The band have also announced a ton of tour dates on both sides of the pond. Check them out in full below, too.
Monday, June 3, 2019 at 2:57 PM (PST) by Mike Scott
The band have also announced a ton of tour dates on both sides of the pond. Check them out in full below, too.
Wednesday, May 15, 2019 at 2:07 PM (PST) by Chris Doughty
You can have a watch below.
I was immediately struck by how well Portland’s Thurman managed to balance the tone of their songs. Here was a young band—operating in the self-serious arena of indie-punk—that wasn’t afraid to be playful. They were sad, plaintive, and intense—but they didn’t lead you away from the cracks in their facade. “Choices” is the most obvious example, with its low and high vocal performance sounding like a spit-take to make the bassist fuck up his groove. We always talk about how punk rock is a youthful genre, but sometimes, it’s nice to have the evidence on record too.
A Day Called X is five songs of indie-ish, emo-ish, alt-ish punk rock. It reminded me of the lazy-day angst that Title Fight’s Floral Green managed so effortlessly. Both bands pull from the 90s, but the other 90s, the one that lived in the shadow of the Epifat explosion. Jawbreaker, Sunny Day Real Estate, Sleater-Kinney, Dinosaur Jr.—as time marches on, the scales are being evened and the question of what makes punk rock punk has broadened in some ways and focused in others. Thurman carries this legacy forward with stabbing riffs and a chilled-out, catchy approach to melody.
The songs themselves feel dynamic and powerful, a meeting of strong songwriting and thoughtful arrangements. The guitars pop, never resting on their laurels—chugging, riffing, and arpeggiating through their entirety. “Day X” feels positively crushing for any power trio, but its fuzzed out chords are just one piece of the puzzle. Thurman is a mixture of heavy and soft, pop and punk—and it’s in this tight overlap that they craft their atmospheric brand of indie rock.
CHECK OUT: “Choices,” “Day X,” “Man on Mars”
I wish I had a better picture to post with this article because frankly the album art for “Earthworm,” the latest EP from New Jersey’s self-proclaimed “post-emo” band Ditz does not do the music justice. The arrangements, harmonies, melodies and lyrics speak to a maturity far more refined than the cartoony imagery above. Halfway through the album’s opener, “Cha-Cha,” I knew I was on to something special and I challenge you to listen to the track without then wanting to finish the EP’s remaining 4 tracks. Trust me, you won’t regret it. Accept the challenge below.
At first, I was hesitant to review this band because of their name. Goodland kind of sounds like a country band, no? (Sorry to say, that’s not my thing.) And you know what? That was a terrible way to approach this EP, as I was pleasantly surprised by this emo-punk band that instantly reminded me of Two Tongues – and is perfect for fans of Say Anything and Saves The Day. With vocals that sound so much like Chris Conley and emo lyrics about relationships, these are four songs that fill a gap in the current emo-punk styled released and are much needed.
The three-piece band from Wisconsin definitely has passion behind everything they do, though they are at their best when the music is faster and fuller, as on “Same Time, Same Place” versus the opening track, “Where You’ve Been.” The almost jangly emo-pop song has a super-catchy chorus and guitar hook that makes it the stand-out track on the EP.
The dual vocals work well, as do the lyrics, which clearly come from the heart. Goodland is a band with a future ahead of them and I am looking forward to hearing more from them, such as, perhaps, a full-length album.
You can listen to the name your price EP below.
Tuesday, April 2, 2019 at 12:49 PM (PST) by The Torchbearer
Long Island emo/punk act Figure Eight have announced they will be releasing their debut full-length, Any Given Flower, on May 24th.
To give you a taste of what to expect from the new album, the band is streaming the first song, “Oyster Days,” which you can check out below.
Figure Eight last released Forever in February 2017.
Friday, March 22, 2019 at 4:28 AM (PST) by Tom Aylott
Leeds’ Beauty School (FFO Taking Back Sunday, Jimmy Eat World, The Get Up Kids) have released a new single, “Oak”.
The five piece recently played their debut show with Wallflower and Free Throw, and the new single builds on the release of their debut single “Silver” at the start of the year.
“Oak” cements the Beauty School as a melodic punk / emo band to watch in the UK over the coming years, with more live dates and releases in the pipeline, you’ll have plenty of chances to check them out.
Check out the track using the player below.
Tuesday, February 26, 2019 at 2:15 PM (PST) by Carson Winter
Here at Dying Scene, we’ve been talking a lot behind the scenes about how to maximize our content—not only covering more, but covering better. We’ll be making some changes to our output in the coming months, and the end goal will be to provide our writers with more opportunities to write in-depth reviews, editorials, and interviews. Part of this is adapting our review format—there is simply too much out there to cover and full-length reviews just aren’t time effective. That doesn’t mean we’re getting rid of longform reviews (we’d rather die), only that when we do them, we’ll be investing more in them and treating them as we would a feature. For the rest, we want to cover the multitude of bands that are working hard out there but might get squashed under the great wheel of the album submissions game. Short-form reviews—as short and loud as punk itself—will be a way for us to cover more while still providing honest, dependable feedback. Let us know what you think of the new format, we plan to roll out capsule reviews as they accumulate from here on out.
In Portland’s burgeoning and thriving emo scene, Slippery Eyes is a relatively new band. Take Care, Be Well is their first EP and on it, they craft four songs of tasteful and hypnotic emo. It’s at once sparse and intricate, a mellow meditation with personal lyrics and some instantly memorable melodies. The marvel of this EP is how quickly it manages to catch the listener—lyrics, melodies, and arrangements working in mesmeric tandem. It’s all led by the honey-coated vocals of Cai, at once soothing and emotive. Take Care, Be Well leaves the listener wanting for more.
Check out: “Cut Your Conversation,” “Summer of ‘62”
Thursday, February 7, 2019 at 2:01 PM (PST) by Shane Dover
Awful Din are a Brooklyn, NY based emo/pop-punk act, and their latest release, The Price We Pay, is the band’s third EP; following their last EP Super Powers from back in 2017. Released on January 25th, 2019, Awful Din have built a pleasing sound which lies in their fusion of emo and pop-punk.
With vocal twinges akin to those found in folk-punk, pop-punk riffs, and emo ambience, the band brings all these elements together in an addictive package. This EP, more than their previous two, really cement a sound for the band. Whilst the tracks aren’t all that layered and don’t experiment too far, they escape the cliche of their genres through their fusion and the rather unique vocals.
The Price We Pay begins on a more melancholic note with “Come Home,” but grows into an aggressive rebelling against that side of things. On the way Awful Din explore the idea of not feeling good enough, but acts as an outward voice attempting to pick someone back up that’s in that hole. The track “God of Tricks” starts on “Boy you’re gonna fight yourself into an early grave,” but ends on “There’s no love lost between us, only blood.” The song embodies the togetherness that the punk scene prides itself upon.
In fact the EP as a whole keeps that as a foundation, moving right into “Emerald Bay.” There’s leaning on each other, finding solace in that their pains aren’t suffered alone. But this track finds it’s way to the darkest point on the EP, “I listened to what she had to say, then I threw myself into Emerald Bay.” The crashing music and passion behind it moves and sways with the vocals, giving more weight to the words. Awful Din have great synergy as a band, and are finding themselves as a unit quite fully.
There’s anger and resilience to be found within the EP, as well as a vivid picture of melancholy. Woven through The Price We Pay is a story of leaving, of overcoming, and of love. It starts on a contemplative note, steeped in negative emotions, but ends triumphantly with a clean break in “Wish You Well.” As a full package The Price We Pay is a glorious little piece, and the parts that make it are each solid. It’s a promising path forward for Awful Din, and I hope we see even more growth on to a debut album.
You can listen to The Price We Pay below.
Tuesday, February 5, 2019 at 12:45 PM (PST) by The Torchbearer
Brooklyn-based Awful Din are streaming their new EP, The Price We Pay, which was released on January 25th.
You can give it a listen below.
Awful Din last released Super Powers in November 2017.
Oakland based emo-punks Pity Party have announced a full set of tour dates, the aptly named “Tour Till We Die Chapter 1” will begin February 16th in San Diego and will end March 19th in San Luis Obispo. Mostly contained to the American South, the tour will make a few stops across the border in Mexico.
Check out a full list of dates below.
Pity Party released Are You Happy Yet? last summer. If they happen to make a stop near you, do yourself a favor and check them out, you will not be disappointed.
Sunday, February 3, 2019 at 3:21 AM (PST) by Chris Doughty
New York-based band Live Well have released a music video for their debut single ‘Neck Tattoos’. Formed in 2017, the band have been recording a full length with Ace Enders of Early November and Nik Bruzzese of Man Overboard at their studio The Lumberyard.
You can stream the video below.
Last October, Saves the Day released their ninth studio album. Appropriately (or maybe lazily) titled 9, the album has been said to be an autobiographical representation of the band’s 20-something year career in music. And honestly, that sounds like a great idea on paper. Quite frankly however, maybe it should have stayed on paper, with the history of Saves the Day getting a book treatment instead.
If you take 9 at face value, it’s an enjoyable album. The music sounds good- the first half of the album is full of throwbacks to the band’s earliest days when they were primarily Lifetime wannabes. “Suzuki” is barely a minute long, and “It’s Such a Beautiful World” was written to be shouted by a crowd back at the band. Even the cheesefest that is the album’s opening track, “Saves the Day” is fun if you just want to hear Saves the Day play a song like it’s still the late 90’s. Chris Conley’s voice is still nasally, but his singing on this record is at a considerably lower register than the last few Saves the Day records.
The main fault with 9 is that it’s really only good when taken at face value. With a lyricist like Chris Conley at the helms, an autobiography telling the Saves the Day story should work. But in a cruel and ironic twist, the album is Conley at his most lyrically shallow. Gone are the images of being a jukebox, or served up as pig. Even the clunky metaphors of throwing out his heart (that surely became the inspiration for several tattoos) are missing. This album is all about what it’s like to be a member of Saves the Day. And while that has worked in the past (just listen to “Shoulder to the Wheel”), being in Saves the Day is not a universal feeling despite the sheer number of people who have played in this band. But what’s even worse is that the songs all romanticize nearly everything: “Side By Side” skips through the years recalling highlights of recording and playing to large crowds, “Rendezvous” paints a picture of a perfect overseas tour, and “It’s Such a Beautiful World” is about how perfectly fun touring with friends can be.
Positivity, especially in this day and age, is important to hold on to, but if we’re being honest it’s the darker aspects of Conley’s lyrics are what attract people to Saves the Day to begin with, and it’s probably why it feels like so much of 9 is a very middling album. But then you get to the closing track: the 21 and a half minute long “29.” Similar to Daybreak’s title track, “29” is a suite of songs stitched together, and it offers some of the strongest moments on the album, with the lyrics finally diving into the darker side of a touring lifestyle. From run-ins with black ice to strained relationships with loved ones back at home, “29” injects some much needed realism into the story being told on this album. It’s just unfortunate that it’s all in a single song instead of being broken up and scattered throughout the track list.
To reiterate: 9 is not a terrible album, and the songs can be fun if you don’t think about them too much. But as far as being an entry to the Saves the Day discography goes, it’s the least essential chapter in the band’s history to date.
2.5 / 5
Thursday, January 24, 2019 at 2:02 PM (PST) by Chris Doughty
American Football have shared their new single ‘Uncomfortably Numb’, from the forthcoming full-length album, American Football (LP3), out March 22nd on Polyvinyl Record Co. The song, featuring Hayley Williams of Paramore, is available on all streaming platforms.
The music video, which features cameos from actor/comedian Blake Anderson (Workaholics), pro skater Paul Rodriguez, and Samhain drummer London May, can be seen below.
Thursday, January 24, 2019 at 1:45 PM (PST) by Chris Doughty
The Maine have announced their seventh studio album ‘You Are Ok’ (out March 29th) and have released the first single ‘Numb Without You’. Their last full-length self-released record ‘Lovely Little Lonely’ came out in 2017. The Maine have mixed up their sound over the years, ranging from pop punk to indie-rock, this new release seems more pop rock. It’s a decent enough song by the time it reaches the chorus.
You can hear the song below, along with the upcoming album track list and their tour dates for 2019.
I'm not sure if it's the vocals reminiscent of the original singer from UK punk act Drones, or very early days Davey Havok, but something about the new EP from Milwaukee hardcore act Mud Dog is really grabbing my attention. It might be the gang vocals on title track "Strike Back" or the change ups with secondary singers on a few of the songs. Or all of the above. The point is "Strike Back" is worth a listen for any hardcore punk fans, all the more so since it's up for free download on bandcamp.