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Summer Cannibals debut a new song

Posted April 27, 2016, 6:26 p.m.

Currently on tour with The Termals, Summer Cannibals have announced the release of Full Of It coming on May 27 through Kill Rock Stars label.

The band, who have two previous releases--including last year's Show Us Your Mind (New Moss Records)--debuted new track "Simple Life" from the new LP. 

After their tour with The Thermals the band will set out on a headlining tour in June.

Tour Dates (w/ The Thermals):4/28: Brooklyn, NY @ Market Hotel 4/29: Philadelphia, PA @ Union Transfer 4/30: Washington, DC @ Black Cat 5/1: Pittsburgh, PA @ Club Cafe 5/3: Indianapolis, IN @ Hi-Fi 5/4: Paducah, KY @ Maiden Alley Cinema 5/5: St. Louis, MO @ The Firebird 5/6: Omaha, NE @ Slowdown 5/7: Denver, CO @ Lost Lake 5/8: Salt Lake City, UT @ Urban Lounge 5/13: Portland, OR @ Wonder Ballroom 5/14: Eugene, OR @ HiFi Music Hall 5/15: Arcata, CA @ Richard's Goat5/17: San Francisco, CA @ The Chapel 5/19: Los Angeles, A @ Teragram Ballroom 5/20: San Diego, CA @ Soda Bar 5/29: George, WA @ Sasquatch Summer Cannibals Headlining Dates:6/2: Missoula, MT @ Old Beck VFT (Summer Daze) 6/5: Madison, WI @ The Frequency 6/6: Chicago, IL @ Subterranean (downstairs) 6/8: Lawrence, KS @ Replay Lounge6/9: Norman, OK @ Opolis Production6/10: Austin, TX @ Sidewinder 6/11: Dallas, TX @ The Foundry 6/12: Houston, TX @ Satellite Bar 6/13: San Antonio, TX @ Paper Tiger 6/15: El Paso, TX @ The Lowbrow 6/16: Tucson, AZ @ Club Congress 6/17: Phoenix, AZ @ Valley Bar 6/19: Oakland, CA @ 1-2-3-4 Go! Record6/21: Reno, NV @ Holland Project

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1QI: Phobia, Moonraker, The Blind Pets, Bad Cop/Bad Cop

Posted April 26, 2016, 2:28 p.m.
1QI: Phobia, Moonraker, The Blind Pets, Bad Cop/Bad Cop
Welcome to our almost daily quickie Q&A feature: One Question Interviews. Follow us at facebook & twitter and we'll post an interview four days each week, typically every Monday-Thursday.
 
After our social media followers get the first word, we post a wrap-up here at the site and archive them here. This week check out Q&As with Phobia, Moonraker, The Blind Pets and Bad Cop/Bad Cop

Shane Mclachlan (Phobia)
SPB: What is the most thankless job in the music industry?
Shane: Well, as for me being a vocalist, I'm the guy everybody wants to talk shit on, spit on, and blame everything on. Nobody fucks with the bass player: he is always the nice guy. So my job is thankless in the sense of not being thanked for the passion and integrity to write lyrics and go up on stage and sing them and being able to influence a lot of people in a positive way... But then if somebody takes it the wrong way and they shoot themselves, you're fucked!
Nick Sucks (Moonraker – bass/vocals)
SPB: Basements or bars?
Nick: Both. They both have their appeals and drawbacks. Basements are normally DIY and all ages, essentially a subterranean house show. Since we live in California, we love to play basements because those types of shows are pretty rare here. Cops aren't usually called because of the sound being contained in the basement. That also means the hardcore band that somehow drilled a tunnel large enough to get their ridiculous 8x10 bass cab down there will be destroying your ears. The PA sound quality is normally nonexistent as well but that's not what you go to a basement show for anyway. You're there to get just as sweaty as the band and scream out every word to a song you don't even know the lyrics to in the most intimate space.
Bars are alright but you definitely remember the good ones: if the house music is rad or the bartender has a Lawrence Arms tattoo or just fun regulars, all cool things you look for in a bar you play. Unfortunately bars can't do all ages shows which kinda sucks. Normally the bar also has to take a cut if there was a cover charge. You also run the risk of playing a bar that didn't know what they were doing and thought punk meant you would play mostly covers of Sublime and The Offsping's later discography.
The best place I can recommend is the best of both worlds: The Millhill Basement in Trenton, New Jersey. A punk rock dive bar in a basement where the bartenders are rad and we normally drink way too much. Cheap drinks, stickers everywhere, and music that reverberates off the concrete walls loud as fuck. Go there.
Joshua Loggan (The Blind Pets – guitar/vocals)
SPB: What do you like to do on a tour off-day?
Joshua: Anything outdoors! I absolutely love to swim or see something new. Best day off I have ever had was at Earthquake Lake in Yellowstone with my band and a fat sack of chronic! GOOD TIMES!
Stacey Dee (Bad Cop/Bad Cop)
SPB: How did you hook up with Fat?
Stacey: I was playing pool with Fat Mike after a Loved Ones show that my old band opened for.  We were at the Eagle in San Francisco.  I made him a bet and if I won he was to write a song I got to sing on.  He was kicking my ass and about to knock in the 8 Ball.  I leaned over and whispered "big beautiful titties" in his ear.  He scratched on the 8 Ball and I won!  
Mike doesn't welch on bets.  He was writing the Home Street Home musical and called me in to try out for it.  I sang with everything I had and secured the roll of Sue.  I spent the next 5 years working on the musical.  During a studio session we discussed how there wasn't any women representing the label.  He and Soma discussed putting out a 7" of Bad Cop / Bad Cop.  But, he wanted to see us first.  They came to our show, which was with the most fab drag queens in SF and they loved it.  When I got off stage he said he was gonna put out that 7".  The next day I got a call saying we were getting signed to Fat.  It was my life's dream!  

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Bands Old Wounds adds second guitarist, set for Warped

Posted April 20, 2016, 3:04 p.m.

Old Wounds adds second guitarist, set for Warped

New Jersey's Old Wounds have anounced Matt Guyre has joined the band as a second guitartist, increasing them to a quartet instead of a trio. The band is also set to play the entire ...

Bands Coercion96 back in action

Posted April 20, 2016, 11 a.m.

Formed in 1996 by current and former members of Good Riddance, Fury 66, and The Lonely Kings, punk-metal hybrid Coercion96 have entered the studio to record a new EP, tentatively titled Exit Wounds. At 4 ...

Bands 1QI: Damaged City Festival, Brian Cullman, Nomads, DSGNS

Posted April 17, 2016, 3:46 a.m.

1QI: Damaged City Festival, Brian Cullman, Nomads, DSGNS

Welcome to our almost daily quickie Q&A feature: One Question Interviews. Follow us at facebook & twitter and we'll post an interview four days each week, typically every Monday-Thursday.   After our social media followers ...

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Bands Gone Is Gone forms (ATDI, QOTSA, Mastodon)

Posted April 16, 2016, 1:40 p.m. in Bands by Loren

Gone Is Gone forms (ATDI, QOTSA, Mastodon)

photo by Scott Wilkinson

In effort to further abuse the term "supergroup," Tony Hajjar (At The Drive In), Mike Zarin, Troy Van Leeuwen (Queens Of The Stone Age), and ...

Bands 1QI: Black Black Black, Hunx & His Punx, Topshelf Records, James Burns

Posted April 5, 2016, 1:20 p.m. in Bands by Cheryl

1QI:  Black Black Black,  Hunx & His Punx, Topshelf Records, James Burns

Welcome to our almost daily quickie Q&A feature: One Question Interviews. Follow us at facebook & twitter and we'll post an interview four days ...

Black Black Black
SPB: How do you approach writing/recording a song with a guest vocalist, such as “Let’s Bloodlet” with Dave Curran? 
Jason Byers (vocals): Dave and I have been friends for over 20 years. We first met in Cleveland, Ohio at the legendary Speak in Tongues venue in 1995. Dave was on tour playing bass with Unsane. My band Disengage was just starting out and got the opportunity to open the show for them. Eventually Disengage played many more shows with Unsane and toured the States with Dave’s other band, Players Club. We kept in contact through the years. I’ve always been a big fan of his vocals. 
When Black Black Black was recording the self-titled record I heard a good spot for some back-up vocals. I called Dave and he came in did it in one take. When I wrote the lyrics and melodies to “Let’s Bloodlet” I imagined his vocals alternating with mine. Once again Dave came in and made the song perfect. Who else would you get to sing an updated version about the process of bleeding someone to health? I also love hearing him scream the word “equestrian.” Ridiculously funny.
Jacob Cox (guitar): I / we have been friends with Dave for a really long time. I fondly remember having many many special moments with him on stage, and especially off. "Let’s Bloodlet" was chosen since it lent itself well to a call and response type vocal. It was a true joy to watch Dave perform Jason's lyrics, somehow making them even more poignant and powerful to me.
Seth Bogart (ex- Hunx & His Punx)
SPB: Do you read press written about you?
Seth: I guess if I see it and it starts off not totally boring or I feel like I did an interview and said something juicy, then yes.
Seth Decoteau (Topshelf Records)
 
SPB: Do you accept demos? What is the most suprising demo you've received? 
Seth: [Yes.]
I'd say the most surprising demo we've received was from Infinity Girl, which we ended up releasing. 
James Burns (Let's Go to Hell: Scattered Memories of the Butthole Surfers)
SPB: In a book such as this, do you aim to capture the spirit of the band as a whole, or via specific windows in time? 
James: The Butthole Surfers existed in a time when there was no internet, and literally no way of promoting yourself other than to just get out on the road and DO IT. They toured pretty much nonstop for three whole years to get themselves known. And while it certainly is easier to get yourself noticed today, it is also a lot more difficult, in some ways, to separate yourself from the pack.
What inspires me, even now, about the Butthole Surfers’ story is their perseverance. There was very little hope when they started that the band would ever be successful, and yet, they willed it into being by simply refusing to quit, despite all the odds being against them.
The older one gets, the more one realizes that times don’t change very much: politics, society, art. It’s like the Big Boys’ song says: “Punk rock’s not so far removed from Little Richard or the early Stones.” And while each generation has its own cross to bear, the spirit of independence, creativity, and willingness to fight for one’s art, or beliefs, is timeless.

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Bands 1QI: Cherry, Southpaw Records, France Camp, Wall of Youth Records

Posted March 23, 2016, 2:21 p.m. in Bands by Cheryl

1QI: Cherry, Southpaw Records, France Camp, Wall of Youth Records

Welcome to our almost daily quickie Q&A feature: One Question Interviews. Follow us at facebook & twitter and we'll post an interview four days ...

Russell Edling (Cherry)
SPB: What was your first show?
Russell: It was July 1999, I was 11. The show was an all-day thing called "Suckfest," run by a local guy in Barnesville, PA.
Pretty much every band within 30 miles came and played. I was blown away, I saw this band called Nine Lives from NY that I thought were awesome, and a band from Freeland, PA called Team Radar. I was there because my oldest sister Lori (she also did the Gloom artwork!) was friends with the guy who ran the show.
 
Rob Fales (Southpaw Records)
SPB: Have you ever rejected album art from a band or artist? What goes into that process/decision?
Rob: Yes, we've rejected album art from bands. It's not something we do too often, only two that I can recall. There was a Sandwitches record we removed a penis from (for obvious reasons). Then there was the album art for Sam Coffey and The Iron Lungs Gates Of Hell that we rejected. The original artwork for Sam Coffey was very gothic and it made the album look like a metal record. For a band that sounds like a mix of The Exploding Hearts and Meatloaf we didn't see the connection and figured other people wouldn't either. When we asked the band if we could change it they were more than happy to do. We decided with the band to hire an artist to illustrate the cover.
 
France Camp
SPB: Who is the most overrated musician/band of all time?
Frane Camp: Charles "the man" Manson. Not a big fan of his music, really dug his side project lol
I'm giving you two.
2nd answer: Our answer would have to be Devin Gregory and the Fire Department.
There’s a band that took off in the ‘90s and really hit the ground running with their single "Take Me to the Station" and "Wake Up (The House is on Fire)," but they failed to gain traction with their sophomore EP "Dalmatian Sunday." Things took a turn for the worse in ‘92 when lead singer left to pursue heavy opiates, but I know they have been topping charts across the world with their newest trash "I'm Retired, but Still Have Nightmares" and "Wife is gone (I'm a Hero)."
Yuck, no thanks. 
 
Eric (Wall of Youth Records)
SPB: If you could universally fix one recurring issue in venues across the world, what would you fix?
Eric: If I had my way, which never seems to happen, I would make the floors of all venues sloped slightly down toward the stage. I'm a pretty tall person so I always feel like a total asshole when I am anywhere but the back of the room. Which I never am, so I always feel like a total asshole. You see the problem. If the floors sloped down then all the shorter people behind me would still be able to see over my head. I've been to a few places like that and it was great. Of course that sort of revision would require a bunch of construction so let's just go with "free beer." Final answer.

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Bands 1QI: Benjamin Finger, Shirlette Ammons, Brain Vacation, Ejector Seats

Posted March 16, 2016, 3:12 p.m. in Bands by Cheryl

1QI: Benjamin Finger, Shirlette Ammons, Brain Vacation, Ejector Seats

Welcome to our almost daily quickie Q&A feature: One Question Interviews. Follow us at facebook & twitter and we'll post an interview four days ...

Benjamin Finger
SPB: Do you have a somewhat clearcut idea of what you want to do when composing and/or producing your music, or are you more inclined to just "let things flow" and be more improvisational?
Benjamin: First of all, the answer is a multi-sided one. When it comes to composing and producing music (in my case) it seems to depends on many things; 
- How the idea for the album came in the first place.
- What label I´m releasing the album on.
- Will I record everything on my own or include other guest musicians?
- Where I am while recording the album, in the studio or mostly using the laptop (while travelling for instance).
- If I have a specific theme I´m exploring.  
- What kind of mood I´m in. Also, what I`m reading or what kind of films I´m watching during the making of the album? I guess the seasons also affects me whether I like it or not. 
- Is everything planned out in advance or should I go for improv?
- How much time I have (deadlines, if I´m using practice spaces etc...)
- Am I trying out something I haven´t done before? 
- What kind of musical expression am I looking for?
My last album, Amorosa Sensitiva, released on Blue Tapes and X-Ray Records is a good example that combines some of the points I mentioned above. It carries elements of clear cut ideas when it comes to the production side (who I wanted to be involved in the project and how I wanted it to sound) but it also rests heavily on improvisational elements in order to let some of the pieces drift into unexpected territories. That´s what makes the album interesting to me, because you have this disturbed and noisy side of it but then suddenly everything cools down and the atmosphere changes into something else, more quiet and cleaner perhaps. Maybe there´s more of a minimalistic approach to the ambient tracks. I felt that the listener needed a break after the intense tracks that opens side A and B. But there´s still something behind that curtain, lurking in the shadows. The mood really never rests, you´re never fully at peace. The album is also very much inspired by a book I read by a Swedish author, Ola Hansson. And I´m sure that the book subconsciously affected me when I was composing the 6 pieces on the album. Obviously having a band on this release also made the sound much thicker. A cello (Elling Finnanger Snøfugl) and a saxophone (Are Watle) really makes a quite a difference; it paints with a broader palette and creates a wider scope musically. 
 
In short, I guess I go for all kinds of musical approaches when I´m creating music. I have no preferred or specific way. The most important thing for me is to keep on feeling inspired for each new album. The only way to achieve that is to constantly be open and search for new ways to express myself. (Sometimes it happens through careful planning, other times by accident, luck or coincidences, etc...) That´s why I try to change my musical expression from album to album. I´m afraid of being tied down to a specific sound or genre. I have nightmares about that! And that´s not an easy task to achieve after having released ten studio albums when 2016 comes to an end. 
Allow me to finish the question with a poem I wrote about producing sound (haha, bad translation from Norwegian, please forgive me):
What if the sentences where equipped with sounds, each letter a tone
The structure of the sentences would be composed of tones
The chords would be the prerequisite for the language
That would have left the letters with the freedom they deserve
Then you could construct a dialogue without noise
You could describe yourself as a piece of privileged silence
It might have ended up in hysterical silence, a utopian tone
A vision on the border to contain sound
So why not trust the silence of the sound?
Benjamin Finger at Twitter: https://twitter.com/benjaminfinger
Shirlette Ammons
SPB: What is the strangest trend you see in music (or in the industry vs the art)?
Shirlette: Strangest trend to me is how much people are relying on pop culture, particularly pop songs, for their politicization. I do celebrate and embrace the affirmation, momentum, and empowerment provided by songs that speak to people's struggle, but the 3-minute activism feels symbolic of the way information is disseminated and ingested in this age. It's great as a catalyst for the work of breaking down barriers, but by no means does it reflect the deeper, more intentional work needed to change systems of oppression and disenfranchisement. Sometimes a song is just a reason to dance and that's ok with me.
 
Brain Vacation
SPB: Ectasy, meth, or ludes? 
Brain Vacation: We don't do drugs all that often, but our singer has seen Phish play a few times so there's definitely something going on there. We never really expected to release that information into the world, but there it is. Please go do lots of meth and listen to our new record.
 
Fluffy (Ejector Seats-bass/vocals)
SPB: What was your first tape/record/or cd that you ever bought?
Fluffy: That's actually a really tough question...I grew up with an older sister, so I was subjected to her & her pot smoking hippie friends playing a shitload of classic rock: Bad Company, Queen, Deep Purple etc, etc...it was cool...
I liked everything, I slept with a transistor radio under my pillow listening to crappy AM pop radio!!! But EVERYTHING changed when a friend of mine gave me a Sex Pistols tape! That opened me up to a whole new world...discovering bands & LPs that I still absolutely LOVE to this day: the Damned, The Clash, Buzzcocks, but my life changed when I bought the RAMONES It's Alive LP. Nothing was ever the same!!!! I played that album SSOOOOOOOOOO much I'm amazed that it never wore out!!!
Listen, a lot of people love the RAMONES but, after hearing It's Alive, not one of their studio albums is relevant in any way. It’s Alive IS THE RAMONES!!!! I saw them twice within a month of getting this LP at the Capitol Theatre in Sydney, and they played that set verbatim...Gabba Gabba HEY sign and all!!!!
I've seen & heard a lot of music in the 36 years since It’s Alive came out, but that record still gives me chills. It's a band at their peak, there are no producers in the way..this is Raw & Fast Ramones, how they were meant to be heard. How they really were
DON'T EVER BUY A RAMONES LP UNTIL YOU BUY IT'S ALIVE!!! 
RIP-JOHNNY,JOEY, DEE DEE & TOMMY.
 

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Bands Rev. Horton Heat 7-inch for Record Store Day

Posted March 12, 2016, 5:56 p.m. in Bands by Loren

Rev. Horton Heat 7-inch for Record Store Day

Reverend Horton Heat have released a video to the song "Hardscrabble Woman," the title track on a Record Store Day 7" to be released on ...

Bands 1QI: Ghostlimb, Latte+, World Be Free

Posted March 10, 2016, 9:32 a.m. in Bands by Cheryl

1QI: Ghostlimb, Latte+,  World Be Free

Welcome to our almost daily quickie Q&A feature: One Question Interviews. Follow us at facebook & twitter and we'll post an interview four days ...

Justin Smith (Ghostlimb)
SPB:It seems people are often surprised when they hear of musicians holding higher degrees. Why do you think that is? 
Justin: I think the common view of music and “art” culture is that it is a crew of degenerates or hippies. I would argue that at the crux of these initially DIY scenes and whatever genres came out of them, there were ideas. This is a different form of communication and perhaps going on to study related ideas presents a deeper look into issues that everyone discusses on a base, human level. Also, screaming is not the best way to communicate and probably sounds barbaric but it is cathartic and necessary. 
Chicco (LATTE+)
SPB: If you could put together a four or five-piece "all star group" of players from classic punk bands, who would be in it? 
Chicco: Well, it's easy for me:
Ramones first line-up it's the greatest all-star punk rock band ever!
Arthur Smilios (World Be Free, Gorilla Biscuits)
SPB: What strikes you as the biggest change in recording an album between now and your first few recordings?
Arthur: One word: technology. Analog tapes have been replaced by computer programs. When we were recording the GB 7" and Start Today at Don Fury's, we were using what was then cutting-edge technology: video tapes. They were apparently better at gating the noise. You also had to do a pretty close to perfect take, whereas now, if you are a tenth of a second off the beat, the producer can move your track and sync it. That being said, we all still try to record as much as we can live, because it translates in the energy of the music.
Sam Siegler (World Be Free)
SPB: What strikes you as the biggest change in recording an album between now and your first few recordings?
Sam: The first time I ever went into a studio to record drums was at Don Fury’s studio on Spring St. in NYC, I was 14 years old. It was for Youth of Today, they wanted to re-release their EP Can’t Close My Eyes with a new drum and vocal intro before the song “I Have Faith.” Don had a tape machine, no click track, no pro tools, none of that--so I basically just played a beat (with way too many fills because I was excited), then I believe Don just hand spliced it into the original track and Ray Cappo did the vocals. It makes me cringe a little to this day: the tempo changes, it’s a little sloppy, etc. What I learned from that was that it helps to rehearse and know what you’re doing in the studio because you have to get it right and there’s not much room to manipulate things after the fact, especially on the budgets we had. 
With Pro Tools and everything that’s around now you have so many options, maybe too many. The real answer to this question is nothing has changed or should change. If you can write a good song, be tight and capture a sick version with whatever you’re recording it with you’ll be winning. That was the approach with World Be Free: one or two takes for everybody, if you fuck up we’re keeping it.

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Bands Tiger Army to return with new record

Posted Feb. 28, 2016, 10:21 a.m. in Bands by Loren

Tiger Army to return with new record

Tiger Army, currently on tour in support of Dropkick Murphys 20th anniversary, have announced a new record, V •••, soon to come via LunaTone/Rise. A ...

Tour dates are as follows (additional dates TBA):
Feb 28 @ Civic Center in New Orleans, LA (w/Dropkick Murphys)
Feb 29 @ House of Blues in Houston, TX (w/Dropkick Murphys)
Mar 2 @ Marathon Music Works in Nashville, TN (w/Dropkick Murphys)
Mar 3 @ The Fillmore Charlotte in Charlotte, NC (w/Dropkick Murphys)
Mar 4 @ The Ritz in Raleigh, NC (w/Dropkick Murphys)
Mar 5 @ The Tabernacle in Atlanta, GA (w/Dropkick Murphys)
Mar 6 @ Bogart’s in Cincinnati, OH (w/Dropkick Murphys)
Mar 8 @ Stage AE in Pittsburgh, PA (w/Dropkick Murphys)
Mar 9 @ Webster Hall in NYC (w/Dropkick Murphys)
Mar 10 @ Webster Hall in NYC (w/Dropkick Murphys)
Mar 11 @ Mohegan Sun in Uncasville, CT (w/Dropkick Murphys)
Mar 12 @ The Stone Pony in Asbury Park (w/Dropkick Murphys)
Mar 13 @ Electric Factory in Philadelphia, PA  (w/Dropkick Murphys)
Mar 15 @ Baltimore Soundstage in Baltimore, MD
Mar 16 @ House of Blues in Boston (w/Dropkick Murphys)

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