The Lillingtons (Finally) Sign To Fat Wreck Chords

The LillingtonsLong running pop-punk act The Lillingtons have signed on with Fat Wreck Chords.  The band plans to release a new album, which was recorded at The Blasting Room, later this year.  The band released their Project 313 EP through Red Scare Industries earlier this year.

The signing comes after many years of explicit adoration from Fat Wreck Chords towards the band, but which up until now was never successful at landing the band on the label’s iconic roster.  Looks like patience and persistence have payed off for the label.

The Lillingtons – Rubber Room

The LillingtonsPop punk band The Lillingtons has premiered a new song from their upcoming album.  The song is titled “Rubber Room” and will appear on the upcoming album, Project 313, which is set to drop on June 9, 2017 via Red Scare Records.

Listen to the song below.

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Tours: Stabbed In The Back / The Lillingtons

stabbed in the backAlbuquerque, NM political punks Stabbed In Back have announced that they will be joining The Lillingtons for a handful of east coast shows in May. The band has plans for their next full length later this year with Chris Fogal of the Gamits producing, mixing and mastering the currently unnamed disc.

Tour dates below.

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The Lillingtons - The Backchannel Broadcast

The Lillingtons

The Backchannel Broadcast [re-release]

Panic Button / Red Scare Industries

Rating: 3/5




There have been understandably energetic efforts to reintroduce The Lillingtons to the world. Their energy set them apart in early-2000s punk. Each track on the re-released Backchannel Broadcast has appeared in the ether at least once before, whether on Lookout! records, a Red Scare re-release, or a 2005 box set largely consisting of live tracks. Despite the historically plausible argument that The Lillingtons broke ground that Cobra Skulls and Rise Against discovered at best concurrently, they’ve been in dire need of an audience. The Red Scare Industries re-release is the next shot at that goal.

In some ways, their relentless obscurity makes sense. The Backchannel Broadcast was their best effort to date but, with its kitschy espionage theme may have been a bit much for a fanbase informed largely byThe Ramones and Screeching Weasel (different subsets of kitsch entirely). Some of the album’s technical decisions confuse what may have been a serious message – the out-of-place echoes on “Mind Control”-themed lines, the flimsy narration of “Wrecking Ball” – that could’ve said something important about COINTELPRO and other aspects of America’s international ‘intelligence-gathering’ later picked up on by the likes of Propaghandi and Rise Against.

Given the band’s background it’s reasonable to assert a straight political album wasn’t their intent, but the gravity put into the album’s driving chords and references to actual espionage history speak more to an unclear message rather than a lack of one.

The best tunes on the album, “Santa Fe-O” and “Mind Control” have desert sound and strong rhythms that match Cobra Skulls in their prime. Elsewhere “Badman With The Devil’s Hand” attempts the same strength without quite making it, and some tracks are propped up by six-shooter spaghetti tales that, while fun, are no Murder By Death. Indeed, on “One Armed Man” it is advised that “I’m gonna draw my gun,” so “you better run,” and the tracks with this sort of playful yet ho-hum machismo leave little impression. This tonal shift backloads the album and weakens the opening tracks’ strong focus on the world of the intelligencer.

Given the success of fraternal groups like Teenage Bottlerocket and the separate ways other members of the Lillingtons have taken, and given that some of their most interesting ideas have been taken over by more protest-oriented bands, it’s hard to be optimistic this group will soon be putting in additional effort to develop their style. Perhaps the interests of the on and off-again bandmates signal those interests are simply no longer around. That would be a shame, because despite some questionable choices on the album, they were really onto something.