When we chatted with Hause about his latest record last year, he made frequent mention of the realization that the Mermaid, as currently assembled, was the best band that he’s ever been in, and that there was a desire to capitalize on how tight the band was and how fired up he was to be out in front. I can say emphatically that the Dave Hause and The Mermaid set last Saturday night at Sinclair was the best and most cathartic live musical set I’ve seen in that – or any – room in quite a long time. Years, really. Yes, I am fully aware of the hyperbolic nature of that statement, but to quote the great Brian Fallon during stage banter about pizza or dogs or Jersey (I forget)…”it’s not a lie if it’s true!” Hause and company – brother and longtime running mate Tim Hause on guitar, Kevin Conroy on drums, Luke Preston on bass, Mark Masefield on keys (and accordion!) and, for this year’s run of Mermaid shows, Matt “Mattsimum Waves” Wilson on guitar to fill out the sound – burst on stage and immediately ripped into “Cellmates” from the most recent record, a charged-up singalong rocker about spending time in the trenches with your comrades, as and making it out the other side. The song is a perfect encapsulation the crowd at-large, the rankers and rotters who’ve been along with Hause for the fifteen years of his solo career or the two-plus decades since The Loved Ones burst on the scene, a sort of post-script to the early-thirties eye-opening crises of Devour.

Speaking of which, while the Dave Hause…And The Mermaid record was the focal point for this show, the set did contain tracks from each of Hause’s seven full-length solo records. “Autism Vaccine Blues,” a personal favorite track from a desert island record for yours truly, was second in the set, a song that’s as cathartic with a full, six-piece band as it was the first time I heard Hause perform it solo, on Flogging Molly’s Green 17 tour in 2013. I know that I’ve used the word ‘cathartic’ a few times already and that’s probably poor form, but the reality is that’s the overwhelming feeling I had for the duration of the sixteen-song main set and two-song encore. The sort of poignant emotional release that comes with gathering with a few hundred friends and kindred spirits and hollering together about past loves and past lives and the cold realities that the world we’ve inherited is a far cry from the one we were sold. Even the less traditionally charged up rock songs, like “Rumspringa” from the Mermaid record or “Surfboard” from Blood Harmony took on arm-in-arm singalong vibes. (The former, for what it’s worth, featured an accordion-clad Masefield stage diving, while the latter featured an appearance on steel drum by Rhode Island’s Aaron Abramson Cote.) By the time main-set closers “Look Alive” and encores “With You” and “We Could Be Kings” rolled around, the lines between band and crowd had long-since been blurred in favor of one big, sweaty, celebratory mass.

Apes Of The State provided direct support on this little run in the Northeast after an appearance earlier in the month at the Hause brothers’ Sing Us Home festival. Appearing as a four-piece on this run sans guitarist/mandolinist Dan Ebersole, the Lancaster-PA folk punks – April Hartman on guitar and vocals, Mollie Swartz on violin and kazoo yes really, Ian Cornele on drums and Moth Rogers on bass – were met with a rousing singalong chorus of their own from the crowd, particularly on tracks like “They Can’t Kill Us All” and “Sober Intentions” and had won over the bulk of those who weren’t previously familiar by the time “What Am I Doing With My Life?” rolled around.

The local opener spot was occupied by RooFTops on this occasion. With roots that extend deep into the Boston punk and hardcore communities for many years, RooFTops has been doing the solo acoustic thing for a decade-and-a-half now. But this isn’t your parents’ acoustic folk balladeer; RooFTops is throat-shredding, anti-war, working-class punk rock to the bone (with a fun Descendents cover for added measure)!

Check out more photos from the evening’s festivities below!

May 23 – May 24 – 924 Gilman – Punk in the Bay – Berkeley, CA

June 11 – Central Arts Market – Phoenix, AZ

June 12 – 441 N Avenue – Grand Junction, CO (6 PM show)

June 12  – Unit 5 – Boulder, CO (11 PM show)

June 13 – Duffy’s Tavern – Lincoln, NE

June 16 – Reggies Music Joint – Chicago, IL

June 17 – Reware Vintage – Detroit, MI

June 18 – The RunOff – Kalamazoo, MI

June 19 – Shred Shed – PIttsburgh, PA w/ Lower Class Brats

June 20 – Sleepwalk – New York City, NY

June 23 – Quarry House Tavern – Silver Spring, MD

June 23 – 155 Moore St. – Bristol, VA

June 25 – The Milestone Club – Charlotte, NC

June 25 – Culture Shock – Atlanta, GA

June 26 – Vino’s – Little Rock, AR

June 27 – Grand Royale – Oklahoma City, OK

June 28 – Ren’s Den – Albuquerque, NM

July 1 – Unitarian Universalist Congregation – Las Vegas, NV

Andrew Pescara’s Four Records:

0-10: Ozzy Osbourne – Black Rain

Teenage: Cage The Elephant – Thank You Happy Birthday

Twenties: Crass – Best Before 1984

Recent Record: Ceremony – Rohnert Park

Listen on Podbean

Listen on YouTube

Listen on Spotify

LIsten on Apple Podcasts

Listen on Amazon Music

Listen on iHeartRadio

Follow us on Instagram

Email: fourrecordspodcast@gmail.com

www.DyingScene.com

Opening song: Rad Skulls – Loud as Shit

Closing song: Lucas Perea – Underneath Ashes

Hailing from Detroit, Michigan, the Suicide Machines broke out onto the scene in 1991. Originally named Jack Kevorkian and the Suicide Machines, after the infamous “Doctor Death,” they had streamlined their title by the time their debut album dropped in 1996. After a few lineup changes and a short breakup in 2006, the band reunited in 2009. Throughout their career, they’ve released seven full-length albums along with a collection of singles, splits, and EPs. This year marks the 30th anniversary of their celebrated debut, Destruction by Definition.

Growing up in the Detroit suburbs during the mid-90s punk revival was a riot. Known as the birthplace of legends like Iggy Pop, the Stooges, and the MC5, Detroit has produced its fair share of local punk bands. In the 90s, the Suicide Machines were the most prominent, solidifying their status as the best to emerge from the city in years, and delivering their ska-punk sound to local kids, playing small shows at venues across the state. I remember frequently taking the tunnel bus to catch them live several times a weekend, early in their career.

When Destruction by Definition made its debut, it shot the Suicide Machines into the punk rock spotlight and placed them on a major label—Hollywood Records. Dubbed a quintessential ‘90s punk-ska album for a reason, it perfectly blends the best of both genres while capturing the sound of the era. With its melodic ska hooks and the raw energy of classic punk angst, this album is a flawless debut from beginning to end. Merging these musical elements laid the groundwork for what many refer to as “skacore”, but regardless of what you call it, Destruction by Definition nailed it. While the tracks lean heavily on punk, the ska influence runs strong throughout, with each song averaging just over two minutes – it’s a lot packed into a short runtime. Lyrically, the album remains relevant today, addressing substantial issues like hate, social conflict, and racism, alongside everyday struggles such as broken relationships and mental strain. A little something we can all relate to. Yay!

Destruction by Definition kicks off with an intro that everyone recognizes, thanks to Tony Hawk’s Pro Skater. “New Girl” is the first track, aggressive vocals thrashed together against an upbeat tempo. Next up is “S.O.S,” – more pertinent now than ever. It’s a ‘call-to-action’ against hate and racism, backed by an energetic hardcore punk style. “Break the Glass” has always, in this girl’s opinion, epitomized the energy of their live performances. With a frantic rhythm and upbeat vocals, it stands out on the album and even landed a spot on the American Werewolf in Paris soundtrack.  

Songs like “No Face” capture the quick-tempoed skate punk energy with rapid-fire lyrics. Gaining them airplay in the early 90s, and propelling the Suicide Machines onto centre stage. Then there’s “Hey,” which starts as a heavier track before diving into ska bliss, filled with upbeat, powerful horn arrangements—definitely giving off those free-mozzarella-stick vibes. Both of these songs are personal favourites of yours truly.  

Whereas songs like “Our Time,” “Too Much,” and “Islands” tackle the intense pressures of social expectations and anxieties, all set to frenzied guitar riffs. Tracks like “The Real You,” “Face Value,” and “Punk Out” explore personal and peer relationships. These punk anthems, with their fast drumbeats and prominent bass lines, feature ska rhythms showcasing their signature energetic sound. While personal struggles come to the forefront in “Insecurities,” “Inside/Outside,” and “Zero”, diving into self-doubt, integrity, and seeking inner peace, all driven by high-energy instrumentals and angsty, melodic vocals. 

No review of Destruction by Definition would be complete without acknowledging the “Vans Song.” In my opinion, it’s a classic that will always be a favourite. You can’t go wrong with a song about sneakers, especially ones as iconic as Vans. I’m sure it will go down in some sort of punk rock history. Since Destruction’s release, hearing the track “So Long” always signifies that it’s time to wrap it up. Although I’m sure there’s a deeper meaning, it’s been tied to the end of shows for decades, a bittersweet way to close out the night. 

But before the record stops spinning, there’s one more track. The Suicide Machines grace us with a cover of Minor Threat’s “I Don’t Wanna Hear It.” Infusing it with their own skacore style, meshing it perfectly. Not to mention, it helped turn a generation of kids onto Minor Threat – if they weren’t hooked already.

Reflecting on the release of this album, it’s tough to find anyone who didn’t love this record when it first hit the shelves. Through the lens of an impressionable teenager, it had a lasting impact, both musically and culturally. A soundtrack reminiscent of late nights, skate parks and circle pits. Now, listening to this record as an adult, I find it still radiates that confidence, motivating listeners to stay authentic to themselves with an overall positive vibe and attitude.

In celebration of their anniversary, the Suicide Machines have rereleased several vinyl variants of Destruction by Definition. However, I suspect that most styles might already be sold out. They have also announced a North American tour with the Bouncing Souls, along with some headlining shows. Expect to hear Destruction by Definition performed in full at every stop on this tour. With over 30 dates scheduled so far, there’s a good chance they’ll be hitting a city near you soon. Make sure you don’t miss out! 

Check out Unstoppable:

Catch the the Preps on tour:

No Rules Tour 2026:

May 29 – McGarvey’s – Altoona, PA

May 30 – The Back Alley – Williamsport, PA

June 4 – Punk Rock BBQ – Saltsburg, PA 

June 11 – 27 Club – Asheville, NC

June 12 – Tin Rook – Charleston, SC

June 13 – Franken House – Ellenwood, GA

June 14 – Tilty McFlippers – Martinsburg, WV

July 10 – The Depot – Baltimore, MD

July 11 – Dante’s – Frostburg, MD

July 12 – Tilty McFlippers – Martinsburg, WV

July 17 – Mahoning Drive-in – Tromathon – Lehighton, PA

July 18 – The Twitch House – Bloomsburg, PA

July 19 – Concrete Jungle, Lehighton, PA 

July 19 – Union Vapors – Dickson City, PA

Aug 15 – Wild Air Beerworks – Asbury Park, NJ

Aug 28 – Rock N Race – Salem, OH

Aug 29 – Buffalo Bill House – Perryopolis, PA

Oct 3 – Sherman Theatre – Stroudsburg, PA

Oct 23 – Pappy’s Pub – Waynesboro, PA

Oct 24 – O’Shaugnessy’s – Alexandria, VA

Check that shit out below and head over to the Mom’s Basement webstore on Friday, May 29th to grab your copy of Hard Luck, promising “six endearing and heartfelt punk rock tunes in the style of Dan Vapid & The Cheats or The Copyrights that’ll have you instantly humming along.”

The story of the Violent Femmes begins with Gordon Gano’s solo shows, including a gig opening for Jonathan Richman, where Brian Ritchie first saw Gano. Eventually, they came together for a performance at Gano’s high school to induct him into the National Honor Society. Soon, Ritchie brought in his drummer Victor Delorenzo, who had been out of town, and the Violent Femmes were formed. Given the band’s acoustic setup, their act made it possible for them to play anywhere, opting to mostly busk on the street until they were spotted outside a Pretenders’ gig and asked to open for them.

Nic Brown asks the right questions and gets fantastic interviews for this book. Despite the text being focused on the record itself, an origin story was definitely needed to explain how the record came about. This is great, but it’s only a fraction of the Femmes’ full story. Brown’s analysis of this record serves as that origin story.

While the album itself sounds seemingly simple, given that there are only three members, Brown does a great job showing why it’s not the size of the lineup or the instruments they play; it’s definitely the players’ skills. Ritchie mostly taking the lead with his bass, Delorenzo’s creation of the trancephone, and the mountain of songs that Gano shows up with all contribute to the Violent Femmes’ unique sound. Gano had about three albums’ worth of songs when he met Ritchie and Delorenzo, and these were the poppiest of the bunch. If you’ve listened beyond the first album, you know that to be absolutely true.

However, the real revelations show up in the track-by-track breakdown of the record. Mostly, the band’s surprise at how loved the album is, but also things like the “Blister in the Sun” opening riff being as anthemic in stadiums as the Ramones’ “Blitzkrieg Bop.” There are a few other surprises and connections I don’t want to spoil, especially if you’re a fan of this album. I wish the section on the song “Confessions” were a little longer, but it seems the band just didn’t have too much to say about the song.

Nic Brown’s analysis and conversation with the Violent Femmes is personal, but also speaks for the fans who love this album. It’s a shame that a series like 33 ⅓, which is over 200 books deep, took this long to get to this record, the important part is that it did. Given how transcendent this record is, anyone can connect to it. If the joke in Wayne’s World about Frampton Comes Alive being issued to you with a sample of Tide if you lived in the suburbs was real, then the Violent Femmes’ first album should have been passed out during health class with that same sentiment. If you love this band or even if you just love this record, pick up Nic Brown’s contribution to the series.

Violent Femmes by Nic Brown is available through Bloomsbury Publishing now.

Rebuilder kicked things off at the stroke of 1:00pm. The band – whom I’ve seen close to two-dozen times – wasted no time setting things off. Playing as a keyboardless four-piece and with familiar face Harley Cox (Choke Up, Sadlands) filling in for Brandon Phillips on drums for the occasion, Rebuilder ripped through a set that pulled from the last dozen years of their discography, from 2015’s Rock And Roll In America, through 2017’s Sounds From The Massachusetts Turnpike EP and 2023’s wonderful Local Support. Particularly when playing as a four-piece, the band have a fairly unique stage setup, with dueling vocalists/guitarists Sal Medrano and Craig Stanton at stage right and left respectively, leaving ample space for bassist Daniel Carswell to endlessly prowl the center of the stage with occasionally reckless abandon.

The Flatliners occupied the middle spot on the bill, the figurative home fries in the Mother’s Day brunch of a lineup. The Canadian quartet wasted no time blowing the proverbial roof off the dimly-lit basement confines that are downstairs at the Middle East. “Performative Hours” kicked things off, setting a frenetic bar that was quickly matched by “Eulogy” and “Good, You?,” the first single from Cold World. The Cold World tracks – which also included “And They’re Off,” “Pulpit” and “Inner Peace,” fit seamlessly into the set that pulled from all points in the band’s genre-bending career. It feels a bit lucky that the Flats circa 2026 are anchored in punk rock ethos, meaning that we still get the privilege of watching them in sweaty basement all-ages matinee settings, as their massive guitar hooks and fiery rhythms could easily scale up to much larger outdoor sheds this time of year.

And with that, the main course – the omelet station in the Mother’s Day brunch – none other than New Bedford’s A Wilhelm Scream. While The Flatliners and A Wilhlem Scream have been long-time buds and road dogs together, these two shows somehow marked the first occasion on which they’ve shared the same Boston-area stage. AWS matched the Flats’ energy level and ratcheted it into the stratosphere, setting the tone with “I Wipe My Ass With Showbiz” and “5 to 9,” the one-two punch that kicks off the band’s 2007 release Career Suicide. The quintet put out a new record of their own recently, and sprinkled a healthy dose of tracks from Cheap Heat across their headlining set. “Let It Ride” was a particular highlight. And while this show was obviously an early-afternoon Mother’s Day matinee, energetic A Wilhelm Scream frontman Nuno Pereira’s son Brixton was front and center for the band’s set and their frequent interplay was like watching a multi-generational mirror. The kids, it seems, are alright after all.

Check out more shots from the afternoon’s festivities below!

Opening with “Underside Of Your Head,” Pretty Out starts strong with a song about trying to find the good in the world, but eventually, it will wear you down, likening the resentment to a misery seed that will grow inside of you like a weed if left unattended. Whether this is written about one person in particular or society, the sentiment is the same either way. “Pay No Mind” is a more upbeat venture that expands upon the opening track’s theme of being let down by people, even if the guitars are brighter.

“Knife to a Flame (From Here I See the Decline)” and “Liquid Zoo” bring down the tempo while keeping the energy. There are plenty of moments where each instrument gets its own little tangent, whether it be a bass intro, guitar riff, or drum fill. The way this album utilizes the energy it creates is a balancing act, and these last two tracks are a good yin to the first two’s yang.

This record is damn good. Toe-tapping emo that doesn’t cry its feelings, but does present them in a less aggressive tone. While it cycles through the tropes of the genre, it does them well. The album’s four songs have a runtime of fourteen minutes, but they’re never boring and are well-arranged. Pretty Out has done their homework, and it shows. Meditative in spots with thought-provoking lyrics, Misery Seed will leave you wanting more songs.

This single is the latest addition to Ink Bomb’s extensive catalog which includes two full-length albums, the latest being 2024’s Saudade. Head over to their Bandcamp and work your way through their back catalog.

If you’re not familiar with this great band, it features Isa Anderson from Dead to Me on drums and some of the best former members of Culture Abuse: Matt Walker, John Jr., and Shane Plitt.

M.U.T.T. are unapologetically themselves while at the same time built their band around a community that embraces them.

The crowd was filled with other musicians and workers from other venues that took the night off work to support them. Their approach to punk has an earnest raw grit and yet has a refined execution.

Check out their record:

Supporting the show was East Bay band, Blue Zero. Another great band from Chris Natividad of Marbled Eye and Public Interest that blends DIY, shoegaze, indie, and post-punk sounds.

Blue Zero announced this is their last show with their drummer Rick Altieri. Check out their last album:

More photos on Instagram.