Tag Archives: Epitaph

New Linda Lindas video: Nino

Video: The Linda Lindas – “Nino”

The Linda Lindas - "Nino"

Single out now on Epitaph.

I’ll admit I assumed the Linda Lindas were going to be a one-hit wonder. Their breakthrough song “Racist, Sexist Boy” was fun and scrappy, but kid bands can get annoying quickly if they lean too much into novelty.

On its surface you might think “Nino” would fall into the novelty category. It’s about their cat. Except it’s good. They’ve got cool harmonies and a gnarly guitar tone. And that’s the difference between annoying and not annoying.

The Linda Lindas: web, twitter, bandcamp, amazon, apple, spotify, wiki.

Continue reading New Linda Lindas video: Nino

New Descendents: That’s The Breaks

Video: Descendents – “That’s The Breaks”

Descendents - "That's The Breaks" (Lyric Video)

Video by Jason Link. Single out now on Epitaph.

What more could you want in a punk rock song this week? Milo Aukerman expresses exactly what we’ve all been feeling over the past four years in a mere forty-two seconds: “You asshole Twitter troll – GO HOME!”

Now that our orange fuhrer has been impeached again, this time for incitement of insurrection, maybe he will take Milo’s advice and crawl back into his hole of hate. It’s probably too much to ask to stop hearing from him and about him, but it’s nice to imagine a post-Trump world…

New Culture Abuse video: Calm E

Video: Culture Abuse – “Calm E”

Culture Abuse - "Calm E"

From Bay Dream, out now on Epitaph.

Love these guys. There’s a sincerity in David Kelling’s lyrics that makes you want to, well, call him. Except for the fact that nobody ever actually calls anybody anymore, do they? Maybe they do. I don’t know. I’ve become so antisocial I can barely text my friends without debilitating stress, overthinking every nuance and getting paranoid about how every word will be perceived. Is it just me? Maybe telephony isn’t so bad after all.


Culture Abuse: web, twitter, amazon, apple, spotify, wiki.

New Culture Abuse video: Goo

Video: Culture Abuse – “Goo”

Culture Abuse - "Goo"

Directed by David Kelling and Barbara Georges. Single out now on Epitaph.

Culture Abuse won me over when I saw them on the small stage at Riot Fest in 2017. They’re a punk rock band on Epitaph but their songs have a pop sensibility and frontman David Kelling is charming and hilarious.

This 2018 Noisey interview conveys that charm, especially this bit about his mom: “My whole life she’s been like, ‘You have a beautiful voice. You need to sing!’ And I was like, ‘Mom, you don’t get it, I’m fuckin’ punk!’”

Seems like he’s been taking his mother’s advice because this new single is a pretty, acoustic love song with a woozy Mellotron line to keep things a little off-kilter.

Wish I could ride a bike
I’d ride it home to you
Cuz lately all my insides feel like goo

Ride on, brother. Can’t wait to hear what’s next.

Culture Abuse: web, twitter, amazon, apple, spotify, wiki.

New Culture Abuse video: So Busted

Video: Culture Abuse – “So Busted”

Culture Abuse - "So Busted"

Single out now on Epitaph Records.

This is the first I’ve heard from Culture Abuse. Apparently they released an album last year but “So Busted” isn’t on it. They signed to Epitaph and released this single. It’s a sweet little song about “all the stuff you are told you need in life but when it all boils down all you really want is to feel loved and cared for.” Awww. Adorbs.

The video is a split screen demonstration of two different ways to live your life. In one pane, our hero has slicked back hair and eats steak by himself and sips scotch on his high-rise balcony; in the other pane, our hero is messy and shotguns beers with his pals. While the fancier guys version seems less happy, they both wind up in a pine box in the end. I guess the moral is to enjoy your life while you can because we’re all gonna die.

Culture Abuse is playing Riot Fest at 2:00 PM on Sunday, September 17.

Culture Abuse: web, twitter, amazon, apple, spotify, wiki.

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.