Motion City Soundtrack front man Justin Courtney Pierre has released his debut solo album, In The Drink, which came out October 12th via Epitaph Records. Justin has also released a music video for the song “Undone” and has announced a few months worth of tour dates starting November 1st. You can check out the video and tour dates below.
Search Results for "Solo Project"
Tuesday, October 16, 2018 at 2:00 PM (PST) by The Torchbearer
Monday, October 8, 2018 at 3:16 PM (PST) by Mike Scott
Jesse Barnett (frontman of Stick To Your Guns) has a new acoustic based project, Wish You Were Here. He has released a single, “Come Find Me”, ahead of an upcoming, as-yet-undetailed debut album. The track is being backed up with a European tour.
Check out the laid back track, along with the tour dates, below.
Saturday, October 6, 2018 at 11:00 AM (PST) by jaystone
Just shy of seven years ago, I had the opportunity to weasel my way in to a Northeastern University student-only show at what was basically a slightly oversized Starbucks in that institution’s student center. The show was a one-off that featured support from Matt Pryor of The Get Up Kids (amongst others) and headliner Brian Fallon, then still very-much active in The Gaslight Anthem. It was very much a unique experience – I’m still not entirely sure how it came together – as Fallon wasn’t really doing the “solo performer” thing at that point. Accompanied only by an acoustic guitar, he came without a setlist and essentially took requests all night. Oh, and he told stories. Boy, did he tell stories; funny, insightful, spontaneous stories. Lots of stories. At one point, Fallon even caught himself realizing he was talking a lot, joking that he was going to stop playing songs and just talk because, let’s face it, it was a free show, so nobody had actually paid to be there (to which an audience member fired back the fact that it cost $45,000 a year to go to Northeastern at the time).
Boy have things changed in the seven years since that one-of-a-kind event
. Gaslight would go on to produce two more albums, go on hiatus and recently reunite for a run of The ’59 Sound 10th Anniversary shows. Divorce and children and remarriage and being interviewed by me and all of the things that come with being in your mid-30s happened. Fallon has gone on to produce two solo albums of his own: 2016’s Painkillers and this February’s Sleepwalkers. Finally, this week marked the first dates on what’s being called the Songs From The Hymnal tour, an international run that features opener Craig Finn (himself on his third solo album to go along with a successful decade-long run as frontman for Minneapolis-cum-Brooklyn rock band The Hold Steady) and headliner Fallon appearing sans backing bands. Just two men, a couple acoustic guitars, a Korg, and a collective several decade’s worth of stories.
Night one of the US run took place last Tuesday at Royale in Boston, a venue that’s got a capacity approximately 500% larger than that student center cafe at Northeastern (though it also has 100% fewer working Starbucks within its walls). Finn kicked things off with a 45-minute set culled mostly from his past solo efforts: 2012’s Clear Heart, Full Eyes, 2015’s Faith In The Future and last year’s stellar We All Want The Same Things, with an old Hold Steady song and a couple of new solo tracks thrown in for good measure. Though he’s long been publicly affiliated with both Minnesota and, more recently, Brooklyn, Finn was born a short cab ride away from the Royale in Boston’s Allston neighborhood, a place he’d return when it was time for college (Finn went to BC). No matter what project he’s spearheading, Finn’s songwriting style has largely focused on storytelling anyway, having created characters and scenes and interactions and feelings that mirror the struggles of trying to get by in the world. To that end, a performance like this was right in Finn’s wheelhouse. One of his new tracks, “Magic Marker,” is one of the most compelling tales I’ve heard performed in a live setting, grabbing the listener and forcing her/him to pay attention to the story. The most relatable moment I have to compare it to was the first time I heard Dave Hause’s “Autism Vaccine Blues,” which was a new song he’d been woodshedding on the road prior to recording 2013’s “Devour.”
After a standard length set changeover, Fallon strode downstairs to the stage, picked up his acoustic, and strummed his way into a subdued version of “Forget-Me-Not,” the lead single from Sleepwalkers. Normally an up-tempo sing-along, this version was a more delicate (almost unrecognizably so) ode to his relationship with his wife. The setlist from there was a bit more structured than the Northeastern show seven years prior, but not by a lot. Where Finn’s set seemed thought out and his stories were focused, Fallon seemed to opt for more of a “rough outline” approach, seemingly allowing his stories to meander and to feed off some of the spontaneous feedback from the crowd. Some of Fallon’s stories are raw and painful, particularly when dealing with death or with his break-up (which wasn’t necessarily mentioned specifically, except with a nod to the crowd who “have been around a while, most of you know the story at this point.” Some of the stories were funny, especially when the razor-witted Fallon was riffing off-the-cuff. I’m not going to divulge many of the specific details, because I feel like that takes away from the experience for those who haven’t seen a show on this tour yet.
But in case you were wondering, the set was comprised of songs from Fallon’s solo career obviously, plus a handful of Gaslight favorites (“Great Expectations,” “Film Noir”) that came with particularly insightful oral histories. “Ladykiller,” from Fallon’s The Horrible Crowes side project with Ian Perkins also made an appearance. There were a handful of songs from the written setlist (3 of the original 19 tracks) that didn’t appear, as it would appear Fallon ran out of time because some of his stories took some lengthy side roads. It was a fun and memorable and compelling night that allowed both songwriters lyrics to take on new weight and gravity due to the stripped down musical accompaniment. While both men have storied careers fronting high-powered rock bands, both are equally capable of commanding a stage with little additional support. Go see this tour. Seriously.
Head below for our photo recap!
Thursday, September 27, 2018 at 7:32 PM (PST) by liathdavis
Photo: Zana Callahan.
Coffin Salesman, the acoustic side project of Boston-based musician Aria Rad (of The Radicals, Live Nude Girls) is now streaming a new track “New Age Swinger” off of the upcoming album “Nicrophorous Americanus.”
The album is expected to officially release November 2.
Check out the new track below!
Tuesday, September 25, 2018 at 1:30 PM (PST) by The Torchbearer
You can give them a listen below.
Extra Arms last released Basement Punk in September 2016.
Tuesday, August 21, 2018 at 10:12 AM (PST) by Goldfinger
Punk rock legend Chad Price (ALL, Drag The River, A Vulture Wake) has released a new acoustic record. Being released through Joey Cape’s One Week Records this will be the second solo release for Chad Price.
To hear a sneak peek of what you might find on the album check out the video below.
If you want to pick up your own digital copy of the new record scoot on over to One Week Records site to grab yours.
Friday, August 17, 2018 at 10:15 AM (PST) by liathdavis
Big congratulations are in order for Chuck Ragan and the entire team of Landsick!
Chuck Ragan notes, “For our film Landsick to be recognized and win Best Story at the Drake Film Awards was certainly an achievement that wasn’t even in our scope. We all just did what we do and documented it along the way. To have an honor such as this given to us, it has eased the pain a bit of the endless nights, close calls and time away from family on the road. Peter Vandergrift and Matt Devlin worked insanely hard at pulling the piles of content together to weave the story that made Landsick the film that it is.”
According to Ragan, “At home, I work as a fly fishing guide and instructor so in so many ways I’m leading a double life going from ‘waking up at 4:30am‘ as opposed to ‘lying down at 3am‘. Our recent film that’s been showcasing at The Fly Fishing Film Tour depicts that balance between touring, guiding and fatherhood. It’s far from easy to find much balance but I’m getting closer and learning more about myself from a toddler than I’ve learned from anyone in my 43 years on this planet.”
Landsick will be screened across the country. Times and dates can be found here!
Friday, July 20, 2018 at 11:14 AM (PST) by liathdavis
Solo project Jeff Rosenstock has just shared a new video for “All This Useless Energy” which comes off of the latest release of Post in January of this year.
According to Jeff Rosenstock, “This is our fourth video that we’ve shot in DC and we love all the people who are in it. [Tourmates] Martha and Bad Moves make cameos. It reminds me of a classic video I would see on MTV when I was younger, but also kinda like that sick Grimes video where she’s at the football game with the boombox and the headphones.”
Check out the vid below!
Folk punk outfit Divided Heaven are now streaming their new album “Cold War.”
As stated previously by Jeff Berman, “Cold War is (and was) meant to be different, all around. It was recorded differently, written differently, and presented differently. It’s less singer-songwriter and more full-band; less a collection of songs and more of a cohesive group of songs. I simply can not waiting for people to hear it and feel it.”
Check out the new album below.
Monday, July 16, 2018 at 9:53 AM (PST) by dropkickeith
With shows in Newcastle, Edinburgh, Manchester, London and Brighton now sold out, Brian Fallon has announced additional dates for his UK tour. Second shows have been added in both London and Manchester.
Tickets are currently on sale and apparently moving very quickly. Check out the updated tour dates below.
Thursday, July 5, 2018 at 9:51 AM (PST) by dropkickeith
Brian Fallon has announced he is returning to the UK with an eight date acoustic tour that includes a stop at London’s Union Chapel. Which is listed as a Grade 1, meaning that it is a building of exceptional interest and would make a interesting venue to catch Brian’s brand of Americana rock and roll.
Tickets are already on sale. Check out the tour dates below.
Wednesday, July 4, 2018 at 11:58 AM (PST) by dropkickeith
Dan Cribb has recruited Australian singer-songwriter Guy Sebastian for the latest song in the ongoing tribute to The Simpsons. “We Put the Spring in Springfield” is the twenty-fifth song on The Worst Tribute Ever.
Guy Sebastian is a multi-time platinum soul singer, who’s rise to stardom began with winning the Australian Idol in 2003. This definitely adds some depth to both the quality of the song and the impressive guest list on the album. Other guests so far include Ball Park Music, The Beards, Luca Brasi, Tired Lion and more yet to be announced.
Stream the track below.
The cover of Chris Fox’s 6-song EP shows a penciled sketch of a guy – presumably Fox – from the neck down without a shirt on. The guy is overweight, the EP is titled Portly Formed, and the songs are all covers of Fat Wreck Chords songs. Portly…Fat…get it?
I must confess that I listen to Fat bands more than bands on other labels (for no good reason other than that’s what I’m most familiar with) and so when this EP was “recommended” to me, it took all of two seconds to decide to download it.
Good Riddance’s “Stand”, known to punk fans from Physical Fatness Fat Music Volume 3, leads off the album. This was a compilation-only song during a time when many of us listened to these compilations like it was the radio, because the real radio sucked, and music wasn’t abundantly free on the Internet like it is today. Nostalgia abounds listening to this song. Fox’s voice doesn’t have the power of Russ Rankin’s, and it doesn’t take long to realize we’re not listening to a high-budget production, but that doesn’t change the fact that “Stand” is a great song.
The Swingin’ Utters are represented here with their upbeat feel-good tune “Glad”. This is the moment of the EP when one realizes that some of these stripped down “acoustic” versions of punk songs aren’t really all that different from their original versions (after all, The Utters do use acoustic guitar more than a lot of punk bands, though not in the original version of this song). There are no drums here, and Fox’s vocals have less of an edge than Peebucks, but the tempo and the feel are nearly identical.
Fox makes use of a trumpet and trombone in “10 West”, a song first released back in 2003 by the Mad Caddies who also sport a horn section of only trumpet and trombone. Here “10 West” is recorded sans drums, of course, (although, for the record, if we define “acoustic” as unplugged and unaltered, then the drums are generally the only actual acoustic instrument in a punk band) and the guitar part isn’t strictly a ska feel like the Caddies’ version. But again, like the Utters song, this arrangement isn’t terribly different from the original recording.
Somewhat later Fat releases are represented with tracks 4 and 5, first with Dead To Me’s great tune “California Sun”, followed by the Feel Good Moment of the EP with “Pacific Standard Time” from No Use For a Name’s 2008 and final studio album. Like most of the EP, Fox doesn’t alter the mood of any given song. He begins the latter mellow, the most mellow moment of the EP, before opening it up big; fans of NUFAN’s version will feel the entire band even without it there.
The original Fat band closes out Portly Formed. From Lagwagon’s 1997 friends-themed album Fox cheats and merges two songs into one – “Smile”, which most people think is really called “I Hate My Friends”, and “To All My Friends”, featuring the final guitar solo almost identical to Double Plaidinum’s (what a shame Fox couldn’t have snuck some of “Making Friends” into this medley, as well).
Portly Formed will not go down in history as one of the great treasures of acoustic punk rock, but it is a lot of fun, especially if you’re an unabashed Fat-o-phile like me.
Saturday, June 30, 2018 at 4:46 AM (PST) by Jim Harper
It is strange to look out my window after listening to this album. The songs make me think of a 1990s post-apocalyptic film where the lands are decimated and tumbleweeds shift from left to right across a cracked road. The sun pours down more heat than usable energy and out of the distance walks a punker…maybe a few. The only people left for miles and they look somehow less crusty than some of these people that exist in real life in 2018 that have showers and many outfits. If this movie ever exists, the opening song that plays while the punkers walk toward the camera should be Scumbag, the first track off “…and the people you always have with you” by Regan Ashton.
When I look out my window, it’s just a regular ol’ post-hood neighborhood. Lower middle class living at its bestest. Such a weird dynamic.
This is a cool album. 6 songs. It’s like drunken hillbilly Punk for the fuck of it. If it was produced lousier, it could be considered backwoods mountain music. But, it’s definitely a grouping of songs that has intention. Ideally, I wish I could get really drunk and dance to it. I had plans to do just that, but by the time I was drunk, it was late and I just feel asleep. Sorry Regan. Maybe next time.
Regan is also in a band called Problem Daughter who released their last album thru Dying Scene Records, so I feel this weird apprehension about assessing it vs. how I might if it wasn’t. The Punk culture is supposed to be familyish, or whatever. Ultimately, I’ve not got many criticisms for “…and the people you always have with you”. It’s funny. Not comically funny…funny like when someone looks at your mohawk, hand tattoos, and body piercings and assumes you’re a nitwit, gives you a dirty look, and then goes back to their modestly awesome life while you have to go back to living in poverty cuz society craps most on the minorities it’s not illegal to marginalize. Ha. My only criticism is that this recording sounds too controlled. I dunno, it’s like now that recording is less expensive and lots of folk have home studios, everyone and their idiot mothers are releasing projects of all sorts but everyone seems to rely on metronomes way too much. And, it’s not a bad thing, mind you. I just feel like the live feel is stripped from modern recordings. Everything is perfect…in the John Feldmann sense of producing…and it feels like harnessed energy instead of free-flowing energy. Surely, I wasn’t there for the recording sessions for this release. Maybe Regan didn’t use metronomes at all. This album seems like most recordings these days. Very planned. Think of the last couple releases from Less Than Jake.
Anyway, beyond fitting into the current paradigm, “…and the people..” is neato. Lyrically, it seems to hone in on the Punk philosophy as it is in constant flux. Kinda gives me a Rancid vibe. That whole “I guess I’m a fuckup…dude, I just keep waking up whether I want to or not” thing. This album is very relatable. It’s very musical. It’s not stripped down. Regan, as I mentioned, is in Problem Daughter, and oftentimes solo projects can suck. This doesn’t. You may not like it if you are a Problem Daughter fan, but that also might you like it more. There’s so much music out there now that no one can keep up. Musicians be like: “Look at what we’re doing! You don’t have the time to pay attention to it all, but isn’t the artistic upheaval amazing?!”
I can’t help but feel an odd sense of malaise cuz of the album, tho. To a theoretical hell we should send those unfailing optimists, sure…but after listening to these 6 songs and agreeing, sympathizing, relating, etc….the feeling of absolute fuckitude lingers. Misery may love company, but this isn’t misery. It’s…well…um…perhaps we humans build up walls and live partially-delusive lives to protect us from the inescapable and bizarre. I guess it’s like: There is something about this album to where if I listened to it enough, it would make me cry. It’s that real. I don’t know about you, but I can’t cry unless music is playing. People I know have died and it didn’t really shake me, but if you put on Flogging Molly’s If I Ever Leave This World Alive, I’ll leave the room…out of earshot…cuz I just can’t take it.
As fun as “…and the people you always have with you” is, it just hits me on that kind of a level. And that’s not me sucking up to Dying Scene or Regan. It’s the song Failed Author. It just hones in on something real fucking deep. And, it’s not something you’d get if you just listened to only that song. I feel like when the album starts, Scumbag sets a tone…it made me think that the rest of the songs were going to continue that vibe…like it’s all gonna be fuck-it hilarity…but art reflects life…by the end, I was left with another lesson in “Life fucking sucks bro”. Life isn’t a let-down, nope. It’s just problematic because our imaginations get away from us and they take our hopes with them. Our hopes raise and then when you realize that it was all delusion, the reality that takes its place is just calm. Not exuberant. Not banal. Just inexplicable.
Tho, after that calm passes, you laugh to yourself. Maybe you look out your window and wonder if the kids playing basketball across the street will ever know the true depth of reflection. Maybe they’ll luck-out and live a life of innocence and ignorance like the rich folk and/or the religious folk that don’t even allow themselves the chance at truly knowing.
One cool thing about this album is that it made my mind go crazy with words. When I listen to Aesop Rock, it’s like my brain gets going and I have to write out a poem or whatever. This recording made that happen too.
So yeah, I like this cd.
“What’s a cd?” asked the kid.
If you don’t know what a cd is, you’re a nitwit. Your generation is overloaded with data by schools but you don’t know what a cd is? You think you are a Punk fan but you don’t know what a cd is?? Piss off.
The song Russian Blue is another favorite.
They’re all good, tho. Especially Junkyard Parakeet.
This cd sounds like something Cooper from The Devil Makes Three would dig.
Wednesday, June 20, 2018 at 2:21 PM (PST) by dropkickeith
The Gaslight Anthem’s Brian Fallon and Craig Finn from The Hold Steady have announced a string of tour dates through October. Both singers are touring without their respective backing bands, so the shows will be a more intimate reflection of their songs and stories.
Fallon’s latest solo release is Sleepwalkers from earlier this year. While Finn’s latest solo work is 2017’s We All Want the Same Things. Check out the dates below.