Tag Archives: Epitaph

New Descendents video: Without Love

Video: Descendents – “Without Love”

Descendents – "Without Love"

From Hypercaffium Spazzinate, out now on Epitaph.

I don’t know about you, but I am super happy the Descendents are back in action. Saw them last year at Riot Fest and they were awesome.

The lyrics of this one seem a little hippy dippy at first (“Another day goes by / We can’t live like this anymore / Can’t live without love”) until you realize that Milo’s singing about struggling with some serious mental situations (“Lock every door around us in self defense / We conceal this”). But of course nobody’s forcing you to listen too closely. Feel free to just jump around and bounce into stuff! That’s what I (want to) do when I listen to the Descendents.

Descendents: web, twitter, amazon, apple, spotify, wiki.

Via Punknews.

Continue reading New Descendents video: Without Love

New Desaparecidos video: City On The Hill

Video: Desaparecidos – “City On The Hill”

Desaparecidos – "City on the Hill" (Official Music Video) I Epitaph Records

Conor Oberst leads his “political punk” band on a cheerful little ditty about how everything is bullshit and we’re all doomed.

All the founding fathers
sowed their seeds into servant girls
All the godless heathens
had to leave to make a newer world
So we could live together in America
Justice is blind and so is love

Good times. From Payola, due June 23 on Epitaph. Directed by Rob Soucy.

Via punknews.

Weezer Goes Indie, Signs to Epitaph

EpitaphLast night, Weezer frontman Rivers Cuomo tweeted the news:

Hey, Weezer is happy to announce our signing to @epitaphrecs and release of new album “Hurley” on September 14.

Having fulfilled its contract with DGC/Geffen/Interscope/UMG after seven albums, Weezer was free to go. It’s certainly a different atmosphere in the music industry these days from what it was in 1993 when they signed with DGC, the subsidiary label that David Geffen spun off in 1990 as a major label home for weirdos like Sonic Youth and Nirvana. Between the releases of the Blue album and Pinkerton, Geffen stepped down as head of his own label. Then during the band’s hiatus before the Green album, the label was acquired by Universal Music Group and merged into Interscope. It’s a whole new world today with essentially no incentive for an established group to sign a new contract with a major label.

It must feel good for Rivers to see his band on the punkier Epitaph label as opposed to its more dignified Anti- subsidiary, which has gained a reputation for signing old people mature acts.

Do you think sportswear company Hurley had to pay for naming rights to Weezer’s new album? Rolling Stone describes Hurley‘s sound as “Sixties Pop.” We’ll see…

Weezer: iTunes, Amazon, Insound, wiki

Rancid Says Punk Is Still Not Dead

Lars Frederiksen and Tim Armstrong from Rancid talk to Express Night Out about getting older, having kids, and what punk means today:

I got friends who are my age — I’m 43 — who say punk rock is dead. Really? Why don’t you come to some of these house parties and backyards, get on the mic, stop the shop, make an announcement: “Excuse me, everybody, punk rock is dead” — to a bunch of 17- and 18-year-olds in a backyard somewhere.

Back in the 90s I saw Rancid at the Eastown Works in Grand Rapids (before it was converted into a church). It was an all-ages show, but the elevated bar was kept separate from the moshing throngs below by a chicken wire fence, so we grown-ups could safely enjoy the mayhem. It was perfect. One of the sloppiest shows I’ve ever seen, but one of the most fun.

MP3: Rancid – “Last One to Die” from Let the Dominoes Fall, out now on Epitaph.

Rancid: iTunes, Amazon, Insound, wiki, MySpace.

Via punknews.

Continue reading Rancid Says Punk Is Still Not Dead

Atmosphere – Seven’s Travels

AtmosphereSeven’s Travels (Epitaph)

I fear for Slug. I really do. As frontman of the Minnesota rap collective known as Atmosphere, his emotionally fraught lyrics and sensitive-boy song topics first inspired people to tag him the “emo rapper.” Atmosphere’s 2001 release, God Loves Ugly, happened to include a song called “Saves The Day,” which prompted Slug (real name: Sean Daley) to joke in the press that he was going to call his next record “Built To Spill.” Instead, Atmosphere was signed to Epitaph and called their new record Seven’s Travels. Atmosphere has become the Next Big Thing. The spotlight prompted the press to begin comparisons to—you guessed it—Eminem, the other, ahem, white meat.

These comparisons are lazy but understandable, for several reasons. Seven’s Travels continues to explore Slug’s obsessions: his problems with women, his self-loathing, his need to prove himself as an emcee, etc. But the comparisons end (or should end) there; where Eminem’s philosophies hit the listener with the delicacy of a jackhammer, Slug’s lyrics and beats accomplish what the best rap albums do: shake ya ass and make ya think.

This is not to imply that the album is flawless. It relies a little too heavily on old tricks at times: the first half of “Suicidegirls” consists of angry (staged?) answering machine messages left by various women over a complicated beat, a gimmick which should have died with God Loves Ugly. At its best, though, it contains sly lyrics like “The Barbie doll’s caught, body parts come off / And I think she’s a he…STOP, look at how it walks / They got the weirdoes, the talent, the beautiful / An arm and a leg for a one-story cubicle” (“Los Angeles”). At its most naked, dirt-under-nails-and-all beauty, look to “Lifter Puller,” which starts with a mournful female hook and explands to tell the story of a doomed, possibly autobiographical, relationship: “Tonight the part of man and woman will be played by boy and girl.”

Slug and company have, unfortunately, a long road ahead of them if they wish to break out of the Shadow of Em. I doubt that pop culture has progressed to the point where it can accept more than one white rapper thriving at a time. This record proves, though, that Atmosphere deserves (and demands) your respect and attention.