Debt Cemetary strikes again with the aggressive new single “Let’s Murderlize ‘Em!”. This hard-hitting release explodes with huge vocal harmonies and ripping guitar riffs that soar throughout the track. Inspired by the height of the civil rights movements that spanned across the globe in 2020, the song reflects the thoughts and feelings of guitarist/vocalist Eddie Knowlton. Mixed and mastered by Matt Gauthier, this latest release from Debt Cemetary shows a new side to the band while keeping true to their original and unique brand of fast punk.
This latest single is further proof that Debt Cemetary is on the rise to bigger and better things.
New Jersey crust-ska punks Public Serpents (featuring former Choking Victim member Skwert Gunn) released their new song and video “When Pigs Lie” today. The video was shot and edited by Benjamin Clapp. Watch it below.
2022 has been, in my opinion, one of the best years for new music since the turn of the century. Especially the last few months, I feel like I keep coming across a new album that just blows me away and I put it on every chance I get. No more NPR and podcasts on the drive across town, too much excellent new music. I’m overwhelmed by it at the moment. I’m a busy man, I have a family. I don’t have time for it. You can imagine my annoyance when I was tasked with reviewing this new Dead End Drive In, put it on, and it just absolutely fucking rips end to end. Goddamn it.
I’m embarrassed to write this review because I like this album so much. It will require some restraint on my part to not make it read like a bad puff piece. I swear I don’t know anyone in this band, nor do I owe them any favors. I keep listening to it trying to find something critical to say that doesn’t make me sound like an idiot, but whatever, I can’t. It’s great. Let me get this over with and tell you why I think so.
The only thing I know about Dead End Drive In lies within the descriptor on their Bandcamp page, which reads as follows: “Punk band from Vancouver, BC. You know. That one with three guitar players. Gotta shred with existential dread.” This last line describes their sound appropriately. It appears to be their second full length, having also released a CD/digital album in 2018, and an EP in 2016. They don’t seem to have a presence on Discogs, which suggests they’re still a fairly humble outfit. However, their name is also comprised of a bunch of words from other band names, so it’s possible I just overlooked it. Their level of notoriety will change drastically if this record gets into enough ears out there.
The opening track has a sort of Frontier Trust sounding cowpunk vibe to it, and clocks in at 6:23. Pretty fucking bold for a punk band you’ve never heard of. It didn’t catch me first time around, but as I became more familiar with the rest of the album, I’ve really come around to liking it. Just don’t give up on these guys if you aren’t blown away halfway through track one. It isn’t called “A Worthwhile Endeavor” because it’s a waste of your time. All these songs, many of which double or triple in length from your standard punk fare, are all part of a larger thing. I hate to use the term “concept album”, but this product is best consumed whole. Fast forwarding through the seemingly unremarkable parts would detract from your overall appreciation of the whole thing. Stick with it and you will be rewarded.
By track two things start to open up a little into more of a straightforward punk sound, but there are just so many cool parts, leads, and instrumentation to each song that it’s somewhat misleading to suggest it’s anything less than pleasantly surprising. Overall, I would say they sound like if Jon Kastner (Doughboys) and Tad Kuebler (The Hold Steady) were in Teenage Halloween. I also hear some Darius Koski Swingin Utters. I even have D. Boon written down in my notes here. I can’t quite put my finger on why, but I stand by this reference. This band can really play their instruments, and the more complicated parts positively contribute to the composition rather than coming across as cumbersome and indulgent. The quality of songwriting is just stellar.
It’s hard to pick favorite songs on complete records like this one, but if pressed I’d say I prefer the back half of the album. Namely, “Dying Breed”, “Before I Start Noticing”, and “God Forbid You Go off Script”. Nothing on here sounds redundant, and even at 10 tracks in 45 minutes it doesn’t feel overly long. On a couple of occasions I’ve even restarted it from the beginning and listened to it twice all the way through.
I know people can get lazy buying new music for themselves around the holidays, but don’t sleep on this one. Who cares if it disrupts your album of the year rankings that only 12 people will read? It’s going to disrupt mine, and I’m grateful for it. I need a physical copy of this one, in case any of you haven’t got me a Christmas present yet.
Alberta Canada’s Trashed Ambulance has unveiled the new standalone single “Cyntax Error,” which follows on the heels of the band’s third LP, 2022’s critically celebrated ‘Future Considerations.’
The single is a loving tribute to Thousand Islands Records label co-owner and label manager Cynthia Charpentier, in honor of her recent birthday. The band says, “When a great friend/mom-ager turns 40, you have to make sure she feels the love. This song is an ode to Cynthia for always kicking ass and taking names while being the best gal East of the Saskatchewan River!”
Cyntax Error Written by Josh Hauta, Jason Ezeard, and Riley Bourne Guitar/Vocals – Josh Hauta Bass/Vocals – Jason Ezeard Drum/Vocals – Riley Bourne Additional Vocals – Casey Lewis Recorded at Echo Base Studio in Calgary, Alberta Recorded, engineered, and produced by Casey Lewis. Mixed and mastered by Casey Lewis.
Inspired by the likes of Pulley, Face to Face, and The Flatliners, Trashed Ambulance continues to churn out gloriously angry yet hopeful punk anthems! Formed in 2014, Trashed Ambulance has survived a plethora of member changes and hangovers to continue forging ahead as a reputable option in the Central Alberta punk scene.
With a handful of EPs, LPs, CDs, and cassettes already under their belt, the boys hit Echo Base Studio in Calgary to work with Casey Lewis (Belvedere) on their most recent LP ‘Future Considerations.’ To date, the band has shared the stage with such punk juggernauts as Face to Face, Belvedere, Voodoo Glowskulls, The Real McKenzies, The Murderburgers, and Ten Foot Pole and have even made an appearance at Pouzza Fest – Montreal’s annual premiere punk fest.
The guys already have some Western Canadian tour dates lined up and plan on terrorizing as many pubs, curling rinks, and bowling alleys as they can play this year.
Berlin skate punker’s Hit The Dirt have released a lyric video for their song “<3 Social Chlamedia”. The track appeared on their Six Pack EP that was released earlier this year via High End Denim Records.
The band had this to say about the song: “<3 Social Chlamedia is a song about how our phones, social media and the modern digital world in general has taken over our lives. From the moment we wake up until the moment we go to sleep, we are mostly addicted to this crazy digital world inside of our phones.”
SLUDGEWORTH, CHICAGO PUNK PIONEERS, TO RELEASE ’95 COMPILATION, LOSERS OF THE YEAR, ON VINYL FOR THE VERY FIRST TIME
For the uninitiated,Sludgeworth are Chicago punk pioneers from the 1980’s that released a posthumous collection/discography album on Lookout Records back in the day — and it sold tens of thousands of copies, which was impressive for a defunct band. With members of Screeching Weasel, they had obvious leanings towards melodic punk, but they also had a quintessential Midwest sound mixed in with some post-punk. Think Naked Raygun and Fugazi.
And now, for the first time ever, Red Scare Industries is releasing Sludgeworth’s first and only LP, Losers of the Year, on vinyl and streaming services. The CD/digital version is getting two previously unreleased tracks: “To Be The Same” and “Here For A While.”
The reissue also comes with live photos from back in the day and liner notes featuring contributions from Naked Raygun’s Jeff Pezzati, Rise Against’s Joe Principe, Mikey Erg, Dillinger Four’s Patrick Costello, and more. It comes out on Friday, December 9 (pre-order).
“This has been in the works for well over 5 years. I know Dan (Sludgeworth singer) from The Methadones records we did. He gave me the green light, but it took ages to track down the audio for this. When I finally had the good sense to contact Chrisser (Appelgren, President/Owner of Lookout Records) he immediately wrote back that he had one last shoe box of tapes, but it was unlikely. Minutes later I got an email that was basically, ‘Ope, I’ll be damned, it’s in here!’ He overnighted me the DAT tape and that was the first promising sign! He’s one of the real heroes of this salvage project. Something else I found out: not easy to transfer a DAT tape these days! I know all sortsa fancy studios, but no one can keep a machine in working order because they’re impossible to maintain. And since THE VERY LAST copy of the master audio were in my hands, I wasn’t about to put it in the mail. Next stroke of luck was that I learned Arik from Creep Records still had a working machine and he hooked me up. He’s hero #2 in this tale! When we were transferring files he was like, ‘Damn, this is good!’ Yet another promising sign! Obviously the art was lost to the winds and there’s literally no band pic or promo shot, so Eric from Wall of Youth had his work cut out for him, but he pulled it off. The final package came out great: we got a buncha live shots and some blurbs from Sludgeworth’s contemporaries. Folks like Jeff from Naked Raygun, Joe from Rise Against, Mikey Erg, Patrick from Dillinger Four, etc. It took some time to cobble together, but I think people will be stoked to finally have a vinyl copy of this.”– Toby, Red Scare
1. Waste It Away 2. Someday 3. Anytime 4. Only One 5. Another Day 6. I Analyze 7. Never Say Never 8. Follow 9. Over And Over 10. She’s Not Disposable 11. Cry Baby 12. Nearest One To Stand Behind 13. Angry Man 14. Two Feet On The Ground 15. You And I 16. To Be The Same* 17. Here For A While* *CD Only Bonus Tracks
Checkout Future Considerations, the third release from Trashed Ambulance. It’s out now on Thousand Island Records. So welcome to 12 punk rock tracks with no shortage of melody and pop songwriting sensibilities.
Hailing from Red Deer, AB, Canada Future Considerations is the first album with the current lineup. According to the bandcamp blurb, it’s ” Inspired by the likes of Pulley, Face to Face, and the Flatliners, Trashed worked with Casey Lewis from Belvedere to bring the world 33 minutes of angry yet hopeful punk anthems!”
This is a solid, well recorded punk rock album. The tracks are mid to uptempo and hover mostly below the three minute mark, as they should. Hit up their bandcamp page and check ’em out. It’s good stuff.
Cheers! Jerry Actually
Stalk in the Park (featuring Robbie Morön and Émilie Plamondon) 03:04
Bottleneck (featuring Alex Goldfarb) 02:26
Blip on the Radar 03:33
Melting Pot 02:27
Next Door to Nothing (featuring Chris Kreuger) 05:34
Street Punk Veterans THE CASUALTIES Unleash Hell On Their THRASH BASH 2022 TOUR!
Los Angeles, CA – The Casualties have long been known for being one of the most raucous and rowdy punk rock bands around today. Their live performances always teeter on the edge of chaos but the band – which consists of vocalist David Rodriguez, Jake Kolatis on guitar, Marc Eggers on drums and Rick Lopez on bass – is somehow able to keep things under just enough control to deliver their anti-fascist, anti-authoritarian, pro-real punk rock message loud and clear!
Fresh off their All Out Tour II, The Casualties are returning to the road for a series of select dates on the east coast. Be sure to catch the band’s special opener for the Canadian leg, power trio Deadwolff!
“fast, snotty old-school melodic hardcore… even if these are middle-aged guys with decades in the game, they still bring that fired-up teenage rage” – Stereogum
“a melodic hardcore ripper that sounds like the exact middle ground between Lifetime and Minor Threat” – Brooklyn Vegan
Today, Beach Rats drop their debut album Rat Beat via Epitaph Records. An impressive lineup of punk rock lifers, the band is comprised of vocalist Ari Katz (Lifetime,) guitarist Pete Steinkopf (Bouncing Souls,) bassist Bryan Keinlen (Bouncing Souls,) guitarist Brian Baker (Bad Religion, Minor Threat) & Danny Windas on drums. Not wanting to take themselves too seriously, the band formed merely over a love of the genre. These are veterans of hardcore punk having fun and trying replicate the feeling and sound of what it was like to make punk music in the 80’s.
“You’re gonna get authentic punk and hardcore from BEACH RATS because we are all from the 80’s,” Bryan Kienlen comments. “It’s literally taking it back to some of our biggest influences like Negative Approach and Poison Idea, and of course, Minor Threat.”
Beach Rats came to be as each member found themselves settled in the beach community of Asbury Park, New Jersey. The crew started up when Pete, Bryan and Ari performed punk covers together for the first time at the funeral for Vision front man, Dave Franklin. After releasing an EP in 2018 and performing a slew of high-energy shows, the global pandemic gave the band a reason to get back to recording. The majority of the songs on Rat Beat were conceptualized and rehearsed in the basement of Brian Baker’s home and then tracked by Eric Bennett at Lakehouse Studios in only one day.
Baker recalls, “We’d go down in the basement, put on masks, open the windows and we could play – within CDC guidelines! We couldn’t go to dinner at each other’s houses but we could practice.”
From the kick-off of “Bikes Out” and “Dress for Sick Sesh” to the roughshod melodicism of “Clorox Boys” or “Heavy Conversation” Rat Beat is an in-the moment snapshot of the five members’ distinct styles with no self-editing or second guessing. “The song ‘Summer’s End’ sums up a lot of what was going on for us when we were recording,” admits Ari Katz. “It was the end of the season which coincided with a lot of things that were ending in my life. It was fun to weave in that kind of imagery. Closing the beach, the town, switching over from the summer people to the faces you see in the winter and how that mirrors what was going on personally. In that sort of in-the-moment-ness of BEACH RATS, there’s an undeniable honesty.”