Search Results for "Folk"

The Slaughterhouse Chorus premiere “Wellsville” off upcoming farewell album “…In The Name of Progress”

*whistles in americana*

The Slaughterhouse Chorus are an ameri-kinda punk band from Albany, New York who many Dying Scene readers have come to love and cherish over the years. They offer a slice of something different… a folkier side that showcases the roots of American rock and roll music with a punk rock (detre)mentality. The pace is snappy and upbeat, never lingering too long on the classisized roots stylings of dual guitarists Chris Jordan and Jay Bonafide albeit allaying due credence in thought out swampy blues signatures at times while at others laid out in freewheelin’ heartland cow punk vibra-tones. 

The bands new album …In The Name of Progress  is set for release on May 31 on  Built4BBQ Records, a co-operative label co-pioneered by members of The Slaughterhouse Chorus amongst other well-meaning musicians from the Empire State. Sadly, this will be the band’s final release, as they plan to part ways at the closing of this year. …In The Name of Progress is available for pre-order on vinyl and digital download here.

The Slaughterhouse Chorus has gifted us faithful fans with another early release, this time for the song “Wellsville” which is the final song on the upcoming EP and one which the band expects to represent the culmination of their time together and with their listeners in a grand finale. It is a song about “the American dream and the accompanying suburban nightmare. We’d have to assume it’s also the only rock ‘n’ roll song that references both Van Morrison and ‘The Adventures of Pete & Pete’. It’s the longest, heaviest, and somehow most exhausting thing we’ve ever done, and a song that we collectively feel is the best we’ve ever written and recorded. As the closing track on our last record it seems like a good high point to go out on.” And then, as they say, The Slaughterhouse Chorus will ride off into the sunset.

Check out the exclusive early stream for “Wellsville” below.



Mortars (punktry) release lyric video for “Long Goodbye”

Tennessee-based country-punks (punktry?) Mortars have released a lyric video for their song “Long Goodbye” which is the title track off of their upcoming album, which is due out June 7th.

Check out the new song below.

Mortars last released Armistice Day back in 2018. If you enjoy Lucero, Mortars is definitely for you, so give them a listen! 



DS Interview and Photo Gallery: Frank Turner’s Lost Evenings III (w/The Hold Steady, Cory Branan, The Penske File and more)

The first of the four or five times that yours truly had the opportunity to chat with Frank Turner for a story here at Dying Scene was almost exactly five years ago. It was prior to his set at the 2014 installment of the Boston Calling Music Festival, and we found a “quiet” spot on the Brutalist concrete and brick steps on the Congress Street side of Boston City Hall to talk about what was, at the time, his 1567 show rise to “overnight” success. Toward the end of our conversation, Turner made a sincere comment about not taking any of his success for granted, because in five years’ time, “nobody is going to give a shit and I’ll be back playing in a pub again.” Flash forward to the Friday before last when Turner took a few minutes out of his scheduled pre-show preparation at a sold-out House of Blues in Boston to talk about some pretty monumental goings-on in his ever-expanding professional career.

Last Friday’s show was more than just a “regular” Frank Turner show, whatever that means at this point. It was more than “just” show #2341 and counting, all though that’s certainly noteworthy in its own right. But it also marked the second proper night of 2019’s installment of what Turner has dubbed Lost Evenings. If you’re not familiar, here’s a quick synopsis: started back in 2017, Lost Evenings is an annual multi-night festival curated by Turner and his team. While the idea of an artist playing multiple nights is certainly not foreign – here in Boston, our own Mighty Mighty Bosstones, Street Dogs and Dropkick Murphys do so on a yearly basis, and a quick check of my notes confirms a four-day run for The Hold Steady and a three-night run for Lucero coming up before the year’s end – Lost Evenings is not your traditional multi-night string of shows that happen to be in the same location. Sure there were the four main shows at the 2500-capacity House Of Blues on Lansdowne Street, each of which sold out months in advance. But there was also a fundraiser event at nearby tattoo shop, Stingray Body Art. There was a weeklong series of open mic events at neighboring Lansdowne Street bars, curated by Derek Zanetti (aka The Homeless Gospel Choir) which found any number of local and national artists popping in for a few impromptu jams. There were a series of panel discussions on everything from mental health awareness to how to build a career in the music industry to a book talk to active bystander training to, or course, a Frank Turner AMA session.

The first two Lost Evenings festivals took place at the Roundhouse Theatre in London. “We did the first one in Camden, in London, and the on the first one, we literally had no idea what we were doing,” explains Turner. “We were completely flying by the seat of our pants. I wasn’t completely sure what it was or how it worked or, indeed, how to put on a festival. We did it, and it was a Hail Mary pass, but it went incredibly well. We did the second one in Camden just to kind of learn the lessons from the first one, and to try to consolidate what we were doing.” 

With two successful runs on their home turf under their collective belts, 2019 brought with it the opportunity to bring the show on the road. If you’ve been paying attention either to Turner’s career or, at least, the early portion of this article it should come as no surprise that the natural first stop would take place across the pond in Boston, Massachusetts. “By design, (Lost Evenings is) a portable concept. In the very beginning, I always had a vision of bringing it around the world . The idea was always to move it, and to be honest, it was always going to be Boston, because that’s been the biggest city in the US in terms of my career and all the rest of it.”

While the individual show lineups for Lost Evenings’ I and II were impressive in their own right, taking the third installment to the States opened up Turner to a wider array of possible openers. “It’s a slightly odd thing trying to get an American band to come all the way to the UK to do a festival show. It can get pretty complicated.”To do so, as he explains it, Turner basically puts together a dream line-up of acts that he’d hope to have join him in some fashion. “I should leave the credit for the organizational logistics to my team. I tend to just come up with ideas that make more people’s lives more difficult!” he jokes. Difficult though it might be, this year, by all accounts, most of those dreams came true. “I’m insanely proud of the lineup this year,” says Turner. “If I had to pick my four favorite acts in the world, it might well come down to Loudon Wainwright, John K. Samson, The Hold Steady and Against Me! And here we are!” 

As we spoke on Friday afternoon, the giddiness in Turner’s voice as he recalled the previous night’s festivities that included not only Wainwright but Micah Schnabel and Jenny Owen Youngs and Hayley Thompson King, amongst others, was not only palpable but contagious. “We had Loudon Wainwright on stage, which is a thing that I never thought I’d be able to say out loud. Not only that, he’s one of my favorite songwriters of all time, and he completely burned the building down he was so good,” Turner exclaims. “I went to sleep content last night, and woke up this morning and remembered that The FUCKING Hold Steady and Cory Branan are playing today! And The Architects! And then when I go to bed tonight, I’m going to wake up tomorrow and think about John K. Motherfucking Samson and War On Women. And AJJ are playing tomorrow! Again, I threw names at my booking agent, but other people did the work to actually pull this together, and I’m extremely…I’m as happy as a pig in shit, and I’m kind of blown away that I get to sit in the middle of all of this!”

The City of Boston itself took note of how meaningful the Lost Evenings experience is, which may not come as a surprise given the ties that current Mayor Marty Walsh has with the local punk rock community. “Dude, I’m from suburban England, do you know what I mean? And I’m in Boston, which as far as my childhood self is concerned was a borderline fictional place. And here we are! The fucking mayor made yesterday Be More Kind Day in Boston. So much of my life is frankly ridiculous to me, in the best possible way. It’s like “wow…that happened?”

As stated above, to Turner, the ability to use his public position as a platform for some causes that are near and dear to his – and the community’s – part is vital. “So much of my career – so much of any musician’s career – involves standing on a stage shouting “please buy my new CD! Pay attention to me!” And that’s fine! That’s part of the fucking deal! But if you can find time within your busy day of shouting about yourself to shout about things that are objectively more important, than I think that’s a no-brainer, you know what I mean? You’ve got to do it.”

Yours truly got to the venue on Friday a little later than intended, but still arrived in plenty of time to watch The Architects kick off the main stage at House Of Blues. It was a meaningful opener for Turner, as both his band and the Kansas City rockers appeared as support for Flogging Molly on Turner’s first stop in Boston proper a handful of years ago. From there, the evening consisted of bouncing back and forth between the main stage and the “Nick Alexander Stage.” Named for the young man killed while working for Eagles of Death Metal during the terror attack at Bataclan in Paris several years back, the Nick Alexander stage was located at the complete opposite end of the venue, in a space normally reserved as the House Of Blues’ restaurant. This resulted in a series of energetic performances on the intimate stage, set no more than six inches off the ground. The immensely talented Kayleigh Goldsworthy was first up for me. After a few years of seeing her as a master-of-all-trades accompanying the likes of Dave Hause and Frank Iero, it was nice to see Goldsworthy solo playing her own powerful music.

It’s worth including that the main stage’s action was emceed all night, and all weekend, by Koo Koo Kangaroo. Turner’s labelmates and frequent tour partners led the crowd in a variety of different activities throughout the course of the night, from games to singalongs to Twinkie-eating contest between two members of The Architects (with the grand prize coming as a box of Target-brand fruit snacks). Next up in the big room was Cory Branan. I’ve been a fan of Branan for a long time and seen him close to a dozen times, but when he makes his way to the northeast, it’s almost exclusively as a solo act, never as leader of a band, but the latter is exactly how he appeared on this night. Trading in the acoustic that normally accompanies him on solo shows for a Telecaster, Branan led his three piece through a high-energy half-hour set that highlighted his guitar playing virtuosity while providing some different textures and tempos than he normally attempts solo.

Branan was followed by The Hold Steady. Like Turner said above, The Hold Steady have been on my very, very short list of favorite bands and songwriters for as long as I can remember. For a variety of reasons, they’re also a band that I’d never had the ability to shoot from the photo pit before. I’d also never seen them as a full-on six-piece band, the way they’ve been appearing since the inimitable Franz Nicolay rejoined the band a couple of years ago. Frontman Craig Finn led the three guitar attack (joined by Tad Kubler and Steve Selvidge, the latter of whom played with the above-mentioned Branan on his performance on Letterman well over a decade ago) with the rock-solid-as-ever rhythm section of Galen Polivka and Bobby Drake, who, unfortunately, didn’t actually appear in pictures. Trust me, he was there. Anyway, this was a pretty meaningful set for me – haven’t really gotten misty-eyed in a photo pit in a while – but I’ll let the pictures say the rest.

From there, it was back out to the front for the last Nick Alexander Stage set of the night, featuring none other than The Penske File. The Canadian trio burned through a blistering half-hour set that occurred, sadly, less than forty-eight hours before having their van and all of their gear stolen while in Montreal for Pouzza Fest. You can still kick in to their GoFundMe here, and really, you won’t find a trio of nicer, more deserving dudes to help out.

Last but obviously not least, Frank Turner and the Sleeping Souls took the main stage in the big room. This particular show was Poetry Of The Deed night, in honor of the pending tenth anniversary of Turner’s often-overlooked third studio album of the same name. Coincidentally, POTD was released on my thirtieth birthday, and so it doesn’t take an advanced mathematics degree to realize that means I’m turning forty in a few months, and so that’s got me feeling some type of way. Anyway, for an album that maybe doesn’t get the same kind of attention as Love, Ire and Song or certainly than the quartet of albums that have followed it, Poetry Of The Deed night was incredibly well-received, with trademark singalong after singalong after harmonica-playalong peppering the evening.

 

On more than one occasion, Turner seemed genuinely humbled by the scene playing out not just on this particular night, but over the course of the weekend in general. As he told me before the gig, “when I was a kid, the biggest fucking shows I ever went to were 2000-cap shows. I’m not trying to sound like a scene kid for saying that, but I’d never been to an arena show before I headlined one. You know? The thing is, I reached the point in my career a long time ago where somebody said “hey, do you want to play an arena show now? Because, you can.” And instead of tying myself up in punk rock purist knots about it, I decided to just laugh and say “fuck it, man, why not!” This shit is ridiculous, but yes, okay!

Plans for Lost Evenings IV were also announced during the course of this night’s set. In case you missed it, next year’s festivities will take place in Berlin, Germany. Oh, and they’re also, already sold out. But fret not, Turner faithful’ 2021 will mark the tenth anniversary of his breakthrough album England, Keep My Bones, and so you can guess what might serve as the centerpiece for Lost Evenings V!

Check out our full photo gallery from the evening’s festivities below.

 



Stream Thirsty Curses (Folk Punk) “Get Lost” EP

Raleigh, North Carolina folk punk/alt-country act Thirsty Curses have just released a new EP, Get Lost, and you can listen to a stream of the four-song EP below.



Kyle Trocolla and the Strangers release music video for “Boarding House”

Alt-country punk favorite Kyle Trocolla and the Strangers just released a video for their cover of American Pinup’s “Boarding House.”

You can check it out below.

Kyle Trocolla and the Strangers’ version of “Boarding House” comes from their 2018 record, The Moon USA, which was released via Altercation Records.



A Fistful Of Vinyl release new session and interview with The Homeless Gospel Choir

Our friends over at A Fistful of Vinyl have released some new videos with Pittsburgh, PA political folk punk act The Homeless Gospel Choir.

The session includes a half hour interview as well as performances of four songs.  You can check that all out below.

The Homeless Gospel Choir last released Normal in 2017 via A-F Records.



Tragical History Tour (Folk, UK) Cover “Jolene” on Latest Benefit Single

Scottish folk punk singer/songwriter Tragical History Tour has just released a cover of the Dolly Parton classic, “Jolene”. It will feature on a forthcoming benefit compilation by Aberdeen-based label Struck Dum Records. The collection of tunes is titled Punks Versus Depression Vol 2 and will raise money for the Scottish Association of Mental Health.

The single’s B-side is a live version on the performer’s original track “The Fear”. You can check out both tracks below.

Tragical History Tour just released an album last month. Aphorisms is the first full-length from the artist’s 15 year career!



Bastard Radio (folk-punk) return with first new album in 5 years “Boon & Bane”

Austrian mostly acoustic folk-punk act, Bastard Radio, have broken what appears to be a five year silence with the release of their new album “Boon&Bane” which I recommend you give a listen to below. Great for a quieter mood without losing any punk creds.

“Boon&Bane” is the band’s first release since 2014’s “Sirens Of Truth” EP.



Stream “Spooky” by Luke Seymoup (Folk-Punk)

Australian ukulele enthusiast Luke Seymoup is streaming the first single off his new album Poke’Gods, out May 27th. It’s called “Spooky” and it’s about spooky monsters, naturally.

Of the album, Symoup says, “A tribute to the early days of Poke’mon and the Wild West days of the World Wide Web. When instructions to find rare, unheard of Poke’mon could be found on Angelfire and Geocities websites and then spread by word of mouth as if they were fact.

Mew is under the truck.

There is a secret garden behind Bill’s house.

If you find the Mist Stone, your Poke’mon will evolve into Poke’Gods.”

Listen to “Spooky” below.



The Shabs (folk-punk) announce UK tour dates

South African folk punks The Shabs, who recently released the critically acclaimed album, Can You Hear Us at the Back, are heading to the UK to promote the album with an extensive tour.

Jon Shaban said of the tour, “We’re so amped to be heading back to the UK for the first time in 2 years to launch “Can You Hear us at the Back”. We’ve spent the last 2 months touring around Europe and South Africa and the response to the new album has been amazing and even overwhelming at times. For the UK leg of the tour we are visiting some familiar towns but also some new ones we’ve never played in before. We can’t wait to see some new places and take our new record over to England for the first time”

You will find the poster for the UK tour, with all the dates, below.



Bobby’s Oar (punk) streaming new EP “Knots”

Seattle-based country-punks Bobby’s Oar are streaming their new EP Knots. The new four song EP was released May 3rd and features some great guitar riffs, amazing songwriting and just enough keyboard to keep your head moving.

You can check out the new album below.

This is the first new music from Bobby’s Oar since the 2017 release Not What I’m Looking For. If you’re a fan of Morgan or the Raygun Cowboys, you’ll enjoy these guys.



Stream new track “Greenplates” from Americana Punkers The Slaughterhouse Chorus

After 10 years as a band, Albany Americana punkers The Slaughterhouse Chorus are calling it quits at the end of 2019. For this longtime fan that’s a hard pill to swallow. The only thing that makes it go down easier is the fact that as a parting gift the group is leaving us with a new EP , …In The Name of Progress, via Built4BBQ Records. Having heard the entire release I can attest to the fact that it represents the fellas’ best material to date and you can get yourself a taste via the new track “Greenplates” below.



DS Exclusive: Assembly of Arsonists Releases Video For ‘What Lies in Ashes’

I wish I could say I “like” The Assembly of Arsonists new video for their track “What Lies In Ashes” but that would be far too simple of a statement for such a dense subject. The video, like its architect Travis James, is frightening, clever, original, disgusting, comical, theatrical, and above all intelligent.

“What Lies in Ashes” is the second single off of The Assembly of Arsonists upcoming LP The End is Dear due for release on May 24. The album’s first single “Learning At Both Ends” dropped on April 14,

Check out the video for “What Lies In Ashes” below.



The Shabs (Folk) release video for “Tom and Philip’s Song”

South African folk punks The Shabs have released a video for their song “Tom and Philip’s Song”. The song comes off the bands most recent release Can You Hear Us at the Back, which came out earlier this year. The video is a throwback to the fun and struggle of starting a band in your teenage years.

Check out the new video below.

As mentioned above The Shabs released Can You Hear Us at the Back earlier this year. If you’re a fan of The Dreadnoughts or Ramshackle Glory you will also enjoy these guys.



The Slaughterhouse Chorus set to release one final EP, pre-orders for “…In the Name of Progress” available now

After 10 years as a band, Albany Americana punkers The Slaughterhouse Chorus are calling it quits at the end of 2019. However they plan on going out with a bang with one last EP, …In The Name of Progress, brought to you by Built4BBQ Records. ...In the Name of Progress will be the band’s first release since 2014. Pre-orders for that album are available here… also available in vinyl.