Danny & Jesse on the Eddie Trunk Podcast

Check out Danny and Jesse as they appear on the Eddie Trunk Podcast. You can grab it over at iTunes at the link below:

Click Here to listen.


Tonight, 7pm and 11pm ET on SiriusXM Faction Channel 41, hear Jesse and Danny interviewed by Bryan Cullen!

Release Day – Irving Plaza show TOMORROW!

Nothing is Anywhere is in stores today! Come out and see us at Irving Plaza tomorrow night (Saturday July 30) for our show with Biters, Jeremy and the Harlequins, and Wyldlife!

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“We never broke up,” says Jesse Malin. “Bands break up, but we’re a family, and that’s something you can never get away from. We were brothers from the start.”

It’s been nearly two decades since NYC rock and roll pioneers D Generation released their last album, but it’s hard to imagine a more appropriate—and a more necessary—time for their biting commentary and fearless punk energy to come roaring back. On their new record, ‘Nothing Is Anywhere,’ the influential quintet is as sharp and piercing as ever, reflecting on their early days as outsiders and misfits, taking the piss out of New York’s new generation of trust fund bullshit artists and corporate sponsors, and pulling no punches in a penetrating portrait of a society that’s somehow simultaneously both more polarized and more homogeneous than ever.   

Hailed by Rolling Stone as “the best thing to happen to New York noise in the Nineties,” D Generation evolved out of the hardcore scene that flourished in NYC’s underground in the 1980’s. Already respected veterans and seasoned performers by their teenage years, the band’s five members—singer Jesse Malin, guitarist Danny Sage, bassist Howie Pyro, drummer Michael Wildwood, and guitarist Richard Bacchus—bonded over a shared disgust with popular culture, writing incendiary, explosive music as a violent reaction to the toothless art that dominated the airwaves around them.

“We were sick of the way bands looked, the way bands acted,” explains Malin. “We were tired of bands who had nothing to say and who looked like farmers, or jocks, or gas station attendants.”

“We loved bands that were a lifestyle,” adds Sage. “We wanted that for ourselves. A band has to be like a gang, a family. We fell into that easily because we’d been playing together and had known each other for so long.”

A hurricane of raw energy and reckless abandon, D Generation was impossible to ignore. Former Rolling Stones manager Giorgio Gomelsky took the band under his wing, inviting them to his infamous Chelsea loft where they wrote and rehearsed religiously. Their early shows at clubs like Continental and CBGB’s were spectacles that had to be seen to be believed: smashed equipment, dangerous volume, bottles flying through the air, crowds beyond a fire marshal’s worst nightmare. Gigs were a packed crush of obsessive rock and roll fans, models, drag queens, hardcore punks, and drunks; an audience as eclectic as the band itself.

“We might have been a lot of things,” reflects Sage, “but we were never boring.”

The press took notice, with attention everywhere from the New York Times to Rolling Stone fueling their national rise. They released their self-titled debut on EMI in 1994, and following a massive bidding war, moved to Columbia Records for their critically acclaimed follow-up ‘No Lunch,’ which was produced by The Cars’ Ric Ocasek. Famed Rolling Stone critic David Fricke called it “a stone classic,” raving in a 4-star review that “there is no better sales pitch for the snot-rock classicism and teenage-warfare spirit,” while SPIN said the songs “wrap the dirty city up in (less than) three tumultuous minutes and stuff it in your back pocket.” D Generation’s star continued to rise as they embarked on massive tours with peers like the Ramones, Cheap Trick, Social Distortion, the Misfits, Green Day, Offspring, Rancid, and more. After a performance at Madison Square Garden with KISS, Malin was famously arrested on the street for drinking from an open container (the city was already changing).

By the time the band teamed with Bowie/T-Rex producer Tony Visconti for their third album, 1999’s ‘Through The Darkness,’ the writing was on the wall. The record was another critical favorite, with the New York Times hailing it as “defiant and dirty,” but the years of hard living and volatile personalities had caught up with the band, their clothes and tabloid exploits often overshadowing attention to the music in the press. A decade hiatus followed, and though they continued to remain in touch and collaborate in a variety of forms, they wouldn’t all appear together onstage again until 2011. Sold out gigs in the US, massive festivals in Europe, and an arena tour with Guns n’ Roses followed, and while the band’s relationship was just as hot-blooded as ever, the wild energy of the shows and rave reviews from press helped sow the seeds for ‘Nothing Is Anywhere.’

The album opens with “Queens Of A,” a fiery nod to the East Village outcasts of the band’s youth who inspired them to make something beautiful out of the decay that surrounded them. The song sets a ruthless, breakneck pace for the twelve tracks that follow, with thunderous drums and a wall of vicious, distorted electric guitars underneath Malin’s blistering vocals. On  “Lonely Ones” and “Apocalypse Kids,” the band reflects on their journey and personal redemption through rock and roll, while “21st Century Blues” and “Piece Of The Action” offer an unflattering look at a modern culture that lives through screens and devours itself in 24-hour cycles. “Demand the DJ play your song / Locked in your bedroom all day long” Malin sings on “Rich Kids,” while on “Mercy Of The Rain” he confesses, “Everybody wants this year’s model / Everybody wants to take your place.”

It should come as little surprise that, rather than booking themselves into a modern studio, D Generation returned to their DIY roots, launching their own record label and setting up in a basement rehearsal space on Avenue A to cut the album “fast, loud, and on our own terms,” as Malin puts it. He and Sage wrote most of the lyrics together, and while they often reflect on scenes and characters from their past, it’s never with nostalgia. D Generation isn’t out to romanticize their history or their city; they’re here for the same reasons they started the band in the first place.

“We originally got together as a reaction to everything that was sick and empty out in the world,” says Malin. “We thought we were pissed off in the 90’s, but now it’s worse then ever.”

The band offers a glimmer of hope in the album’s final moments, though, with Malin singing, “Stars crash, shadows are cast / Night falls and you raise a glass / For tomorrow / Tomorrow is all I have.” As soulless and sanitized as the culture may be, as many friends as we might lose along the way, there’s always a new day coming, always a reason to gather the survivors and toast to the possibilities of the future. Times may change, but family is forever.

“There’s a lifetime of love, hate, tears, and laughter culminating in this record,” concludes Pyro. “Made by us, for us…and you.”


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