And then the rest of it I wrote in America. Well, “Blackheart” I think I wrote when I was like 15. Had you been writing these songs throughout your teenage years? Or were they mostly written when you got to L.A.? That was my first foray into that realm and I struggled with it, but everyone goes through that phase. I was trying to find my sea legs, in terms of writing, getting the melody to fit with words. I still love the record the influences at the time are so immediate and obvious. Not because of the content, but because it’s so immature. I feel like the melodies and the hooks still stand up - even though I feel like it’s the equivalent of having someone read my teenage diary. Looking back on The Distillers 20 years later, how do you feel it holds up today? “I have never been more proud of a record than this one.”) In the meantime they’re playing one-off gigs, like a virtual, acoustic Halloween-themed set on October 30th.Įarlier this fall, Dalle got on the phone with Rolling Stone to reminisce about what it was like to be the young, crazed girl who made The Distillers. (“I’m so fucking excited for this record to come out,” she says.
Tally hall lyrics series#
The Coral Fang lineup reunited in 2018 for a series of shows and a seven-inch, and have been working on a new album, though no release date has been set. The Distillers remains the grittiest of their releases, with the urgency of teenage aggression, friendship, and heartache steeped in fast guitars and slamming drums. But each album featured a different lineup, and each was a little more refined than the last. The Distillers shot on to success, releasing Sing Sing Death House in 2002, and 2003’s Coral Fang, which included the single “Drain the Blood,” and brought them radio play and some MTV fame. They added Rose Casper on guitar, and their debut was released the following year. She found bassist Kim Chi and Matt Young, and in 1999, the new group put out a four-song EP on Armstrong’s fledgling label Hellcat. There, she immersed herself in the SoCal punk community orbiting Epitaph Records, and went about putting together a new band. He invited her to America, and Dalle - using money she’d won in a settlement with the government after she was sexually abused by a friend’s dad - made the trip. A couple years before, they’d met at the Summersault Festival in Australia, where she was playing with her band Sourpuss. “And I just don’t operate like that.”ĭalle had moved to Los Angeles in 1997, when she was in her late teens, to be with Armstrong. “I did experience a lot of cattiness” within the L.A. And they were fronted by a woman who looked like she could kick your ass and steal your boyfriend - but who sang about how such petty confrontation was, in fact, the problem with the scene. The Donnas and the Lunachicks had packaged that sound into something more palatable, but the Distillers were like a band you might find playing your friend’s basement. While the album’s songs took cues from the Nineties pop-punk mainstreamed by Green Day, the Offspring, and her then-husband Tim Armstrong’s band Rancid - “I think I was really impressed with the way he sang,” she says - Dalle twisted the genre into something unique, barking calls for teenage uprising and observations from the girls in the pit. Girl,” “Girlfixer”) others referencing the documentaries she watched on world revolution (“Idoless,” “Red Carpet and Rebellion”). From there, the band blasts through 14 more songs in just over 30 minutes - some harking back to Dalle’s girlhood in Melbourne, Australia (“Gypsy Rose Lee,” the hidden track “Young Girls”) some dealing with the divisiveness she encountered when she moved to Los Angeles at 18 (“L.A. “Oh, Serena, I know what they’re saying about you.” Someone’s talking shit on Serena, and it’s clear the woman at the mic isn’t having it. “Oh, Serena,” she growls over power chords. The album - which came out in January 2000, and has just been reissued in a newly remastered digital version, with vinyl to follow in November - opens with a moment of feedback, before the quick smash of snares, and Dalle’s snarled voice. “And if you took too long, it wasn’t punk.” “The idea back then with punk records was just to bang it out as fast as you can,” she says. Meet the Beatle: A Guide to Ringo Starr's Solo Career in 20 Songs
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