Pennywise

DS Punks Doing Good: Charlie Overbey on the “We Are LA” Fire Relief Single

January 11, 2026 | 8:00 am

The Eaton and Palisades Fires devastated areas of Los Angeles a year ago. While a slew of charities worked overtime to bring aid to residents who lost their homes, another project emerged on January 7. Charlie Overbey and Grammy Award-winning producer Tedd Hutt have gathered a who’s who of punk rockers from all eras to […]

The song will be released physically on a 12-inch record along with a digital single, available for purchase through Bandcamp. There is also an auction set up for fans to bid on a guitar and t-shirt (separately) that were signed by each musician on the track, along with a cymbal and drumstick signed by Atom Willard. These proceeds will also go to the Sweet Relief Musicians Fund.

The track was initially laid down by Overbey, Mike Watt (Minutemen), Atom Willard (Alkaline Trio), and Jonny “2 Bags” Wickersham (Social Distortion). However, Overbey was able to recruit more musicians to jump in and help out. Featuring members from bands like TSOL (Ron Emory and Greg Kuehn), the Adolescents (Tony Reflex), the Linda Lindas (Eloise Wong), Sugarcult (Marko DeSantis), the Drowns (Aaron Rev Peters and Jake Margolis), The Go-Gos (Jane Wiedlin), and more round out the lineup.

The Sweet Relief Musicians Fund provides financial assistance to musicians and industry workers at all levels who experience financial hardship in times of need. Some of these grants were given to musicians who were affected by the fire, but some are still feeling the repercussions from the fire. These funds assist with anything from medical expenses to basic necessities like food and rent.

Musician and “We Are LA” organizer Charlie Overbey was kind enough to speak with us about the “We Are LA” single and why it means so much to him at this pivotal time in the city’s history.

Dying Scene (Forrest Gaddis): How did the idea for “We Are LA” come about?

Charlie Overbey: I was watching the fires on TV in disbelief from our off-grid pad out in New Mexico. We moved out here during the pandemic, but I was born in Lynwood and spent all my life in LA, so it hit me pretty hard. Those moments always tended to inspire songs and some philanthropy since 2020.

Who wrote the song and music?

I started writing the song pretty quickly while watching the news and jotted down some rough lyric ideas. Then I played the bare bones of it for my musician daughter, Katie, who was almost 19 at the time. She kind of jumped in and had some great ideas, so we basically co-wrote it.

Why did you choose to raise money for the Sweet Relief Musicians Fund?

I had worked with Sweet Relief earlier in the year on another fire relief fundraiser with my company, Lone Hawk Hats, and my other half, Vanessa’s boutique, Honeywood Vintage. Sweet Relief has an epic, long track record of doing good things for good people. From the moment I met Aric, I knew they were the ones I was going to raise money with to help those struggling from the fires.

Was there a specific moment that made the project necessary?

The minute we realized how gnarly the destruction was going to be, the rapid pace at which the fire was spreading, the call that Marko DeSantis had lost his home, Publicist Kim Grant had lost her home, and Chris Shiflett had lost his home. It went on and on, and I knew there could never be enough help for this. It was time to try to do at least something.

How did you decide who would be involved?

I started thinking about all the people from LA I admired from the punk scene, all the people I was lucky enough to have become friends with, and people I barely knew but knew would step up for the cause, very few refused to jump in.

Were there any unexpected collaborations or contributions that surprised you?

Nothing really surprises me anymore. I knew the caliber of talent we were dealing with. I think it was the folks who didn’t step up that surprised me.

With artists from different eras of punk involved, were there any challenges in bringing everyone together?

The older punks totally support the young punks, and the young punks all respect the OGs, so it was all respect and love on this project.

Where do you feel “We Are LA” fits within Los Angeles’s history of activism?

I hope it fits into the belief that, as Angelenos, we can bring change in the darkest of times. We are resilient and rebellious, from the streets to the offices. Even the city officials are kind of punk in a way, if you can dig that..

Beyond fundraising, what kind of impact do you hope “We Are LA” will have?

I hope it will raise awareness, spread unity, and instill a belief that the rebellious, young and old, still can do what’s right, to see through the bullshit, and to step up and fight for what’s important in this day and age. There is a lot of fighting on the horizon with the regime trying to turn this country into a third-world country, so you have not seen or heard the last of us. WE ARE LA!

While the holidays may be behind us, charity and goodwill don’t have a season. Consider purchasing the digital track or 12-inch record or bidding on the auction items to help people who are still struggling with rebuilding their lives after everything was taken away from them.

by Staff Writer Forrest Gaddis

Tags:

Post a Comment Cancel reply

Dying Scene Festival Report: Long Beach Warped Tour 2025: Day One (7/28/2025)

August 4, 2025 | 6:00 am

Trigger Warning: Old Man Yells At Cloud Like a fraction of adults in Southern California, I caught enough nostalgia to brave the crowds and heat for the thirtieth celebration of the Vans Warped Tour. I kept wondering how the organizers were going to make something unique based on the mold they had cast years ago. […]

Trigger Warning: Old Man Yells At Cloud

Like a fraction of adults in Southern California, I caught enough nostalgia to brave the crowds and heat for the thirtieth celebration of the Vans Warped Tour. I kept wondering how the organizers were going to make something unique based on the mold they had cast years ago. The answer is you don’t; you just fall in line with the other festivals that bastardized your concept.

Usually reserved for the Long Beach Grand Prix Indy Car race, Warped Tour was set up at Shoreline Waterfront in Downtown Long Beach. As charming as the area is, no matter when I go there, event or not, it’s always a mess. This weekend was no different. Finding our prepaid parking spot was a mess. The walk from the parking garage to the grounds was a hike, but this would be the norm wherever this was held.

Surprisingly, the crowds weren’t bad; age and inflated ticket prices have a tendency to do that. It almost felt like a post-high school reunion. I’m reminded of a line from the movie Grosse Pointe Blank spoken by Joan Cusack, describing her high school reunion, in which she says “it was as if everyone had swelled,” which described everything at Warped Tour 2025 pretty accurately. Most of the fans were on the older side; some brought their kids. When you hear things in the crowd like “I had to smuggle Tums inside,” you know, for the most part, things won’t get too out of hand.

However, there was one time each day where things got a little crazy. That was during the unveiling of the inflatable schedule board. Remember that part in Mad Max: Fury Road where the people who live under the rule of Immortan Joe are waiting for him to turn on that faucet of water for like two minutes and the people cheer and run, pushing and shoving their way to get there first? That’s what the unveiling of the inflatable schedule was like. The crowd lining up to be the first to see the schedule was about twenty to thirty people deep, all clamoring to get a picture and idea of how to plan their festival day. The list for the bands was released on the Warped Tour app at 11:00 am, minutes after the schedule board was inflated and was way easier to read. While you would think this would have helped, the lack of phone signal and a Wi-Fi connection that stay disconnected when you got too far away curbed this.

There weren’t too many bands I was interested in for the first couple of hours. This gave me time to check out the grounds. As usual, the bands and labels had booths scattered throughout to sell merch and give away promotional material; hand fans and totes being the most popular. There were many sponsors for the show, including the video game Borderlands 4, whose booth was themed to an outpost right out of the game where you could get tattoos and wait for a chance to break stuff in a rage room. The hidden gem of the tour, however, surrounded the Unplugged Stage. The stage itself ended up being a Trojan horse of special performances throughout the weekend.

While bands always pull out the big guns for their Warped Tour sets, their truncated set times have always irked me. It’s not lost on me why it’s set up that way, but when recounting bands you’ve seen to other people, everyone uses that caveat, “I saw them at Warped Tour.” This was a factor in choosing bands to watch. Some bands like Goldfinger and Dance Hall Crashers, I’ve missed mostly because of various other reasons. Is seeing them for the first time in a bite-sized chunk the ideal way for me to see them? When I was younger and I was discovering music, it made sense to make room for these sets. Now, not so much.

That being said, I think I mostly chose well with the bands I went to see. There were eight stages, and four different sizes between them. The biggest stages were the Left Foot and Right Foot, which were the main stages for the headliners. From there, the sizes get smaller with the Ghost and Beatbox stages, then the Octopus and Shapiro stages, and finally the Rex and Pike stages were the smallest. I had my first hard choice to make of the festival.

Do I watch the Vandals on the Beatbox stage, then go to the Aquabats on the Ghost stage next to it? Doing this meant I’d get a good spot for Ice-T and Body Count, or do I go see Goldfinger at one of the big stages? I chose the Vandals, opting to wait and see Goldfinger in a better venue. The Vandals opened with Fear of a Punk Planet’s “Join Us for Pong,” which led to a very Hitler Bad Vandals Good heavy set. The set was varied in the albums where they culled their set from. However, songs from The Quickening and the last couple of albums were missing. The Vandals always play a good set, but their antics seemed to have slowed down the last few times I’ve seen them.

If you’ve ever seen the Aquabats, then you know how much fun it can be. As usual, the band threw out inflatable sharks and pizzas for the crowd to hit and toss around during Pizza Day and Shark Fight. It’s not an Aquabats set unless villains or allies come out. In this case, it was Dr. Space Mummy and Anaheim Ducks mascot Wild Wing. It seems Wild Wing was making his rounds during the tour. There’s a lot of energy during an Aquabats show, and despite the heat, this was no exception.

One of these things is not like the other. I imagined Ice-T backstage trying to process the Aquabats. Ice-T was given an extended set and played two different types of sets: one rap and the other with his metal band Body Count. It was by far the best set of the day. With help from his son Little Ice, Ice-T opened with “6 in the Morning.” He played a set and did not hold back his thoughts, whether it was due to what he called “the pussification of men” or telling a kid how she was once in his dad’s balls. It turned a good portion of the crowd off, who walked away. It was at this point that you were able to tell who knew Ice-T from Law and Order: SVU and who knew Ice-T, something he actually acknowledged on stage. I don’t know what was funnier, the number of people walking away or the faces they made as they were leaving. Playing a wide variety of songs from his career, including New Jack Hustler, O.G. Original Gangster, and closing with Colors.

It was at this point that Ice-T gave a speech about how rock music does not know color or race and pivoted to his set with Body Count. The crowd couldn’t handle it. The two extremes made even more people leave. Opening with Slayer’s “Reign in Blood,” lead guitarist Ernie C didn’t miss a note. To deny his ability and skill as a guitar shredder is a crime. Body Count’s eight-song set included “There Goes the Neighborhood” and “Talk Shit, Get Shot.” Body Count closed the set with the controversial and raw “Cop Killer.” While Ernie C. has been with Ice-T and Body Count from the beginning writing the music, most of the members have been with the band for about ten to fifteen years. They gelled more than any band and sounded the best given the rushed sound checks due to the nature of the show.

It had been a minute since I had seen Pennywise, and they did not disappoint. Mostly keeping to a set that consisted of nothing past the album *Straight Ahead*. If there’s one band whose pushback to this government is needed right now, it’s theirs. A lot of the bands that played this weekend were Warped Tour veterans, but Pennywise acknowledged a couple of bands that were missing, specifically honoring some of those bands by playing a medley of NOFX songs and “Do What You Want.” Afterwards, they played Beastie Boys’ “Fight for Your Right to Party,” proving that no matter how old you get, you can still be the party band. Even for the bands that are still plugging away and have gone on to be the legends that they’ve become, these sets seemed special.

Despite the Warped Tour being held in Long Beach, Sublime did not headline the show; something the Bat Commander brought up during the Aquabats set. Introduced by Long Beach City Mayor Rex Richardson, this latest reboot of Sublime came out to thunderous cheers. Eric and Bud took the stage with Jakob Nowell in his father’s spot. That being said, their set was better than their Coachella sets earlier this year. It seems like they have Jakob working on his vocals to sound like Brad rather than his guitar playing. Many times in the set, Jakob had given his guitar to someone else and just sang including during self-titled track, “Same In The End.” If you go see this new Sublime, and hope to see them play “Date Rape”, prepare to be disappointed.

I have the same feeling about Sublime reforming as I did when I saw the Germs reform with actor Shane West on vocals many years ago. West had recently played deceased lead singer Darby Crash in the fictionalized biopic about the band, What We Do Is Secret. While I was expecting a shit show, it turned out to be an okay set. It helped that the other three original members were there and probably played better than they did with Darby, but do I really count it as seeing the Germs?

Not to make the Germs, Darby, and the rest, or paint Sublime as Brad and those other guys. It’s hard to separate these bands from their lead vocalists, especially when they were so much a part of the band’s personality. Furthermore, this set was not the first time the band had reformed. Sublime (in)famously regrouped with new lead singer Rome Ramirez to mostly collective groans. Coincidentally, Sublime with Rome is also a veteran Warped Tour band.

While the food options were varied and operated by plenty of restaurants in and out of the area, the prices were steep despite attempts to keep them low. There were complaints that the event was oversold, but it feels like that’s the M.O. for these types of festivals. If you have this amount of space, you can let this number of people in. As long as someone is willing to pay for a ticket, one will be sold. At the end of day one, it was very clear this was Warped Tour in name only.

by Staff Writer Forrest Gaddis

Tags:

Aquabats Body Count California long beach Pennywise

Post a Comment Cancel reply

DS Interview: Jim Lindberg on Black Pacific, the state of the world, and the looming threat of A.I.

January 3, 2025 | 2:08 pm

Feature Photo Credit: Brent Broza Jim Lindberg has been a staple in the punk scene for a long time. From his many years in Pennywise to his book, “Punk Rock Dad: No Rules, Just Real Life,” his music has become the soundtrack for surfing and skateboarding with some mainstream success. Throughout it all, Jim has […]

Feature Photo Credit: Brent Broza

Jim Lindberg has been a staple in the punk scene for a long time. From his many years in Pennywise to his book, “Punk Rock Dad: No Rules, Just Real Life,” his music has become the soundtrack for surfing and skateboarding with some mainstream success. Throughout it all, Jim has maintained the ethos and values synonymous with punk rock. His presence has made an indelible mark on the scene.

This year, Jim released a new album titled Here Comes Our Wave with his side project Black Pacific. From its thematically familiar front side to the more emotional and therapeutic second half, Jim has released an amazing personal record. We caught up with Jim and talked about making the album and the looming threat of A.I.

Dying Scene: I really love the Black Pacific album. How did it come together? I know you mentioned you had a box of tapes. Was it a COVID project?

Lindberg: A lot of it is a lot older than COVID, to be totally honest. Some of the songs go all the way back to 2003, 2004. A few of the songs were written when I was out of Pennywise for a while with Alan (Vega) from the Black Pacific. He worked on all of the demos with me at the time, and so that’s why I was thinking it would be best to release it under the name Black Pacific. A lot of them have been around for a while. The first three or four songs on the first side were songs that were pitched to Pennywise to be potential songs, but they weren’t right for whatever reason over the years.

Last year, actually the year before last, I told the guys, I want to record these songs and kind of produce them myself. If they wanted them, we could record them, but if they didn’t want to do it that way, I would just put them out myself. So, I just decided to do it that way. A lot of them are pretty old songs, and they’ve kind of been waiting to be released for a while now. I’m not getting any younger, as you can tell, so I knew it was time to get it out.

I’ve been writing since I was 12 years old. So I’ve always known some songs are right for Pennywise. Some songs are more like they don’t fit that target that Pennywise has of being like ’90s Southern California skate punk. You know, and that doesn’t mean it’s not a good song. It’s just that it’s not appropriate for our specific sound. So that’s why I always knew I had this batch of songs that, at some point, I’d want to put out. And I just got to the stage where I was like, “Look, I want to start recording all these songs that I have and get them out there, whether they are released on a record label or I put them out myself or whatever happens.” And I plan on continuing to do that. I still have a ton more cassette tapes to go through.

Dying Scene: That’s awesome. Do you have a way to tell if it’s a Black Pacific song or an acoustic song?

Lindberg: It’s just kind of like a feel, you know, I can tell pretty much right off that something is too pop punk for Pennywise or if something is kind of more personal in nature when it comes to the themes of the songs. We’re not going to be writing any love songs or reggae songs in Pennywise anytime soon. I kind of keep the ones that stray from the Pennywise sound off to myself, but even though there’s times where there could be a song that sounds like Southern California skate punk, but for whatever reason, the other guys in the band don’t want to do it. It doesn’t mean I don’t want to put the song out. I want to put these songs out and let people hear them.

Dying Scene: I understand. You just got those projects you just want to get to.

Lindberg: I got a whole list of projects I want to get to if I only have the time.

Dying Scene: Same. You try to get to everything.

Lindberg: Yeah, it’s good to be busy, though.

Dying Scene: The first side of the album is very political. You know with “I Think I’m Paranoid,” and “No Fun,” and “Here We Come.” Was it intentional to make it more political on the front side?

Lindberg: I think once it came down to sequencing the record, I knew that “I Think I’m Paranoid” was going to be the lead-off single because it is so pertinent to what was going on in the political atmosphere right now. It was back in 2004 when I wrote about all the things that we should be paranoid about. When you consider it was just past the 9-11 event happened. We were in an Iraq war, we had killer bees coming over the border, we had all kinds of carnage going on in the world. After COVID, hate crimes, militias, Antifa, and everything going on there, it only added fuel to the fire to make that the lead-off single.

Also, the various wars going on and all the calamity that is being placed on innocent civilians around the world. I definitely have opinions on that. I wanted to put my thoughts on what’s going on in the world right up at the front of the album. And then later on, the second half of the album kind of expresses my desire, I think everyone has that they wish we could just be rid of it. I mean, the fact that we’re all still in 2024 and dealing with mindless violence and perpetual war is disgusting. I hear these cable TV news channels always using the term “disgusting” about different morality issues. What’s disgusting to me is that children are being bombed around the world and in a supposedly enlightened society, it’s the wealthy corporations, arms dealers, and the greed of international conglomerates that are perpetuating this. I definitely wanted to put that on the front half of the album. Then the second half is anyone’s response to want to sail away, float away from it. Take off with my friends and family and go to some desert island somewhere and get the fuck away from the madness.

Dying Scene: It was interesting to hear the back half of the album with those kinds of songs filtered through you, like “Float Away.” It’s not a traditional love song, but I really like it. “Best Day Ever” was a really nice, reflective song. We’re a big therapy family in my house. So, I very much appreciated this back side of the album.

Lindberg: “Best Day Ever” was actually the very first song that Alan and I played together. It was the first song that I wrote after leaving Pennywise and deciding, okay, I want to write something different. The odd part is that the first few songs on the album are actually songs that I wanted to produce with Pennywise, but the second half was more the direction that I wanted to go. I wanted to play kind of more bouncy, mid-tempo, not necessarily grunge rock, but more in the vein of Everclear or Jawbreaker or Pegboy, those types of bands. I still had a few songs, you know, that were super fast. And I was like, well, why can’t I put a fast song and a mid-tempo song on there? It doesn’t always have to be a million miles an hour and it doesn’t always have to be an anthemic fight song.

I used drop D tuning on several songs with the Black Pacific. It just gives me the opportunity to try different things that I can’t really do in Pennywise. I wrote a lot of songs on guitar for Pennywise, and that was really important for me as well because I don’t think it’s really out there how much guitar stuff I wrote for Pennywise over the years. On all of our albums, we just put “written by Pennywise.” We don’t say who wrote what.

Dying Scene: I think people assume parts are written by whoever’s assigned to what they play in the band. Part of what I like about “No Fun” was that it felt like Fear’s “Let’s Have a War,” if it was a poppier song, and I mean that in the best way possible.

Lindberg: [laughs] You know, it is, it’s really ridiculous. And there’s a Bad Religion song that comes to mind, “Let Them Eat War.”

Dying Scene: That’s a good one, too.

Lindberg: A great song that is very synonymous with what I’m trying to get out there. It’s these sociopathic leaders that are just so starved for power and maintaining power. They’re taking it out on the heads of regular working people. I mean, look what happened when Russia invaded the Ukraine. You had thousands of Russian citizens taking to the streets. And what happened to them? They all got beaten up and put in prison for protesting an illegal war. If you don’t think that’s not possible in the States, you’re fooling yourself. That’s what I wanted to get across. Power unchecked will always keep building. It’s just going to keep going. These people aren’t going to stop until they’ve killed everyone. They won’t be happy until they’ve wiped everyone out. Everyone is a combatant. You know, you can imagine it. It’s like a war machine that’s eating itself. It’s hard to watch and hard to stomach to see the effect it has on innocent lives. I have friends that are from the Ukraine and they can tell you point blank the type of horrors that their neighborhoods have experienced, but for some reason, all we care about over here is what’s happening on TMZ and not what’s happening on the real news. I think I’ve tried to have both sides on the album, a little bit of angst and a little bit of resignation.

Dying Scene: I also really liked “Here We Come.”

Lindberg: Anyone that follows me on Instagram knows that I’m constantly posting the latest A.I. developments. Speaking of being paranoid, there’s nothing I’m not more paranoid about than the development of A.I. Just to make it that much scarier, I posted something the other day of what the problem they’re discovering now is you can do prompts to A.I. that basically says, “Do my command and then don’t let anything stop you from carrying it out.” It can be that simple of a command of just telling the machine don’t let anyone tell you that this is wrong. It’s crazy to imagine that and the computer followed the order. It circumvented all these different rules of the task that it was given. The A.I. automatically decided on its own to circumvent the rules to complete the task. So on a global level, that’s horrifying.

Dying Scene: Yeah, it’s not like there weren’t movies made in the last forty years warning us about all of this.

Lindberg: I know exactly. It’s not like they didn’t do this already. How many Terminator movies were there?

Dying Scene: About four or five, at least.

Lindberg: It’s crazy. It’s almost like that 98 Mute album. It’s like a slow-motion riot; you can see it unfolding. When I was writing the song “Here We Come,” I was like “Is this too on the nose? Is this too much like in the news right now? Is this cheesy?” But I don’t think that you can edit yourself in that way if there’s something you feel strongly about in a song. I have three daughters and I want a better world for them when they grow up. I’m very concerned that A.I. is going to take all these jobs out of the market. If they can come up with ways to circumvent different laws and rules, why can’t they do that in the finance world? Why can’t they do that in the military world? The medical world, as well. For example, I mean, I hate to be a fear monger, but why can’t it just say, “Hey, go rob a bank digitally and don’t let anyone stop you?” You know, go release everyone’s medical records and don’t let anyone stop you. Do any number of things and don’t let anyone stop you. It’s like it’s crazy to imagine all the havoc that could be enacted on civilization with a dumb little computer that we’re communicating over right now. [addressing the computer] Yeah, I didn’t mean that.

Dying Scene: [laughs] I use it for punctuation. That’s all I feel like I need it for.

Lindberg: It’s only good for your home robot to do things like vacuum the floors and clean up your punctuation. It shouldn’t be starting world wars.

Dying Scene: Yeah, but even that robot vacuum is going to just map your house out for the Terminators.

Lindberg: [laughs] That’s all it’s doing. That’s why I posted that video of that escaped vacuum cleaner that ran out of the house during an earthquake or something like that. And that was the start of the Terminator right there. That was the first guy that escaped the house.

Dying Scene: It’s getting better at what it can do. Like every time you hear about it, it’s getting that much closer just to turning into murder bots.

Lindberg: I know, like these drones that they’re showing over New Jersey on the last few days of like, that’s a robot. I think they’ve shown like all these fleets of drones that they have in China now. Like, imagine that we’re all sitting here and all of a sudden there’s a fleet of drones over your house. You know, what are you going to do about that?

Dying Scene: Yeah, duck? I mean, I don’t know.

Lindberg: [laughs] You don’t have basements out here in California.

Dying Scene: Are you guys going to tour any Black Pacific in the next coming year?

Lindberg: We got a couple offers, but we [Pennywise] just did two long tours with the Dropkick Murphys and then we’ve got a bunch of stuff lined up for 2025. Pennywise always comes first. For the time being, it’ll maybe do a one off show here and there, no big touring plans. I definitely hope to get back on stage with the guys again. They were all super fun to play with and really great guys. Alan, especially, he’s been great to work with and is always really cool. So I’d love to play live with them again. We sure had a great time together.

Dying Scene: My kids were born around that time, so I just didn’t have a chance to see Black Pacific the first time around.

Lindberg: Yeah, it was pretty quick. We did a tour of Europe and a tour of Canada with Rise Against. We did some shows with Flogging Molly that were all great. We had a super fun time playing a few festivals in Europe and things like that. I really enjoy playing guitar on stage. I like it better than just singing. So yeah, I would love to have the opportunity to break out the guitar on stage again.

Dying Scene: Nice. You said some of the songs were written for Pennywise. Did you ever offer any of these songs to any other bands? Some of them, like “Won’t Make a Sound” and “Superhero” kind of reminded me of Bad Religion songs.

Lindberg: I’ve thought about that a lot recently because, like I said, I’ve got two boxes full of hour-long cassette tapes. I was talking with John Feldman of Goldfinger and he produces a lot of bands. I was telling him I’ve got so many songs that I know there’s something in there that you can work with. So, I’d love to do more than that, because there’s a lot of times when I write with a specific song or a specific sound in mind. I have a few songs that could be good Rancid songs and I have a song that could be a good NOFX song, if they were still around. I like writing with other bands in mind. So, you never know. Hopefully at some point some of these songs will find a home.

Dying Scene: You can do something like that Stephen Egerton album where he had other people come in and sing them.

Lindberg: I think Mike Watt from Minutemen did a similar thing. He just had a bunch of other singers come in and play the songs. It was called Ball-Hog or Tugboat?. I think he had Eddie Vedder on it and all kinds of people on that album. There’s all kinds of projects out there that I want to do and work with different people. And it’s just fun to kind of spread it around. There’s so many opportunities to jam with people and do different things. So I want to do a lot more of it.

Dying Scene: I hope you do. I went back and listened to the acoustic album and Wraths. I really enjoyed Wraths. I don’t know how I missed that, but that was fucking fantastic.

Lindberg: Thanks. Some of the guys, Steve and Chris, were in a band called 1208, along with the Deviates, who are local bands from around here in the South Bay. They’re also in a band called The Darlings. Steve just sent me a few songs at one point, and said, “Do you know of any singers that would be good for this?” And I said, “Hell, I’ll do it.” It was fun. We did an album and an EP. I posted it a while back and people are like, “What is this? I’d never heard this.” So I guess we got to do a better job of getting the word out on some of this stuff.

Dying Scene: I went to the Grand Long Beach Grand Prix a couple times (2005 and 2008) and watched you guys play. How did that come about?

Lindberg: That was just one of those random things where, you know, probably the promoter or the organizer down there said, “Who’s a popular band in the area?” And someone said, “You should have Pennywise play.” You know, it wasn’t that well thought out, but it ended up being really cool. That was the first show where my friend’s son, who has muscular dystrophy, his name is Cooper. We put this thing together called Cooper’s Cure. And now he’s like 25 years old. And he’s got a band of his own called Poppy Harlow, and they’re killing it. He’s a great songwriter. It’s so cool to see that come full circle to have this kid that was on stage at the Long Beach Grand Prix. Now he’s got his own band and they’re actually really, really good. So it’s rad to see.

Dying Scene: My first show was When the Angel Sing (2000). I remember Pennywise just calling everybody down from the top and saying, “Fuck all this assigned seating.” When we looked back it was just a wave of people from the back of the venue. We get down to the pit and people started pulling rows of seats out.

Lindberg: Yeah, I know that’s gotten us in trouble in the past. So we don’t say anything anymore. It’s no fun being sued by people. These days, we just want everyone to have a nice, safe, fun time. There’s lots of kids coming to the show now. And so I’m the parent of the band now saying to everyone, “Let’s play nice.” And this is why we’re not allowed to have nice things because people act irresponsibly. So I sound like my dad out there.

by Staff Writer Forrest Gaddis

Tags:

black pacific California hermosa beach jim lindberg Pennywise

Post a Comment Cancel reply

DS Show Review & Galleries: Riot Fest 2024 Day 3 featuring Laura Jane Grace & Catbite perform Operation Ivy; The Vandals; and Pennywise. Chicago (09.22.2024)

October 16, 2024 | 11:59 am

Rain had been predicted for several days in the week before the start of Riot Fest 2024. The first two days of the festival were sweltering but dry. Sunday morning, however, was greeted by heavy clouds and a torrential downpour. This meant gates had a delayed opening, and some of Douglass Park was taped off. As a result, we at Dying Scene had a lighter day. But sets from Laura Jane Grace & Catbite performing Operation Ivy, The Vandals; and Pennywise more than made up for the muddy grounds and having to carry a bunch of plastic bags in case camera gear needed covering. Read all about it and check out the galleries linked from Instagram below.

Laura Jane Grace & Catbite performing a full set of Operation Ivy tunes? Umm, hell yeah. I know I’m not alone in that thinking after seeing the Riot Fest 2024 lineup. The fabulous Philadelphia ska outfit Catbite joined the dynamic Laura Jane Grace as the rain began to ease up, and the result was jaw-dropping. “What’s up Riot Fest?” asked Laura Jane Grace. Grace followed it up with this pledge:

“We’re going to do as many of these songs as we can.”

Rolling from one tune to another they did get to perform quite a few. Highlights of the exuberant set included not only the classic “Take Warning,” but also “Bombshell,” “Unity,“ and “Missionary.” It ended with the defiant “Officer.”

Together, Laura Jane Grace & Catbite might not be on their “way to save the world.” However, they brought a lot of unity to the festival grounds, renamed four years ago in honor of legendary abolitionists Frederick And Anna Murray Douglass. There is something pretty poetic and pretty punk rock in that. Check out more pics!

Orange County, CA icons, The Vandals attacked the stage in a most impish manner. For those uninitiated, most band members decked out in more subdued tones. Not guitarist Warren Fitzgerald, in his vivid yellows and oranges. Wearing bright colors is part of his modus operandi.

Per usual, the ever-limber Fitzgerald was a photographer magnet. Twisting himself into poses that seemed painful to even look at, he provoked a fist bump and this exchange with lead singer Dave Quakenbush:

DQ: “That was rad Warren dude, you still got it.”

WF: “I got hurt…almost hurt so many times.“

DQ: “And then you pulled it off, you looked cool.”

“WF: “I’m not hurt yet.”

DQ: “You looked really good doing it too.”

WF: “Thank you.”

Quakenbush, Fitzgerald, bass player Joe Escalante, and drummer Josh Freese played a rollicking set which included “Café 405,” ”Cowboy,” “It’s A Fact,” “N.I.M.B.Y.,” and “Anarchy Burger (Hold The Government.)”

As hoodie weather sets in, with the holiday season in the not-too-distant future, I look forward to blasting some “Oi To The World” on the regular. Lots more pics here.

Pennywise, my final set of the weekend, was an interesting experience. It seems appropriate that it was the penultimate band at the NOFX World Stage before NOFX played Riot Fest for the final time. For at least most of the photography allotted time, there were only two shooters in the photo pit. Perhaps due to Rob Zombie having a competing set, The other photographer informed me he was shooting for himself. With four cameras on his person, he jokingly acknowledged reminding people of the Dennis Hopper character in Apocolypse Now. A much nattier version, though. I also wondered which of the two of us, Pennywise singer Jim Lindberg would borrow a camera to take a photo of the crowd. It’s something I have seen him do in the past, but this afternoon, it was all about the music.

While the photo pit might have been a bit barren, the crowd was not. Whether the RF attendees were there for NOFX or Pennywise, or most likely both, did not matter. The Hermosa Beach, CA legends delivered a fusillade of songs starting with the recalcitrant “Fight Till You Die.”

Lindberg then looked to the sky, observing that “The clouds have parted for Pennywise, thank you very much Jesus.”

Pennywise also performed robustious versions of “Date with Destiny, and “Fuck Authority.” Fletcher Dragge prefaced that latter tune with a speech he described as the same one he’s been giving “for the last fucking 20 years.” But this has a special timeliness to it as he spoke to the crowd,

“Election year motherfuckers, who you voting for?”

Dragge was apparently pleased with the crowd’s response, continuing with, “A lot of boos, that’s good, that means you hate everybody right? That’s a good place.”

After adding that “they’re all motherfuckers, both sides are fucked,” and assuring everyone that “We’re all in this together,” the band launched into a ferocious version of the aforementioned “Fuck Authority.” It was a powerful battle cry and a much-welcome one to many of those on the lawn and surrounding the band on stage.

Pennywise also had a bit of fun covering just under a minute of NOFX’s “Bob.” The band ended with “Bro Hymn,” joined up front by all the friends, family, and fans watching the sides and rear areas of the stage. It was an exceptionally festive moment.

I know I’m amped up for the next chance to shoot this band. You wanna borrow my camera, Jim? Check out a bunch more pics of the PW set here!

You can again peruse Days 1 and Day 2 if the mood hits.

Once again, covering Riot Fest was abundantly fun, though extremely exhausting. And by the end of the festival I cannot wait to tear off the wristbands that tickled my skin all weekend long (I save them as mementos). When everything is complete I can finally breathe a sigh of relief. DONE!

Is it next year yet?

by Staff Writer MerGold

Tags:

Cat Bite chicago Laura Jane Grace Pennywise Riot Fest

Post a Comment Cancel reply

Dying Scene Album Review: The Black Pacific – “Here Comes Our Wave”

October 5, 2024 | 9:57 am

Jim Lindberg’s Black Pacific is back after a fourteen-year hiatus with their new album, Here Comes Our Wave. Presented is a collection of songs that are all punk rock in some form, but a few go in unexpected directions. While that spectrum is wide, Lindberg keeps to his roots lyrically, but lets us get deeper […]

Jim Lindberg’s Black Pacific is back after a fourteen-year hiatus with their new album, Here Comes Our Wave. Presented is a collection of songs that are all punk rock in some form, but a few go in unexpected directions. While that spectrum is wide, Lindberg keeps to his roots lyrically, but lets us get deeper into his head and personal life.

The songs on the first side will sound familiar to anyone who has followed Lindberg over his thirty-five-plus year career. The album opens with the song, “I Think I’m Paranoid.” A straightforward punk rock song about the distrust of people and the government that Jim’s been preaching for years in Pennywise. “Superhero” feels like a 1990’s punk rock song where Lindberg speaks about his lack of self esteem and wanting to find more. “No Fun’s” fuzzy surf intro dissolves into a mid-tempo punk rock song about dictators around the world and the sociopathic ways they show, “It’s no fun, til we kill everyone.” “Won’t Make A Sound” laments about media biases and how stories get skewed. “Here We Come,” warns about A.I. and its eventual takeover of jobs and probably us. The robot apocalypse has never sounded so catchy.

The back half of this record is what makes this album truly a great and interesting thing. Lindberg shares a different side with us and deviates away from the punk rock he is typically associated with. “Best Day Ever” is probably the most optimistic song I’ve heard Lindberg sing. It’s nice to see him stretch his legs a bit and branch off into poppier punk. It’s not pop punk in its usual form, but it’s a song about appreciating yourself. “Float Away” is a full-on love song. A fantasy about making a raft for him and his wife to float around the world on an endless vacation as a way to get out of the doldrums of a long marriage. “Won’t Let You Down” continues some of the same themes of “Float Away,” but in a more grounded way. It’s a nice culmination of the side before the closing song “Here Comes Our Wave.” Thematically, the title song feels like it would work better closing the first side of the record, but “Won’t Let Me Down” would be a weird place to end the album.

Here Comes Our Wave is a personal record written by someone who has clearly put in the work on his mental health and is not afraid to talk about his feelings as a result. Something that seems to be a lot more prevalent as the punk rock scene gets older. While some of these sentiments have been expressed with Jim’s work in Pennywise, it’s a bit refreshing to not hear them at breakneck speed. If you’re looking for a full-on Pennywise album, this may not be for you, but a few of the songs will definitely scratch that itch. Hearing pop punk filtered through Lindberg’s words mostly lands where it needs to with a pretty good payoff. Alan Vega’s drumming stays in that punk rock box and keeps this album moving at a good pace. Clocking in at under thirty-five minutes, Here Comes Our Wave is a great exploration of punk rock as a genre and Jim Lindberg as a person. The album is out now via Dine Alone Records.

by Staff Writer Forrest Gaddis

Tags:

black pacific California huntington beach jim lindberg Pennywise

Post a Comment Cancel reply

DS News: Slam Dunk announce full line up for 2024 + we say goodbye to You Me At Six

February 5, 2024 | 9:49 am

Let’s go! A New Year means a new round of festivals we plan to attend. First up is Slam Dunk; last week, they announced their last names to their already impressive line-up, but bad news was also shared. So, who are the last names that will be joining Pennywise, Snuff, The Interrupters, Waterparks, The Ghost […]

So, who are the last names that will be joining Pennywise, Snuff, The Interrupters, Waterparks, The Ghost Inside, Boys Like Girls, The All-American Rejects, State Champs, Taylor Acorn, L.S. Dunes, Mom Jeans, and our overall favs, The Wonder Years?

Beauty School, Caskets, The Dangerous Summer, Arm’s Length, Everything Unfolds, and Guilt Trip. Also announced was You Me At Six, which will also be their last-ever appearance at Slam Dunk Festival. As they announced, they are going their separate ways after twenty years, after they conclude their last tour next year.
Slam Dunk 2024 will occur in Hatfield on May 25th and Leeds on May 26th.

You can buy tickets here.

by Staff Writer Karina Rae Selvig

Tags:

bouncing souls boyslikegirls H2O i prevail Mom Jeans

Post a Comment Cancel reply

DS Record Radar: This Week in Punk Vinyl (ALL “Problematic” reissue, Pulley, Lars Frederiksen and the Bastards & more)

June 4, 2023 | 1:05 pm

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 […]

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

All? NO! ALL! ALL’s latest album, 2000’s Problematic, is back in print! Four snazzy new color variants: yellow w/ red splatter (1,000 copies, buy here), blue w/ yellow splatter (300 copies, buy here), red in neon yellow (300 copies, buy here), and neon yellow (? copies, EU indie variant). If you don’t care about color variants, you can get this on black wax for $10(!!!) on Amazon right now. Yes, you’re reading that right, 10 bucks for an LP in 2023!

Here’s a weird one… AFI’s Crash Love hasn’t gotten an official repress since its original release in 2009 (I can already hear you crying “b-b-but AFI isn’t punk!!!!!” – save your breath, nobody fucking cares). Recently, a bunch of e-tailers launched pre-orders for a new pressing. Some bill it as an official release, others say it’s an Import, which is basically a nicer way to say “this shit’s counterfeit”. There were a lot of places to buy this last week, but not it seems Loud Pizza (US) and Le Noise (Canada) are the only stores with it still listed.

The Suicide Machines 2xLP rarities compilation On The Eve Of Destruction 1991-1995 is getting a new pressing from Asbestos Records. There are 500 copies spread across two color variants: blue/black split and red/black split. Get it here. There’s a few copies of the last pressing still available here as well.

Two cool new represses from Pirates Press Records this week. Up first is Lars Frederiksen and the Bastards’ 2004 LP Viking. 500 copies on black and blood red striped colored vinyl. Get it here.

Also from Pirates Press: A sweet new color variant for The Slackers’ Wasted Days! 1,000 copies on beautiful neon green w/ black splatter colored wax. Get it here.

Alright, let’s take a lil break from all the represses and reissues, and talk about some new records! Have you heard about Snuff’s new album Come On If You Think You’re Rachmaininoff? No? Well, it’s an acoustic album, and it’s due out June 9th on SBÄM Records. Check out the new acoustic version of “One of those Days” below, and pre-order the LP on one of two very colorful splatter variants here (EU) / here (AUS).

Here’s a new release that seemingly came out of nowhere. Step aside “The Decline”, Italian melodic punks LineOut’s new album Andromeda is one continuous 52-minute long song, and it’s fucking bad ass. Check that shit out below and grab the record here. These guys are killer – highly recommended listening!

Mama mia! It’s another new release from an awesome Italian punk band! All Coasted’s new EP Never Ending Puppet Show releases June 9th (that’s next Friday!) on Striped Records. Check out the latest single & pre-order the record here.

And while you’re on Striped Records’ webstore pre-ordering that All Coasted record, grab this new pressing of The Manges & The Queers Acid Beaters split LP. Limited to 500 copies on red wax, just in time for its 20th anniversary. Get it here.

In case you haven’t already heard, Rancid has a new album out; it’s called Tomorrow Never Comes. Anywho, Epitaph’s ever-creative marketing department has found a way to offload some black wax onto you sick variant addicts. How? By screen printing a bunch of jackets with an alternate cover to house 2,000 black vinyl copies. And somehow these are worth 12 bucks more than a standard black copy! I don’t play this game, but maybe you do. Fork over your cash here, suckers.

We’ll get back to some more new releases in a bit, here’s some more new pressings of old shit. Dischord Records has repressed Fugazi’s Red Medicine on an undisclosed number of pieces of red vinyl. Get it here.

Dischord has also repressed Minor Threat’s Out of Step on an undisclosed number of white colored LPs. Very cool! Get it here.

DustyWax Records gave Pulley‘s Matters and Together Again for the First Time their first-ever vinyl releases in 2020 (that dreaded year seems like an eternity ago, doesn’t it?). Those sold out pretty fast, so they’ve issued a second pressing. There are three color variants for both LPs, each limited to 100 copies. The DustyWax webstore has its own exclusive variants, as well as Thousand Islands Records and Bearded Punk Records‘ respective online stores.

Australian punk veterans Bodjyar‘s 1998 album No Touch Red is getting a 25th Anniversary reissue, with 150 copies on translucent red vinyl and another 150 copies on “ultra clear” colored vinyl. Get ’em here.

Back in print for the first time in 17 years, Avail’s 4AM Friday is getting reissued as a Double LP with the second LP featuring a 15-song live set recorded at San Fransisco’s Bottom of the Hill in 1997. The orange w/ black splatter variant is limited to 488 copies and is available here. You can also get it on black vinyl here.

Pennywise’s From the Ashes turns 20 this year, and it’s getting reissued for the first time ever! There are 500 copies on “spring green w/ tangerine splatter” colored wax (Epitaph US store), as well as 300 copies on clear w/ black and orange splatter (Epitaph EU store), and you know our buddies at Newbury Comics had to get in on the action with their own $34 variant. Also available on black vinyl on Amazon for the more frugal minded (shoutout to my dawg Jeffy B).

Let’s wrap things up with some new releases, shall we? TV Cult is a relatively new band from Cologne, Germany that plays “80s Infused Brutal Post-Punk” (their words, not mine). Their debut album Colony is due out November 24th on Flight 13 Records. Check out the lead single “Party’s Over” below and pre-order the LP on “transparent petrol” colored vinyl here.

And last but not least, we have a new band with some familiar faces. Lektron is fronted by Alkaline Trio‘s Matt Skiba, who is joined by drummer Atom Willard (Rocket from the Crypt, Against Me!, Angels & Airwaves, etc.) and AFI’s Hunter Burgan. Their debut 2-song 12″ is out now on Asian Man Records, and it’s already sold out. Listen below and lookout for a full-length album at some point.

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!

by Staff Writer Screeching Bottlerocket

Tags:

4am friday AFI Alkaline Trio all problematic avail

Post a Comment Cancel reply

DS News: Punk In The Park lineup announced (Pennywise, Descendents, Circle Jerks and more)!

May 22, 2023 | 8:38 pm

Happy Monday, comrades! Behold, it’s Punk In The Park lineup announcement day! This year’s installment of Punk In The Park, or as I like to call it, P in the P, takes place November 4th and 5th at Oak Canyon Park in Orange County, CA. The lineup is certainly one that’s worthy of the SoCal […]

Happy Monday, comrades!

Behold, it’s Punk In The Park lineup announcement day! This year’s installment of Punk In The Park, or as I like to call it, P in the P, takes place November 4th and 5th at Oak Canyon Park in Orange County, CA. The lineup is certainly one that’s worthy of the SoCal environs:

Heading the bill this year are Pennywise, Descendents, Circle Jerks and Goldfinger! Also appearing will be a smattering of bands from across the land: A Wilhelm Scream, Suicide Machines, The Lawrence Arms, We Are The Union, The Dwarves and more!

Tickets to P in the P ’23 go on sale this Wednesday – May 24th – at 10am PACIFIC. Bookmark this page to get your own!

by Staff Writer jaystone

Tags:

California circle jerks Descendents Goldfinger orange county

Post a Comment Cancel reply

DS Record Radar: This Week in Punk Vinyl (Blink-182 “The Mark, Tom & Travis Show” repress, Pennywise, Richie Ramone & more)

April 16, 2023 | 5:13 pm

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. After taking a one week hiatus to observe the resurrection of our lord and savior Jesus H Christ, we’re back in action with a ton of awesome colorful plastic music discs on tap. So 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!

If you don’t feel like reading, check out the video edition of this week’s Record Radar, presented by our friends at Punk Rock Radar:

At long last, Blink-182‘s classic live (but not actually live) record The Mark, Tom and Travis Show is back in print! I think it’s been 7 years(?) since this was last repressed. Finally, you can get your hands on this bad boy for less than the $100 it fetches on Discogs. If you wanna grab a copy of this new pressing, this eBay listing looks like the cheapest option.

Also new from Blink this week: Buddha gets its like 30th color variant, thanks to Cleopatra Records. There’s an undisclosed number of copies on Blue w/ Red Splatter colored vinyl (it looks pretty sweet honestly). Get it from the label’s webstore; everything on there is 20% off right now, so this is only like $22.

Pennywise‘s 1993 classic Unknown Road turns 30 this year! Naturally, Epitaph is marking the occasion with a 30th Anniversary reissue. There’s a bunch of color variants; here‘s where you can get all of them.

German skate punk veterans Not Available are getting in on the reissue action, with a new pressing of their 2001 LP V8. They made 99 copies of this new Orange Marbled color variant, get yours here. Very underrated band.

Left Alone‘s debut album Streets of Wilmington is getting a 20th Anniversary reissue! There are 300 copies on Coke Bottle Clear colored vinyl – and 20 test pressings – available here.

The reissue train rolls on! (we’ll get to this week’s new releases soon, I promise). Striped Music has issued a second pressing of the 30th Anniversary Screeching Weasel Anthem For A New Tomorrow reissue. The first pressing on hot pink colored vinyl is long sold out, but now you can get it on blue wax here.

One of the most critically acclaimed releases of 2022, Soul Glo‘s Diaspora Problems, is back in print once again. 500 copies are available on this new Gold / Transparent Green / Pink Split color variant. This LP moves fast (I think this is the sixth pressing in just a year), so act fast and get it here if you want a copy.

Last reissue / repress, I pinky swear! Anywho, Chuck Ragan‘s 2016 solo album The Flame in the Flood is getting repressed. There’s a few variants: “Sunshine” (Canada), “Swamp Green” (US), “Flame” colored, and of course, black wax.

Alright you’ve all been patient, time for some NEW releases! First up is Italian skate punks Wasei, who just put out their awesome new record Vulgar Misplay of Burkett. 100 copies on black wax, 100 copies on colored vinyl. Listen below and grab the LP here.

Suicide Machines singer Jay Navarro’s side project (one of many) J Navarro and the Traitors have a new album coming soon on Bad Time Records. Check out the first single below and pre-order All of Us or None here.

My favorite Ramones drummer Richie Ramone is putting out a new solo record! It’s called Live to Tell and it’s due out on April 21st. Listen to the title track below; get the record here. Available on black wax, as well as 250 copies on autographed, clear colored vinyl.

Teenage Bottlerocket has a new four song 7″ coming soon on Pirates Press Records. There are three color variants: Hot Pink (1,200 copies) and “Evergreen & Blue Jay” (500 copies) are available on the label’s online store. Kelly Green w/ Black splatter (300 copies) is the tour variant. Check out the A-Side title track “So Dumb” below.

California punk supergroup Versus The World (members of Good Riddance, Lagwagon, etc.) has a new album due out May 26th on SBÄM Records. Listen to the latest single below and pre-order The Bastards Live Forever here (US) / here (EU).

Another awesome upcoming release from SBÄM: The Dead Krazukies have announced their new album From the Underworld will be released on June 16th. Check out the first single “Maniac” below and pre-order the LP here.

Juno Award winning Canadian rockers The Dirty Nil have also thrown their hat into the ring with a new record called Free Rein to Passions. The album is due out May 26th on Dine Alone Records. Check out the lead single below; pre-order here.

Michigan pop-punks the Zoanoids are releasing their long awaited sophomore album Effigy on Hey Pizza! Records. You can check out a handful of tracks below and grab the LP here; also available on cassette here! For fans of horror / sci-fi themed pop-punk like the Lillingtons.

Asian Man Records has launched pre-orders for the debut LP from Doki Doki (members of Dog Party, Grumpster, etc.). Check out one of the singles below and pre-order the record here.

And last but most certainly not least, former Face to Face, No Use For A Name, Pulley, etc. bassist Matt Riddle’s new band Fire Sale has launched pre-orders for their new 7″ A Fool’s Errand. Listen to the EP below and pre-order the record here.

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!

by Staff Writer Screeching Bottlerocket

Tags:

Blink 182 chuck ragan ds record radar j navarro and the traitors Pennywise

Post a Comment Cancel reply

DS Record Radar: This Week in Punk Vinyl (Screeching Weasel, Pennywise & more)

January 13, 2023 | 6:38 pm

Greetings, fellow degenerates! Welcome to the latest installment of the Dying Scene Record Radar. If it’s your first time here, thank you for joining us! This is a weekly column where we cover all things punk rock vinyl; new releases, reissues… you name it, we’ve probably got it. So kick off your shoes, pull up […]

In case you missed our story about it earlier this week, my favorite Screeching Weasel record Anthem For A New Tomorrow is getting a 30th Anniversary reissue. Italy’s Striped Music is pressing the record on pink vinyl (limited to 500 copies). All copies come with a poster and CD; pre-order here. If you just want the compact disc 💿 for some reason (I mean, it does have bonus tracks!), you can buy it here.

Another one to file under “new pressing of an old record” is this new “Apple/Lemon” color variant (1,000 copies btw) of Pennywise‘s About Time. This LP came back in print a few years ago and Epitaph‘s been milking the fuck out of these variants ever since. But that’s cool, it’s a great album! Get your copy here.

How about some new music? We like new music, right guys? The Bar Stool Preachers have a new album called Above the Static due out March 31st on Pure Noise Records. Check out their music video for the latest single below and pre-order the LP here (they’ve got a bunch of cool color variants for those of you who are into that kinda thing (I’m into that kinda thing)).

Back to new plastic with old music etched into it… The Bronx‘s IV is back in print for the first time since its initial release in 2013. The variant in the picture appearing on your computer monitor (or the screen of your cellular device) is limited to 500 copies and can be obtained for fungible currency here. Go get ’em, tiger!

Oh shit! More new music! Ramones-worshiping Australian pop-punks the Rimmingtons are releasing their debut album Rocket to Rimtown February 6th on Hey Pizza! Records. Check out a few tracks below and pre-order the LP here (US 🗽) or here (AUS 🦘).

Rounding out the column this week is Something To Do Records with a new compilation featuring 15 awesome pop-punk bands, including the Budweisers, Goin’ Places, the Travoltas and many more (12 more to be exact 😉). You can pre-order this killer LP here.

And 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. 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!

by Staff Writer Screeching Bottlerocket

Tags:

ds record radar hey pizza records Pennywise pop-punk Punk