World/Inferno Friendship Society will release their long awaited new album on January 17, 2020. All Borders are Porous to Cats will be the group’s seventh full-length to date and will be released via Alternative Tentacles.
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Monday, November 18, 2019 at 11:35 AM (PST) by rick delaney
Monday, October 21, 2019 at 3:43 AM (PST) by Mike Scott
Tuesday, May 14, 2019 at 2:46 PM (PST) by Rachael Clifford
Titled All Borders Are Porous to Cats, the eighth album by The World/Inferno Friendship Society will be released on Alternative Tentacles this October. The follow-up to their 2014 album This Packed Funeral is much anticipated, though little is known about the release at this time. As we reported earlier this year, the band has recorded around 30 songs for the album, though the actual running length is not yet public knowledge.
Stay tuned for more details as they become available.
Saturday, May 11, 2019 at 5:52 AM (PST) by Rachael Clifford
California label Alternative Tentacles are celebrating their 40th Anniversary with a special vinyl subscription service, whereupon you will receive every single from the label, as they are released, all through 2019. The cost is a mere $99 plus shipping, and releases will include The Silver Machine, eX-Girl, Dead Ending, The Darts, The World/Inferno Friendship Society, Tsunami Bomb, and more.
The nine planned releases will be sent to subscribers before they are available to the public, and are a great deal for Alternative Tentacles fans. You will also get an exclusive 9th release for subscribers only. The more people sign up for this program, the more unique and exclusive this mystery release will be.
You can sign up and start receiving the singles here.
Tuesday, February 6, 2018 at 1:20 PM (PST) by The Torchbearer
The World/Inferno Friendship Society have announced that they are in the studio recording a new album. In an interview with My Central Jersey, front man Jack Terricloth said:
“We’ve recorded, like, 30 songs for it and changed the name a dozen times. Alternative Tentacles is a little annoyed by that, not much though. Jello is a mellow fellow. We’re moving into Sandanista territory at the moment. Just last week, we were holed up in the studio to concentrate on doing some fixes and mixing but ended up writing a new song instead. Good problem to have.”
We’ll keep you updated as more details on the new album come to light. The band last released This Packed Funeral in 2014 through Alternative Tentacles.
Tuesday, October 17, 2017 at 10:31 AM (PST) by Goldfinger
Chicago hardcore outfit Dead Ending are streaming the track “Bring On The Mob” off their upcoming album “Shoot the Messenger” out November 17th via Alternative Tentacles. The band, comprised of the legendary Vic Bondi (Articles of Faith), Derek Grant (Alkaline Trio) and Nathan Voorhees (Ensign, Vision), throws some fast paced, in your face political punk rock.
Check out the new song below.
Dead Ending will be holding a record listening party on November 17th at Kuma’s Corner in Chicago.
Monday, September 25, 2017 at 9:48 AM (PST) by rick delaney
Chicago-based Dead Ending have announced that they will release their latest full-length album Shoot The Messenger on November 17 2017. Featuring members of successful Chicago bands such as Alkaline Trio, Rise Against, Articles of Faith, and Ensign, and with former tracks sporting titles “Class War” and “Ivanka Wants Her Orange Back”, the release promises to be a deeply political one.
Previous efforts from the band have been released through Bridge Nine, however, this time the band will work with Alternative Tentacles to bring their music to the public.
Monday, August 7, 2017 at 10:23 PM (PST) by J.S. Moses
The World/Inferno Friendship Society have really only been playing New York three or four times a year as of late, which makes every one of their hometown performances a must see. Their music is complex and beautiful, their sound is raw and powerful, and they bring a level of showmanship and theatricality to the stage that no other punk band on the planet does.
For their last hometown performance before their annual Hallowmas, Mr. Terricloth and his cohort invited Philly ska/punks Teenage Halloween up to the Big Apple to open the evening in Brooklyn Bazaar’s ballroom. They played well and announced that they would be dropping a new record soon on Philadelphia-based Fistolo Records.
Next on the bill was Slackers frontman Vic Ruggiero, who may just be the single most New York human being on the planet (under the age of 60 at least). Vic’s solo sets are like watching New York blues history unfold right before your eyes, and it’s really a thing of beauty. He’s an engaging storyteller, a tremendous guitarist, and a genuine guy.
It’s hard to fill up a stage like Brooklyn Bazaar’s as a solo act, but Vic actually made the room feel full with his electric guitar, a kick drum, a tambourine, and his chest-mounted harmonica. He played his solo stuff, took requests, and even workshopped a new song entitled “Garlic is the Sun” for his hometown crowd. Not all the requests were honored, however, as Vic pointed out to one fan that “if you wanna hear dat one, you’ll need to come to a Slackers show” in his droll New York accent.
As great as Vic was, the crowd was there for one reason and one reason only: to fuck shit up with World/Inferno. The room went bonkers with the first notes of “Tattoos Fade,” and Mr. Terricloth raised a full bottle of Coppola wine to toast the WIFS faithful. The crowd roared along to every lyric of World/Inferno’s opening score, and the ever friendly World/Inferno moshpit sprang into existence. There are punks to help you up in every pit, but something about the WIFS pit is just far more inviting than any other band’s.
In a pre-show interview, Mr. Terricloth had said that Saturday night’s show would be “off the hook,” and he delivered on his word with a big-time performance. The group, which sometimes swells to more than thirteen members, was a lean eight-piece in Greenpoint, but they still packed a mighty punch when performing hits off of Red Eyed Soul like “The Velocity of Love,” “Your Younger Man,” and “Let’s Steal Everything,” among a slew of others.
They went through damn near half their catalogue in a performance that ran nearly two hours, and they did it all with panache. When they left the stage for their admittedly planned encore, the giant who was standing next to me in a denim vest (complete with Choking Victim patch on the back left and Grateful Dead patch on the front right pocket) lept onto the stage and led the crowd in a rousing chant of “tonight we’re gonna fuck shit up” until the band came back.
The encore opened with “Politics of Passing Out,” which required Mr. Terricloth to play a little acoustic guitar — in this case, one that he acquired from his old friend Sly Stone back when he was Sly’s driver — and closed with a tune I just don’t know the name of that was selected by WIFS bass player Ms. Malak.
Friday, August 4, 2017 at 11:30 AM (PST) by J.S. Moses
The World/Inferno Friendship Society is more like a punk circus than it is a band, and Jack Terricloth has been the unquestioned ringleader for more than twenty years. It’s hard to believe that a sound so bizarre has endured for more than two decades, especially among the New York punk scene which has very little tolerance for nuance. But WIFS has carved out their niche in the Big Apple with a mix of otherworldly talent and theatrical pageantry unmatched by any of their contemporaries.
The group has truly graduated some greats, like Brian Viglione of the Dresden Dolls, Yula Beeri, and Franz Nicolay (to name just a few). But no matter who they have to replace, they continue to bring the same level of tenacity, talent, and showmanship, due in large part to their diabolical leader Mr. Terricloth.
WIFS has an imminent big-time show at one of Brooklyn’s up-and-coming punk venues, Brooklyn Bazaar, and they are working tirelessly on their new record. But preparatory to unleashing their 13-piece carnival of horrors onto New York, Jack Terricloth sat down with Dying Scene to talk about the new record, how he hopes to one day reunite with Sly Stone, and meeting the members of Leftover Crack through their mutual drug dealer.
Read the full interview below.
Saturday, May 27, 2017 at 11:00 AM (PST) by jaystone
Boston political hardcore punks Disaster Strikes have released a brand new track called “The Vow To Resist.” The four-piece holed up in the studio with Converge’s Kurt Ballou to record the “anti-Trump, anti-Bannon” track, and released it just in time for their spot on the “Now Or Never” tour with Thulsa Doom and La Armada. You can stream the track below, or you can head here to see where you can grab a physical copy of the track as part of a limited run, three-way split with their current tourmates!
Disaster Strikes’ last album, “In The Age Of Corporate Personhood,” was released last July on Alternative Tentacles.
Monday, February 6, 2017 at 1:01 PM (PST) by Mike Scott
Boston political hardcore punks Disaster Strikes have released a video for “In The Age Of Corporate Personhood” – a track from their new album of the same name. The song features Jello Biafra on guest vocals – and all formats can be ordered from Alternative Tentacles now.
You can watch the video below.
Wednesday, September 7, 2016 at 4:13 PM (PST) by Screeching Bottlerocket
Quite Contrary is the band’s first album in 7 years, following 2009’s That’s So Gay.
Tuesday, September 6, 2016 at 8:07 PM (PST) by The Grace of Laura Jane
Queercore legends Pansy Division are back at it again! With their highly anticipated upcoming album “Quite Contrary” coming out in a few days, the band’s frontman Jon Ginoli had a chat with Alt Press and Ben Hopkins and Liv Bruce from up and coming Brooklyn queercore group PWR BTTM to discuss queerness in punk. You can read the transcription below.
The band has already released two songs, “He’s Trouble” and “Blame the Bible” which you can listen to here.
“Quite Contrary” will be Pansy Division’s first full-length album in 7 years, serving as a follow-up to 2009′s “That’s So Gay”.
Monday, August 29, 2016 at 3:26 PM (PST) by Bizarro Dustin
Culture Shock haven’t released any new music since 1989. But that statement is only partially true; although the name “Culture Shock” hasn’t been used in nearly three decades, the band’s members have been actively involved in various punk bands together- most notably Citizen Fish and the Subhumans. Since they’ve been playing together for so many years, it makes the band’s return all the easier to digest, and helps Attention Span, their fourth studio album, to avoid any of the pitfalls that generally plague reunion albums.
As a matter of fact, Attention Span hardly sounds like a reunion album at all. It hardly sounds like Culture Shock has even taken any kind of extended break- there are no awkward compositions that sound like the messy result of members not wanting to hurt each other’s feelings by telling them their new ideas are bad, nor are there any over-bloated “we’re back!” sentiments throughout the album. Instead, Attention Span is 10 straight-forward anarcho ska-punk jams, rallying against the upper class and modern apathy and comfort.
When punk rock is done right, there really isn’t much else to say about it. Dick Lucas and company have been composing some of the finest political ska-punk anthems for years and Attention Span is the latest addition to their legacy, helping to prove that it doesn’t matter what name the songs are released under.
4 / 5 – Stream it below.
RIYL: Citizen Fish, The Clash, Leftover Crack
Thursday, August 18, 2016 at 6:00 PM (PST) by J.S. Moses
The same thing that makes a memorial show for Erik Petersen in Brooklyn more intimate and beautiful than one for someone like David Bowie or Lemmy also makes it far more heartbreaking. Far be it from me to say that all those who went out to dance for the Star Man or have a Jack and Coke for Lemmy were not experiencing a personal tragedy. But most of those people never shared a moment, a conversation, or a drink with their hero.
When it came to Mischief Brew’s poetic front-man, it seemed like every punk who showed up to pay tribute to him on Sunday night had had a more personal encounter with the folk punk icon.
“I absolutely hate the reason we are all here tonight” said Brook Pridemore, the evening’s third performer just before he began his set. Then after he’d broken just about half the strings on his guitar he told a story about a time he had spent at Erik and Denise Petersen’s home in Upper Darby, Pennsylvania when he saw Erik squeeze the poop out of one of the more seasoned of the Petersen’s beloved pugs. He followed that story with a singalong rendition of “Old Tyme Mem’ry.”
Before Pridemore, Early Riser, Cristy Road, and two members of Teenage Halloween had performed short somewhat somber solo acoustic sets. During this time the crowd was rather small and subdued, and when it shouted words at the stage they were encouraging. An audience member called out “But it’s beautiful!” to Road when she pointed out a slight mistake in her rendition of Mischief Brew classic “Every Town Will Celebrate.”
At no point did the show ever feel like anything but a celebration of an inspiring man’s life, but until Pridemore, things felt a bit more like a remembrance. After he flooded the stage with his energy and anger it started to feel like a party. The crowd started forming, the mosh pit opened up, and the evening’s pent-up frustration and rage rose to the surface.
Then Out of System Transfer took the stage, and while the Brooklynites definitely represented the more folk side of folk punk — which toward the latter part of their run Mischief Brew expressly shied away from — the people in attendance didn’t slam dance any more subtly for it. The trombone-toting four-piece played a few covers, and their lead singer waxed poetic about his and Petersen’s shared affinity for obscure folk tunes in a set that included tracks like “The Preacher and the Slave” by Joe Hill, “Pancho and Lefty” by Townes Van Zandt, and “Mary Ellen Carter” by Stan Rogers, a track Mischief Brew had released as a single. They also hit Mischief Brew’s “Lowly Carpenter” along with some Out of System Transfer originals.
By the time the folk punk collective Comrades took the stage the venue seemed so packed it was about to burst, and it wouldn’t have mattered whether it was the loud, angsty, and abrasive sounds of Comrades or another solo acoustic act getting on stage; the audience was ready to lose their minds. The melee ensued the moment Comrades struck their first note and the pushing and shoving didn’t end until after their last. Though Comrades didn’t play any Mischief Brew covers, their track “Give Me Coffee or Give Me Meth” is a clear homage to Mischief Brew’s “Gimme Coffee Or Death.”
It was during their set that the show really started to feel like the sort of shindig that Mischief Brew would have headlined. It felt as though at any second Erik might just come through the door from the merch booth or back from the bar after a glass of whisky.
But in the absence of ghosts, Israeli composer and musician Yula Beeri was no consolation prize. Her three-piece band was one of the most exciting and musically proficient acts of the evening; Yula spent most of their set on a stool and still managed to keep the crowd in a frenzy. She also split part of the set with World Inferno/Friendship Society frontman Jack Terricloth. They did two tracks together, one with Yula’s full band and the other a haunting rendition of “Friend to the Friendless.”
“It is one of life’s absurd jokes that I am playing a memorial for Mr. Petersen, rather than Mr. Petersen playing a memorial for me,” said Terricloth. “Comedy is part of the grieving process, take it from me,” he added before raising a toast to the fallen.
After the official performances wrapped up, Out of System Transfer led a rousing singalong of Mischief Brew songs — among others, “Roll Me Through the Gates of Hell” and “Thanks, Bastards” — before the stage was opened up to anyone who wished to jump up and sing a song in tribute to Erik Petersen.
While fans of Petersen’s took their turn on the mic and the crowd sang along, the real sadness of the event started to take hold of many in attendance. Terricloth stood stoic in the back of the venue surveying the thinning group, while others sat down on the concrete floor.
As people stumbled over lyrics and pulled out cell phones for quick refreshers on tunes, we all realized that this was it. Denise Petersen watched the clumsy, loving efforts to keep things going for one more song. “It’s a beautiful shit-show,” she said, “like my life.”