The RadioActivist

Full interview with Dan Yemin and Andy Nelson of Paint it Black. Abridged version originally appeared in Poweredge skateboarding magazine. Check out Poweredge for the interview details and intro. Interview by Tyler Barrett, photo by Adam DeGross. RadioActivist: Why’d you decide to play your two Midwestern shows in the dead of winter? Dan Yemin: To be honest, we were so excited about coming we didn’t really consider the weather until we arranged everything. We haven’t been here in like six years because of a weird combination of things—partly that we don’t really tour and partly because coming out just to play a couple shows in the Midwest from Philly is really hard. It’s either drive and play Chicago and Detroit or fly and play Minneapolis and Chicago. And we’ve been talking about doing it for the last three years but we keep going to like England, like someone offers “Hey, we’ll fly you over to England” and we’re like “Okay, cool.” And so we end up spending all the time we had to

I've been mulling over possible introductions for this review for a while now, but I think the best way to do it is start with the obvious conclusion: This is the year’s best record thus far. the heat tape is fronted by Brett Hunter, the familiar voice of pop-punk darlings the Copyrights and Dear Landlord. Joining him is Ben Bleyer (Conniption Fitts) and Brooks Davey of the Southern Illinois Invasive Species Strike Team (that’s a thing, not a band—thanks, Google). Essentially a song-a-day project that morphed into a band, the heat tape has all the trappings of poppy garage punk done right. Raccoon Valley Recordings was written and recorded in Brett’s trailer in Makanda, Ill., a detail that seems to radiate from each track. What separates the heat tape from the smattering of crappy garage overflowing in the U.S. and Europe is that Hunter’s previous pop-punk endeavors have laid the musical foundation to distinguish it from the majority, sharing only the lo-fi sensibilities and DIY re

Acoustic balladeer Absinthe Rose joins New England eclectic collective H.U.M.A.N.W.I.N.E. on this punk-by-association split on Rodent Popsicle Records. While Kimbo Rose was mostly solo on her previous release, Digging Ditches and Escaping Holes, she’s joined here by Toxic Narcotic/Mouth Sewn Shut members here for a sound that’s both more animated and whole, moving each song forth with an energy and dynamic previously not heard. The additions of a snapping drum beat and steady rolling bass help transform what was an occasionally tepid solo acoustic engagement into what more closely resembles a folk-punk—or at least acoustic punk—ensemble. Rose’s voice is soulful and full, with a slight Southern curl belying her Oregonian roots. On “Upon a Drift”, she sings wistfully: “When you have a closet of skeletons / And you wonder how you got them all in / Piled high and everlasting / And when you’re done, there’s more than you began.” At first I thought H.U.M.A.N.W.I.N.E. was a dumb name. Then I

A gap of three-and-a-half years between releases is an eternity in hardcore. Bands routinely form, release a 7-inch, tour, release a full-length, and split up in less time than that. Yet in 2011, the Warriors return with See How You Are, and another 33-minutes of the metallic Nardcore that brought the band to prominence over six years ago. Crawling forward with the opening title track, the Warriors do little to impress or instill any sense of urgency off the bat. Fortunately, that changes with the successor “The War Unseen”, a bobbing, grooving, nearly hardstyle jam as good as anything the Warriors have done. “Seize the Fire” displays the band's Rage Against the Machine influences, changing tempos and flow, and only faltering to a lifeless, humdrum breakdown. Perhaps the most anthemic track of the album, “Where I Stand” is slightly reminiscent of audio themes present on the band's previous release, 2007's Genuine Sense of Outrage. The second half is highlighted by “Subirse

Formed in 1979, the Varukers were one of the first bands to immediately follow suit after Discharge paved the way for the waves of D-beat soundalikes thereafter. This release is a remastered version of the 2004 compilation that combines the Varukers’ 1998 LP, Murder, along with the 1994 EP, Nothing’s Changed. Those familiar with D-beat probably fall into two distinct categories: devotees to the style, and those who find it preposterous to base an entire genre off one drum pattern. I guess I’m somewhere in between, because I find myself enjoying most of this album despite the less-than-groundbreaking approach. Murder is fairly thrashy and faster than what one might expect, save for a few more mid-tempo tracks (and I use that term loosely) like “Genocide” and “Eradicate the Problem”. The lyrics are pretty much the standard, gloomy left-wing rhetoric of the crust punk and anarcho-punk lore, like “Nightmare Vision”: “Here lies our earth / Its dead in torment / The cancers been caused by ou

Like Jesus Christ and the slap bracelet fad, what once was dead is back again. After eight years of absence filled with various benefit comps, online samplers and other intangibles, the Fat Music series returns to the compact disc format stronger than ever. When you really think about it, assembling an outstanding collection of songs should be a piece of cake for a label with the roster of quality bands Fat is able to boast. And an outstanding collection of songs is exactly what you get on Fat Music Vol. 7: Harder, Fatter + Louder!. The compilation enters with Old Man Markley in the same way their Fat Wreck debut Guts n’ Teeth begins: the bluegrass harmonies of “For Better or Worse”. With a pattering banjo and spinning fiddle, Old Man Markley shows just what the buzz has been about with a song that’s actually vaguely reminiscent of Guttermouth’s “Foot-Long”...for better or worse. The Swingin’ Utters deliver the title track of their excellent Brand New Lungs 7-inch, while the Mad Caddie