The gnarliest punk album of the year just dropped. Love Is A Lie, Filth Is Eternal from Filth Is Eternal (formerly F’d and B’d) reminds us that there was a time when Seattle bands were considered dangerous, when Mudhoney might jump on your face and half the roster of Sub Pop didn’t look like even Starbucks wasn’t gentrified enough for their tepid, pale faced indie rock bullshit. Filth Is Eternal plays an explosive blend of go for the throat, not a moment wasted punk n’ roll married to Sonic Youth flirting dissonance and with tones ugly enough to make Fudge Tunnel blush and The Bronx seem like Captain & Tennille. Fronted by an actual snarling wild animal over some of the best riffs and beats you have ever heard.
This record reminds me of a show I played in 1997 with my old band Fuse where I got wasted on unclean tapline Rolling Rocks and bottom shelf whiskey after getting a tattoo and ended up rolling on a country bar floor half nude and bleeding and smearing black grime and tattoo inky residue and blood everywhere, waking up the next day feeling kind of aroused and ready to fight literally anything but also half dead. Sirhan Sirhan is gonna get out of jail and be all stoked to enter polite society and this shit will play and it will retrigger a hypnotic trance and make dude go all Winter Soldier on some dudes.
If your band doesn’t bang as hard as the ending of “The Dog”, just quit now.Add to My Radar
— Rolo Tomassi (@rolotomassiband) August 18, 2021
ROLO TOMASSI are back. The band can now reveal they have signed to eOne (High On Fire, Black Label Society, The Contortionist) and, in celebration, have today released their massive, brand new single and video, “Cloaked”.
James Spence (vocals and keys) on the signing – “We’re thrilled to be signing with eOne Heavy for this new record. It was an easy decision for us and they’ve been a dream to work with. We’re looking forwards to everything that follows.”
On the signing, Scott Givens, the SVP of rock and metal at eOne explains – “Rolo Tomassi are a band that we have long wanted to have on your roster. We are thrilled they have chosen us to be their label partners.”
Eva Spence (vocals), now based in her new home in New Jersey, USA – “We’re excited to finally share new music after spending the last two years working on our new record. Writing has been essential for us this past year in the absence of playing live, we can’t wait to get back on the road and hope to see you at a show soon.”
Co-lead vocalist James Spence explains a bit more about the new video – “David and James who worked on the video really helped us to bring to life the themes of the song. The narrative visualises the process of change within us with every new experience we have. The themes of dualism and identity are explored through the contrasting colours and the movements of the characters.”
More news on ROLO TOMASSI coming soon.
CINEMA CINEMA join us today with a new track! The band sometimes sound like Attila Csihar got into devilish mischief inserting hidden messages into back alley Sergei Prokofiev compositions instead of smoking a doob and listening for Satan’s commands in the bridge of “Stairway To Heaven” like normal rockers, so I was excited to see what they have cooked up next! The answer is…”Bratislava”!
The nine minute song is an enthralling exploration of feel and musical adventurousness as the band weave through dynamic peaks and valleys during their at times relaxing and at times anxious (but entirely intriguing) journey. At times it comes off like a Pinback and Don Byron slow burn mescaline voyage, which is obviously fucking amazing.
Ev Gold tells us:
“Things got chaotic in our attempt to leave after the gig in Bratislava, on tour a few years ago. I had to walk out into a lane of oncoming traffic with my hands up, to plea for a halt. Seemingly no way possible to back the van out otherwise. There was a protest outside of a castle a few blocks away from the show, which at first sounded ‘cool’, but wasn’t after all. People and cars flooded the streets. Our place to crash for the night fell through, now we needed to leave Slovakia and drive to Vienna to sleep. We finally made it out and got to a quiet stretch of road over the border, then heard sirens. Pulled over by Austrian Law Enforcement. It was a saga. Deserved a song years later.”
CINEMA CINEMA was established in 2008 by Brooklyn-born cousins, vocalist/guitarist Ev Gold and drummer Paul Claro. They’ve been described as “experi-metal punks” by the Village Voice, a “jolt of adrenaline” by BrooklynVegan, and “feral and unrelenting” by Big Takeover.
In 2019, the duo joined with Nefarious Industries to release their fifth album, CCXMD. Taking a stylistic left turn from any previously recorded output, they found themselves delving into ambient and atmospheric free-jazz territories. CINEMA CINEMA invited reed aficionado Matt Darriau – best known for his work with Grammy award-winning world-music ensemble The Klezmatics – to join the group for the collaborative, entirely improvised affair. Darriau had been a guest on the band’s 2017 LP Man Bites Dog, providing saxophone on a handful of tracks. The album was described as, “no-holds-barred punk-jazz,” by Brooklyn Rail, and, “as intelligent as it is unintelligible,” by Invisible Oranges.
CINEMA CINEMA now presents their sixth full-length, CCXMDII, which serves as companion and conclusion to 2019’s CCXMD. Woodwind expert Matt Darriau returns, bringing along more tools from his repertoire as the trio submerge themselves in the strange beauty of chaotic sound, found together in the moment. CCXMDII was engineered, mixed, and mastered by Vin Cin at Electric Plant Studios in Brooklyn, New York, with artwork, design, and layout by Lauren A. Kelley.
Nefarious Industries will release CCXMDII on CD and all digital platforms on August 20th. Find preorders including merch bundles HERE and watch for additional audio previews and more to post over the weeks ahead.
Touring extensively through the past decade, CINEMA CINEMA has performed over four hundred fifty shows across eleven countries. The duo has toured numerous times alongside SST Records founder Greg Ginn, including a fifty-plus-date 2014 North American tour opening for Black Flag, select dates supporting Black Flag in 2013, and shared dates in 2010, 2011, and 2012 with Ginn’s other outfits The Royal We and The Taylor Texas Corrugators. In addition, the band has half a dozen European tours to their credit, including a 2013 stint in support of Martin Bisi Band and a run of Summer festivals in 2016.
CINEMA CINEMA appears in and has contributed music to the critically acclaimed 2014 documentary Sound And Chaos: The Story Of BC Studio. The band was also included on BC35, a celebration of the 35th anniversary of BC Studio – alongside members of Swans, Sonic Youth and other studio alumni, released via Bronson Recordings in 2018.
CCXMDII Track Listing:
1. A Life Of Its Own
2. Cloud 2
5. Crack Of Dawn
7. Cloud 4
Ev Gold – guitars/vocals
Paul Claro – drums/percussion
Punk legends Circle Jerks will be joined by some impressive stage-fellows in 2021/22.
Circle Jerks, Municipal Waste and Negative Approach will perform together on:
12/10/2021 Soundstage – Baltimore, MD
12/11/2021 Norva – Norfolk, VA
12/12/2021 Cat’s Cradle – Carrboro, NC
12/14/2021 40 Watt Club – Athens, GA
12/15/2021 Jack Rabbits – Jacksonville, FL
12/17/2021 Jannus Live – St. Petersburg, FL
12/18/2021 Plaza Live – Orlando, FL
12/19/2021 Culture Room – Fort Lauderdale, FL
For other dates including with Adolescents, click HERE.
If this SECTION H8 tune isn’t the fucking heavy song of Summer 2021 by, like, this afternoon…I simply don’t know what to tell ya. It’s that killer. This shit kicked my ass across the room this morning and had me moshing in my kitchen before 9:15 am. Holy shit! I think I was the first person to purchase it on Bandcamp, but don’t worry! You can buy it as well! Right HERE, fuckface! Believe the hype.
And an inspired Tim Timebomb cameo!
In the summer of 2021, Section H8 comes with their most definitive statement yet in the form of their debut full-length Welcome To The Nightmare, due out July 30th through the dependable Flatspot Records. Their new single is a fantasy tale about survival in a dystopian future called “Streetsweeper”, and it features vocals from Tim Armstrong (Rancid, Operation Ivy, Transplants).
“Section H8 are an incredible new band. I love them!” said Tim Armstrong of working with the band, adding “When they asked me to collaborate on their new record I didn’t hesitate. Yes! At times, they harken back to the rawness of 1980s Agnostic Front Cause For Alarm era hardcore, while at the same time documenting what’s around them in 2021.”
Up and coming punkers Pink Shift are making sure they don’t go unnoticed. Not only do the band have an excellent new interview over at Kerrang! about being in a new wave of relevant pop punk bands changing the genre for the better, but they have a headliner coming up at The Metro Gallery in August with some great openers. While we are mainly a metal site, we also love punk and want to root for any rad new band who are kicking this much ass and making a difference. And there is no denying that “i’m gonna tell my therapist on you” is a true Summer bop. It reminds me of No Doubt, MCR and The Movielife all at once.
Variety is the spice of life, you grimacing metal bastards. Support some punky new blood! Besides, maybe if we start shouting them out they will throw in some sweet breakdowns. Either way, we have to stan.
Thrilled to share that our first headliner on August 21st at the Metro Gallery will be with our friends @Jhariah and @couragemotherva 🍭 tickets are selling fast, come through!! https://t.co/J2I3kvtjqx pic.twitter.com/aNI0B49YV3
— pinkshift (@pinkshiftmd) June 25, 2021
Glassjaw have revealed plans to hit the road in early 2022 to celebrate the 20th anniversaries of their first two albums, Everything You Ever Wanted To Know About Silence (2000) and Worship and Tribute (2002). Some of the tour will be two-night stands during with the group playing one of the albums each night, while other stops will find them playing both.
Anyway, pack your shit and leave and take my memories of her with you.
3/2 Los Angeles, CA @ 1720 (EYEWTKAS)
3/3 Los Angeles, CA @ 1720 (W&T)
3/4 San Francisco, CA @ Great American Music Hall (EYEWTKAS)
3/5 San Francisco, CA @ Great American Music Hall (W&T)
3/8 Denver, CO @ The Summit (both albums)
3/10 San Antonio, TX @ Vibes Event Center (both)
3/11 Austin, TX @ Mohawk (EYEWTKAS)
3/12 Austin, TX @ Mohawk (W&T)
3/14 Atlanta, GA @ Masquerade Heaven (both)
3/16 Chicago, IL @ Concord Music Hall (both)
3/18 Sayreville, NJ @ Starland Ballroom (both)
3/19 Worcester, MA @ The Palladium (both)
3/20 Silver Springs, MD @ Fillmore (both)
3/21 Philadelphia, PA @ Union Transfer (both)
3/23 Brooklyn, NY @ Warsaw (EYEWTKAS)
3/24 Brooklyn, NY @ Warsaw (W&T)
3/25 Huntington, NY @ The Paramount (EYEWTKAS)
3/26 Huntington, NY @ The Paramount (W&T)
Armageddon Label will release the debut EXIL release on July 23rd, a whirlwind of social commentary in the form of Swedish hardcore. 11 tracks, 26 minutes. Gnarly! Hear the rip roaring and speedy “Maniac” on the Greetings from Sweden – Quarantined Hardcore vol 1 compilation HERE.
Interesting snippets from the press release:
Three quarters of the band are born and raised Umeå Hardcore. Their paths have crossed before, going back some 25 years (see below). But EXIL are based in Stockholm. It’s a hellish neo-liberal experiment of a capital city: Ayn Rand’s own privatized garden of lust, or an even shittier 50 Shades of Grey with Rich Uncle Pennybags-gone-Pinhead as the dom and we, the people, as the subs.
EXIL play fast, stupid music with smart lyrics permeated with a sense of alienated bleakness. Much of the lyrical bantering deal with the above, life in the big city, and the mind-shattering daily life of modern Western society. It exposes how economic injustice is expressed in an urban environment, with parasitic landlords and immense gentrification that pushes all culture that doesn’t conform to lame middle-class norms to the absolute periphery of cities like Stockholm.
Two Minutes to Late Night presents Splitsville: a new recurring live stream where two bands cover a song from each other’s catalog. It’s a homage to the classic 7″ cover splits nerds have to own but with two kick-ass music videos to go along with it. This nextSplitsvilleis going to be between hardcore pioneers Integrity and genre-defying shoegaze rock band Nothing. The stream will feature Integrity covering Nothing and Nothing covering Integrity with videos of the quality you come to expect from Two Minutes to Late Night PLUS exclusive crossover merch for both bands you can only buy during the 24-hour stream.
The live stream for the Nothing / Integrity – Splitsville performance with begins TONIGHT Friday, April 30th through the Two Minutes to Late Night Bandcamp channel here: https://twominutestolatenight.bandcamp.com/merch/splitsville-episode-2-integrity-nothing
Additionally a limited, one-time pressing only will be available through Relapse Records and 2 Minutes to Late Night’s Splitsville! This 7″ will only be available to pre-order from Friday, April 30th at 8PM EST at the launch of NOTHING’s and INTEGRITY’s Splitsville performances through Saturday, May 1st at 8PM EST. Relapse will only press the amount that is pre ordered and will ship this Fall.
Domenic Palermo (Nothing) comments:
“Integrity is the best hardcore band ever. to be able to collaborate with Dwid and the gang is bucket list level shit. I feel both honored and extremely nervous to be involved. I really hope we don’t play ourselves.”
Dwid Hellion (Integrity) comments:
“I continue to be a long time fan of NOTHING and it is a great pleasure to be able to participate on the latest installment of SPLITSVILLE with them. Roaring such beauty into its own inversion.”
I love NYHC and many of the bands I have shared the stage with, interviewed or saved my life. That said, I am super bummed out right now by a lot of people I love and the reckless 2,000+ social distancing flaunting Madball, Murphy’s Law, Bloodclot, Wisdom In Chains etc. show in Tompkins. Yes, shows are important for mental health, as Wisdom In Chains noted on Insta. Supporting Firefighters and the Burn foundation is great. So is protecting our most vulnerable and adhering to the bare minimum to help us have real solidarity and get through this. This show was not the triumph hardcore bands and fans are claiming it was. Period. Sorry if that makes me the ‘woke SJW mob’ and not a concerned diabetic who has loved and lived their life for punk and metal for over three decades.
As my pal Ryan Butler of Landmine Marathon fame said online ,“Tompkins Square Park in NYC yesterday looked like the Rose Garden at the White House a few months back times 1,000.” Hard to disagree.
Update. I don’t know if this is true but the Parks Dept. are saying organizers lied and said the event was a 9/11 memorial with a hundred people expected. Classy if true! Wow. WTF, y’all. I know some of you were around for 9/11 and love the city more than that. For real?!! WTF. Cuz you donated to firefighters doesn’t make it any less misleading. And how about the healthcare workers who have to take care of anyone who gets sick? (BNB Productions now say the permit never mentioned 9/11 and that people just “suck the dick of the media” but failed to show the permit to back up the claim the media is lying, so I can’t verify one way or the other. It is immature af though to just downplay people’s concerns as sheeple and pussies, tough guys).
Further update: Chris Flash told EVGrieve: “Nowhere did it say anything about September 11. We did apply for a September 11 memorial event, but it was for September,” Flash also said,”…Why would we apply for a September 11 memorial in April?””We were given a 3-page list of things the Parks Department wanted us to comply with — we complied with all of the stipulations,” Flash said. “We were required to provide gloves, masks, sanitizer and a clipboard if someone wanted to voluntarily provide contact tracing. We provided two tables with all the necessary supplies. We cannot enforce rules, we can’t — we’re not the police. Even the police said they can’t enforce.”
(Um, you can’t enforce the rules but anyone could have kept urging the crowd to mask up at the very least. Or the band members and scene folx -who’ve posted tons of selfies to their own insta feeds with the vast majority in no masks- could have also done the right thing and masked up). I also hear that people were being mocked for wearing them at the event, though can’t verify. CDC has eased masking guidelines for vaccinated people as of 4.27 but still say “vaccinated people should still wear masks in public settings indoors and outdoors where there is a substantial risk of Covid-19 transmission, such as concerts, sporting events and other crowded gatherings,” the CDC said.)
People have been saying that maybe the vast majority of unmasked moshing and screaming people were already vaccinated (as if that means you can’t still carry it home or elsewhere, fucking duh). It was harder for young people to get vaccinated until very recently in New York.
For the wary, I can’t force people to trust big pharma companies with awful track records like Johnson and Johnson (who have sucked ass for years). I especially am not tone policing women who have fertility side effect fears when we need way better long term clinical studies or bipoc folx who are afraid because they have historically been guinea pigs to racist medical research practices before. I sure as hell also agree that it is fucked it seems -if I am understanding things right- that Reagan made it so you can’t sue lots of vaccine makers if something goes wrong (tell your conservative leaning Libertarian pals that). H.R.5546 – 99th Congress (1985-1986): National Childhood Vaccine Injury Act of 1986 | Congress.gov | Library of Congress says that ,”Provides that no vaccine manufacturer shall be liable in a civil action for damages arising from a vaccine-related injury or death: (resulting from unavoidable side effects; or (2) solely due to the manufacturer’s failure to provide direct warnings.”
I agree that is completely bullshit to not be able to sue someone if there is a problem. That goes for the Covid vaccinations as well. No one should be above lawsuit if there is a huge fucked up problem with any of them.
That is still besides the point when it comes to this concert.
I am personally diabetic and fully vaxxed. I am absolutely glad I got it. But if someone “healthy” with doubts can’t even do bare minimum compassion to wear a mask cuz they think it doesn’t work (as if having none will somehow protect others more!?) or social distance cuz moshing and peacocking is more important …yikes. And most of those people on the crowd aren’t gonna go green diet anyway and just want to fucking party, c’mon.
John Joseph wrote this on social media: “For the last year in New York City there were protests – tens and thousands of people in the streets – some rioting and looting engaging in bias attacks – nobody said shit – the media condoned it. On 4/20, thousands filled Washington Square Park sharing blunts and weed pipes no masks – again nobody said shit. This was our fucking protest – this was our rally – people came out from all over the country and enjoyed live music! Those who didn’t want to come stayed away – good nobody Missed their ass. They were free to live in fear – hide under their table and talk shit on social media.”
I don’t know about the 4/20 day stuff so can’t speak on it and can understand how that would bother a straight edge person. I am sober a year and a half and John’s description ALSO sounds like 4/20 was reckless and should have been discussed. It sounds like you think it is just hypocrisy that they weren’t called out and the hardcore show was, not that people have valid super spread concerns. Also, the idea that just because our elected officials and others have done hypocritical things is ALSO a good reason to be irresponsible as a ‘protest’ to hypocrisy is the epitome of two wrongs don’t make a right.
Ok, and while I super respect John’s veganism and love his books on the subject and think everyone should become one to save the planet (watch Seaspiracy and stop eating fish today PLEASE), this BLACK LIVES MATTER statement is simply a false equivalency. Most people at BLM protests were masked and it was outdoors, with a combination that helped soften the blow of those who weren’t substantially. That is not thousands of people crammed in a small park with masked folx being mocked and people screaming gang vocals and pitting in close proximity and breaking social distancing suggestions and max outdoor capacity guidelines. That isn’t ‘united blood’. It is fucking telling immunocompromised people that y’all don’t care when this is over or just don’t believe in it.
We all wan’t shows to come back right, but this aint it. At all.
Again, the current law in New York, according to our shitbag, rapey, bad clemency record, Weinstein money accepting and CNN softball question champion Governor Andrew Cuomo is that “outdoor venues with 2,500 person and overcapacity can begin holding live concerts at 20% capacity.” Proof of vaccination or a negative COVID test would be required for entry. I hate Cuomo for almost killing my mom in an old folks home as well and for playing chess with lives and refusing one of Trump’s only decent ideas by not using the hospital boats, but these capacity and safety limitations I cannot fault him for.
The Warzone tribute I covered there was one of the coolest things I have ever been to and it was great to help document it that day several years ago. I did not expect to hear that this new event would completely disregard respectfully making sure shit was done right and call people who are concerned ‘beeyotches’ (wow super feminist and inclusive, punk rawwwwk).
I believe in Christ consciousness and healing and growth and lifting one another up when we fall or make mistakes, but that requires self-awareness. I don’t at all enjoy now feeling alienated from all these bands and people who went who I admired. You can’t talk about making everyone considerate enough to live better and take care of the Earth and animals (as they should) if you also don’t care enough to protect the most vulnerable humans or try to lessen the ongoing impact of the pandemic in even the most minor ways.Add to My Radar
One of the few good things about this pandemic life has meant time for people to dig deep and soul search for an even more meaningful sense of self-expression. After all, we have had reminders daily that time is precious and you ought to be true to yourself, right? As a writer it has also been a good chance to have random email convos with incredible and talented cool folks and Suzi Moon is certainly high on the list of radness level as far as “rad people I have gotten to communicate with” in recent times goes.
Suzi Moon radiates the essence of punk attitude and makes the balance of sweet and sour seem effortless in glam gutter songs like “I’m Not A Man” or the rollicking “Nuthin’ To Me” that you can snarl or sing-a-long with like nobodies business. Yes, the Civet and Turbulent Hearts alumna is going solo and has delivered a fantastic video for the instantly memorable “Special Place In Hell” track from upcoming debut EP CALL THE SHOTS.
Read our chat BELOW.
‘This album is essentially a reflection of the societal ills that hold us back from having the grand culture and community the United States loves to pretend it has.’ – KZ
Hello dear readers and happy Trans Day of Visibility. Hope people are lifting one another up today and feeling good and loved. I need cold water thrown on my face after the inane stupor I entered from just reading an article about how friggin’ Michale Graves might testify on behalf of some loser Proud Boy Jan. 6th insurrectionists. Uh, that’s your character witness? What is he gonna do? Get up there and go ,”You’re lookin’ through the eyes of a Psycho! An American Psycho (Whoa-oh!).” The sad part is I don’t know if that would work in the fash mob defendants favor more or less considering how compromised many of our courts are.
One thing that DOESN’T make me want to scream in frustration (at least not in a bad way) is listening to the cathartic and brilliant new record Modern Grotesque from melodic post-screamo East Coasters Dreamwell, pretty much the most impressive shit I have discovered in a long time. This record , especially after the shared PTSD of 2020 we are all semi-thawing from, just feels like a massive release of hope, heart and triumphant defiance. A cry for a more caring and dignified world for people who are different, sensitive or just genuine… for the lovers, dreamers and you (to get more Kermit than Pepe up in here). It is an album that reminds me that feeling things is not weakness and which has some of the fiery and passionate type of playing that first got me into bands like UOA, At The Drive In or On The Might Of Princes.
Modern Grotesque also boasts some of the most impactful melodic playing I have heard in a long time this side of really good Modest Mouse, moments that just take artful twists and turns that couldn’t have been generated through a cynical aim and only through vibrant and vulnerable love for the music.
Please enjoy my chat with vocalist KZ as much as I did.
Read more BELOW.
March 24, 2021 – The New York-based group Zero Trust celebrated the release of their self-titled debut EP today in partnership with Equal Vision Records. Zero Trust might be a new name, but they boast résumé credits spanning decades of the most creative, cutting-edge pockets of the area’s storied hardcore scene. With a lineup consisting of members of Coheed and Cambria, Bulldoze, Full Scale Riot, Agents of Man, Skarhead, and more, the group formed as a creative outlet during the quarantined isolation of the ongoing COVID-19 pandemic. On their inaugural release, Zero Trust expands upon their collective experience, blurring the lines between hardcore, metal, and alternative rock with substantive lyrical themes from vocalist BJ Allen, who reflects on the socio-political turmoil that has erupted throughout the past year. To accompany the release, Zero Trust also shared the official music video for the opening track “Birch” (Editor’s Note: I vaguely think there was also a pretty cool Shabutie song called this from around the Penelope era that Travis maybe even sang (?), but maybe I am buggin’? Either way this shit is dope).
Zero Trust is out now and available to stream here.
Speaking on the single, BJ Allen (vocals) says:
“Birch is about exploring the part of your mind that knows the whole system is against you, while also knowing that if humanity were to be unified, civil and just we would be in a much better position.”
Kingston, New York-based avant rock/punk outfit WALKING BOMBS presents its most infectious material to date, with the expansive new full-length release Tears We Should Have Shed. With the record now confirmed for independent digital release in April, the cover art, track listing, preorders, and track “Time To Go (Fuck Q)” have been posted.
The project of one Morgan Y. Evans, joined by a wide cast of collaborators, WALKING BOMBS here delivers a musical study in navigating regretful occurrences in humanity with Tears We Should Have Shed. It is a record steeped in sorrows and triumphs, delivered through a wide range of varied musical styles.
Recorded throughout 2020, engineered, mixed, and mastered by Sean Paul Pillsworth at Nada Recording Studio in Montgomery, New York (Senses Fail, Shai Hulud, My Chemical Romance), Tears We Should Have Shed sees Evans performing lead vocals as well as acoustic guitar, trombone, bass, guitar, and piano contributions across the album. Additionally, the record features contributions from Elizabeth “Le Fey” DaPena (Globelamp), Sean Paul Pillsworth (Nightmares For A Week, Jerk Magnet), David Brenner (Gridfailure), David Bodie (ex-Time Of Orchids, Divest, Kayo Dot), Taraka Larson (Taraka, ex-Prince Rama), Jack Manley (The Jenifer Shop), and Justin Zipperle (Shadow Witch).
“I’ve always enjoyed bands like Orange 9mm, Faith No More, or Swans where even though you knew it was them you might be surprised song to song or album to album by some big stylistic twists and turns. My own work in bands since 1993 has also reflected that often,” Evans states. “This WALKING BOMBS album explores a lot of punk and hardcore and kind of Type O influences more than some of my other releases with this project that were more grunge or post punk heavy. There’s also a little bit of classic rock influence sprinkled here and there. But it all compliments the general themes of regret for human folly.”
Songs like “Brash Bandages” and “GeneralGrievousAngel” deal with self-reflection and sobriety, whereas elsewhere the harsh noise landscape of “Focus Shifting The Apocalypse” or the pop-punk-meets-Jawbreaker-influenced “Time To Go (Fuck Q)” examine the frenzied, cult-like impact of disinformation on a gullible society. The goth-toned title track and Bad Religion-influenced “I Will Miss You” look at the highs and lows of the life of an underground lifer musician. Other moments include examinations of Red Scare-era and modern sexism, healing, gaslighting, and trauma.
Evans delves, “This is not so much a record about trying styles and ‘seeing what sticks’ because I can’t live my life by that unhealthy metric. It’s very important to not take the ability to release a range of music while alive for granted. I almost went into a diabetic coma last year and have a year of sobriety again. Covid and a lot of intense events of 2020 really made me restless to channel some love and pain. If feels like a triumph that we safely made a record last year. It meant a lot to me to have everyone involved who played a role, but especially to finally make a full-length album deep in the woods at Nada Recording Studio with my dear friend Sean Paul Pillsworth after several decades in the scene together.”
WALKING BOMBS will release Tears We Should Have Shed digitally on April 23rd. Find preorders at Bandcamp HERE and watch for additional audio previews and more to be issued in the coming weeks.
Add to My Radar
None or Unknown
The gnarliest punk album of the year just dropped. Love Is A Lie, Filth Is Eternal from Filth Is Eternal (formerly F'd and B'd) reminds us that there was a time when Seattle bands were considered dangerous, when Mudhoney might jump on your face and half the roster of Sub Pop didn't look like even Starbucks wasn't gentrified enough for their tepid, pale faced indie rock bullshit. Filth Is Eternal plays an explosive blend of go for the throat, not a moment wasted punk n' roll married to Sonic Youth flirting dissonance and with tones ugly enough to make Fudge Tunnel blush and The Bronx seem like Captain & Tennille. Fronted by an actual snarling wild animal over some of the best riffs and beats you have ever heard. This record reminds me of a show I played in 1997 with my old band Fuse where I got wasted on unclean tapline Rolling Rocks and bottom shelf whiskey after getting a tattoo and ended up rolling on a country bar floor half nude and bleeding and smearing black grime and tattoo inky residue and blood everywhere, waking up the next day feeling kind of aroused and ready to fight literally anything but also half dead. Sirhan Sirhan is gonna get out of jail and be all stoked to enter polite society and this shit will play and it will retrigger a hypnotic trance and make dude go all Winter Soldier on some dudes. If your band doesn't bang as hard as the ending of "The Dog", just quit now.