The band’s fifth overall serves as the follow-up to 2015’s expansive The Most Lamentable Tragedy. It was recorded at Marcata Recordings in New Paltz, New York with producer Kevin McMahon and sees the New Jersey natives focusing more on spacious balladry rather than the signature “punk rock anthems” of their past. An additional 21 musicians were brought in to help assist with this new sound, including pianist Rick Steph (Cat Power, Hank Williams Jr.), cellist Jane Scarpantoni (R.E.M., Lou Reed), and Brooklyn singer Megg Farrell.
“All the songs on [A Productive Cough] deal with the realities of life, as I understand them, in my adopted hometown of New York City, and one quality that does much to define New York City life is the access to 24-hour consumption. The first floor of the apartment building in which I live is occupied by a deli-grocery, to which I give my patronage several times a day. As a result, I have developed a particular understanding with the staff there which I have not so far heard articulated in song. Thusly, I took it upon myself to write the ‘ultimate’ song explicating the bodega clerk-patron relationship.
More and more, we are defined by the things which we consume, and those who facilitate that consumption may glimpse a more truthful view of ourselves than the carefully curated image we share with our loved ones. No one knows the depths of my vice better than they who oversee the transactions which make it possible — in this way, the deli clerk knows me better than my own mother.”
A Productive Cough Tracklist: 01. Number One (In New York) 02. Real Talk 03. Above the Bodega (Local Business) 04. Crass Tattoo 05. (I’m) Like a Rolling Stone 06. Home Alone 07. Mass Transit Madness (Goin’ Loco’)
Iceage returned in February with a song called “Catch It”. Turns out the single is off the Copenhagen outfit’s newly announced fourth studio album, Beyondless, due out May 4th through Matador Records.
The 10-track effort follows 2014’s acclaimed Plowing Into the Fieldand is said to see Iceage “finally catching up with their ambition, all the while retaining the rich character of the band’s brash beginnings.” It was recorded all-analog by Mattias Glavå at Kungsten Studios in Sweden and features production from the band with assistance from Nis Bysted. Additional instruments (violin, trumpet, saxophones, trombones) were also brought in during the sessions.
To coincide with the album news, the punk group — that’s Elias Bender Rønnenfelt (vocals, lyrics), Jakob Tvilling Pless (bass), Dan Kjær Nielsen (drums), and Johan Wieth (guitar) — have shared “Pain Killer”, a collaboration with Sky Ferreira. Hear it below.
Beyondless Album Artwork:
Beyondless Tracklist: 01. Hurrah 02. Pain Killer 03. Under the sun 04. The day the music dies 05. Plead the fifth 06. Catch it 07. Thieves like us 08. Take it all 09. Showtime 10. Beyondless
Iceage have also mapped out new concert residencies in the cities of New York, Los Angeles, and Tokyo. Set for March and April, they come just a few weeks before the band is set to embark on its previously announced North American tour.
Iceage 2018 Tour Dates: 03/22 – Brooklyn, NY @ Kinfolk 03/23 – Brooklyn, NY @ Kinfolk 03/24 – Brooklyn, NY @ Babycastles 03/25 – Brooklyn, NY @ Secret Project Robot 03/29 – Los Angeles, CA @ Gold Diggers Bar 03/30 – Los Angeles, CA @ Gold Diggers Bar 03/31 – Los Angeles, CA @ Gold Diggers Bar 04/01 – Los Angeles, CA @ Gold Diggers Bar 04/03 – Kyoto, JP @ Metro 04/06 – Tokyo, JP @ Duo 04/08 – Tokyo, JP @ Vacant 05/02 – Copenhagen, DE @ Hotel Cecil 05/04 – Berlin, DE @ Private Club 05/05 – Amsterdam, NE @ Bitterzoet 05/06 – Brussels, BE @ La Nuit De Botanique 05/07 – Paris, FR @ Petit Bain 05/08 – London, UK @ Scala 05/10 – Seattle, WA @ Nordic Museum 05/16 – New York, NY @ Bowery Ballroom 05/17 – Philadelphia, PA @ First Unitarian Church 05/18 – Washington, DC @ Union Stage 05/19 – Richmond, VA @ The Camel 05/20 – Carrboro, NC @ Cat’s Cradle 05/21 – Nashville, TN @ Mercy Lounge 05/22 – Atlanta, GA @ The Earl 05/23 – Birmingham, AL @ Saturn 05/24 – New Orleans, LA @ Santos 05/25 – Houston, TX @ Rockefeller’s 05/26 – Dallas, TX @ Club Dada 05/27 – Austin, TX @ Barracuda 06/05 – San Diego, CA @ The Casbah * 06/06 – Los Angeles, CA @ The Regent Theater * 06/07 – Felton, CA @ Don Quixote’s International Music Hall * 06/08 – San Francisco, CA @ Great American Music Hall * 06/09 – Sonoma, CA @ Huichica Music Festival * 06/11 – Portland, OR @ Mississippi Studios * 06/12 – Vancouver, BC @ The Astoria * 06/14 – Spokane, WA @ The Bartlett * 06/15 – Bozeman, MT @ The Rialto * 06/16 – Salt Lake City, UT @ Kilby Court * 06/17 – Denver, CO @ Bluebird Theater * 06/18 – Omaha, NE @ Waiting Room * 06/19 – Minneapolis, MN @ 7th St Entry * 06/20 – Milwaukee, WI @ Cactus Club * 06/22 – Detroit, MI @ El Club * 06/23 – Toronto, ON @ Lee’s Palace * 06/24 – Ottawa, ON @ The 27 Club * 06/25 – Montreal, QC @ La Sala Rossa * 06/26 – Portsmouth, NH @ 3S Artspace * 06/27 – Boston, MA @ The Sinclair * 06/28 – New York, NY @ Market Hotel *
* = w/ Mary Lattimore
Punk icon Richard Hell also wrote an essay on the new album titled, “The New Iceage”:
I can totally imagine myself as a kid lying in my closed-door room in the dark, listening to this band and getting what I need, the way a band can make a person feel seen and bring confidence, sometimes even represent an ideal. Or maybe I’m already all defiant and self-certain, and I identify with Iceage because they are too, and they’re who I want to represent me in music. It’s a weird combination of qualities that a rock and roll band and their recordings presents to their young crowd, imparts to them. The music being pure emotion, the strong emotions of youth—anger, sadness, contempt, longing—as well as energy and sex, and the band’s demonstration that it gracefully owns and provides those things, consoling their followers in all the confusion.
What is it that Iceage in particular brings? A large number of extraordinary things. (Poetry! But more about that later.) The band members were childhood friends, which is always good news. They’re like a small urban gang, faithful to each other, suspicious of outsiders (of which music journalists like me are the most suspect examples). At the same time, they seem mature and competent, which is almost too much to hope for. They not only play and compose well, but the production of their records, from the very beginning, and at the music’s most chaotic, is impeccable. Their presentation is as hardcore anarchic as any, but much better played, mixed, and recorded than most.
And then there’s the poetry and the intelligence. The members of Iceage are not only smart but hyper literate. Interviews with E. Rønnenfelt, the lead singer and lyricist of the band, find him mentioning Carson McCullers, The Heart Is a Lonely Hunter; Georges Bataille, Story of the Eye; Peter Shaffer’s Equus; Mishima, The Sailor Who Fell from Grace with the Sea; Genet’s Thief’s Journal and Miracle of the Rose; The Torture Garden by Octave Mirbeau; Henry Miller on Writing; and James Agee’s A Death in the Family, and that’s in a total of four interviews. It’s not that he flaunts it; he’s simply honest and naturally acknowledges it.
The lyrics of Iceage songs have the most sophisticated vocabulary I can remember finding in rock music. Here’s a favorite example, from “Pain Killer” on the new album:
Praying at the altar of your legs and feet Your saliva is a drug so bittersweet I’ll arrogate what’s there to take In an evanescent embrace
…“Arrogate”??? I half know the word, but I had to look it up to be certain. It means “to claim or seize without justification.” It’s funny because its Latin root also underlies the word “arrogant,” which one might be tempted to apply to Rønnenfelt for the contempt he shows for people who try to understand him. But I sympathize. It is extremely annoying to be characterized by other people. And the shading of meaning of the word “arrogate” brings a subtlety to those lyrics of his that “take” or “seize” or “claim” wouldn’t. Frankly, though, what I really like about those lines is the concept of praying to his lover’s feet. That’s good. It makes me think of a similar instance in another poet, Charles Baudelaire, who wrote in his “Hymn to Beauty”:
Who cares if you come from paradise or hell, appalling Beauty, artless and monstrous scourge, if only your eyes, your smile or your foot reveal the infinite I love and have never known?
Epitaph Records, home of NOFX, Rancid, and The Offspring, has signed up-and-coming emo/pop punk outfit Remo Drive. To coincide with the announcement, the label has reissued the band’s debut album, last year’s Greatest Hits. Remo Drive have also revealed plans to drop their first-ever Epitaph release, an EP titled Pop Music.
Due out March 9th, the project features three songs, including today’s buoyant offering “Blue Ribbon”, which can be heard below. The EP said to follow in the footsteps of its Greatest Hits predecessor, channeling “’90s grunge and classic rock to create their own dynamic and deeply catchy sound.”
“It’s always going to be about loud guitars and big drums,” the group’s Erik Paulson notes in a statement. “The best thing for us to do is not worry so much about aesthetic and focus on whatever feels natural with the overarching idea of being a rock ’n’ roll band.” The Minnesota-bred band cite Title Fight, or more specifically, “older kids who smoked weed and listened to Title Fight,” as influences.
Pop Music Tracklist: 01. Blue Ribbon 02. Song of the Summer 03. Heartstrings
To celebrate Pop Music’s release, Remo Drive will kick off a US tour alongside Sorority Noise.
Remo Drive 2018 Tour Dates: 03/08 – Pittsburgh, PA @ Spirit Hall 03/09 – Cleveland, OH @ Grog Shop 03/11 – Chicago, IL @ Bottom Lounge 03/12 – University City, MO @ Blueberry Hill Duck Room 03/14 – Denver, CO @ Marquis Theatre 03/15 – Salt Lake City, UT @ Kilby Court 03/17 – Portland, OR @ The Analog 03/18 – Seattle, WA @ Chop Suey 03/20 – San Francisco, CA @ The Chapel 03/22 – Los Angeles, CA @ Troubadour 03/25 – Dallas, TX @ Club Dada 03/26 – Austin, TX @ Barracuda 03/28 – Orlando, FL @ The Abbey 03/29 – Atlanta, GA @ The Masquerade 03/30 – Raleigh, NC @ Kings 03/31 – Richmond, VA @ Capital Ale House 04/01 – Asbury Park, NJ @ House of Independents 04/03 – Hamden, CT @ Space Ballroom 04/04 – Boston, MA @ Paradise 04/05 – New York, NY @ Bowery 04/06 – Philadelphia, PA @ First Unitarian Church 04/07 – Washington, DC @ Rock and Roll Hotel
Today, Screaming Females celebrate the release of their new album, All At Once. Apple Music and Spotify users can hear it in full down below.
Due out through Don Giovanni Records, the LP serves as the band’s seventh overall and follow-up to 2015’s acclaimed Rose Mountain. The 15-track effort is said to be the punk trio’s “most expansive and imaginative work to date,” and one whose arrangements are “meant to evoke the energy and spontaneity of their live shows.” (And their live shows are no joke.)
“When you’ve been a band for 12 or 13 years, the resources can dry up and you just go back to what feels comfortable,” drummer Jarrett Dougherty explains in a statement. “The other option is that you develop stuff that a younger band would not have been able to do.”
All At Once was recorded in London Bridge Studio and Red Room in Seattle alongside producer Matt Bayles (Mastodon, Russian Circles). Fugazi drummer Brendan Canty makes a cameo appearance, and for the first time, instruments such as synths, wurlitzers, and xylophones were woven into Screaming Females’ screeching punk rock tapestry.
All At Once Tracklist: 01. Glass House 02. Black Moon 03. I’ll Make You Sorry 04. Dirt 05. Agnes Martin 06. Deeply 07. Soft Domination 08. End Of My Bloodline 09. Chamber For Sleep Pt. I 10. Chamber For Sleep Pt. II 11. Bird In Space 12. Fantasy Lens 13. My Body 14. Drop By Drop 15. Step Outside
The joint trek launches in July and runs through mid-August. Over the course of 28 dates, the two acts will stop in cities such as Miami, Nashville, Boston, Brooklyn, Minneapolis, Chicago, Denver, Austin, and Las Vegas. Pop punk outfit The Story So Far will serve as opener throughout the itinerary.
Coheed and Cambria’s last album came in 2015 with The Color Before the Sun. Taking Back Sunday put out Tidal Wave in 2016.
Coheed and Cambria and Taking Back Sunday 2018 Tour Dates: 07/06 – Miami, FL @ Bayfront Park Amphitheater 07/07 – Tampa, FL @ MIDFLORIDA Credit Union Amphitheatre 07/08 – Jacksonville, FL @ Daily’s Place 07/10 – Atlanta, GA @ Chastain Park Amphitheater 07/11 – Nashville, TN @ Ascend Amphitheater 07/13 – Raleigh, NC @ Red Hat Amphitheater 07/15 – Baltimore, MD @ Pier Six Pavilion 07/17 – Boston, MA @ Blue Hills Bank Pavilion 07/18 – Philadelphia, PA @ Festival Pier at Penn’s Landing 07/19 – Holmdel, NJ @ PNC Bank Arts Center 07/21 – Brooklyn, NY @ Coney Island Boardwalk 07/22 – Pittsburgh, PA @ Stage AE 07/23 – Columbus, OH @ Express Live! Outdoor Amphitheatre 07/25 – Minneapolis, MN @ Armory 07/26 – Chicago, IL @ Huntington Bank Pavilion 07/27 – Sterling Heights, MI @ Michigan Lottery Amphitheatre 07/29 – Cleveland, OH @ Jacobs Pavilion 07/31 – Rogers, AR @ Walmart AMP 08/02 – Sugar Land, TX @ Smart Financial Centre 08/03 – Austin, TX @ Austin360 Amphitheater 08/04 – Irving, TX @ The Pavilion 08/06 – Denver, CO @ Sculpture Park 08/07 – Salt Lake City, UT @ Union Event Center 08/09 – Berkeley, CA @ The Greek Theatre 08/10 – Las Vegas, NV @ The Joint 08/11 – Irvine, CA @ FivePoint Amphitheatre 08/12 – Phoenix, AZ @ Comerica Theatre
Origins is a recurring new music feature in which an artist charts the influence of their latest single.
April 2017 saw Death release “Cease Fire”, a single in which they lamented the rampant use of weapons of violence in American schools, movie theaters, and places of worship. The proto-punk veterans are back today with a similarly socially conscious offering titled “Give It Back”.
The track was originally penned and demoed by the band’s Bobby Hackney way back in 1979, but revived in just the last couple of months. According to a statement, Death chose to re-record and officially release “Give It Back” as a way to address the environmental and cultural challenges that our society currently faces. The track addresses “global climate changes, social and cultural stumbling blocks, world leaders in disarray, and the dissolution of dreams once hoped for that are proven lies or were lost,” a statement adds.
Death elaborate to Consequence of Sound, “David especially liked the theme of this song as he often predicted that the earth can take only so much of the pollution, garbage, wars, destruction, man’s inhumanity to mankind, and environmental interruption from mankind before it demands us to ‘Give It Back’.”
The song finds Death folding in rock influences from the ’60s, ’70s, and ’80s while critiquing humanity’s lack of accountability and responsibility:
“We can’t hide the fact that we’re on a one way track We’ve taken from this earth, now it’s time to give it back! Machines are talking, and mouths are shut. The appointed leaders are in a rut. This is not the land of make believe. As a child they told me that this would be.”
Take a listen:
“Give It Back” Single Artwork:
For this edition of Origins, Death break down “Give It Back” and tell us how the current events of the ’70s and Marvin Gaye helped inspire them in the studio. The song will be available as a 7-inch come February 21st; pre-order it here.
The current events of the ’70s:
The inspiration for “Give It Back” is what was happening during the time the song was written and has really come to fruition today. During the time this song was written, the world had just begun to address the concerns about climate-change, robotic and computer devices pushing their way into our everyday lives, the deceptions of government and corporate agendas, and the dissolutions of the expectations of the common man and woman in the so-called pursuits of happiness. The biggest inspiration for “Give It Back” happened on March 28, 1979, the date of the “Three Mile Island Nuclear Accident” It was as if in spite of all the warnings, protests, and crying out for truth, mankind’s relentless disregard for the earth had to bring about the inevitable. If it is true that history keeps repeating itself, where do we stand today?
Marvin Gaye — “What’s Going On”:
As predicted by so many musical artists, from Dylan, to Lennon, Marvin Gaye, Joan Baez, U2, Patti Smith, Stevie Wonder, and so many others: The world won’t beg and plead with us, it will just take it back, whenever, where ever, and how ever it will. If there is any song or album that help fuel inspiration for “Give It Back”, it would have to be Marvin Gaye’s “What’s Going On”.
Other music of past generations:
The music is up-beat with a melody that rings the tone of the vibe of the great sound of Rock-N-Roll throughout the grooving and surfing 60s, the conscious 70s, and the crossroad 80s. This song is a song for today, a song for right now.
In an interview on KROQ’s The Kevin & Bean Show on Monday, White responded to a question about the lack of rock-oriented artists on the bills of some upcoming festivals. According to the Detroit-born musician, the genre is currently missing that special X factor, or what he calls “a wildness.”
“Rock & roll needs an injection of some new, young blood to really just knock everybody dead right now,” White comments. “I think it’s brewing. It’s brewing and brewing and it’s about to happen. I think that it’s good.”
“Since rock & roll’s inception, every 10 or 12 years there’s a breath of fresh air and a new injection of some sort of what you could I guess call punk attitude or something like that,” he continues. “A wildness. Things get crazy and then they get crazy for a couple years, then they kind of get subtle, and then you gotta wait for the next wave to come through and get people really excited and screaming about it again.”
This past weekend, Faith No More frontman Mike Patton and veteran hip-hop turntablist DJ Qbert took the stage together for the very first time. Their collaborative debut, which went down February 9th and 10th in San Francisco, boasted setlists of unexpected covers as well as original tracks.
In particular, Patton and DJ Qbert covered Peeping Tom’s “Your Neighborhood Spaceman” and “Heaven on Their Minds” from Jesus Christ Superstar. Additionally, the pair did a joint rendition of DJ Qbert’s own “Crazy Raw” and “¡Get Up Punk!”, a Patton original recorded with hip-hop trio The X-Ecutioners. Beastie Boys associate Money Mark also dropped in to guest on a few of the performances.
Both shows were lined up last minute by the venue, The Chapel, which has suffered a bit of a scheduling setback after a 16-date residency with Peter Murphy of Bauhaus was canceled due to visa issues.
For Patton, this marks just one of many collaborative projects. Along with Faith No More, Patton is part of the supergroups Dead Cross (with Dave Lombardo); Fantômas (with Lombardo and Buzz Osborne); and Nevermen (with Tunde Adebimpe). Patton recently scored the Netflix adaption of Stephen King’s 1922.
Due out via Merge Records (the label founded by Superchunk’s own Mac McCaughan), it serves as the band’s 11th studio effort and follow-up to I Hate Music from 2013. Special guest collaborators such as Katie Crutchfield (Waxahatchee), Stephin Merritt (The Magnetic Fields), Sabrina Ellis (A Giant Dog), and David Bazan appear throughout the course of the album’s 11 tracks.
What a Time to Be Alive — not to be confused with Drake’s mixtape of the same name — was written almost entirely between November 2016 and February 2017, right around the same time of the now-infamous US election that put Donald Trump in power. The record is said to reflect on those politically turbulent months.
“It would be strange to be in a band, at least our band, and make a record that completely ignored the surrounding circumstances that we live in and that our kids are going to grow up in,” McCaughan notes in a press statement. He goes on to describe the album as “about a pretty dire and depressing situation but hopefully not a record that is dire and depressing to listen to.”
What a Time to Be Alive Tracklist: 01. What a Time to Be Alive 02. Lost My Brain 03. Break the Glass 04. Bad Choices 05. Dead Photographers 06. Erasure 07. I Got Cut 08. Reagan Youth 09. Cloud of Hate 10. All for You 11. Black Thread
In November, Paramore unveiled the music video for “Fake Happy”, which showed New York City residents feigning their sense of joy. In the band’s follow-up clip, this time for “Rose-Colored Boy”, a similar theme permeates: Sometimes things aren’t always as they seem.
Directed by Warren Fu (The Weeknd, HAIM), Paramore portray a ’70s TV news team that seems to be perpetually cheery. Of course, as is usually the case, there’s quite a bit of darkness and rage simmering just beneath the surface. Watch Hayley Williams and the rest of the crew of Wake Up! Roseville in the fun clip up above.
21st Century PUNX Deconstructors, Trouble Making Agitators, DIY noise insurgents & Manufacturers of Dissident Political Wear.
PUNX.UK was formed by a Manchester anarcho punk collective in 2013 as a webzine sharing info on local gigs and bands.
Originally focusing on creating a DIY gig guide for our city we then expanded to cover the whole of the UK scene in 2014.
Since then we've faithfully tried to promote all the events, blogs, websites and sounds of resistance throughout the country and beyond.
In 2016 we partnered with Sabcat Workers Cooperative to produce dissident political wear providing financial support to the activist causes, benefits, unions, bands, and community groups that we work with.