You can give them a listen below.
Extra Arms last released Basement Punk in September 2016.
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.
Tuesday, June 12, 2018 at 11:00 AM (PST) by jaystone
After what was, by all accounts, a pretty successful year on the road with a new band (The Mermaid) following the release of his latest solo album, the redemptive, triumphant Bury Me In Philly, Dave Hause had been planning on scaling things down a little bit for 2018, both to celebrate newly married life and to work on new material. As fate would have it, things don’t always go as plan. Hause and his band played a bunch of European shows with his longtime comrade Brian Fallon earlier this year, and he and his musical – and real-life – brother have played a handful of Canadian and, now, US shows alongside the likes of the Drew Thomson Foundation and, more recently, Northcote. The latter tour rolled through Boston’s somewhat newly-opened City Winery last Tuesday, where they plied their mostly-acoustic wares in front of a house that mostly packed the upscale venue in spite of relatively little advance fanfare.
If you’re not familiar with the City Winery concept, it can be a little bit of a shock to the system if you’re used to sweaty basement clubs or even mid-sized theater shows. To start, you take your seat at one of four rows of family-style tables run perpendicular to the spacious stage, and an ample, attentive waitstaff checks in with you regularly, ready to bring you everything to a $64 bottle of 2014 Pinot Noir from New Zealand to a variety of cheeses and charcuterie board served on an individual cutting board to, chicken coq au vin, the latter of which I thought existed only in places Anthony Bourdain traveled (rest in peace). In spite of the fact that you’re largely looking over your left or right shoulder depending on which side of the table you’re seated at, sight lines are pretty solid and the sound is crystal clear. This is not the rebirth of The Rat, my friends, but that’s okay, because sometimes you’re in your late-30s and have a day job and a kid and don’t want to get your ass kicked in a pit on a Tuesday night. (Plus, there’s perhaps some level of comedic value in seeing a room full of denin-jacketed punks eating roasted Brussles Sprouts singing along to “Dirty Fucker.”)
Anyway, the show’s promoters kept things lean. Northcote (Canadian singer/songwriter Matt Good – not to be confused Canadian singer/songwriter Matthew Good) kicked things off, appearing as a duo with the acoustic-wielding Good supported by longtime collaborator Steven McGillivray on the electric. Like many in the crowd (based on my informal poll), yours truly’s introduction to Northcote in a live setting was his opening slot on Hause’s 2014 tour in support of Devour, or the subsequent dates he played with Gaslight Anthem as they wound down the Get Hurt touring cycle. Good cuts an imposing figure, with the Viking-esque long red hair and beard to match somewhat offset by his denim-and-flannel attire. Good is a criminally underrated songwriter, having earned a good many stripes from a past life playing in punk and hardcore bands before branching out on his own. He’s also owner and operator of one of the premiere voices in all the scene, able to convey both tender sentiments and heart-breaking despair in a single bound. Case in point: Northcote closed his set with an ode to recently-departed Frightened Rabbit frontman Scott Hutchison by covering the latter’s “My Backwards Walk.” The song is gut-wrenching in its original incarnation, but the gravity of the situation and the honesty in Good’s voice left barely a dry eye in the house.
The Brothers Hause followed, and dove right into a stripped-down rendition of Bury My In Philly‘s “Shaky Jesus.” We’ve obviously been pretty open about our love for Dave Hause’s post-Loved Ones career on these pages, but perhaps one of the most exciting, and unexpected, developments of the components there-in has been the emergence of his kid brother, Tim, as not only a perfect right-hand man, but a musical force in his own right. The same Tim that Dave reflected on wanting to spend more time with back on the 2011 track “Resolutions” has turned into a supremely talented guitar player (primarily adding electric textures to his brother’s acoustic rhythms), but split his time on the baby grand piano (told you it was a classy venue) and the mandolin as well, all while providing pitch perfect harmonies. Still riding the wave from their hometown Eagles’ Super Bowl victory over the New England Patriots – on the eve of the now infamously canceled White House visit no less, the Hause brothers were in good, playful spirits for the duration of the set that drew not only from the elder Hause’s three solo albums, but his work with surf punk goofballs The All Brights and, of course, The Loved Ones. That good-nature was put to the test when a spontaneous, mid-set appearance by a background vacuum cleaner, ill-timed in the middle of perhaps Hause’s quietest stomach-punch of a song, “Bricks,” forced the consummate frontman to struggle to keep his composure. Once the vacuum cleaning portion of the evening’s festivities wound down, Hause also included an ode-to-a-departed-hero toward the end of his set, covering the late, great Tom Petty’s “I Won’t Back Down,” though this one turned into a celebratory singalong as you might imagine.
Head below for our full photo gallery from the evening, and stay tuned for more from City Winery in the coming months, because we’re so fancy (you already know). But seriously; Cory Branan and Face To Face and Austin Lucas are playing in the near future, so we’ll be back for the Coq Au Vin soon!
“9/10” comes from Rosenstock’s latest album POST, released last year via Polyvinyl Records.
Wednesday, May 23, 2018 at 11:00 AM (PST) by jaystone
This should come as not exactly breaking news, but this coming weekend in Las Vegas marks the twentieth installment of Punk Rock Bowling. Created by Stern Brothers of Youth Brigade fame two decades ago, the annual bacchanalian celebration of all things punk rock has grown into a much larger festival than it originally started out as. Yet somehow it has remained true to the the spirit of the scene that spawned it. It remains a must-see destination for punk rockers from not just around the country but around the world. Like, for example, Joey Cape.
The solo artist-slash-Scorpio-slash-Gimme-Gimme-slash-Lagwagon-frontman is not only pulling double duty at the event this year (he’s headlining a solo gig on Friday alongside Tim Barry – limited tickets still available here – and Lagwagon headlines the sold-out Fat Wreck Chords showcase on Saturday), but he’s been in attendance for all but a small handful of Punk Rock Bowling weekends over the last two decades. And while it’s long been a compelling event for Cape even if he’s not playing, he remembers having misgivings in the earliest years about if the concept would take off. “I’ll be honest, I remember the first year or the second year, thinking that “this isn’t going to last!” I didn’t know that it would work. I was definitely skeptical,” he explains. While Vegas has long attracted people from across all walks of life and garnered a well-earned reputation for glitz, glamour, and debauchery, there was something about the derelicts taking over and throwing a bowling party that might be too much for even Sin City to handle. “I just imagined with all those people, that I was going to enjoy (the first installment of PRB) because it was definitely going to be the first and last one of those, you know!” Cape credits not only the Stern brothers for running a great ship, but the location itself for creating a unique environment that keeps the festival working. “It’s all in one area, and it’s in Vegas, which is just the built-in best possible platform. You throw a stone in any direction and there’s a bar or something else to do that’s wild and fun. That place has always been an escape for adults; like a Disneyland for adults. So you couple that with this kind of music, and there’s the simple absurdity of it that works for people.”
There are a handful of milestone events coming rapidly down the ‘pike for Lagwagon this year, although when your band has been in existence for such a long time, there are seemingly no shortage of such milestones to celebrate. The band’s highly-regarded fourth album, Double Plaidinum, somehow turned twenty last year, while its stellar – albeit shorter – follow-up Let’s Talk About Feelings reaches the same milestone this year. Once Cape and his Lagwagon cohorts return from a fairly lengthy European tour in August, there are plans in the works to hopefully celebrate both albums in a meaningful way, and to tie them into an even larger and more meaningful milestone: 2019, you see, marks Lagwagon’s thirtieth year as a band. Kinda.
“Within the band, we kinda go “is it ‘88 or ‘89?” explains Cape. “There was a band in ‘88 that I wasn’t in that was the band I joined. When I joined the band (Section Eight), I started writing songs for the band, and it was enough of a revamp. I like to think (it was) ‘88, but it’s funny, the one other member that was in the band before me, Chris Flippin, The Big Bitch, prefers ‘89.” Because of the somewhat nebulous origin of the band’s initial formation, the band have blown by several milestone anniversaries in the past – their 25th anniversary roughly coincided with the Fat Wreck Chords 25th anniversary tour a few years back, though even that tour came around the label’s actual 26th anniversary – but whatever timeline you go by Cape and his bandmates seem to realize that this milestone is an important one. “You have anniversaries that you’re married every year, and the tenth anniversary of a marriage is a big deal, so the thirtieth anniversary of a band should be celebrated! That’s five assholes trying to get along! And they’re not even having sex!”
Some plans to celebrate the band’s coinciding milestones are still taking shape, but we do know that Lagwagon will perform Let’s Talk About Feelings in its entirety at Fest 17 in Gainesville this coming October. Album-specific shows and tours have become more of the norm for bands of all genres over the last handful of years, and while that might give one initial pause to jump into that fray, there is a special lure to events like that if they’re done the right way. “I love doing it because I think there is a historic time-stamp that coincides with the release of an album,” Cape explains. “We obviously come from a generation where sequence and the entire album matter and have their own feel. That still matters to us, being old men in a day and age where singular songs and Spotify are the norm. I think there’s something really cool about doing it with a band. It takes playing a whole record to really revisit that vibe and that feeling and that climate that the band was in.”
Stay tuned for more on Let’s Talk About Feelings and Double Plaidinum plans in the ramp-up to Lagwagon’s 30ish anniversary in 2019. And who knows..maybe we’ll even get new music before 2019 is up: it has, somehow, been four years since the release of their latest full-length, Hang, after all. “We’ll probably get back in the studio by the end of the year or the beginning of next year, so we are going to actually follow through,” says Cape. “After we made Hang, everybody agreed and said “let’s stop doing this bullshit, let’s get right back on the horse after tour.” Between touring for Hang and touring for Fat Wreck’s 25th, anniversary, that “tour” lasted for a couple years, however. Cape jokes: “we toured for like two years, and at the end of two years it’s like “alright, I’ll see you guys NEVER! I love you guys, but fuck you!!”
Head below to read our full chat with the Joey Cape. We caught up over the phone on the eve of “Lagwagon Day,” and a long, winding, fun conversation ensued, ranging from details on the band’s history to tidbits about new solo material. And let us know if you’re in Vegas for PRB or Gainesville for Fest!
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.
It’s the end of a work week; it’s raising a fist; it’s screaming your lungs out—it’s diving headfirst into a hundred sweaty bodies. South Carolina’s Longshot Odds captures the energy and abandon of a raging pit, a marriage of iron-heavy chords and honey-thick leads—the kind of music where the bruising comes with the chorus. Their new EP, Circle the Drain, is a six-song EP from an exciting new voice in punk rock—but what they bring to the table is more than the same old sounds. From the metallic “Challenger,” to the grandiose and cinematic “Movin’ On,” all the way to the bouncey folk of “Blood and Asphalt”—Longshot Odds bring a diversity to their sound practically unheard of in today's skate punk scene. But above all this, Circle the Drain promises deliverance through rock ‘n roll, and Longshot Odds fight tooth and claw to deliver. The EP, out now on Dying Scene Records, can be streamed here.