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!”
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)
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
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.
New York City post-hardcore band Quicksand have made their long-awaited return with the new single “Inversion.” The track follows the band’s successful album from 2017, ‘Interiors.’ Thoughtful, driving, and powerful, like the long-lived band itself, the song has an emotional resonance that is only amplified by the events of the past stressed-out, locked-down year.
“The music to ‘Inversion’ was very squatter punk at first,” says frontman Walter Schreifels. “To get something going vocally I started singing in an English Niel Nausea kind of vibe (Nausea are a peace/squatter punk band from the Lower East Side of Manhattan). The lyrics reflect the push and pull of being very connected through technology while at the same time being the most emotionally isolated group of humans to ever walk the planet and fun stuff like that.”
Today, the band have launched a colorful video with artwork by Japanese artist Tetsunori Tawaraya animated by Los Angeles-based artist Rob Fidel. Check it out here.
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.
Psychobilly Legends THE METEORS Celebrate The Release Of Their Newest Album SKULL N BONES With A Killer Video For “A NIGHT IN THE TOMBS!” Los Angeles, CA – Meteors fans have been hotly anticipating the release of the band’s newest full-length album, Skull N Bones, for awhile now, but they’ve been even more eagerly awaiting an opportunity to see the band perform live. After all, The Meteors have built their reputation as one of the most outrageously raucous bands on the planet by putting together a high energy performance at every show, blending their punk rock sensibility and attitude with the swagger and style of rockabilly. Well, today The Meteors are proud to announce that the wait for their new album is finally over as Skull N Bones officially hits the street today, and accompanying the album is a fantastic new video that will at least gives fans a taste of what’s in store for them when the band is able to launch an official, full-scale world tour behind the album. The video for “A Night In The Tombs” consists of brand new footage shot while the members are in quarantine and mixed with excellent live footage of the band from older shows. It’s a genuinely thrilling way to launch the new album and is sure to get the fans clamoring for more!
Watch the video for “A Night In The Tombs”:
Purchase Skull N Bones:https://orcd.co/the_meteors_skull_n_bones
Skull N Bones is part 1 of a planned double album with part 2, entitled The Curse Of Blood N Bones, coming later this year!
1. Chasing Evil
2. A Night In The Tombs
3. Skull N Bones
4. Get Back In The Swamp (And Jump)
6. Dateless Nights
1. Gary Gilmore’s Eyes
2. We Will Rise
3. The Night Comes With Me
4. Zombie Noise
5. More Demons Than Most
Sacri-Political sent me a copy of their new single, Shove It Up Your Ass!, and well, fuck yeah. It rocks in an old school way that reminds me of the snottiness of Wasted Youth’s “Fuck Authority”.
There’s, of course a very compelling reason there’s such an “old school” sound. They’ve been around for a couple minutes. According to the band’s bio:
‘Sacripolitical (1982 – 1993, 2019 – present) is a punk rock band from Marin County, CA. The name Sacripolitical refers to the band members’ attitude toward politics. Just as a person who is sacrilegious is irreverent toward the sacred, Sacripolitical plays songs, like “Peace: Under our Supervision,” “The Nihilist Void,” and “Napalm Baby,” that are politically and philosophically irreverent.’
The track is both irreverent and finger wagging, opening a view into what I think a lot of people have felt during the pandemic. It is kind of the idea that everything is pretty fucked, because everybody (politicians, corporations, racists, zealots) keep fucking everything up. Everything is fucked. It’s your fault, and you can, well, shove it up your ass.
The music itself is a mid-tempo 3-chord banger. Very straight forward 4-piece punk rock with a little bit of a shuffle to it. It’s not out to pave new roads, but fits nicely in the well worn grooves in the asphalt.
The B-side, “Gogol’s Nose” is in a little more of a DK vein, but with some horn parts dropped in. At any rate, I dig it. Check it out. Support local music any way you can.