Search Results for "Red Scare"
Tuesday, May 21, 2019 at 1:20 PM (PST) by The Torchbearer
MakeWar just premiered a video for “Don’t Panic” with New Noise magazine. The track tackles anxiety attacks and mental health issues, and is taken from MakeWar’s 2016 LP “Developing a Theory of Integrity” album.
The video come together at the behest of a cinematographer friend of the band, and comes while the band are working on their next release.
Check out the video using the player below.
Tuesday, April 23, 2019 at 2:30 PM (PST) by The Torchbearer
Red Scare has a busy summer coming up, as they’ve announced they will be releasing new albums from both Seattle-based punk band Ramona and Scottish folk punk Billy Liar this June. We’ll keep you updated as songs premiere, but for now, you can check out the cover art, track listings, and release dates for these upcoming albums below.
Tuesday, April 2, 2019 at 9:07 AM (PST) by Goldfinger
Check out the full list of dates below, as well as the latest from Sincere Engineer, a stirring rendition of Paul Simon’s classic “You Can Call Me Al”.
If you are unaware of Sincere Engineer here is the rundown: Sincere Engineer exists in several forms but is primarily the brainchild/working moniker of Chicago’s Deanna Belos. She released her début full-length late last year accompanied by a full band, and it landed like a welcome breath of fresh air; honest, raw and inspiring fresh air.
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.
Tuesday, March 19, 2019 at 9:24 AM (PST) by Goldfinger
French punks Guerilla Poubelle have released a new video for their song “Golgotha”. Guitarist and singer Till had this to say about the new video: “Here’s our new video, we used footage for the Carpenter movie ‘They Live’ (or ‘Invasion Los Angeles’ as they named it in France, don’t ask me why!), what a delight to watch our hero finds out about capitalism and punching cops, destroying a bank and rampaging a TV station building.” The stirring video is about as punk as it comes and features the iconic Rowdy Roddy Piper, and I’m pretty sure you can’t argue with a Canadian who wore a kilt to the squared circle.
Along with the new video, Guerilla Poubelle has announced a tour through Europe with label-mates Arms Aloft.
You can check out the new video and tour dates below.
This is the first new material from Guerilla Poubelle since their acclaimed album La Nausée was released back in 2017.
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.
Thursday, February 21, 2019 at 4:40 PM (PST) by Tom Aylott
Nothington have revealed details of their final shows. The band will play San Diego and Los Angeles this April, with a final ever show scheduled in San Francisco this June. See what the band had to say about the shows and full details below.
“As many of you are aware, we announced last fall that the band would be calling it quits for good pretty soon. Well, that time is upon us and we have finally pieced together a few last shows in California to say goodbye. We wish that time would permit us to do more tour dates in the United States, but we are already moving on individually with other things, and these will be our VERY last shows ever. So catch one if you can! Thank you, everyone, for your support over the years – can’t express our gratitude enough. Cheers!”
4/12 – San Diego, CA @ Soda Bar (La Escalera Fest)
4/13 – Los Angeles, CA @ The Resident (early show!)
6/8 – San Francisco, CA @ Bottom of the Hill (Final Show)
Monday, February 18, 2019 at 5:41 AM (PST) by Mike Scott
The two discuss Fest, touring Australia, contraband, discovering punk, and more. Have a listen over on the podcast website.
Dying Scene favorites (or favourites, depending how North and/or East of our home office you live) MakeWar are making a new album!
The New York based trio recently holed up at the Barber Shop Studio in North Jersey to get to work on a full-length follow-up to 2016’s Developing A Theory Of Integrity. They’ve posted a few photos as evidence: check ’em out here. stay tuned for more on this one as it comes down the ‘pike.
Developing A Theory Of Integrity was released on Red Scare.
Friday, November 30, 2018 at 11:09 AM (PST) by villagebrown
Brendan Kelly and the Wandering Birds (Brendan Kelly of The Lawrence Arms) recently premiered a brand new music video for their song, “The Ballad of Buffalo Bill.” The track is one off of their new album, Keep Walkin’ Pal.
You can take a look at the full clip below.
Keep Walkin’ Pal was released on November 23rd, 2018 via Red Scare Industries.
Sunday, November 25, 2018 at 9:49 PM (PST) by forrestcook
Brendan Kelly of The Lawrence Arms has announced a solo tour, and it’s a windy road, if it were. There’s a couple dates on the East Coast before a short stint through the Midwest and into California. Check the dates below to see if you’re one of the lucky ones!
Tuesday, November 20, 2018 at 8:07 AM (PST) by Goldfinger
Chicago’s own, Sincere Engineer has shared a video of her cover of the Paul Simon classic “You Can Call Me Al”. Sincere Engineer does a great job of channeling her inner Paul Simon and this is a pretty awesome cover, if we could only get Paul Simon to cover “Corn Dog Sonnet No. 7”.
Check Sincere Engineers take on “You Can Call Me Al” below.
Saturday, November 17, 2018 at 11:57 PM (PST) by JayRod
This album is electric, and upbeat, with an oddly funky pop punk sound instead of the darker tones of his previous one. It’s definitely not your normal “solo guy” record.
Check it out below.
Tuesday, November 13, 2018 at 11:00 AM (PST) by jaystone
So earlier this ear, the mysterious beach punks known as The All Brights put out their second EP on Red Scare Industries. It’s called The White Album EP and it totally ruled, but we got kinda side-tracked with all of the iced coffee chugging and great white dodging that we are standard operating procedure during Massachusetts summers, so we kinda spaced reviewing the album. But then the leaves changed color and Halloween came and went and we started to get the seasonal affective-related doldrums that pop up when it starts getting dark at like 3:30 in the afternoon. So we plugged in our light boxes and fired up The White Album EP and now it’s like July all over again!
The EP contains six epically radical tracks that tackle most of society’s present ailments head-on, pulling few-if-any punches in the process. Kicking things off is “Maximum Hangtime,” a sub-two-minute rager about always making sure you save time to put your bros before your woes (editor’s note: I paraphrased and/or flat-out stole parts of that line from the album press release, but it’s goddamn perfect). “One Last Blue Text” follows, and finds our narrators telling a soul-crushingly real tale of a once-requited love that’s started to trend in a southerly direction, a victim of some of the complexities that plague us in 21st century America, specifically when one realizes that the object of their affection has switched from an iPhone to an Android device. The struggle, as we all know, is real. “Midwest Fuck Me” closes out the proverbial first side, and finds our protagonists again struggling macro issues, specifically with the state of higher education in the US. The song plays like a modern-day retelling of 1960’s classic “Hello Muddah Hello Faddah,” only our narrator isn’t lamenting being away at summer camp, he’s instead lamenting a decision to move to Ohio for college, a thousand miles away from the surf and avocados and reggae music in his native California.
“Side Two” gets things started with “The Ballad Of Me And My Funds,” is a rousing, working-class anthem for the children of the top one-percent-of-the-one-percent crowd, sure to be blasting from the speakers of your all of the Blohm + Voss’s in your neighborhood for decades to come. “Stand Up Pat L. Board” follows, and is a feel-good story about a young Arizonan who overcomes adversity and tackles the bullies in his new-found home town. This track, sung by the band’s inspirational bass player, who’s somewhat coincidentally also named Pat L. Board, will undoubtedly do for paddleboarding what Daniel LaRusso and Karate Kid did for the martial arts in the 1980s and what Mitchell Goosen and Airborne did for Rollerblading in the 1990s. Finally, The White Album EP closes out with “I’m Buying A Boat,” a heart-warming, ukulele-and-steel-drum driven ode to trading in your ladyfriend for a younger, hotter version, only WAIT, SHYAMALAN TWIST COMING, your ladyfriend reveals that she’s been nailing your best friend all along AND he’s got a bigger schmenzer than you. We’re pretty sure that’s the plot of Under The Tuscan Sun, right?
Anyway, if you’re still feeling the post-FEST blues or need a little pick-me-up while you’re digging the shovels out of the toolshed and tuning up the snowblower, fire up The White Album EP to cure what ails ya!