The Short List has been appearing in print continually, but this online version is where I can expand word count and flourishes, unfettered by physical space or word counts. This rebirth will cover upcoming and recent releases. I try to cover a vast array of genres and sounds. This is basically a forum to look into EPs, splits, live LPs, compilations, demos, documentaries, etc. … basically, any release that isn’t a proper full-length. Hope you enjoy. There will be postings a few months old with a vibe of “In Case You Missed it” occasionally.
~ hutch
REISSUES:
Toys That Kill The Citizen Abortion Recess Records/Anxious & Angry
From San Pedro’s shores of nurturing sun, Toys That Kill remains a historic punk rock brandishing plucky guitar licks and dynamic songwriting. Todd Congelliere was a professional skateboarder (Liberty Skates) revered as a technical innovator bringing intricate tricks from street to vert. Since skateboarding always perpetuates cool things, Congelliere started an independent record label, Recess Records (bands from Screeching Weasel to Saccharine Trust, Riverdales to Quincy Punx). His current band dropped their debut 25 years ago. Anxious & Angry forges an alliance of respect with Recess Records to reissuing the band’s first two records; The Citizen Abortion, 2001; Control The Sun, 2003.
“We’ve teamed up with our favorite label to help reissue our favorite band’s stuff on vinyl. Couldn’t be more stoked to work on this. Limited color options. One is a haunted mud puddle. The other is to commemorate the time Todd bought a Gatorade at Target and it turned out to be windshield washer fluid. He had to go to the ER!” – Anxious & Angry
From ’91 to ’99, Congelliere fronts beloved band, F. Y. P. And when they trickled down into separate streams, he grabbed his guitar and Sean Cole (F. Y. P. ‘95 until ‘99) to skate on momentum and recruited on Casey Ferrara, bass and Denis Fleps, drums. 25 years later these records sound as piercing and as poignant. While their six albums were always on Restless, Toys That Kill’s unique blend of rock ‘n’ roll rebellion and lit fuse lured some top ‘90s DIY labels such as Asian Man, Dirtnap, Drunken Sailor, Razorcake, No Idea among others. The result were splits with Treasure Fleet, The Ragin’ Hormones, Joyce Manor, Iron Chic, and The Fleshies. These two initial records cement the foundation which spurred all their releases.
The Citizen Abortion’s debut shook punk fans as the band bursts with vigor and unfettered energy, while being a little unfocused and unpredictable (I do not mean that miss and disparaging implications but these adjectives emanate from a new band with an anxious desire to have people hear their music.). The record’s production utilizes an unfettered, hungry sound to exploit the eager and volatile band banging out fast, coarse punk at a crucial moment.
Control The Sun is the natural step for those with other itches to scratch. The album’s stunning sound displays more control over Toys That Kill’s performances. The band is wild yet simultaneously successful in broadening their style. Adding another layer was also aided by Jimmy Felix, who replaced Denis Fleps behind the kit for this second record.
Some punks could be apprehensive upon the intro of ‘punk band who started in 1999’ Could trigger equating that description with 12 tracks of homogeny and redundant drag of the same three chords used for the entire record. Each song sounds different enough while maintaining proper attitude. An ear will extract some power-pop and ‘77 UK punk influences. Melodic hooks and catchy riffs of Control The Sun are situated comfortably with the likes of The Boys, Vibrators, a dash of The Jam, Belfast iconoclasts Stiff Little Fingers, The Marked Men, The Briefs, The Arrivals, The USM, Real Kids, The Stranglers, The Saints. Basically, it’s frenetic punk by people with excellent and varied influences. Toys That Kill place social commentary and personal stories over raw, raucous rock ‘n’ roll. And well.
VINYL
Buy each below at Recess Records:
The Citizen Abortion: 25th Anniversary
Haunted Mud Puddle, 300
Windshield Gatorade, 300
“The latter is a tip of the hat to when they played our house in Minneapolis. Todd was SO hungover that he walked to Target and bought a blue Gatorade. Chugged it immediately. The problem was that someone swapped out the actual Gatorade with windshield washer fluid. So he like, chugged an entire bottle of washer fluid super hungover. I felt that deserved a vinyl color. Lol” – Ryan Young
Control the Sun
Sunflare, 300
Sunstare, 300
Follow Todd/Recess Records on instagram.
EPs:
Judiciary Stalagmite Angels Closed Casket Activities
Stalagmite Angels summons fortitude and enmity from the TX death-thrash-hardcore behemoth, Judiciary. The band returns after the slaughter rendered from 2023’s Flesh + Blood with six tracks perfecting their coalescing of thrash/crossover/hardcore. Judiciary have refined their vision over twelve grueling years. Their debut album, dropped in 2019, which follows Demo ’14, establishing the band as a rabid man-beast. This EP was motivated by and slash or a result of shifts in the band. Judiciary He parted with two members which Nudged vocalist Jake Collinson to learn guitar and aid in songwriting. Israel Garza remains on guitar and Austin Looney Stays on drums. After Flesh + Blood, the band abducted the skills of guitarist Juan Vazquez. Stalagmite Angels proclaims its mission to realign, synchronize, and revel in this new dynamic of musicians. That energy occupies Stalagmite Angels with fervent adherence.
“The goal with this EP was a hard reset, but we also wanted to chill the f— out a bit, have fun, and do something that felt true to the four of us,” cites drummer Austin Looney. “We wanted time to reconfigure things and let the music come naturally. Temper this new mindset that we’ve adopted post-Flesh + Blood.”
For this level of brutality, Judiciary secured the talents of Phil Odom (Ceremony, Militaire Gun, Angel Du$t, etc.) at Bad Wolf Recording Studios to engineer and produce Stalagmite Angels. Five songs struggle to contain the robust thunder here. Drums are full, hefty. Vocals are precisely mixed into the music for a commanding performance. But also, vocals refrain from stealing the spotlight. This record traverses through different moods of opaque atmospheres soon contrasting quiet guitars and melodies. Five tracks persistently serve belligerent riffs; some over fast parts but most rely on slower thuds. Then, the EP was entrusted to Will Putney for mixing and mastering *(specifically for 45 RPM on a 12”). Heavy savagery is channeled through hammering breakdowns, mid-tempo thrash stomps, feral riffs, and vocals from the caverns of Hell.
VINYL:
12″ EP, 45 RPM
Copper/Black Ice, 200
Copper Ruby, 400
Onyx, 600
Judiciary Info & Merch at their site.
Support Closed Casket Activities on bandcamp + instagram
Loose Lips LOOSE LIPS LOVE YOU 7” Drunken Sailor (EU)/Dig! Records (US)
Melbourne’s rambunctious Loose Lips’ debut LP, 2025’s Last Laugh, lays ripe and nourishing a year later. Now, Loose Lips Love You heaves four buzzing tracks of Loose Lips’ signature style. The Aussie trio infuses Ramones adoration with killer ‘60s garage rock. They are also not evading pop highlights to seal their sound. Loose Lips, emerging from a solid Melbourne scene, features Brisbane guitarist, Josh Hardy of The Unknowns/The Chats, Nadine Muller (drums) and Ethan Stahl (bass) are both from The Prize (Who concurrently dropped their stunning debut LP In the Red in 2025). Additionally, Stahl also spent some time with Chubby and the Gang. He also plays in Ruckus, NYC sleaze rock with members of Vanity, NY Hounds, and Chubby and The Gang.
Last Laugh showcased different elements by matching the garage rock with an ‘80s Alt-Pop meets post-punk supported by the cover album vibe and production style. LOOSE LIPS LOVE YOU strips the experiments clear and produces four tracks of head-nodding cool. The opener “Beehive” is a fast, rowdy tune to get the team ready for an evening to meet with the crew, and, specifically, to meet them at the Beehive. Two middle tracks ramble along a step slower but still mesmerizing with their infectious riffs and the utilization of both male and female vocals. “Looking For” uses a perky riff which slides into an aggressive riff to the recede back into one Hell of a bop. The title track then lessens the verve and adds sentiment. I mean it’s no ballad, just slowed down enough. Production’s approach here is a glorious lo-fi, live sound. And the last song, “Tired of Toein’ the Line” creeps in with a darker tone but incorporates a perky piano for contrast, resulting in a fuller sound and a complex emotional trip. To boot, the ‘solo’ blends an interesting slide guitar with the riff for a quick appearance. This is an incredibly enjoyable listen.
OAMW: The WHO, Loosey, The Standells, Small Faces/Faces, the Ramones, Dead Boys, The Arrivals, The Briefs and 60’s pop such as The Ronettes, the Shirelles, The Turtles, Yardbirds.
VINYL:
100, pink
400, black
70, TP (Australian pressing)
Follow Loose Lips on bandcamp
Follow Drunken Sailor Records on bandcamp
