“Punishment” is a sweet yet sinister love song. It’s about all the ways that someone can control another by ‘caring’ or ‘helping’ them. You can put yourself in the role of caregiver and have it become such a deep rooted part of your identity that you actually don’t want the person you ‘care’ for to get better.
This song is written from the point of someone who is sabotaging an individual just enough so that they are unable to become independent and will continue to rely on their ‘caregiver.’
Hear “Punishment,” taken from our upcoming EP, Eventually (out July 30th), on your preferred streaming platform.
Do I get what I want, when she sets fire? The narrator of this song needs to be with someone who ‘sets herself on fire’ to feel like they are needed. Maybe they are admitting this to themselves for the first time in this cycle or maybe this admission is part of the cycle as well.
New York City post-hardcore band Quicksand have announced their fourth studio album Distant Populationsout digitally August 13 and on vinyl September 24 via Epitaph Records.
Recorded at Studio 4 Recording in Conshohocken, Pennsylvania, Distant Populations was produced and engineered by Will Yip (The Menzingers, Code Orange, Defeater), and mixed by Josh Wilbur (Lamb of God, Megadeth, Avenged Sevenfold). The album is the follow-up to the critically lauded 2017 release Interiors. Sonically it has a punchier, more up-tempo sound than its predecessor, with its 11 songs being concise, carved sonic jewels boasting not a single wasted note. Its gripping lyricism and raw power leap out from the very first listening.
Throughout the album’s 11 tracks, Quicksand explores the duality of our simultaneous existence in individual relationships and as part of a mass society, while also examining the alienation and loneliness of it all. “Everyone is on the one hand so connected with each other, and on the other hand, is so far apart.” says frontman Walter Schreifels.“We’re checking out each other’s social media and we know what everybody’s doing. But when we’re sitting in the same room together, we’re looking at our phones,” he adds point out the sad irony of it all.
Today, the band shares “Missile Command,” a song that emerged from a Quicksand rehearsal jam, recalls Schreifels, “It really kind of focuses on Sergio’s (Vega) whole motif in a very simple way. He and Alan (Cage) just have this really kind of trademark groove, and I think that really sings on this one to me. I just felt like it’s a kind of song that is very us, but we hadn’t written it yet.”
In support of, Quicksand will be hitting the road this fall. The headlining run will begin September 28 in Boston and wrap on October 31 in Philly. Tickets go on sale Friday, June 25. For more information, visit https://www.quicksandnyc.com/.
QUICKSAND TOUR DATES 9/28 Boston, MA Paradise Rock Club 9/29 Asbury Park, NJ The Stone Pony 10/1 Lancaster, PA Tellus 360 10/2 Albany, NY Empire Live 10/4 Detroit, MI El Club 10/5 Chicago, IL Metro 10/6 Minneapolis, MN Fine Line Music Cafe 10/8 Denver, CO Bluebird Theater 10/9 Salt Lake City, UT Urban Lounge 10/11 Portland, OR Wonder Ballroom 10/12 Vancouver, BC Rickshaw Theatre 10/13 Seattle, WA Neumos 10/15 San Francisco, CA Great American Music Hall 10/16 Los Angeles, CA Troubadour 10/18 Phoenix, AZ Valley Bar 10/19 Santa Fe, NM Meow Wolf 10/21 Austin, TX Mohawk 10/23 Houston, TX Studio @ Warehouse Live 10/25 Atlanta, GA Masquerade (Hell) 10/26 Charlotte, NC The Underground 10/27 Washington, DC Black Cat 10/29 New York, NY The Bowery Ballroom 10/31 Philadelphia, PA Theatre of The Living Arts
Formed in 1990, Quicksand made their full-length debut with Slip—a 1993 release praised by The A.V. Club as “a nearly flawless record that combines the irony and heaviness of Helmet with Fugazi’s penchant to dismantle sound in the most energetic ways.” Arriving in 1995, their sophomore album Manic Compression appeared at #1 on the Top Five Best Post-Hardcore Records list from LA Weekly (who noted that “if there were any justice in the world, Quicksand would have been the biggest underground band of the ’90s”).
Throughout the early ’90s, Quicksand toured with bands like Helmet, Fugazi, Rage Against the Machine, and Anthrax. After disbanding in late 1995, they reunited for a one-night performance in June 2012. They’ve since appeared at festivals like FYF Fest and Pukkelpop, and in 2013 embarked on their first North American tour in 15 years. In 2017, the band released their long-awaited third-studio album Interiors which saw Consequence of Sound praise the band for their sound “that nobody else has been able to replicate in all the time they’ve been gone.”
Quicksand is frontman/guitarist Walter Schreifels, bassist Sergio Vega, and drummer Alan Cage.
Los Angeles-based band The Interrupters have just released Live In Tokyo! via Hellcat Records. The live record, produced by guitarist Kevin Bivona, is taken from the band’s 2019 performance at Tokyo’s Summer Sonic Festivalin support of their latest album, Fight the Good Fight(2018).
The past few years have been pivotal for The Interrupters. Fight the Good Fightdebuted #1 Heatseekers, #5 Current Rock, and #5 Current Alternative Album on the Billboard charts. The lead single, “She’s Kerosene” charted #5 at Alternative Radio in US, #1 Alternative in Canada, and #1 Rock in Canada making The Interrupters the first female-fronted band with an Alternative Radio hit since No Doubt. The follow-up single, “Gave You Everything”charted #19 at Alternative Radio in US, and #2 Rock in Canada. In addition, the band made their US TV debut on Jimmy Kimmel Live! and were featured as iHeartRadio’s On The Verge Artist (Fall 2018).
On top of this success, The Interrupters toured extensively worldwide including sold out headlining dates as well as appearances at Coachella, Punk Rock Bowling, Warped Tour (Main Stage), Hang Out, Epicenter, Sonic Temple, Aftershock Festival, Slam Dunk, Download, Hellfest, and support runs with 311 & The Dirty Heads, and Rancid to name a few.
If you’ve been fortunate enough to attend an Interrupters show, you know that it is not just your typical concert, it is an event. It is a big energy sing-a-long where everyone feels like family. “You want to go to a show to feel better, put your arm around your friend, and dance, and sing, and have a release,” notes Aimee Interrupter. “Celebrate life and forget about your problems. We want to participate in that whole exchange”
In celebration of the release, the band will premiere their documentary film Live in Tokyo – This Is My Family!on June 24 for North & South America at 6pm PT/9pm ET. The film features the live performance from Summer Sonic, behind the scenes footage, and exclusive interviews. The film will rebroadcast twice on June 25; the first being 6pm JST/7pm UTC for Asia & Australia and the second at 6pm BST/7pm CEST for UK, Europe, and Africa. Tickets will be $10 and can be purchased via https://www.momenthouse.com/theinterrupters. During the premiere and rebroadcasts, fans will have a chance to purchase exclusive merch items.
LIVE IN TOKYO TRACK LISTING 1. Intro / A Friend Like Me (Live) 2. By My Side (Live) 3. Take Back The Power (Live) 4. Title Holder (Live) 5. She Got Arrested (Live) 6. Bad Guy (Live) 7. Gave You Everything (Live) 8. On A Turntable (Live) 9. She’s Kerosene (Live) 10. Family (Live)
The Interrupters will appear as special guests on the Hella Mega stadium tour supporting Green Day, Fall Out Boy, and Weezer. Tickets are on sale now. For more information, visit www.hellamegatour.com.
THE HELLA MEGA TOUR NORTH AMERICAN DATES: 7/29 Houston, TX Minute Maid Park 7/31 Jacksonville, FL TIAA Bank Field 8/1 Miami, FL Hard Rock Stadium 8/4 Flushing, NY Citi Field 8/5 Boston, MA Fenway Park 8/8 Washington, DC Nationals Park 8/10 Detroit, MI Comerica Park 8/13 Hershey, PA Hersheypark Stadium 8/15 Chicago, IL Wrigley Field 8/17 Columbus, OH Historic Crew Stadium 8/19 Pittsburgh, PA PNC Park 8/20 Philadelphia, PA Citizen’s Bank Park 8/23 Minneapolis, MN Target Field 8/25 Denver, CO Dick’s Sporting Goods Park 8/27 San Francisco, CA Oracle Park 8/29 San Diego, CA PetCo Park 9/1 Milwaukee, WI Summerfest 9/3 Los Angeles, CA Dodger Stadium 9/6 Seattle, WA T Mobile Park
The Interrupters are Aimee Interrupter (vocals) and the Bivona brothers (guitarist Kevin Bivona, bassist Justin Bivona, drummer Jesse Bivona).
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.
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!”
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
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.
“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.
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!”
Got a CD in the post box the other day. It’s been on deck in the CD player for a week or so now. Finally enough of a lull in the day job to throw a few words at it. A paucity of words leaves them hanging though, right?
Here’s some quick thoughts about Skism and their new release “2021”. A blast of old school (which I realize is a term I use a lot) street punk from NYC.
Loud, gritty, in-your-face Punk / Hardcore / Oi
The lyric run a course from the murderous lament of “Eyes”, into the markedly anti-Nazi “U.S. Nazis Fuck Off and Die”, to the questioning retorts of “Agent Orange” and “Trioxin”.
Things delve into the personal with “Knocked Down With A 40”, a song, as it turns out, about being knocked down with a 40. The final track, something we all can relate to, “Outside the Club” brings how the feeling of being shut out in the cold.
You know what street punk sounds like? The drums pound. The guitar chugs. The bass rumbles. The vocals are somewhere between a sing and a shout. You know what you like. So check out Skism on all the streaming platforms. (but especially Bandcamp)
Tracks: 1. Pain and Pain 02:12 2. Eyes 02:24 3. U.S. Nazies Fuck Off and Die 01:32 4. Agent Orange 01:46 5. Trioxin 01:52 6. Knocked Down With A 40 01:26 7. Nomad 02:08 8. In Control (Eyes Reprise) 02:00 9. Outside the Club 01:29
Bio: Skism is an anti-social, angst ridden, hyperactive punks who pound out driving music with screaming vocals, fast guitars and pounding drums, with old school punk, hardcore and oi influences, featuring players who played in The Krays, American Eagle, WRENCH and Mad Mulligans.