The Short List is a weekly dive into EPs, Splits, Reissues, Comps, Live Records, etc
SHOW FOR THE KIDS:
Harms Way, Terror, Rotting Out, Drain, Sunami, vein.fm headline a Cali Toy Drive. Give what you can.
12/17/2022 For The Children Toy Drive @ The Belasco Theater – Los Angeles, CA
If you are even in half a day driving distance, you should go to this phenomenal show. And it is for a great cause.
With supporting bands from Boston Risk, Buried Dreams, Fuming Mouth; reviving some Cali Kings with Internal Affairs and Take Offense; one of my top 2 hardcore records of the year’s in Inclination; Section H8, Law Of Power, The World, Disgrace, WAR Records’ Abrasion. So Many More…
EPs:
Arabrot Heart (Covers EP) Pelagic Records
J’adore Arabrot, who this time present us with the new EP, Heart. They have reimagined some beloved tunes and presented them on a heart shaped platter (literally). If you are unfamiliar or have only heard one album, then you do not know the undefinable Arabrot. The trajectory of their sound across their canon has the same dynamic, inconsistency, and rules as Boris, Melvins, and New England weather. If you don’t like this, wait five minutes. Everything will change. They constantly release music which differs in sonic approach and format each time. There are a barrage of LP’s and EP’s in their discography with no apparent respites. Arbitrarily, you can examine the last four years since Who Do You Love.
Arabrot have released Norwegian Gothic LP, The World Must Be Destroyed EP, A Lustmord remix collab with two 11-minute tracks, that same song (“Die Nibelungen”) with two parts, each 22 minutes, as an EP, and the seminal Who Do You Love in 2018. The pattern continues back to their origin in 2001.
Arabrot is a Norwegian Grammy Winner. They originated from Haugesund, but now base out of Djura, Sweden. The are anchored by the duo, Karin Parks and Kjetil Ternes. And while those two play an array of instruments, with talent and precision; they enlist many other accomplices.
The duo’s imprint is marked by Karin Park’s haunting voice and Kjetil Nernes’ creepy vocals – sometimes screaming – over noise rock, punk, riff-driven doom, indie, postpunk, ambient, noise electronic, you name it. Heart, which appropriately is available on a pink heart-shaped 12-inch format on vinyl, has five tracks. Park takes the lead on the first proper track, Nancy Sinatra’s “Lightning’s Girl”, comparable to this year’s Brutus record or slower White Lung tracks, with a great trudging riff but beautiful vocals over it with a pop catchiness. Pounding rock with the empowering, defiant lyrics entertain. Tackled next is Miklós Rózsa’s “Green Fire” which highlights Park’s voice. Miklós Rózsa was a prolific composer; creating scores and soundtracks for Ben Hur, The Asphalt Jungle, Double Indemnity, Spellbound and a life long career’s worth more. He also wrote for the film, well, Green Fire. Here the uplifting, angelic choral composition is uprooted and redefined. The guitars string along a sparse beat with a chilling mellotron dispersed.
Let’s rewind. The 1:16 long intro, “Preludium”, (on an album called Heart; indicating a feeling of ‘love’) sounds like and is an isolated church organ playing a romantic song, enlightening piece. But this is quickly subverted and belied by the sounds of intercourse underneath.
“Children of the Revolution” is executed with reverence. The T-Rex classic gets an appropriate fuzz-drenched guitar valve-like riff (think Nikke Anderson) married to a stomping drumbeat, with various sounds meandering in between choruses for a dizzying effect. This version injects superior energy and poise than the original. Gripping. Nernes‘ sardonic, disdainful vocals take charge here. Like if Grinderman put on a musical. (When I hear Nernes’ voice always think of the old guy from Poltergeist. But Nick Cave will work here for a quick substitute.)
The final song on the EP, the twelve minute “Going Up”. Coil’s original was on their The Ape of Naples LP. This is an elaborate piece. You can definitely see where Coil, which began in 1982 by John Balance as “an offshoot to Throbbing Gristle and Psychic TV”. Various instruments are utilized as the elongated, magical soundscape is illuminated. While the original is a serene piece with a high-octave operatic female voice, Arabrot manages the same timbre but magnifies it with a dark, solemn vibe which manifests eventually with Park’s singing and the instrumentation.
Arabrot is a band that is forever surprising and damn good at everything they do. All this while staying completely original and unique; employing varied and exotic instruments. Gothic tones and acerbic offerings.
Heart was mixed by, mastered by, recorded by, Arranged By [Additional] Andrew Liles; whose profile on discogs condenses: “Andrew Liles has been recording since the mid 80’s.” The brevity is amusing when you peer upon his astonishing and prolific career.
Comes in a clear PVC sleeve. First 50 pre-orders came with a heart-shaped patch.
One Step Closer Songs For The Willow EP Run For Cover Records
Release: 10 January 2023
One Step Closer erupted on the punk/hardcore/etc scene with their 2019 EP, From Me to You. Fast and filled with tension, the band’s six track debut brought new air into a scene for fans of Have Heart, Verse, Trapped Under Ice, Mil-Spec, etc. Their melodic sense even called back to Dischord’s Revolution Summer sound; and new bands into that like Bent Blue and Ex Tenebris. Housed on Triple B, the band captivated hardcore fans with intensity and passion.
One Step Closer’s second album, This Place You Know, increased the ferocity with a little more edge and a darker sound. Switching to Run For Cover Records, the 2021 LP channeled Northwest bands like Champion, Got It Alone, Sinking Ships. For this Wilkes-Barre PA SXE band, the scene was an open field waiting to be tilled.
Now, as 2022 closes, One Step Closer is releasing a new three track EP, For the Willows, on RFC. And it will produce a double take. Frankly, it is a surprising turn. While the foundation of their sound remains, the songs are not as fast, and a little more chaotic. While some hardcore vocals still are screamed, mostly it is rife with clean singing. Aspirational and a more hazy, ethereal sound to production (recorded by Jon Markson and Eric Chesek) and the guitar’s songwriting. For the Willows embraces a grandiose approach with a production feel of a tapestry of layers and incoming comets on stimulation. The desperate screams and lonesome, somber feel of the record is a clear product of the grinding experience of being in a road band. Says vocalist, Ryan Savitski, “All three songs revolve around the problems that touring so much this last year have caused. Losing relationships, losing band members, losing a sense of what this band even means to everyone.”
Fans of Touche Amore and Title Fight will rejoice. Personally, I am more of a traditionalist with hardcore. I like aggressive. I hope a full length doesn’t succumb fully to this. But being an EP, it is a cool tangent for the band.
Run For Cover Records’ bandpage for One Step Closer
SPLITS:
Brain Cave / Knub Split 12” HEX Records
HEX Records have a stellar reputation. Well-earned from decades of unique, skilled bands creating eclectic noise and riffage. 2022has yielded an impressive roster, yet again. Colonial Wound (though not releasing the vinyl until Feb 2023) unleashed a bruiser of a record with Easy Laugh (listen here). The Wipes LP was fantastic. And the split from Wipes/Day Job and the stellar Multicult/Child Bite split. The Still/Form record, “From the Rot is a Gift” is a savage romp. That all leads us to Brain Cave/Knub split.
These two bands jump on this next edition in the ongoing HEX Records split 12” series. HEX’s intent is to pair bands not necessarily directly part of the label. And then to “release it short-notice in exciting and creative packaging.” (I encourage you to read the label’s bandcamp to read what the past design packaging included.)
Cleveland’s Brain Cave has been peddling fuzz, melody, and volume across a bevvy of singles and a strong LP. Their brand of unpolished punk meets post-hardcore is engaging. The track “Slip Off the Roof” embellishes in dirge equally as poppy, catchy rhythms worthy of Jade Tree or Dischord. The last third is rough sea of captivating, caustic sounds. Ryan HEX notes, “The trio blur the line between all-out aggression and a dedication to songcraft, melody, and riffs.”
Baltimore’s Knub has a great S/T EP and now enters a few more songs into their foray. It was already offered but it’s hard to manifest a separate comparison. The have a clean Helmet sound. The riffs are brash, helming the forefront. Vocals are akin to Page Hamilton’s lighter/cleaner fare on Betty and Aftertaste. And all of this is not to diminish Knub as derivative. (Hell, I have awe and praise for Wrong and they made a career out of it.) Here “The Sift” goes beyond that comparison. It indulges it a razor-like riff which slices and severs your comfort level. The bassline is pounding. The complete package assault every sense. Confrontational and bold, Knub shines here.
Digital/streaming out on 1/20/2023, vinyl expected to ship close to this time, perhaps just a bit after.
BUY VINYL: Screenprinted on heavy stock paper, Obi strip – 300, clear with rainbow splatter
Cosmic Reaper / Endtime Heavy Psych Sounds: DOOM Sessions VOL VII HSP (12″ MLP)
Jan 20 2023
Heavy Psych Sounds have been straight slaying with their DOOM Sessions Series. If you have not been hip to this unholy collection, see what the prior six boasted for titans of the genre: Conan/Deadsmoke (Vol 1), 1782/Acid Mammoth (Vol 2), 16/Grime (Vol 3), Bongzilla/Tons (Vol 4), High Reeper/Hippie Death Cult (Vol 5), Dead Witches/Witchthroat Serpent (Vol 666). This time around we get Cosmic Reaper on one side and Endtime blessing the other.
Endtime meander through their first track sans riffs or guitars, leaning on synth a la Zombi and John Carpenter to relay the spooky. But fret not. The second track, “Beyond the Black Void”, is excruciatingly slow and punishingly heavy with scathing vocals (Serpentine Path, Cough, Tryptikon, Electric Wizard, Eyehategod). Thundering, vile, and unsettling, Sweden’s Endtime fit this series maybe more than all the heavyweights. They certainly bring it on their side. Brilliant.
NC’s Cosmic Reaper bring a little balance towards the palatable side. More p[sych/stoner if we are splitting hyphens. Still gorgeously slow, Cosmic Reaper bring the mystical rock. “Sundowner” has a breakdown halfway through which draws from the second Sabbath trifecta (VOL4/SBS/Sabotage) and rolls comfortably into some multi-percussion that calls back to Mr Ward as well. The last but charges hard. “Dead and Loving It” descends into the down-tuned, fuzz/reverb miasma. Climactic and torturous, the track delivers. Closing out the record is “King of Kings”. It boldly proclaims its worship at the Iommi Altar of Flutter. The songs traipses slowly in a macabre yet majestic manner. The midway bassline is roils with tension. Worship willingly.
BUY VINYL: Test Press, 15; Ultra Ltd Color-In-Color: Transparent / Red Splatter Black, 200 ; Ltd Violet, 350; Black; CD Digipak (6 Panels)
LIVE:
The Dils Live LP Reissue Porterhouse Records
2022 is the 35th anniversary of this definitive record for a band that existed for a short spurt of time but left an imprint the size of Pangea. The Dils are once again presented in their live form; this time remastered from original ¼” tapes. Live! was originally released in 1987 on Triple X Records which was home to Adolescents, Angry Samoans, TSOL, DI, Jeff Dahl, Gene Loves Jezebel, Jane’s Addiction, and more. The label was LA-based and a punk scene perpetuator.
The Dils, repping San Diego, only released three EPs. There are more collections from different labels than original work. Their first EP was “I Hate the Rich” b/w “You’re Not Blank” (What? Records), which would summarize their political views. Those barbed lyrics were the basis of their music. In that same year of 1977, on the iconic Dangerhouse Label (go grab the recent compilations Dangerhouse Volumes One & Two on vinyl to peer into the microcosm. Some big names, but lost gems too), The Dils released 198 Seconds of The Dils which had “Class War” and “Mr Big”. Their final EP, Les Dils – Made in Canada – arrived in 2X7” form, three years later in 1980. It showcased a tangential sound of cow-punk and melodic punk. The swan song presented four tracks to confused punks.
That’s eight total career tracks released. Fans were anxious for Live! Where The Dils crank out 14 tracks of their repertoire. At the time, if you had never seen them live, these were new songs for salivating ears. Hearing The Dils would challenge and spark disillusioned youth of L.A. and SoCal. Not that they were overtly loud or abrasive. But technically, this was the embryo of punk. And as far as ‘hardcore’, Black Flag didn’t start playing until December of ’77; Nervous Breakodwn comes in 1979. Sonically, The Dils led contemporaries The Weirdos, The Wipers, The Avengers, The Kids (UK), The Boys (UK),
The band was anchored by Chip (guitar/vocals) and Tony (bass/vocals) Kinman. Tony had played a few months in Avengers (required reading for a punk). The Dils ran through five drummers in their lifespan (and a separate lead vocalist for a spell). The Dils were not ‘punk’ in their demeanor as far as confrontational, providing shock value, and self-destructive (Fear, TSOL, Germs). The punk spirit of the band was exorcised in aesthetics and politics (Sham 69, Angelic Upstarts, The Clash). Yes, they were even dubbed “The California Clash” and would eventually open for the English rockers. But I feel that moniker detracts from The Dils’ individuality and persona.
The band’s unique brand is captured wonderfully on Live!, now bolstered and revamped. New artwork and an insert with never seen before pics and comments accompany the vinyl. Also, The LP comes with a bonus CD of a live set from the iconic Mabuhay Gardens from March 20, 1978. And for all the politics, The first song is “Tell Her I Love Her”, lol.
Pick Up a Classic: Ltd Pressing of 500, black vinyl + CD of 1978 Mabhuay Gardens gig. 10 tracks
REISSUE
Prayer For Cleansing The Rain in Endless Fall To Live A Lie
One of the better bands from the 90s metalcore scene was North Carolina’s Prayer For Cleansing. Along with partners in crime, Undying, they repped the straight edge metalcore hard for the south. The Rain In Endless Fall brought in influences from a spectrum of extreme metal before that was a term; death metal vocals, some clean vocals, NWOBHM guitar harmonies, a few black metal riffs, thrash parts, more death metal parts, and vicious breakdowns. The band existed from 1996 to 2000 with rotating members, two of whom went on to join Between The Buried And Me.
Some history of The Rain in Endless Fall is that it was reissued in 2003 on Tribunal Records. And again in 2004, being the inaugural release for the SXE label of the 00s, Seventh Dagger. This reissue is different though. Remastered and to quote from To Live A Lie, “Foregoing the polished Tribunal Records remix and remaster from 2003, To Live A Lie Records has gone back to the old school original mix and have given it a much bigger sound with a new 2022 remastered by Nick Townsend. This will be the definitive vinyl pressing of the album that will accurately archive their powerful sound and hopefully bring new ears to an amazing output.”
The album traverses styles. You can see it predict the NWOAHM. Unearth and Killswitch to more progressive acts like, well, Between The Buried And Me. “A Dead Soul Born” halves the track with those styles to begin, than ha a Slam type part in the middle, only to burst in a NWOBHM gallop. And all of the sections unify and act as a cohesive entity. The fan favorite “Sonnet” is championed here with the new treatment. Also check brutal offerings like “Destiny of Culture” and “Feinbhas a Ghabhail”. It includes a double sided insert with lyrics.
They will headline a benefit, December 18th (Sold Out) and December 19th at The Ram-Kat in Winston-Salem NC. The John Rivera Redemption (RIP) event will include the mighty Undying, Catharsis, and Azazel for both shows. But the 18th will additionally have Codeseven, Riot Stares, Funeral Chic.
CASSETTES: 100 clear red, 60 black, 20 purple (band copies), 20 solid red (Tribunal version).
VINYL: Blob variant, 200; Ltd Ed, 180gm, black, 200. *Both are Remastered.
Orange Island One Night Stay Iodine Recordings
In the 90’s, Clinton MA had a mecca for hardcore and punk, St. John’s Gym. People drove from all over New England and the Tri-State to see history which they didn’t know at the time. In the mid-late 90’s, that stage was sopped with sweat from System Of A Down, Dropkick Murphys, Fear Factory, Earth Crisis, Bane, In My Eyes, Eye For An Eye, Coalesce, Dillinger Escape Plan, Cave In, Conver4ge, Avail, Suicide Machines, Shadows Fall, Blood Has Been Shed, Unsane, Neurosis, and more. The alchemy was brewing as something from that stage must have gotten into the water supply.
In Clinton MA in 1999, five friends got together and would elevate their brand of hardcore subgenres which would inspire many others. Orange Island (Dave Gorman, Chuck Young, Brendan Dickhaut, Joe Dufresne, and Colin Spencer) created their unique sound; which could be called melodic hardcore but that does not encapsulate the spectrum of their sonic tapestry. Intricate and teasing metallic riffage between the two guitars added layers to the songwriting. Elements of post-hardcore certainly seeped in.
They took cues from indie rock as well and employed catchy, pop-esque sections which would sometimes get them labeled “emo”. Understandable if you revisit the sullen subject matter of their grim lyrics, wrestling regret and sorrow (look to song titles like “Knife in Hand, Gun in Mouth; “Life as a Series of Addictions”; “The Silent Partner”). But in those years, “emo” was short kids in old cardigans with glasses, dirty Vans and backpacks. They were enamored with The Promise Ring, The Wedding Present, Rye Coalition, Small Brown Bike, The Get-Up Kids, etc. Add some late era Turning Point, Garrison, Piebald, Saves The Day, and Jawbreaker and you get closer.
But none of them were quite peers with the dynamic approach which Orange Island would take. See exclaim.ca (Stuart Green, Feb 2002) review for further evidence:
“Sounding like a drop-D tuned Saves the Day or Jawbreaker, this Clinton, MA, quartet fuses gut-quaking East coast post-hardcore rhythms, à la Quicksand, with up-tempo 6/8 emo waltzes. With the addition of tender piano fills on “The Pledge of Allegiance,” complimentary dual guitar interplay and intelligent and earnest lyrics, Orange Island is able to avoid the inherent pitfalls and limitations of the genre on this debut, six-track EP”
Orange Island were the bridge from that era to their spawn such as Taking Back Wednesday, Thursday, etc. In fact One Night Stay was produced by by Matt Squire at the Legendary Salad Days Studio in Beltsville, MD 2003. Squire had produced their S/T LP (Triple Crown Records, 2003. He would go on to produce Thrice, The Used, Taking Back Sunday to pad his resume already stacked with Worlds Collide, There Were Wires, The Explosion, and more before branching out to work with Panic! At The Disco, Ariana Grande, Avril Lavigne, Demi Lovato and a bunch of names I know from tabloids but have never heard a song. Regardless, Squire had an ear on how to extract a severe and intense performance from Orange Island, amassing their various ideas and inspirations. The record was mastered by Alan Douches (Legend) at West West Side at the time in 2003 and again for this reissue in 2021.
One Night Stay was released on Triple Crown Records in 2003; as self-titled. The band toured and broke up. They receive didn’t much promotion from Triple Crown and it was never pressed to vinyl. The other aspect of this sincere record is that the band reordered the tracks to fulfill the vision they had designed originally. Casey from Iodine Recordings elaborates, “With the re-issue, the decided that they wanted to revise the track order the way it was always meant to be thematically. On its initial release, there was a lot of pressure from the majors to put the track order based on the ‘hits’ even though the songs were written in order to tell a story. The story line is about a friend who has died in track one, and then is in a sort of purgatory where he relives parts of his life. It is semi-autobiographical. They also renamed the album to better represent this story line “One Night Stay” as there is numerous references to dingy cheap motels in the lyrics.”
Tracks like “We Hit Off…” exhibit the metalcore intricacies in the guitar work. However, instead of the genre’s later screamo tendencies in the vocals, Orange Island relied on clean vocals. They eschewed volume in favor of having the emotion relayed through its desperation and compunction. Cadence and intonation and vocabulary defined them, not sore throats. The passion and commitment to their sound was evident from the first track. The following ten journey through ferocious riffs and melodic layers and tense atmospheres. Also note the new artwork by Tom B. at Man Alive Creative (Misfits, Beastie Boys, etc).
First Press:
250 x White Flags (Bone/Green Split w/ Bone Splatter)
250 x Tattoos (Green Marble)
