Search Results for "Punk"

Primitive Teeth (Chicago Dark Punk) stream self-titled EP

Chicago dark punk act Primitive Teeth, which features members Daylight Robbery, are streaming their new self-titled EP that was released on April 20th.

You can give it a listen below.

Primitive Teeth last released Demo: a Benefit for Planned Parenthood in February 2017.



Dead Bars stream new song from upcoming album “Regulars”

Seattle punks Dead Bars are streaming another new song off their upcoming album, Regulars, which is set to be released on May 3rd.

You can give “I Need You” a listen below.

Dead Bars last released Dream Gig in 2017.



BAT (punk/metal) stream upcoming EP “Axestasy”

BAT ― the Virginia/Texas-based punk metal project featuring Municipal Waste’s Ryan Waste and Nick Poulos ― are streaming their upcoming EP, Axestasy, which is set to be released on April 26th.

You can give the whole thing a listen now here.

BAT last released Wings Of Chains in June 2016.



Burn Burn Burn (punk) streaming stripped down version of “Road to Ruin”

Seattle punks Burn Burn Burn are streaming there stripped down version of the song “Road to Ruin”. The song was originally released earlier this year on their record Chosen Family, and featured a full complement of vocal accoutrements. The newly released version peels away the background vocals and leaves all the singing up to France.

You can check out the new recording below.

Burn Burn Burn released Chosen Family earlier this year and you can check out what we had to say about it here. If you’re a fan of nineties punk these guys are for you.



Russian Tim and Pavel Bures (punk) streaming new EP “Greatest SuperHITs”

Vancouver punks Russian Tim and Pavel Bures are streaming their latest EP Greatest SuperHITs. Featuring six all new tracks, top to bottom this is a solid new release. There’s a little in there for everyone as well, the album starts off with some hard and fast punk songs and takes a bit of a left on the track “Marshmellow”. Probably my favorite track on the new EP, the song is reminiscent of Gogol Bordello, all kinds of mayhem and a catchy tune.

Check out the new album below.

This is the first new music from Russian Tim and Pavel Bures since they appeared on the Punkouver Vol. 2 compilation album last year. As mentioned above if you’re into Gogol Bordello, you will no doubt get a kick out of these guys.



Ten Foot Pole offer 2 advance tracks when their new album is pre-ordered

Ten Foot Pole will be releasing their new album, Escalating Quickly, on May 10th via Thousand Islands Records. They are offering two tracks from it, “Everything Dies” and “Don’t be a Dick”, to everyone who pre-orders the album.

This will be the first time the veteran punks have put out new music since Setlist in 2017, which was released via Cyber Tracks and featured two new songs. The last full studio album was Subliminable Messages back in 2004.



New Video: Laura Jane Grace & the Devouring Mothers – “I Hate Chicago”

The new video for “I Hate Chicago,” the latest single off Laura Jane Grace & the Devouring Mothers album, Bought to Rot, is a fun parody of, and tribute to, Wayne’s World. The scathing song about hating Chicago due to a bad breakup is perfectly paired with the video – check it out below.



DS Exclusive: Jim Lindberg Talks Upcoming First-Of-Its-Kind BeachLife Festival, Featuring Willie Nelson, Brian Wilson and More

For moer than three decades, Jim Lindberg’s name has been synonymous not only with the punk scene primarily through his work with seminal SoCal vets Pennywise, but with the surf and sea cultures in Los Angeles’s South Bay as well. And while his “day job” projects like Pennywise and Wraths are still very much active, Lindberg has now lent his talents to a different, more behind-the-scenes role in the music scene: creative director of the upcoming BeachLife Festival.

If you’re not yet familiar, allow me to hum you a few bars. BeachLife is a first-of-its-kind festival taking place in Redondo Beach, California, from May 3rd through 5th. It’s happening outdoors at Seaside Lagoon, a beachfront park right in the heart of the community. As a bonus, BeachLife will also feature more intimate, acoustic performances from some of the festival’s performers that’ll take place not on a large stage but on-board a handful of the boats that’ll be moored in the adjoining harbor. The artists headlining the festival may not be the first performers that come to mind when you hear “Jim from Pennywise is the creative director of this festival.” Instead, it features some down-right legendary artists from across the musical landscape of the last fifty or sixty years: acts like Willie Nelson, Brian Wilson, Bob Weir, and Ziggy Marley.

We recently caught up with Lindberg over the phone from LA, where he was helping put the final preparatory touches in the lead-up to the festival. We spoke not only about the unique position that he finds himself in as a longtime performer at festivals around the world, but about just how much work went in to getting a massive, three-day festival off the ground. It all started with Allen Sanford, a local promoter who also happens to run the Hermosa Beach club Saint Rocke. “(Saint Rocke) is only about a 300-seater, but (Sanford) also started doing these concerts on the beach for Hermosa Beach, and he had a lot of good bands come down and play for them,” explains Lindberg. “A lot of mellower stuff, like Pepper, Revolution, Everclear…bands that would get by the city council’s purview. They didn’t want any bands like Pennywise coming down and playing, that’s for sure!

After a decade of putting on such shows in Hermosa Beach, 2019 finds Sanford focusing his efforts on the next beach down the coast: Redondo. They found an ideal venue in Seaside Lagoon, essentially a parking lot located right near what used to be the renowned Fleetwood nightclub that played home to many an early Black Flag/Circle Jerks/X/Germs show nearly four decades ago. The new spot allows for an even bigger event and some bigger artists than its Hermosa Beach predecessors. When it came time to put a lineup together, Lindberg notes that even though Redondo Beach was cool with the festival coming to town, prevailing wisdom was still to tread lightly with the type of acts that would be involved. Explains Lindberg: “Once you get that keystone artist… and for our case, it became Willie Nelson and Brian Wilson – the cool thing is there’s a ton of bands who look up to artists like Willie Nelson and Brian Wilson, and once we got them to open up their schedules and take a chance with this festival, all these other artists started lining up.” Those “other artists” that Lindberg refers to includes a cross-section of artists like Grace Potter, Everclear, Slightly Stoopid, Violent Femmes, Berlin (yes, THAT Berlin) and Chevy Metal, which features Foo Fighters’ Taylor Hawkins. For Lindberg, the hope is to not only continue BeachLife for years down the road, but to bring a little more of his personal musical wheelhouse to the table. “In successive years, if we should be lucky enough to keep doing this,” he notes,”we want to get a lot more edgy bands, some punk bands, on there. We just have to ease into that with the city.”

Lindberg views the BeachLife Festival not only as a way to bring live music back to the South Bay, but to help promote a variety of causes that are near and dear to his heart. Lindberg has long championed the idea of using his platform as a means to raise awareness to issues that effect his local community and lifestyle, most notably when he  served on the Board of Directors for the Surfrider Foundation, a charity that’ll be in attendance at BeachLife. “Growing up at the beach and being a lifetime surfer, I definitely wanted it to be a situation where we were giving back to the beach community,” says Lindberg. “We have Surfrider Foundation involved. Also Life Rolls On, which is Jesse Billauer’s foundation for people in wheelchairs and getting them out surfing and into ocean therapy and things like that. Also, Five Gyres, which is involved with reducing the amount of plastic in our oceans, so we have all these great causes we’re working with, and at the end of the day, we’re just trying to put on a really cool festival at the beach with some really great artists and give back to the community.”

Head below to check out our full chat with the great Jim Lindberg – including what it’s like to be in the situation where you have to get the local police department on board with your outdoor festival idea, which is not necessarily the easiest task when you’re the same guy that sang “Fuck Authority.” You can also head here to check out the full rundown on BeachLife, including where to find tickets!



Album Review: Dead Bars – “Regulars”

Ever since I heard that first self-titled EP, I’ve been rooting for Dead Bars. They write simple songs that can paint a world in four lines of lyrics; they have big melodies that translate into bigger singalongs. They tap into that communal, we’re-all-in-this-together punk spirit—and seeing them at Fest this last year, I saw for myself how the gospel had spread. And why not? Dead Bars have continued to grow in new and interesting ways while still honoring what they are at their core—a band of big dreamers. They’ve gone from an Off With Their Heads-adjacent, No Idea Records gritty pop-punk band to a loud, hopeful band of rock ‘n roll devotees. Dream Gig was the first step in a peaceful coup, but it’s on Regulars where the dream is realized.

What’s apparent immediately is just how good Regulars sounds. With Jack Endino (Nirvana, Soundgarden, The Afghan Whigs) wearing the production hat, Dead Bars have never sounded better. This is a band that doesn’t pull from a specific sound as much as a specific spirit. Regulars is KISS, Tom Petty, The Clash, Motorhead, The Replacements, and Nirvana, even if they sound like a sort of minimalist Lawrence Arms. The important thing is this: the guitars are loud and distorted, the drums sound like thunder, and the words are true. Dead Bars is the Prometheus of rock ‘n roll, stealing pyrotechnics from the Gods to set the small stage ablaze.

This Ramones-y devotion to the power of music is on immediate display with album opener “Freaks.” Dead Bars are trading in hope and optimism—and it’s clear they hold an earnest belief in the power of music. On “Freaks”, this optimism rears its head as unity, as the chorus rages: “This one’s for the freaks, you’re all sick freaks!” It’s a rallying cry, as gritty as it is catchy, and I’d put a good wager that in a dark club, with a cold beer, it’ll be an anthem for all the like-minded weirdos who still see rock ‘n roll as kin to salvation.

It’s this direction that makes Regulars feel like Dead Bars have reached their own personal enlightenment, as if, release after release, they’ve shed their non-essential parts and now, with their sophomore album, have embraced the truest form of themselves. Which means, they’re songwriting is as great as ever. Minimalist, heart wrenching, with a sly sense of self-deprecating humor.

And with lyrics like, “I’m growin’ up, yeah, I’m growin’ up/ but I just threw up,” “Pink Drink” is about as simple and direct as you can be. Still, this song, with probably about a short verse full of unique lyrics, captures a lifetime. Even the title (which doubles as its chorus) is evocative. We all know what a pink drink is, we’ve seen them in bars, we’ve had friends make fun of us for ordering them. They represent taking your medicine with a spoonful of sugar, they’re a confectious means to an end, and in “Pink Drink” they’re also a sign of world-weariness, of getting older and not having the energy to maintain appearances. The burn of whiskey, the bite of vodka loses its luster—and you look around, and realize no one’s impressed anymore. That’s “Pink Drink.” The trials of growing up have always been at the heart of Dead Bars—but there’s something empowering and defiant in the way they capture that angst and then also stick their flag in it. On “Pink Drink, “No Tattoos,” and others—could’ves and should’ves are confronted head-on, and maybe a pink drink won’t save you, but maybe it will—if only for tonight.

The title track, “I’m a Regular,” is a clear highlight of the album, capturing Dead Bars at their most intimately anxious. Ushered in by ringing feedback, vocalist John Maiello snarls, “I’m a regular here, but nobody knows my name.” It actually highlights one of my favorite things about Dead Bars—the microcosm of their scope. We feel millions of little things a day, flights of fancy and minor frissons of panic, all instantly recognizable and largely left totally unspoken. “I’m a Regular” examines a funny, melancholy intrusive thought with rock ‘n roll gusto, bursting forth into a huge name-dropping chorus (“And it’s way Tom Petty, I’m livin’ like a refugee!”) We may not be living in a Cheers episode, but the internal dilemma (why the fuck not?) roars loud and clear. “I’m a Regular” is a snotty, riotous ode to living under the radar.

C.J. Frederick, original member and lead six-stringer of Dead Bars, is a strong presence on Regulars—where for the first time, Dead Bars truly feels like a ‘guitar band.’ This time around, the songs are distinctively riffy, with big muscular licks opening songs like “Time Takes Away”, “Rain,” and “I Need You.” The propensity for solos is also higher and welcome, bringing the music and lyrical direction into total synchronicity. For a group of guys who worship rock music, what’s more religious than a sick trilling solo? Here, they aren’t just talking the talk, they’re now walking it too, emulating the magic as if they’re the only ones who can keep it alive.

Dead Bars are underdogs, and when they aren’t, well, I’m not sure if they’ll be Dead Bars anymore. Regulars prove the band can put forth a product that is both polished and cohesive, and still be those same scrappy dudes who daydream of killer riffs and big singalongs. Somewhere in between the rock ‘n roll dream and the gutter realism of DIY punk is Dead Bars, and with Regulars, as always, it’s a pleasure to see where the two meet.

5/5



DS Photo Gallery: The Interrupters with Masked Intruder & Rat Boy (The Ogden Theater, Denver)

For me, Friday April 5th 2019 was a night of excitement, curiosity and comfort. Ska superstars, The Interrupters were here in The Mile High and having seen them perform many times before, there’s s sense of comfort and familiarity that I feel every time I catch one of their live performances. On the flip side of that coin, I had never had the chance to see the legendary antics of Fat Wreck alum Masked Intruder before. Many fables have been told of their highly interactive and massively entertaining sets, the lore alone enough to pique my interest. So, I was more excited than I normally am for a show, just to add this specific feather to my cap. I also had some curiosity mixed in as the opening act, Rat Boy was in from the UK and other than knowing that Tim Timebomb had taken the young act under his wing, I knew nothing about them. INTRIGUE!! So, I grabbed my trusty Nikon and headed down to The Ogden Theatre to the punk rock shooooow! Check out the full review and gallery below!



New Album/Stream: Check out Abolitionist’s “Ugly Feeling” For Free/Pay What You Want

Abolitionist, the hardcore-ish, post-ish, pop-punk-ish outfit from the city of Portland, OR, have released their new album Ugly Feeling on Bandcamp for free/pay what you want. These Northwesterners have been swinging for the fences this year, as this new album follows up their previous 2019 release A New Militance (see review here).

We have a stream below, but click here if you wanna go straight to Bandcamp and grab it for yourself. Word on the street, after a couple tour runs, Abolitionist will be going on an indefinite hiatus, so keep your eyes peeled for tour dates near your hometown.



Tear Them Down (Sweden) release music video for “The Nihilist Tone”

Swedish punks Tear Them Down have released a video for their new song “The Nihilist Tone,” which comes from their upcoming EP, No Sleep Til Arod, that is set to be released on May 10th via Morning Wood Records and Backbite Records.

You can check it out below.

Tear Them Down last released Abide in 2016.



The Jasons stream new song “Blood In The Streets”

Hockey masked, leather clad act The Jasons are streaming their new song, “Blood In The Streets,” which is the title track to their upcoming album that is due out on May 3rd.

You can give the song a listen below.

The Jasons last released Get Fucked in March 2016.



Glory Hole (Switzerland) stream new album “Don’t Rip”

Swiss punk act Glory Hole are streaming their new album, Don’t Rip, which was originally released in April 2018, and just put out again via PCT Musiqe.

You can give it a listen below, and if you like what you hear, you can get the whole thing as a pay what you want download.

Glory Hole last released The Way Out in 2012.



Avail Announce More “Over The James” Anniversary Shows

If you’re like me, you’ve been hopeful that the Avail reunion shows were going to make their way outside the Commonwealth of Virginia, and today we can finally say that those wishes have come true!

The monumentally-influential Richmond, Virginia band are taking the show on the road for a long-weekend of Over The James 21st anniversary shows in the northeast: September 6th at Union Transfer in Philly, September 7th at the Warsaw in Brooklyn, and September 8th at Royale in Boston. Support on all dates comes from Angel Du$t. Tickets go on sale this Saturday (4/20) at 4pm Eastern, and at least 200 tickets will be available for walk-up purchase at the Union Transfer, Gramercy Theater and Sinclair Box Offices respectively. All of the gigs will feature the original OTJ-era lineup of Tim Barry, Joe Banks, Beau Beau, Gwomper, and Erik Larson. Pack those sleeping bags and we’ll see ya in line!

Over The James was initially released on April 7, 1998, on Lookout Records, and was later released by Jade Tree a couple years later. Avail’s final release was their 2002 Fat Wreck Chords full-length Front Porch Stories.