Search Results for "Rise Records"

Silverstein release music video for “The Afterglow”

Canadian post-hardcore veterans Silverstein have released a music video for “The Afterglow”. The video is made up of clips from their recent performance at this year’s Warped Tour.

The track is taken from their latest release “Dead Reflection” which came out on Rise Records . Give it a watch below.

The band will be heading off on tour later this year, you can find the dates below.



At The Drive In Announce UK Tour Dates

Post-hardcore veterans At The Drive In have announced some November UK tour dates.

You can check out all the dates and locations below.

At The Drive In last released in•ter a•li•a on May 5th via Rise Records. It is the band’s first full-length release since 2000’s Relationship of Command.



At The Drive In release animated video for “Call Broken Arrow”

At The Drive In have released an animated video for “Call Broken Arrow”. The song  is from May’s Rise Records album, “in•ter a•li•a”, the band’s first in 17 years. 

You can watch the video below.



The Movielife stream “Ghosts In The Photographs”

 

The Movielife are streaming another new track. The band’s first effort in 14 years, “Mercy Is Asleep At The Wheel”, released back in June, has been followed by “Ghosts In The Photograph” – just as strong a track. Both songs are from upcoming LP “Cities In Search Of A Heart”, out September 22nd via Rise Records.

Listen to the track below.



The Flatliners stream video for “Indoors”

Ontario punkers The Flatliners invite you to sing along with a karaoke themed video for their track, “Indoors”. Watch it below!

The track comes from the band’s latest album,  Inviting Light, released this past April on Rise Records.

The video, which certainly seems to feature Dan Hedaya (the litigator Dad from Clueless) as a crowd-favorite karaoke star, rocking out with a parade of regular folks taking their turns at the mic. If it ain’t him, don’t sue me. I love Clueless.



Dave Hause streams his latest music video “The Flinch”

Singer Songwriter act Dave Hause is streaming his latest music video “The Flinch”.  The song is from his latest album “Bury Me In Philly”. Watch it below.

In the video we get to see a young Dave Hause go from listening to a living room record player to playing a sold out rock show. The video, which was directed by Mike Gill, stars Dave Hause’s nephew Judah, as a young Hause and features live footage from Houses’ Free At Noon performance from earlier this year.

Dave will soon begin his tour with Beach Slang and Tiger Army. Check out the dates here.



Dave Hause announce fall tour dates with Beach Slang and Tiger Army

Singer Songwriter act Dave Hause has just announced his North American tour dates for the rest of the summer and through beginning of December for a headlining tour with Beach Slang and Tiger Army. The run is in support of his most recent release Bury Me In Philly out via Rise Records.

Hause will begin with an appearance this Saturday July 19, 2017 at XpoNential Fest in Camden, NJ.

Check out the tour dates below.



The Movielife And The Early November Announce Fall Co-Headlining Tour

The Movielife and The Early November have just announced their upcoming fall co-headlining tour. Taking in 20 evenings across the U.S. and Canada, the tour features The Movielife performing songs off its first album in 14 years, Cities In Search Of A Heart (out on Rise Records on Friday, September 22) as well as fan favorites, and The Early November performing its 2003 debut album, The Room’s Too Cold, in its entirety.

Kicking off on Monday, September 18 at The Paradise Rock Club in Boston, MA, the tour will visit cities including Philadelphia, PA on Tuesday, September 19, Brooklyn, NY on Friday, September 22, Chicago, IL on Tuesday, September 26, Austin, TX on Sunday, October 1, West Hollywood, CA on Wednesday, October 4, Berkeley, CA on Saturday, October 7, and Sneaky Dee’s in Toronto, ON on Saturday, October 14. Heart Attack Man (Triple Crown Records) will be opening dates on the first half of the tour and Racquet Club (Rise Records) will be opening on dates on the second half. A full listing of all the dates on this tour can be found below.

Cities In Search Of A Heart—The Movielife’s first offering since 2003’s seminal Forty Hour Train Back To Penn—marks the band’s triumphant return to form, and is an album that shows how much the group’s songwriters—vocalist Vinnie Caruana and guitarist Brandon Reilly—have grown, offering up their most inspired and energized songwriting to date. Whether you’ve loved The Movielife since they were a scrappy Long Island hardcore band in the early 2000s or you’re a recent initiate, it’s difficult not to get caught up in the kinetic energy and lyrical honesty that permeates every note of Cities In Search Of A Heart.



Goldfinger stream new album “The Knife”

Goldfinger‘s new album The Knife was released today, July 21st, through Rise Records. The album is streaming is available to stream on Spotify. Head over here to give the record a listen.

The Knife is Goldfinger’s first LP in nearly a decade, following 2008’s Hello Destiny. The band will be touring in support of the record this summer. See if they’re playing near you below.



DS Photo Gallery: The Flatliners, Pkew Pkew Pkew, Garrett Dale and Dan Webb and The Spiders (Cambridge, MA)

If you’ve read any of the online comment sections surrounding the release of Inviting Light, the latest full-length from The Flatlinersyou’re no doubt aware that critics of the band feel they lost a couple miles (or is it kilometers?) per hour off their collective fastball. Let this be yet another lesson to you as to why it is never, ever a good idea to read the comments; let it be known that The Flats still slay.

As the northeastern US leg of their Inviting Light tour wound down, the band found themselves headlining a sold-out Sunday night show at the legendary Middle East nightclub in Cambridge, Massachusetts. The band kicked off their hour-plus set with “Mammals,” the slow burning lead track from Inviting Light, and seemed to have the capacity crowd hooked from the first notes. I’m not entirely certain if the band finds that reassuring, but I know that I do personally, given the amount of love I have for Inviting Light and the prevailing chatter about the band’s first non-Fat Wreck release in a decade. The quarters at upstairs at the Middle East are cramped and hot and sweaty when the venue is sold out, but the crowd was in high-energy motion by the time the crescendo built to the first chorus in “Mammals,” resulting in the first stage dive attempt of the night (albeit not an overly successful one).

The band tore through a seventeen-song main set that was pretty equally representative of their recent catalog, with four or five songs each from Inviting Light and it’s two immediate predecessors (2010’s Cavalcade and 2013’s Dead Language), though the two song encore consisting of “He Was A Jazzman” and “Shithawks” ultimately tipped the scales in Cavalcade‘s favor. Frontman Chris Cresswell’s voice sounds just as snarly and aggressive as ever when he wants it to, though he’s really pushed himself as a singer in more recent years. A lot of times in the live show of a rather dynamic band, you’ll find the bass player locked in to his spot at the drummer’s side allowing whoever is singing or playing guitar (or both) to roam and wander, both literally and musically. That’s not the case in The Flatliners, as the rhythm section of Paul Ramirez (drums) and Jon Darbey (bass) exhibit little in the way of interplay on stage yet remain more musically locked in the vast majority of their counterparts, making it look both infectiously fun and frustratingly easy in the process. Cresswell and lead guitarist Scott Brigham have grown immensely as guitar players over the years as their sonic palettes have expanded, and they too seem to bounce off each other in effortless, symbiotic ways. Much has been made of this being the year that not only do all the band’s members turn thirty (which boggles the mind) but the year that the band itself turns fifteen (which causes the mind to explode, Scanners-style), giving the band a well-earned reputation as valiant road warriors. If Sunday’s show — and specifically the crowd reaction — at the Middle East was any indication, they may actually just be hitting their stride now, which is a pretty inspiring thing.

Direct support on this entire tour was provided by Pkew Pkew Pkew and Red City Radio‘s Garrett Dale, the latter doing the solo troubadour thing. We’ve been big fans of the four handsome Torontonian Pkew fellas since their self-titled debut album was initially released a year ago on Royal Mountain Records a year ago, so news not only of their spot opening for the Flatliners but the more recent announcement of their having signed with SideOneDummy Records has made for pretty exciting times. The band’s live show is just as fun and high energy and handsome (did we mention handsome?) as their album is, and even though a lot of the songs might be straight-forward jams about hanging out and drinking beers, don’t let that fool you; these dudes can really, seriously play. There’s a camaraderie between not only the individual band’s members but really between all the members of this two-week East Coast jaunt, with the Flats, Pkew Pkew Pkew and Garrett Dale making frequent references to the good times they’ve been having on this trip. Dale is another classic example of not letting the occasionally straight-forward nature of the songwriting fool you; in the solo format, he’s got a gravelly voice that is full of the kind of heartbreaking soul guys like Chuck Ragan and Tom Waits have made their hallmarks, and it forces you to take notice whether he’s singing about lost love or seeing a dead body or, well, the devil’s weed.

Local support on this show came by way of Dan Webb and The Spiders.  DWaTS are one of those local bands that I’m sure most scenes might have that really should be bigger than they are. The four-piece rock-and-roll band plays hard and fast, a not-quite-punk-rock but also not-quite-90’s-alternative vibe that cuts across genres and makes them a perfect fit on a fairly wide range of bills, especially on one as varied as this particular show. One of these days, DWaTS…one of these days…

Check out our full photo gallery below. While you’re at it, the Flatties recently announced a set of West Coast tour dates around the US and Canada. They will be accompanied by The Smith Street Band, up until It’s Not Dead Fest. They are also adding a few dates to the end of July, in Canada, supporting Sum 41Check out all the dates here



Hot Water Music release video for new track “Vultures”

Hot Water Music have released a video for new song “Vultures.” The track is off their upcoming album, “Light It Up,” released on September 15th via Rise Records. The video follow’s May’s “Never Going Back“.

You can watch the video, featuring fan footage that spans the band’s whole career, below.



Silverstein stream new song “Mirror Box” from upcoming album

Canadian post-hardcore veterans Silverstein have released “Mirror Box,” the latest track from upcoming album Dead Reflection. You can listen to it below.

Dead Reflection is set to be released on July 14th via Rise Records and is available for pre-order here. Silverstein also recently announced their upcoming run of shows, which you can check out here.



DS Exclusive: Chris Cresswell on “Inviting Light,” leaving Fat Wreck Chords and more

Following on the heels of the widely-accepted shitstorm that was 2016, you most certainly don’t need a punk rock news website to break to you the fact that 2017 has been a bit of a weird year. In many ways, both nationally and globally, there seem to be a lot of previously uncharted waters being navigated socially, politically, environmentally, and on and on and on. Yet just because waters are uncharted doesn’t mean that they have to be inherently bad. Enter The Flatliners. Weird though it might be, the calendar turning to 2017 kicked off a series of fairly important milestones in the history of the long-running Canadian punk rock quartet. All four members turn thirty this year. The band itself turns fifteen, and their highly-regarded Fat Wreck Chords debut, The Great Awake, turns ten.

2017 also marked the release of the band’s fifth full-length album, Inviting Light, which as you’re probably well-enough aware by now, marks a bit of a departure for a couple noteworthy reasons: while it still contains its fair share of snarling, aggressive moments, is easily the most anthemic “rock-and-roll” album in the band’s catalog. IT also marks their first album on a new label, Rise Records, after a decade on pioneering punk rock label Fat Wreck Chords.

Dying Scene chatted over the phone with Flatliners frontman Chris Cresswell just before the band left for their current eastern US tour with new SideOneDummy signee Pkew Pkew Pkew and Red City Radio‘s Garrett Dale. Cresswell is honest and engaging, even over the telephone; his frequently digressing rapid fire delivery could fool one into believing he comes from Boston Irish stock (were it not for the fact that he’s charming and humble and self-aware and so obviously Canadian). Cresswell and his Flatliners brothers are very aware that this is a big year for them, and they’re very aware of what some of the grumblings on the message boards and comment sections of the internet might opine about their band’s recent direction. They also come across as okay with all of it. “I’m always curious what people think when we put something new out, for sure, and sometimes that’s difficult,” says Cresswell. He’s also well aware that, while paying attention to some of the critics is okay, there has to be a bit of a balance. “You can’t get caught up in what other people think, because if that were the case, bands would make the same record over and over again. Filmmakers would make the same movie over and over again. The arts would suffer if you always listened to your critics. It’s not a great idea to shut them out either, because it is nice to have that push to always be better no matter what you’re doing in life.”

Due in part to the landmark nature of this particular year within the band, Cresswell and company (the band’s lineup of Scott Brigham on lead guitar, Jon Darbey on bass and Paul Ramirez on drums remains unchanged for the duration) figured it was as good a time as any to mix things up. “You do the same thing for fifteen years as a band, and ten years with the same label, even if it’s all good, there’s a part of you that wonders if there’s something else you could try,” says Cresswell. He’s more than aware of how the move from Fat to Rise Records might look, particularly as Inviting Light has a bit of a different sound. None of those rumblings are true. This is 2017; it’s not about money, it’s not about their old label declining to put it out or their new label influencing their sound. It’s really just about branching out as a band. “When you grow up on fucking Fat Wreck Chords bands and then you become one and you are one for ten years and you reach a level of personal success and fulfillment that you never dreamed to be a reachable or realistic at all, it kind of inspires you to be like “this is cool…what do we do now?” and that kind of thing.

The band had fun — a lot of it — recording Inviting Light, and in spite of the extended space between albums (their last full length, Dead Language, was released four years ago) they actually recorded it fairly quickly, albeit in two separate chunks a year apart. Where Dead Language was recorded live in studio using only the band’s road gear, the Inviting Light sessions saw the band change things up in that avenue too. Drums and bass were still recorded live because, well, because that’s how Jon and Paul seem to groove the best. They initially “played everything live but we just kept the bass and drums, and when Paul and Jon lock up, it’s insane. It’s incredible. In the two sessions we did which were essentially a year apart, they did twenty songs in like four days!” When it came time to record guitars and vocals, however Cresswell and Brigham holed up in a new studio with new producers Peter Pablo and Derek Hoffman and got experimental, playing with tones and textures until dialing working sounds in and ripping through final takes.

The result, as you know by now, is different; more major chords, more melodic, more straight-forward, a little more dare-we-say optimistic, especially when compared to Dead Language. As you might imagine, there’s a reason for that. Says Cresswell: “Before this record, I was in a pretty shit place. If you listened to or read any of the lyrics to Dead Language, it’s pretty fucking bleak, and that’s why that record is so angry and has such heavy elements to it. I was going through a heavy time on a personal level. Nothing dangerous, but I was having a really hard time being away all the time.

Lyrically speaking, Cresswell has tended to paint a bit of an admittedly bleak picture. Even as a native of the Toronto area, living as a socially-aware human in the wake of last year’s US Presidential election has been bleak in-and-of itself. “There’s a lot of evil in the world, especially with what’s happened over the last couple years on a global scale.” We’ve all seen the think-pieces on how the age of Trump will at least inspire some good, angry punk rock, and we’ve already started to see aggressive, confrontational “punk” rock albums come out and tackle those issues head on. Though this may be counter-intuitive to a stereotypical punk rock ethic, maybe there are ways to attack the issue that are less in-your-face. Cresswell offers that maybe his band’s way of trying to focus on the light at the end of the tunnel — hence Inviting Light — can help some people through a bullshit time, though he acknowledges with a self-deprecating laugh how “super fucking noble” that concept sounds. “If you can be, even to a small population of people, somebody who can help them through a tough time, that’s sick! That’s what music did for me when I was a kid and it still does it for me today!

Reflecting on being away for weeks or months at a time has been an ongoing thing as Cresswell and the Flatliners round the corner on 30 years old, particularly when you’re as inward thinking as the frontman is. Any potential ego trips are balanced — and probably eliminated — by what Cresswell calls a “rabbit hole of a self-imposed guilt trip that’s usually at play in a lot of folks who tour a lot because it is a pretty self-serving thing that we do!” The older the band gets, the older their respective family members and close friendships get, meaning additional priorities and perspectives become factored into the increasingly difficult equation. Still, especially in the punk world, the pull of the road doesn’t go away just because you’re no longer in your twenties. “There’s this insatiable desire in us to just hit the road. For instance, if you play Chicago and no one fucking comes, you’re going to go back like three months later and play there again. Punk bands are the only bands that will keep going back and playing even if no one fucking comes out, because it’s just about the experiences of the road, and being away, and the story and just fucking living in a van for real!

While the runs might get a little shorter or more spread out, hitting the road is still very much what this whole thing is about for Cresswell and The Flatliners. So far, 2017 has seen the band already complete tours of Canada with bands like The Dirty Nil and, of course, Weezer, and Europe with their longtime buds in The Menzingers. The aforementioned tour with Pkew Pkew Pkew and Garrett Dale showcases just how varied the bands that fall under the umbrella of punk rock have become, in an inspiring way. Changes in the music industry landscape have equated to differing changes, and like many of us, Cresswell knows that when it comes to one band’s sound or one person’s musical interests, “your brain musically doesn’t have to stay in one lane. You can be into whatever you want to be into. I know today there’s a lot of pressure and social anxiety is through the roof and there’s a reason for it. Day to day, it can be a tough world to live in for a lot of people, you know? But where you should be able to find solitude is in the music you’re into if you’re a music fan. You shouldn’t have to worry about what other people think.”

Check out our full conversation below. There’s a lot of other ground covered, particularly surrounding the band’s decision to leave Fat Wreck Chords – and the yearlong process of actually leaving: “It felt like a break-up, man. It was so sad… I’m just happy that we were able to go about it in a way that everybody is still friends. There’s no bad blood fucking whatsoever.” Check out all of the Flatliners upcoming tour dates here.



Silverstein premiere new song, “Whiplash”, announce tour

Canadian post-hardcore veterans Silverstein have released “Whiplash” a song off their upcoming album . “Dead Reflection” is due out on July 14th via Rise Records, and is available for preorder here.

Along with the song premiere, the band has also announced a tour and track list! Make sure to check the dates for the tour, and give the new song a listen below



Memphis May Fire release video for “Virus”

Memphis May Fire have released a video for their new track “Virus”. The song has been released as a single by Rise Records. The band’s last album was 2016’s “This Light I Hold”.

You can watch the video below.