Long Lost, Joe B of Transit’s side-project, will be releases Save Yourself, Start Again on August 6th via No Sleep Records. Pre-order the LP here, stream a new song called “Want” via AltPress here or below while checking out the artwork and track listing!
Long Lost (Joe B Of Transit) Sign To No Sleep Records
POZ Gallery: Skate And Surf Festival
Features: Fall Out Boy, LIGHTS, Transit, Miss May I, Mod Sun, T. Mills, Candy Hearts, Hostage Calm, Death Spells
Location: Six Flags Great Adventure - Jackson, NJ
Photos By: Maysa Askar
POZ Gallery: Skate And Surf Festival
Features: Fall Out Boy, A Day To Remember, Leathermouth, Transit, Balance & Composure, Crown The Empire, Bayside, Tyler Carter, Glassjaw, Of Mice & Men
Location: Six Flags Great Adventure - Jackson, NJ
Photos By: Maysa Askar
Skate And Surf Festival is just a few days away now, and we hope you’re all as excited as we are for an incredible weekend at Six Flags in Jackson, NJ. We thought it’d be a great idea to put together a list of POZ’s Must See Bands And Acts for the first day of the lineup today, with a day two feature coming tomorrow. Check out ticket/lineup information for the festival here, our list below, and reblog to let us know who we need to see while we’re at Skate this weekend!
Streetlight Manifesto, by Erik van Rheenen
Ska fans can wipe that tear from their eyes and pull on their skanking shoes: the beginning of the end may be here, but not before Streetlight plays a homecoming show in Jersey under the bright lights at Skate And Surf. With label woes plaguing the release of The Hands That Thieve, the band will probably blow off some steam at their set and show off some of the new material, which is, in fact, killer. From old fan-favorites to new sing-along anthems, fans will make Streetlight Manifesto feel right back at home. Mostly because they will be.
Balance & Composure, by Adrienne Fisher
Balance & Composure has been fairly quiet ever since wrapping up a pretty hefty winter headliner earlier this year with The Jealous Sound and Daylight, only to reveal just a week or so ago that that time’s been leveraged into finishing up their second full-length record, slated for release sometime this fall. I know I’m not the only one busting out party hats to celebrate that fact, and being that their set at Skate and Surf is the only one publicly on the books for the foreseeable future, we the people should probably resolve to make sure we’re there for it. While we can always cross our fingers for a preview of a new song, the truth is that we’re definitely not over 2011’s Separation and will still eagerly lend ourselves to become soul-crushed by that opening rhythm section in “Burden.” If you’re a Balance fan, make it a point to catch this set – you never know, those songs from Only Boundaries might drop out of rotation once the new record comes out and you wouldn’t want to be that guy whining about how you missed out on hearing the old stuff, right?
Transit, by Jesse Richman
It’s hard to remember the last time anyone in the scene released an album as divisive as Transit’sYoung New England— whether they loved it or hated it, everyone seemed to have a strong opinion. As they bring that album to the biggest stage yet, will the crowd be with them or against them? Has the criticism beaten Transit down or made them stronger? And has Joe Boynton’s voicereally changed? We’re looking forward to finding out the answers.
Andrew WK, by Erik van Rheenen
When it’s time to party we will party hard.
I mean, seriously. What will be more fun than catching a set from the King of Positive Partying himself at an amusement park? Since the eruption of his smash hit “Party Hard” in 2001, Andrew WK’s become a jack-of-all-trades: motivational speaker, TV show host, producer, and of course, sticking to his singing/songwriting guns. Dust off your copy of I Get Wet, reacquaint yourself with some of WK’s early 2000s party rock anthems, and let’s get a party going on Saturday afternoon.
LIGHTS, by Sydney Gore
The 24-year-old Canadian singer-songwriter has a way of enchanting anyone who listens to her synth-pop tunes. With a traveling background as a missionary child, Lights takes the crowd on an adventure of their own to a digital dimension where music is the only savior. Her most recent album, Siberia was nominated for “Pop Album of the Year” at the Juno Awards last year. Don’t let Lights’ “manic pixie dream girl” physique fool you—she goes hard at live shows, especially when the heavy electronic beat start pulsing. Lights is always a delight to watch, so definitely don’t miss out on her set—it’s bound to be electrifying.
Mixtapes, by Erik van Rheenen
Ordinary Silence doesn’t hit shelves until the end of June, but fingers crossed these Ohioans share a few new tunes with us come this weekend. The uber-productive pop-punkers (this marks their second full-length in as many years) keep the bouncy tunes coming, and the dual vocal attack of Maura Weaver and Ryan Rockwell (and their kinda-sorta ridiculous stage banter) is always a blast to sing along with. There aren’t many bands to usher in summer with, and Mixtapes sets are pretty much always guaranteed to be a good time.
The Weekly Tour Round-Up
FTSK And The Master Blaster
The Postal Service - Give Up
The Best Album Openers
Stick To Your Guns on Propagandhi
The Industry With Jesse Cannon
Anti-Flag 20 Year Anniversary Shows - Webster Hall [Ends on May 1st]
Greeley Estates - Devil Son
The Braces - Two Years
Forever Came Calling, Heart To Heart, Last Call [Now-04/21]
It’s A Spring Fling [05/24]
BoySetsFire, No Trigger, Pentimento, Light Years, Maker [05/24-05/26]
Songs Of The South Fest [07/20-07/21]
The second day of Today’s Mixtape Festival was easily the most anticipated. The first and only day to sell out, the Day 2 bill was a dream come true for any pop-punk fan. With one of the spring’s most talked about tours, The Suppy Nation Tour, making a stop to join the lineup, it’s no wonder fans packed 89 North as soon as its doors opened. Chances are a fest so perfectly tailored to pop-punk won’t happen again anytime soon.
The show kicked off at noon with the local opener Last Great Hero, who played to a larger crowd than most of the earlier acts of the first day did. As Last Call and Heart to Heart played their way through energetic sets, it became obvious that this would be another day to remember.
No Good News took the stage with the words, “All of our best friends, all of our favorite bands, everyone’s here,” just before fans stormed the stage for a dance party. Some fans stage-dived repeatedly, while most just enjoyed staying as close to the band as they could. At the end of their set, the band made fun of one straggling fan who crawled across the stage.
A last minute change in set order proved that Day 2 was as much about friendship as it was about music. Forever Came Calling took the stage when The American Scene was set to, to give their friends more time to get to the venue after their van broke down. At this point in the day, the venue was already packed, and Forever Came Calling definitely didn’t suffer from a lesser crowd reaction because of their earlier set time. Their guitar-heavy set kept the party going, breezing through songs off Contender before wrapping things up with “Front Porch Sunrise.”
Following Forever Came Calling was one of the most undeniably talented and anticipated bands of the day, Pentimento. A short break from pop-punk, the crowd remained slightly calmer but just as interested in the flawless set Pentimento delivered. Defined by raw emotion, their set hit many tracks off their self-titled release, but one of the highlights remained an older track: “Walking Calmly In Your Wake.”
Separated by The American Scene, who played a relaxed, melodic set to an intent crowd, were hometown heroes Giants At Large and Bellwether. Both brought an incomparable energy to the room, building up to killer finales. Giants At Large lowered a mic into the crowd and let fans carry the vocals of their final song, while Bellwether’s fans didn’t give them a choice in the matter — the band was lost in a sea of 30 people onstage singing along to every last word. Grateful for being able to play despite their van troubles, The American Scene played an incredible set that would have been worthy of any later set time.
Credit Transit for not burying the lede. Young New England, the band’s knotty fourth full-length, wrestles with those titular twin poles of identity — age and place — in each of its thirteen songs.
Not that evolution and growth are anything new for Transit; starting with 2011’s largely acoustic Something Left Behind EP, and continuing on that year’s full-length, Listen & Forgive, the Bostonian quintet have undergone one of the scene’s more dramatic transformations in recent years, morphing from an nothing-special pop-punk group into a confident, Midwestern emo embracing rock/indie outfit. Young New England finds the men of Transit in another transitional phase, but this time it’s not so much a musical vertex as it is an inflection point in their larger lives: they’ve reached the proverbial quarter-life crisis.
The Transit of Young New England is a group old enough to understand that they won’t be young forever, young enough to still believe that growing slightly older is somehow noteworthy, and positively obsessed with gripping to, and slipping from, time’s pull. It’s a fixation that begins with the title of the album’s lead track, “Nothing Lasts Forever,” and carries straight through to album closer “Lake Q,” where vocalist Joe Boynton laments that, “we keep sleeping through the heat of the moment / and sunsets we forget to notice.” In Boynton’s world, the tick of the clock is a unit of currency; he seems terrified of time’s passage itself, working on the assumption that each moment left is a moment lost, a grain of hourglass-sand through his fingers and into a hole in the earth, irretrievable. Conversely, he takes on a self-congratulatory tone when he finds he’s used a moment well; in “Summer, ME” he sings jubilantly that “these are the nights that fill my heart / and these are the times we’ll keep and carry / older, oh oh, we’re getting older.”
If Boynton is desperately hanging on to the present with one hand, the other tethers the past in a vice grip; for all he sings of letting go, he holds those lost moments close. “Is it so hard to forget the nights we used to spend tangled up?” he asks on “Sleep,” before asserting that he “won’t sing those songs again.” But of course, he’s just done so. Similarly, in “So Long, So Long” Boynton announces “so long, so long to the silver days / so long, so long to feeling second rate,” but by the end of the track he’s been reduced to begging “take me, let’s run away,” the desperate cry of a man who can’t let go of even the worst of moments. It often seems as if, for Boynton, even rotten time is better than no time at all.
Not that these preoccupations are restricted to the subliminal. Boynton addresses the subject directly on the Peter Pan-referencing “Second To Right” — “we only want what we can’t have // we’re always hung up in the past […] that silver star second to right / won’t shine again a second time.” Like metaphorical Wendys, Young New England finds Transit caught in that liminal phase between adolescence and adulthood, forced to choose between the awful reality of growing up and the awful reality of not growing up, with time angling to take even that one terrible choice away.
It’s not only time that Transit is struggling to come to terms with on Young New England: it’s also their place in the world. While punks have rallied around their local scenes since time immemorial, there’s always been something special about Bostonians. There’s fierceness and vociferousness to Masshole loyalties that eclipses all sense and sensibility. It’s a form of pride sloshed over with insecurity — these are, after all, the folks who will break out “Yankees Suck!” chants at wrestling matches, concert set breaks and political rallies. And for the kids who grow up steeped in that ruddy, sudsy mix of beer and grit, it’s only natural that those influences become part and parcel of their music.