The review of Dying Breed’s album marks the hundredth review on our website. I chose this record for the occasion for two reasons. First, I think this album has been seriously underrated. And second, because Dying Breed represent exactly what I love about this subculture: a clear commitment to the scene, independence from major distribution and the usual commercial music business, pride, a DIY approach, and above all, one hundred percent skinhead rock’n’roll.
Dying Breed come from Barcelona. On vocals is Ramón, a graphic artist behind many subcultural projects and a member of the organizing crew of the Beach Beer Chaos festival. The band plays in the classic lineup of drums, guitar, bass, and vocals. They released this album in 2022 and it contains eight songs. The booklet includes all the lyrics—sung in English—along with translations into Catalan and Castilian Spanish. The album was released independently on the local label La Nostra Força.
From the first minute to the last, this is honest skinhead rock’n’roll. In the music, the themes, and the overall spirit. The opening track Drunk And Disorderly tells the story of young lads getting their first taste of the subculture, the skinhead cult, and heavy boots. It’s exactly the kind of story anyone who has lived through it understands. That moment when something pulls you in and never really lets go—the feeling that still makes you pick up the clippers and keep hunting for new records.
Most of the songs move at a fast pace and rely on strong gang choruses. It’s a simple formula, but here it works perfectly. The directness gives the whole record its punch and drive.
Boots On The Concrete and the following We Bring The Chaos dive straight into pure street-level aggression. In Boots On The Concrete I especially appreciate the reference to the boss sound of reggae records, which has always been part of the culture alongside heavy boots and a pint in hand. We Bring The Chaos is my personal favorite from the album. For a while I had it on constant repeat—the way the pounding choruses connect with the band’s aggressive sound just works. The A-side closes with Every Day, a classic working-class theme about the grinding routine of everyday labor. At the same time, it’s probably the most melodic track on the whole record.
Side B kicks off with Nothing But Pose, which hits like a pack on the attack. Hard, determined, and lyrically aimed at dealing with posers on the scene. It’s followed by One Fine Day, another burst of street-level aggression. The second-to-last track addresses the fate of the Catalan independence referendum, which was suppressed by the repressive forces of the Spanish state. The album closes with In The Darkest Hour, a call to fight for freedom where themes of pride mix naturally with the everyday struggles of working-class life.
Musically, I would compare the band to Exilli, which isn’t surprising given their connection. A similar kind of street rock’n’roll is currently being played in the US by bands like Lejonen.
So why did I choose this album for the hundredth review? Because Dying Breed are exactly what I expect from a skinhead band. A strong sound, pride in their roots, and lyrics that reflect the realities of their own place. We don’t need hundreds of bands trying to write anthems like Cock Sparrer. We already have them, and that’s enough. What the scene really needs are local bands—bands that keep their local scenes alive, pull new people in, and keep the flag of the subculture flying high.
That’s why I have a lot of respect for Dying Breed, and why I’ve grown so fond of this record. It radiates authenticity. And that’s the most important value I look for in street rock’n’roll.
TOP TRACKS: We Bring The Chaos, Every Day, In The Darkest Hour
