Dying Scene Album Review: Trashed Ambulance “Future Considerations”

Imagine this if you will, the year is 1999, it is the beginning of Summer, and you’re surrounded by nothing but wilderness and beautiful landscape. You’re about to take a dive off of a 40-foot cliff into a lake, which is really living in the moment. Now the loud music you have blasting on your […]

Imagine this if you will, the year is 1999, it is the beginning of Summer, and you’re surrounded by nothing but wilderness and beautiful landscape. You’re about to take a dive off of a 40-foot cliff into a lake, which is really living in the moment.

Now the loud music you have blasting on your stereo smacks you back into reality. Some fine-tuned punk rock, heavy on the melody and heavy on the fun. You pull off your headphones and stand up to stretch. What was going on before? Were you dreaming?

I was a part of a school-sponsored trip to Canada the Summer before my Junior year of High School, and what was described above actually happened. This was my formal introduction to the wonderful Country of Canada. Fast forward some twenty or so years, and Canada isn’t just a vacation destination for those who love the outdoors.

Canada has become an epicenter for punk rock for the past ten to fifteen years, boasting such great bands as Propagandhi, The Flatliners, Belvedere, Mute, and Silverstein. That’s only naming a few of the many bands who have put Canada on the map for punk rock music.

Trashed Ambulance is a three piece skatepunk/pop punk band out of Red Deer, Alberta and Future Considerations is the band’s third full length album. It is also the first album with the current lineup.

For me being a relatively new fan, after giving Future Considerations a spin, it felt like I have been listening to these guys for years. The influences in their music is instantly apparent and adding their own sound is what drew me to writing this review.

The opening track “56” sets the tone for what is going to be a very loud, energetic, upbeat, melodic and fun album. “Menace” is a standout track, mixing elements of pop punk and skatepunk into a very jumpy and poppy rock tune. On one hand, I can hear Pennywise, specifically their sound from the album All or Nothing, and on another hand I hear NOFX on this track. I really love the dueling vocals with Emilie Plamondon and Robbie Moron on “Stalk in the Park,” it gives a vibe reminiscent of the cover of “Fairytale in New York,” by No Use for a Name. “Blip on the Radar” is my absolute favorite track on the entire album and can be considered a punk rock anthem. I can already picture the crowd singing this one aloud while pumping their fists and chugging their domestic beers. This is a really fun and catchy tune that will likely become a fan favorite.

Trashed Ambulance consists of three members: Josh Hauta – Guitar/Vocals, Jason “Ozone” Ezeard – Bass/Vocals and Riley Bourne – Drums/Vocals. “We tried not to make a paint by numbers skate punk record,” exclaims Hauta. “This album was a true collaboration of ideas between the band members and producer Casey Lewis. We are proud of how it turned out and while we’re under no illusions that we will change the world with a skate punk record in 2022, we are still stoked to be able to present an accurate representation of the band and how we operate in current times.”

They should be proud, this is another solid effort by a hard-working punk rock band. I am pretty confident it will be in heavy rotation among the punk rock scene and those of you reading this review. Do yourself a favor and give this one a spin!

Future Considerations is available on CD and Vinyl via Thousand Islands Records.

Future Considerations by Trashed Ambulance

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Dying Scene Record Radar: New punk vinyl releases & reissues (Against Me!, Frenzal Rhomb, NOFX & more)

Hello, and welcome to the latest installment of the Dying Scene Record Radar! If it’s your first time joining us, this is a weekly column where we cover all things punk rock vinyl. So kick off your shoes, grab a few beers, and break out those wallets, because it’s time to run through this week’s […]

Hello, and welcome to the latest installment of the Dying Scene Record Radar! If it’s your first time joining us, this is a weekly column where we cover all things punk rock vinyl. So kick off your shoes, grab a few beers, and break out those wallets, because it’s time to run through this week’s new releases and reissues. Let’s get into it!

Swedish punk veterans Millencolin have announced a new LP compiling their first two demo tapes from 1993. Due out in early September, Goofy & Melack will be limited to 500 copies on black vinyl, and 240 copies on red vinyl. Preorder through their webstore starts Thursday, August 4th at 10am Eastern.

Anti-Flag just announced their 13th full-length album Lies They Tell Our Children. It’s due out on January 6th, 2023, and you can pre-order it now here. The record will feature guest appearances from members of Rise Against, Bad Religion, and a bunch of other bands. The cover art’s some avant garde bullshit, which is cool if you’re into that kinda thing. Check out the music video for the first single below.

Asbestos Records has repressed the venerable Against Me!‘s 2007 New Wave LP for the first time in six years. This one’s limited to 1,000 copies on split black/yellow vinyl. Head to the label’s webstore to get yours.

Avail frontman Tim Barry has announced a new solo album titled Spring Hill. This is due out on August 12th, and it sounds like the LP will be available to order the on same day. The “red cloud” variant pictured will only be available at a show he’s playing in Richmond, VA on Friday, August 5th (more details on that here).

Fat Wreck Chords has repressed Frenzal Rhomb‘s incredible Smoko at the Pet Food Factory. Fat doesn’t reveal their colored variants usually, but my super official sources tell me this is what this pressing looks like. Grab your copy here.

British melodic punks Darko just announced a new EP titled Sparkle. It’s due out on October 21st, and you can preorder it here. The first single “Cruel to Be” is really good; check out the music video below!

Zia Records has a new exclusive variant of NOFX‘s Punk in Drublic, limited to to 500 copies on “Transparent Beer With Red Splatter” colored vinyl. Get it here.

New band alert! Bracket‘s Angelo Celli has a new project called Guilty Party and their debut 7″ Imposter Syndrome is coming out next month. Check out “Circling the Truth” below, and go here to get your preorder in. If you like Bracket, you will like this.

The Homeless Gospel Choir‘s 2020 album This Land Is Your Landfill just got repressed. There are two new variants, each limited to 250 copies. Go here to grab this one.

Rude Records is having a summer sale! Records, shirts, and more from bands like Less Than Jake, Guttermouth, and a bunch of others are discounted up to 25%. Head over to their webstore to check it out.

Now that all the cool stuff has been covered, here’s what I’ve been listening to… Saving money by not buying every new release has given me a chance to dig out some stuff I haven’t played in a while. First up this week was Much The Same‘s Quitters Never Win, a very underrated skate punk record that turns 20 years old next year. MxPx‘s The Ever Passing Moment from last year’s box set got some playing time, too. I also revisited one of my favorite Murderburgers records The 12 Habits of Highly Defective People, and Civil War Rust‘s fantastic debut LP The Fun & The Lonely.

That’s all, folks! Thanks as always for tuning in to the Dying Scene Record Radar. 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, send us a message on Facebook or Instagram, and we’ll look into it. Enjoy your weekend, don’t blow too much money on spinny discs. See ya next week!

Wanna catch up on all of our Record Radar posts? Type “Record Radar” in the search bar at the top of the page!

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DS Show Review and Gallery: Signals Midwest, Into It. Over It, Downhaul, Mush (Chicago, IL – 7/21/22)

Story and Photography by Meredith Goldberg Signals Midwest, from Cleveland, OH, returned to Chicago, supported by Mush, Downhaul, and Into It. Over It. Its performance at Subterranean – aka SubT – was a fun one. The members seemed especially grateful that their friends in Into It, Over It were able to join them. Signals Midwest […]

Story and Photography by Meredith Goldberg

Signals Midwest, from Cleveland, OH, returned to Chicago, supported by Mush, Downhaul, and Into It. Over It.

Its performance at Subterranean – aka SubT – was a fun one. The members seemed especially grateful that their friends in Into It, Over It were able to join them. Signals Midwest lead singer/guitarist Maxwell Stern expressed the sentiment that they should be supporting Into It. Over It instead of the reverse.

Signals Midwest played to what appeared to be an almost capacity crowd in the warm club on a hot night. Said crowd was vastly mellower than most of the shows we cover here in Chicago, with virtually no circle pit, and many fans watched from a second level. Nonetheless, the crowd members were very vocal as they repeatedly shouted their approval.

Signals Midwest performed 7 of the 12 tracks on their new LP “Dent,” which was released in April 2022. The set opener, “I Used To Draw,” was one of those seven. Other “Dent” tracks performed included consecutively “Tommy Takes A Picture,” “Gold In The Grey,” “Sure of It “ and “All Good Things.” The band also performed “Your New Old Apartment,” though without the song’s featured performer, Sincere Engineer. Signals Midwest closed its set with “Alchemy Hour,” from the album, “At This Age” (2016).


Chicago’s own Into It.Over It ripped through its set, performing songs from a cross-section of its albums. These included, among others, “Discretion and Depressing People”, and “Fortunate Friends” from the album Proper; “Spinning Thread”, and “Upstate Blues,” from, Intersections; “Brenham, TX,” and “Augusta GA,” from 12 Towns; and “Heartificial” and 22 Syllables” from 52 Weeks.

The band members also made it absolutely clear their opinions on the recent Supreme Court decision overturning Roe v. Wade. Joe George Shadid, has a sticker on his guitar stating, “Abortion on Demand & Without Apology.” Evan Thomas Weiss echoed the message posted on the band’s Facebook page. Whilst promoting a t-shirt to raise money for abortionfunds.org, Into It. Over It declares, “this band aids and abets abortion. it is our belief that abortion is a human right and we’ll continue to do what we can to fight for the human rights of US citizens.peace and love.”


For the band Downhaul, from Richmond VA, the SubT show marked the furthest from home the group has performed. Gordon Phillips, singer and guitarist for the group said it was during the middle of the tour so they were feeling pretty comfortable with their sets at that point. He did admit they might have been a bit nervous because they usually play venues much smaller than SubT. However, Downhaul received a very warm welcome and Phillips and the rest of his bandmates were very happy to have numerous good friends in the crowd. This group of friends included members of the Atlanta based band Worlds Greatest Dad, who were in the city on a night off from their own tour. They were also accompanied by Signals Midwest’s Max Stern on lap guitar. Up next for Downhaul? The members are finalizing, for release, some new songs they recorded in June and playing Fest for the first time ever. Needless to say, the band is very excited about its future.

Mush, the 5-member group from Chicago and Grand Rapids MI, was the first band to play. The band’s spirited set launched an enjoyable evening in the Bucktown/Wicker Park area of Chicago.


Please see below for more photos!

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Dying Scene Show Review and Photo Gallery: Windy City Sensation w/ Flesh Panthers, Criminal Kids, Some Hearts, RMBLR and more

Story and Photography by Meredith Goldberg Windy City Sensation returned in Chicago over the weekend of July 16-17, taking over Liar’s Club for two nights of a loud and rowdy rock cocktail with a twist of punk and hardcore. The iconic bar/venue on West Fullerton Avenue played host to a multitude of bands all competing […]

Story and Photography by Meredith Goldberg

Windy City Sensation returned in Chicago over the weekend of July 16-17, taking over Liar’s Club for two nights of a loud and rowdy rock cocktail with a twist of punk and hardcore. The iconic bar/venue on West Fullerton Avenue played host to a multitude of bands all competing for title of most hyper-energetic set.

Of course, the music was pretty damn good too.

Jump starting the weekend were some well-liked sons of the Windy City, Bad Sons. The Chicago born and bred street punk crew has two modes working in conjunction “Fast. Loud.” The band hit its targets on both. 

Though no exact stats available at the moment, Milwaukee might be the non-Chicago city with the highest number of bands having played at Liar’s Club. Convert, the first of the weekend’s several Milwaukee bands, followed Band Sons. Convert made up of musicians from two different hometown scenes: punk rock, and electronic music.  Somewhat obscured through a very dense layer of blue fog its performance nonetheless broke through strong and clear.  

Some Hearts is based out of both Tulsa, OK and Los Angeles, CA, which one member, Niah Bervin, joked was “weird, I know haha,” found its way into the heart of the opening night crowd with its energetic set. 

Criminal Kids has around for a while and has deservedly developed a reputation for rollicking sets. From the regularity of the band’s appearances at Liar’s, it is obvious this is a favorite spot for them. It even recorded a live record at the venue in September 2021. All of this contributed to a sense the band was very much at home, among friends, on the compact stage at 1665 W. Fullerton. Its performance did not disappoint. 

From Criminal Kids immediately to a crime of another sort. Crime Line comes out of Norfolk, one of the cities making up Hampton Roads, a metropolitan area in southeastern Virginia. (Note: it is also where I lived for several years so I know the area well) Along with its Naval facilities, Hampton Roads might be musically best known for homegrown hip-hop legends Missy Elliott and Pharrell Williams. As shown in the documentary, “Hardcore Norfolk: The Movie” (2011) it also has a strong punk rock legacy. The most well-known of which is likely Waxing Poetics.  Crime Line carries that legacy forward with its rambunctious performance. Lead singer Ray Braza might have been purposefully or perhaps subconsciously but bloodily inspired by   Jack “Choke” Kelly from legendary Boston hardcore band Slapshot.  Braza smashed up his own head with the resulting blood running down his face and garishly mixing with sweat to soak his white t-shirt failed to stop him. Alas, it was difficult to determine if tears completed the metaphorical holy trinity symbolizing the hard work it takes to succeed. 

Capping off night 1 was Dinos Boys out of Atlanta Georgia. Chase Tail pulled triple duty for the weekend. Tail is the lead singer for both Dinos Boys and RMBLR, with each band at the top of its respective night’s bill. In addition, Tail organized the event. However, if he was exhausted at any point, it did not show. 

Aces, from Milwaukee, got the Sunday session off to a pummeling start with its no flash all thrash set. The band appeared to be buoyed by its latest EP, released this year, “Raw Deal,” which includes the single, “Outta Time.” 

Flesh Panthers are vets of the Second City punk scene. Revrend Zombotron led the group with an enthusiasm which led the crowd to slam against the stages and the walls surrounding the compact stage. Flesh Panthers’ lively performance was a highlight among many highlights during the Windy City Sensation 2022 weekend. 

And then there was Baltimore’s BBQT. The 5-piece crew from Charm City delivered an especially exciting set. Gabbie “Sleaze-E-G” Torres dominated both the stage and the floor. At times she appeared ready slither right off the stage. Thankfully, the stage is built fairly low to the ground.  Her bandmate,  guitarist Alex Briscoe, brought to mind a whirling dervish with his nearly continuous spins. He remained in perpetual motion for the duration of the BBQT set. 

Closing out the weekend, RMBLR left the crowd panting and exhausted. Event organizer Chase Tail growled into the mic, slashing across the stage. At one point he dropped to the floor of the stage and proceeded to easily do one-handed push-ups.

Despite a few brief technical glitches with sound gear and guitar straps, the weekend was a bit of chaotic glory. If there is a Windy City Sensation 2023 there will be high expectations to meet. I have little doubt that organizers can and will exceed those expectations. 

Please see below for more images from Windy City Sensation.

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DS Festival Review: Slam Dunk Festival (North)

In 2001, I moved to the Northern English city of Leeds, in part because of the live music venue, The Cockpit. This small venue put on all my favourite bands of the time, and had a long history of putting on great live music. I worked in another venue in the city on weekends, so […]


In 2001, I moved to the Northern English city of Leeds, in part because of the live music venue, The Cockpit. This small venue put on all my favourite bands of the time, and had a long history of putting on great live music. I worked in another venue in the city on weekends, so Tuesday night was my big night out, and Tuesday nights were Slam Dunk at The Cockpit. A solid mix of ska punk, pop punk, emo, rock, metal and whatever else alternative kids were listening to in the early 2000’s. 

So here I am, 21 years later. The Cockpit has long since shut down and whilst the Slam Dunk Club Night plays on at its new home, the Key Club, it’s the festival that I am at today. Now held across two cities with more than 50 bands, across five stages, things have really grown from that two room sweaty Tuesday night under a railway arch.

The lineup covers a wide range of punk and alternative music, but because I’m old and stuck in my ways, I’m mostly staying at the Dickies stage, which is the main stage this year, hosting The Suicide Machines, The Bronx, Hot Water Music, The Vandals, Streetlight Manifesto, Pennywise, The Interrupters, The Dropkick Murphy’s and headliners Sum 41. 

I’d originally bought tickets on the basis that Rancid were headlining, but they pulled out for undisclosed reasons. Then support from the Mighty Mighty Bosstones collapsed along with the band. Things were looking bleak, and I actually looked into selling my ticket, only to have two of my close friends and original Slam Dunk allies to buy tickets, so it was to be a big day out for us old guys.

The venue for the festival is Temple Newsam House. For further personal historic links, this was the site of the first music festival I ever went to (V98), and a big part of my musical taste was formed in these park lands. The benefit of this location for me is that it is close to home, the downside is that it still takes an hour and a half to get in, as traffic is not well managed and everything is already getting expensive (£10 to park in a field, £10 for a bus), I’d planned to ride my bike to the event, but for three of us, that didn’t make much sense.

Inside the arena, the stages are far enough apart that there is little noise mix from bands and practicalities like bars, toilets and food concessions are plentiful, the addition of a separate “real ale” bar was a pleasant surprise, and I managed to spend an impressive amount in this tent after and before every band. The tent also provides some welcome shade from the unexpected sun that I was totally unprepared for!

So, on to the music…

Hot Water Music, a band that I’ve discovered backwards through Chuck Ragan’s solo work, come out impassioned and full of energy, although the crowd are a little flat with it being an early set. Despite this we get a solid effort from the band, though possibly things are held back a little by a lack of catchy hooks and sing along choruses in the songs performed. Finishing with “Trusty Chords” gets the crowd interested from hearing a song they know. Whether they know the song from Epitaph‘s Punk-o-Rama compilation, or it’s just a favourite is hard to say, but in a pre-internet world, compilations from Independent punk labels are how a lot of us discovered new bands, especially those that didn’t tour the small northern venues like the Cockpit!

A quick trip to the bar revealed the sound of Punk Rock Factory carrying on the wind from the Rock Sound Stage. I was familiar with the band from their Youtube videos of punked up, harmonized pop covers, and as a father of small children, I found myself singing along to “Let It Go”, whilst appropriately stood at a urinal. If I have to play Disney songs on long journeys, then at least they can have crushing guitars as well, and hopefully, like some kind of gateway drug, this leads my kids down the path of home made tattoos and living in a van (or some other punk cliché).

The Vandals took to the stage with a not too reassuring “We’ll do our best”, and whilst I appreciate their honesty and openness, first song “Café 405”, is out of time and out of tune. 

Three songs in, things are starting to tighten up, “People That Are Going To Hell” gets people moving a little, but on the whole, the crowd remain static. “And Now We Dance” raises the energy, “The New You” keeps it going, but there’s just not enough there to hold the attention of the majority of the crowd. My friends desert me to hit the real ale bar, I hate myself for giving up on the mighty Vandals, but cold beer and the Cancer Bats on the Jagermeister stage lure me away. I’m not massively familiar with the Cancer Bats, but the wall of noise, that I could feel through the ground and see vibrating through my pint has led me to listen to more of their back catalogue.

I had a dream the night before Slam Dunk that I took all my family to see Streetlight Manifesto, but instead of their usual set list, they played a really challenging, four hour Jazz set, stopping only to enjoy a sit down meal, where they served soup from tea pots. I was trying desperately to convince my family that really, they’re a great band, whilst simultaneously enjoying the weird spectacle. 

Fortunately, there’s no Jazz today as Streetlight Manifesto, a later addition to the bill, take to the stage. There’s a clear sense of excitement in the crowd as the eight piece tear through classic hits “We Will Fall Together” and “The Three Of Us” along with lesser known tracks with a level of energy normally reserved for headline shows. The crowd sings along, dances, moshes; it’s a perfect blend of everything you want on a summers day. The only slight letdown is Tomas Kalnoky shouting “this is the big finish!” and then promptly not playing “Keasbey Nights.” I get the reasons, and I support them in letting go of a song that doesn’t really represent the band, but for many in the crowd it’s the song they came to hear and there’s visible confusion as the band leave the stage, though encores aren’t really a thing at 16:30 on a festival stage are they?

I last saw Pennywise in 1999. So its been a while. Late last year I read Jim Lindberg’s book “Punk Rock Dad,” which renewed my interest in the band, so I’m excited to see this set, and if the number of Pennywise T-shirts I’m seeing are anything to go by, so are the crowd.

From the get go, the band are on full attack. There’s no sign of age in the band and the crowd are loving it. Covers of AC/DC’s “TNT” and “Breed” by Nirvana continues the energy. Early songs “Pennywise” and “Society” lead to Lindberg lamenting to having been “doing this for thirty years,” but it’s not slowing them down. 

The crowd holds middle fingers aloft for “Fuck Authority,” and whilst it feels cheesy, a load of middle aged men swearing at the sky, its kind of cathartic, and hey, it’s a great song! Who doesn’t enjoy feeling like an angry teenager (teenagers maybe?).

A cover of “Stand By Me,” which closed 1992 album Wild Card/ A Word From The ‘Wise surprised me, as I was certain it was Lagwagon, so I learned something important today if nothing else. 

Set closer “Bro-Hymn” has exactly the effect you’d expect. Huge “wooahs” from the crowd, that epic bass riff and impassioned singing along. Obviously it’s a great song, but I think it hits harder now, after the last few years and I think everyone can take some strength from this song and apply it to someone they’ve lost.

The Interrupters carry a strange position in my mind. I love their songs, they’re great live, but there’s just something not quite right. Something doesn’t sit right with me, and I hate myself for being so negative, but its all a bit too clean cut for me. Like it’s the soundtrack to Disney film where some hopelessly good looking, talented young people form a ska punk band and take over the world with a weird crusty mentor behind them (Called Tim?).

Opener “Take Back the Power” feels stronger than normal. Maybe its that they’re more established, or maybe my cynicism is fading? Either way I enjoy it for what it is, well polished, perfectly-performed ska pop-punk. 

Ignoring a weird segue about how they all used to bathe together… “She got arrested” gets a great crowd sing along, and is probably my favourite of their songs, not least as it was my introduction to the band back in 2017 and a great example of the quality story telling in the lyrics of some of their songs.

A cover medley of “Keep ‘Em Separated”/ “Linoleum”/ “Ruby Soho” gets the crowd going before surprise high point for me, a cover of Bad Religion‘s “Sorrow,” which goes down well with the crowd (For reference Bad Religion played Slam Dunk in 2019, as did the Interrupters).

The band finishes with “She’s Kerosene,” keeping the party going, the crowd moving and generally capturing the moment nicely. People are drunk, its sunny, the people want to dance and the Interrupters deliver.

The Dropkick Murphys take to a stage with a full length riser, done out to look like a stone wall, but there is a notable absence. Al Barr, it is announced, has stayed home to care for his sick mother. Ken Casey steps up for lead vocal duties and the evening begins with the sound of bagpipes on the cool evening breeze. 

“State of Massachusetts” gets the kind of crowd reaction you’d expect from a classic pop hit or a song about Yorkshire, such passion for such a challenging subject is strange, but hey, it’s a great song and the drunk, bouncy, dancey crowd are loving it.

“Barroom Hero” is introduced as the first song the band ever wrote, which is a bit of trivia I didn’t know, but I remember it from way back in the 90s, so I guess that makes sense. The crowd offer weak “Oi! Oi! Oi!” effort which is a disappointment, maybe the crowd aren’t as au fait with shouting Oi! as I’d like? Though I accept my drive to shout “Oi!” is probably higher than most.

The slip up begins with the instruction to sing along to the 1937 hit “I’ve Still Got Ninety-Nine” by the Monroe Brothers, which although an undeniably good song, probably isn’t too familiar to the crowd today. On the upside, we’re promised an acoustic album in September, which is one to look out for. Whether it’s new material or reimagined classics has not been confirmed, but hopefully there will be an associated tour.

“Rose Tattoo” brings the sing along from the crowd, but lacks the momentum to get the crowd moving. This is exacerbated by the big screen showing bored, static faces in the crowd for the first time. Fortunately, “I’m Shipping Up To Boston” brings the party back before the end of the set. I’ve never seen such passion for a missing wooden leg, as the crowd goes nuts, with crowd surfers from all directions riding above the waves of the crowd. All parties appear to have legs intact, so that’s good.

Headliners Sum-41 were a bit of a quandary for me. The first album was an important soundtrack to my late teens/ early 20s and I saw them play in Leeds twice in 2002, but I haven’t listened to their music since Does This Look Infected from the same year.

A bit of pre-show research suggested they have had seven further releases, including 2019s Order In Decline, but in the spirit of openness, I’ve not felt inspired to check these out.

The band come out to a stage with blood-soaked Marshall speaker cabinets, a giant skull, jets of fire and “Motivation” from the first album, All Killer, No Filler. More people than I expected are really into it, though competition with Deaf Havana and the Nova Twins is limited and the other stages have closed.

The stage is set for a night of big rock and I’d like to say I invested more effort into rediscovering Sum 41, but too much sun, too much beer and a designated driver who wanted to beat the traffic meant we made an early exit.

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Dying Scene Record Radar: New punk vinyl releases & reissues (Mr. T Experience, Tony Hawk’s Pro Skater soundtracks & more)

Hello, and welcome to this week’s installment of the Dying Scene Record Radar! This is a weekly round up of all things punk rock vinyl, highlighting new releases and all those ultra limited reissues that get the collector nerds’ hearts racing. So, let’s get into it… Now that all the new and upcoming releases have […]

Hello, and welcome to this week’s installment of the Dying Scene Record Radar! This is a weekly round up of all things punk rock vinyl, highlighting new releases and all those ultra limited reissues that get the collector nerds’ hearts racing. So, let’s get into it…

Wake up, sleepy heads! 1-2-3-4 Go! Records has a new exclusive pressing of an East Bay punk classic going up Friday, July 8th (that’s today!) at 8am PST/11am EST. Limited to 500 hand numbered copies on fiery red vinyl, it’s Jawbreaker‘s 24 Hour Revenge Therapy! Make sure to join their mailing list to be notified when this goes up.

Save the date! The Mr. T Experience is finally reissuing their 1997 LP Revenge Is Sweet, And So Are You. Preorders for this one start Monday, July 11th at Noon Eastern time. To gain access to the preorder, you need to join this mailing list. This pop-punk classic has been out of print since its initial release on Lookout! Records 25 years ago. Don’t miss out!

Speaking of Lookout! Records, Sewer Trout‘s full discography is getting reissued as a compilation LP. This is a collaborative effort between Lavasocks Records and Dead Broke Rekerds. You can preorder it here.

Epitaph Records is reissuing Down By Law‘s 1994 LP Punkrockacademyfightsong on purple vinyl. This is another one that’s limited to 500 copies. US preorders are already sold out, but the label’s European store still has some in stock if you can stomach the extra shipping cost. Or hey, maybe you live in Europe!

Canadian punks Trashed Ambulance just put out a new album called Future Considerations. It’s available to stream right now, but Thousand Islands Records doesn’t expect the LPs to be in hand for a few months. Listen to the album on the below, and preorder it here (North America) or here (UK).

Attention, all skate punk fans! I implore you to check out the new record from Australia’s No Quarter. If you like fast, melodic punk in the vein of Satanic Surfers, you’ll like these guys. You can listen to Fear and Loathing on the Pacific Highway below, and order the LP here.

Feeling nostalgic for the days when you played Tony Hawk’s Pro Skater late into the night, chugging Mountain Dew and getting Cheeto dust on your Mad Catz controller? Then maybe these vinyl bootlegs of the THPS 1 and 2 soundtracks will interest you. If so, you’ll wanna hurry up and grab one here, because these have nearly sold out in just two days.

People of Punk Rock Records will be giving two Rufio albums their first-ever vinyl releases. Head to their website Monday, July 11th at 11am Eastern to get your hands on these beautiful new pressings of MCMLXXXV and The Comfort of Home.

Garageland has exclusive reissues of three – count ’em, three! – Agnostic Front records. Something’s Gotta Give, Riot Riot Upstart, and Dead Yuppies are all available on limited splatter colored vinyl. Head over to their store and get ’em while the gettin’s good.

European friends! If you’re looking for a deal on some great punk records, I suggest you head over to SBÄM Records‘ webstore, where you can save 25% on everything through July 29th. Just enter the code “SBAMFEST” at checkout and you’re ready to roll. They have a bunch of good shit from Pulley, Frenzal Rhomb, Chaser, Guttermouth, and many more. You name it, they’ve probably got it!

Mom’s Basement Records just replenished their pop-punk arsenal with some killer records! New additions to their distro include LPs by the Hawaiians, Beatnik Termites, Lillingtons, and Methadones. Lots of good stuff for my fellow pop-punk enjoyers to munch on.

Now that all the new and upcoming releases have been covered, I thought I’d show you the records I picked up this week, because I’m sure you really care! Anywho, I was in Ocala, FL visiting my parents for the 4th of July and I decided to stop by the only local record store in town, which is appropriately named Vinyl Oasis. I was very happy to find the RamonesIt’s Alive II, a 2020 Record Store Day title that I had been in search of for the last two years, and I was even happier it was only $30 (suck it, resellers!). I also snatched up a brand new 3xLP copy of The Clash‘s notoriously bloated Sandinista (I like it!), and a few CDs including the very interesting Misfits / Nutley Brass crossover album Fiend Club Lounge.

Well, it’s getting late, so I’ll wrap things up there. If you’re still reading this for some reason, thank you again for tuning in to this week’s edition of the Dying Scene Record Radar! Is there a new record you think should be highlighted in next week’s column? Suggestions are always welcome – send us a message on Facebook or Instagram and we’ll look into it!

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Jasons

DS Photo Gallery & Show Review: The Jasons / Latecomer / Jerk! / Bottle Rat (Cattivo – Pittsburgh, PA 5/6/2022)

This review is better late than never… don’t blame me, blame Dying Scene for being on “vacation”… Anyway, with MC5 playing down the street, and The Chats, Mean Jeans, and Thick playing a few towns over, I didn’t know what to expect as far as a turnout on this rainy Friday in Pittsburgh. To make things […]

This review is better late than never… don’t blame me, blame Dying Scene for being on “vacation”… Anyway, with MC5 playing down the street, and The Chats, Mean Jeans, and Thick playing a few towns over, I didn’t know what to expect as far as a turnout on this rainy Friday in Pittsburgh. To make things more uncertain, it was my first time at this venue, which didn’t exist before I started a decade of living in NYC and New Jersey.  One thing was clear that night: people show up for The Jasons. It helped that the bill was also pretty stacked with pop punk vets, Latecomer, Jerk! (on tour from Las Vegas) and Bottle Rat, whose members have been doing the punk thing for what feels like decades.

Cattivo, in the Lawrenceville neighborhood of Pittsburgh wasn’t at all what I expected. I expected a small – medium sized bar venue that might have a stage, or might not. I was way wrong. This is a dual-level venue that had The Jasons show being held downstairs. The room and stage were a decent size and there was a cash bar serving drinks. The room offered plenty of standing room, a lot of space for band merch, and the bathroom was acceptable.  Venues like this aren’t uncommon, but it had been a while since I’ve been to one like this. Aside from the shiny curtain in the back of the stage creating the backdrop, there isn’t really anything memorable about this place. You could say the focus is on the bands, which is always a good thing.

Bottle Rat

The first band up was Bottle Rat.  If you’ve been in the Pittsburgh punk scene in the last twenty years you’ve definitely seen these dudes in one band or another.  There’s something about Bottle Rat that takes me back ten years or so to what I remember loving about the Pittsburgh punk sound. The best way to describe that Pittsburgh sound and Bottle Rat is an energetic, growly, anthemic, blue collar street punk style. Every song is a toe tapper, some songs are even hand clappers, and there’s just something about these guys that leaves you wanting more. This performance was no exception. You can bet I’ll be seeing these guys a lot in the future and I’ve given their album, All My Friends Are Animals a few spins since the show.


Jerk!

Next was Jerk!, on tour from Las Vegas, NV. I’ve been following this band since I first heard about them through Mom’s Basement Records and was immediately intrigued. Jerk! plays a sort of pop punk / ramonescore hybrid with a drummer that reminds me of Bill Stevenson both in looks and style of playing. Their set was a lot of fun and featured a ton of upbeat and poppy songs. The only album I’ve ever heard from them is “Panic Attack” and they made sure to hit a ton of songs on that album.  They also performed their version of the Screeching Weasel song, “Guest List” which is always a crowd pleaser. There’s no telling when Jerk! will be back in the ‘Burgh again, but when they are I’ll be there!


Latecomer

The last opener of the night was Latecomer. I’ve known Zach and Pete since they were in their first band, Shuttlecocks, over a decade ago and I’ve had the pleasure of playing shows with this latest band.  These guys have been killing it for years and every time they take the stage, it gets more and more polished.  They dish out a brand of catchy as hell sing-along songs that never disappoint and remind me of bands like the Jetty Boys, Dopamines, older Menzingers, and an edgier Green Day. They have a few releases at this point and made sure to play songs from all of them during their set. The crowd started to really fill in around this time and everyone knew their songs and provided plenty of crowd participation. Always a great sign for a band. It was really nice to hear some of my favorite songs like “All My Friends” and “Refrigerator” live again.  Latecomer has always been very active, so if you’re in the Pittsburgh area and they’re playing, be sure to check them out!


Jasons

The headliner for the night were The Jasons from Crystal Lake, NJ! Boy do these dudes have a following.  What’s great about them is while they play a ramonescore style pop punk, you’ll see people from all different subgenres of punk coming out to support them! I’ve seen them a few times at this point and the show keeps getting better. Mainly because The Jasons have everything… a uniformed look, between song banter, great stage presence, and a great stage show… oh yeah, the songs are also catchy too. As soon as the first note rang out, the pit opened up, fists went into the air, and the excitement started.  The Jasons went on to rip through classics like, “Blood in the Streets”, “Get Fucked”, “I Wanna Be An Asshole”, “Dead Fuck”, and “J.J. Was a Headbanger”.  Overall, the set was flawless, right down to the smoke machines being in sync with the music, and after a quick (and forced) encore, the set was over and so was the show.


It had been a minute since I’ve attended a show where I truly dug all the bands on the lineup. It was also nice to see a ton of familiar Pittsburgh faces and I look forward to more of these types of shows to come. Thanks to all the bands, Cattivo, and the promoter Some Die Nameless!


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Ten Underrated Punk Bands You Need to Check Out Right Now

Most people have a handful of bands and records that they keep in regular rotation; some might call them “favorites”. But there is a world of possibilities out there, my friends! Sure, it’s convenient to stick with what you know and not venture too far off the beaten path, but let’s be honest, that shit […]

Most people have a handful of bands and records that they keep in regular rotation; some might call them “favorites”. But there is a world of possibilities out there, my friends! Sure, it’s convenient to stick with what you know and not venture too far off the beaten path, but let’s be honest, that shit gets boring! To me punk rock has always been about discovering exciting new bands. Variety is the spice of life! Anyway, enough chit chat, these are some really good bands that deserve your attention. Give them a shot – I think you’ll like what you hear.


THE LEMONAIDS

God damn, these guys were so good! Scotland’s Lemonaids put out a few excellent pop-punk albums then seemingly disappeared into the ether. Their sophomore release Back to the Beach was one of my favorites in 2014. The songs are fast, fun, catchy 90’s pop-punk. If the Lemonaids came back and announced a new album tomorrow, I’d be the first in line to buy it!


WINNING STREAK

Winning Streak deserves credit for putting out one of the best skate punk records of 2020. The band’s sophomore effort We Need a Plan introduced Much The Same frontman Chris McGrath as their new backup vocalist/guitarist, and he fit in very nicely. The record marches along at breakneck speed with a healthy dose of the metallic guitar riffing popularized in melodic punk by bands like Strung Out and Mute. They’re supposedly working on a new album right now, too, so be on the look out for that!


THE HUMAN PROJECT

Leeds, UK’s The Human Project plays hard hitting melodic punk band in the vein of bands like A Wilhelm Scream and This Is A Standoff. Their latest album Clarion Call gets my heart racing like an audio energy drink every time I listen to it. Seriously, this shit is intense! Check it out.


MEGA

If you haven’t heard of Mega before, I don’t blame you. The band’s name makes it nearly impossible to find them on Spotify or any social media platform. I was introduced to these Italians by the Dummy Room podcast a few years ago. These guys are incredible! Some of the best (and most unique) pop-punk I’ve heard in a long time. They don’t sound like anything else out there – honestly I’m not sure I’d even call them pop-punk. Every time I put on 2019’s Narcissistic Punk Rock Disorder it’s like I get lost in a trance.


UP FOR NOTHING

Brooklyn’s Up For Nothing has been around for a while, but they seem to have flown under a lot of people’s radars. That’s quite the injustice, because these guys are a solid pop-punk band! They went MIA for a bit, but have returned with a new record called Escape Route. UFN draws a lot of influence from the Bouncing Souls, so it’s fitting that Souls guitarist Pete Steinkopf had a hand in the recording of this album.


BLOWFUSE

I fell in love with Blowfuse the first time I heard them almost a decade ago, watching the “Basket Case”-esque music video for their song “Ripping Out”. This band is from Barcelona, but their extremely frantic brand of punk rock draws a lot of influence from west coast punk and the 90’s Epi/Fat sound. Their whole catalog is fantastic, but the Couch EP is my favorite.


THE KIMBERLY STEAKS

Here’s another great band from Scotland! Those Scots sure do churn out some quality punk rock. The Kimberly Steaks sound kinda like Insomniac era Green Day, but snottier, faster, and… more Scottish. I’d suggest starting with their 2014 album To Live and Die in West Central Scotland. This record is the definition of all killer, no filler. It hits you like a freight train and just doesn’t let up. Great band, great album.


THE REAL DANGER

Face to Face fans will love The Real Danger. It’s been almost a decade since these Dutch punks put out a new record, but 2013’s Down and Out has aged quite gracefully. This album as a good starting point for new listeners. Fast, melodic punk brimming with hooks and vocal harmonies. Speaking of underrated bands, these guys kinda remind me of One Man Army, too.


THE HEXTALLS

Do you like pop-punk? Do you like hockey? How about pop-punk songs about hockey? Well, then I’ve got just the right band for you – The Hextalls! To be fair, not all their songs are hockey themed… they cover a myriad of topics such as catching your dad masturbating to Shania Twain, buying a singing toilet for your newborn child, and begging your parents to let you sleep in the treehouse… as a 33 year old man. Very serious shit! Anyway, all the Hextalls’ records are great, but if I had to pick a favorite it would be Get Smashed. “I Don’t Wanna Be a New York Ranger” is a Top 10 song of all time for me. Fuck the Rangers!


REHASHER

People who know me know my all-time favorite band is Less Than Jake. I’m also a super fan of Roger Lima’s other band Rehaser. A passion project that occupies Lima’s time when he’s not touring the world with LTJ, Rehasher has released three blazing fast melodic punk albums (and recently a fun covers record) over the last 20 years. I love everything this band has put out, but my personal favorite is High Speed Access to My Brain. This is some of Roger’s best songwriting, in my opinion. If you like Belvedere, Rehasher is right up your alley.

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Dying Scene Album Review: Florida Men record killer punk album

Florida men are usually in the news for all the wrong reasons. Whether they’re getting high on bath salts and eating a homeless person’s face off, being arrested for drunk driving on a Segway, or stealing a cop car while butt-ass naked, Florida men are always up to something. Their latest venture? Joining forces to […]

Florida men are usually in the news for all the wrong reasons. Whether they’re getting high on bath salts and eating a homeless person’s face off, being arrested for drunk driving on a Segway, or stealing a cop car while butt-ass naked, Florida men are always up to something. Their latest venture? Joining forces to start a band and release a fucking awesome album of loud, fast, snotty, pop-tinged punk rock. One small caveat: these guys aren’t actually from the Sunshine State, they’re Dutchmen. But, as a native Floridian, I accept them as one of my own.

Florida Men (the band) features members of Sun-0-Bathers and Drunktank, among others. Their twelve song debut album clocks in at under 20 minutes, delivering really fun, short bursts of melodic pop-punk, fueled by a barrage of Johnny Ramone style buzzsaw downstrokes. There’s a liberal application of the earwormy “nursery rhyme” style lead guitar parts popularized in the 90’s by The Queers and Screeching Weasel, paired with the frantic pace of bands like DeeCracks, Teenage Bottlerocket, and The Manges.

All of the songs are great, but some of my favorites include “Better Safe than Sober”, “Tiki Bar”, “Greatest of All Time”, and “No Fit”. The subject matter ranges from getting cheated on by your trailer trash girlfriend who has face tattoos and a tramp stamp, to getting drunk at a Tiki bar after nobody came to your band’s show. I must say, for a bunch of Dutchmen, these guys sure know a lot about… Florida stuff.

For old school pop-punk fans, I’d consider this “easy listening”. It’s a quick blast of fun, catchy songs. All the hallmarks of the genre are here, but these guys do “pop-punk by the numbers” way better than a lot of other bands. The singing, playing, and production are all on point. Florida Men made a really, really good album that would serve as the perfect soundtrack to any felonious acts you may want to commit.

It’s a fuckin’ bargain, too! Morning Wood Records is selling the digital version for just two bucks, and the CD can be had for the low price of five freedom dollars. Shipping to the United States (more specifically Florida) is another issue, but it’s still quite reasonable. Buy, buy, buy!!!

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