#die-kreuzen — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #die-kreuzen, aggregated by home.social.
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The Turned Out A Punk podcast can really be a weird animal sometimes. The episode that dropped today is with Daniel Kubinski of Die Kreuzen. That's a band I love and used to subvert the #WREK911fm automation system to make it play "Elizabeth" much more often than it was formatted for. So I am in all ways the ideal audience for this.
It's also 3 hours and 40 minutes long. Even for a subject and guest that I'm way into, that is a test of patience. I personally would have maybe made it two 2 hour episodes or three 1:10 episodes. I'm listening now but this is a real test of patience.
https://redcircle.com/shows/turned-out-a-punk/ep/8bc237cb-0beb-4a01-aa69-e15d947d6eff
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The Crosses (ex-Die Kreuzen,Big Laugh) To Release Debut LP ‘Outlier’ On April 17th
Photo by Andrew FellerWe are proud to announce that The Crosses’s debut EP, “Outlier”, is slated for release on April 17, 2026 via Triple Eye Industries, Spectragram Records and Rushmor Records. Pre-order from now on here.
On their debut release on the heels of a well-received single, The Crosses forge a sound that bridges their hardcore roots with the angular, progressive metallic edge of bands like Voivod. Fronted by Daniel Kubinski of Die Kreuzen, the band layers dissonant, tension-filled guitar work over tightly controlled, modern hardcore rhythm. Alongside a full set of original material, the record includes a reworked Die Kreuzen track and a Hüsker Dü cover—tying their forward-thinking sound to the Midwestern lineage that shaped them. With guitarist Jim Potter (Dr. Shrinker), bassist Christopher Ortiz (Magnetic Minds / Speed Freaks), and drummer Jesse Sieren (Big Laugh / Revelation Records), The Crosses offer a rare blend of metallic precision and punk urgency.
The Crosses began as a vehicle for Daniel Kubinski to bring classic Die Kreuzen material back to the stage—first revisiting the raw speed of Cows and Beer and the self-titled LP, then gradually expanding into the darker tension of October File and the expansive, post-punk-influenced territory of Century Days. As the lineup solidified—especially with the addition of Sieren on drums—the band naturally evolved into writing original material that reflected the full span of Die Kreuzen’s sonic DNA. The result captures the hardcore ferocity of the first three Die Kreuzen records while benefiting from decades of Kubinski’s vocal evolution and artistic maturity. With Die Kreuzen’s influence long acknowledged by artists from Soundgarden to Sonic Youth, The Crosses feel less like a revival and more like the next logical chapter in that legacy.
For a decade, The Crosses served as the custodians of the Die Kreuzen legacy, bringing those classic songs back to the stage with original vocalist Daniel Kubinski. But after ten years of refining that intensity, the band has evolved. They are no longer just looking back—they are moving forward with a set of original material that carries the same DNA.The first original recordings from The Crosses featuring the voice of Die Kreuzen. After 10 years of celebrating the legacy, the next chapter begins. Includes members of Dr. Shrinker & Big Laugh.
#BIGLAUGH #DIEKREUZEN #HARDCOREPUNK #MUSIC #NEWS #THECROSSES -
“Don’t Say Please: The Oral History Of Die Kreuzen” by Sahan Jayasuriya (Feral House)
Let’s be honest, if you grew up in the eighties or nineties worshiping at the altar of the independent underground, the name Die Kreuzen carries a weight that most hall of fame acts couldn’t dream of. They were the ultimate musician’s band, a group of four guys from Milwaukee who didn’t just participate in the American hardcore scene, but they essentially broke its spine and rebuilt it into something unrecognizable. For years, their story was scattered across old zines, liner notes, and the hazy memories of people who were lucky enough to be in the front row at the Starship, but with Don’t Say Please: The Oral History of die Kreuzen, Sahan Jayasuriya has finally given this band the definitive, brick-heavy monument they deserve. It’s a long-overdue archaeological dig into the Rust Belt shadows where the future of alternative music was actually forged. To understand why this book is so important, you have to understand the sheer anomaly of Die Kreuzen. Emerging from an industrial Milwaukee that felt light-years away from the hype of the coasts, Dan Kubinski, Keith Brammer, Brian Egeness, and Erik Tunison formed a unit that was almost terrifyingly proficient. Jayasuriya, a veteran Milwaukee music scribe who clearly has the DNA of the city’s scene under his fingernails, approaches the subject with the perfect balance of a fan’s obsession and a journalist’s precision. He spent a decade on this thing, and it’s vividly hearable on every page. The story drops you right into the disaffection of the Midwest, where the wreckage of punk was being fused with a strange, metallic haste and the kind of atmospheric dread you’d usually find on so many underground records.
The beauty of the oral history format, when done correctly as it is here, lies in its lack of a filter. Jayasuriya lets the band members speak for themselves, and the chemistry and occasional friction are more than notable. You get the sense that Die Kreuzen didn’t really care about being punk in the stylistic sense. They were punk in the philosophical sense, meaning they were completely bored by rules. The book tracks their evolution from the self-titled LP, which remains one of the fastest, most precise documents of hardcore ever pressed to wax, through the psychedelic, dark-pop explorations of October File and Century Days. It’s a fascinating look at a band that refused to stand still, even when standing still might have actually made them some money. When you’re reading reflections from the likes of Steve Albini, Thurston Moore, and Butch Vig, you realize that Die Kreuzen wasn’t just a blip on the radar, but the radar itself. These are the architects of the nineties alternative boom, admitting that they were taking notes while watching Die Kreuzen play to thirty people in a basement. Hearing Neko Case or Lou Barlow talk about the band’s tremendous impact adds another layer that you don’t usually get in rock docs. It’s one thing for a fan to say a band is great and another thing entirely for the producers of Nevermind and the leaders of Sonic Youth to explain how this specific Milwaukee band changed the way they thought about melody and aggression.
Jayasuriya’s writing, or rather, his curation, captures the relentless grind of the 1980s touring circuit. There’s a certain nerve to the stories of traveling in cramped vans, playing for gas money, and dealing with audiences that didn’t always know what to make of Brian Egeness’s increasingly complex guitar work or Dan Kubinski’s otherworldly vocals. The book doesn’t shy away from the reality that the band called it quits just as the mainstream was finally beginning to catch up to the alternative sound they helped invent. There’s a bittersweet quality to the final chapters, a sense of what if, but it’s tempered by the band’s total lack of regret for their uncompromising stance. They did exactly what they wanted, and they did it better than almost anyone else. Visually, the book is a feast. For the true fans, the inclusion of rare photos, flyers, and lost ephemera acts as a visual timeline of a scene that was often too fast and too loud to be properly documented. You can see the transition in their eyes and their gear, moving from the raw energy of the early eighties into the more sophisticated, brooding presence they occupied by the turn of the decade. Jayasuriya has scoured the archives with a level of dedication that borders on the religious, unearthing photos that feel like they should have been on the walls of a museum long ago.
What I appreciate most about Jayasuriya’s approach is that he doesn’t treat Die Kreuzen as a museum piece. He treats them as a living influence. He understands that their sound, that jagged, beautiful, heavy, and melodic mess, is still echoing in the music of today. Whether it’s in the DNA of modern post-hardcore or the way heavy bands now feel comfortable embracing noise-pop, the fingerprints of Die Kreuzen are everywhere. Don’t Say Please is the definitive map to finding those prints. It’s a semi-casual yet deeply knowledgeable examination of a brutal and visionary career. If you’re a Die Kreuzen fan, you probably already have ordered this one. If you’re a student of underground history, you need it to understand how the dots connect. Sahan Jayasuriya wrote a love letter to the idea that being unclassifiable is the highest compliment a musician can receive. Die Kreuzen never asked for permission to change the world, and they certainly didn’t say please. This book is the loud, proud, and perfectly executed proof of their genius.
#ALTERNATIVE #DIEKREUZEN #FERALHOUSE #GRUNGE #HARDCOREPUNK #MUSIC #REVIEWS
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On 07 June 1984, Die Kreuzen released their self-titled debut album.
With a trademark sound that oscillated between raging hardcore punk, noise and proto-grunge, topped off with unmistakable vocals, the band produced one of the most unique outputs of the US hardcore scene.
"Man, there was a point there when Die Kreuzen were the best band in the USA" - Sonic Youth's Thurston Moore
11. Pain/Sick People
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38 years ago
October File is the second album by Die Kreuzen, released in May 1986 through Touch and Go Records.#punk #punks #punkrock #hardcorepunk #hardcore #posthardcore #diekreuzen #history #punkrockhistory
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#MetalInjection
GREG ANDERSON Of SUNN O))) & DANIEL KUBINSKI Of DIE KREUZEN Stream Hellish New Single
We need more of this.#GregAnderson #SunnODaniel #DanielKubinski #DieKreuzen #NewSingle #Collaboration #HeavyMusic #MetalInjection
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I keep seeing a sealed re-issue of this record -- which enjoys serious Holy Grail status in my life -- at my local Vinyl Hut. Its price had been dropping steadily for weeks, to the point where I assume it either got stolen or flew the coop for five bucks. And while it makes me a little bit sad to think about how many people will never hear its blistering fury, there is also a quiet comfort in realizing that no one really cares about your bullshit anymore.
