Tag: new album

MEAN JEANS ANNOUNCE NEW FULL-LENGTH, BLASTED

IN STORES AND ONLINE VIA FAT WRECK CHORDS ON FRIDAY, FEBRUARY 9th, WITH PRE-ORDER AVAILABLE NOW 

“I DON’T GIVE A SHIT ANYMORE” NOW STREAMING ON ALL PLATFORMS
 
AUSTRALIAN DATES ANNOUNCED WITH THE CHATS
 


                                                                                                                                                 Photo credit: Jacob McCann

(November 29, 2023 – San Francisco) Today, we get to share some truly radical news! There’s a brand new Mean Jeans jam, and it’s oozing with all the pop punk slime you can handle. “I Don’t Give a Shit Anymore,” is streaming wherever you hang out digitally. This track serves as a sneak peek of their upcoming album, BLASTED, which hits the streets on February 9th! Plus, you can pre-order it now, and grab a color variant or this sweet MJ headband. 2024 is shaping up to be an epic year with a new album, an Aussie tour on the books, and more dates in the pipeline. The Mean Jeans party bus is going full throttle! Check out what Billy Jeans had to say below:
 
Getting back on tour post-pandemic and doing 9 weeks with The Chats in the US and Australia reignited our appetite for shredding. We got home, wrote a new album, and recorded it by ourselves in Portland over 5 days. Blasted’s got more fast + wild loser anthems, a couple tearjerkers, more Houndy singing, and I finally figured out how to do a guitar solo. We’re kicking the year off with another Australian tour, this time a punk cavalcade of 6 bands.

From the moment they started 15 years ago, Mean Jeans have been creating their own slime punk fantasy world. Study their six previous album covers and you’ll find junkyards full of bongs and yo-yos, macaroni galaxies, Jägermeister spaceships, alien saxophonists and pink slugs in bondage dripping ooze. On their newest full-length album Blasted, the goofball trio have clearly been through wild years and seen some shit—on the cover, the three members peer out of toxic waste bins, no longer cartoons of themselves but instead incredulous country-fried maniacs who are still following a slime punk dream, and dealing with where it’s led them. 
 
Which isn’t to say the Jeans are jaded. In fact, the band—Billy Jeans, Houndy and Junior Jeans—seem to be having as much fun as ever on this record, ripping through these 15 rapid fire ear worms without coming up for air. They seem equally focused on tight catchy songwriting and packing in Easter eggs and absurd lyrical references, including (but certainly not limited to) Tim Armstrong’s X-Filescameo, Mike Schank’s PCP overdose story in American Movie, multiple songs with lyrics about their space-obsessed kindred pop-punker Tom DeLonge, a chorus borrowed from Seal, and a not-very-legal piano collage of well-known pop-punk melodies. 
 
Anyway, this record is a frantic and frenetic joyride, though probably one made in Rick from Rick And Morty’s Space Cruiser and through time and space, rather than any form of road-based vehicle here on Earth. But that energy was probably enhanced by the fact the band recorded Blasted all by themselves here on this planet. Well, at The Trash Treasury in Portland, OR, at any rate—the city where the band first got together and which is one of the least Earth-like cities on, well, Earth. At their own behest, the trio were left entirely to their own devices, putting themselves through their own physical paces by trying to be in two places—the control room and the recording room—at once. One of Rick’s portal guns might have helped make it easier, but who needs a producer or engineer? It’s just another cook waiting to spoil that delicious, fluorescent green, slime punk broth. 

“Studio time is just more fun when no one’s in charge,” says Billy Jeans. “To some extent, I know what I’m doing, and to some extent the other dudes know what they’re doing, but none of us are pro at all. Like, Junior would have to run over to the control room, hit the record button and then run back, all while holding the bass, and then we’d play. It’s idiotic, but when it’s just the three of us fucking around, the vibe is there.”
 
You can hear that all throughout Blasted. It’s a weird, wonderful and wacky album, but also not without its occasional serious moments. Mean Jeans are—still, after all these years—a band that love to party, and that’s what they continue to do on these songs. Every once in a while, though, you might catch a little regret about doing so, if not a full-on hangover. Opener “I Don’t Give A Shit Anymore” might sound like a statement of nihilistic intent, but it’s more what Billy calls an “underthinkers anthem”, a direct response to him overthinking everything all the time, while “Look What Punk’s Done To You”, “Took Too Much” and “I Don’t Know What I Did Last Summer” all address the comedown of life lived in the fast lane. But then there’s also “Something’s Going On”, which is the best (and possibly only) song that’s ever been written about  the cult 1986 comedy horror b-movie Class Of Nuke ’Em High.

At the same time, the album also serves as a kind of meditation on pop-punk, about what it means to be a punk band as opposed to a band playing music in the style of punk. Can you be both? Does it even matter? Maybe. Maybe not. What matters is that, with Blasted, Mean Jeans have made a record that defines what they are and what they’re not at the same time. Most importantly, it was fun for them to make, and it’s an absolute joy to listen to. For Billy, that’s always the aim.
 
“We’re a band in it for the good times,” he says. I’ve always thought if we’re not having fun, then it isn’t Mean Jeans. Which isn’t a recipe for success in the music biz, but I could bitch about that all day if you want. What’s the difference between being a bitch and being punk?” He doesn’t answer his own question, but it might be found somewhere in these songs.


Mean Jeans Tour Dates – Tickets Available Here.

  • 9 Feb 2024 in Maroochydore, QLD, Australia @ The Solbar
  • 10 Feb 2024 in Brisbane, QLD, Australia @ The Tivoli
  • 13 Feb 2024 in Byron Bay, NSW, Australia @ The Northern
  • 14 Feb 2024 in Coffs Harbour, NSW, Australia @ The Hoey Moey
  • 15 Feb 2024 in Newcastle, NSW, Australia @ King Street Band Room
  • 16 Feb 2024 in Gosford, NSW, Australia @ Drifters Wharf
  • 17 Feb 2024 in Sydney, AU @ Metro Theatre
  • 20 Feb 2024 in Castlemaine, VIC, Australia @ Theatre Royal
  • 22 Feb 2024 in Frankston, VIC, Australia @ Pelly Bar – Pier Hotel
  • 23 Feb 2024 in Melbourne, AU @ Northcote Theatre

BLASTED  track-listing

1. I Don’t Give a Shit Anymore
2. Let’s Go
3. Diagnosis
4. Lost My Mind
5. Blasted to the Moon
6. Something’s Going On
7. Reggie
8. Taco Bell Parking Lot
9. Look What Punk’s Done to You
10. Slugs
11. Break up With You
12. Took Too Much
13. I Don’t Know What I Did Last Summer
14. Living Large on a Credit Card
15. Pop Punk Casualty

The Slackers Announces New Album And Debuts New Song & Video On Brooklyn Vegan

New album Don’t Let The Sunlight Fool Ya available for pre-order

Click here to watch

New York City, NY — February 3, 2022 —New York City reggae legends THE SLACKERS are debuting the song and video for “Don’t Let The Sunlight Fool Ya” on Brooklyn Vegan which is also the title track from their brand new upcoming album. This record, their first in 7 years and 15th full-length in their career, is now available on Pirates Press Records’ webstore.

Frontman Vic Ruggiero describes the writing process and meaning behind the song: “Yeah, it’s the springtime…it looks really nice thru the window. The sun feels good… You go outside and all of a sudden you realize it’s winter still… It’s like you thought you put sugar in your coffee, but it was salt.”

(Clip from the video for “Don’t Let The Sunlight Fool Ya”)

Rolling Stone recently hailed The Slackers as “THE legendary New York City ska band” and this is by no means hyperbole. Having formed in 1991, The Slackers released their debut album in 1996, Better Late Than Never, and then signing with Epitaph Records and releasing their breakthrough full-length, Redlight, in 1997. From there, the band traveled the world and began to develop a prolific audience through their fun and energetic shows.

14 full-lengths later, countless EPs, singles, and touring all around the world playing to thousands and thousands of fans from Tokyo, Japan to their hometown of New York City, The Slackers return with Don’t Let The Sunlight Fool Ya. Marc Wasserman, author of “Skaboom! An American Ska & Reggae Oral History,” says The Slackers’ “…songs are about real darkness, depression, anger, sadness and loneliness, and some of the political songs as well are pretty vibrant.”

“In the middle of 2020, every time we started doing a livestream, we would stay after and start recording new music. By the middle of 2021, we had an album recorded. A lot of these tunes like “Don’t Let The Sunlight Fool Ya” were written right after we had just gotten out of lockdown,” says saxophonist Dave Hillyard.

The New York Times dubbed the Slackers part of ‘the sound of New York,’ and The Slackers just keep at it, only improving with age and experience – writing better and better songs, and continuing to build and strengthen that global Slackers family. Washington Post has described the impact The Slackers have left on the ska scene: “The Slackers have become the elder statesmen in American ska music, setting the stage for a new generation of musicians and a thriving scene….they remain at the top of their game.”

After releasing several singles with Pirates Press Records (“Windowland/I Almost Lost You,” “Nobody’s Listening/Sleep Outside,” and “Love I Bring), The Slackers are once again hitting the road all year long to support a new set of tunes and once again have fans around the world put on their dancing shoes for another evening with these renowned musicians. This album is a testament to the age and experience this band has accrued over their 30+ year career. These special tunes will undoubtedly travel far and wide, just like the band will, performing these songs in a club near you!

(The cover art for Don’t Let The Sunlight Fool Ya)

Catch The Slackers on tour:
03/30/2022 – Harrisburg, PA – Stage On Herr
4/07/2022 – Rehoboth Beach, DE – Arenas
4/08/2022 – Virginia Beach, VA – Bunker Brewpub
4/10/2022 – Atlanta, GA – Masquerade
5/7/2022 – Jersey City, NJ – White Eagle Hall
5/12/2022 Ottawa, ON – Brass Monkey
5/13/2022 Montreal, QC – Cafe Campus
5/14/2022 Quebec City, QC – L’Antibar
5/17/2022 Salt Lake City, UT – Commonwealth Room
5/18/2022 Denver, Co – Oriental Theater
5/20/2022 – Dallas, TX – Three Links
5/21/2022 – Houston, TX – Scout Bar
5/22/2022 – San Antonio, TX – Rockbox
5/24/2022 – Albuquerque, NM – Launchpad
5/27/2022 – Flagstaff, Az – Yucca Room
5/28/2022 – Phoenix, Az – Crescent Ballroom
9/26/2022 – Birmingham, UK – Hare and Hounds
9/27/2022 – Manchester, UK – Retro
9/28/2022 – Huddersfield, UK – Parish
9/30/2022 – London, UK – Underworld
10/1/2022 – Leeds, UK – Brudenell Social Club
10/2/2022 – Newcastle, UK – Think Tank
10/3/2022 – Bristol, UK – Exchange
10/4/2022 – Antwerp, Belgium – Kavka
10/6/2022 – Haarlem, Netherlands – Patroonaat
10/7/2022 – Den Haag, Netherlands – Paard
10/8/2022 – Sittard, Netherlands – Ernestos
10/11/2022 – Zurich, Switzerland – Komplex
10/12/2022 – Munich, Germany – Feierwerk
10/13/2022 – Vienna, Austria – Arena
10/15/2022 – Sluderno, Italy – Loki
10/16/2022 – Nuremberg, Germany – Desi
10/17/2022 – Hannover, Germany – Lux
10/18/2022 – Berlin, Germany – S036
10/19/2022 – Hamburg, Germany – Molotov
10/21/2022 – Koln, Germany – Gebaude 9
10/22/2022 – Arlon, Belgium – L’entrepot

The Slackers are:
Vic Ruggiero – vocals, organ
Agent Jay – guitar
Dave Hillyard – saxophone
Glen Pine – trombone, vocals
Marcus Geard – bass
Ara Babajian – drums

NOFX Announce New Album

INFLUENTIAL PUNK BAND NOFX ANNOUNCE NEW FULL-LENGTH,
SINGLE ALBUM 

WATCH: AVENGED SEVENFOLD, AND MORE, IN NOFX’S NEW VIDEO FOR THEIR FIRST SINGLE, “LINEWLEUM”

SINGLE ALBUM, PRODUCED BY BILL STEVENSON & JASON LIVERMORE
(BLASTING ROOM), IN STORES AND ONLINE VIA FAT WRECK CHORDS ON
FRIDAY, FEBRUARY 26 WITH PRE-ORDER AVAILABLE NOW

                                                                                               Photo credit: Jonathan Weiner


Fat Wreck Chords and longstanding California punk band NOFX are excited to announce Single Album, the band’s 14th full-length album, due out on Friday, February 26 (pre-order).  Boasting 12 new tracks and recorded at Motor Studios in San Francisco with Bill Stevenson and Jason Livermore (Rise Against, Alkaline Trio, Teenage Bottlerocket), Single Album is their most personal album to date. Check out the new video for the lead single “Linewleum,” and get the nitty gritty from the fat one himself:

“I have no idea why “Linoleum” is THE NOFX song that is covered by so many bands while other NOFX songs get hardly any attention. “Linoleum” wasn’t a single, it had no video, it got no radio play, and most importantly, it didn’t even have a chorus!!! All popular songs have choruses! WTF! So, One night I stayed up till 4:00 am checking out all the different versions on YouTube. Watching hundreds of bands from over 28 countries (mostly Indonesia) doing “Linoleum” was a humbling experience for me. So I decided to write a song that was a shout out to all those people that learned those four chords and remembered the non-rhyming lyrics. Then I asked the biggest of all the bands (Avenged Sevenfold) to play some leads on the song. Then M Shadows suggested we do a video together. Then I figured I should put all of the bands in the video. Well, I couldn’t fit all the bands, but I picked a bunch of cool ones! A song about not playing a song that’s not a hit song with a video about other bands covering the song! This is why I love punk rock writing punk songs. Rules out the door!”

Watch the music video for “Linewleum” on YouTube HERE
and stream the track on all platforms HERE

Nearly 40 years in, what else is there to say about NOFX?

And aside from the occasional negative headline, how can one of the pioneers of SoCal punk—a style hardly known for experimentation—surprise anyone these days?

The answers lie on Single Album (Fat Wreck Chords, Feb. 26), NOFX’s 14th full-length studio album. There’s the nearly six-minute post-hardcore opener (“The Big Drag”). The meta sendoff for the band’s best-known song (“Linewleum”). The reggae-inflected song about a mass shooting (“Fish in a Gun Barrel”). Even a piano ballad (“Your Last Resort”).

It is, as frontman and bassist Fat Mike repeatedly describes, “a dark album.” That wasn’t the original intent. By early 2020, NOFX—which includes guitarist El Hefe, guitarist Eric Melvin, and drummer Smelly—had written and recorded enough songs for a planned double album to be released that fall. Like so much about 2020, those plans changed.

“When you write a double album, you write differently,” Mike says. “I was writing really different songs, and some fun songs, but you have to make a double album interesting enough to listen to the whole way. I wanted to make a perfect double album, and I didn’t accomplish that. So I decided to just make a single album, hence the title.”

Recorded at Motor Studios in San Francisco with Bill Stevenson and Jason Livermore (Rise Against, Alkaline Trio, Teenage Bottlerocket), Single Album pares down the roughly 23 songs NOFX tracked. “I just kept adding songs,” Mike says. “I was maybe a little out of my mind.”

How so? “I was pretty high on drugs that year,” he adds. While fans may wonder what else is new, Single Album casts the frontman’s habits in a surprisingly harsh light. While “Grieve Soto” eulogizes beloved Adolescents founder Steve Soto, it takes a meta turn when Eric Melvin warns Mike to be “cautious, more respectful, less obnoxious.”“Birmingham” has what people in recovery call “a moment of clarity,” when he realized he was an addict.

“That was a clarity moment in my life when I was by myself, and the sun’s coming up, and I’m scraping cocaine off the floor, like, ‘Eww, gross. I shouldn’t be doing this,’” Mike says. “So what did I do? I ordered more.” After being hospitalized with a bleeding ulcer—a terrifying experience that caused him to vomit blood—Mike entered rehab in fall 2020. He promptly wrote another new album while there and has been sober since.

Unsurprisingly, Single Album represents his most personal work to date. Heartbreak permeates “I Love You More Than I Hate Me” and “Your Last Resort.” “Fuck Euphemism” dives into Mike’s sexuality for a “pronoun bar fight.” “Doors and Fours” is a grim look into the early ’80s LA punk scene, when dozens of people—many of them Mike’s friends—overdosed on a prescription drug combo. “The Big Drag” is a personal vow to make the most of life, even when it undeniably sucks. “It’s one of my favorite NOFX songs ever. I don’t get sick of listening to that song,” Mike says of “The Big Drag.” “No measure is the same length. Every time a new chord change happens, there’s a different rhythm to the guitar. The bass never stays on one note. You’re not sure when the chords are going to change because they always change at a different point.”

In other words, it’s unpredictable—just like NOFX. Turns out there is a lot to say about them, even after all this time.

Fat Wreck Chords will release Single Album on Feb. 26, 2021.
Single Album track-listing

1. The Big Drag
2. I Love You More Than I Hate Me
3. Fuck Euphemism
4. Fish in a Gun Barrel
5. Birmingham
6. Linewleum
7. My Bro Cancervive Cancer
8. Grieve Soto
9. Doors and Fours
10. Your Last Resort

The Suicide Machines announce first album in 15 years! New Song! Pre-order!

THE SUICIDE MACHINES TO RELEASE FIRST ALBUM IN 15 YEARS, REVOLUTION SPRING, ON FRIDAY,
MARCH 27th  WITH PRE-ORDER AVAILABLE NOW

LISTEN TO THEIR LEAD SINGLE, “AWKWARD ALWAYS,” VIA YOUTUBE

EUROPEAN DATES ANNOUNCED INCLUDING PUNK IN DRUBLIC STAGE AT SLAM DUNK FESTIVAL

STREAM: “AWKWARD ALWAYS” VIASPOTIFY


  In December 2019, Fat Mike dropped a list of albums that were coming out in 2020. One of them was The Suicide Machines, and today we finally get to unveil the details! Their debut FAT full-length, Revolution Spring, streets on March 27th, and is available for pre-order now! What’s more, this new album is filled to the brim with blistering, rousing songs that combine hardcore, ska, and anthemic punk rock. Recorded in “about 12 days” at Rancho Recordo, and produced by Less Than Jake’s bassist Roger Lima, you can get your first contagious kiss of their lead track, “Awkward Always,” below.  

Vocalist, Jason Navarro, had this to share about joining the FAT family: We all felt we wrote such a good record that there could be no home for us other than FAT. It’s an honor to be in the DIY house they built and be included with so many Legendary bands. Feels like we are finally home.

STREAM: “AWKWARD ALWAYS” ON YOUTUBE AND SPOTIFY

Photo: Mark Marfa Capodanno
It was in 2006 that Detroit punks The Suicide Machines called it a day after 15 years and six full-throttle, super-charged and confrontational albums. The break didn’t last too long – in 2009, the four-piece crew reconvened to play the occasional local shows and embarked on some even less frequent tours. There was no sign of new material – until now! 

Revolution Spring, the band’s seventh album, and first new material since 2005’s War Profiteering Is Killing Us All, will be released March 27th, 2020. What’s more, this new album full of blistering, rousing songs finds the band on truly explosive and energetic form.  So why now you may ask?  “Everyone just kind of got inspired,” chuckles vocalist Jason Navarro, about the band’s decision to begin making music again. “That’s all. I think we were watching all these other bands ride a wave of nostalgia and we didn’t want to be lumped into that, so we started writing a couple of songs and it went from there.”

Over the course of a couple of years, the band – completed by drummer Ryan Vandeberghe, bassist Rich Tschirhart and guitarist Justin Malek (who is also the drummer in Navarro’s post Suicide Machines outfit Hellmouth) – wrote a total 30 songs. With the help of both Less Than Jake’s bassist Roger Lima, who produced Revolution Spring, and The Code’s frontman Marc Code, who is their longtime friend and now manager, The Suicide Machines whittled those 30 songs down to the 16 that make up this record. While on the one hand, these songs serve as an overview of the band’s career and the different permutations of punk they’ve dabbled in over the years, it also possess the energy, spontaneity and enthusiasm of a band many years their junior – albeit with the wisdom that comes from being alive for a few decades.

Recorded in “about 12 days” at Rancho Recordo – the studio run by Marc Jacob Hudson, who also plays bass for Laura Jane Grace & The Devouring Mothers – Revolution Spring is a powerful and cohesive combination of hardcore, ska and anthemic punk rock. That, says Navarro, was all fueled by “Awkward Always”, “Black Tar Halo” and “Impossible Possibilities”, the first three songs that the band wrote, all of which made the cut for the record.
“We did those three right off the bat,” says Navarro, “and we were like ‘Wow, these are better than most of the songs Suicide Machines have ever written in any form. That was the start of the spark. It was a long process after that because we were very picky about it, because we wanted to put out the record we wanted to put out and nothing else.”

While Revolution Spring harnesses the belligerent energy that has defined The Suicide Machines since their inception, there are, Navarro says, two marked differences this time around. The first is that these songs are particularly personal. 


“This album is legitimately pretty autobiographical,” he says. “A lot of it is very personal – about how I am and where I am now and how I got where I am now mentally. I kind of wanted to leave my children with an understanding of who I am as an older person. Maybe years from now when I’ve passed away, they can pick up the record and look at the lyrics and listen to it and, if they didn’t already know exactly, go ‘Okay, so this is what dad is about.’” 
The personal component is especially obvious on “Trapped in A Bomb”, a poignant ode to a close friend Navarro lost to suicide that made the singer open up lyrically, perhaps more than he ever had before. 

“I completely burst into tears the first time I had to sing that one,” he admits. “It’s probably one of the hardest things I’ve ever had to sing. I’ve definitely tried to kill myself, but my friend did it. He called me, and an hour later he was dead. This is me saying ‘I’ve made it to this point, and I wish you could have, too.’” 

The second overriding difference on this album is the (relatively) newfound optimism possessed by the singer. He started becoming aware of this when he made Oblivion, Hellmouth’s 2016 third full-length.  “You wouldn’t think this would be the case with the way the world is looking now,” he admits, “but I’ve become a lot more positive about things. And I stopped pointing fingers and started doing things instead – I feed the homeless a couple of times a week with a bunch of friends of mine, I’ve protested against ICE here in Detroit, I’ve done things locally like water drives for Flint – and I feel like doing these things has created more positivity in my head, whereas before I was being pissed off and not doing anything.”

That’s not to say The Suicide Machines aren’t pissed off on this record, let’s be clear on that point. Opener “Bully In Blue” is a breakneck anthem that rallies against police brutality; the jaunty, ska-punk tones of “Babylon of Ours” overlay a harsh indictment of capitalism and American imperialism, and “Flint Hostage Crisis” is a brutal takedown that addresses the lack of clean water in that city – and the fact that nothing has been done to address it. ‘This is what class war really looks like’ snarls Navarro viciously at the end of the brief, belligerent track. Still, he insists, he’s just writing about things close to him, and that he stopped far short of where he otherwise would have done in the past. 

“I’m from here,” he says, “so I feel like it’s something we know. My best friend works for the water department there. He’s sold merch for us, so I know a lot about it. I didn’t say ‘Hey, we should hang our governor and kill him’, whereas, maybe 10 years ago I would have. I’m just saying that this is fucked, and this is how these things work and if you think that’s a surprise, it’s not.”

Yet despite all that, and despite the messed-up world these songs reflect so well… and despite this record’s provocative, insurrectionary title – Revolution Spring, is not, first and foremost, a political record. Although it reasserts The Suicide Machines as one of the most formidable and relevant punk bands around, more importantly for Navarro, it documents his personal growth as a human being and where he is at this very moment in time. 

“It represents the change inside of me,” he explains. “People might think it’s political, but really it’s me thinking about springtime as rebirth. There’s change inside of me at 46 years old that’s strangely positive somehow. That’s not something I ever expected, because I’ve been a pretty angry person. And I think the other guys are in the same boat. But I could be dead tomorrow – and I’d be absolutely alright with leaving the world with this record.”

Old and new fans alike will find Revolution Spring an energetic homage to the band’s past anthemic, hardcore, ska-punk roots, mixed with the newfound optimism and raw personal life experiences of the band. It’s good to have them back.

Revolution Spring track listing:

1 Bully in Blue
2 Awkward Always
3 Babylon of Ours
4 Flint Hostage Crisis
5 To Play Caesar (Is to Be Stabbed to Death)
6 Trapped in a Bomb
7 Detroit Is the New Miami
8 Eternal Contrarian
9 Well Whiskey Wishes
10 Black Tar Halo
11 Empty Time
12 Impossible Possibilities
13 Potter’s Song
14 Simple
15 Anarchist Wedding
16 Cheers to Ya



The Suicide Machines Tour Dates:

28 Mar in McKees Rocks, PA, US @ Roxian Theatre w/ Anti-Flag
04 Apr in Atlantic City, NJ, US @ Atlantic City Beer Festival
09 May in Wels, Austria @ Sbam Fest 2020
23 May in Leeds, UK @ Slam Dunk Festival North
24 May in Hatfield, UK @ Slam Dunk Festival South

BAD RELIGION BEGIN RECORDING NEW ALBUM

The visionary Los Angeles band Bad Religion has entered the studio to begin recording a brand new album. The yet unnamed work is being recorded at Joe Barresi’s JHOC studio and co-produced by band members Brett Gurewitz, Greg Graffin and Barresi.

The group reconvenes amidst a period of heightened activity. Singer-songwriter Greg Graffin is preparing for his second year of teaching evolution at Cornell University and is writing a new book “Population Wars” for St. Martins Press. Guitarist-songwriter Brett Gurewitz continues to shepherd his labels Epitaph and Anti- and recently received a prestigious Independent Spirit Award. Drummer Brooks Wackerman has been touring with Tenacious D and released a record by his band Kidneys. Throughout it all, the iconic band has performed throughout the world and appeared at the historic Reason Rally in Washington DC.

Formed in the suburbs of Los Angeles as disaffected teenagers, Bad Religion has generated numerous memorable hits and become synonymous with intelligent and provocative hook filled punk rock. This will be their 16th full length album.

For more information:
www.epitaph.com
www.badreligion.com