#deadkennedys — Public Fediverse posts

SONG OF THE WEEK! “One Planet – One Utopia – One Helmet (Live 1986)” https://johnnyjblairsingeratlarge.bandcamp.com/track/one-planet-one-utopia-one-helmet-live-1986-remastered-2025

#johnnyjblair #rondavis #chrishaggerty #victorvalverde #singersongwriter #christianrock #christian #unclecharlies #cortemadera #california #sanfrancisco #protest #political #mayor #jellobiafra #deadkennedys #stpaul #areopogus #ziggystardust #davidbowie #thewho #thekinks #raydavies #newwave #utopia #planet #helmet #election #bumpersticker #soapopera

SONG OF THE WEEK! “One Planet – One Utopia – One Helmet (Live 1986)” https://johnnyjblairsingeratlarge.bandcamp.com/track/one-planet-one-utopia-one-helmet-live-1986-remastered-2025

#johnnyjblair #rondavis #chrishaggerty #victorvalverde #singersongwriter #christianrock #christian #unclecharlies #cortemadera #california #sanfrancisco #protest #political #mayor #jellobiafra #deadkennedys #stpaul #areopogus #ziggystardust #davidbowie #thewho #thekinks #raydavies #newwave #utopia #planet #helmet #election #bumpersticker #soapopera

Released 46 years ago
"Holiday in Cambodia", the second single by the American punk rock band Dead Kennedys

#holidayincambodia #punkrock #hardcorepunk #deadkennedys #punkrockhistory

46 years ago
"Holiday in Cambodia" is the second single by the American punk rock band Dead Kennedys, released in May 1980 with "Police Truck" as the B-side.

#punk #punks #punkrock #hardcorepunk #deadkennedys #history #punkrockhistory

45 years ago, Dead Kennedys released "Too Drunk to Fuck," their fourth single.

Here's the earliest live version from 1980.

#punk #punkrock #toodrunktofuck #deadkennedys #history #punkrockhistory

45 years ago
"Too Drunk to Fuck" is the fourth single by Dead Kennedys, released in May 1981 with "The Prey" as the B-side.

#punk #punkrock #toodrunktofuck #deadkennedys #history #punkrockhistory

Punk Rock History (@punkrockhistory.bsky.social)

https://bsky.app/profile/punkrockhistory.bsky.social/post/3mkttcbigok2k

> 45 years ago today Lead singer Jello Biafra of American punk rock band Dead Kennedys performing on stage at Emerson College in Boston, Massachusetts on May 2, 1981 Photo by Michael Grecco #punk #punks #punkrock #jellobiafra #deadkennedys #history #punkrockhistory #otd

45 years ago today
Lead singer Jello Biafra of American punk rock band Dead Kennedys performing on stage at Emerson College in Boston, Massachusetts on May 2, 1981

Photo by Michael Grecco

#punk #punks #punkrock #jellobiafra #deadkennedys #history #punkrockhistory #otd

41 years ago today
Dead Kennedys, Butthole Surfers, Reptile House and United Mutation at WUST Radio Hall, Washington D.C.,April 29, 1985.

#punk #punks #punkrock #hardcorepunk #deadkennedys #jellobiafra #history #punkrockhistory #otd

Chariots Overdrive – The End of Antiquity Review

Manilla Road, Motörhead, and Megaton Sword walk into a bar—Lemmy’s pick, …
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #2.5 #2026 #AmericanMetal #Apr26 #BlackSabbath #ChariotsOverdrive #DeadKennedys #DropkickMurphys #Entertainment #GatesofHellRecords #HeavyMetal #IronMaiden #JudasPriest #ManillaRoad #MegatonSword #Motörhead #NWOBHM #PowerMetal #rancid #review #reviews #TheEndofAntiquity
https://www.newsbeep.com/us/609222/

Chariots Overdrive – The End of Antiquity Review

Manilla Road, Motörhead, and Megaton Sword walk into a bar—Lemmy’s pick, …
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #2.5 #2026 #AmericanMetal #Apr26 #BlackSabbath #ChariotsOverdrive #DeadKennedys #DropkickMurphys #Entertainment #GatesofHellRecords #HeavyMetal #IronMaiden #JudasPriest #ManillaRoad #MegatonSword #Motörhead #NWOBHM #PowerMetal #rancid #review #reviews #TheEndofAntiquity
https://www.newsbeep.com/us/609222/

https://www.europesays.com/uk/921236/ Chariots Overdrive – The End of Antiquity Review #25 #2026 #AmericanMetal #Apr26 #BlackSabbath #ChariotsOverdrive #DeadKennedys #DropkickMurphys #Entertainment #GatesOfHellRecords #HeavyMetal #IronMaiden #JudasPriest #ManillaRoad #MegatonSword #Motörhead #music #NWOBHM #PowerMetal #Rancid #Review #Reviews #TheEndOfAntiquity #UK #UnitedKingdom

Chariots Overdrive – The End of Antiquity Review

Manilla Road, Motörhead, and Megaton Sword walk into a bar—Lemmy’s pick, if that helps you picture t…
#NewsBeep #News #Music #2.5 #2026 #AmericanMetal #Apr26 #BlackSabbath #ChariotsOverdrive #DeadKennedys #DropkickMurphys #Entertainment #GatesofHellRecords #HeavyMetal #IronMaiden #JudasPriest #ManillaRoad #MegatonSword #Motörhead #NWOBHM #PowerMetal #Rancid #review #Reviews #TheEndofAntiquity #UK #UnitedKingdom
https://www.newsbeep.com/uk/552187/

Manilla Road, Motörhead, and Megaton Sword walk into a bar—Lemmy’s pick, if that helps you picture the place. Someone yells, “cops outside!” The word “cops” clears the room faster than napalm ever could. Stampede. The bands are swept up in the deluge of bodies, bewildered and sweaty. Amidst the chaos, several shuffle into a nearby van. Driving off, they realize that 1) these aren’t their bandmates, 2) this is Di’Anno-era Iron Maiden’s van with their keys and all their equipment left inside, and 3) they picked up Dropkick Murphys somewhere along the way. If this hypothetical group decided to run with it, they would sound like Chariots Overdrive. Hailing from Beijing, China, and currently residing in Atlanta, Georgia, these adherents of the NWoBHM sound old as dirt on their debut, The End of Antiquity, injecting fantastical lyricism inspired by Chinese history and folklore into their mix. But can this van/chariot go the distance, or has this ride seen its last mile?

The End of Antiquity is driven by allegiance to metal in the purest form, and Chariots Overdrive wield it with punk-like tenacity. Speed and belligerence rule The End of Antiquity, embodied in the full-band gang vocals of “Marching Maniacs” and the Dead Kennedys-like discordance of “Parasite.” The belts and snarls singer G.H.Z uses on “A Taikonautic Alchemist” and “Chariots Overdrive”1 would fit as well with Rancid as they do here, and their guitars and bass evoke the aforementioned early Maiden years in the punkish bite (“The End of Antiquity”). Bassist Z.Z.Y lays down aggressively clicky, highly melodic lines across The End of Antiquity, giving Chariots Overdrive a burly-yet-catchy streak akin to Steve Harris’ playing and bolstering G.H.Z and Y.Z’s gnarly dual guitars and W.R.C’s punchy drums into a full-bodied declaration of victory. Chariots Overdrive feel rooted in the simple joy of throwing ragers with the boys, and The End of Antiquity is, if nothing else, a rager.

Chariots Overdrive don’t overcomplicate anything, which is a boon and bane to The End of Antiquity. Most songs play around simple melodies over two to four chords. Guitar solos aren’t flashy on The End of Antiquity, but they’re incisive. When the outcome is exhilarating like “Chariots Overdrive” or Judas Priest-levels of catchy like “Marching Maniacs,” it’s hard to argue. But it also puts the onus of The End of Antiquity’s success on Chariot Overdrive’s performances, which can falter. G.H.Z isn’t a powerhouse vocalist and sounds downright rough at times, especially where Chariot Overdrive attempt harmonization, such as the chorus of “A Taikonautic Alchemist.” It also means that, despite the album’s lean runtime, The End of Antiquity sounds somewhat exhausted by the time “Nomadic Warfare” and the title track appear, as their hooks are comparatively weaker to the rest of the record. I’m all for simplifying something for the sake of effectiveness, but what’s left has to be as tight as you can make it. In this regard, Chariots Overdrive can improve.

What Chariots Overdrive need is a more refined identity. Like early Iron Maiden, Chariots Overdrive seem to strive towards a dirty-yet-sophisticated sound and theming, evidenced by the fingerstyle guitar and serene bass-and-piano interludes of “Where Dust Reigns” and “Sunken Throb,”2 but these instrumentals’ moods aren’t matched or mirrored by the rest of the album and feel tacked-on as a result. The standout, 12-minute song “A Bizarre Pilgrimage to the Cubik Mansion” hints at what Chariots Overdrive can do, as the band navigates artfully between Motörhead’s hyped-up rock n’ roll and Black Sabbathian gloomy doom.3 But the track buckles a bit under its weight by the end and feels done a few minutes before it’s over. Chariots Overdrive are engaging by grit and energy, but without a solid grasp on what exactly they are doing, The End of Antiquity can only be a fun-but-flawed work when taken as a whole.

The End of Antiquity has some flaws, but I still like where the Chariots Overdrive van is going. If you like any of the bands mentioned above it’s a safe bet you’ll get something out of this. There’s obvious chemistry between the band, and their debut has plenty of good moments throughout that are both fun in the present and hint towards a stronger future. I don’t want Chariots Overdrive to give up on what they’re doing, but if they can merge their punk hooliganism with the finesse they aspire towards in the next album, it’ll be a hit. There’s a lot of highway ahead, but this chariot’s got tread to spare yet.

Rating: Mixed
DR: 84 | Format Reviewed: 320 kbps MP3
Label: Gates of Hell Records
Websites: chariotsoverdrive.bandcamp.com | facebook.com/chariotsoverdrive
Releases Worldwide: April 3rd, 20265

Manilla Road, Motörhead, and Megaton Sword walk into a bar—Lemmy’s pick, if that helps you picture the place. Someone yells, “cops outside!” The word “cops” clears the room faster than napalm ever could. Stampede. The bands are swept up in the deluge of bodies, bewildered and sweaty. Amidst the chaos, several shuffle into a nearby van. Driving off, they realize that 1) these aren’t their bandmates, 2) this is Di’Anno-era Iron Maiden’s van with their keys and all their equipment left inside, and 3) they picked up Dropkick Murphys somewhere along the way. If this hypothetical group decided to run with it, they would sound like Chariots Overdrive. Hailing from Beijing, China, and currently residing in Atlanta, Georgia, these adherents of the NWoBHM sound old as dirt on their debut, The End of Antiquity, injecting fantastical lyricism inspired by Chinese history and folklore into their mix. But can this van/chariot go the distance, or has this ride seen its last mile?

The End of Antiquity is driven by allegiance to metal in the purest form, and Chariots Overdrive wield it with punk-like tenacity. Speed and belligerence rule The End of Antiquity, embodied in the full-band gang vocals of “Marching Maniacs” and the Dead Kennedys-like discordance of “Parasite.” The belts and snarls singer G.H.Z uses on “A Taikonautic Alchemist” and “Chariots Overdrive”1 would fit as well with Rancid as they do here, and their guitars and bass evoke the aforementioned early Maiden years in the punkish bite (“The End of Antiquity”). Bassist Z.Z.Y lays down aggressively clicky, highly melodic lines across The End of Antiquity, giving Chariots Overdrive a burly-yet-catchy streak akin to Steve Harris’ playing and bolstering G.H.Z and Y.Z’s gnarly dual guitars and W.R.C’s punchy drums into a full-bodied declaration of victory. Chariots Overdrive feel rooted in the simple joy of throwing ragers with the boys, and The End of Antiquity is, if nothing else, a rager.

Chariots Overdrive don’t overcomplicate anything, which is a boon and bane to The End of Antiquity. Most songs play around simple melodies over two to four chords. Guitar solos aren’t flashy on The End of Antiquity, but they’re incisive. When the outcome is exhilarating like “Chariots Overdrive” or Judas Priest-levels of catchy like “Marching Maniacs,” it’s hard to argue. But it also puts the onus of The End of Antiquity’s success on Chariot Overdrive’s performances, which can falter. G.H.Z isn’t a powerhouse vocalist and sounds downright rough at times, especially where Chariot Overdrive attempt harmonization, such as the chorus of “A Taikonautic Alchemist.” It also means that, despite the album’s lean runtime, The End of Antiquity sounds somewhat exhausted by the time “Nomadic Warfare” and the title track appear, as their hooks are comparatively weaker to the rest of the record. I’m all for simplifying something for the sake of effectiveness, but what’s left has to be as tight as you can make it. In this regard, Chariots Overdrive can improve.

What Chariots Overdrive need is a more refined identity. Like early Iron Maiden, Chariots Overdrive seem to strive towards a dirty-yet-sophisticated sound and theming, evidenced by the fingerstyle guitar and serene bass-and-piano interludes of “Where Dust Reigns” and “Sunken Throb,”2 but these instrumentals’ moods aren’t matched or mirrored by the rest of the album and feel tacked-on as a result. The standout, 12-minute song “A Bizarre Pilgrimage to the Cubik Mansion” hints at what Chariots Overdrive can do, as the band navigates artfully between Motörhead’s hyped-up rock n’ roll and Black Sabbathian gloomy doom.3 But the track buckles a bit under its weight by the end and feels done a few minutes before it’s over. Chariots Overdrive are engaging by grit and energy, but without a solid grasp on what exactly they are doing, The End of Antiquity can only be a fun-but-flawed work when taken as a whole.

The End of Antiquity has some flaws, but I still like where the Chariots Overdrive van is going. If you like any of the bands mentioned above it’s a safe bet you’ll get something out of this. There’s obvious chemistry between the band, and their debut has plenty of good moments throughout that are both fun in the present and hint towards a stronger future. I don’t want Chariots Overdrive to give up on what they’re doing, but if they can merge their punk hooliganism with the finesse they aspire towards in the next album, it’ll be a hit. There’s a lot of highway ahead, but this chariot’s got tread to spare yet.

Rating: Mixed
DR: 84 | Format Reviewed: 320 kbps MP3
Label: Gates of Hell Records
Websites: chariotsoverdrive.bandcamp.com | facebook.com/chariotsoverdrive
Releases Worldwide: April 3rd, 20265

Manilla Road, Motörhead, and Megaton Sword walk into a bar—Lemmy’s pick, if that helps you picture the place. Someone yells, “cops outside!” The word “cops” clears the room faster than napalm ever could. Stampede. The bands are swept up in the deluge of bodies, bewildered and sweaty. Amidst the chaos, several shuffle into a nearby van. Driving off, they realize that 1) these aren’t their bandmates, 2) this is Di’Anno-era Iron Maiden’s van with their keys and all their equipment left inside, and 3) they picked up Dropkick Murphys somewhere along the way. If this hypothetical group decided to run with it, they would sound like Chariots Overdrive. Hailing from Beijing, China, and currently residing in Atlanta, Georgia, these adherents of the NWoBHM sound old as dirt on their debut, The End of Antiquity, injecting fantastical lyricism inspired by Chinese history and folklore into their mix. But can this van/chariot go the distance, or has this ride seen its last mile?

The End of Antiquity is driven by allegiance to metal in the purest form, and Chariots Overdrive wield it with punk-like tenacity. Speed and belligerence rule The End of Antiquity, embodied in the full-band gang vocals of “Marching Maniacs” and the Dead Kennedys-like discordance of “Parasite.” The belts and snarls singer G.H.Z uses on “A Taikonautic Alchemist” and “Chariots Overdrive”1 would fit as well with Rancid as they do here, and their guitars and bass evoke the aforementioned early Maiden years in the punkish bite (“The End of Antiquity”). Bassist Z.Z.Y lays down aggressively clicky, highly melodic lines across The End of Antiquity, giving Chariots Overdrive a burly-yet-catchy streak akin to Steve Harris’ playing and bolstering G.H.Z and Y.Z’s gnarly dual guitars and W.R.C’s punchy drums into a full-bodied declaration of victory. Chariots Overdrive feel rooted in the simple joy of throwing ragers with the boys, and The End of Antiquity is, if nothing else, a rager.

Chariots Overdrive don’t overcomplicate anything, which is a boon and bane to The End of Antiquity. Most songs play around simple melodies over two to four chords. Guitar solos aren’t flashy on The End of Antiquity, but they’re incisive. When the outcome is exhilarating like “Chariots Overdrive” or Judas Priest-levels of catchy like “Marching Maniacs,” it’s hard to argue. But it also puts the onus of The End of Antiquity’s success on Chariot Overdrive’s performances, which can falter. G.H.Z isn’t a powerhouse vocalist and sounds downright rough at times, especially where Chariot Overdrive attempt harmonization, such as the chorus of “A Taikonautic Alchemist.” It also means that, despite the album’s lean runtime, The End of Antiquity sounds somewhat exhausted by the time “Nomadic Warfare” and the title track appear, as their hooks are comparatively weaker to the rest of the record. I’m all for simplifying something for the sake of effectiveness, but what’s left has to be as tight as you can make it. In this regard, Chariots Overdrive can improve.

What Chariots Overdrive need is a more refined identity. Like early Iron Maiden, Chariots Overdrive seem to strive towards a dirty-yet-sophisticated sound and theming, evidenced by the fingerstyle guitar and serene bass-and-piano interludes of “Where Dust Reigns” and “Sunken Throb,”2 but these instrumentals’ moods aren’t matched or mirrored by the rest of the album and feel tacked-on as a result. The standout, 12-minute song “A Bizarre Pilgrimage to the Cubik Mansion” hints at what Chariots Overdrive can do, as the band navigates artfully between Motörhead’s hyped-up rock n’ roll and Black Sabbathian gloomy doom.3 But the track buckles a bit under its weight by the end and feels done a few minutes before it’s over. Chariots Overdrive are engaging by grit and energy, but without a solid grasp on what exactly they are doing, The End of Antiquity can only be a fun-but-flawed work when taken as a whole.

The End of Antiquity has some flaws, but I still like where the Chariots Overdrive van is going. If you like any of the bands mentioned above it’s a safe bet you’ll get something out of this. There’s obvious chemistry between the band, and their debut has plenty of good moments throughout that are both fun in the present and hint towards a stronger future. I don’t want Chariots Overdrive to give up on what they’re doing, but if they can merge their punk hooliganism with the finesse they aspire towards in the next album, it’ll be a hit. There’s a lot of highway ahead, but this chariot’s got tread to spare yet.

Rating: Mixed
DR: 84 | Format Reviewed: 320 kbps MP3
Label: Gates of Hell Records
Websites: chariotsoverdrive.bandcamp.com | facebook.com/chariotsoverdrive
Releases Worldwide: April 3rd, 20265

Manilla Road, Motörhead, and Megaton Sword walk into a bar—Lemmy’s pick, if that helps you picture the place. Someone yells, “cops outside!” The word “cops” clears the room faster than napalm ever could. Stampede. The bands are swept up in the deluge of bodies, bewildered and sweaty. Amidst the chaos, several shuffle into a nearby van. Driving off, they realize that 1) these aren’t their bandmates, 2) this is Di’Anno-era Iron Maiden’s van with their keys and all their equipment left inside, and 3) they picked up Dropkick Murphys somewhere along the way. If this hypothetical group decided to run with it, they would sound like Chariots Overdrive. Hailing from Beijing, China, and currently residing in Atlanta, Georgia, these adherents of the NWoBHM sound old as dirt on their debut, The End of Antiquity, injecting fantastical lyricism inspired by Chinese history and folklore into their mix. But can this van/chariot go the distance, or has this ride seen its last mile?

The End of Antiquity is driven by allegiance to metal in the purest form, and Chariots Overdrive wield it with punk-like tenacity. Speed and belligerence rule The End of Antiquity, embodied in the full-band gang vocals of “Marching Maniacs” and the Dead Kennedys-like discordance of “Parasite.” The belts and snarls singer G.H.Z uses on “A Taikonautic Alchemist” and “Chariots Overdrive”1 would fit as well with Rancid as they do here, and their guitars and bass evoke the aforementioned early Maiden years in the punkish bite (“The End of Antiquity”). Bassist Z.Z.Y lays down aggressively clicky, highly melodic lines across The End of Antiquity, giving Chariots Overdrive a burly-yet-catchy streak akin to Steve Harris’ playing and bolstering G.H.Z and Y.Z’s gnarly dual guitars and W.R.C’s punchy drums into a full-bodied declaration of victory. Chariots Overdrive feel rooted in the simple joy of throwing ragers with the boys, and The End of Antiquity is, if nothing else, a rager.

Chariots Overdrive don’t overcomplicate anything, which is a boon and bane to The End of Antiquity. Most songs play around simple melodies over two to four chords. Guitar solos aren’t flashy on The End of Antiquity, but they’re incisive. When the outcome is exhilarating like “Chariots Overdrive” or Judas Priest-levels of catchy like “Marching Maniacs,” it’s hard to argue. But it also puts the onus of The End of Antiquity’s success on Chariot Overdrive’s performances, which can falter. G.H.Z isn’t a powerhouse vocalist and sounds downright rough at times, especially where Chariot Overdrive attempt harmonization, such as the chorus of “A Taikonautic Alchemist.” It also means that, despite the album’s lean runtime, The End of Antiquity sounds somewhat exhausted by the time “Nomadic Warfare” and the title track appear, as their hooks are comparatively weaker to the rest of the record. I’m all for simplifying something for the sake of effectiveness, but what’s left has to be as tight as you can make it. In this regard, Chariots Overdrive can improve.

What Chariots Overdrive need is a more refined identity. Like early Iron Maiden, Chariots Overdrive seem to strive towards a dirty-yet-sophisticated sound and theming, evidenced by the fingerstyle guitar and serene bass-and-piano interludes of “Where Dust Reigns” and “Sunken Throb,”2 but these instrumentals’ moods aren’t matched or mirrored by the rest of the album and feel tacked-on as a result. The standout, 12-minute song “A Bizarre Pilgrimage to the Cubik Mansion” hints at what Chariots Overdrive can do, as the band navigates artfully between Motörhead’s hyped-up rock n’ roll and Black Sabbathian gloomy doom.3 But the track buckles a bit under its weight by the end and feels done a few minutes before it’s over. Chariots Overdrive are engaging by grit and energy, but without a solid grasp on what exactly they are doing, The End of Antiquity can only be a fun-but-flawed work when taken as a whole.

The End of Antiquity has some flaws, but I still like where the Chariots Overdrive van is going. If you like any of the bands mentioned above it’s a safe bet you’ll get something out of this. There’s obvious chemistry between the band, and their debut has plenty of good moments throughout that are both fun in the present and hint towards a stronger future. I don’t want Chariots Overdrive to give up on what they’re doing, but if they can merge their punk hooliganism with the finesse they aspire towards in the next album, it’ll be a hit. There’s a lot of highway ahead, but this chariot’s got tread to spare yet.

Rating: Mixed
DR: 84 | Format Reviewed: 320 kbps MP3
Label: Gates of Hell Records
Websites: chariotsoverdrive.bandcamp.com | facebook.com/chariotsoverdrive
Releases Worldwide: April 3rd, 20265

Manilla Road, Motörhead, and Megaton Sword walk into a bar—Lemmy’s pick, if that helps you picture the place. Someone yells, “cops outside!” The word “cops” clears the room faster than napalm ever could. Stampede. The bands are swept up in the deluge of bodies, bewildered and sweaty. Amidst the chaos, several shuffle into a nearby van. Driving off, they realize that 1) these aren’t their bandmates, 2) this is Di’Anno-era Iron Maiden’s van with their keys and all their equipment left inside, and 3) they picked up Dropkick Murphys somewhere along the way. If this hypothetical group decided to run with it, they would sound like Chariots Overdrive. Hailing from Beijing, China, and currently residing in Atlanta, Georgia, these adherents of the NWoBHM sound old as dirt on their debut, The End of Antiquity, injecting fantastical lyricism inspired by Chinese history and folklore into their mix. But can this van/chariot go the distance, or has this ride seen its last mile?

The End of Antiquity is driven by allegiance to metal in the purest form, and Chariots Overdrive wield it with punk-like tenacity. Speed and belligerence rule The End of Antiquity, embodied in the full-band gang vocals of “Marching Maniacs” and the Dead Kennedys-like discordance of “Parasite.” The belts and snarls singer G.H.Z uses on “A Taikonautic Alchemist” and “Chariots Overdrive”1 would fit as well with Rancid as they do here, and their guitars and bass evoke the aforementioned early Maiden years in the punkish bite (“The End of Antiquity”). Bassist Z.Z.Y lays down aggressively clicky, highly melodic lines across The End of Antiquity, giving Chariots Overdrive a burly-yet-catchy streak akin to Steve Harris’ playing and bolstering G.H.Z and Y.Z’s gnarly dual guitars and W.R.C’s punchy drums into a full-bodied declaration of victory. Chariots Overdrive feel rooted in the simple joy of throwing ragers with the boys, and The End of Antiquity is, if nothing else, a rager.

Chariots Overdrive don’t overcomplicate anything, which is a boon and bane to The End of Antiquity. Most songs play around simple melodies over two to four chords. Guitar solos aren’t flashy on The End of Antiquity, but they’re incisive. When the outcome is exhilarating like “Chariots Overdrive” or Judas Priest-levels of catchy like “Marching Maniacs,” it’s hard to argue. But it also puts the onus of The End of Antiquity’s success on Chariot Overdrive’s performances, which can falter. G.H.Z isn’t a powerhouse vocalist and sounds downright rough at times, especially where Chariot Overdrive attempt harmonization, such as the chorus of “A Taikonautic Alchemist.” It also means that, despite the album’s lean runtime, The End of Antiquity sounds somewhat exhausted by the time “Nomadic Warfare” and the title track appear, as their hooks are comparatively weaker to the rest of the record. I’m all for simplifying something for the sake of effectiveness, but what’s left has to be as tight as you can make it. In this regard, Chariots Overdrive can improve.

What Chariots Overdrive need is a more refined identity. Like early Iron Maiden, Chariots Overdrive seem to strive towards a dirty-yet-sophisticated sound and theming, evidenced by the fingerstyle guitar and serene bass-and-piano interludes of “Where Dust Reigns” and “Sunken Throb,”2 but these instrumentals’ moods aren’t matched or mirrored by the rest of the album and feel tacked-on as a result. The standout, 12-minute song “A Bizarre Pilgrimage to the Cubik Mansion” hints at what Chariots Overdrive can do, as the band navigates artfully between Motörhead’s hyped-up rock n’ roll and Black Sabbathian gloomy doom.3 But the track buckles a bit under its weight by the end and feels done a few minutes before it’s over. Chariots Overdrive are engaging by grit and energy, but without a solid grasp on what exactly they are doing, The End of Antiquity can only be a fun-but-flawed work when taken as a whole.

The End of Antiquity has some flaws, but I still like where the Chariots Overdrive van is going. If you like any of the bands mentioned above it’s a safe bet you’ll get something out of this. There’s obvious chemistry between the band, and their debut has plenty of good moments throughout that are both fun in the present and hint towards a stronger future. I don’t want Chariots Overdrive to give up on what they’re doing, but if they can merge their punk hooliganism with the finesse they aspire towards in the next album, it’ll be a hit. There’s a lot of highway ahead, but this chariot’s got tread to spare yet.

Rating: Mixed
DR: 84 | Format Reviewed: 320 kbps MP3
Label: Gates of Hell Records
Websites: chariotsoverdrive.bandcamp.com | facebook.com/chariotsoverdrive
Releases Worldwide: April 3rd, 20265

44 years ago
Dead Kennedys backstage at the Whisky a Go Go, April 1982.

D.H. Peligro, Klaus Flouride, East Bay Ray and Jello Biafra.

Photo by Glen E Friedman.

#punk #punks #punkrock #hardcorepunk #deadkennedys #whiskyagogo #history #punkrockhistory

45 years ago today
Brian Gay, Henry Rollins, John Stabb and Ian Mackaye backstage at a Dead Kennedys show, Irving Plaza, New York City, April 24, 1981

#punk #punks #punkrock #hardcorepunk #hardcore #deadkennedys #history #punkrockhistory #otd

41 years ago today
Dead Kennedys at the Rock Against Hunger show, Rutgers Camden Athletik Center, New Jersey, April 20, 1985

The lineup included Corrosion of Conformity, Articles of Faith, Flag of Democracy and Decontrol.

Photos by Tom Mihalek

#punk #punkrock #hardcorepunk #deadkennedys #punkrockhistory #otd

Because it's time to bring this song back

Dead Kennedys - "California Über Alles" (LIVE)

https://www.youtube.com/watch?v=N4a1Rlyc0iM

#music #deadkennedys

The Next Jello Biafra? High School Kid Juggles Jazz Band, Marching Band, Wind Ensemble, and Side Project With the Melvins

https://web.brid.gy/r/https://thehardtimes.net/uncategorized/the-next-jello-biafra-high-school-kid-juggles-jazz-band-marching-band-wind-ensemble-and-side-project-with-the-melvins/

The Next Jello Biafra? High School Kid Juggles Jazz Band, Marching Band, Wind Ensemble, and Side Project With the Melvins

https://web.brid.gy/r/https://thehardtimes.net/uncategorized/the-next-jello-biafra-high-school-kid-juggles-jazz-band-marching-band-wind-ensemble-and-side-project-with-the-melvins/

The Next Jello Biafra? High School Kid Juggles Jazz Band, Marching Band, Wind Ensemble, and Side Project With the Melvins

https://web.brid.gy/r/https://thehardtimes.net/uncategorized/the-next-jello-biafra-high-school-kid-juggles-jazz-band-marching-band-wind-ensemble-and-side-project-with-the-melvins/

The Next Jello Biafra? High School Kid Juggles Jazz Band, Marching Band, Wind Ensemble, and Side Project With the Melvins

https://web.brid.gy/r/https://thehardtimes.net/uncategorized/the-next-jello-biafra-high-school-kid-juggles-jazz-band-marching-band-wind-ensemble-and-side-project-with-the-melvins/

The Next Jello Biafra? High School Kid Juggles Jazz Band, Marching Band, Wind Ensemble, and Side Project With the Melvins

https://web.brid.gy/r/https://thehardtimes.net/uncategorized/the-next-jello-biafra-high-school-kid-juggles-jazz-band-marching-band-wind-ensemble-and-side-project-with-the-melvins/

·· azkenak airean - last broadcast ··

the idiots
dead kennedys
the anti-patiks
miss españa

Entzun / Listen (streaming):
https://punkirratia.net:8443/punk

#theidiots #deadkennedys #theanti-patiks #missespaña #FediRadio #punk #streaming #NowPlaying #music #musica #musique #musika #MastoRadio

46 years ago today
Dead Kennedys - Kill The Poor - Live at The Warfield, San Francisco, March 25, 1980

The sun beams down on a brand new day
No more welfare tax to pay
Unsightly slums gone up in flashing light
Jobless millions whisked away
At last we have more room to play
All systems go to kill the poor tonight

Gonna kill, kill, kill, kill, kill the poor
Kill, kill, kill, kill, kill the poor
Kill, kill, kill, kill, kill the poor tonight

#punk #punkrock #hardcorepunk #deadkennedys #killthepoor #history #punkrockhistory

Nazi punks fuck off

International Day for the Elimination of Racial Discrimination, March 21, 2026

Fight racism, fascism and anti-Semitism every day, always, without compromise

#fucknazis #fightracism #nazipunksfuckoff #deadkennedys #punkrockhistory

**Common Sense, No. 13 (January 1993)**

#SocialJustice #WorkersRights #Activism #Empowerment #Community #DeadKennedys

https://libcom.org/article/common-sense-13-january-1993

#biafra #jello #deadkennedys
https://www.rollingstone.com/music/music-news/dead-kennedys-jello-biafra-stroke-1235524315/

#biafra #jello #deadkennedys
https://www.rollingstone.com/music/music-news/dead-kennedys-jello-biafra-stroke-1235524315/

Dead Kennedys
California Uber Alles
Mabuhay Gardens
San Francisco
1979

All the best for you Jello 🍀

#punk #punks #punkrock #hardcorepunk #deadkennedys #jellobiafra #history #punkrockhistory

Traveling #PunkRock outdoor live #music #festival series cancelled after organizer's support of #DJT called into question, and boycotts initiated before #PunkInThePark dates in Pittsburgh PA; Orlando FL; and Vallejo, CA were pulled.

The two original remaining #DeadKennedys members who signed on to play said they were previously unaware of the promoter's support of the current President, but would perform anyway to honor their contract and not rip off ticket buyers.

Long estranged original DK vocalist Jello Biafra, who is no longer in the band stated "They’re taking the money $$$, and THEN pulling out?" he wrote in a statement to #Stereogum.

Other bands that were participating this year despite previous adverse #publicity included The Adicts & The Exploited from UK, #Fear, #LeftoverCrack, #AgnosticFront, The Queers, #Nekromantix, Manic Hispanic, Naked Aggression, Screeching Weasel and #Sissyfit.

#Punk In The Park had sucessfully managed many alt rock #concert events for several years before main organizer Cameron Collins' #Drumpf campaign donations became too large of a liability for acts that have in past participated in Brew Ha Ha Productions events. Last year #DropkickMurphys & #Dillinger4 jumped off the bill and made no secret their dissatisfaction with the promoter's #TrumpRegime support.

Previous #bands on fest stages run by the this promotor in past have included #RichKidsOnLSD #NOFX #StreetlightManifesto and #Pennywise at events like #PunkInDrublic, Summer Roots, Silverado Showdown, #CampAnarchy etc ...

https://www.brooklynvegan.com/punk-in-the-park-cancels-2026-edition-after-backlash/

https://www.presstelegram.com/2026/02/27/punk-in-the-park-canceled-acts-exit-due-to-festival-founders-trump-support/

Traveling #PunkRock outdoor live #music #festival series cancelled after organizer's support of #DJT called into question, and boycotts initiated before #PunkInThePark dates in Pittsburgh PA; Orlando FL; and Vallejo, CA were pulled.

The two original remaining #DeadKennedys members who signed on to play said they were previously unaware of the promoter's support of the current President, but would perform anyway to honor their contract and not rip off ticket buyers.

Long estranged original DK vocalist Jello Biafra, who is no longer in the band stated "They’re taking the money $$$, and THEN pulling out?" he wrote in a statement to #Stereogum.

Other bands that were participating this year despite previous adverse #publicity included The Adicts & The Exploited from UK, #Fear, #LeftoverCrack, #AgnosticFront, The Queers, #Nekromantix, Manic Hispanic, Naked Aggression, Screeching Weasel and #Sissyfit.

#Punk In The Park had sucessfully managed many alt rock #concert events for several years before main organizer Cameron Collins' #Drumpf campaign donations became too large of a liability for acts that have in past participated in Brew Ha Ha Productions events. Last year #DropkickMurphys & #Dillinger4 jumped off the bill and made no secret their dissatisfaction with the promoter's #TrumpRegime support.

Previous #bands on fest stages run by the this promotor in past have included #RichKidsOnLSD #NOFX #StreetlightManifesto and #Pennywise at events like #PunkInDrublic, Summer Roots, Silverado Showdown, #CampAnarchy etc ...

https://www.brooklynvegan.com/punk-in-the-park-cancels-2026-edition-after-backlash/

https://www.presstelegram.com/2026/02/27/punk-in-the-park-canceled-acts-exit-due-to-festival-founders-trump-support/

Traveling #PunkRock outdoor live #music #festival series cancelled after organizer's support of #DJT called into question, and boycotts initiated before #PunkInThePark dates in Pittsburgh PA; Orlando FL; and Vallejo, CA were pulled.

The two original remaining #DeadKennedys members who signed on to play said they were previously unaware of the promoter's support of the current President, but would perform anyway to honor their contract and not rip off ticket buyers.

Long estranged original DK vocalist Jello Biafra, who is no longer in the band stated "They’re taking the money $$$, and THEN pulling out?" he wrote in a statement to #Stereogum.

Other bands that were participating this year despite previous adverse #publicity included The Adicts & The Exploited from UK, #Fear, #LeftoverCrack, #AgnosticFront, The Queers, #Nekromantix, Manic Hispanic, Naked Aggression, Screeching Weasel and #Sissyfit.

#Punk In The Park had sucessfully managed many alt rock #concert events for several years before main organizer Cameron Collins' #Drumpf campaign donations became too large of a liability for acts that have in past participated in Brew Ha Ha Productions events. Last year #DropkickMurphys & #Dillinger4 jumped off the bill and made no secret their dissatisfaction with the promoter's #TrumpRegime support.

Previous #bands on fest stages run by the this promotor in past have included #RichKidsOnLSD #NOFX #StreetlightManifesto and #Pennywise at events like #PunkInDrublic, Summer Roots, Silverado Showdown, #CampAnarchy etc ...

https://www.brooklynvegan.com/punk-in-the-park-cancels-2026-edition-after-backlash/

https://www.presstelegram.com/2026/02/27/punk-in-the-park-canceled-acts-exit-due-to-festival-founders-trump-support/

Let me preface this by saying I personally don't agree with what Dead Kennedys are doing now, going around, yknow, the corpo cocksucking etc (only because they always claimed to be against that?) - NOT that Jello is a saint or anything. But I loved them as a kid, those records were HUGE to me and still are, when I hear em.

As a young teen, my friends and I would share and trade albums around, show each other bands. Pretty sure I heard Bedtime for Democracy and Plastic Surgery Disasters from my best friend when I was 13 or 14 in 1993 or 1994. Plastic Surgery Disasters got packed with that other EP later, which was cool, but just the straight PSD LP itself is beauty and perfection: https://www.youtube.com/watch?v=szYMGy4RMGM

Hearing this as a 14 year old kid, well, it's still in my DNA. Bigtime.

#punk #PunkRock #80s #1980s #80sPunk #DeadKennedys #ClassicPunk #SeminalAlbums #SeminalRecords #JelloBiafra #80sRecords #80sAlbums @Defiance @FeloniousPunk @NMYCMBTNT @alipunk @fistfulofdave @irafcummings @entichahoosh

42 years ago – what an awesome lineup!

Dead Kennedys, Flipper, and Bad Brains, On Broadway, San Francisco, California, February 6, 1984

Photos by Jennifer Patterson Lohmann

#Punk #Punks #Punkrock #HardcorePunk #DeadKennedys #BadBrains #Flipper #History #PunkrockHistory

As this new year has gotten off to a right proper, lunacy-fueled start, I scoured the sump pit in search of something to pen my first review of 2026 on. As I poked through the pickens, slim as they were, I spied one of my favorite tags: ‘Steel says review,’ sitting unclaimed. Self-described as ‘free form death-jazz,’ Umeå, Sweden’s Backengrillen play music that is a paean to chaos and destruction. The basic idea is to take a death/doom metal, or noiserock riff and play it until it loses meaning and then break it apart like a ravenous cat would a tiny forest mouse. Okay, I thought, I’ll bite. Formed primarily from the ashes of the now twice-dead Swedish post-hardcore legends Refused, vocalist Dennis Lyxzén, bassist Magnus Flagge, and drummer David Sandström have partnered with composer and saxophonist Mats Gustafsson to release Backengrillen, their eponymous debut album on Svart Records. Backengrillen cull inspiration from The Cramps and Little Richard to Entombed, Misfits, and Can. With such an eclectic cadre of performers to draw muse from, I was thoroughly intrigued to dive into Backengrillen and discover what I had gotten myself into.

Experimentally chaotic yet at times catchy and compelling, Backengrillen reaps seeds first sown on Refused’s initial 1998 swan song, The Shape of Punk to Come. Where TSoPtC only dabbled outside traditional punk and hardcore tropes, though, Backengrillen embeds those fringe elements of ambiance, electronics, and jazzy instrumentation as the spine of its soundscape, with Gustafsson carrying most of the weird load. His role as frenetic flautist, huffing, puffing, and grunting violently over his flute’s embouchure like some deranged Ian Anderson (“Dör för långsamt”), and psychotic saxophonist, skronking, squawking, and swooning (“Backengrillen”), counterbalances Backengrillen’s more alt-punk style, homogenizing the whole into something akin to Morphine on meth.

Backengrillen by Backengrillen

Written during Backengrillen’s first rehearsal, performed live the next day, then recorded the day after that, Backengrillen is a gutsy shot in the dark. As off-the-cuff as it is, there are moments on Backengrillen that came off way more methodical than the nature of their origin would suggest. Launching from a simple, keyed melody, “A Hate Inferior” builds slowly as layers of drums, bass, and smarmy sax eventually coalesce into a scorched-earth sludge bomb that hits around the three-minute mark, and is topped off by Lyxzén’s nuclear scream, whose vocals sound like a mix of Zach de la Rocha and Jello Biafra. From that point on, the track had me rocking a slow and steady stank-faced head bob. Then there’s, at least for me, the humorously titled “Repeater II,” which is the shortest and most traditionally structured of the bunch—clocking in at a brisk six minutes forty-three seconds. A rompy, punk-fueled ditty that sounds like a mix of The Cramps, Dead Kennedys, and Nirvana, with a bit of sax thrown in for good measure, and Lyxzén, at his most Biafra-like, shouting the infectious chorus, ‘Hey, repeat it, repeat it again,’ over and over.

Whipped up quicker than a batch of Mom’s Rice Krispies treats, Backengrillen suffers most from impoverished improvisation. Despite the churlish charm present on the tracks mentioned above, the rest of this five-song, fifty-three-minute monster isn’t nearly as engaging or easy to listen to. “Dör för långsamt,” for example, is just over thirteen minutes of Gustaffson’s squawky, dying-animal sax playing entwined with a bevy of Lyxzén’s screeches, screams, grunts, and queasy, drunken-sounding chorus lines layered over a plodding, tribal bass and drum beat. “Backengrillen” fares no better, eleven minutes of sluggish drum and bass holding up Gustaffson’s breathy, trilly flute and barely tuned saxophone alongside another Lyxzén performance made up of pitchy, swaying chants and lots of grunting screams. And on every play through, by the time “Socialism or Barbarism” rolled around, I was checked out and ready to move on. This made slogging through the tracks’ first three minutes of electronic noise that much harder to digest, let alone the remaining 7.5 minutes.

Had this been recorded as one continuous, fully improvised live set in some Västerbotten County dive-bar, complete with sparse crowd reactions, by four musicians who’d never played one note together, it might have hit different.1 As it stands, my greatest takeaway from this experience was discovering Refused, which I actually had a lot of fun listening to during my prep. And for those wondering, why no puns, here you go. Ultimately, there isn’t enough meat grillen here to get me to come Backen.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: 320 kb/s mp3
Label: Svart Records
Websites: Bandcamp
Releases Worldwide: January 23, 2026

Don't worry about cds copies. Todo is allright.

#joeyramone #dontworryaboutme #deadkennedys #freshfruitforrottingvegetables #jellobiafra #letigre #feministsweepstakes #fritzbol #atelierscarole #lorient #lanester

Don't worry about cds copies. Todo is allright.

#joeyramone #dontworryaboutme #deadkennedys #freshfruitforrottingvegetables #jellobiafra #letigre #feministsweepstakes #fritzbol #atelierscarole #lorient #lanester

Don't worry about cds copies. Todo is allright.

#joeyramone #dontworryaboutme #deadkennedys #freshfruitforrottingvegetables #jellobiafra #letigre #feministsweepstakes #fritzbol #atelierscarole #lorient #lanester

Pochettes fictives pour vraies copies de vrais albums.

#deadkennedys #osmutantes #fritzbol #atelierscarole #lorient #lanester

Pochettes fictives pour vraies copies de vrais albums.

#deadkennedys #osmutantes #fritzbol #atelierscarole #lorient #lanester

A homeless woman leans against a wall covered in graffiti by the punk bands Dead Kennedys and Bad Brains. Venice, California.

Photo: © Ken O'Brien

#punk #punks #punkrock #hardcorepunk #deadkennedys #badbrains #history #punkrockhistory

42 years ago
Singer Jello Biafra and guitarist East Bay Ray performing with the Dead Kennedys at Club Minimal in Sacramento, California, December 1983

Photo by Larry Hulst

#punk #punks #punkrock #hardcorepunk #deadkennedys #jellobiafra #eastbayray #history #punkrockhistory

I guess Jello didn’t trust his mechanic.

https://www.hemmings.com/auction/1989-toyota-celica-carmichael-ca-286952

#DeadKennedys #JelloBiafra #ToyotaCelica

43 years ago today
Dead Kennedys and M.D.C. at Paradiso Grote Zaal (Main Hall), Amsterdam, Sunday, December 5, 1982.

#punk #punks #punkrock #hardcorepunk #deadkennedys #mdc #history #punkrockhistory #otd

44 years ago
December 1981, cover shoot for Sounds with Dead Kennedys frontman Jello Biafra. He wears a leather jacket as a straitjacket with lettering from bands he hates

📸 Andy Phillips

#punk #punks #punkrock #hardcorepunk #jellobiafra #deadkennedys #history #punkrockhistory