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Stream – Son of an Illustrious Father share “E.G.” | Origins

Origins is a recurring new music feature in which a band explores the various inspirations behind their latest track.

Sons of an Illustrious Father are aware of how hard it is to maintain a sound definition of self in the modern age. If we aren’t being washed out in a sea of cyber connections, we’re being squashed under one sociopolitical trauma or another. In order to fight back the tide, the New York trio — Josh Aubin, Lilah Larson, and Ezra Miller (yes, the Ezra Miller you know as The Flash or Credence Barebone) — have embraced an undefinable sound they call “genre queer.” By not adhering to any particular rules of genre, they create free of self-categorization, a mode by which they can also navigate the more painful realities of present day.

Which brings them to their latest album, Deus Sex Machina; or, Moving Slowly Beyond Nikola Tesla. The record finds the trio embracing electronics for the first time, allowing “the machine” to do its work but enacting control over its mechanisms — in other words, adapting to the technological realities of 2018. The result is songs like “E.G.”, which comes in on a clattering of post-punk ambience before cutting in with sharp guitars and snappy drumming from Miller. Aubin’s voice stumbles through the faded memories of a past life, only to gain comforting defiance in the chorus: “Some have gold and high degrees/ Have palaces and lands/ I’ve but the roof that shelters me/ And the one who understands.”

Deus Sex Machina is out June 1st, and you can hear “E.G.” below.

For more insight on “E.G.”, the band has detailed the track’s Origins.

Bike accident:

Bike Car Accident Rain

The main riff and melody to this song came to us after Josh was hit by a car. This guy came flying the wrong way down a road and swiped him in an intersection, luckily braking enough to leave him unharmed. He spent a good summer riding his bike round and letting the song simmer in his head before bringing it to Lilah and Ezra where it was mutated into it’s current form.


Woman Fire Blow Kiss

While writing this song, we were rehearsing in an unheated barn during the winter. One morning, Lilah was turning on one of the space heaters and was momentarily engulfed in flames. Luckily, no serious harm or damage was done besides the permanent loss of Lilah’s eyebrows.

A framed poem:

Picture Frame Poem

The lyrics to the chorus of the song actually come from a framed picture. It’s a poem credited to E.G., a person and quote about which we can find no more information. It was something that, in a moment of harsh anxiety and unwellness, helped us recognize the need to find peace with life rather than focusing on our shortcomings.

Flammarion Engraving:

Flammarion Engraving Black and White

This is an image that often comes to mind when we play this song. It’s a woodcut that also has an anonymous creator, and it is often used as a metaphor for a transcendental experience. To us, it’s something that simultaneously represents the need to come to terms with reality while also recognizing the need to push against structures and barriers.


Fugazi is a band that has been a large influence on all of us musically. When Josh was younger, he mostly played guitar, and mostly played in hardcore punk bands. Picking up the guitar for this song was a new experience for us as a band, and also for Josh as a return to those roots.

Sons of an Illustrious Father will be on the road next month supporting Deus Sex Machina and you can find their schedule below.

Sons of an Illustrious Father 2018 Tour Dates:
06/11 – Washington, DC @ DC9
06/12 – Brooklyn, NY @ Elsewhere – Hall
06/13 – Philadelphia, PA @ Johnny Brendas
06/15 – Boston, MA @ Great Scott
06/18 – Chicago, IL @ Schubas
06/19 – Detroit, MI @ El Club
06/20 – Toronto, ON @ Horseshoe Tavern
06/22 – San Francisco, CA @ The Chapel
06/23 – Los Angeles, CA @ Echo

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Wicked Bears (Pop Punk) Announce Tour Dates in Celebration of Vinyl Re-release

Salt Lake City’s Wicked Bears have announced a tour in conjunction with their 2017 album “Tuning Out” being pressed to vinyl. The release is coming through Hidden Home Records, La Escalera Records, Dopey Goat Records, and Def Cow Records.

“Tuning Out” made Dying Scene Founder Dave Buck’s Top 10 Albums of 2017. You can see the tour dates and the release video below.

July 1st – Salt Lake City, UT @ Beehive Social Club

July 2nd – Boise, ID @ TBA

July 7th – Sacramento, CA @ Press Club

July 8th – Los Angeles, CA @ TBA

July 9th – Las Vegas, NV @ Evel Pie

Add Wicked Bears to My Radar   Add to My Radar

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Paramore perform “Rose-Colored Boy” on Colbert: Watch

Paramore are slated to tour alongside Foster the People this summer in support of their newest album — and one of 2017’s bestAfter Laughter. Ahead of this US jaunt, the pop punk outfit dropped by the Late Show with Stephen Colbert on Tuesday evening to play its latest single, “Rose-Colored Boy”.

(Read: The 100 Best Pop Punk Bands)

Not unlike the song itself and its official music video, the performance featured doses of high energy, drama (courtesy of vocalist Hayley Williams), vivid color schemes, and a touch of retro fashion.

Replay it all down below. Find the band’s full touring itinerary here.

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PEEL give a Track by Track breakdown of their new EP, Never Not Dead

Track by Track is our recurring new music feature giving an artist the opportunity to dig into the details of every song on their latest offering.

There are plenty of scenes thriving in the streets of Chicago. Those looking for lyrical hip-hop or psychedelic indie rock alike can find gratification any night of the week in the city’s various venues. Anyone seeking out a sweaty, riff-heavy party vibe in the 773 has likely come across PEEL, the area’s latest rising punk act. The quartet first revealed themselves with 2016’s Marlboro Country, but really came into their own with last year’s Goes Bananas. Now, PEEL are back with a new EP that builds on their undeniably hooky blend of classic rock sounds and poppy punk thrills.

Entitled Never Not Dead, the five-track effort was recorded by Dave Vettraino at Chicago’s Jamdek Studios before heading to Brooklyn for mixing and mastering by Bobby Lord. Opener “Wet Work” is the perfect intro for fans new and old, its pounding drums and fiery guitar licks driving a heavy ’70s thrust underneath the gang screams of, “Fuck yeah!” Pete Mueller takes lead on the song, as he does on the punk-pop follow-up, “Give Up Your Ghost”, and the lamenting “Broken Down” . His fellow guitarist Kyle Hickey, meanwhile, delivers his crackling rock-a-billy vocals on tracks like the barn-burning “Teenage Rock & Roll Sinner” and the dark doo-wop of closer “High Til I Die”.

Never Not Dead will be self-released this Friday, April 27th. Ahead of the street date, you can stream the entire thing below.

For more insight into the EP, Mueller and Hickey have broken down the whole thing Track by Track.

“Wet Work”:
Pete Mueller: This is like a Gun Club song that got put through the Peeler. It grew out of a random riff we were jamming at our space. Love songs that don’t suck are hard to write, and they’re boring, so I usually write the opposite — just to keep myself interested long enough to finish writing it. Hence, a song about a hitman going around blowing people away. It keeps with the tradition of horrifying PEEL lyrical content.

“Give Up Your Ghost”:
PM: This song is about the afterlife. Take from it what you will.

PEEL -- Never Not Dead

“Teenage Rock & Roll Sinner”:
Kyle Hickey: Around 1930 Robert Leroy Johnson went to a rural Mississippi country crossroads at midnight to make a pact with the devil. In exchange for his soul the devil tuned Johnson’s guitar played a little and handed it back. Johnson went on to father the blues. In 1951 Rock n roll was just a euphemism for the horizontal shuffle until Ohio Disc Jockey Moondog Alan Freed branded his eclectic gathering of rhythm and blues music featuring elements of sex, danger, deviance, quick kicks and cheap thrills exciting teenagers and outcasts everywhere. New York in 1974 bore the birth of what would become punk rock desperately reviving music from near paralysis. Last month I wrote this song on a napkin during lunch and we recorded it a week later.

“Broken Down”:
PM: This might be the most honest song I’ve ever written. I have no idea what it’s about. Relationships? Did I write a song about relationships? Shit. Maybe I did. This is considered a “ballad” for us. So take out your hankies and throw up your lighters when we play it. There’s at least one minor chord in it.

“High Til I Die”:
KH: It’s a candy-coated doo-wop song about depression and addiction. We live in Chicago, it’s cold and grey. You go bowling or you stay in bed and get high. The end!

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Wavves unearth new song “All Star Goth”: Stream

Wavves are celebrating the 10th anniversary of their self-titled debut with a special vinyl reissue. Due out tomorrow for Record Store Day (April 21st), it will be available in a unique black-and-white splatter colorway and come packaged with all-new artwork.

(Read: The 100 Best Pop Punk Bands)

To coincide with this release, the Nathan Williams-led punk outfit has unearthed a demo left over from the recording sessions for the 2008 full-length. The song is called “All Star Goth” and exudes the kind of raw and noisy adrenaline associated with that first album.

Check it out below, followed by the 10th anniversary LP artwork.

unnamed 46 Wavves unearth new song All Star Goth: Stream

Wavves’ last full-length came in 2017 with You’re Welcome. They recently put out “The Lung” as part of Adult Swim’s Singles Program back in September.

Sweet Valley, the electronic project also featuring Williams, dropped a new album today titled Eternal Champ II.

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FIDLAR release new single “Alcohol”: Stream

April 20th may not exactly be the day for boozing, but that’s exactly what FIDLAR plan on doing for the next couple of hours — at least according to their new single. Titled “Alcohol”, it’s a thrashing punk rock ode to partying hard and drinking harder (think their classic “Cheap Beer”).

(Read: The 100 Best Pop Punk Bands)

“I wanna lose my mind and lose track of time/ Won’t somebody please just give me some alcohol?” they rage around the chorus. “Aaaaaaalcohol!” Check it out below, followed by a fun little promo for the single.

“Alcohol” is FIDLAR’s first release since covering Nirvana’s “Frances Farmer Will Have Her Revenge on Seattle” back in January. Their last album came with 2015’s Too.

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Hot Snakes – Jericho Sirens

Band: Hot Snakes
Album: Jericho Sirens
Label: Sub Pop
Release date: March 2018
Sounds like: Forgetting your insulin, AGAIN. A hatchet job. Mystery Boys. 

Everyone, Hot Snakes are back, and not just in pog form! I cannot tell you how much I’ve missed this sound. With Obits, frontman Rik Froberg retained some of that tense, scattergun guitar noise, but without his partner in musical crime, aka John “Speedo” Reis, it just wasn’t the same. Couple their six strings together and you get something that apparently owes lots to The Wipers – add in Gar Wood on bass, Jason Kourkounis and Mario Rubalcaba on drums and you’ve something truly incredible.

Whilst Jericho Sirens is typically a Hot Snakes record, time has obviously honed this well-oiled machine, (14 years to be precise) and you’ve something that takes elements from all their past records – the ripping chaos of Automatic Midnight, the experimental darkness of Suicide Invoice and the meaty crunch of Audit In Progress. So, it’s the perfect Hot Snakes record, right? I’m not saying that, but neither am I saying it isn’t. With Speedo’s Rocket From The Crypt touring, releasing mysterious 7″ records, and his and Froberg’s Drive Like Jehu teasing us with sporadic shows, having Hot Snakes back is mouth-watering to say the least.

Jericho Sirens is a bludgeoning, dangerous and deadly beast of a record and the 14 years have been well worth the wait – you need this in your ears right now…

Jericho Sirens opens with the shrieking, stocky guitars of I Need A Doctor, which sounds eerily like If Credits What Matters I’ll Take Credit from their debut, but at a slower speed, but with more seething bile, courtesy of the pipes of Froberg. Time hasn’t weathered those vocal chords one bit – it’s still that same scrappy, raw, hacking sound, especially the way he roars the song’s title “I need a doctor/Tell me what I’m gonna do? I need a doctor/One you can direct me to?” As an opener, it scorches the land with this shredding, wailing caterwaul of the twin Swami-guitars not to mention the howling synth lines echoing in the background. The pace then takes an erratic jolt on the chopped up stagger that is Candid Cameras; percussion is disjointed, irregular and overtly complex, giving nods to the lurching post-punk of the aforementioned Drive Like Jehu which should please fans of the math-rock titans.

Hot Snakes don’t want you to feel any sort of comfort or relaxation though – oh no. Despite them perfecting this particular sound, you would think “okay, I know what’s coming” but you really have no idea – it’s the way they manipulate and attack their sound that sets it apart. Take the 78 second burst of noise that is Why Don’t It Sink In? – it’s pure thrash-trash punk fury, urgent, breathless, sweaty and destructive. It seethes with teeth-gnashing urgency and spitting venom and seems to be in a race to reach the sudden exhaustive conclusion as it smashes into the wall and owes a lot to the speed that made their debut, Automatic Midnight, so vital and vibrant.

The surf-rock vibes on the radiant Six Wave Hold-Down perfectly encapsulates the cover of Jericho Sirens (Gar Wood catching a rip curl, right?) and brings to mind the snarling, tense punk of their work on Audit In Progress, whilst the summer-punk rock of Death Camp Fantasy, has the brilliant call and response from Froberg in the form of: “Have I, been preyed upon? EVERYBODY!” queue the rest of the band screaming the words back at him. There’s your fucking crowd favourite right there.

There’s many of them on this, but the standout track has to be the weighty heft of the title track. As the harmonica creeps in (hello I Hate The Kids) as do those lurching, staggering riffs that don’t let up during this 4 minute barrage of dark, menacing, but upbeat fortitude. Chances are you will have Froberg’s words of “Jericho Sirens, I hear…” firmly ear-wormed into you head by the track’s raucous and punishing conclusion. Easily one of the best songs they’ve ever recorded – up there with Salton City and 10th Planet for sheer heaviness and crunching power.

The ripping chug of the incandescent Psychoactive bristles with hair-raising power-chords and those trademark churning, rolling, finger-bleeding riffs – meaning you’ll be grinning from ear to ear on this one, especially every time Froberg yells the words “I WANT SUCCESS!” – cracking. Jericho Sirens closes with the rambunctious salvo of Death of a Sportsman, a bouncing, scrappy punk number that gives huge nods to Let It Come in structure, with Gar Wood’s booming bass thundering the track forward, backed by the solid drumming power of Kourkounis and Rubalcaba. It’s the sinister guitar lines that haunt this in the background though – coupled with the return of the squealing harmonica and the foreboding suzzy-punk rock drive.

Hot Snakes redefined punk for me when I first discovered them in 2004, and remain an important, volatile and deadly combination of razor sharp guitar lines, sardonic lyrical couplets and brutally fast rhythmic punches to the face, gut, hell the entire body. Jericho Sirens is a bludgeoning, dangerous and deadly beast of a record and the 14 years have been well worth the wait – you need this in your ears right now.

You can purchase Jericho Sirens from Sub Pop or stream via bandcamp below.


Top tracks: I Need A Doctor, Six Wave Hold-Down, Jericho Sirens, Death Camp Fantasy, Psychoactive, Death of a Sportsman


Hot Snakes
Hot Snakes Bandcamp
Sub Pop

Lizard Hips

Lizard Hips

Junior Vice President of Keep It Fast. In other news: I work in social media, talk about dinosaurs, run a book club and have amazing facial hair. I am also a male man who is still not dead.

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Jawbreaker is working on new music

Jawbreaker just wrapped up a string of reunion tour dates, but the emo pioneers aren’t content to stop there. During a recent appearance on the Going Off Track podcast, lead vocalist and guitarist Blake Schwarzenbach revealed the band is preparing to work on new music. Jawbreaker’s last proper album is 1995’s Dear You.

(Read: The 100 Best Pop Punk Bands)

“Our summer is just going to be trying to write, jam,” Schwarzenbach stated. “[1992 album] Bivoac era is how we’re trying to feel… What we really want to do is riff out and see what comes [of it].”

“I’m spending the next month writing at home,” he elaborated. “Then we’re going to converge in San Francisco and go in the studio and see what happens.”

Schwarzenbach also teased doing shows abroad by deadpanning, “who wants to be in the U.S. right now?” As of now, the band’s only  band confirmed date is at Seattle’s Upstream Music Fest and Summit in early June.

Check out photos from Jawbreaker’s recent New York show with Charly Bliss at Brooklyn Steel here.

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Turnstile – Time & Space

Band: Turnstile
Album: Time & Space
Label: Roadrunner Records
Release date: March 2018
Sounds like: melodic/dance party hardcore bro anthems of ’18. 

Making a name for yourself in modern hardcore is a difficult prospect, so that’s probably why Maryland’s Turnstile sound like an oldball mix of 311/Madball/Suicide Machines and bizarrely, Status Quo (more on that later) in order to carve their name into this overflowing musical landscape. Time & Space is their second album, hot on the heels of the arm-flailing, windmill-a-thon of Nonstop Feeling from 2015 and makes significant strides forward in places to be something slightly different from the norm.

There’s a distinct rap-rock feel to opening track Real Thing – the riffs and heavily accentuated bass are straight out of the Rage Against The Machine rule book of crunchy, mouth-watering guitar tones. Coupled with the melancholic backing vocal haunts alongside vocalist Brendan Yates and his unique, snapping howls this is a raucous and stubborn statement of intent.

The mic-swinging savagery of Big Smile can barely contain itself. The breathless ruin drummer Daniel Fang puts his kit through is teeth-rattling in the ferocity stakes. About 33 seconds in Turnstile appear to transform into Status Quo. Where that riff comes from, I’ll never know, but you can actually hear the guitar laughing with pure, unashamed pride – it’s a pure surf-rock, party slammer of sun-drenched fun and is aching to be another minute longer to make everything even more ridiculous. The posturing rap-hardcore stomp of Generator, is an absolute barnstomer, making the simple statement of how Yates is going it alone and moves through several stages, from the sudden shift to a more atmospheric, almost dub/shoegaze interlude that then throws you back into some chugging, melodic post-hardcore, complete with handclaps, a guitar solo and some morose and wistful vocals from Yates, who shows a lot more depth than his usual snarling bark.

On Time & Space, there’s plenty of gusto, passion, vigour that elevate this above a lot of other hardcore punk. Turnstile have crafted an album that bubbles with passion, raw feeling and life.

You know what we need more of, one note piano choruses in things! The ripping punk rock splatter of High Pressure delivers this in such a bizarre and wonderful way, you’ll be stabbing that imagery key with all your energy. The lurching roar of the song’s macho and large ham coda adds even more beef and volatile substance to Turnstile’s meaty hardcore swagger.

Moon gives the opportunity for bassist Franz Lyons to step behind the mic and show off his Michael Graves-sounding vocal chords, giving this track a mournful and sombre feel. It’s in stark contrast to the snapping bark of lead vocalist Brendan Yates and it works with Turnstile’s high-fives and stage-dives sound perfectly. The trouble with Moon is, immediately after hearing it, you want Lyons singing something else (he was also lead on Blue By You from their debut) his voice adds a different dynamic (not to say Yates isn’t doing a great job) but more variation in the vocal stakes is something Turnstile have overlooked on Time & Space and this track is one of their best works committed to tape.

Never drive your car to Come Back For More – there’s a chance you’ll be banned for life, such is the speed on this – see also the aggressive gait of the bro-core flamboyance of the noisy, Helmet-esque Can’t Get Away filled with some extra handclaps and squealing metallic guitar licks to confuse and surprise you at every turn. That’s what Time & Space does though – the hardcore-by-numbers feels so at home, but soon begins to flake, chipped apart by these erratic snippets that cut and chop away; similar to how The Chariot made their final album, One Wing so vital and interesting. I mean, Diplo – yes, that Diplo adds his producing skills to one track on this, the scrawling slam-pit rock bastard that is Right To Be; and why not because that’s not weird? The overly-synthesized vocals on the anthemic chorus, give it an unstable electro-rock feel, but the gang vocal chants of “THEY WANT TO TAKE! MY RIGHT TO BE!” are pure hardcore unity. It’s jarring, eccentric and…well, it works, I guess?

On Time & Space, there’s plenty of gusto, passion, vigour and little touches that elevate this above a lot of other hardcore punk, (notably, the superb production from Will Yip) meaning that Turnstile have crafted an album that boils and bubbles with passion, raw feeling and the adrenaline-pounding thump of life. For fans of modern hardcore, such as Touche Amore, Terrible Love, Show Me The Body and Trapped Under Ice – Turnstile are definitely pushing boundaries it feels, but perhaps need to lean a bit harder in certain places to completely break through to the other side. Whatever the case, Time & Space is bloody brilliant fun and one of my highlights of 2018.

Top tracks: Big Smile, Moon, High Pressure, Right To Be


Turnstile Facebook
Roadrunner Records

Lizard Hips

Lizard Hips

Junior Vice President of Keep It Fast. In other news: I work in social media, talk about dinosaurs, run a book club and have amazing facial hair. I am also a male man who is still not dead.

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NOFX’s Fat Mike announces inaugural Camp Punk in Drublic Festival

Some of Fat Wreck Chords’ most iconic punk bands are coming together for the inaugural installment of Camp Punk in Drublic. Presented by NOFX frontman Fat Mike, the festival is set to take place June 1st through 3rd at Legend Valley in Thornville, Ohio, about 30 miles east of Columbus.

NOFX, Rancid, Pennywise, and The Mighty Mighty Bosstones are all confirmed to appear. Me First and the Gimme Gimmes, Goldfinger, The Bouncing Souls, Lagwagon, and Sick Of It All are also part of the lineup. In addition to live performances, the destination event boasts attractions such as craft beer tastings, carnival games, movie screenings, and dodgeball. There are also “campfire stories” sessions hosted by punk legends Jello Biafra (Dead Kennedys), Keith Morris (Black Flag, OFF!), and Fat Mike himself.

(Read: The 100 Best Pop Punk Bands)

“The thing about camping is that really nothing can go wrong, because everything is already wrong,” Fat Mike shares in a press statement. “Punk rockers don’t really know how to camp. They know how to wear hoodies, drink, and lean on each other. The good thing is that we got a lot of generators and an unlimited supply of kegs (some are even full of beer). Hey Coachella and Bonnaroo and Burning Man …Watch what happens at CAMP Punk In Drublic. I can almost guarantee that our festival is gonna be way lamer and stupider than yours…That’s the point!…Well, I think that’s the point. Wait, punk rock doesn’t have a point?”

Camp Punk in Drublic is an expanded extension of NOFX’s one-day, traveling Punk in Drublic festivals, which includes dates in Austin, Philadelphia, Brockton, Pittsburgh, and more. Both events are named, of course, for NOFX’s 1994 landmark album of the same name. For more information on Camp Punk in Drublic, including daily lineups and ticket info, head to the official website.

Check out a festival trailer and poster below.

 NOFXs Fat Mike announces inaugural Camp Punk in Drublic featuring Rancid, Pennywise, The Mighty Mighty Bosstones, more

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