|Honey Forever Fire Out Now|
A very Happy Record Release Day to Honey. The Philadelphia based thrash-metal group, fronted by Jay Laughlin (Turning Point / Godspeed), play it fast and heavy in the vein of early Sepultura and the beloved Powertrip. Forever Fire marks their first album with Trenton indie-label Hellminded Records. Vinyl pre-orders are available at Hellminded Records and include three vinyl variants, a very limited repressing of the bands first EP, and a shirt.
STREAM: FOREVER FIRE
Bio: Originally, Honey wasn’t conceived as a full band project. It was more of a solo project to serve as “therapy” for singer / guitarist, Jay Laughlin (Turning Point, Godspeed). As Jay puts it, “I’ve been playing in bands non-stop since the 8th grade (1986). In 2017, I had a couple of back-to-back shitty situations which put me into a seriously dark depression. I thought maybe it was time to take a step back from playing in a band and book some studio time to make a record for myself… by myself.” These sessions would take Laughlin back to his roots — the heavy metal and hardcore music that first caught his ear and possessed him to pick up a guitar and write songs in the first place.
Towards the end of the recording sessions that became the self-released “Nightmare Come to Life” EP, it was clear that this project should become Laughlin’s next band. Jay explains, “The plan was to play everything myself, but as I was getting deeper into the recording process, I became more and more excited about how things were coming together. So, I decided to bring my friend and old bandmate, Chris Hunter in to play some lead guitar parts to complete the songs. He’s the best guitar player I’ve ever played with, and we were both struck by how much we liked the songs. So, we thought it’d be a great idea to find a drummer and a bass player so we could play these songs live.” Miles Ziskind (drums) was brought to Jay’s attention by his brother-in-law, who said, “I have a friend who’s an amazing metal drummer — you should get him for your band!” So, when the time came, Miles was the first and only drummer Jay reached out to. “Turns out my brother-in-law was absolutely right!” says Jay. Laughlin was introduced to Greg Karlowitsch (bass) by a mutual friend, “This is metal Greg, you two should start a band.” So, it was a no-brainer, Greg joined up too, and Honey (the “therapy” project) became a full band. As Jay puts it, “It seemed like it was meant to be. Miles and Greg blew me away the first time we jammed together.”
Fast-forward to early 2020. Honey is a proper band with an EP on the verge of release and live shows are booked, and then… well, we all know what happened next. The world shut down! Live music is gone for the foreseeable future. “The depression that inspired this project in the first-place kicked in all over again.” Jay laments. But there is a silver lining — Honey has since had the good fortune to sign a deal with New Jersey’s, HellMinded Records and are set to record a debut full-length album, which is scheduled for release in the early May of 2021. Jay and the band are excited for the future. Jay sums it up this way, “As much as 2020 has been doing its best to keep everything I love on hold, I couldn’t be more excited to make a record with this band at this time. Playing music that’s loud and fast with my friends will always be the best therapy!”
FFO: Power Trip, Enforced, Mindforce, Iron Reagan
Release Date: 5/28/21
Label: Hellminded Records
Formats: Digital | Vinyl
Hellminded Records: Facebook | Instagram | Twitter | Website
Honey: Bandcamp | Instagram
Album Credits: Jay Laughlin – Vocals/Guitar
Miles Ziskind – Drums
Chris Hunter – Lead Guitar
Greg Karlowitsch – Bass All songs written by Jay Laughlin except Relentless, written by Jay Laughlin and Chris Hunter All lyrics by Jay Laughlin.
Produced by Jay Laughlin and Pete Rydberg.
Engineered and Mixed by Pete Rydberg at 1934 Studios, Philadelphia, PA 2020
Mastered by Arthur Rizk
Cover painting by Adam Burke / Nightjar Illustration
Watch this video. I dare you!
THE LINDA LINDAS SIGN TO EPITAPH RECORDS
L.A.-BASED PUNK BAND TO MAKE THEIR NATIONAL TV DEBUT
JUNE 3 ON “JIMMY KIMMEL LIVE!”
Epitaph Records is thrilled to announce the signing of The Linda Lindas. The label approached the Los Angeles-based, all-female punk band behind the viral smash hit “Racist, Sexist Boy” several months prior to their now-legendary set at the L.A. Public Library. With their explosive and authentic collision of garage-punk, power-pop, and new wave, The Linda Lindas are an exciting new addition to the Epitaph roster.
“Epitaph offered us full creative control and they’re really supportive of what we want to do as a band,” says Linda Lindas vocalist/guitarist Lucia, age 14. “We’re really happy about signing with them, and we can’t wait to put out more music.”
Founded in 2018, The Linda Lindas also include Lucia’s 10-year-old sister Mila (vocals, drums), their 13-year-old cousin Eloise (vocals, bass), and longtime friend 16-year-old Bela (vocals, guitar). They first played together when former Dum Dum Girls frontwoman Kristin Kontrol invited them to take the stage to play covers for Girlschool LA (a music and ideas festival focused on connecting and empowering women-identified artists, leaders, and voices). After forming their own band and playing DIY gigs around Los Angeles, they were asked to open for punk icon Alice Bag and for seminal riot grrrl band Bikini Kill at one of their 2019 reunion shows at the Hollywood Palladium. In time, the band began writing their own material, including a song featured in the 2020 Netflix documentary The Claudia Kishi Club.
In December 2020, The Linda Lindas released their self-titled, self-released debut EP showcasing their high-energy and heartfelt brand of punk, naming Jawbreaker, The Go-Go’s, and The Alley Cats among their inspirations. Months later, they appeared in a key scene of Amy Poehler’s Moxie!
On May 4, 2021, The Linda Lindas’ set at the Cypress Park branch of the L.A. Public Library was streamed as an AAPI Heritage Month event (the band members are Asian American, Latinx, or both). The highlight of their 40-minute set: a blistering performance of “Racist, Sexist Boy.” In addition to amassing over four million views on Instagram, the clip has earned major praise from the likes of Hayley Williams, Questlove, Flea, and members of Rage Against the Machine and Sonic Youth.
“We knew the song would get a good reaction, but we never imagined this,” says Eloise. “Even though we started the band for fun, now it feels we can actually make a difference with what we’re doing.”
Lucia adds: “People have reached out to us from all over the world — we get a lot of messages from little girls, but we also get messages from grandmothers. We always hope that the music we put out will inspire other young girls, but we also want it to make anyone feel like they can do anything, no matter what age they are.”
Currently, at work on new music, The Linda Lindas will make their national television debut on Thursday, June 3, on “Jimmy Kimmel Live!” at 11:35pm/10:35pm CT on ABC.
The Linda Lindas are Eloise (vocals, bass), Mila (vocals, drums), Bela (vocals, guitar), and Lucia (vocals, guitar).
Yes! We have been anticipating new Clowns music, and the wait is finally over! Our beloved Australian thrashers dropped a new song titled, “Does it Matter?” Clowns vocalist Stevie Williams expands, “We wanted to write the most Clowns song that had ever existed – it’s punk, it’s garagey, there’s some screams, there’s some big singalongs,” Williams says. “It’s got a smashing guitar solo and it’s about doing whatever you want to do and fuck the rest of the noise.”
“Does it Matter?” is a hook-heavy raucous number that demonstrates the prowess of their current lineup. The band is now completed by drummer and founding member Jake Laderman, vocalist Stevie Williams, bassist/vocalist Hanny J, and guitarists Rod Goon and Cam Rust. This fresh single is just a taste of what Clowns have up their sleeves, so stick around.
Australia/New Zealand, Damaged Records has you covered.
The USA & beyond, HIT PLAY!
|“Pet Ceremony” is a tribute to the unwavering, selfless love of animals. We were thinking about how sad we’ll be when our dog dies (she is still full of puppy energy at 12!). Animals worm their way into our hearts so easily, possibly more than people can.|
Musically we were experimenting with synth-wave and French house textures, and the song evolved organically as a true collaboration between us.
|https://ghosttwin.com/ Our upcoming LP, Love Songs for End Times (out June 4th on Artoffact Records), reflects on death and regret among a number of issues. At first listen we’d like for you to want to dance, followed by a good wallow and cry, and then be inspired to care about the world and all the beings that share it. |
Stay up-to-date with us via: Instagram ☠ Twitter ☠ Facebook ☠ Apple Music ☠ Spotify
I have been reading a book for the last month. It’s a good book. It’s well researched and thorough.It’s not just good. It is a great book.
My initial plan was to tell you about that book. I changed my mind.
I woke up this morning and realized that I don’t want to tell you about the book. I do want you to read the book though, so here’s a little story about how I stumbled into a love of Ska.
I grew up in the midwest in the late 70s and early 80s. Life was easy. We loved Night Ranger and Loverboy. It’s what you loved if you didn’t pledge allegiance to Conway Twitty each and every night. We turned the radio on. We turned the radio up.
Maybe I had it easy on my path to Ska, but I grew up in a reasonably diverse household, musically speaking. My dad loved a wide blend of hippy music and acid rock, and my mom was way into Motown. I started to climb a mountain. That mountain’s name was Rock and Roll.
I will do you a favor and fast forward you a bit through the horrors of later 80s rock radio. It was a lot more bad than good. Let’s leave it at that.
Radio rock aside, I wasn’t really much into music. My older brother was. He was my gateway into other music. It was hit or miss for a while, but when he played Appetite for Destruction for me, I started to come around. When a friend of his was over and played the new Suicidal (How Will I Laugh Tomorrow) I was hooked. I can still feel my hair growing. That’s how metal I was.
New forms of music became my thing. I liked to be on the forward front, all “Have you heard this?” This continued when I went away to college. New Pantera, cool, but “Have you heard the new Voivod?” “Hey what if we listen to Ween?” In that quest for “new”, I found new. New to me anyway. In 1993 I heard “Don’t Know How To Party” for the first time. The Bosstones had me hooked on a new thing.
Later that year I was in a music store (Big Don’s Music City) in Joplin, MO. There was a message board near the front. (For the post-internet crowd, physical message boards were a place to connect with like-minded individuals to sell used appliances and find bass players.) That message board had a “take-a-number” sheet on it looking for members to start a Ska band. Influences including: Mighty Mighty Bosstones, Let’s Go Bowling, Toasters. Welp, I had heard the one, Let’s hear more.
I liked this Ska stuff. It had horns. (was a trombone player once) It was opinionated, but at the same time, friendly.
About a year later, MU330 rolled through the college town I was living in. I don’t even think they had an opening act. Just them doing a solid hour set. Afterward the sat down to chill and talk to the fans. I remember sitting with Dan and Jason (who was on lead vocals at the time). Jason shook my hand with the kind of handshake where you cover the entire handshake with your other hand, and don’t let go until you know the other person’s hand is fully shook. … if you know what I mean. It’s the handshake of long lost friends; the hug of handshakes. We chatted a bit, Jason, Dan and myself. I asked Dan, “how do you get those guitar sounds? I like it, but everything I try comes out sounding like Black Sabbath.” Dan said, “There’s nothing wrong with that. Keep Trying.” Better words were never said.
I was in love with Ska. I tried to tell my brother, to share a bit of what he had given to me. He wasn’t into it. I think maybe the first stuff I played for him wasn’t quite aggressive enough. He was still pretty much a metalhead then. … but things change. Something stuck and he was asking me if I knew of more Ska bands, and where I could get more CDs.
I was living in Portland at the time and my brother came to visit. I took him to Ozone Records and he bought every Ska CD they had in the store. If I have my chronology right, later that year, maybe early the next, I went back home to visit. My brother picked me up in Kansas City and we went to Lawrence for a show at The Grenada. Less Than Jake, Skavoovie and the Epitones, and Chris Murray. IT WAS AMAZING.
Special shout out to Chris. Skavoovie’s keyboard player had decided mid-tour to go back to college (I think that’s the story) So Chris played his opening “Campfire Ska” set, then went backstage, jumped into a suit, and proceeded to rock the full Skavoovie set on the keys. (Many years later Chris played my 20th wedding anniversary party.)
I bought my first Asian Man Records shirt at that show. It was magic. Later that night we went to the record store next to The Grenada. My brother bought me Mepheskapheles “God Bless Satan”, and Spring Heeled Jack (usa) “Static World View”.
Life was a whirlwind back then. I was young, living in a city. Bands were playing all the time. So many. It was hard to keep up. I saw the Pietasters for the first time then. I was enamoured. Cool jazz guys almost, in wrinkled suits, with a couple of drinks in them. Good times. I bought a CD copy of OoLooLoo. I was blasting it in the apartment and one of my neighbors was all “Pietasters? Fuck Yeah!” She was from DC and totally on board with hometown music hitting the West Coast
A little anecdote here, but while I was living in Portland, my rather concervative grandmother came to visit. She wasn’t happy about a lot of the music I listened to, but she loved The Pietasters. She said it reminded her of big bands from back in the day.
Nothing ever changed for me after that, as it pertains to Ska. I mean, one time I couldn’t get tickets to Less Than Jack and Reel Big Fish because the show was sold out. Life goes on though. I didn’t turn my back because of that. I just found new stuff. I’m like, “Up yours Reel Big Fish! I’ll listen to Thumper instead.”
I suppose I could ramble on more about the bands that bent my ear (Suicide Machines) and all the great shows I saw, but it would all be driving to the same destination. Ska is awesome. There is, not now, never once, a reason to be ashamed.
I stand In Defense of Ska. But, as they say, the best defense is a good offense. (I think people say that) So to that end, I say, “GO OUT THERE AND BUY THIS MUTHAFUCKING BOOK AND LISTEN TO SKA!”