Search Results for "Solo Project"

Brian Fallon (folk) releases single “Forget Me Not” and announces tour

Gaslight Anthem’s Brian Fallon has decided to follow up his 2016 solo album “Painkillers” with a new one “Sleepwalkers”. The first single off the new album is “Forget Me Not”. The album is due to be released February 9th on Island Records.

To celebrate the new album, Brian will head out on tour with his backing band The Howling Weather and will be supported on the tour by Dave Hause, Ruston Kelly and Caitlyn Rose.

You can check out the new single and tour dates below.



Dan Cribb Streams Latest The Simpsons Cover “Canyonero”

Dan Cribb is allowing fans to stream his thirteenth The Simpsons cover, “Canyonero”. The track appears in the 15th episode of season nine, in the episode titled The Last Temptation Of Krust. It was originally sung by Hank Williams, Jr.

Cribb’s version features a cameo by Adelaide singer-songwriter Bec Stevens, as well as an old pal of Dan’s, Jackson Grealy. You can listen to “Canyonero” below.



Billy Liar announces UK/Ireland tour with Andy Thomas’ Dust Heart

Scottish folk punk Billy Liar has detailed a tour that will take in the UK and Ireland throughout November and December. The majority of the dates will be with Colorado’s Andy Thomas’ Dust Heart.

Full details of all dates are below.



DS Interview: Darius Koski (Swingin Utters) on his new solo album, “What Was Once Is By And Gone,” and hitting the road with a new Utters linuep

If you rewind the punk rock history tape back a couple of years, you’ll come across the release of Sisu, the debut solo release from Darius Koski. The album was very much rooted in Americana and marked a bit of a sonic departure for the longtime Swingin’ Utters and Filthy Thieving Bastards guitarist and principle songwriter, though it still fit within the more diverse end of the Utters spectrum at the very least. Next Friday, Koski will release his sophomore solo album, What Was Once Is By And Gone, again via his lifelong label home, Fat Wreck Chords. This time out, Koski pushes the genre-bending element to new heights; while there is still a thread of Americana that pops up, also present are very heavy rockabilly and Johnny Cash and Nick Cave and Tom Waits-inspired sounds that each create a very different, very real mood. And that’s all by design.

I don’t want to play one style of music; I like too many things,” says Koski, who spent a dozen of his most formative years playing solely violin before eventually moving on to guitar and finding punk rock. “I just wanted to write songs, that’s basically what it came down to. I wasn’t really interested in being a virtuoso, which is all that’s about. And that’s great, but I would rather write songs than be a ripping violin player.” Still, that early experience with incredibly broad musical horizons created an early, lasting influence. “Too many things influence me and I’m interested in too many things to be a one note kind of dude, you know? So yeah, I think this one is even more all-over-the-place than the last one, for sure.”

Many of the tracks on Sisu were culled from years and years of songs that Koski has stored up, forming a catalog consisting of many dozens of tracks that date back close to three decades. It should go without saying that technological advances in the audio recording world have advanced many times over in the years since Koski began writing and recording, creating an interesting set of challenges when it comes time to revisit old tracks. “For a while, I was recording on – I don’t know if you remember, but those little cassette tapes? What do you do with those?” he asks, half-jokingly. As it turns out, what you do is press play on a microcassette player and record on a regular cassette tape, creating a lo-fidelity, hiss-heavy mix to try to decipher. “For the most part, I’m pretty anal about cataloging stuff because I’m just afraid of losing things. I’m totally that guy that spends a month being a month being obsessed with transferring his vinyl!”

The process was much the same on What Was Once Is By And Gone. Some of the tracks began simply as hummed notes into his iPhone, while some date as far back as the mid-1990s. Of particular note is the track “Fresh Glass of Nothing,” a song that was coincidentally written by his wife, herself an avid poet with whom he’s actually collaborated many times through out his songwriting career; the bulk of the Utters’ classic album Five Lessons Learned, for example, was culled primarily from her old poetry books. “Fresh Glass of Nothing” went a little differently, however. Back in the mid-90s, Koski had been in the market for a 4-track cassette recorder, and his wife purchased one while he was away on tour. “She was messing around with it at home to figure out how it worked,” he explains. One thing lead to another, and by the time Koski had returned from tour, his wife “had recorded two songs! Like, fully done songs, with her playing guitar, her lyrics, and her singing the melody! She’s not  a songwriter, but she had these two songs, and the other one is great too, but (“Fresh Glass of Nothing”) was, like, phenomenal!” Koski added the solo that appears on the song, but the rest of what you hear on the album is completely his wife’s brainchild.

Speaking of touring; Koski is putting down the day job plumber’s wrenches and gearing up to head out on the road as a solo artist for the first real time, as he’ll be doing double duty by opening up the Swingin’ Utters upcoming November dates. While he’s played a handful of dates acoustic and by himself, this time out he’ll have a small band backing him up, helping to fill out the added instrumentation that is so important to the sound on What Was Once Is By And Gone. While it can be hard to afford a full band to go on the road with, it is ultimately a goal of Koski’s to make touring with a backing band more of a part of his regular routine. I really, really want to try to make that happen,” he explains, “because the majority of the stuff on both of these records really has a lot of instrumentation and drums.” On the upcoming run, Koski has enlisted the help of some of his Utters brethren: “for this tour, Luke (Ray) is going to play drums and Tony who’s playing bass for the Utters is going to play bass, so we’ll be a three-piece.” The Tony in question is none other than Tony Teixiera, whom you probably know from his time in Cobra Skulls, Western Addiction, and most recently with alongside Luke Ray in Sciatic Nerve. Teixiera filled in for Utters bassist Miles Peck on their most recent tour and will be doing so again from here on out. “He’s pretty much our bass player now,” adding that Peck “just didn’t want to fucking tour any more. It’s not in him. It’s hard, man. It’s not for everybody.

Head here to see where you can catch Koski and the newly-retooled Swingin’ Utters lineup on the road, beginning next week in Arizona. Pre-orders for What Was Once Is By And Gone, which is due out November 3rd on Fat Wreck, are available at the same link. Meanwhile, you can head below to check out our full Q&A with Koski!



Monty Messex of Dead Fucking Last release solo EP, Purple Trees

Monty Messex of DFL fame has released his solo EP, Purple Trees. He describes the EP as “‘folktronica’ – a mellow mix of folk, ambient, and electronica.”

It’s definitely something I can get down to when medically treating my anxiety and “back pain.” Check out the stream below, and pick up the EP at bandcamp for less than five bucks!



Jon Creeden & The Flying Hellfish (Canada, punk) stream demo “Summer in October”

Ottawa-based Jon Creeden & The Flying Hellfish are allowing fans to stream their latest demo, Summer in October. The release features four track – two covers and two originals, and has been made public by the good folks at My Fingers! My Brain Records. The demo comes ahead of the band’s 2017 appearance at Gainesville’s “The Fest” on the Friday at 2:20pm in Mother’s Pub. One of the tracks will also feature on a soon-to-be-released LP due out in Spring 2018.

Check out Summer in October below.



Darius Koski (Swingin’ Utters) streams new song “Black Sheep”

Swingin’ Utters guitarist Darius Koski has premiered another song off his upcoming solo album What Was Once Is By And Gone. Give “Black Sheep” a listen below.

What Was Once Is By And Gone is set to release on November 3rd through Fat Wreck Chords. Koski will also be the opening act on the Utters’ upcoming US tour (dates below).



Yotam Ben Horin (Useless ID) premieres music video for “Slip”

Yotam Ben Horin (singer and bass player of Useless ID) premiered his video for “Slip” from his One Week Records album released on April 11th, 2017 (produced by Joey Cape). As of today he is on tour until November 10th.

You can see the new music video and his tour dates below.



Aaron West and the Roaring Twenties release new track “Orchard Park”

Aaron West and the Roaring Twenties the solo project of The Wonder Years‘ frontman Dan Campbell, is streaming a new track titled “Orchard Park.” You can listen to it below.

The track follows his last release, a 3 track EP titled Bittersweet released on May 20, 2016 via Hopeless Records. Orchard Park was released by The Wonder Years’ new self-made label Loneliest Place On Earth.



Hans Roofthooft (F.O.D.) and Matteo Caldari (7Years) stream split album

Hans Roofthoot of F.O.D. and Matteo Caldari of 7Years are streaming their new split album. You can give it a listen below, and buy it on bandcamp.

This split was released on October 2nd through Bearded PunkInconsapevoleMorning Wood and No Reason Records.



Tim Barry releases music video for new song “Running Never Tamed Me”

Tim Barry has released a music video for the song “Running Never Tamed Me”, you can watch it below. The song is from the recently released album “High on 95” which came out on Chunksaah Records.

The video contains shots of Tim with his family along side various types on transport and he claims the song caused his two daughters to break down crying the first time they heard it.

Tim just kicked off his US tour and you can find the full list of upcoming dates below the video.



DS Exclusive: Tim Barry talks “High On 95,” performing with the Richmond Symphony, and detaching from social media

It’s become redundant — and probably a sign of downright journalistic laziness — to refer to singer-songwriters like Tim Barry as being of the “heart on their sleeve” variety; the scene is not just full of them bit is outright defined by their presence. With the release of High On 95 last month, Barry has now amassed six studio full length albums (seven, if we’re including the Laurel Street Demos, which coincidentally now means that the Richmond, Virginia native has released more studio albums as a solo artist than he did in his past life as one of the scene’s most posthumously beloved bands) that truthfully don’t find him wearing his heart on his sleeve. Hell, just the idea of Tim Barry even sporting sleeves on his trademark, road-battered Conrail Twitty t-shirt in general seems almost laughable. Sure, as with his other albums, High on 95 contains it’s share of up-tempo, foot-stomping, front porch rockers, a few that take the piss out of himself and his surroundings, and of course a few introspective tales of frustration and catharsis. But if you’ve truly immersed yourself in Barry’s solo catalog, you’re no doubt aware that each album contains at least one track that your heart out of your chest and uses it to punch you directly in the midsection. As Rivanna Junction had “Exit Wounds,” Manchester had “South Hill”, 28th & Stonewall had “Walk 500 Miles,” 40 Miler had “Driver Pull,” and Lost & Rootless had “Solid Gone.”

Continuing on in that theme, High on 95 has it’s own such moment 9/10ths of the way in, on a track called “Running Never Tamed Me.” The weight of the song can perhaps best be told in an anecdote from Barry himself. Not one to normally listen to his own music, Barry was minivan-bound, sorting through mixes in the High On 95 recording process while taking his girls — Lela Jane, now 5, and Coralee, who’s soon-to-be three — to school. Generally a time reserved for singing children’s songs or fighting in the way only siblings can, one day in particular found the van eerily silent. “I realized,” says Barry, “that both of my kids were peering out their respective windows just fucking bawling while the song Running Never Tamed Mewas on, and I just thought “What have I done?!” Now, if you’ve not availed yourself of the album, and the song, yet, you should know in advance that it finds Barry channeling some of the most genuine and heart-wrenching feelings of regret and desperation he’s put on record to date. His daughters, it seemed, had noticed. “I had to pull over and hug them both and ask them what it was about this that made them feel this way. And we had to talk about it, and Lela, my oldest daughter, was hysterical about it. Coralee started loudly crying too. So we just sat on the grass for a second, and they just said that I sounded sad, and they don’t like hearing me sound sad.

While “Running Never Tamed Me” is not necessarily written with present-day Barry as the narrator and central character, the parallels are obvious. Pour through Barry’s catalog and you lose count of the times that a sort of directionless running and wanderlust factor highly among the recurring themes, no matter the album. Much of that is driven by a similarly recurring sense of seemingly not always knowing where he fits in to the world, in either a micro or a macro sense. Hell, his last album was called Lost & Rootless for a reason.

Yet perhaps more than ever before, what High On 95 also contains is a tone of what may be hope but what is probably more accurately described as contentment. Running, it seems, may not have tamed Barry, but maybe age and the wisdom that comes with it have at least helped rewire him. And no, that’s not just due to the obvious fact that he’s raising two daughters now. “I just don’t love being that far from home anymore,” says Barry. “I like to go camping, I like to get cabins in the woods, and I like that kind of stuff, but I don’t like riding on the back of a freight train with a backpack and never knowing where I’m going anymore. I don’t like being in Europe and not being able to check in at home and knowing that I have to take three flights to get back there. I don’t know what happened, I think it just comes with age.”

It’s not that Barry doesn’t have the same stressors or the same reasons to run now as he did in his younger years. Far from it, in fact. “There’s an element of stress constantly on my shoulders, like you have, like everyone has,” he explains, noting the weight in his situation as an individual trying to provide for a family as an independent, working musician. “Because money isn’t easy to come by in my position – or enough of it to sustain a family with the parameters of health insurance and all the other bills and all the other stuff that all of us have.” So what used to be a life of running — drifting, really — is now more of a life that contains periodic, temporary breaks, ways to step back and process life and hit the proverbial reset button on his brain — just not the literal button on his cell phone. Technology has obviously woven its way into the most minute details of most of our lives, but it brings with it a particular set of challenges when you rely on it to put food on the table. “Technology is such a blessing but it’s really not healthy if used constantly. Especially for someone like me who’s trying to provide for a family by doing music which makes me a businessperson or my own boss, which is kind of incredible but it’s also just weird and it’s nothing that I intended on doing.  – it becomes an obsession to check your fucking email! Check your email, check your socials! It’s this false urgency that induces this incredible stress that’s really completely irrelevant!” He adds, rather poignantly, something that most of us raising children in 2017 have struggled with: “Before you know it, your kids aren’t going to give a flying shit about you again, so am I going to miss this beautiful moment of my two-year-old sitting on my lap eating her butter pasta because I’m lurking on Instagram?! Really?!

Still, it was through particularly well-timed call on his cell phone that Barry was presented with an offer to participate in one of the more unique experiences of his professional career: his recent performance with the Richmond Symphony Orchestra at the legendary Carpenter Theater, right in his own hometown. Because the story is so perfectly “Tim Barry,” it’s better off if he just tells it: “I was in the dressing room in Garwood, New Jersey, with Brian Fallon, getting ready to play a show during a series that he was holding where he was playing small club shows for a week. So we’re sitting in the dressing room and I get a phone call from the Executive Director of the Symphony, and he invites me to play with the full symphony backing me, and I almost kind of choked and laughed at how absurd it was. I think I got off the phone and Brian inquired who it was, and he said “what are you going to do?”. And I said “I’m not going to do it – fuck that, that’s crazy! I’m not talented enough!” And he was like – to paraphrase –  he said “if you go on stage tonight and talk about challenging yourself and scaring yourself and doing things out of the ordinary, then I’m going to call you on it!” So, I consented to doing a show with the Richmond Symphony that night, right after that.”

Even though Barry hammers away at an acoustic guitar night in and night out on the road, he is punk rock ethos personified, creating some interesting issues when translating things for the different environment. If we can peel back the curtain a little bit, a lot of the time that you hear Barry (or any rock musician, really) engage in stage banter or play a few seemingly random between-song chords, there’s usually a reason for that: radio silence. “Growing up in punk, the worst thing you can ever do at a house show or a small club show or a squat or whatever is have radio silence. So instinctively, the second you finish, the guitar player hits feedback or the singer starts babbling or the drummer hits the cymbals. There’s nothing worse than a song ending and everybody going “Chirp. Chirp. Chirp.” I instinctively finish songs and hit an open note and then take a sip of water, and then hit an open note and maybe say some stuff, and then hit an open note!

Take a song like “Church of Level Track,” for example. The song has long been a staple — and a crowd favorite — in a typical Tim Barry live set. “(The song) starts “I was drunk as hell with a friend way back…” and to get the key, so I don’t just start signing in the wrong key, I hit a C chord, which is the first chord of the song (and let it ring) and then whenever the fuck I feel like it, I’d say “I was drunk as hell…” Barry explains. But in an arena like the symphony, which is predicated on military-like precision and all things being properly, meticulously graphed and charted, there’s no room for a random chord to help you find a pitch. He continues: “In her sheet music, the song starts with me singing on the first note, that C chord. So she’s standing in front of a million players and she hears me (*briiiing*) which is just me playing the key, and she starts to count there, and the whole fucking song is completely off. And they’re all just like “what the fuck???We had to meet in the middle, we had to make compromises. I was like “Chia-Hsuan, look, I can’t sing this fucking song without hitting that chord!

When all was said and done, Barry worked with the director and the conductor of the Richmond Symphony to pull together a small batch of songs that kicked off a showcase that found the RSO backing a handful of Richmond-based musicians in a variety of genres. While the other artists may have found the event to be noteworthy for good reason, you’d be hard-pressed to find one that it left such a personal mark on. “For years, I worked for this symphony unloading their trucks and setting stuff up, and I worked for the Richmond Ballet driving their trucks and unloading them setting stuff up and for IATSE Union 87 doing the same sort of thing,” says Barry. And while it might be easy to get wrapped up in the whirlwind of the performance, Barry was able to find a way to step back and absorb all that was going on.

I did the song “Exit Wounds” and when I play it live at club shows, I end it before this big musical break, because that would be boring and redundant for me to play on an acoustic guitar,” he explains. “So I think that was one of my favorite parts of the symphony show when we included that. I just stepped off to stage right as far as I could and let Chia-Hsuan Lin who’s the conductor just fucking handle it. She was like “I’m going to be paying attention to your timing” and I said “no, I’m just going to play as quietly as I can. I want you to blow this fucking place out. Get loud!” And she did! I could see that she gave me a little smirk in the middle of it.” If there’s a moment that more perfectly encompasses the entirety of the Tim Barry Experience, of standing back and absorbing the gravity of an overwhelming situation that came from a period of self-doubt and personal challenge to a moment of triumph and appreciating all that you have when you have it, it simply hasn’t been written yet.

High On 95 came out on September 8th through Chunksaah Records. Head over here to grab your copy of the album. While you’re at it, head here to see where you can catch Tim on his upcoming tour dates, including a handful with the likes of Roger Harvey and Off With Their Heads. Check out our full, wide-open and far-ranging interview below.



Joe McMahon (Smoke Or Fire) announces mainland Europe tour dates

Joe McMahon has detailed a mainland European tour with his full band, The Dockineers. The Smoke or Fire man is to perform tracks from his solo album “Another Life”. The support for the tour will be Scotland’s folk-punk singer songwriter Billy Liar.

Full details of the October tour, which takes in Switzerland, Germany and Austria, are below.



New Music: Vinnie Caruana – “I’m Not Coming Home For Christmas (I’m Coming Home For You)”

Vinnie Caruana has been keeping busy with the newly reunited The Movielife of late, but he’s also got a solo track slated to appear on an upcoming movie soundtrack. The song is called “I’m Not Coming Home For Christmas (I’m Coming Home For You)” and you can listen to it below.

“I’m Not Coming Home For Christmas (I’m Coming Home For You)” appears on the soundtrack to a film called (Romance) In The Digital Age, which also features music from James Dewees from Reggie & The Full Effect and John Nolan from Taking Back Sunday and more. Astute fans of The Movielife may recognize the song as a stripped down reworking of the full-band track “Pour Two Glasses”from their latest album, Cities In Search Of A Heart.

 



DS Exclusive: Ezra – “Speakers In The Sky”

As you’ve no doubt heard at this point Morning Glory/Leftover Crack/Choking Victim’s Ezra Kire is slated to release his debut full-length solo album, Speakers In The Sky, tomorrow (September 29th). Dying Scene is beyond stoked to bring it to you exclusively a day early!

Speakers in the Sky is eight song narrative told in two sides, with the first half building to the epic “4 songs in one on the B side.” It chronicles what was a life of “hopelessness, addiction and the eventual triumph of letting it all go,” and is billed rather poignantly as “the punk rock Beatles record the world needs right now,” though as our own reviewer Carson Winter put it in his review, “ it’s tougher and darker than what even the bleakest Beatle could conjure.”

Speakers in the Sky is due out through Ryan Young’s Anxious and Angry label. Stream it in its entirety below, and order your very own copy here!