Tag Archives: punk

My favorite paragraph on Wikipedia


“In the mid 1980’s Orlando had the reputation as the most violent punk scene in Florida. Many national acts refused to play in Orlando, most notable was Black Flag and later Rollins band as a result of a violent encounter with members of Black Flag and local punks behind an early Orlando club called Electric Avenue (EA). Years later after The Rollins Band were considered sellouts and were booked on mega summer tour “Lolapalooza” Henry was forced to play Orlando again. With many security guards present, Henry went on a 20 minute rant on how much he hated Orlando due to the violent encounter with Orlando punks during his tenure in Black Flag.”


No Friends, Khann, Grave Return, Teenage Softies show preview

Is it OK if we just go ahead and refer to No Friends as a local band? Yeah, we know the reason most people outside of Orlando pay attention to them is because Tony Foresta of Municipal Waste is the lead singer, but hey, it’s not for nothing that the other 75 percent of the group – current and former members of New Mexican Disaster Squad, VRGNS and Gatorface – hail from right here in the 407. So, yeah, they’re local, which gives Orlando yet another excellent hardcore band to call its own. Of course, No Friends doesn’t play anywhere all that often, so this free show is a no-excuses kind of deal, made more enticing by the inclusion of local grindcore titans Khann and the punks in Grave Return and Teenage Softies. –Jason Ferguson (with Khann, Grave Return, Teenage Softies; 9 p.m. at Will’s Pub, 1042 N. Mills Ave.; free; 407-898-5070; http://www.willspub.org)

First appeared Dec. 23, 2010 in Orlando Weekly.

Go Rydell feature

For a Florida punk band with a couple of short tours and a full-length album under its belt, you’d think that Orlando’s Go Rydell would also have at least one successful show at Gainesville’s legendary annual Fest in their history, as well. After all, the Fest is a massive affair, more like a family reunion for punks than a by-the-numbers festival. It’s a family that Go Rydell are certainly part of.

“We had originally planned to have the record” – The Golden Age, released in late July on the New Jersey-based Black Numbers label – “released in time for last year’s Fest,” laughs vocalist Chris Scaduto. “And we applied, but didn’t get on the main Fest lineup, so we drove up with all our gear, hoping to get on a house show or a warehouse show or something,” says bassist Sean Dolan.

“And we did,” continues Scaduto, “but the show got busted up because someone threw a brick through a cop’s car window.”

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Coliseum: House With A Curse CD review (Blurt)

(6 out of 10)

One has gotten the sense that, ever since the band’s debut in 2004, Coliseum has been chafing under the preconceptions of being a punk band from Louisville. With the city’s vaunted history of producing bands that just barely fit into whatever genre they’ve been slotted, it’s somewhat unusual to find a band that plays to type. And, to be fair, Coliseum never has, imbuing their music with a hostile grandiosity that manages to be simultaneously epic and raw.

When it was announced that their latest album was to be released on Temporary Residence (Mono, Explosions in the Sky, Grails), it was fair to assume that this would be the record that found them finally unshackled from the limitations of modern hardcore and fully embracing the ambitious sounds they’ve always hinted at. And, upon hearing the strings and gurgling analog keyboards that open House With A Curse, that’s an assumption that seems to be proving itself true. And yet … House With A Curse is pretty far from the epic genre-smashing Coliseum fans may have hoped for. Sure, the band has finessed some of its more aggressive tendencies, and introduced a much broader palette of sounds here, but the result sounds less like a reconfiguration of metalcore’s possibilities than it does a brand new Girls Against Boys record.

The throbbing low end of Mike Pascal’s bass lines and the insistent (and occasionally funky) rhythms of drummer Carter Wilson are pushed to the fore, while vocalist/guitarist Ryan Patterson alternates between suave growling and assaultive screaming. The band flirts with groovy slices of Scissorfight-style roughneck metal (“Everything to Everyone”) and even a bit of Faith No More-meets-Fugazi  (“Perimeter Man”) ponderousness, but for the most part, House With A Curse seems to pride itself on maintaining a swinging sort of rock swagger that has only the most tenuous links to punk rock. It’s an approach that’s certainly not unpleasant – in fact, House With A Curse may well be the most enjoyable and repeat-playable Coliseum record to date – but no way is it revolutionary.

First appeared Aug. 12, 2010 at Blurt-Online.

How Dare You feature (Orlando Weekly)

They’ve got a full-length album under their belt and another one gestating. They’ve played festivals, gone on multiple tours and have developed a none-too-shabby following. Yet, right here in the band’s hometown of Orlando, How Dare You is still far from a household name. According to these punks, that’s just fine by them.

“We try not to play that much in Orlando. We play out of town a good bit, so when we’re home, we’d rather practice than play another show,” says guitarist-vocalist Elliot Meyer. “We’re just not into the idea of playing an Orlando show every weekend.”

Lest the band come off as anti-local grumps, guitarist-vocalist Justin Goldman is quick to add, “We love to play Orlando! But it’s a very oversaturated scene. Still, we love the punk bands here. Gatorface, Virgins, Go Rydell – all those bands are great, and they’re all spawned from other great bands. None of them play Orlando that much, but it’s kind of cool because when it is time to play again, they’re paired up or we’re paired up and we get to see two or three great bands in one night.”

Although shows around Orlando may not happen as frequently as the band’s fans would prefer, How Dare You keep busy around Florida. The band released their latest 7-inch (a split with the Knockdown) on noted Tampa label Kiss of Death and released their 2008 full-length Comfort Road on Gainesville label Fail Safe. And, of course, HDY brought their hard-driving, melodic punk to stages at the Harvest of Hope Festival (St. Augustine) and the Fest (Gainesville). They even recently (incongruously) played Sunfest in West Palm Beach, as part of a lineup that included Weezer, ZZ Top and REO Speedwagon. (“Yeah. We’re not really sure about that one,” laughs Goldman.)

“We just like to play with bands that have similar ideas to us and are trying to do the same sort of thing we’re trying to do,” says Meyer. “But we’re not gonna torture ourselves to play a bunch of shows. We’d rather practice and get better.”

Those practice sessions are beginning to pay off in the form of the follow-up to Comfort Road. With most of the songwriting for HDY’s second album completed, the band has its sights set on entering the studio this summer to hopefully have a release out by the end of the year. This is usually the point in a band’s career – a few tours completed, an album and a clutch of singles to its name – that one begins to hear talk of “trying new things” and “some different sounds on the new album.” You won’t hear that sort of talk from How Dare You.

“I really hate when people say, ‘It’s different,’ when it’s not at all,” laughs Meyer. “I don’t think [the new material] is really different. I think it’s better. I would say we’re trying to push ourselves. I feel like we’re trying to write better songs but staying true to what we like.”

“A lot of it is about us getting older and how we miss the old days,” says Goldman. “I mean, we’re sitting here and we feel the same, but everything else seems different. We wanna feel like kids, even when some of us are raising families, and we’ve got job obligations and careers. We still want to do this, though. We still want to feel good.”

First appeared June 30, 2010 in Orlando Weekly.

Leatherface: The Stormy Petrel (Blurt)

(7 out of 10)

True believers don’t come much truer than British punks Leatherface. Despite a half-decade break during the last part of the ‘90s, the band has held fast to their belief that Hüsker Dü pretty much figured out the best way to make emotionally affective punk rock, and that it was Leatherface’s job to keep refining that formula. That’s not to say they’re formulaic, it’s just to say that the burly, chiming guitars, anthemic choruses and gut-wrenching lyrics just keep getting more.

The Stormy Petrel is the group’s eighth studio album since 1989, and finds them in prime form, with Frankie Stubbs’ gravelly voice adding emotional resonance and been-there weariness to songs that manage to be both raw and well-crafted. To the young punks who may be unfamiliar with the band’s legacy, Leatherface – especially Stubbs’ voice – may be reminiscent of Jawbreaker and Hot Water Music, but as tall as those bands’ legends are, Leatherface has toiled in relative obscurity. Maybe it’s because their sound is rougher and, frankly, more manly than either of those bands. Maybe it’s because they’ve got bad luck. Or maybe, they just don’t give a shit.

In fact, Leatherface recently played in my town, at a great beer bar that holds about 100 people. I was amazed that a band I considered so legendary was playing in such a small space and to so few people. I was even more amazed that they performed with an infectious (and drunkenly fun) energy that felt like they were playing to an audience ten times as large. And that’s how it’s always felt with these guys; they’re the band that is deeply loved by those who love them, and almost completely unknown to those who have yet to hear them. With The Stormy Petrel, a disc that crams the band’s decades of experience into a dozen, life-affirming punk anthems filled with heartache, hope, and humor, perhaps more people will get the chance to become members of the former category.

Standout Tracks: “Diego Garcia,” “God Is Dead”

Nobunny show preview (Seattle Weekly)

Image stolen from http://www.victimoftime.com/

There are any number of bands out there trodding the boards and trying to rekindle some lost spark of punk-rock purity. A large percentage of said bands are so studious and sanctimonious in their approach, it’s very nearly laughable. And then there’s Nobunny, a dude from Arizona who puts on a filthy, nasty bunny mask, strips down to his underwear and proceeds to bludgeon his audience with a fusillade of brisk and brash garage-rock numbers that manage to be as catchy as they are loud. It may not be the sort of thing that yanks the crank of your averageWarped Tour connoisseur, but there’s a belligerent and beguiling warmth of spirit to what Nobunny does that simultaneously revives and rebukes the notion of what punk rock is supposed to be. Very few people have left one of his shows without a broad grin on their face, a smile that was planted there due both to the raucous catharsis of the performance and the fact that, well, a dude in a bunny mask just rocked their ass off.

First appeared Jan. 6, 2010 in Seattle Weekly.