UK post punk band, Dry Cleaning have been touring North America for most of the new year and finished this leg of their 2023 World tour last week when they passed through Red Hook, Brooklyn at event space Pioneer Works. Along for the ride were openers Spirit Of The Beehive and Nourished By Time. 2022 […]
UK post punk band, Dry Cleaning have been touring North America for most of the new year and finished this leg of their 2023 World tour last week when they passed through Red Hook, Brooklyn at event space Pioneer Works. Along for the ride were openers Spirit Of The Beehive and Nourished By Time.
2022 was quite a busy year for Dry Cleaning, with the release of their critically-acclaimed sophomore LP, Stumpworknot to mention almost non-stop touring, all of which has proven to be a huge boon to the band’s popularity. Last year at this time they played the relatively tiny Market Hotel here in Brooklyn, while this show at Pioneer Works was sold out with well over 1000+ in attendance. It certainly is my guess that next go-around will see them knocking on the doors of even larger venues once again.
Dry Cleaning offers up a sound which is different and quite unique. Lead singer Florence Shaw doesn’t sing as much as she speaks in cadence. It’s not a rap kind of speaking but more of a flowing stream of sentences washing over a background of exquisite music provided by Tom Dowse on guitar, Lewis Maynard on bass and Nick Buxton on drums. Opening up their set with “Kwenchy Kups” and “Alan Ashby” off of their Stumpwork album it was immediately clear that the band has grown into a well-oiled machine with the virtual nonstop touring with which they’ve been doing. Shaw opening up the show with the opening lines “Things are shit, but they’re gonna be okay” seemed perfect. Her whispered voice over the cascading guitar fills echoing out of Tom Dowse’s amplifier mixed with the bouncing rhythm provided by Maynard and Buxton on bass and drums respectively set the tone for the entire evening. Whereas “Kups” was slow and almost dirge-like, the follow-up of “Alan Ashby” with its rolling, almost danceable rhythm was a near-perfect segue. And so the evening went. Shaw was absolutely mesmerizing front-of-stage clutching her microphone stand for much of the evening or pantomiming with her hands when she was not while she murmured the lines to each of her songs.
Tom Dowse
As captivating as Florence Shaw’s stage presence and vocal presentations were, the work which Tom Dowse was pulling off to her right on stage was almost otherworldly. With a unique style which I don’t think I’ve ever seen from anyone else, his playing lead guitar riffs on an electric 12-string was jaw-dropping to say the least. Never overstated or showy, the sounds and progressions which he was created throughout the evening has me scratching my head for most of the night wondering how he did it. Despite his understated style of neck play, he still managed to create enough of a whirlwind of sound to float just behind the words that Shaw was hushly reciting.
Lewis Maynard
Which brings me to the rhythm section, specifically Lewis Maynard on bass. Watching him play, you would have thought you were seeing a bass player in a funk band grooving on the beats. His crazy long hair flowing each and every way as he rocked forward and back to what seemed like every note plucked from his bass. Yet what you were actually hearing was a backbeat which perfectly accentuated the fluid tide which Shaw and Dowse were sharing. Bouncing to the subtle beat it took me some time to put 2 and 2 together but what I was hearing from Maynard was a bass style right out of the Robbie Shakespeare book of rub a dub-style riddem…and it was a perfect compliment to the entire ensemble.
Dry Cleaning is by no means a dance band but certainly, they are quite adept at creating dance music. Not jump up and down kind of music, but perfect ambient, sway back and forth in a cosmic buoyant haze kind of dance music. A band whereby the whole is way greater than the sum of the parts. I for one can’t wait to see them again even if it means having to experience it in a significantly larger space due to their ever-growing popularity.
A quick word regarding the two opening bands. Nourished By Time, the nom de plume of Baltimore native Marcus Brown started the evening off with a spirited and interestingly enjoyable mix of R&B, Hip Hop, and electronic music which managed to grab ahold of much of the early-arriving crowd. Next up was Philadelphia’s SPIRIT OF THE BEEHIVE who despite being plagued by technical issues throughout their truncated set still managed to present a forward-thinking hypnotic brand of rock. With all three primary bandmates (Zack Schwartz on guitar and vocals, bassist/vocalist Rivka Ravede and multi-instrumentalist Corey Wichlin) all sharing various duties on synths, the band created quite a captivating sound. I hope to see them again in the near future.
If you read our review of Mercy Union‘s dynamite sophomore album, White Tiger, last week, it should probably come as no surprise that even though I live in Massachusetts and the official record release show occurred on a Friday in New Jersey, I was going to be there. And I was! My “forever-plus-one” and I […]
If you read our review of Mercy Union‘s dynamite sophomore album, White Tiger, last week, it should probably come as no surprise that even though I live in Massachusetts and the official record release show occurred on a Friday in New Jersey, I was going to be there. And I was! My “forever-plus-one” and I hopped in the car, dropped our teenager off at her grandparents’ house, and made our way to Crossroads in Garwood, NJ, a club that has become a sort of home-away-from-home for us the last half-dozen years or so. (Really, if you live in the greater NYC area, you should make it a point to go to Crossroads for dinner and a show. You won’t regret it.)
Felons were the first band out of the gate on this evening. Astute followers of the New Jersey music scene will no doubt remember Zak Ferentz from Ferentz and the Felons. The Hudson County street folker retooled his band during quarantine lockdown. Now known simply as Felons, the band still features Ferentz on acoustic guitar and vocals, but he’s backed by a bass player and, well, I don’t have nearly enough knowledge of electronic music to have even the foggiest idea to know what Plantcham was playing on stage right, but I know that it combined for a really cool and weird and interesting sound. Sort of acoustic folk punk meets drone synth with all sorts of samples in the mix. Ferentz at one point introduced a song as being “about doing too many psychadelics” and I’d say that sounds about right. Check the video for “Sheep’s Wool” here for a pretty accurate example.
Brooklyn’s Early Riser were next up, and I have to say, I’m really, really glad I finally got the chance to see them. For the uninitiated, it’s safe to say that Early Riser continue the evening’s theme of bands that are tough to confine to a specific genre box. The sound is centered around Kiri Oliver’s playful vocals and small body Martin acoustic with additional texture provided by Heidi Vanderlee on cello and Nicole Nussbaum on bass. Drums are handled by none other than Mikey Erg, and all members provide harmonies. It’s like posi folk punk power-pop and it inspired a random and unexpected dance break in the crowd!
Much like yours truly, Lenny Lashley made the trip down from Massachusetts. Accompanied by frequent collaborator, the multi-talented Cody Nilsen on pedal steel, Lenny occupied the night’s direct support slot. I think Lenny is the artist I’ve seen most since Covid started a couple years ago because I tend not to wander too far away from home now, so it was fun to actually see him play a road game. Lashley bounced between acoustic (a 1937 Martin reissue, I believe) and electric (a tele-style Nacho Guitar if you’re into that sort of thing) and, while he’s got a massive catalog, stuck to songs mostly from his solo repertoire, including a few tracks from his upcoming album Five Great Egrets (more on that later). Lashley and Mercy Union frontman Jared Hart go back to the days when the former welcomed the latter’s old band, The Scandals, to Boston many years ago, so it’s been fun to watch the connection continue across state lines well over a decade later.
Which brings us, of course, to the Mercy Union portion of the evening. Hart and the gang (Rocky Catanese on guitar and occasional lead vocals, Nick Jorgensen on bass and backing vocals, recent recruit byt familiar face Matt Olsson on drums) fired up the margarita machine and fired straight into “1988,” “The Void” and lead single “Prussian Blue,” the three tracks that open White Tiger and set its sonic tone. The new material was, naturally, pretty well received from the home crowd, most of whom had clearly been listening to the album on repeat for at least the duration of release day if not, in some special cases, considerably longer. The 16-song set was heavy on White Tiger, naturally, with a few songs from their debut album, The Quarry, a couple reworked Hart solo songs, and a completely on-brand singalong cover of Goo Goo Dolls classic “Black Balloon” for good measure.
It was apparent from the earliest notes of their set that the band wore not only loaded for bear, but were having fun in the process. It is obviously a bit of a daunting task to put out an album on your own label two-and-a-half years into a global pandemic, and then to host a record release show at a well-respected club in your backyard (a club that, coincidentally, yours truly traveled to for a Scandals record release show a bunch of years ago). The night was full of smiles and gratitude and shoutouts and guest appearances on gang vocals, proving that while the sound may have branched out from traditional punk rock, the vibe and the ethos once you’re inside the four walls of a sweaty club remains every bit the same.
Look below for photo slideshows from each set of the night. You can still order Mercy Union’s White Tigerhere or get it wherever you buy your digital music!
The pop-punk genre has had some legendary crossover throughout the years. Most of the tours listed below are shows that will never happen again. They are a perfect moment in time, a product of their generation and surroundings. Some fans were lucky enough to witness such an experience. As for the rest of us, we’ll […]
The pop-punk genre has had some legendary crossover throughout the years. Most of the tours listed below are shows that will never happen again. They are a perfect moment in time, a product of their generation and surroundings. Some fans were lucky enough to witness such an experience. As for the rest of us, we’ll look at these lineups and dream about what it might have been like to see such a show.
This list excludes festivals like Bamboozled, Warped Tour, Mayhem fest, Sad Summer fest, etc. To make the list they must be cross-country traditional shows.
This is the most recent tour by far. Originally scheduled for 2020, but delayed a year because of COVID, the 21 Years of Bad Luck Tour was everything fans wanted and more. Seeing 3 staples of the pop-punk community on one tour was breathtaking. Every time one set ended, the next one came in even stronger. All 4 bands on the bill truly gave it their all and it shows. Bayside was supporting their heaviest record yet, Interrobang [2019]. Senses Fail had just collaborated with Spencer from Ice Nine Kills and was gearing up for Hell Is In Your Head [2022]. As a pop-punk fan, you won’t see a lineup this stacked for a while.
The Wonder Years have never had a bad lineup on any of their tours. The band is known for having their finger on the pulse of the scene. Their fall tour with Motion City Soundtrack is easily one of the most iconic tours yet. State Champs even opened for this show right before they blew up into the mainstream. This feels like a fan-made tour on Tumblr in 2014. Fall tour of 2015 is even more impressive when you consider this is in the wake of the bands 7″ split EP! All of these bands on this bill grew to have even more successful careers.
The hype for this tour was palpable to say the least. Pierce the Veil drops King for a Day with Sleeping With Sirens in 2012, it soars to the top of every rock chart. It immediately becomes a cult classic. The tour was inevitable, but what was unexpected was just how memorable it would be. It skyrocketed every band on the bill’s career. This tour made post-hardcore cool again. Sleeping with Sirens was still extremely heavy at this time. Opener Beartooth had dropped their debut album Disgusting and was on track to be the next huge headliner. Even the more mellow This Wild Life provided a breathtaking soundscape for fans to enjoy (and get real sad to). Fans of one band soon found themselves obsessed with all 4. This was a scene kid’s dream come true.
Any show that either Taking Back Sunday or Coheed and Cambria do separately is always a 10/10 performance. Some fans were lucky enough to see these two rock legends perform together, back to back. Taking Back Sunday is known worldwide for their energy and charisma. Coheed is famously one of the most talented and technical bands in the scene. They can play unimaginable riffs with ease. Not only that, but The Story So Far opened for this once-in-a-lifetime event. From old bands to new bands, this tour brought the heat. While all the bands are still together, we’ll never see them in this incredible order again.
8.) Believers Never Die Tour (2009)- Fall Out Boy, All Time Low, Cobra Starship, Metro Station, Hey Monday
It’s hard to even imagine the excitement of a Fall Out Boy and All Time Low tour alone. What happens when you add on Cobra Starship, Metro Station, and Hey Monday? You get the scene tour of the decade. Anyone that ever bought skinny jeans from Hot Topic or had Green Day on their iPhone shuffle went to this tour. To this day, memes about this tour are all over pop-punk Instagram and tik-tok. It’s defined the test of time. It certainly lived up to its hype for decades to come.
You know this lineup is stellar when even the bottom of the bill could headline an arena. Considering this was Blink 182’s first album without Tom Delonge, they knew they had to bring their best. This tour was perfect for every generation. Older fans were there to see Blink and A Day to Remember, younger fans came in droves for All Time Low and the All-American Rejects. This show can only happen once in a lifetime, and if you were there, you’ll never forget it.
6.) The Save Rock and Roll Tour (2013)- Fall Out Boy, Panic! At The Disco, Twenty One Pilots
This is another tour that is absolutely baffling. Fall Out Boy, fresh off the heels of their massive comeback, and touring with Panic! At the Disco, the band they helped create. Save Rock and Roll may be a divisive record but I firmly believe it has so much heart. There’s a reason the band came back even bigger than when they broke up. To add a cherry on top, Twenty One Pilots was the main opener and still extremely small at this point. When people refer to alt-emo this is the sound they are referring to. Regardless of your preferred genre of music, this tour was perfect for everyone who rejected mainstream modernity in 2013. A show like this would sell our baseball stadiums in 2022.
The Story So Far Tour in 2018 was a renaissance of modern pop-punk. Every single band on this lineup would grow up to be influential in the emo scene. Citizen and Movements have become icons for sad downbeat music. Turnover has dove deep into soft rock and found success there. All of these artists gave something back to the scene they loved and pushed the boundaries of music forward. The best compliment about this lineup that I can say is that it feels almost too good to be true.
This is the tour on the list I’m the most jealous of by far. Even the main opener (The Wonder Years) is one of the most concise and powerful bands of all time. Keep in mind, when this tour occurredall 3 headliners were experiencing a massive rise in their respective careers. A Day To Remember had just dropped their magnum opus, Common Curtsey. Pierce the Veil had released their biggest album to date, Collide With The Sky. Even All Time Low was finding success again with their record Don’t Panic! Every band was blowing up simultaneously. If you got to witness this lineup, you are one of the lucky ones.
Another recent entry on this list, and arguably one of the biggest, the Hella Mega tour swept the world with hype. 3 of the largest rock bands in the scene agreed to come together for an epic tour. Very rarely can you see Emo and Pop-punk bands sell out 50,000-capacity stadiums. The financial success of this tour showcases how necessary it was and valued among the pop-punk community.
This tour is extra special because 2/3 of this bill no longer exists. It is literally impossible to see these artists live. However, for the special fans who got to experience such an event, I am confident they will never forget it. Brand New and Modern Baseball both being the faces of modern emo, with the fun alternative sound of the Front Bottoms makes this a legendary show. This concert will forever live on as one of the greatest experiences in rock history.
There isn’t much that can be said about this tour that hasn’t already been said. Green Day and Blink 182 were dominating the mainstream in ways rock hasn’t seen in years. Their tour together would cement itself as one of the crowning live events of the 2000’s. This tour is so well known, you can say “pop disaster” to any fan of the genre and they’ll immediately know exactly what you’re referring to.
Dear Diary, I’ve returned from England. And damn, let’s talk about Slam Dunk and maybe talk about some of the things that need improving for next year. But first, we should thank Slam Dunk for getting me accredited this year. It was awesome. The weather was terrific; it was sunny and bright, which many English […]
Dear Diary,
I’ve returned from England. And damn, let’s talk about Slam Dunk and maybe talk about some of the things that need improving for next year. But first, we should thank Slam Dunk for getting me accredited this year. It was awesome. The weather was terrific; it was sunny and bright, which many English people didn’t expect – so towards the evening, as the sun was going down, there were a lot of sunburnt backs and faces. Even I, the ginger that lathers in sunblock, had a bit of red, but it disappeared. Amazing company! Okay, before I get into how I loved sharing important bands with some of my favorite people…the cell reception sucked and we lost a friend somewhere and didn’t find each other until the end of The Offspring and Enter Shikari’s set. Goddamn! But she was still there. But yes, they are amazing people to watch some of my favorite artists with and share some memories with, even on the shuttle to the afterparty. So, you know, we lost one friend, but a different team of Danes was there as well, and we also spent some of the day trying to find each other. This is ironic because we spent most of the time at the same stage. BUT, happy ending, y’all, and weird moment during Slam Dunk, we all found each other on the same shuttle bus. Friends, all ended well. As for what could be worked on for next year? Well…let’s begin our review of Slam Dunk ’23! Be ready.
So, Sincere Engineer came up at 11:30 in Kerrang! Tent Right Stage. Zand and The Tyne played in different tents, so the crowd wasn’t huge. But it was awesome enough because those who were there were there to see Sincere Engineer in action. Like me, because let’s be honest, this band will be playing big venues in due time. So, starting with no difficulties on the stage, Sincere Engineer played a bit for everyone in those 30 minutes, which I discovered for myself wasn’t enough time. But they did manage to play the bangers, of course. The setlist included, which is not in a particular order, “Overbite,” “Fireplace,” “Trust Me” and “Corn Dog Sonnet No. 7.” They even played the new single, which I didn’t get the name of!
But overall, the best band to kick off Slam Dunk ’23 for me.
Hehe, my biggest guilty pleasure band was on site! And to be honest, I was super excited to see them. I might have been even more excited to interview them after their set, hear who they were excited to see at Slam Dunk, and find out if they’ll ever visit Copenhagen, Denmark. So, what did Travis Mills and Nick Gross say to me after their set? Well, we’ll get to that, but first, let us discuss their set.
And, huge thanks to my friends for watching them with me even though they aren’t fans.
Their set was good. The set list was excellent and varied, mixing their first record and newest EP. They have much energy and could’ve benefited from being placed on the Kerrang! Stage, but that’s my opinion. The fact is, they came and served. Now let’s get to the interview because that was a true highlight of my trip, and as a bonus, I’ve added a nice picture of me and the lads below. And yes, my dear DyingScene readers, I am forcing pop-punk on you.
When I asked Travis and Nick about their tour with Avril Lavigne during her EU tour, Travis said, “It was mindblowing, a dream come true, and she’s the best.” Following up with the question that they started the band two years ago, Travis corrected me and replied, “Two and a half years ago”, leading me to the following questions, what they did before this and how they met; “I had a solo project, and Nick has been in bands since he was a teenager. He played drums for one show for my solo project, and we never played music again. And then we started girlfriends.” Travis told me. I asked Nick which bands he was a part of and boy, we know him. “girlfriends, and Goldfinger” but if you google him, his CV is more impressive than mine. I complimented the chemistry between Travis and Nick, as it genuinely seems they’ve been playing together their whole lives. The boys cracked some jokes about dating, and that’s why the band is called girlfriends, and that’s fine with me.
So, who were they going to watch at Slam Dunk? Travis had the following answer when I asked: “to no surprise, it’s the homies The Maine, The Hunna, we definitely gotta watch JXDN, Sueco, we’re just trying to catch all our homies”. To my curiosity, where was the name, Charlotte Sands? Well, that’s their girl, so no doubt they would catch her set. As lovely as I am, I’m also extremely cheeky in that I may have asked if they knew who DyingScene.com was, but they didn’t. But now they did, and it’s MEEE. So I asked what they had to say to fans. “One, thank you for listening and giving our band a chance. Two, there’s a revival going around (on the scene), as in the early days when bands had friendships and real relationships. And that’s what the scene was missing, and it’s cool to see it come back around” and while some of you readers will disagree, please remember to have a friendly tone about it. Aaaaand to end the interview in the best way possible, I hope this can give the Danish fanbase some hope for some time. I did ask if they had any plans on coming to Copenhagen – but in my defense, I didn’t ask when. But here’s what girlfriends had to say. “We must come to Copenhagen. This isn’t even a question. We must do it, Copenhagen here we come.”
…. Words can’t describe this set. But it’s fair to admit that I am a massive fan of Spanish Love Songs. As soon as the first note from “Routine Pain” started, I started crying. But not sad tears. Okay, both happy and sad tears, but seriously this band is fantastic. They also played “Haunted” from their upcoming album No Joy. Eight songs played, and off the stage they went. Along with The Menzingers – but we’ll get to them, their set was probably the one that seemed like it flew by the most.
Fireworks
I may have forgotten that Fireworks also had a set and actually randomly stumbled upon them outside. So this was an impromptu show between Spanish Love Songs, interviewing girlfriends, and catching Charlotte Sands. It was a good show, and it was just a shame that the microphone seemed to be a bit too low. But overall, I didn’t leave disappointed. I’d like to see them again. And people in the crowd were talking about how they looked forward to seeing Fireworks and how they liked the album they released this year.
Charlotte Sands
“I’m throwin’ a tantrum, coming in so chaotic…” and that is precisely what she did! Okay, the sound could’ve been better. But she isn’t the sound tech, so it’s not her fault. But damn, her pipes came and conquered! When I describe her to people who haven’t heard about her, I call her Michelle Branch if MB is emo. But in reality, Charlotte Sands is much more than that. And I think her performance at Slam Dunk was good; the mistakes that happened were out of her control. But her performance is so energetic, and her talent did shine through.
No hello, The Menzies come out and pop things off with “Charlie’s Army,” which is one of my favorite songs by them. And, uh, what a set. They performed the goodies like “Good Things,” “America (You’re Freaking Me Out),” “After The Party,” “Midwestern States,” “House on Fire,” oh fricking hell…they spoiled us with a new song from their upcoming album! The song was called “There’s No Place In This World For Me” and I wasn’t expecting anything new, so my head exploded! I cried a bit, but let’s face it…this wouldn’t be the last time I cried a bit during Slam Dunk. The Menzingers were flawless, but now I need that new album!
“My eyes can’t believe what they have seen…” as William Beckett jumps around like he hasn’t aged. Sure, the brown locks have a hint of grey in them. But to be honest, I’m okay with that. As a few might have read, TAI does have a special place in my heart, an inside joke between my deceased uncle and I kept going up until last year. And now I saw them, which was emotional and overwhelming at best. Sadly I didn’t return home with a TAI tattoo, but I did return home with bragging rights that I’ve shot concert pictures AND screamed along to their songs. Can we all agree that they were exceptional?! Hands down, one of the best performances on Kerrang! Left stage.
Did you know that next year BFS turns 30? Yeah, I did not. I thought they came around in ’98, but it was ’94. Oh well! It looks like Dying Scene will again be finding its way to the UK to celebrate that anniversary. So, what can I say about the show? It was fun! This took place at the Dickies Stage, and what a turnout it was. They played the hits and had fun on stage. I enjoyed being in the photo pit, singing along to the bangers, and dancing. Most of all, let’s be honest – this band is a bit iconic to us that grew up in the ’00s. Being from ’92, they had their fair share of love from me during my early years. So I was genuinely excited to see them (finally). As a bonus, here is a private photo of me and Jar. See you in Feb, fellas.
Second time seeing Yellowcard perform live; I’ll admit that the first time wasn’t as good as this time. Maybe because it was in 2015, and those I went with weren’t big Yellowcard fans. But this band was entertaining on stage, and the photo pit was exceptionally crowded. Hence, it was hard to move around without stepping each other over the toes, meeting the hands of fans tapping your shoulder, or nearly assaulting security with the front of your camera. Okay, the last part was a joke, but honestly, having a band that size in the Kerrang! Tent was just silly planning from Slam Dunk. But oh well, it didn’t change the fact that they, once again, blew me away. Damn, I regret I didn’t get any of their merch. Let’s move on to the last bands. Yes, bands.
So, we weren’t allowed to take pictures of The Offspring. Hm, thanks for that, guys. But I did manage to go listen to four songs before they decided to… disappoint a little bit. Firstly, I DON’T MIND THE NEW ALBUM. But I love the old with this band; they served all the good shit at the end. Next time fellas. And please, no bloody cover songs?
But I do not like having my time wasted, so my friend and I decided to go see watch Enter Shikari was up to. And that was… Actually fun, but the volume was a bit low. And actually, can we just take a minute? This is my formal complaint. Dear Enter Shikari, a 2023 updated version of “Sorry, You’re Not A Winner” is not acceptable. Let’s try again another day. But hell yeah, they were a party.
I’m lowkey alright about catching the first half of The Offspring and the last half of Enter Shikari. Overall they all sounded good. I had a great time. So, same time next year?
The Welsh quintet, also known as Neck Deep, has returned with a new self-titled album, and we hear them returning to their early roots. But after 12 years as a band, I wondered how they would keep up with their peers’ releases last year, and wow… They went beyond and above my expectations excellently. The […]
The Welsh quintet, also known as Neck Deep, has returned with a new self-titled album, and we hear them returning to their early roots. But after 12 years as a band, I wondered how they would keep up with their peers’ releases last year, and wow… They went beyond and above my expectations excellently. The singles were catchy and good, but what about the rest of the album? Proper amazing.
‘Dumbstruck Dumbf**k’ opens the album in the most energetic and is irresistible and catchy, thanks to the infectious guitar riffs and supported by the dynamic vibe that continues throughout the song by the drums. While the lyrics reflect on being “good enough” for someone, Neck Deep wonders if they are missing out on being with them. On ‘Sort Yourself Out’, the band treats us to a classic pop-punk track with fast-paced guitars and drums in the background. At the same time, Ben Barlow sings about falling for someone who just isn’t having any of it and urging him to “sort himself out”, all while he is out there buying flowers and apologizing for whatever.
And while we’ve been listening to ‘Heartbreak Of The Century’ since it was released in 2023, there’s no denying that it still stands as one of the best tracks on the album. A catchy chorus, “You’re so smart / But my love just ain’t enough / Baby, that’s okay /I was thinking about fucking myself anyway”, and for an album closer ‘Moody Weirdo’ as energetic and lively as the rest of the record, which honestly is the only way to end this album. Would some love ballad have stuck its landing and message as well as ‘Moody Weirdo’? Likely not, or at least that’s my own opinion.
To summarize, Neck Deep has made one of the best albums of their career here. It’s just a top above their debut album Wishful Thinking, well-polished in the excellent sense, wildly mixed, all done by Seb Barlow, Ben Barlow’s brother, and the band’s bassist. The lyrics are written to much delight, with some rather catchy verses and chorus throughout the album, and no band member misses their time to shine on each track. I’m probably what you’d call a casual Neck Deep fan, but I might consider seeing it on my “End Of The Year” list for 2024. Well done lads.
Manchester, England was represented big time in the Uptown neighborhood of Chicago. The Riviera Theatre hosted The Smith’s co-founder Johnny Marr and his co-headliner James. It was a great show, made a bit greater because the venue is within walking distance of my home. Johnny Marr co-founded The Smiths with Morrissey in 1982 in Manchester, […]
Manchester, England was represented big time in the Uptown neighborhood of Chicago. The Riviera Theatre hosted The Smith’s co-founder Johnny Marr and his co-headliner James. It was a great show, made a bit greater because the venue is within walking distance of my home.
Johnny Marr co-founded The Smiths with Morrissey in 1982 in Manchester, England. The two were songwriting partners, and though the band was active for five years, it left behind a massive legacy.
Marr will also leave a formidable legacy as a solo artist. This was apparent by his performance at “The Riv” on a mild Thursday evening. He spent much of the time at the edge of the stage and sprinkled in some light bantering with fans.
His searing guitar playing, with extended solos, was intense but not ostentatious. It was non-verbal poetry.
The set list was pretty well-balanced between The Smiths tunes and Marr’s solo work. Amongst the latter: Marr performed, “Panic,” with a bit disdainful glee as he sang the lyrics “hang the dj,” repeatedly. With a mischievous grin Marr informed the audience, “We don’t do freedom rock in England, we do the opposite,” before launching into a spirited version of “This Charming Man.” “Please Please Please Let Me Get What I Want,” was gently pleading and poignant.
Marr kicked off the show with a lively rendition of “Armotopia” and was mesmerizing with “Spirit, Power, and Soul.” There was also a cheeky version of Electronic’s “Getting Away with It.” Electronic is one of Marr’s bands, with the other members being Bernard Sumner from New Order and The Pet Shop Boys’ Neil Tennant. The tune is a sly, though unsubtle, roasting of Morrissey’s perceived melancholy posturing.
“I’ve been walking in the rain just to get wet on purpose I’ve been forcing myself not to forget just to feel worse I’ve been getting away with it all my life (Getting away)“
Marr ended the evening with a two-song encore. The first was an exuberant cover of Iggy Pop’s “The Passenger.” He was joined by James’ frontman Tim Booth, with Booth handling lead vocals.
Finally, “There Is A Light That Never Goes Out’ was also a duet of sorts. Or rather a call and response as Marr sang the eponymous lyrics and turned the microphone so the very enthusiastic crowd could sing the same words.
But the very first words of that tune perfectly fit the mood,
“Take me out tonight Where there’s music and there’s people“
It was a great night for both.
Marr’s fellow Mancunians in James were transcendent. Singer Tim Booth, clad in a loose white shirt with flowing blue pants, was alternatively in perpetual motion during some songs, sinuously dancing about the stage, or in meditative stillness during others. Often both modes during the same song. Booth utterly captivated those in attendance while leading his incredibly talented bandmates through an amazing set which included “Out to Get You,” “Stay,” and “Mobile God.”
This set includes the heart-rending “Moving On.” Booth recalled to the audience how being able to be with his mother as she passed away was a beautiful experience. It’s a subject he’s touched on numerous times in interviews, describing death as a sort of rebirth. The song, along with its official music video, is in equal measure, full of sorrow and peaceful catharsis:
“I’m on my way Soon be moving on my way Leave a little light on Leave a little light on.”
Booth’s performance reached greater heights during “Getting Away With It (All Messed Up).” Quite literally, as he scaled the wall at stage right, climbing into the first opera box to momentarily sing and dance with fans seated there. He then moved up onto the second and third opera boxes, doing the same before finishing up on the balcony. It was a little nerve-wracking to see the singer standing partially on the edges of these areas. Indeed, Booth could be seen testing the railing, checking for possible looseness, of the first opera box before committing to the move. Thankfully, sometimes, with the help of fans who often but not always held his hand during these moments, he made it down back to the stage safely.
And though the tune’s name is similar to that of the aforementioned Electronic song, it is quite different.
“We’re getting away with it All messed up Getting away with it All messed up That’s the living.”
James finished out its set with a rousing rendition of its biggest international hit “Laid.” The infectious beat, the wonderous falsetto, and the sometimes relatable lyrics (if not literally, but in spirit) all combine to make it so good. The song’s narrator acknowledges a toxic relationship, and his inability to leave is confirmed in its closing moments.
“You’re driving me crazy When are you coming home?“
The song was a massive hit when first released in 1993. It later became known to a certain demographic as the theme song to the American Pie movie franchise.
And in 2024, it was again sent out into the public conscience for new fans to be created. SPOILER ALERT (but it has been out for many months so come on…) In one of the final scenes in the season 3 finale of the critically acclaimed and award-winning Chicago set television show, The Bear, the song is blasted during a party in which the characters dance together joyously. Yes, I did mean to use the word joyously when describing a scene from The Bear.
The comments from the official video posting on Youtube are further testimony to the the power of movies, shows, and social media to bring beloved songs to whole new generations. Or remind those of us who immediately loved it why we still do and always will.
Without a doubt, this was one of my very favorite shows to cover for Dying Scene in 2024. I hope to see both sets of musicians back in Chicago sooner than later. Ideally sharing the bill again. I hope everyone gets that opportunity.
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.
The Implants have returned with their new album Annihilation. This just-over-forty-minute record sees the punk rock supergroup preach on a number of topics. Ken Conte, Rob Ramos, Chris Del Rio, and Chris Dalley have put together a twelve-song album with sounds reminiscent of the ones they put out years ago, but with updated emotions in […]
The Implants have returned with their new album Annihilation. This just-over-forty-minute record sees the punk rock supergroup preach on a number of topics. Ken Conte, Rob Ramos, Chris Del Rio, and Chris Dalley have put together a twelve-song album with sounds reminiscent of the ones they put out years ago, but with updated emotions in their lyrics.
Opening track “Radio Out” features El Hefe of NOFX on guitar, which makes sense as the album was released on his label, Cyber Tracks. The song talks about mental illness and grappling with the thoughts that come from the highs and lows. “Radio Out” does this well. A line in the chorus, talking about how we are living on borrowed time, fits well on a punk album written by someone at this age, rather than a kid in his twenties.
However, something that a punk of any age can relate to is distrust of the government. “Raise the Flag” and “Standard Issue” are a pair of songs about the distrust of the media and how it blindly leads to loyalty and submission to the government no matter what side of the aisle you sit on. “Shades of Black” navigates the complicated feelings of a breakup and asks the relevant questions in its bridge, “What were you fighting for? / What did you have to lose? / What are you running from?”
“Never Know” and “Each Day” feel like songs about trying to move on, and that things will get better as time goes on and eventually fall into place. The back half of this album feels very influenced by bands like Rise Against, bands that probably were influenced by the members of the Implants’ other bands. “Paramnesia” has Conte singing about loneliness and anger, while “Burn Me” deals with the lingering feelings from a breakup. “Fight for Change” relates the sentiment that what we fought for when we were younger can change. Also, the causes were misleading, and the fear that was projected drove a lot of these thoughts, but this has changed as they have gotten older.
The last couple of songs on the album, “Lost Betrayal” and “Brand New You,” feel like they’d fit better on the front half of the album. “Brand New You’s” guitar goes back and forth between clean riffs and double bass pedal fast punk rock.
The album’s cover gave the impression this was going to be a much darker album, a Terminator-like dystopia with a pile of stacked electronics surrounded by skulls and an old TV with a satellite broadcasting from its screen. While there is plenty of questioning and distaste for the government, these songs, along with the songs about breakups and how to move on, can affect mental illness if you don’t know how to process those things. While there were always songs about those feelings with 1990’s punk rock bands, it’s always nice to see the other side of that struggle. I always felt I could relate those songs to whatever was happening in my life at the time and use them as advice, but once you figure those problems out, where do you go for the new batch of things that come up, especially if that band has broken up?
The album was produced and mixed by Chris Collier (Pulley, Prong) and mastered by Kyle Black (Comeback Kid, New Found Glory). “Annihilation” is a great combination of punk rock, government distrust, break ups, and processing anxiety and depression, and deserves a spot on your record shelf.
How can anyone truly believe the statement “rock music is dead,” especially after all of the music that has been released within the past decade. Music is continuously evolving, despite the criticism and really at no surprise to the people who are most passionate about it. Take a close look at the genre of punk […]
How can anyone truly believe the statement “rock music is dead,” especially after all of the music that has been released within the past decade. Music is continuously evolving, despite the criticism and really at no surprise to the people who are most passionate about it. Take a close look at the genre of punk rock.
Arguably one of the most diverse genres of music out there, punk rock has also evolved into something more meaningful and emotional than the original ideas of “going against the establishment” or “teenage angst.” Although those ideas still can be found within punk, the music has taken on a completely different attitude through new bands and new sub genres.
Growing up in the late ’90s and early 2000s, I was introduced to skate punk and ska and pop punk. Bands like Green Day, MxPx, Blink 182, Goldfinger, Less Than Jake, New Found Glory, The Offspring and NOFX is what I knew as punk rock. Little did I know that there was so much more out there and that in the years to come the genre would evolve. It wasn’t until college that I discovered bands like AFI, Silverstein, Alkaline Trio, Hot Water Music, Taking Back Sunday, and legends The Bouncing Souls. These bands weren’t just punk bands, they had a different style and sound to them. They would start the evolving of punk into more than just a skate punk or pop punk sound.
While I could potentially write on and on about the further sub genres punk has evolved into over the years, I don’t want to steer this ship around the entire world in one album review. I mentioned the band Hot Water Music in the previous paragraph, let’s take a closer look at their impact on punk rock and the influence they have had on a lot of the bands I listen to today. Hot Water Music is known for their raw and gritty vocals, chugging guitar riffs and catchy but compelling songs that leave the listener feeling something special. I think this band and their sound helped punk develop into post-punk and alternative rock in some aspects. My opinion of course is subjective, and I’m sure there are a lot of other bands who have taken this same path, but HWM was the first band that I listened to that exposed me to this kind of punk rock.
It is now 2023. I am 40 years old. While I do still enjoy the punk I grew up listening to, I also have an admiration, respect and passion for other bands that likely are in the same sub genre as Hot Water Music. One such band is wolves & wolves & wolves & wolves. This is a band I actually discovered thanks to the wonderful music sharing website called Bandcamp (which I think is one of the Internet’s greatest creations). While wolves & wolves & wolves & wolves probably was influenced by and shares some of the same fans as Hot Water Music, they have carved their own path through hard work and dedication and making a name for themselves through their live shows. The Winston Salem, North Carolina based post-punk act has released two full length albums over the course of the past nine years.
“The Cross and the Switchblade” is the title of the band’s second album, which was released from Wiretap Records in 2016. That’s the album that hooked me on these guys. So much energy, emotion, and captivation in ten songs that I knew this band was going to leave a positive mark on my life. So much so that I’ve listened to the record with a good friend countless times and we couldn’t believe what we were hearing. Naturally, when I found out a new album was coming, I jumped at the opportunity to give it a review.
The third full length album by wolves & wolves & wolves & wolves, “cursecursecurse,” will be released Friday April 7 through the label A-F Records here in the United States, and through Gunner Records in Europe. I did have a chance to speak to Brian Woodall, the voice and songwriter of the band and it seems the album title is fitting after hearing about the process of making the album. “The recording took a while. We started tracking drums Summer of 2018 before we went on our last European tour,” states Woodall, who went into some detail about the band’s struggles between 2018 and 2019. “Then Covid happened. If it hadn’t, Wolves x4 probably would have broken up, but it gave me some time to reflect and find the love for music that started to dull. I ended up finishing the recording in 2021 at the Sandwich Shoppe in Oxford, N.C,” this quote from Woodall gave me goosebumps. Dedication. Determination. We have a brand new wolves & wolves & wolves & wolves album.
You can hear the effort that was put into “cursecursecurse” in the track “Oh, Catalonia,” a three minute and twenty-seven second ode to overcoming adversity and a fist pumping ripper of a track that will leave you smiling from ear to ear after every listen. Is it my favorite track on the album? Damn, that’s a tough question. It’s a tough question because the entire album, comprised of 9 songs, is absolutely something special and will probably wear the needle on my turntable out when I get the vinyl. Another standout track “Excommunicate Me” is full of high energy and raw vocals. The song blares as an exclamation from singer Brian Woodall, and once it’s over you’ll want to play it again. Don’t sleep on “Empires,” this is the anthem for those of you who are ready to get past all this bullshit we’ve gone through over the past three years. I have to mention the opening track, “Hey Run Away” because not very often does the first song set the tone for the rest of the album and leave such an impact that you can’t wait to hear what’s next. The vocals, slamming guitars and that unforgettable chorus, this is where “cursecursecurse” shines and will be on everyone’s best albums of 2023 list. Folks, it’s only April and we have been gifted with some fantastic music. Order a copy of the vinyl from A-F Records here. Your record player will thank you for it.
Los Angeles punk rock pioneers, X, have released their album, Smoke & Fiction on Fat Possum Records. John Doe, Exene, D.J. Bonebrake and Billy Zoom have given us one last album to tie a bow on a career that highlights their early roots and ending the band on their own terms after forty-seven years. The […]
Los Angeles punk rock pioneers, X, have released their album, Smoke & Fiction on Fat Possum Records. John Doe, Exene, D.J. Bonebrake and Billy Zoom have given us one last album to tie a bow on a career that highlights their early roots and ending the band on their own terms after forty-seven years. The result is nothing short of spectacular.
A follow-up to 2020’s Alphabetland, Smoke & Fiction feels like a big thank you from X to their fans and supporters. Songs like “Ruby Church” and “Big Black X” give the band a chance to reflect on their time as pillars of the Los Angeles punk rock scene, including the success and problems that came with it. If there is one song that encapsulates the band’s love for their fans it would be “Sweet til the Bitter End”. If “Sweet til the Bitter End” is a thank you note, “The Way It Is”, is a Dear John letter, talking us down from the disappointment of why X can’t continue. There’s definitely a tint of melancholy to the track, as if the band is telling the fans, it’s not you, it’s us. “Smoke and Fiction” does this great job of reckoning the past and the memories associated with it as you continue to walk through a world you grew up in. This album acknowledges the past, but keeps it firmly in its place and does not apologize for it.
The band itself sounds fantastic. There’s always this double-edged sword when older punk bands release albums later in their career. It’s no secret you get softer as you get older and your taste changes. That raw energy or feeling that you had isn’t the same as it was in your teens or twenties, which is what attracted a lot of us to punk to begin with. Look at the discographies for bands like Social Distortion and Offspring. It’s not to say their later work is horrible, but it’s a far cry from the entry points that made us take the ride. I never feel this is the case with X. While the members of X have dabbled in other genres, you always know what you are getting when it’s the four of them together. John Doe’s bass lines walk up and down this album only kept in line by D.J. Bonebrake’s beats on the drum and Billy Zoom’s rockabilly and surf-tinged buzzsaw guitar; melding this with Exene and John Doe’s duetted vocals makes an inadvertent system of checks and balances that made X special.
It sounds weird to call this a retirement record, but being paired with their farewell tour, it’s essentially just that. The album is a celebration for many reasons. A celebration of the band, their longevity, and its amicable end. Smoke & Fire‘s ten songs clock in under thirty minutes, the way an old school punk rock album should. It delivers some of the strongest material they’ve put out in years. X is on an extensive farewell tour, giving their fans one last chance to see them before they officially call it a day, but with an album this strong you’ll wish you didn’t have to say goodbye.
