Check out the brand new music video and get a first look at what’s coming next.

The new album lands Summer 2026 via Punk Rock Radar (US), Cat’s Claw Records (UK), Pee Records (AU), Bearded Punk Records (EU), High End Denim Records (CA), and Waterslide Records (JP). Preorders coming very soon.

Welcome to Four Records! Each episode, we feature one guest as they go over four records at four different times in their life. This week, Forrest and Karina speak with Jonathan Baylis, the creator of the comic So… Buttons. So… Buttons is a slice of life anthology comic written by Jonathan about his life and drawn by various artists. Each story is tailored to the style of the artist and each issue has a theme. Jonathan just finished a Kickstarter for his fifteenth issue titled, “Who Is My Daddy and What Does He Do?” If superhero comics aren’t your thing, give So… Buttons a chance. Check out his latest and past issues here:

Jonathan Baylis’s Four Records:

0-10: Leonard Bernstein – West Side Story (Original Motion Picture Soundtrack)

Teenage: Leonard Slatkin St. Louis Symphony Orchestra – Shostakovich’s 5th 

Twenties: Billy Joel- Turnstiles

Recent Record: Tame Impala – Slow Rush

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Email: fourrecordspodcast@gmail.com

www.DyingScene.com

Opening song: Rad Skulls – Loud as Shit

Closing song: Lucas Perea – Underneath Ashes

Plenty of words have been written about the Ramones over the last fifty years by critics. In the case of All Good Cretins Go To Heaven, it’s all about the fans whose participation helped make this book possible. While Ramones books in general will have crossover with each other, this book seems to fill the gaps more than most. It jumps around a lot, but it works because of the way it’s organized. It feels like a Ramones song: regimented but efficient.

Starting with a foreword written by Rock ‘n’ Roll High School director Allan Arkush’s memories of working with the Ramones, All Good Cretins Go To Heaven delves into the lives of Joey, Johnny, Dee Dee, and Tommy before they adopted their monikers. Their early history may seem deceptively simple, but there is so much to cover between their origin and the tension they sometimes felt for each other. Although this section is slim and repeats a good number of familiar facts, the context is still important to understand the extent of Ramonesmania. 

Each band member also receives a page and a half dedicated to them and their tenure in the band. No Ramone is left out, including Clem Burke’s very short stint as Elvis Ramone. An endearing part of this book is the chapters on Ramones fans sharing their pictures and stories about members of the band throughout the years, along with some fan art and Ramones-inspired bands like the hockey-themed Hanson Brothers and the baseball-themed Urban Outfielders, as well as many tribute bands.

Beckwith also delves into what makes a Ramones song and how their influences were the building blocks for these songs. While it may seem odd to see comparisons to Shakespeare and Aristotle, they serve as a good setup for the Ramones’ ideology, which is also discussed. This section functions as more of a dissection than a deep dive that approaches their framework without fully excavating their inner workings. It almost feels like the psychology of the band more than anything. This isn’t your regular book about a band you love. At times, the level of detail borders on what would almost feel like a stalker’s notebook if all of this info wasn’t already part of the Ramones’ public lore.

My one complaint is that there aren’t very many acknowledged blemishes. If you pick up this book, you probably know what these familiar warts are. While a few things are mentioned, a lot of the band’s documented tension remains untouched. Maybe it wasn’t always relevant to the narrative of this book, but these things still happened. A band with that long of a tenure is certain to have something in their past that should be acknowledged.

 All Good Cretins Go To Heaven is a 280-page love letter to one of punk rock’s first and finest. Between the number of pictures and the book’s fast pace, Jenn Beckwith’s book is a quick read. Releasing on the fiftieth anniversary of the Ramones’ self-titled debut, it’s a must-have for that obsessive Ramones fan in your life. Pick it up today at the Diwulf Publishing’s website.

While this traditional art goes back about 600 years, it’s an unconventional approach for a punk rock band. Round Eye’s choice isn’t just out of the box, but on-brand for a group of musicians who aren’t afraid to present themselves in an unusual way. “Little Lan Lan” tells the story of a punk rocker whose infidelity has angered the one he loves, leaving him with the weight of his own regret.

The video was written and directed by Chachy Englund and performed by the Tai’an Shadow Puppet Theatre, which has been in operation for seven generations. The results are phenomenal, and the use of shadow puppets gives the lyrics a new layer rooted in traditional storytelling. Check it out below:

If this is your first time hearing Round Eye and you like what you’ve heard, they will be touring in the Pacific Northwest with Fang this summer:

7/9/2026 – Santa Cruz, CA – The Atrium

710/2026 – Sacramento, CA – Cafe Colonial

7/11/2026 – Santa Rosa, CA – Barrel Proof Lounge (Viva La Punk Fest)

7/12/2026 – Oakland, CA – Revolution Cafe (Viva La Punk Fest)

7/13/2026 – Eureka, CA – Song Tavern

7/14/2026 – Medford, OR – The Basement (Pyrate Punx)

7/15/2026 – Salem, OR – Blast Off Vintage

7/16/2026 – Olympia, WA – McCoy’s

7/17/2026 – Portland, OR – Dante’s

7/18/2026 – Seattle, WA – Kraken Bar and Lounge

7/19/2026 – Port Angeles, WA – Little Devil’s

Check out more Round Eye at their Bandcamp.

Agent of Chaos starts off with the track “Blowing Smoke”, an immediate burst of energy that sets the tone for everything that follows. With a 90’s pop punk, garage rock vibe, buzzing guitars, and infectious hooks, it wastes no time pulling you in to want more. It’s a perfect opener for this album, and just made me want to get up and dance. The next track “Dissin’ & Dismissin'” slows things down a bit and focuses more on groovy driven melodies. It’s a perfect track to help to show that Brad has range.

“Voodoo” brings the energy back up with catchy riffs and a strong melodic core. I feel like this is one of his best, most straightforward power pop moments on the album.

“Murder and Violence” is one of my favorites on this album. The dark-sounding title is a bit misleading, as it’s actually a pretty upbeat song, though lyrically it’s deeper that it sounds. I just really love the tambourine, the melodies, and the overall sound of it. I’ve always been a fan of songs that hide dark and disturbing lyrics behind upbeat and catchy melodies.

“I Don’t Want You Anymore” is another track that makes me want to get up and dance. With pretty straightforward lyrics, it’s super catchy and easy to remember. Followed by “Regards”, another upbeat, infectious track that surprised me with a harmonica! It works so well in his album, I absolutely love the classic rock feel it added. This is also one of my favorites on the album, another one that is very catchy, groovy, and full of character. “Calling Your Bluff” keeps that same energy with great guitar hooks and solid songwriting. This one oddly feels like a classic you could have been listening to for decades now, proving that Brad Marino keeps the true sound and spirit of punk rock and roll alive.

“Lost Without You” draws you in from the moment it starts til it ends. With straightforward and captivating lyrics, it’s another slower track that leans into that classic power pop and Ramonescore sound. The next track is my favorite on the whole album. “Devil May Care” is such a good song that I cannot stop listening to. The steel guitar, keyboard, tambourine, and melodies all come together in a way that is so incredibly addicting. It seamlessly blends an early sixties vibe with that classic vintage garage rock feel to create a perfect track, showing just how well Marino can expand his sound.

“Sick of You” picks things up again with one minute and forty-two seconds of fast, frustration-fueled energy. “Reason or Rhyme” just continues that, and really just encapsulates the true garage rock band feel. Like it makes me want to get up, write my own songs, and start a punk band in my garage.

The last track on the record, “Make This Last” is the perfect closer. It brings another reflective moment on the album. With a super catchy chorus, it balances melody and sentimentality with Marino’s signature punchy songwriting and guitar work. This song feels vintage and nostalgic in the best way, bringing the record to a satisfying close and solidifying that timeless feeling of Agent of Chaos.

In the end, Agent of Chaos is everything you would expect from a Brad Marino record, and more. It stays true to his signature blend of power pop and garage rock while delivering plenty of memorable hooks and vintage inspired energy. Catchy and full of personality from start to finish with enough variety to keep you wanting more. Significant songwriting, quality hooks, and a sound rooted in classic punk and garage rock are what make this record so fun, and bound to get stuck in your head.

Released by Spaghetty Town Records in the United States, Ghost Highway Recordings in Spain, and Beluga Records in Sweden, “Agent of Chaos” is internationally available on vinyl, CD, and streaming platforms. Follow Brad Marino on Instagram to stay updated, and check out his Spain tour dates scheduled for May!

The record starts with a mid-tempo instrumental called “A Horny Intro” before jumping into the short “Midnight Special,” making the leap to breakneck hardcore that is fast and punishing. This whole first side is a meditation on hardcore punk of the past and is done extremely well. The cornerstones of what makes a solid hardcore record are there. Unexpectedly, front loading all of the hardcore songs makes this side fly by. You’d think this would throw the pacing for the rest of the record off, but starting off fast and gradually getting into slightly slower songs is a gamble that pays off.

While the second side is less hardcore, it still keeps up the tempo. It manages to steer away from being pop-punk and keep its edge. It’s not that these sides sound like two different bands, but it’s definitely a balancing act: aggression versus melody, speed versus control. This second side calms down a bit, but the quality is still there. 

It’s hard to pick a highlight on this album, let alone this first side, but the Spanish-sung “Sin Futuro” and the title track “Hate Season” hit pretty hard as intense but catchy hardcore songs. If your spectrum of punk rock is wide, Scarboro has you covered. Songs like “Kitsuga” and “Suicidal Babies” give this band range, filling out the second side. It’s not even that one side is better than the other, it’s how well they complement each other.

Released on Sell the Heart Records, Hate Season is just under 30 minutes of pure punk rock, whether it’s the hardcore sounds of the first side or the more in-control and slower songs on the second. Scarboro has something for everyone. While the record feels very reminiscent of Good Riddance and early AFI, it also stands next to these bands just as well. 

Orange Grove Massacre opened the show. This three-piece punk rock band from the Inland Empire is a regular fixture at Dr. Strange and put on a great set. The band seems to be a family affair with Dave Sr. on guitar and vocals, Dave Jr. on drums, and family friend Silva on bass. Playing mostly short songs, the band plowed through a set with songs ranging from Dave Sr.’s grandpa fighting in WWII (“Nazis No More”) to Dave Jr.’s anger about his mom’s cancer (“Sickness”). Hearing the stories behind some of these songs and Dave Sr.’s honesty with the crowd made us feel welcome. Performing two covers, one of the Circle Jerks’ “Live Fast Die Young” and Sublime’s “Pool Shark,” combined with their originals, shows the heart and fight this band has. If you see them on a bill, give them a chance. Dave Jr. is a beast behind the drums at just thirteen years old. While Dave Sr. hinted this band serves as training wheels while Jr. finds his own way, I hope Orange Grove Massacre will keep going. 

Caleb Henry and the Customs’ set was a much bigger affair. With twice as many members in their band as Orange Grove Massacre, their set could have been seen as the outlier of the show; it was in a way with their keyboardist and fiddle player, but it worked. More of a roadhouse band than a punk rock band, their set was very versatile and they knew how to win over a punk rock crowd. While the band had flairs of honky-tonk and Southern rock, they didn’t hammer these genres into the ground like a lot of these types of bands tend to do, alienating a good portion of the crowd. Caleb Henry won them over with angst and humor in some of the lyrics, but the crowd participation during their cover of the Devil Makes Three’s “Old No. 7”  didn’t hurt either. 

You can always look at a Rancid side project and know you’re going to get quality; Crimewave 66 is no exception. By the time they got on, the store was packed as expected with Matt Freeman of Rancid’s latest project, which includes Grabber’s guitar player Rob Milucky. Milucky played with Freeman in his psychobilly band, the Devil’s Brigade. The band tore through songs from their self-titled EP and a couple more that will be on the full-length later this year. When vocalist Chris Hüber took a break from singing, Matt Freeman threw down a couple of covers: a fantastic rendition of the Dead Kennedys’ “Police Truck” and Rancid’s “Tenderloin” made the crowd shout for more. However, they are still such a new band they only have about ten songs.  Crimewave 66 isn’t super fast but is definitely aggressive. Songs about the Arizona desert and old gunslingers fit into a set that sometimes leans into country and rockabilly. 

On top of the bands that played, Dr. Strange let vendors set up in the parking lot to sell crafts, records, and food. You could spend the majority of the day there, and it wouldn’t feel like wasted time. Dr. Strange Records is a punk rock institution that keeps the scene alive in the Inland Empire. They frequently put on free shows along with a big summer bash in May. If they can bring this quality entertainment for free, imagine what they will do with a budget. The crowd, the energy, and the sense of community made seeing one of punk’s enduring bass players in a small venue a core memory for fans young and old. 

TREMOURS

To be completely honest, I wasn’t able to catch much of TREMOURS’ set. While the Gary Numan show took place at First Ave., just across the street, Bruce Springsteen played a set at Minneapolis’ NBA arena, the Target Center. The two events made it difficult to find parking, and I missed not only the chance to take photos from the pit, but a large majority of TREMOURS’ time on stage. We apologize to the band for not being able to provide photos for coverage or a full accounting of the show.

What I saw of TREMOURS was excellent. The duo, based out of Los Angeles, formed in 2021, released their debut album Fragments in February of 2025,, and have been touring their fuzzy, pulsating shoegaze music ever since.

TREMOURS has actually played with Gary Numan before, joining a select number of his 2025 U.S. tour dates.

Fans of dark electronic and shoegaze soundscapes should check out the band. They clearly have a lot of potential and should be an exciting band to track over the next few years. The few songs I caught definitely had me hoping to see them come through again soon.

Gary Numan

From his early work with Tubeway Army to his seminal solo debut, The Pleasure Principle, and beyond, Gary Numan has always been an innovator. Numan has been cited as an influence by countless musical giants, including Prince for his synth-pop output and Nine Inch Nails for his pioneering work in what ultimately became the industrial movement.

While it’s impossible to talk about Gary Numan without his massive legacy, that’s almost disrespectful to the artist he remains. Go to a Gary Numan show in 2026, and you’ll see that he still has every bit of ferocious vitality and ambition that made him such a crucial figure in alternative music.

Numan and his band started the show hot with three energetic tracks, “Halo”, “Metal”, and “Haunted”. “Halo” and “Haunted” are both tracks from Numan’s 2006 record Jagged, while “Metal” goes all the way back to The Pleasure Principle from 1979.

The trio of tracks immediately demonstrates one of the most impressive aspects of Numan as a live performer. He still plays his entire catalog of music, but arrangements of older songs, like “Metal,” are updated to reflect his 1990s shift toward a heavier industrial sound. The result is a classic song that still feels true to its original purpose and feeling, yet is refreshed by new instrumentation and aesthetics. Gary Numan is often characterized as an artist whose sound “switched.” Still, when you hear some of his classics, it feels like the heavy industrial sound isn’t a switch so much as the logical conclusion to what Numan was doing on his earlier records.

That connection from Numan’s classic work to his modern sensibilities became a recurring theme of the show, with four songs from the Pleasure Principle on the set, including the instantly recognizable smash hit “Cars”, which continues to be a fun and danceable tune even in its current arrangement. Numan also played two songs from his previous band, Tubeway Army, which has proven to be a visionary project that bridged the gap between punk and electronic music.

One thing that’s clear about Numan’s music when performed live is that it can trend much heavier than his early work, but it never loses any of its innate enjoyability. The pained lyrical thematics and dark soundscape of a song like “Love Hurt Bleed” doesn’t stop it from being a stomping good time.

The band finished the set with his anthemic 2017 song “My Name is Ruin”, which functions as a solid encapsulation of everything Numan has become as an artist. The song is a six-minute haunting march of dark soundscapes, Egyptian-inspired melodies played with dissonant synths, and a particularly emotive vocal performance from Numan. If you’re fully unfamiliar with his post-new wave work, give this song a listen. Even though the studio cut is fantastic, it’s even better live.

If you have the opportunity to see Gary Numan on this or any of his upcoming tours, it’s definitely an opportunity worth taking. Check out some additional photos from the show below.

Dying Scene (Spike): Thank you so much for taking the time to do this, it means a lot to me. That was such a good set! How does it feel to be playing in your hometown?

Tara: I mean, we’ve only been gone for one day so it’s fun to come back, but yesterday when we joined up with everybody on the tour they asked the same thing “are you excited to go home?” and i’m like, “I just left… haha like I just came up here and now i’m going back home”, but yeah, it’s exciting.

Who are some local artists from Orange County that you like? Current bands or ones that have influenced you?

It’s so funny because I feel like I can say these names and maybe it’s like, not cool to say them right now, but I mean back in the day I started listening to Save Ferris and Dance Hall Crashers and stuff. They really influenced me to want to play. But now, there’s some new bands in Orange County like we had one of the members of Chudson up tonight. They’re new and doing a really cool thing. Chase Long Beach is an old one that we’ve been playing with for like 20 years now, but they’re still making music and they’re fun to play with. Also Hooray for Our Side. There’s a lot of bands, it’s hard to say.

What about some newer bands that you want more people to know about?

There’s a band on the East Coast, it’s my friend Kay and her partner, called The Doomstompers. They have some music coming out, and it’s really good. I love Kay’s voice. They’re really new and I want more people to know about them. Like I said, Chudson is doing some good things. I just like how they have a good following of young people, and I think that’s important that we keep the scene going. One of the things I experienced when we started was everybody was like kind of the old guard, and I would go to these shows and I’d be like “why are these like creepy old guys around” you know. I like that ska music’s become more young and queer and it feels a lot safer than it used to so I think those sorts of bands are progressing the scene, and that’s why Bad Time Records is good too. There’s just so many bands on the label that do that. Just check out all the bands on Bad Time Records and I think you’re in good company and got good listening.

Who are some people you feel have helped pave the way to help get you where you are today?

I think Mustard Plug does a good job of helping bands get out there, and The Toasters. They used to take us around and those were some of our first tours. We were like “this is so cool!” It’s really nice when those legacy bands help other bands out. Reel Big Fish used to do that with us. Reel Big Fish… we owe a lot to them. Aaron produced our first album, and he went to our high school. So we ran into him at this burger place and we were like “here’s our demo” and he listened to it and was like “I want to record you guys!” And I kind of think that’s a reason why we’re still here.

To me, your stage presence feels very natural and confident, like you just own the stage when you’re up there. Have you always felt such confidence?

I have been performing for a really long time. I did show choir in middle and high school, but I always thought I would be like a backup singer. When I started pursuing alternative music and being in bands, I really just wanted to be a backup singer, but then this happened! So it took a while to get to the confidence spot, and I still get nervous before every single show, but I guess that’s why it feels “natural” because I’m just like trying to have fun with my friends.

What advice can you give to women right now trying to make it in the scene?

I think first of all, just don’t give a fuck about what other people are saying you can and can’t do, and just don’t be afraid. There’s so many times where I felt like I had to shrink myself to sort of have a seat at the table, and I don’t think it’s necessary anymore. I feel that when women show up, and are their true authentic self, then people just receive it. It’s really important to be authentic.

Being a mom, a wife, the frontwoman of a band, how do you balance it all?

My partner is a very big supporter of what I’m doing, and I don’t think I could do it without his support. I don’t know how I balance it all. I’m literally always putting things on my plate and it makes me crazy sometimes, but I just try and remember, if I wasn’t doing this, I’d probably be even more miserable. I like to say yes to a lot of things. Music is everything, and my kids. I fully, 100 percent show up for them and support them and all that they do. And they support me! I just want them to know that you can pursue and do whatever you want to do. Be a mom and be in a band, that’s totally fine.

I’ll never forget the performance at Garden Amp with your daughter Neely, it was so touching. What do you hope she takes away from the song “Shine” as she gets older? It’s about her, right?

Oh gosh, it is about her. It makes me cry when I think about it.

I’m sorry.

No no it’s okay, I mean I think that’s the important thing about music, it’s like a cathartic thing. I know that she really likes the song, and I hope when she gets older she realizes that I’m gonna be there for her and support her in all the different ways. No matter what she wants to do, and I just want to see her thrive. That’s kind of what “Shine” is about, making sure that you nurture the person to be who they need to be.

Recently Half Past Two came out with a new song “Nightmare of You“, and it’s not really ska. It’s more hardcore, kind of pop-punky. Do you think you will ever release an album that isn’t ska?

Um, not that’s not ska. We actually didn’t mean to make that song not a ska song, but it just happened to be that way. You know, we want to show people we have range. We like ska music, but we like other music too. And I think it’s important to let people in the ska scene know, don’t gate-keep the other music, you know. We have other influences, too.

Like who?

I like to listen to a lot of post-hardcore stuff. I really love Scowl, and really girly indie bands too. I was just here at The Observatory seeing this band called Bad Bad Hats, and there wasn’t that many people here, but I was like “I love this band!” It was just girly, vibey music.

One thing that really got me into Half Past Two was your covers. You cover lots of songs.

We do!

Do you have a favorite cover that you’ve done?

I think my favorite cover is one we did recently. It wasn’t even a big band, but it’s our friends’ band Tiny Stills. It was a really slow song and we were like, “What if we just made it really fast?” I think it’s like under a minute because when I made the reel for Instagram, that thing went by. It just flies, and it’s so much fun. When we showed it to the band they were like, “woah, it’s so fast!”

So that one, and it’s fun to do other styles too. We did Suicide Machines and people always love to hear that song, just because it’s so not us.

My favorite is Holiday by Green Day, that was what first introduced me to you guys.

We were going to play it tonight! We took it out of the set because our horn player Patrick was like, I don’t know if I know it very well, and I’m like, ugh. We were going to play it and we could have dedicated it to you!

Hoping that Patrick knows it by the next time they’re in town.

You have a great fashion style, I love all of your outfits. I have to ask, who inspires it?

Actually my friend Tabby that’s here tonight! I mean, I own a lot of clothes, and I love dressing up, but Tabby and I have even more fun sitting together and coming up with outfits. He is like a fashion icon on his own. He’s really into ska and J-fashion, so it’s kind of like a match made in heaven. We literally do that thing like on Clueless where they piece the outfits together, we just like sit on the phone and like cut out my clothes and put the together. He like micromanages, he’ll tell me what to do with my eye makeup, my hair, all that stuff. But it’s fun. It’s so much fun.

What can fans expect from Half Past Two in the future?

You know, we’re a band that’s always working on stuff so we have some new stuff in the pipeline. We’ve been working on it for a really long time. We have, like, a concept album that we’ve… a concept album? That’s so weird. But we’ve been working on that for a while, and we’re hoping that it comes out this year. I just need to fine-tune a couple of things, so that’s what we got!

That’s so exciting to hear! I cannot wait for that. Is there anything else you’d like to add?

I think what you’re doing is really cool! As far as I can remember, there hasn’t been a lot of people that go out and, like, report on music, especially in little communities and scenes like this, so keep it up. I think it’s really cool.

From talking about her early influences in the Orange County ska scene to opening up about confidence, family life, and the band’s future, Tara Hahn showed us exactly why Half Past Two has remained such an important part of the community for so many years. Whether she was shouting out new bands, reflecting on the ones who helped them get their start, or talking about pushing expectations, one thing stayed consistent. The scene only survives as long as we keep putting our energy into it. As the conversation wrapped up, Tara’s words about the importance of documenting and supporting local music communities really stuck with me. Scenes like this thrive because people put their time, energy, and passion, whether it’s on stage, behind the camera, or in the crowd. Being able to capture these stories and share them is something that means so much to me, and it’s a great reminder that keeping local scenes alive can take many forms. The important thing is simply showing up, while contributing and supporting however you can.

A few days after this conversation, Bad Time Records released 4 songs from Half Past Two’s new side project with Omnigone, Half Gone. It was a great surprise, with a perfect blend of both bands sounds. They also released a music video! Watch it here:

Follow Half Past Two on Instagram and stay updated on their website so you don’t miss any news on their upcoming concept album and future shows. When you get the chance to see them live, don’t pass it up!

You can check out the full video of the interview here!