“Kick” is due out through Rise Records on April 12th.
Search Results for "Pop Punk"
Saturday, April 6, 2019 at 2:17 AM (PST) by Johnny X
Thursday, April 4, 2019 at 2:43 PM (PST) by Tom Aylott
Belgian pop punks For I Am have released a music video for “The Armistace”, the first single taken from a forthcoming album (due later this year).
“The Armistace” tackles mental health issues head on. In the band’s own words:
“As intricate human beings, we at times experience difficulties getting the message across we want to get across. Reactions might differ because of underlying reasons we don’t know about or reasons we do not necessarily understand. Mutual respect for one another is of the utmost importance, but sadly it’s also something we discard way too often. Let us at least try to understand each other and open up our hearts & ears to one another. Let us really listen. Let the armistice be now.”
Wednesday, April 3, 2019 at 12:29 PM (PST) by Johnny X
Well now, look who’s back on the Fat Wreck roster. It’s California pop-punk veterans Bracket and it appears they’ll be putting out a new album titled “Too Old To Die Young” on May 31st. Don’t remember Bracket? Do remember but want to know how they sound today? Give “Canned From The Food Drive,” the first single from the upcoming album, a listen below.
Pre-order the album here.
Wednesday, April 3, 2019 at 11:13 AM (PST) by Chris Doughty
Ahead of their show together last weekend in Chicago, MxPx put out a version of ‘Heard That Sound’ featuring Five Iron Frenzy. Despite being labelled as a remix of the song, this is actually a live recording from a gig in 2015. The brass section of Five Iron Frenzy joined the legendary punks on stage to play the main riff for the song. If you have not heard this before, it is still well worth a listen and you can hear the entire set which serves as MxPx’s second live album ‘Left Coast Live‘ which was released in 2017.
Check out the ‘remix’ of Heard That Sound below.
Monday, April 1, 2019 at 1:06 PM (PST) by Chris Doughty
Broadway Calls haven’t put out an album since ‘Confort/Distraction’ in 2013. That is finally going to change as the band have announced that they are going to release new material in 2020 via Red Scare. If you enjoyed big songs like ‘Back To Oregon’ and ‘Basement Royalty’ a few years back, keep an eye out for what is to come.
Red Scare will also be making their debut self-titled album from 2007 available on digital platforms on April 5th.
The band have also announced some tour dates that can be seen below.
Monday, April 1, 2019 at 6:01 AM (PST) by Mike Scott
Zebrahead recently released their 13th studio album, Brain Invaders. The band have now released a video from it, for “When Both Sides Suck, We’re All Winners”.
Have a watch of the video – and read a statement from the band about the track – below.
Monday, March 25, 2019 at 12:33 PM (PST) by rick delaney
Albuquerque pop punkers Right On, Kid are allowing fans to stream a single from their upcoming EP, When Words Are Enough. The tune chosen to showcase the new five-track release is titled “Tracer” and you can check it out here. It features Ryan Rumchaks from the bands Knuckle Puck and Homesafe on vocals.
Handling the release of When Words Are Enough for Right On, Kid will be on Manic Kat Records.
The previous release from the band was the 2017 EP, Forever Missing Out.
Monday, March 25, 2019 at 8:00 AM (PST) by Mike Scott
Gary Yay, who’s been in a ton of punk bands in the UK over the years (Telegraphs, Eager Teeth, Summerslam ’88, Poindexter and more recently as guitarist in Phinius Gage), has released his debut album. When I Grow Up To Be A Man is up on Bandcamp from today.
Have a listen below.
Monday, March 25, 2019 at 1:29 AM (PST) by Chris Doughty
Berkeley punks Sarchasm have released a music video for their song “Mountain Time”. The track is taken from the band’s forthcoming album Beach Blanket Bummer Pop, which is scheduled to be released April 12, 2019 via Asian Man Records. This is the band’s first album since 2013 and their first release on Asian Man.
Whether this is your thing or not, it is undoubtedly catchy. Check out the video below.
Monday, March 25, 2019 at 1:24 AM (PST) by Chris Doughty
In the build up to New Found Glory‘s third movie soundtrack cover, the band have released a video for their cover of ‘This Is Me’. The song was the main theme from the 2017 film ‘The Greatest Showman’, a decent straightforward pop song. ‘From The Screen To Your Stereo Part 3’ is out May 3rd via Hopeless Records. The band has already put out their cover of Huey Lewis’s ‘The Power of Love’.
Have a listen to new cover below.
Tuesday, March 19, 2019 at 12:30 PM (PST) by The Torchbearer
You can give it a listen below.
Dial Drive last released Viva Le’ Jit in January 2018.
Tuesday, March 19, 2019 at 10:46 AM (PST) by Goldfinger
Blink-182 fans rejoice? Travis Barker, drummer to the stars has announced some details about the upcoming Blink-182 album. The band worked with writing partners John Feldmann of Goldfinger and Pharrell. I know, I know, how damn punk rock does that sound?! But they have announced the new album will be released before the upcoming Warped Tour shows, and to quote Travis (can he have a single name too?) “the same vibe” as Blink-182 from 2003. While not a huge Blink-182 fan I suppose it’s always good to know they are still at it. No exact release date has been announced, but one can only hope it’s out before former band mate Tom Delonge finds those pesky aliens.
Blink-182 last released California back in 2016. Their first new music without Delonge and their first new music with Matt Skiba of Alkaline Trio.
Red Scare might just be my favorite label, and while others have come and gone; or, alternatively rose to prominence and kept chugging under the radar, it’s easy to see why. Red Scare was the punk label that gave us the Lawrence Arms, Menzingers, Copyrights, Direct Hit!, Arms Aloft, MakeWar and many, many more. The way I see it, it’s all B.R.S. and A.R.S, the B.C. and A.D. of turn of the millennium punk. Before Red Scare, melodic punk meant double-time drums and skate rat intensity, the stuff you’d find on Epitaph and Fat Wreck—hardcore’s singing cousin. Red Scare gathered up bands who were picking at the other 90s punk—Jawbreaker, Hot Water Music, Radon, Avail, Crimpshrine. Punk rock has been melodic since the beginning, but it wasn’t until Red Scare that melodic punk (or beard punk, or orgcore, or whatever), became a codified part of our sonic landscape.
Which brings me to one of Red Scare’s latest offerings, a pop-punk band called Tightwire that I have seen almost zero buzz for. Which is, admittedly, really fucking weird. I mean, c’mon guys! This is Red Scare! They basically built the basement on this shit! Why isn’t everyone putting Tightwire on the proverbial chair and dancing it around the Jewish wedding like we did for Success? My theories run amok, and my data offers little. Six Feet Deep was released all the way back in October. Maybe it got lost in the Fest shuffle? Maybe October is just an awful month to release anything? My realest theory is that on first listen, listeners just weren’t that interested. A sad, bummer of a theory—but considering that was my first reaction, I think it holds the most weight.
Tightwire is a gooey, sticky peanut butter and honey sandwich of a pop-punk band that has hooks for days and a sense of humor as well. They belong to the Dillinger Four school of punk rock, in that their status as a band feels incidental at best. Throughout Six Feet Deep, there’s a very real feeling that maybe this band was never supposed to make it out of the garage, and we, the listeners, are just lucky and dumbfounded it happened at all. Because that’s the thing: Tightwire sounds like a catchy pop-punk band, the kind we’ve all heard ad nauseum—but after a couple listens, the hooks set in. I listened to the lyrics. I smiled, I sang along, and suddenly, I had favorite songs. A little while longer, and I had a favorite album. Another listen, and I needed to show it to people.
Tightwire’s lack of immediacy on first listen might be due to saturation of the genre (or a couple of well-loved juggernauts soaking up all the love). Deja vu is seldom welcome in music, and pop punk is a genre that wallows in it. Tightwire doesn’t exempt themselves from any wallowing, as I’d say Six Feet Deep is more rigidly traditional than other modern genre offerings like Direct Hit! and Hospital Job. There are chugging chords, sugary choruses, shimmering harmonies—and they’re propelled by drums, bass, and guitar. But the point is this: genre doesn’t make for good songs, songwriting does. And Tightwire has killer songwriting across the board.
“Draggin’ Me” opens the album with screeching atonal feedback, before galloping into its absurdly singable melody. “Told Ya” is probably my favorite of the tracks, a mid-album singalong targeted at the sort of ‘friend’ you can’t help but rubberneck as they go William Tecumseh Sherman on their own life. It has one of my favorite choruses of recent memory (“I don’t wanna say I fucking told you so, but I fucking told you so.”) and the lyrics imbue it with an irresistible smart-aleck energy. Listing favorite tracks from Six Feet Deep is an exercise in tedium, as there are thirteen tracks and all of them are pretty worthy of pontification, but if I allow myself one more, I’d like to shine a light on “Body Language” and it’s absolutely gorgeous melody—highlighting Tightwire’s harmonic prowess along the way.
Six Feet Deep is the best album I’ve heard no one talk about. Which is a shame, because although it doesn’t attempt to broaden the soundscape of pop-punk, it’s essentially a perfect, almost classical, execution of the genre. Tightwire are a deceptively competent group of musicians, and their debut stands to weather the storms of taste. Maybe not now, but someday, Six Feet Deep will be considered latter-day canon, rightly placed beside other contemporary classics.
Monday, March 18, 2019 at 8:59 AM (PST) by rick delaney
Milwaukee-based punks Direct Hit! are streaming a music video for a tune that appeared on their 2018 album, Crown of Nothing.
Nick Woods, the vocalist for Direct Hit!, had the following to say about the track chosen to release as a single:
“Devon brought “Altered States” to the table early on in the process of writing Crown Of Nothing. Lyrically, it’s a nihilist song – it’s the point at which the characters in the album’s story find themselves on the same page, and come to a bunch of bleak conclusions about humanity and the afterlife… Even though it’s one of my favorite tracks on the record, if I listen too closely I have to listen to all the rest of the tunes that follow it to remind myself of the redemption that comes from hopelessness. We shot the video pretty quickly in a single night with our pals Adam and Derek and their crew, who’ve created a lot of our media over the last few years.”
You can check out the video for”Altered States” below.