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DS Playlist: Midwest November, Time to Break Out the Bread Bags for Your Feet (with Direct Hit!, The Lawrence Arms, and more!)

Alright. So I’m going to be honest with you guys but I need you to promise not to tell my wife. While growing up in Michigan for most of my life I did nothing but bitch and complain about the snow and six months of winter. I mean, I really pitched a fit about it […]

Alright. So I’m going to be honest with you guys but I need you to promise not to tell my wife. While growing up in Michigan for most of my life I did nothing but bitch and complain about the snow and six months of winter. I mean, I really pitched a fit about it every time I could to anyone who would listen. I have since moved to a nice Mid-Atlantic state where it snows twice a year and life is great. But around this time of year I start to get nostalgic about those times I had to hoof it with my brother eight blocks up the road in a snowstorm to go play pool and bully the jukebox at the local bar in our hillbilly town. We would always have some new music playing on a phone in our pockets as our almost frostbit hands tried to light another cigarette in the darkness of 6pm. We’d have a couple of pocket beers for the walk which always ended up frozen. I hated it then and dreamed of never having to dig ice out of the inside of my shoes. And yet, here we are. Making a playlist that takes me back to those fucking cold ass walks, helping my buddies push their Cutlass Sierra out of a snow bank, and racking up parking tickets for leaving my car parked on the street during a blizzard. To quote the late Rick James, “Nostalgia is a hell of a drug.” Or maybe it was cocaine. I’ve never done cocaine so I’m going to stick with the former for simplicity sake.

So I had this really cheap apartment in Harrison Township just north of Detroit a little bit and my brother came over for a visit. It was January and we had a few beverages then headed down the street to Terry’s Terrace. It was a couple blocks away and there was a couple feet of snow so it wasn’t the worst walk of our lives. On our 10ish minute walk I told him about this band from Wisconsin I just found and he should check it out. He and I have played in a few bands together over the years so we really get each others taste in music. We listened to parts of the Domespliter EP by Direct Hit! and had a great time. After the bar we walked back to my apartment as the snow came down and continued our adventure into Direct Hit! and he continued to drink vodka cranberries. Right about the time “We Are Alone” came on, he had the craziest look in his eyes and said something about stepping outside for a smoke. “Cool,” I said and went out with him just in time to watch him throw up a stomachs worth of vodka cranberry down the five balconies below my apartment. Thus creating a giant red arrow in the snow down the side of my building pointing to the apartment that likes to party. And what better soundtrack to have going than a Midwest band themselves, Direct Hit! That night was hilarious.

Rewind a few years from the last story to November 2009. I was working at a big box retail store and going to school in western Michigan just trying not to be a dirt bag 20 year old. I had this red 1991 Mazda MX-6 GT that didn’t have heat. I had just gone through a rough breakup so I was working extra hours to stay out of trouble and still spending way too much time partying with my college buddies in Kalamazoo, about 45 minutes from where I lived. During my constant travels from home, to school, to work, then to Kalamazoo and back home, I landed in a deep Lawrence Arms shuffle. This may have caused some new synapses to form relating depressing Michigan winters to the Larry Arms. Or it could be the fact that 4 hours west is Chicago and they go through the same terrible season we do in Michigan. Either way, Apathy and Exhaustion and Oh! Calcutta are purely winter albums and there is no way around it. If I had a nickel for every time I played “Boatless Booze Cruise” in that mind numbingly cold MX-6 on I-94 going to Kzoo, I’d be a goddamned millionaire.

In stark contrast to the Lawrence Arms above, this next band makes excellent winter music even though they may have originated in Florida, at least in part. They now reside in Iowa so, yeah, they have tire chains in their trunks for sure, regardless of their legality. This was a band I found after moving out of the Midwest and I remember driving through one of the few snow storms we’ve had since I’ve moved and was immediately taken back to the cold MX-6. There is pure Midwesterner in Rational Anthem and “Welcome to Paradise City” gives that same feeling of the Lawrence Arms and is starting to creep into my winter playlist more and more. Apparently allegedly they are in the process of making new music so in typical Midwest fashion, it’ll be released in the winter and become a new soundtrack to leafless trees and wind chapped faces.

Back to stories of being a young derelict in Kalamazoo. We have a bar just off of the downtown strip and this bar would often host local bands formed in the nearby Western Michigan University. Harveys on the Mall I believe was the name and I would often end up there with some friends to see what kind of local tunes we could get into. Next door to Harveys is the Kalamazoo State Theatre and they often hosted any number of unique performances. On one of these November nights, I was enjoying a nice Killians at Harveys and really getting into the band playing that night. Michigan had just outlawed smoking indoors so it was time for me to take my drunk ass outside and get some air. Outside I see a limousine with a large queue of people waiting to talk to who ever was in the car. That’s kind of interesting so I went around the corner to have a smoke and finish my beer and when I went to return to the local show, the line had died down for the mystery person in the limousine. I asked the security guard at the car, as sober as I could, who was in there. “Ian Anderson from Jethro Tull,” was his retort. I asked if I could say “hi” because, why not? “Sure, but he doesn’t shake hands so you if you want to touch him, you bump elbows.” Uh, okay. Kind of a weird way to phrase that but now I have to go through with this. So I walk up to the back window of the limo but the security guard keeps shuffling me towards the passenger side window. He’s sitting shotgun in HIS limo after HIS own solo concert at the Kalamazoo State Theatre. I bump elbows with Ian Anderson and shout “HEEEY AQUALUNG!” I am quickly whisked away from the limo and asked to leave Mr. Anderson alone. Fair enough. Anyway, I could hear Gunship Radio playing “Use Your Head, Kiddo” in the background. It was pretty sweet.

I’ll leave one last amusing anecdote about a song on my Midwest November playlist. This one is a lot less “being a drunk idiot” and a lot more “a classic mix up.” Spotify has a feature where you can invite someone to listen to the same thing you are no matter the distance. Spotify Party or Party Plan or something Party. Whatever. So I was out shoveling snow just trying to not lose my absolute living shit at the fact that I have to shovel snow in the first place. I had my brother and his buddy in the Playlist Party and was listening to Oh Snap! My brother’s friend then sends out an exclaimed text asking why we never showed him our new music and why we didn’t say anything about having our music on Spotify. Meanwhile, I am furiously shoveling snow getting more and more pissed off at whoever is texting me under four layers of clothing. I get done and go inside and I am livid. I have had to shovel snow for the first time in two years and my pants have just been vibrating for the past half hour. I finally read the text chain and find out that both my brother and his friend are upset that I didn’t let them know I had a band and we had music. Here’s the kicker. I’m not in Oh Snap! but apparently when I sing, I sound exactly like this dude and we have similar writing styles. It just makes me enjoy them more now. Much like Rational Anthem, they are apparently making new music as well so I can get mistaken for their singer again in the future. Also, they’re from Detroit. Pretty cool.

So, there are a few stories of times where snow was piling in my vans faster than it could melt and the accompanying soundtrack. While I am glad I no longer have to deal with cleaning up snow inside my house, or making sure I salt the sidewalks so I don’t kill myself walking outside, I still miss those times when I was miserable but had great people and great tunes to get us by.

*Some of these may not fit the royal consensus of what is punk but it’s my playlist so…

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DS Record Radar: This Week in Punk Vinyl (Against All Authority “24 Hour Roadside Resistance” reissue, Eat Defeat, Mustard Plug & More!)

Greetings, and welcome to the Dying Scene Record Radar. If it’s your first time here, thank you for joining us! This is the weekly* column where we cover all things punk rock vinyl; new releases, reissues… you name it, we’ve probably got it. Kick off your shoes, pull up a chair, crack open a cold […]

Greetings, and welcome to the Dying Scene Record Radar. If it’s your first time here, thank you for joining us! This is the weekly* column where we cover all things punk rock vinyl; new releases, reissues… you name it, we’ve probably got it. Kick off your shoes, pull up a chair, crack open a cold one, and break out those wallets, because it’s go time. Let’s get into it!

Check out the video edition of this week’s Record Radar, presented by our friends at Punk Rock Radar:

Last year, we loyal Against All Authority fans were graced with the long awaited All Fall Down Reissue. The year of our lord 2024 brings more gifts for the AAA faithful with the equally long awaited reissue of 24 Hour Roadside Resistance. Due out June 28th on Red w/ Black Splatter colored vinyl, pre-order this MF here and say a prayer for a Destroy What Destroys You reissue.

UK ska-punks Eat Defeat’s new record My Money’s One Me is due out May 10th on Uncle Style Records. Check out the lead single “Slip Through the Cracks” below and go pre-order the green vinyl variant here and/or the red vinyl variant here.

Fun fact: the Dying Scene Record Radar is contractually obligated to talk about a new NOFX record every week! This week’s NOFX record is Clay Pigeon, which is a collection of demos from the recording of Coaster (also known as Frisbee). This is the first in a new series of releases from Mr. Burkett’s Punk Rock Museum and apparently similar demo collections from RKL and Get Dead are coming soon. Very cool! There are three color variants available to pre-order here and a splatter variant that will only be available in person at the Punk Rock Museum gift shop.

These guys commented on last week’s Instagram post about the Record Radar saying we didn’t include their “new” record, so here ya go fuckers. Long Birds are a skate punk band from Elgin, Illinois (wherever the fuck that is). They released their latest record On Speed last October, so it’s not really new, but it’s probably new to you. It reminds me of early Millencolin – there’s even a ska-ish song! Get it out and consider purchasing the blue polyvinyl chloride disc, cassette, compact disc, or digital music files from their Bandcamp.

Did your band release a bad ass record that you want me to talk about and tell people to buy? Drop me a line and I’ll include it in the next Record Radar

Fat Wreck’s 25th Anniversary series rolls on with this reissue of Sick of It All‘s Call to Arms. What color is it? Nobody knows! Order it and find out I guess. All copies come with a free tub of creatine and 30 day Gold’s Gym membership.

A few weeks ago I told you about Rancid‘s B Sides and C Sides seemingly being reissued after listings popped up on Amazon and a few other stores. Right after that Pirate’s Press made the official announcement, revealing the Neon Magenta and Neon Green w/ Black Splatter (try saying that 5x fast) color variant, confirming it’s a 2xLP, and also confirming the cover art’s pink for some reason.

This is limited to 1,000 copies – Pirate’s Press has already sold out and most other retailers have as well. Merchbar still has it available for pre-order but buyer beware: I’ve had them switch stuff from “In Stock” to “Backordered” after ordering and then hold my money for a literal year before the order ended up being canceled. Absolute clown show.

Some more reissues from Hopeless in addition to that AAA record: Volume 1 of the Hopelessly Devoted to You comps is back in print on red vinyl (500 copies). With songs by Guttermouth, Falling Sickness, 88 Fingers Louie, the Bollweevils & more how can you go wrong? This one’s due out on May 22nd. You can pre-order it here.

And last up from Hopeless is this 25th Anniversary reissue of Mustard Plug‘s Pray for Mojo. There are three variants: the very tastefully named Hopeless Records webstore exclusive Blue w/ Monkey Poo Splatter (1,000 copies), the Smartpunk exclusive Blue w/ Yellow Splatter (200 hand numbered copies), and the blue retail variant (1,000 copies) which you can probably get at most record stores. All three variants come with updated cover art and the following bonus track:

Iron Chic’s debut album Not Like This is back in print for the first time in a while. This is the 10th pressing and it’s limited to 435 copies on black wax (purchase here), 226 copies on Clear Blood Smoke (purchase here), and 122 copies on Hyacinth (google tells me this is “a small genus of bulbous herbs, spring-blooming perennials” which is a pretty purple-ish color) colored vinyl (SOLD OUT!).

What do you get when you take Grath Madden (House Boat, the Steinways, Robot Bachelor, etc. etc. etc.), Michelle Shirelle (also from the Steinways), Mike Erg (from every band on the planet), Fraser Murderburger (The Murderburgers, Wrong Life, FUCK! (It’s Pronounced SHIT!), etc. etc. etc.), and Kieron Jordan (Don Blake) and put them in a rural barn-turned-recording studio in Belgium? A extremely long sentence, apparently – but also an unsurprisingly bad ass pop-punk record!

That’s what Scrapped Plans’ new record Buddy Buddy Belgium is, a simply splendid 16 minute long 10 song album out now on Bloated Kat Records. If you like any of the affiliated acts, you’ll 100% like this record. I highly recommend checking it out below and pre-ordering it on random colored vinyl here. Also, cassette enjoyers, I should have some exciting news to share relating to this very soon! Stay tuned.

Also out now from our friends at Bloated Kat Records: the new Split LP from Brooklyn’s Heavy Lag and Milwaukee’s Bad Crime. Recommended if you like fuzzy lo-fi-ish shit. Check it out and add it to your cart while you’re picking up that Scrapped Plans record!

Here’s a band that’s been around 20+ years that I’ve somehow never heard of. I found out about Budapest, Hungary’s The Idoru when their new record Undertow went up for pre-order on the Blackstar Foundation’s Bandcamp, which I’m apparently still on the mailing list for after buying some Atlas Losing Grip records like 10 years ago. Anyway, the first few singles from this record are bad ass, and kinda remind me of the last two ALG albums which I loved. Undertow is due out April 26th and is available to pre-order on a bunch of awesome color variants right here.

Back by popular demand, Illinois Ramonescore newcomers Ghost Party‘s critically acclaimed 2023 debut album Afterlife of the Party has been repressed by our friends at Mom’s Basement Records. They did a bunch of very limited screen printed versions of the jacket with mixed color variants, but all of those sold out already. The good news is you can still get it on mixed blue colored vinyl with the normal jacket (limited to 100 copies). Head on over to the Mom’s Basement store before those are gone, too! If you’re in the UK you can get the first pressing from our friends at the Punk Rock Vinyl distro.

Asian Man Records‘ latest release is from Raleigh, North Carolina’s Teens in Trouble. Their debut LP What’s Mine is out now and you can get it on random colored vinyl (limited to 600 copies) right here. My favorite song on the record’s “Autopilot” – check that shit out:

Cock Sparrer just released their new album Hand on Heart (I already told you about that) but they also just released a 7″ single for the album’s closing track “Here We Stand (I’m telling you about that now!). The 7” features a B-Side called “We’re Alright Now” and is available on these three color variants:

Blood Red w/ Black Splatter – Pirate’s Press Records (1,000 copies)

Gold Vinyl – Randale Records (500 copies)

Beer w/ Blood Red Splatter – Captain Oi! Records (500 copies, btw their store is dogshit and I can’t find this thing on there lmao)

Sounds Rad Records fully committed to April Fool’s this year, pressing two new variants of The Mr. T Experience‘s Revenge Is Sweet and So Are You with Dr. Frank and co. being bumped from the front cover in favor of a stunning portrait of some feline friends. They pressed 100 copies of Revenge Is Sweet and So Are Miaou on Orange, White, and Black Cat Splatter (sold out! womp womp) and 4000 copies on Cat Scratch Fever Green colored vinyl. The latter is still in stock and can be purchased here.

London (UK, not Ontario) indie/punk solo artist James Sullivan is releasing his sophomore album Vital Signs on April 19th via Stardumb Records. If I had to describe it in a concise manner, I’d say it’s a mix of The Cure, Oasis, and Joe Strummer’s later output with The Mescaleros. If that sounds interesting to you, I recommend picking this record up! You can get it on Van Gogh Green and/or black wax here (US), here (UK), or here (EU).

The last two Atom and His Package LPs, 2001’s Redefining Music and 2003’s Attention! Blah Blah Blah, are both back in print for the first time since their original release. These are limited to 500 copies each – you can get them from Asbestos Records in the US and Le Noise in Canada.

And last but certainly not least on this week’s gargantuan Record Radar, we have a new pressing of beloved Chicago punk band The Arrivals‘ debut album Goodbye New World. It’s limited to 270 copies spread across four variants and you can get it here.

Well, that’s all, folks. Another Record Radar in the books. As always, thank you for tuning in. If there’s anything we missed (highly likely), or if you want to let everyone know about a new/upcoming vinyl release you’re excited about, leave us a comment below, or send us a message on Facebook or Instagram, and we’ll look into it. Enjoy your weekend, and don’t blow too much money on spinny discs (or do, I’m not your father). See ya next time!

Wanna catch up on all of our Record Radar posts? Click here and you’ll be taken to a page with all the past entries in the column. Magic!

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DS Record Radar: This Week In Punk Vinyl (Green Day “American Idiot” 20th Anniversary, Keep Flying, Groovie Ghoulies & More!)

Greetings, and welcome to the Dying Scene Record Radar. If it’s your first time here, thank you for joining us! This is the weekly* column where we cover all things punk rock vinyl; new releases, reissues… you name it, we’ve probably got it. Kick off your shoes, pull up a chair, crack open a cold […]

Greetings, and welcome to the Dying Scene Record Radar. If it’s your first time here, thank you for joining us! This is the weekly* column where we cover all things punk rock vinyl; new releases, reissues… you name it, we’ve probably got it. Kick off your shoes, pull up a chair, crack open a cold one, and break out those wallets, because it’s go time. Let’s get into it!

Check out the video edition of this week’s Record Radar, presented by our friends at Punk Rock Radar:

Green Day‘s American Idiot celebrates its 20th birthday this year and is getting the same box set treatment its older brother Dookie received last year. This 8 LP set features plenty of B-Sides, bonus tracks, and previously unreleased demos and live recordings. And as if that wasn’t enough, you also get two Blu-Rays (one of which includes a brand new American Idiot 20th Anniversary documentary), a 36-page book, and a flag. 1-2-3-4 Go! Records has the best deal I’ve seen on this box set, at $189.99 with free shipping, and if you buy it through the Shop app you’ll get an extra 5% off your order.

But wait, there’s more! If box sets aren’t your thing, or if you need to collect every variant, there’s also a standalone 20th Anniversary American Idiot double LP on red and black splatter vinyl (sans demos, bonus tracks, etc.). Honestly this looks cooler than the 50/50 split color variants in the box set. If you’re gonna get this and the box set, you may as well get both from 1-2-3-4 Go! since shipping over $75 is free. If you’re just getting the 2xLP and don’t qualify for free shipping, Amazon will be cheaper.

But wait, there’s still more! And this one’s for all you fart huffing audiophiles. Because Sound Matters‘ One-Step Edition of American Idiot costs nearly as much as the box set, coming in at $119.99 for the double LP alone (if you buy from 1-2-3-4 Go! Records) ($124.98 elsewhere)). Here’s some words from the fart huffers at Because Sound Matters:

“American Idiot was recorded in the digital domain and mixed to analog tape. Those original flat master tapes were then carefully transferred to 192/24 wav files that ended up being our audio source for the One-Step pressing.

We used Neotech VR900-D2 180g vinyl compound which is the same as what is known as Super Vinyl or Clarity Vinyl – the best in the world.

Levi Seitz at Blackbelt Mastering (Linkin Park,Metallica, Pearl Jam, Beyonce etc) cut the multiple sets of lacquers required. Being a massive Green Day fan himself – Levi already knew every little sound on this iconic album.

Dorin Sauerbier at Record Technology, Inc (R.T.I.) has been plating records for decades and is considered the best in the world – he also has done more One-Step processing than anybody. This is a vital step in the process to ultimately delivering the absolute best sounding version of American Idiot ever.”

I think that’s enough American Idiot for now; let’s move on to something else. A little ska perhaps? Keep Flying has released a live version of their latest EP Daylight, simply titled Daylight Live. This is very limited and 1/3 of the variants has already sold out, so head over to Smartpunk Records and grab the record while you still can. And if you get a chance to, catch these guys live! Check out their upcoming tour dates here.

The Groovie Ghoulies’ 2001 Freaks on Parade EP is being reissued as an LP with 6 bonus tracks and brand new cover art by Tom Neely. You can get this on Godzilla Green colored vinyl from Eccentric Pop (US) and Stardumb Records (EU), and Fiery Orange colored vinyl from 1-2-3-4 Go! Records (I swear they’re not paying me – maybe they should be!).

German Ramonescore powerhouses, Germany’s Haermorrhoids and Italy’s Proton Packs, have joined forces for a bad ass new split 7″ out now on Mom’s Basement Records in the US and Striped Music in Europe. Both of these bands are sick as fuck; don’t sleep on this!

A new(?) clear variant of Blink 182’s Enema of the State has popped up on their webstore. I’m not 100% sure if this is a brand new pressing because Discogs lists a clear variant released in Europe last year, but at the very least it’s the first time this has been available in the US. On a related note, it looks like a good chunk of Blink’s back catalog – including Dude Ranch, Cheshire Cat, the self-titled album, TOYPAJ, and Neighborhoods, is back in print and available on their online store, all sharing the same August 14th street date.

A similarly suspect “new” translucent yellow color variant of MxPx’s Panic has popped up on Amazon. Earlier this year, the same thing happened with an opaque yellow variant of the same record popping up, unannounced, on Amazon and shipping in April. It was real, I got it, and it showed up with the center label for a Casualties record on the A Side (lol). That one’s still in stock at a few record stores. Maybe this one’s the same, maybe it’s different, only one way to find out!

Well, that’s all, folks. Another Record Radar in the books. Short one this week! As always, thank you for tuning in. If there’s anything we missed (highly likely), or if you want to let everyone know about a new/upcoming vinyl release you’re excited about, leave us a comment below, or send us a message on Facebook or Instagram, and we’ll look into it. Enjoy your weekend, and don’t blow too much money on spinny discs (or do, I’m not your father). See ya next time!

Wanna catch up on all of our Record Radar posts? Click here and you’ll be taken to a page with all the past entries in the column. Magic!

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DS Record Radar: This Week in Punk Vinyl (MxPx, Suicide Machines, Reel Big Fish & More)

Greetings, and welcome to the Dying Scene Record Radar. If it’s your first time here, thank you for joining us! This is the weekly* column where we cover all things punk rock vinyl; new releases, reissues… you name it, we’ve probably got it. Kick off your shoes, pull up a chair, crack open a cold […]

Greetings, and welcome to the Dying Scene Record Radar. If it’s your first time here, thank you for joining us! This is the weekly* column where we cover all things punk rock vinyl; new releases, reissues… you name it, we’ve probably got it. Kick off your shoes, pull up a chair, crack open a cold one, and break out those wallets, because it’s go time. Let’s get into it!

Check out the video edition of this week’s Record Radar, presented by our friends at Punk Rock Radar:

New MxPx record! Find A Way Home is due out August 25th. There are a bunch of color variants, including one with a die cut cover, and a picture disc. Pre-orders are live now on mxpx.com and they seem to be shipping immediately (mine did, at least). Check out the new single “Stay Up All Night”:

The Suicide Machines are celebrating the 20th Anniversary of their 2003 album A Match And Some Gasoline. In addition to playing the album in full on a brief tour with Against All Authority and Kill Lincoln this December, they are also releasing it on vinyl for the first time ever! SideOneDummy has a few color variants on their webstore, and Zia Records has an exclusive blue galaxy variant limited to 300 copies.

Reel Big Fish‘s Candy Coated Fury is getting a Deluxe Edition reissue, with five bonus tracks and a gatefold jacket with glow in the dark cover art. Enjoy the Ride Records pressed a bunch of sweet color variants, but the only one still in stock is the Alternative Press exclusive variant, limited to 200 copies. Get it here before it’s gone, too.

On an unrelated note: word on the street is Turn the Radio Off will be getting a repress of its own in the near future. Stay tuned for more on that!

Austrian punk veterans 7 Years Bad Luck are back with a new album. No Shame is due out August 4th on Monster Zero Records. Their last album Great, Big, Nothing is a hard act to follow, but the first single “I’ll Forget You” makes me think they’re up to the task. Check that out below and get the record on aquatic blue colored vinyl here.

The Gaslight Anthem announced their new album History Books will be released on October 27th. This is the band’s first new record in almost a decade. There are like a trillion color variants of this thing and I’m not gonna bother trying to name them all. Here‘s where you can get some of them.

Five Iron Frenzy is releasing a full-discography box set called Put Your Waste In Its Place. You get 10 records for $250 in a box that looks like a flaming dumpster. That’s a value that can’t be beat, folks! Get it here (you can also grab the individual records here).

Portland, Maine pop-punks Borderlines‘ debut album Keep Pretending is out now on Hey Pizza! RecordsMom’s Basement Records, and Memorable But Not Honorable Records. Check out my favorite track “The Greatest Resignation” below and get it on vinyl here, CD here, or cassette here.

SACK‘s Get Wrecked is getting a new pressing from Clearview Records, limited to 300 copies on canary yellow colored vinyl. This goes up on the label’s webstore Wednesday, July 26th at 6pm Eastern Time.

Me First and the Gimme Gimmes‘ latest album Are We Not Men? We Are Diva! is getting its first new pressing in nearly a decade. There are an undisclosed number of copies on red w/ black splatter colored vinyl (as seen in this very poorly cropped image). Get yours here.

Asian Man Records is reissuing the TaxpayersGod, Forgive These Bastards: Songs From The Forgotten Life Of Henry Turner. The 2xLP on red and black swirl colored vinyl features b-sides, demos, and interviews with band members. Get it here.

Agnostic Front‘s Victim in Pain is back in print, with a fancy new embossed cover. There are a bunch of variants exclusive to different retailers, including Generation Records (red, 200 copies), Revelation Records (yellow, 1,000 copies), and Revolver Magazine (black platinum swirl, 500 copies). Bridge Nine has the blue and silver color variants on their webstore.

Well, that’s all, folks. Another Record Radar in the books. As always, thank you for tuning in. If there’s anything we missed (highly likely), or if you want to let everyone know about a new/upcoming vinyl release you’re excited about, leave us a comment below, or send us a message on Facebook or Instagram, and we’ll look into it. Enjoy your weekend, and don’t blow too much money on spinny discs (or do, I’m not your father). See ya next week!

Wanna catch up on all of our Record Radar posts? Click here and you’ll be taken to a page with all the past entries in the column. Magic!

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DS Show Review & Gallery: 6th Annual Slackfest night 2 – The Slackers; Eastern Standard Time; Los Vicios de Papá; and Lady Hatchet. Chicago (11.18.2023)

Slackfest, the annual event presented by The Slackers hit Reggie’s Rock Club recently. Dying Scene was on the floor at the S. State Street venue. The ska fest was a night of joyful noise featuring plenty of the subgenre’s signature horns. The Slackers, the iconic NYC ska group, once again provided an energetic capper to […]

Slackfest, the annual event presented by The Slackers hit Reggie’s Rock Club recently. Dying Scene was on the floor at the S. State Street venue. The ska fest was a night of joyful noise featuring plenty of the subgenre’s signature horns.


The Slackers, the iconic NYC ska group, once again provided an energetic capper to the weekend’s festivities. It was a dynamic set with trombonist and singer Glen Pine out front and center with an especially animated performance. The band is playing out west for the next couple of weeks before heading back to its native east coast. Don’t slack on catching a set (yes I know that was lame. But the band is everything opposite of that).


Eastern Standard Time, from Washington DC, led by the smoothly charismatic Unikue Peace on vocals and percussion. It was a lively set and the perfect penultimate one to the headliner.


Los Vicios de Papá, out of Chicago, performs its music in Spanish. I once was more fluent in the language than I am now. No matter, it was a high-powered performance combining Latin ska, reggae, and Cumbia. Los Vicios de Papá had the crowd stomping on the venue’s concrete floor in the very best way.


Lady Hatchet, aka Kristin Forbes, kicked off the night with a fun set. Dunia Best joined her for several songs which upped the already entertaining level a notch. This is the first time I have seen them perform. It was also the first time I have seen performers literally dancing as they set up and take down their gear before and after their set. I look forward to seeing both parts of these musicians’ performances in the future.


Please see more photos from the 6th Annual Slackfest night 2 below. Thanks and Cheers!


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DS Show Review & Gallery: Punk Rock Tacos! Hood Rats; Maharaja; Lengua Salvaje; La Armada. Chicago (4.06.2024)

April has just started and Punk Rock Tacos has already put together three shows as part of their relentless campaign to spread punk rock all over the Chicagoland area. This time the show takes place at the legendary South Irving Park venue, Livewire Lounge. The atmosphere was great even before the first band got up […]

April has just started and Punk Rock Tacos has already put together three shows as part of their relentless campaign to spread punk rock all over the Chicagoland area. This time the show takes place at the legendary South Irving Park venue, Livewire Lounge. The atmosphere was great even before the first band got up on stage; beer in hand, most of the crowd was eager to see some great bands while jamming to the music playing in the bar. A quick shout out to the bartender playing Eskorbuto, one of my favorite bands, which made getting there early truly worth it. 

One of the aspects of the way Punk Rock Tacos puts together shows that make them so enjoyable is their ability to curate a chaotic mix of bands and genres. On paper, this strange combination would not appear to work, but once that initial feedback of the amplifiers’ screeches, as if it was introducing the rest of the distorted noise we call music, it all starts to make sense. On tonight’s bill, the only common thread between all the performers is the crunchy distorted guitars; although to the inexperienced ear they all probably sound similar, these bands could not be more different, both in genre and their artistic expression. 

The first opener for the evening was Hood Rats. The rock n roll and punk rock trio made their way from Montreal to Chicago and put on an incredible performance despite having probably the toughest responsibility – to get the crowd started and excited. They played an energetic set that got everyone at Livewire interested and engaged. 

The band’s lead singer and guitar player, Tony Salador, is the mastermind behind the musical project accompanied by Guillaume Tremblay & Andy McAdam as supporting musicians. At the risk of sounding reductive, Hood Rat’s set could be described as electric. Their music ticks all the boxes needed to have a great time –it is loud, fast, and straightforward. A great balance between street punk, leaning towards hardcore punk, but with a prevalent underlying rock n roll sound ever-present in their catchy riffs. 


Overall, Hood Rats are a great band to see live. Hopefully, they will come back to Chicago soon, and if they do I would suggest any enjoyer of hardcore punk and street punk to see them live. The band describes their music as “in your face, raw music” and that description fits them perfectly. Their studio music is also worth checking out, and a great place to start would be either their song “Do Not Resuscitate” off of their Deep Cuts: The Singles Collection album or their video just released earlier this month “F*** the Police.”


After a few minutes of setting up and getting everything ready, Maharaja took the stage. Not many people were expecting the stark contrast between the first and second acts. This three-piece act from Dayton, Ohio showed they are all well-seasoned musicians; their performance was controlled, clean, and incredibly fucking heavy.

In comparison with the first band and their music perfect for slamming and thrashing, Maharaja brought the meat to the table with a slower-paced, thick, sludge and doom metal more suitable for the long-term neck issues caused by headbanging too hard. Their songs were significantly longer, as is typical in this specific genre. However, when the music is good, does the length of the track really matter? In terms of musicianship, all three members were exceptional, but the vocal skills of the lead singer and bassist alongside the backing vocals of the guitar player are worth highlighting. The brutal, unnatural, guttural sounds gave the music a haunting sound of despair and anguish. Their style is heavy, and gloomy, like being pummeled with a sledgehammer to the skull repeatedly (in the best way possible) and the atmosphere they created while performing complemented that sound perfectly.


Sadly, Maharaja is currently bidding farewell, as they are disbanding soon. All good things must come to an end, and this one specifically is leaving one full-length album and a few EPs to show for it. Not only does the cover image look sick, but their single “Soulless” would be a great soundtrack if there is ever a movie made about Marvin Heemeyer’s Bulldozer Rampage.


At this point of the show, the gears shifted. Lengua Salvaje took over the stage and as they were setting up, it was clear they were there on a mission: to play fast, loud, and with determination. They had things to say, and pulled no punches.

Before beginning their set, as the band members were waiting for their cue, the lead singer standing a bit off to the side gave the impression of someone kind of shy and reserved. However, once the music started playing, the presence of the vocalist seemed to grow larger and larger until it was the stage that felt too small and constrictive. 


Lengua Salvaje added a much-appreciated political tone to the show. Touching on anarchist themes and spreading a fairly overt anti-capitalist message, their music was as untamed as their namesake. In terms of sound, the band was playing an amalgamation of hardcore and crust punk with hints of grindcore; the guitar tone was crunchy, closer to the standard sound of crust punk, but the drums truly shone by setting up the pace that created the back and forth between the styles, keeping each song interesting throughout their set.

A song of theirs worth checking out is the track titled “Machete,” it truly showcases this band’s musical style, a unique sound that combines the best aspects of several subgenres within the more extreme branches of punk. Lengua Salvaje is a great band to see live for an unbridled and savage display of angst and aggression, and a perfect choice to precede the headliners of the evening. 


To close off the evening, the final band of the show took the stage. In between the tambores, y la sazón caribeña they unapologetically embrace as a core part of their sound, La Armada brought unto the table a sound that took all the aspects from the music genres of the previous three bands. The clear influence of metal, punk, and hardcore shone through in every single song. The set was tight, a no-bullshit kind of performance, which makes sense for a band with a clear message of anti-oppression that honors the Caribbean resistance movement. 

Singing in both English and Spanish, this band takes on colonization both as a historical concept and as a modern one as one of their main subjects. Embracing Latin American, and Afro-Caribbean rhythms they have a subversive approach to what has historically been a caucasian music genre, which in a way is their strongest form of protest. 


When talking about their music, they have some explosive, fast-tempo tracks. They do not shy away from their hardcore punk original sound but also are not afraid of brazenly appropriating the characteristics of adjacent music genres to create depth and variation in the songs. Their frontman Enrique Vargas performed incredibly well, connecting and engaging with the crowd as well as delivering each lyric with fierce, and aggression.

Al final del día, el corazón hispano lleva la sangre que anhela la libertad del viento caribeño. Es la razón por la cual es fácil crear una conexión con las letras que rechazan la colonización, y mantienen presente la necesidad de la unión entre los pueblos oprimidos. Fomentar la resistencia latina es parte esencial del deber de los activistas hispanos, y así juntos salir pa’lante.



This article was a collaborative effort with the incredibly talented Ed Kost who produced all the featured images in the article.


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DS Show Review & Gallery: Me First & The Gimme Gimmes/The Black Tones/Son Rompe Pera (House of Blues – Chicago, IL – 10/1/22)

The foremost punk rock supergroup cover band hit the House of Blues in Chicago, IL on the first day of October 2022. The band brought the humor and fun, performing others’ classics but at break-neck speed. Me First and the Gimme Gimmes has a rotating cast of characters. At this House of Blues Chicago, only […]

The foremost punk rock supergroup cover band hit the House of Blues in Chicago, IL on the first day of October 2022. The band brought the humor and fun, performing others’ classics but at break-neck speed.


Me First and the Gimme Gimmes has a rotating cast of characters. At this House of Blues Chicago, only one of the original members, Spike Slawson, was on stage. Joey Cape of Lagwagon and Fat Mike of NOFX were unable to join Slawson due to both bands being on tour. However, Slawson did have a pretty solid set of bandmates: CJ Ramone on bass, Speedo aka John “The Swami” Reis of Rocket From the Crypt on guitar, Jake Kiley from Strung Out, and Andrew “Pinch” Pinching formerly of The Damned, on drums. The entire band was decked out in white denim and glittery pink shirts, accented by white ties Slawson added a white sports jacket and Elton John style specs, as well his Lounge Lizard persona.


The band zoomed through a pair of John Denver tunes, “Leaving on a Jet Plane” and “Take Me Home Country Roads,” as well as Paul Simon’s “Me and Julio Down by the Schoolyard,” Paula Abdul’s “Straight Up,” “ScienceFiction/Double Feature” by Richard O’Brien


The set also featured Dolly Parton’s “Jolene,” Willie Nelson’s “On the Road Again,” “Rocket Man (I Think It’s Going to Be a Long, Long Time)” by Elton John, “Mandy,” by Barry Manilow and Gloria Gaynor’s “I Will Survive.”


Me First and the Gimme Gimmes serves up a reliably good time, no matter what the lineup at any given time. It’s all in good fun, though there was an early oof moment when Slawson joked about John Denver’s skills as a helicopter pilot (Denver died when the home-made aircraft he was flying crashed. The National Transportation Safety Board determined the crash to pilot errors). Aside from that, the band members play with an earnestness rather than a mocking spirit underneath the levity. They seem to be enjoying this insouciant break from their “day jobs.” The crowd was all for it and left asking for more.


The Black Tones, on its first national tour, got the show started in a big way. The duo, comprised of Eva Walker on vocals and guitar, and her twin brother Cedric Walker on drums and vocals, have built a devoted fan base in the state of Washington. The Seattle duo’s hit song, “The Key Of Black (They Want Us Dead)” speaks to police brutality fueled by racism.The name of the Walkers’ first album, Cobain & Cornbread, is a nod to both their hometown of the Emerald City, and their family’s southern roots in Louisiana.

On stage, joined by family as back-up musicians and singers they soared. Eva Walker is both an indefatigable shredder and a dynamic vocalist. Cedric Walker is a thunderous drummer, every bash complementing his sister’s swaggering stage presence. With songs like “Mr. Pink,” “Ghetto Spaceship,” and “Mama, There’s A Spider In My Room,” this band will continue to knock the socks off of those lucky enough to see them in the future.


In the middle slot of the evening were the rising stars in Son Rompe Pera. The band, like The Black Tones, is led by siblings. The three brothers Gama: The two Marimberos/Vocalists, Mongo and Kacho, and percussionist/vocalist Kilos. The family is from Naucalpan de Juárezon the outskirts of Mexico City. They are joined in Son Rompe Pera by Raul Albarrán on bass and Albarrán’s cousin, Richi López on drums. The band has played nearly every size of music venue, and was interviewed by National Public Radio. They were also featured in a video for NPR’s Tiny Desk Sessions, On this Windy City Saturday night, Son Rompe Pera buoyantly showcased its sound which is traditional marimba music and cumbia fused with garage punk and psychobilly. Marimberos Kacho’s and Mongo’s synchronized rapid fire banging of their mallets across their marimbas, whilst furiously dancing, building momentum, caused them to appear breathless as they hit the crescendos. Those moments elicited gasps from the crowd followed by roaring cheers. Son Rompe Pera did not just warm up the crowd for the headliners, Instead, it was introducing to many of the Me First and the Gimme Gimmes fans a piece of the members’ heritages and family traditions. In the process, they were also garnering new fans of their music and of the marimba and cumbia.


See below for more photos from the show!

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DS Show Review & Gallery: Red Scare Industries 20th Anniversary: The Bollweevils, The Brokedowns, Brendan Kelly and the Wandering Birds – Chicago

While Red Scare Industries is not old enough to drink yet, it can certainly throw a kick-ass party. In its 20 years of putting together albums, it has curated a selection of artists that have touched lives across the globe. For those unfamiliar with Red Scare Industries, the label was founded by Tobias Jeg, an […]

While Red Scare Industries is not old enough to drink yet, it can certainly throw a kick-ass party. In its 20 years of putting together albums, it has curated a selection of artists that have touched lives across the globe. For those unfamiliar with Red Scare Industries, the label was founded by Tobias Jeg, an alum of Fat Wreck Chords who decided to do his own thing. In 2004, he produced two albums for The Falcon and Enemy You.

A 20-year-long legacy is no small feat, and they have used this time wisely, working with and shaping an impressive catalog of artists. In Chicago, at the very least, some of the most iconic bands have worked or are still working with the record label; Red Scare has managed to, in a way, help shape the sound of the Chicago punk scene’s sound without a doubt. 

A very interesting aspect of how Red Scare operates is how they maintain good relationships with their artists and the appreciation they have for each other. The clearest proof of this appreciation is their recently released album, 20 Years of Dreaming and Scheming, featuring songs from their artists and even a few bands that came out of retirement to participate. To list a few, Won’t Stay Dead, the Bollweevils, The Brokedowns were all part of the event, both the album and the live shows. 

The album released was just half of the party. Two shows in Chicago, one each in Wisconsin, Portland and Seattle and to wrap it all up, two more at the Punk Rock Museum in Las Vegas. All in the span of three weeks. What a busy month it will be. But hey- you only turn twenty once. 


To kick off the party, playing their characteristic spooky and mesmerizing blend of pop and horror punk, Won’t Stay Dead was the first band on the ticket. Sadly, due to typical Chicago traffic, I was unable to get there in time to photograph and give a proper review of their set. That being said, Won’t Stay Dead generally are incredible performers so go ahead and check out their cover of Enemy You’s “Ex-Machina” which is also a part of Red Scare’s anniversary compilation and a certified banger.

Chicago punk rockers The Bollweevils took the stage and as per usual, the crowd’s excitement went through the roof almost immediately. Standing still is nearly impossible when the Punk Rock Doc is on stage. His contagious energy fills up the entire venue as he jumps, high kicks, and joins the crowd in the mosh pit. The way he connects with the audience is truly special and never gets old. The fans and them always seem to have such an incredible almost symbiotic relationship in which both feed off each other’s energy, escalating to a point where everyone regardless of how many times they have seen them live, if at all, feels like they too are a part of the show.


In between songs, the banter between the band members is hilarious, constantly joking and teasing each other, but when the first chord strikes it is time for business. Once the music starts, the playful banter transforms into some of the most solid punk rock anyone could ask for. Their repertoire includes an impressively solid collection of thoughtful lyrics while retaining the speed and aggression that has been part of their core sound for decades. 

One thing about the band was different this time, though: joining them on the drums was Timmy Lydon, who made playing the drums seem effortless while matching the tempo and energy of the rest of the band. As always, the band delivered a tight performance that was both energetic and fun.

“Honk If You’re Horny” is both the cheesiest bumper sticker and one hell of a catchy tune by Elgin Illinois’ punk quartet The Brokedowns. Hilarious and irreverent immediately come to mind when thinking about this band. With songs titled “Osama Van Halen,” and “Kony 2022” this band’s tongue-in-cheek lyrics are put in contrast with a musical set that is both fast, and gritty but at the same time oddly melodic. It is a unique blend of concepts that in theory should not work but synergize perfectly well to create their distinct sound.

The Brokedowns were more than just the music, just like the previous band, the banter in between songs made it easy to relate with them and feel like the space in between songs was just as much a part of their set as the music they play. These guys managed to put together equal parts of catchy riffs, cheeky lyrics and a gritty voice that make them a band that is easily enjoyable to listen to and even more to see live.

A few moments after The Brokedowns finished their set, a familiar face, and even more familiar voice took up the stage. Sporting a bandana around his neck, followed by his stylish bandmates wearing matching tracksuits, Brendan Kelly and the Wandering Birds pick up their instruments and begin their set. Well, two familiar faces, as Deanna from Sincere Engineer joined the band for the evening playing the electric guitar and backup vocals.

Brendan Kelly, from The Falcon and The Lawrence Arms, played his acoustic guitar and sang for the crowd with his very iconic raspy vocals and a demeanor that somehow made me nostalgic for something I didn’t know I missed. As a masterful storyteller, with every song he was able to transport the audience through a journey of emotions; some songs sounded sorrowful, other songs were joyful, but all of them made you feel something. The perfect balance between folk, punk, and rock and roll served as the perfect catalyst for the experience.

And so, the night ended with a most perfect band to bring closure to the evening filled with music, laughter, and the beginning of the rest of Red Scare Industries’ anniversary party. What a great experience it must be to see so many people, both artists and fans, come together to celebrate the hard work and the influence of what once was a small project has turned into over the course of two decades.

Check out the photo gallery below for a few more photos of the show!


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DS Show Review & Gallery: x.Oracles.x, Reaganomics, Disinfo, The Dennies, Eskes. Chicago (12.30.2023)

And that is it for 2023. We wrap up the year with one last show put together by the folks behind Punk Rock Tacos. It is time to bring the community together one more time before the end of the year at Cobra Lounge. The lineup for the show was an eclectic mix of very […]

And that is it for 2023. We wrap up the year with one last show put together by the folks behind Punk Rock Tacos. It is time to bring the community together one more time before the end of the year at Cobra Lounge.

The lineup for the show was an eclectic mix of very different bands in terms of genre and sound. Surprisingly that was not an issue whatsoever; once each band got on stage the music spoke for itself, regardless of what kind of sound they were producing.


The first band for the evening was one of Punk Rock Taco’s own x.Oracles.x. If there is one thing to reiterate about this band, it is their consistency to put on a killer show.


Ms. Lynch, the lead singer, likely delivered the strongest vocal performance of the evening. With strong support from the rest of the musicians, her voice is the key that makes their punk rock sound work seamlessly with blues riffs and rhythms. The scratchy guitar riffs add some grunge elements to the music that are supported by the walking bass lines that create an uncompromising mixture of both blues and punk.


Their set consisted of a mix of mostly original songs and an incredibly fun rendition of Talking Heads’ classic track “Psycho Killer.” Their song “Shotgun Blues” from their EP “Gitcha Gitcha” is a certified banger.


Is Party Punk a genre? That is probably the best way to describe The Reaganomics’ sound. Vocal harmonies, some ridiculously catchy riffs, and speed summarize their music. These guys did everything you want a punk band to do, and they did it well.


The self-described “sweaty dads playing punk” truly were, and did just that. Whether the songs were played in between banter or the banter in between songs, it was funny, enjoyable, and showcased solid musicianship from all four band members. The bassist and both guitarists took turns as lead singers throughout the show keeping each song fresh, and worked super well together when doing gang vocals or harmonies. The drummer, sporting the coolest shirt there and a groovy sweatband, did a stellar job as the driving force behind the constant rhythm changes and aggressive sound of the band.


The Reaganomics are definitely worth adding to your playlist. Their music is just so much fun, and a must-see live for sure. Take a listen to their song “Don’t Worry. We’ll Play First” from their album Lower the Bar. This is a great place to start if you are not familiar with this band.


Next on the ticket was Disinfo. The three-piece band took all the harmonies and catchy riffs that the previous bands had played and threw them out the window. There’s no need for vocal harmonies or complicated guitar solos when you’re trying to make a point, and Disinfo did just that, and very effectively.


This band is confrontational as hell, and they are not shy about it. Playing a mix of hardcore, d-beat, with some thrashy sections in some songs. These guys have one mission only and it is to send a message loud and clear – emphasizing the loud part.


For a healthy dose of whiplash, check out Disinfo’s song “Verbal Abuse” from their brutally blunt ep Nothing is True. Pay attention to these guys if politically charged, contentious punk is your thing.


While the lineup seemed eclectic at first, there was some genius behind the order in which these bands were scheduled to take the stage. As the show went on, the bands also got progressively faster, heavier, and more aggressive. So when the next band, The Dennies, got on stage I was caught off guard.


The next thing I see is a small army of teenagers getting on stage setting up their instruments. Not knowing what to expect I do have to admit that I had really low expectations, but then Noah Corona, the mastermind behind Punk Rock Tacos, grabbed a mic and promised us that the next band was going to “rock our socks off,” and oh boy he was right.


Despite their young age, The Dennies put up a performance that was easily on par with their more experienced counterparts on the ticket that evening. Their music sounded like some sort of amalgamation of punk, alternative, grunge with a bit of metal sprinkled all throughout. What an incredible combination. Jumping up and down, their lead singer had everyone up front moshing and slamming, and at one point even joining the moshing themselves.

The crowd requested an encore and The Dennies ended their set with a powerful rendition of “Raining Blood” by Slayer.


Overall, the band put on a great performance. I was honestly somewhat embarrassed at the end for making assumptions based on their age but they really did rock our socks off. It was teenage angst that got us all into this scene in the first place. that some of us somehow forgot along the way, and The Dennies are here to remind us of it. It is angst straight from the source. If you do not believe me, check out their song “Flesh,” Don’t tell me I didn’t warn you.


To end the night, the headliners, playing high-quality hardcore punk as Eske (short for Los Eskeletos), granted us the perfect ending to the year. While 2023 is over and 2024 may not be much better, at least we have some awesome music to get us through it all.


Their songs were short – as most Hardcore Punk songs should be, if you ask me – but they made up for the length by playing some of the best hardcore I have seen live in a while. I am pretty sure they played their entire set in 20 minutes, but honestly if they were to play their set from start to finish again, I would not have complained. 


While I do have to admit that I have a soft spot for specifically Latinx hardcore punk bands, Los Eskeletos is such a great band that I highly recommend it to anybody that is into that specific subgenre, and if you go to one of their shows I can guarantee their music will make you want to jump into the mosh pit. Their album Sobras is a must-listen.


Head below to check out the full photo gallery of the show!


x.ORACLES.x


The Reaganomics


Disinfo


The Dennies


Eske


Pit Shots

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DS Show Review and Gallery: Ruido Fest (Cypress Hill; Los Fabulosos Cadillacs, Bruses, Cardiel)

Ruido Fest 2022 took place last month, August 19-21, in Chicago’s Union Park. The event is billed as the area’s largest Latin alternative music festival. The bands and performers came from the Windy City, across North America, and from all around the world. Amongst the forms of music presented are punk, post-punk, hip-hop, electronica, psychedelic, […]

Ruido Fest 2022 took place last month, August 19-21, in Chicago’s Union Park. The event is billed as the area’s largest Latin alternative music festival. The bands and performers came from the Windy City, across North America, and from all around the world. Amongst the forms of music presented are punk, post-punk, hip-hop, electronica, psychedelic, and more. All with a Latin American flavor. 

Whilst a few bands, such as Beach Goons, Siddhartha and Maldita Vecindad, had to drop out, the remaining lineup brought three days of fun and energy to large and enthusiastic crowds. Being that this was alternative music festival taking place in the US, it was not surprising that one of the most prevalent band shirts was that of grunge band Nirvana. Everywhere you looked, people of all ages wore shirts dominated with the band’s name, and often the iconic melancholy expression of the late Kurt Cobain.


Cypress Hill, the CA hip-hop legends might be characterized as punk adjacent. Singer Dr. Greenthumb aka B-Real and percussionist Bobo took the stage after about 30 minutes, give or take, introduction by DJ Lord. By that time, a thick wall of smoke connected the stage to the audience via smoke machine with a bit of thinning out above the photo pit. Some of that was the due to the smoke machine on stage. Of course the group’s advocacy for the use of cannabis for both medicinal and recreational purposes, is a major theme in its songs. B-Real paced the stage with a rather long blunt in his left hand along with the microphone as he gestured with his right hand.  The group tore through its standards such as “Dr. Greenthumb”, “I Ain’t Going Out Like That”, “Hits From the Bong”, “How I Could Just Kill A Man”, and many others. By the time they got to what is arguably their biggest hit, Insane In the Membrane, Cypress Hill had complete control of the large crowd. Capping off its set was a rollicking cover of House of Pain’s most famous tune, Jump Around.  B-Real called for everybody “standing up to get down like this here” and advised that those with a Fitbit or Apple watch the this was going to fill up their activities category. Indeed the crowd, exponentially larger than any other set that weekend, with many members attending only for Cypress Hill, was jumping around almost completely in unison.


Bruses had a smaller crowd than Cypress Hill but the Tijuana native was no less enthralling. She was clad in a variation of a business suit. A black jacket covered with numerous hand painted looking designs in white, black raggedly cut off just below her knees and sporting on each leg two belts. Clunky black shoes, a black tie white shirt completed the outfit. Almost. Rising above, from behind, each shoulder blade were several, what I can only describe as, glittery black stuffed horns. Her hot pink hair, pale foundation accented with dark red lips, reddish pink eyelids ringed in black, created ethereal stage presence. Her music and movements throughout were bewitching and she had the crowd in a trancelike state.


Elis Paprika, another one of the numerous performers hailing from the USA’s North American neighbor to the south, is also a well know activist in her native Guadalajara. She rocketed off from the start of her set, never touching down until she was finished whipping up the crowd in to exhaustion. With hyper charm and perfectly complementing her strong voice and infectious songs, few would argue with the words on bright red t-shirt, an item of her own merchandise, exclaiming “Mexican Girl Power!”


Skate punk band Cardiel consists of two Valencia, Venezuela natives: Vocalist/Guitarist Miguel Fraíno and drummer Samantha Ambrosio. However, the founded their band in Mexico City in 2010. Little flash but lots of fury marked Cardiel’s set. They pummeled through song after song, hyping up the circle pit significantly.


Los Fabulosos Cadillacs, the Buenos Aires ska legends, had the swelling crowd dancing as the night two headliners. The band ripped through “Manuel Santillán, El León”, “Saco Azul”, “Mal Bicho”, “Calaveras y Diablitos”, “Matador”, and “El Satánico Dr. Cadillac”. It was a fun way to end a Saturday night on a not too hot summer day. 


Other highlights from the weekend included sets from Sgt. Papers, El Mato, and Avantist.

See more photos below!

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