The Short List is a periodic dive into EPs, Splits, Reissues, Comps, Live Records, etc.
If you read The Short List regularly, or ever, I apologize for the three week gap. Life. The flu, a trip, a day job, other deadlines. Blah, Blah, blah. But, we return with some November bangers. Cheers to Mike at Longshot. Cheers to Will at To Live A Lie. Cheers to Clint at Aggronautix. I always appreciate the gifts and love. Links to each label below.
Shout out to Triple B Records just for releasing their recent gems. This weekend is THE FINAL AHC fest in Boston (The Middle East Cambridge, MA) with a slue of killer bands, December 1st to 3rd. Negative Approach, Slapshot, Shipwreck, Buried Alive, Mindforce, Combust, COA, Spy, Vantage Point, Restraining Order, Clear, Hard Stripes, C4, Gridiron, Fury, and over a dozen more. A platform to see the best in hardcore as well as a benefit for Families For Justice As Healing. I cover two EPs here, but Diztort LP and Spirt Crusher EP are up for pre-order. They also just reissued Killing Time’s anthemic/classic, Brightside. But, I can’t rush that. I would need to ramble for a long duration as it is one of my favorite NYHC records.
Details on AHC Fest at Triple B Records instagram
Appreciate the patience. The year ain’t over yet. Let’s dive into these stellar records.
REISSUES:
Komintern Sect Dernier Combat Longshot Music
OUT NOW
Not only has French Oi! had an incessant crashing of stellar waves in the prior few years (including the French speaking Montreal scene), but those new bands have enabled a resurrection of the classic ‘80s French Oi! bands. While Snix, Brutal Combat, and Tolbiac’s Toads are powerful introductory options, a bevvy of other diehards have surfaced. Those were the first French Oi! bands which I had heard. And I believe are the first most hear, for a reason. Three monsters that have earned that spot of ushers to the genre. The resurgence may have begun with Camera Silens reissue of their 1985 debut, Realite. *(time flies. That was friggin’ 2012 on Sydney Town Records). Quickly followed by their second and last record, Rien Qu’an Trainant. Then, L’Infanterie Sauvage had a live and some demos reissued. R.A.S. (84) had their debut as well. Komintern Sect has gotten some love on the reissue of their debut, Les Seigneurs De La Guerre. Now, Longshot Music unleashes their follow up album from 1985, Dernier Combat.
Komintern Sect’s sound, aligning with the classic French sound which they helped define, is straight forward and consistent. The five piece delivers a lo-fi attack with a decidedly mid-tempo rock and roll sound, embracing melody and propelled by a stiff back beat. And, of course, saxophone! Exceptions exist; examples are “La Crampe” and “Reves de Liberte”, but that’s splitting hair as they move slightly faster. And don’t dismiss these Frenchmen as simple street thugs. Raise a glass as the boys get their sophistication on with opener, “Sarabande”, a cover of Handel (yes, the German 18th Century composer). Later, we are treated to “Amsterdam”, a cover of a song by Jaques Brel, a Belgian crooner – often in French – from the 50’s, 60’s, and 70’s. *(Note, these covers are not on streaming; which has “Sonia”, not on LP.) Two of the tracks are live from Chaos Festival 1984; “Nation Paienne” and “Tous Ensemble”.
For a proper welcome mat to French Oi!, one could refer to the explosive impact of 1983’s Chaos en France of thirteen bands on Chaos Records. That label released all three Komintern Sect’s records between 1983 and 1986. Additionally, and technically, Chaos released KS’s musical debut on a 1982 four way split, with each band providing three tracks. With the reissues of their ‘80s material, Komintern Sect have celebrated over thirty years by reuniting. This resulted in new music; D’Une Meme Voice (2016, Contra Records) and Des Jours Plus Durs Que D’autres (2021, Contra Records).
Komintern Sect are legends. I use that word frequently. But, here it is genuine. Some bands get hailed or revisited because they happened to be in a certain scene in a certain era. They could be documented simply for participation. Komintern Sect have earned their spot in punk’s canon (Oi! or otherwise; French or globally). They helped found and define a sound. The music they created is timeless.
This reissue was released in US by Longshot and in Europe via Dirty Punk Records.
USA: LSM – Orange, 250
France: Dirty Punk – Black, Gatefold
France: Dirty Punk – Beer, Gatefold
Buy Now at Longshot Music
Buy Now at Dirty Punk
Buy merch at Contra
Marching Orders Days Gone By Longshot Music/Grudge Match Records
OUT NOW
Melbourne Australia’s Marching Orders released a litany of punching rock and roll from Down Under between 2002 and 2013. Most of these releases were EPs; seven inches, ten inches, and splits (Alternate Action, Evil Conduct). The band, led by Al White, released two full length albums. Their debut, Days Gone By, was released in 2010. I did interview Al for New Noise (print version) for this record. Great bloke and passionate about his music. He also played in Razorcut, Al’s following band from 2013 – 2017 with a more gruff, aggressive sound.
White’s intensity is relevant here over a decade later. This set of songs left an indelible mark in the scene. Deriving a driving sound from the greats of Australian rock; AC/DC, Rose Tattoo, Radio Birdman, The Saints, etc. The opener, “Stranger in the New World”, brandishes a dark tone; somewhat menacing, somewhat foreboding, mired in reflection. Persistent. Unflinching. Marching Orders will always be a favorite of mine. Their sound is brash and centered around powerful guitars. Some songs punch harder and move faster. Some grind down and acknowledge a past now lost (not tough to derive considering the title. Regardless, the music is always catchy and gripping.
Lyrically, White examines his city and his routine of life. Of course, rebellion and individuality are often chosen to delve into. Brotherhood and family are common targets. But eschewing cliches, he views these topics through maturity and a cautious approach.
Another fun aspect of this reissue is the artwork inlay card. It is completely dedicated to the 70’s Aussie subculture, especially Melbourne, Sharpies. The album cover is an old photo of a Sharpie. Now, the inside graphics expand on this with myriad photos and a paragraph from Pete Brookes, a legit Sharpie from Melbourne and Frankston. I had heard about these lads when a friend forwarded a blog about them in the early 2000’s. They were an interesting lot with the nod to skinhead, but donning flares and mullets. Obviously, the scene encapsulated more depth. Go read about it! *(If you like The Chats and Amyl & The Sniffers, Cosmic Psychos, take note.)
Read at Zani and Dangerous Minds
VINYL:
USA: LSM – White, 250
AUS: GMR – White, 60
Buy Now at Longshot Music
Check out Al’s current band, Firepower. White teamed up with Dan from Mob Mentality with the intent to have a sound that is more Motorhead homage with a blend of punk, metal, and Aussie Rock ‘n’ Roll (Cock Sparrer meets Saxon meets Judas Priest plus the AUS bands i mentioned). You can find 2022’s EP, Road Bruiser, Stateside on Mister Face Records and the impending LP, Death Comes Quick, on Rebellion. Pre-Order here or on Grudge Match Records (AUS).
EPs:
Colin Of Arabia Trauma Dump Triple B Records
OUT NOW
Colin Campbell, the Gatekeeper/Tour Guide/Mayor of Boston Hardcore, and his tight bandmates – Mike, Mickey, Nick, *(and I mean ‘tight’ musically and in their brotherhood) return for the first time in 14 years. Honed and distilled to five tracks, Trauma Dump delivers the abrasive, harsh, reflective songs you would expect. Correction. This EP is beyond what you expect. Not only as a matter of the time since Snitch and their last two splits (2007, 2008, 2009, respectively), but in perspective, Trauma Dump is a product of a trail of turbulent times, inward and from the tumultuous globe. The result is the best and most focused material maybe ever (Illegal Exhibitions of Speed still is in regular rotation with the Palehorse split; but this is better songwriting and production). Trauma Dump is blistering; relentless in its delivery and brevity. The musicians’ metallic influences still ring throughout; thrashy to chugga to breakdowns meld to represent bruising hardcore.
The production yields gravity but is still raw. That’s a nod to Alex Garcia Rivera’s discipline and experience. I could write an entire article on that Boston stalwart. Oh wait, I did. When I interviewed him for Chrome Over Brass. Garcia-Rivera has a staggering resume. His drumming first hit my radar on 454 Big Block’s Save Me from Myself (Big Wheel Recreation, 1999). He – and bassist Kevin Norton (Eye For An Eye, Straight Faced, The Eulogy) – shifted the direction of Boston’s seminal 454 Big Block from a heavy rock sound to a loose, visceral, throat-slicing delivery. OF COURSE, the foundation of original guitarist, Rob Nunzio, and vocalist, Elgin Nathan James, who were rising from the ashes of Boston legends, Wrecking Crew guided the ship. Save Me from Myself is especially notable for James’ untouchable, unhinged vocal performance. Garcia-Rivera is a drummer that played and/or recorded with Baby Gopal (poppy alt-rock), American Nightmare, Saves The Day, Good Clean Fun, Kingpin, Face The Enemy, Bloodhorse (doom/stoner), Ascend/Descend, Cable, Piebald. Go listen to the variety and dynamics of each of those.
Rivera stretches beyond playing with his culling of vintage and analog equipment; rebuilding from scratch for his studio, Mystic Valley (Converge, Madball, Mutoid Man, and High On Fire) in Medford, MA (just northwest of Boston). “He knows how the circuitry works” says Colin Campbell who also thanks AGR in the liner notes for Garcia-Rivera’s “limitless patience”. His guidance and persistence – while being wicked nice – has a unique imprint on Trauma Dump.
COA have returned in extreme and brash glory. The music is a SCUD missile of unleashed fury while Campbell delves into pockets of himself, self-admittedly, which have not been exposed before. Maybe the depth, but again, not the perspective. He explains a journey of inner turmoil, anxiety, PTSD (Campbell served in the Army) all yielding some monumental discoveries and choices. Trauma Dump explores outward projection, crime, maturing from violence as a reaction, social media, the opioid crisis; which has led to relentless disposing of families in Brockton/Massachusetts/New England in the sewer and grave via heroin.
This is a monumental release for the band and for Boston Hardcore, appropriately on Trible B Records. The music is savage. Bryan DBD helps out on “Lovers, Muggers, Thieves”. That track has a upswing of a riff coming in with a mid-tempo/thrash guitar part – and a lil squeal. Tough. Punishing. “Please Don’t Tell the Boys” is a more traditional hardcore punk gallop. Fast, catchy; blessed with gang vocals and sometime changes to keep it interesting. An elongated solo over a breakdown ends the track. “Final Boss” is classic tough hardcore with all the vital attributes. There will be finger pointing and sing-alongs. Moshing will be mandatory. The music crushes. Perfect hardcore. I referenced the subject matter but you should read the lyrics; especially if you know Colin’s personality. Perfection. “15 Minutes of Fame” is just that. A rant over blazing fifteen seconds of chaotic noise. “Tired of Shit” has metallic guitars and double bass. And a chipping riff in the second half.
“It’s not a bad day. It’s a bad life.”
Speaking of the lyrics. They are all posted on COA’s Instagram because the band felt the lyrics were important for everyone to know, even those who only listen via streaming. A move which I thought was emblematic of the band’s dedication to the scene as a community.
VINYL:
Test Press, 17
Bruins (Black & Gold) Splatter, 250
Bruins Half & Half, 250
Celtics (Green) Swirl, out of 250
Clear w/Celtics & Bruins Splatter, 250 *COA Band Exclusive*
Buy at Triple B
No Turning Back Conquer Triple B
OUT NOW
Netherlands’ (Belgian) hardcore titans return with Conquer. No Turning Back have been ravaging stages and eardrums for twenty years. Personally, I have been dropping needles on their albums since 2003; including: Revenge is a Right (2003, Reflections Records), quickly upped by the vicious 1-2 punch of Damage Done (2004, GSR), Rise from the Ashes (2005, Not Just Words). Please check past bangers Holding On (Reflections, 2006), No Turning Back (Reflections, 2006), Take Control (Reflections, 2011), and recently, 2019’s Destroy (Take Control Records).
The patented rage is visceral on the opener, “No Fear of Pain”. Wait for that breakdown which is nasty and abrasive. A little crossover riff aids the wallop in “No Fear of Pain”, but that NYHC bounce is the main attraction. “No Love for This World” the chorus of this track spews; followed by “spit on society”… is exactly what you think lyrically. Angered by the world around us. A breakdown at the end pummels beyond expectations, though short. The next track, “Questions”, just blazes forward, killer and fast. The EP closes with “Mental Block”. The riffs and rhythms mirror the vitriol of the vocals, churning and chugging. NTB have been doing this. Their style isn’t revolutionary but damn, they deliver with ferocious conviction. Blend Euro hardcore with NYHC (Knuckledust, Backfire!, Born From Pain; Leeway, Killing Time, Backtrack, Pain Of Truth, etc).
Order at Triple B
Follow No Turning Back at instagram
VINYL:
Test Press, 17
Black inside Ultra Clear w/Neon Orange & Neon Green Splatter, 200 *BBB Exclusive*
Half Neon Orange / Half Neon Yellow w/Black Splatter, 200 *No Turning Back Exclusive*
Neon Green w/Black Splatter, 200 *Farewell Records Exclusive*
Black Ice w/Neon Yellow Splatter, out of 400 *General*
Pig City S/T 12” EP To Live A Lie
OUT NOW
Seven songs in eleven minutes. Pig City weaponize grimy, grinding guitars summoning bombastic, harsh hardcore. Truly powerviolence, yet PC are ready to rip along any grind or d-beat band. Pig City avoid labels in musical scenes and life, akin to bands like GEL, SPY, ACXDC, Sex Prisoner, Peace Test, Punitive Damage, etc. Either way, this is indignant dispersing the queer agenda through hardcore. Ever evolving since their debut LP, Terminal Decline, Pig City obliterate the aural space around them. The combined punks from Phoenix, AZ have been tearing it up and ravaging stages for a few years. This record bludgeons the audience with unrelenting power and urgency.
The record’s cover (and back) art, by Laura Westover, is a visual cacophony of colors and images; inspired by flash tattoo arts and nicotine addictions. Thick riffs are balanced with speed and crust-punk belligerence. Seven tracks of distilled sludge and caustic derisions push this band with confrontation and reckless abandon. This is anti-cop, anti-bigot, anti-bullshit.
“This life is a cancer, never in remission.”
VINYL:
TLAL – Black, 400
TLAL – Opaque Blue, 100 *(“These are supposed to have pink streaks but didn’t see that in a few I opened so hopefully some copies have streaks!” – Will, To Live A Lie)
Order at To Live A Live
Follow Pig City on instagram
MISC:
GG ALLIN & Murder Junkies Limited Edition Throbblehead x3 Aggronautix
OUT NOW
You‘ve seen me cover killer Aggronautix products with recent gems such as NYHC legends, Jimmy G, Stigma, and Angelo Moore of Fishbone which add to the respectable litany of punk and subculture icons. Dear Lord, what a list, here is a larger snippet: Milo, Keith Morris, Lee Ving, Killer Beer (Murphy’s Law), Steve Vai (if that’s your thing), Andrew WK, Crimson Ghost, Toby2O, David Cross (check his hilarious new special, Worst Daddy in the World) and so many more. Being from New England, my Boston friends showed me Hated: GG Allin and The Murder Junkies (by Todd Phillips. Yep. That Todd Phillips) when I was 15. I remember prior to that, reading about him in Thrasher, following his cyclical incarceration; and then his obituary in Thrasher. I remember GG on Geraldo. And the tales from older punks who actually saw him. The library of his CDs at Tower Records or Newbury Comics in the “Local Artist” section. He certainly was a notorious legend in New England and around the world for any punk in the ’80s. I know my opinion. Feel free to form your own opinion. There are subsequent documentaries (many 20 minute ones and last year’s, GG Allin: All in The Family) and the Geraldo and Jane Whitney talk show interviews. I was going to post a link but youtube has even the Hated trailer age restricted. Hit the link for Aggronautix Throbblehead and search MVD for many DVDs of live sets and documentaries.
While GG has been encased in resin previously, this time he brings his brother/bandmate, Merle, and bandmate, Dino Sex. This specific set is influenced by The Murder Junkies’ 1993 album, Brutality and Bloodshed for All. All three figures are seven inches tall of polyresin. The most iconic figure of true life punk. GG lived off the grid, no fixed address. He and his upstart bandmates influenced battalions of punks and infuriated twice that. They were beyond confrontational, beyond hostile. The New Hampshire natives. A divisive and confrontational figure, GG and his Murder Junkies left a visceral trail of blood, shit, piss, booze and heroin over the ’80s before his inevitable demise in 1993. Grab this immortal captured with his band to reign over your living room. Tickle the in-laws pink.
Limited Edition of 500, hand numbered. Buy at Aggronautix
