You can check out the full list of dates and locations below.
Jeff Rosenstock last released Post- in January 2018.
Tuesday, May 15, 2018 at 2:20 PM (PST) by The Torchbearer
You can check out the full list of dates and locations below.
Jeff Rosenstock last released Post- in January 2018.
Tuesday, May 15, 2018 at 12:00 PM (PST) by jaystone
Frankie Stubbs, longtime vocalist and guitarist for the legendary – and now defunct – UK punk band Leatherface, has played a handful of acoustic gigs in the years since his main band called it quits in 2012. During a recent such show in Germany, Stubbs dedicated the Leatherface classic “Never Say Goodbye” (from their final full-length, 2010’s The Stormy Petrel) to his former band’s bass player, Dickie Hammond, who passed away in November 2015. As you might expect, the crowd joined Stubbs on vocals, for what seems to have been a pretty emotional moment (great quality video is available here).
If you weren’t aware, Stubbs is slated to make another one of his rare solo, acoustic appearances at Pouzza Fest 8 in Montreal this weekend. He’s been rehearsing in the Little Rocket Records studio in the UK, where he was recorded by fellow Leatherface bandmate (and Pouzza co-curator) Graeme Philliskirk. Little Rocket and Stubbs have teamed up to release an acoustic studio version of the above-named classic, and you can check it out here for the very first time. Stream it below!
Leatherface’s last release was their 2011 live album, Viva La Arthouse.
EDITOR’S NOTE: An earlier version of this story referred to the late Dickie Hammond as Leatherface’s bass player. He, of course, played guitar; Philliskirk played bass.
Tuesday, May 8, 2018 at 12:40 PM (PST) by The Torchbearer
Check it out below.
“Stay” comes from the upcoming EP of the same name, which is set to be released on May 11th.
Sunday, May 6, 2018 at 12:00 PM (PST) by jaystone
When last we spoke with Brian Fallon (read that interview here), it was the morning after the first US tour date in support of his sophomore solo album, Sleepwalkers. With two full-length solo albums plus the Horrible Crowes catalog to draw from and backed by a retooled live band now known as The Howling Weather (longtime friend/collaborator Ian Perkins on guitar, Nick Salisbury on bass, Matt Olsson on drums), tour was off to a positive start. A month down the road, we caught the penultimate show of the Sleepwalkers US tour as it wound through Boston’s Royale nightclub last Tuesday night to finally take in the experience first-hand.
As she had for the last several weeks of the full-US tour, Nashville-based singer/songwriter Caitlin Rose kicked off the festivities on this particular evening. It’s probably not a stretch to assume that the bulk of the daily readers here at Dying Scene might not have Rose on their standard rotation, but we’re all also all about expanding musical horizons, so look her up. Backed by a three-piece band of her own, the silky-voiced Rose primarily plays a smooth blend of hypnotic alternative country and blues, like if Patsy Cline were fronting Mazzy Star. There’s a real soul to her voice when she opens up, giving tremendous depth to her forlorn stories.
Speaking of forlorn storytelling, Fallon kicked off his set with “Forget Me Not,” the lead single from Sleepwalkers. While the song – and the album in general – find Fallon in a more positive space than recent solo or even Gaslight work, there are still plenty of morbid undertones, the struggle against eternal pessimism. Ever the storyteller, Fallon spent a large chunk of time between the set’s second and third songs (“Red Lights” and “Come Wander With Me” polling the audience about a situation that was slated to come up the next night at the tour closer in New York City. Long story short; don’t bother sending Fallon direct messages through social media, and especially don’t propose to your significant other in a circle pit at a Fallon show.
Once the audience participation portion of the evening was over, Fallon and Co. got back to the rocking. The lion’s share of the set on the evening, as you’d imagine, was culled from Sleepwalkers and, to a lesser extent, its 2016 predecessor Painkillers, with a trifecta of songs (“Ladykiller,” “I Witnessed A Crime” and “Sugar”) from Fallon and Perkins’ 2011 The Horrible Crowes project thrown in for good measure. The set’s midway point featured a cover of the Derek And The Dominos classic “Bell Bottom Blues;” the song and its principal writer, Eric Clapton, have long been favorites of Fallon’s, so to hear him pull the song off live was a bit of a fanboy moment inside a fanboy moment. Going back to the Gaslight Anthem days, Fallon has typically opted to eschew encores, stating on numerous occasions that it seems like a waste of time and since you were going to play those songs anyway, just play those songs. As such, the remainder of the band left the stage after new, triumphant crowd favorite “Etta James,” leaving Fallon to man the piano for a solo version of “The ’59 Sound” that turned into an 1100-person singalong. Rose came back out and joined Fallon on a cover of the Dylan classic “Don’t Think Twice,” easily one of the saddest and yet razor-sharp post-relationship songs ever written, before Perkins, Salisbury and Olsson returned and brought the show to a rousing close with “If Your Prayers Don’t Get To Heaven.” This leg of tour has now officially wrapped up and Fallon’s got a little bit of a break before he and the Howling Weather head back across the pond for European festival season. Oh, and there’s the issue of the Gaslight Anthem’s ’59 Sound tenth anniversary shows this summer as well. But hopefully we’ll get Sleepwalkers – Round Two this fall, because a night out at a Brian Fallon show is about as fun and cathartic as a rock and roll show gets.
Head below to check out our full photo gallery from the evening.
Wednesday, May 2, 2018 at 2:02 PM (PST) by liathdavis
Folk punk act Jesse LeBourdais have now released a video for “Make It Boring” which is off of their new album “Grief Intensity Friendship.”
You can also catch the act on tour in Canada for the month of May with an appearance at Pouzza Fest.
Watch the video below.
The Gastlight Anthem frontman Brian Fallon has recently released a cover of the pop song “Silence” by Marshmellow, featuring Khalid. This is not the first time, however, that Fallon has taken his unique, folk-rock sound to current pop music. He regularly performs Katy Perry’s “Teenage Dream” while touring. You can check out Fallon’s cover here.
“I recorded this song because I believe in the message.” Fallon said via Twitter. “I think it speaks to our times in this country. There can be peace even in a dark place. May we all find it soon.”
This is his first release following “Sleepwalkers” that came out earlier this year via Island Records.
Friday, April 13, 2018 at 10:01 AM (PST) by jaystone
It’s been a while since we’ve heard from UK-based folk punk badass Louise Distras; too long, if you ask me. But the wait is finally just about over!
Distras holed up at a studio in Oakland, California, with producer Ross Petersen (Bruce Springsteen, The Vamps) and with The Business’s Steve Whale for work on a full-length follow-up to her 2015 debut, Dreams From The Factory Floor. The first of the fruits of those labors are now upon us, as today marks the unveiling of the new track, “Land Of Dope And Glory.” Check it out below!
Dreams From The Factory Floor was released in the States on Pirates Press Records. The new album is due out this fall!
Friday, March 30, 2018 at 10:30 AM (PST) by jaystone
I’m not entirely sure if “journalistic integrity” is one of the hallmarks that Dying Scene is known for when we conduct artist interviews, but it’s worth mentioning that I’m going to jettison whatever notions of it there may have been and insert myself right into the middle of this story. The Gaslight Anthem are one of the very few bands that I can not only vividly remember my first exposure to them, but can equally vividly remember being stopped in my tracks about what I was hearing and seeing. It was 2008 and I was a 28-year-old new dad, and the video for “The ’59 Sound” and it was on MTV (remember that?!?) as I was getting ready for work in the morning. I knew nothing about the band, and yet I instantly felt like I knew exactly who they were. Led by their Telecaster-and-patchwork-scally-clad frontman, Brian Fallon, the band presented a look and a sound that combined the best parts of my parents’ favorite artist (Springsteen) and my favorite band growing up (Pearl Jam), and ran it all through a ‘child of the 90s’ punk rock filter.
In the decade since, Fallon’s voice and words have been a constant steadying factor in my life. His lyrics have shifted away from telling other people’s stories and have instead become intensely personal, though each album somehow contains a song that either presently or in hindsight make you wonder if he’d somehow been following you around, telling your own story better than you could. There were rumblings probably five years ago that Fallon would work on a solo album after the release of the band’s 2012 album Handwritten, but those plans were shelved in favor of what became 2014’s Get Hurt. The dark, visceral album (a personal favorite) rather notoriously chronicles Fallon’s then-recent divorce, but it’s in many ways also a chronicle of the drifting away of the band’s members themselves; an indefinite hiatus would begin the following year.
Fallon himself would not be out of the game for long, as 2016 would see the release of his debut solo album, Painkillers. Recorded in Nashville with Butch Walker at the helm, the album was a stylistic departure, largely rooted in folk and Americana music. Still, there were more than enough threads to connect the listener – and the artist – to his past; Gaslight Anthem guitarist Alex Rosamilia joined Fallon’s touring band, The Crowes, on guitar and keyboards, alongside Fallon’s longtime friend and frequent collaborator Ian Perkins, and Jared Hart of fellow Jersey punk band The Scandals.
Which brings us to 2018 and Fallon’s sophomore solo album, Sleepwalkers. We caught up with Fallon by phone earlier this week, hours after the US leg of the album’s tour kicked off in Nashville, to chat about all things Sleepwalkers and, of course, Gaslight Anthem. Released February 9th (Island Records), the new album finds Fallon in a happier, more uplifting mood, having slogged for a few years through some pretty dark places. It can be viewed as a bit of a bookend to an unintentional trilogy that marks the most personal music of Fallon’s career, with 2014’s Get Hurt lamenting the demise of relationships and 2016’s Painkillers playing as a guy trying to figure out what comes next, in myriad levels. That trilogy was not, as you might imagine, by design. “I think that if I planned it out like that to be a trilogy, I’d be pretty smart,” jokes Fallon, pointing out that it was more realistically a natural progression. “It makes the point that records are true to life. I was following exactly where I was at the time on all three records, and it’s funny how it worked out like that, where it seems like it follows a trajectory. It did, although the trajectory wasn’t a planned record, it was my life.”
Stylistically, Sleepwalkers is more straight-forward, R&B-infused, punk-tinged rock-and-roll than Painkillers or than his 2011 side project The Horrible Crowes. Fallon has long been a student of rock music and has not shied away from referencing his influences directly, especially in the earlier part of the Gaslight catalog. Soaked in references to The Beatles and The Clash and Etta James, Sleepwalkers is the most early-Gaslight thing that Fallon has done since, well, since the early Gaslight period. That’s at least partially by design. Gaslight Anthem, you see, was obviously one-fourth Fallon. “You can’t take away who you are and what your style inherently is and remove it just because you’re doing a new project, you know? I decided that instead of running from that, I’m just going to be myself, and if some people say “well, that sounds like Gaslight,” of course it does, because I’m the one doing it. The parts that don’t sound like the band are the parts that came from the other three people in the band, and now there are new people, so those parts will sound different and I’m the part that sounds the same. I finally was just like “yup, I’m okay with that! That’s fine!” Songwriting choices came quicker and freer after that realization was made. “I got to put my own shoes on again,” he explains, adding only half-jokingly that “I like Bruce Springsteen, I like old movies, I like New Jersey, I don’t care what you say about it!”
In large part, the remarried, father-of-two Fallon drew motivation to move forward through some of the earlier darkness from his young children. “I didn’t have the luxury of just being a lunatic!” he laughs, adding “I was like ‘you have children, and you have clearly messed yourself up to the point where you don’t know what’s going on, and you’ve got to put your head back together. Your kids deserve better than that’.” While it took a lot of work — therapy, reading, doctors, etc — to come out the other side, Fallon is refreshingly not afraid to talk about that work, and has been inspired by the recent trend, particularly in the punk community, toward shedding light and awareness on mental health issues. It’s a trend that didn’t exist in earlier parts of his career, but that he certainly would have taken advantage of. “I know there’s this site I’ve been following (on social media) called Punk Talks, and they’ve got a number where you can call them and talk to them. I was amazed when I first saw it.” The organization would have come in handy, Fallon says, when dealing with the rapid ascent that Gaslight Anthem found themselves on a decade ago, where they went from playing their first shows in their home state of New Jersey to having The Boss himself join them on festival stages within the span of barely two years. “The speed at which that went and the inability to be prepared for it, whether it was my age or inexperience or expectations or just something that was inside of me,” Fallon explains, “created a lot of anxiety in me, to the point of not being even really able to enjoy a lot of it, because I was so nervous about everything all the time. It really was a hard, hard thing. I wasn’t prepared for the level of anxiety it would cause.”
That’s not to say, however, that Fallon is complaining. Far from it in fact. “It was awesome! We totally went for it. I feel like I was (just) ill prepared for it. I didn’t do the homework on myself to catch up. I was 27 then, now I’m 38, and I have much more — it’s funny to say “wisdom” — but I have much more of a perspective on how to handle something like that now.” Fallon is also not afraid to pass his teachable moments on to younger bands that might find themselves on the type of rapid ascent that Gaslight found themselves on a decade ago. “You have to break this thing down. If your band is getting successful and you’re starting to come up and get more recognition and to get it quicker than you thought and that’s getting to you mentally or emotionally, break it down into small, in-the-day things.” If taking the stage in front of any number of people can be enough to rattle some people’s nerves, taking the stage in front of five- or ten- or twenty-thousand can be downright overwhelming. “You have to remember that those people are not there to crucify you and they’re not there to criticize you,” says Fallon. “There might be one or two, but they’re always going to be there, whether you’re playing to twenty people or twenty thousand people. Most of the people there just love what you’re doing, and they’re trying to have a good time, and they’re just like you. They’re no different than you.”
Head below to read our full chat with Fallon. I had roughly nine years worth of questions to ask, but this was a good start. And yes, there’s plenty of insight on what happened – and is happening – with Gaslight, including the ’59 Sound anniversary shows, but you’ll have to read it to find out. Also, head here to find out where you can catch Brian Fallon and his new band, The Howling Weather, on tour over the next month!
Thursday, March 29, 2018 at 11:25 AM (PST) by nkernell
Dan Cribb recently passed the 20 track mark of covers honoring the Simpsons with recent releases featuring Emmy Hour of the Cutaways and Mane. With character theme songs being this month’s focus, Hour lent vocals for “Blessed Be the Guy That Bonds”, and Mane provided harmonies for “The Ballad of Jebediah Springfield”. You can check out the recently released tracks, along with the other 19 covers featured on “The Worst Tribute Ever”, below.
“I think Mane’s haunting and commanding voice might make “The Ballad Of Jebediah Springfield” one of ‘Worst Tribute Ever’s biggest songs yet,” Cribb said.
More tracks are still to come, including “Who Needs the Kwik-E-Mart” and “See My Vest”.
Thursday, March 29, 2018 at 10:04 AM (PST) by nkernell
Hailing out of Fort Wayne, Indiana, the side project of Grey Gordon known as Kill Surf City has recently announced the upcoming release of their debut album titled “Ever Notice How Everything’s Stupid?”. The release is due out June 1 via Blacktop Records. You can check out two pre-released tracks off the album below.
Kill Surf City last released a single titled “Slip” in late 2017.
Tuesday, March 20, 2018 at 12:00 PM (PST) by Daron
Ottawa’s own Jon Creeden & the Flying Hellfish have premiered the video for “Nailbiter,” off their new LP “Stall,” released via My Fingers! My Brain! Records, Maps and Continents Records, and Dead Broke Rekerds.
The digital version of the album is already available at bandcamp, and is an absolute steal at pay-what-you-can. I hadn’t even finished the third song when I decided to buy it. If you’d prefer to get a physical copy, you can check out Jon’s IndieGoGo page to get it on CD or vinyl.
The official album release show will be Friday, April 6th at House of TARG in Ottawa.
You can check out the video for “Nailbiter” below!
Wednesday, March 14, 2018 at 3:38 PM (PST) by Johnny X
So pumped to announce this news. Fans who dig the distinctly unique vocal talents of Problem Daughter co-vocalist Regan Ahston are in for a special treat. The lovable front-man of the Salt Lake City pop-punk act will be releasing his debut solo album “…And The People You Always Have With You” on May 11th via La Escalera. I’ve had the honor of hearing the tunes pre-release and can personally endorse it for any fan of the alt-country/americana/folky hybrid genre that’s been spinning out of the punk scene recently, not to mention fans of Problem Daughter of course.
Monday, February 19, 2018 at 9:55 AM (PST) by rick delaney
Legendary former Misfits vocalist Michale Graves has announced European dates for his “Beginning of the End Tour 2018”. Starting in April, Graves will hit 17 cities across the continent performing classic Misfits tunes, as well as his own material.
Check out the full list of dates below.
Michale Graves’ latest release was the 2017 record Backroads.
Wednesday, February 14, 2018 at 1:18 PM (PST) by NobodyLikesGreg
Ottawa, Canada’s biggest treasure Jon Creeden and The Flying Hellfish has released its debut full length “Stall”. It’s up for pay what you want now but if you like what you hear you can also pre-order some physical formats including Vinyl, CD, and photo prints of the album art right here.
The album is a co-release effort with Map and Continents Records (CAN), Dead Broke Records (USA), and My Fingers! My Brain! Records (CAN). Head down below to give it a spin.
Friday, February 9, 2018 at 4:59 PM (PST) by Screeching Bottlerocket
Bury Me In Philly was released in early 2017 through Rise Records.
I write this spotlight with mixed emotions. I'm stoked to have discovered a new band that I would love to sign to Dying Scene Records, but I'm f'ing pissed to not have discovered them early enough to have done so. The Stifled is a Baltimore foursome that just released their self-titled debut EP, and if I didn't know better I'd think this was Dying Scene Records band A Dying Regime partnered up with the singer from DS Records' first signing, Yankee Brutal. Skate punk with metallic undertones. Melodic vocals with a healthy dose of snarls and gang shouted backups. Fast and heavy. Catchy but angry. My sweet spot. Give the EP a spin here and compare it to a couple choice tracks from Yankee Brutal and A Dying Regime and tell me I'm wrong with this comparison.