph has a bunch of records marked down 25% on their webstore, including their recent NOFX, ALL & Pennywise reissues. I’m sure more labels/stores have sales going but I’m too fucking lazy to hunt them all down. r/vinyldeals is a good place to keep track of who’s got sales going.
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!
Amyl and the Sniffers took Roadrunner Boston by storm with an absolute powerhouse of a line up featuring themselves, Die Spitz, and Gymshorts. The themes of the night were clearly quick wit, raw passion, and a big middle finger to creeps everywhere. Australian punk band Amyl and the Sniffers absolutely delivered in Boston on this […]
Amyl and the Sniffers took Roadrunner Boston by storm with an absolute powerhouse of a line up featuring themselves, Die Spitz, and Gymshorts. The themes of the night were clearly quick wit, raw passion, and a big middle finger to creeps everywhere.
Australian punk band Amyl and the Sniffers absolutely delivered in Boston on this Saturday night. Front person Amy Taylor brought her brand of In Your Face stage presence and undeniable charm.
This band is pure chaos on stage and in the crowd.
Must see punk band.
Die Spitz was an excellent add on this bill. With their lyrics, look, and honestly just their whole vibe, they made playing before Amyl & The Sniffers a breeze. This band is just as badass with their own sound.
Check out their 2023 seven song album Teeth.
Rhode Island based rock band Gymshorts opened the night with great choruses and a bouncy energy. Crazy to have seen this band play Great Scott in 2018 to kicking off the night at Roadrunner.
Oh shit, a new Dying Scene Band Spotlight! It’s been a while since we’ve done one of these and I can’t think of a better way to revive the feature than with an awesome skate punk band. Bogota, Colombia’s One Reason To Rise is the right band for the job. These guys have been cranking […]
Oh shit, a new Dying Scene Band Spotlight! It’s been a while since we’ve done one of these and I can’t think of a better way to revive the feature than with an awesome skate punk band. Bogota, Colombia’s One Reason To Rise is the right band for the job. These guys have been cranking out singles for the last few years, culminating in their new City Lights EP, complete with plenty of Strung Out-style guitar riffage and a “Somebody’s Watching Me” cover. These guys kick ass! Give ’em a shot.
