You Can Be My Wave

I'm not sure if anyone else will see it, but revisiting this fantastic rock record has prompted me to draw connections to another beloved record, Nirvana's In Utero. Both records marked a significant sonic departure compared to the album that came before. In the case of The Distillers, the band drifted away from the hardcore punk stylings of Sing Sing Death House in favour of a more grungy, alternative rock sound that feels akin to Nirvana's. They also both feature powerful and dynamic vocal performances. Brody Dalle doesn't get enough credit as a frontwoman in my opinion, and Coral Fang really showcases everything she's capable of. She can whisper seductively, croon with palpable emotion, her fried rasp sounds effortlessly killer, and at their most extreme, her screams are spine-chilling. Lastly, both records present fairly irreverent, sometimes macabre themes in the lyrics and album visuals.

Without trying to be blasphemous, I personally get more enjoyment from The Distillers record. The record is definitely not as raw production wise, or places as much importance on guitar riffs, but I do think the songs are much stronger. Songs like Drain the Blood, Dismantle Me, Coral Fang, and Love Is Paranoid show that they can be just as successful as Green Day when it comes to making irresistible 'three-chord' rock. They achieve this by creating special moments in each song. On Coral Fang, the band changes keys in the chorus to give it that joyous lift. Die On a Rope shines the spotlight on the band's awesome rhythm section; affording Ryan Sinn a great little bass lick in the middle of the track and showcasing Andy Granelli's tight batting on the ride as well as some killer triplet drum fills. You also can't deny Dalle's star power. Her vocal fry is powerful, yet healthy, resulting in tracks that have just the right level of bite without being too alienating. Although there are times where she launches some pretty gnarly screams, namely on The Hunger. They are so unexpected and she holds them for a ridiculously long time without the slightest bit of wavering.

Despite its tough-as-nails demeanor, Coral Fang is a fairly agreeable and commercial record, especially with sappy back end cuts like Beat Your Heart Out. However, that doesn't mean the record doesn't take some risks. Tracks like The Gallow Is God are quite grotesque with its clunky rhythm, untuneful vocal melody, and sour guitars. This track is probably the closest the album gets to fully emulating the In Utero aesthetic. What's even more challenging is the twelve minute closer Deathsex. Shrouded in piercing guitar feedback, the song kicks off with a punchy floor tom and snare groove accompanied by growling bass. The first vocal we hear is a ghastly shriek. Dalle goes on to perform a single verse and chorus while harbouring a great deal of tension in her vocal. It changes the character from powerfully controlled to a sound that is primal and ugly. Beyond this point, the song completely derails leaving nothing but swirling layers of amp feedback, menacing, echoed laughter, and some freestyled drumming. The beginning portion of the 'song' is later reprised with just the rhythm section while guitars continue to generate noise. It all ends rather unceremoniously with another two minutes of guitar noise. It's honestly a big 'FU' for a closer and I can't help but respect it.

As I alluded to in the beginning, The Distillers did appear to go through a transition. Dalle ditched the liberty spikes, slightly softened her vocal style, and delivered songs that I think would be more easily digestible for the average rock fan. It's the type of move that could risk your punk credibility or worse, put you at the centre of 'sell-out' debates. However, what makes Coral Fang so great is that it's really catchy while maintaining dark themes and ruffling feathers. I'm not really seeing a sacrifice or compromise of integrity. For that, I would say this record is a triumph, easily their best record.