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Featured Release Roundup October 20, 2017

This week’s topic on the Sorry State blog is “great albums with a glaring flaw.” We’ll see how everyone else here at SSR interprets that idea, but for me I’m going to talk about two great albums that each have one song I don’t really like.

Being a loser is one of the most venerable themes in rock music history… of course we all know that Beck song, but everyone from Motorhead to the Stalin to the Beatles has taken a stab at writing a loser anthem. However, the subject of winning is a lot less common in rock music. Perhaps it’s less common because it’s really difficult to write a cool song about winning. Case in point, two of my favorite records: Leatherface’s Mush and the Sound’s From the Lion’s Mouth.

I’m sure I’ve mentioned before how much time I’ve spent with Mush in my life. There’s a good ten-year stretch during which I would have called Mush my favorite album, and while it doesn’t quite hit as hard for me as it did during my early 20s, it’s still a great album that never fails to bring a smile to my face. That is, with the exception of the track “Winning,” which has always been my least favorite on the album. Admittedly, it would have been hard to keep the cresting wave of the record’s previous three songs—“Not a Day Goes By,” “Not Superstitious,” and “Springtime”—going forever, but “Winning” is a steep drop, particularly since Mush is marred by few other dicey choices. I actually really like the song’s catchy main riff—it’s pretty much classic Leatherface—but something about the way the syllables are drawn out across the chorus has always been like nails on a chalkboard to me. In the chorus, Frankie Stubbs sings the word “Winning” twice in close succession, and he experiments with different phrasings for the lyric throughout the song. Despite the varied approaches, he never really lands on one that works. My least favorite is the iteration that comes at about 1:37, when the two enunciations of the titular word are bridged together with a hissy scream that could have come from a Carcass record, the overdubbed scream overlapping slightly with the words on each side. It’s not an offense against music or anything, it’s just an idea that doesn’t really come together, which only sticks out because pretty much every other idea on this record does come together.

Another great songwriter, Adrian Borland of the Sound, also struggles with prosody as he attacks the theme of “Winning” on the album From the Lion’s Mouth. Like Stubbs, Borland wrenches and stretches the word, often adding in multiple extra syllables in order to bend the word into a melody. As was the case with Leatherface’s track, I have a particular least favorite moment: at about the 1:50 mark, when Borland pronounces the word “win-ay-EEEENG.” Again, the word seems jammed uncomfortably into the melody, and has always struck out to me as a bump in the road on an otherwise outstanding album.

Is there something in the word “winning”—whether it’s the sense of the word or just the sound—that makes it difficult to write a good song around? My only hunch is that winning is usually a transitive verb—meaning that it takes an object, i.e. you have to win something—and both of these tracks omit any discernible object… they’re just about “winning” in general. Maybe if you focused on the winner and/or the spoils you’d be on firmer footing.


Neon: Neon Is Life cassette (self-released) It’s only recently that I’ve come to the realization that most of the music that I listen to is extraordinarily stiff and regimented. You’d think that I would have noticed before, but I listened to this kind of music so exclusively that I honestly barely even considered anything that operated outside of the standard rock framework music at all. However, lately I’ve just wanted to listen to music that is really free… I’ve been listening to more jazz, soundtracks, prog, and other forms of music that feel less regimented than punk rock. While these forms operate with their own sets of rules and conventions, the frameworks these groups work within feel wider in scope and more filled with possibility; at the very least, I’m unfamiliar enough with those possibilities that they feel really new and exciting. Anyway, I write about this little personal journey because Neon, to me, sounds like hardcore punk that is completely free. I don’t really understand the way the beats work, the melodies are consistently surprising, and the individual elements clash against one another in ways that feel almost totally chaotic, but it’s played deliberately enough that no one would mistake it for nonsense. Neon shares members with Mozart, and while Mozart sounds loose and wild, Neon sounds almost like they’ve never heard punk rock before, like they’re making it up on the spot. And for that reason listening to it right now is just as exciting as when I first heard punk as a teenager.

EEL: Night Parade of 100 Demons 12” (Beach Impediment) I have to hand it to Mark at Beach Impediment… he has a real ear for bands that take hardcore to some new, weird, and exciting places. While he has a reputation for meat and potatoes ‘core (and I suppose there’s a fair share of that in the catalog with bands like Vaaska, Paranoid, Warthog, and Katastrof), when you look at the discography there are just as many bands that are still hardcore but are just weird… Omegas, Concealed Blade, and Gas Rag are quirky as hell, but EEL are the quirkiest of them all. On the surface they’re a noise-punk band a la Confuse, but their music is hardly limited by the constraints of that genre. It also doesn’t sound like they’re constrained by their own aesthetic in the way that a band like Lebenden Toten is… Lebenden Toten is really distinctive, but they tend to evolve their formula in small, deliberate steps. EEL, however, just sound like they’re doing whatever the fuck they want. The world is a messy and ugly place so most of EEL’s music is messy and ugly, but there are brief moments of triumph in life and those might get articulated here as an Uchida-inspired guitar solo, and there are also moments of pure headbanging fun, so you need to grab a chunk of a Flower Travellin Band song to capture those. It doesn’t feel like EEL want to pin me down and show me who they are; instead, they want me to come with them to their world and look around for myself. It’s a world I definitely haven’t been to before, and it’s one that I’m pretty sure I’ll be revisiting often over the course of the next several weeks and months. In other words, this is undoubtedly one of my favorite records of 2017, and if you like your hardcore freaky you should probably check it out.

Genpop: S/T 7” (Lumpy) There is an invisible line somewhere out there in the music world, and on one side of that line lies bands that are hardcore, and on the other side are bands that are not. While someone who is smarter about music’s formal qualities could probably tell you precisely why some bands lie on one side of the line and some on the other, to me it’s a mystery why bands and tracks that share hardcore’s tempos—the fast songs on Wire’s Pink Flag, Stink-era Replacements, even some Parquet Courts songs—just don’t qualify as hardcore. That’s not meant as a slag on either side, but there’s something in their music that allows me to say unequivocally that those bands are not hardcore. However, Genpop seem completely unaware of this line, or perhaps they’re musical geniuses that have found a way to dance back and forth across it. The first two songs on this EP, at the very least, have moments that are undoubtedly hardcore, but there are moments that definitely aren’t hardcore as well. For the remaining three tracks I’m not really sure if they’re hardcore or not, but they’re really, really good, particularly the closing track, “Dear Jackie,” which is as anthemic, and sing-song-y and memorable as anything by Jawbreaker or Dillinger Four. It’s not so much that Genpop mix hardcore with pop music or post-punk or whatever, but rather that they can magically morph from being a hardcore band into being a not-hardcore (more-than-hardcore?) band in the blink of an eye. As someone who loves, in equal measure, hardcore and whatever kind of catchy, upbeat, and powerful genre you’d describe the rest of this music as, this morphing is exhilarating, and moreover it makes me appreciate both sides of the band’s sound even more than I probably would have otherwise. I really can’t recommend this one highly enough.

Note: the EP contains two extra tracks not in this youtube clip

Urchin: Peace Sign 7” (Roach Leg) Second 7” from this band who I believe is based in New York. The generic description says something like “Stoke-on-Trent via Gothenburg,” but I’m hearing the latter a lot more than the former. In particular, it seems like the legendary Shitlickers 7” is a major influence here. Maybe it’s just because I’ve been listening to that record a lot recently (thanks Negative Insight zine!), but this has a very similar vibe, i.e. faster and more hardcore-sounding (i.e. less d-beat sounding) than Anti-Cimex, but just as noisy and raw. There is a reason that so many bands emulate that 7”, but it’s very rare that anyone even gets in the ballpark… Urchin definitely do though. It’s hard to imagine anything topping this for the title of “most raging record of the month.” Highly recommended.

Rashomon: Demo 2017 7” (Society Bleeds) Vinyl pressing from this DC hardcore band’s demo, and I’m happy for the chance to revisit it and have it on a slightly more permanent-feeling format, because this is one of my favorite demos of this year. Obviously Japanese hardcore is a big influence here given the band’s name and the fact that they sing in Japanese, but you can definitely hear that influence coming through in the music as well. Rashomon are a lot faster than what I typically think of as the burning spirits sound, putting them more in the area of Cry of Truth-era Warhead or perhaps faster Bastard songs like “Dear Cops.” However, they add some really killer lead playing on top that really gives Rashomon a distinctive sound. The leads are kind of squirrely and unexpected, nothing like the more neo-classical metallic leads that Chelsea played, but nearly as earworm-y nonetheless. It’s one of those rare recordings that both gives you that immediate, visceral charge of energy that you want from hardcore, but also has a lot of depth and nuance to keep you coming back for repeated listens. I really can’t recommend this one highly enough.

Humiliation: Laughing Wall 7” (High Fashion Industries) Second EP from this Phoenix band that has a couple of the guys who used to be in Gay Kiss. I mention that not only because you mention ex-members of in these types of things, but also because Humiliation have a very similar sound and vibe. Perhaps if you sucked a little bit of the mysterious guy HC / black metal vibes out of Gay Kiss and turned the “hardcore” knob up just a touch you’d have Humiliation. Fortunately, they also have those dark, quirky, and strange leads that bring to mind Rudimentary Peni, which definitely helps to elevate this a touch above your typical desperate hardcore kind of sound. The production is also huge and powerful… it’s an absolute crusher that will peel the paint off your walls if you turn it up loud enough. Highly recommended.

Permission: S/T 12” (La Vida Es Un Mus) Debut vinyl from this new UK band that—judging by the distinctive guitar sound—features Ralph from No and DiE on guitar. I’ve spent quite a lot of time with this Permission record, and I feel like no description that I can write is really going to do it justice, but I’ll try nevertheless. Part of the reason that I feel stymied is because this record has a very different feel than most hardcore records I hear nowadays. It seems like bands nowadays tend to focus a lot of their attention on nailing a particular style—whether it’s one that they’re directly adapting (less generous people might say copying) from a single band or trying to create something new out of a stew of a handful of influences—but I don’t get that sense with Permission. By contrast, Permission strike me as very expressionistic, that they’re less focused on what the end product of their music sounds like and more on accessing and grappling with whatever emotions, thoughts, feelings, or whatever motivates them to play music in the first place. So, when I say that this record reminds me of Rudimentary Peni, it’s less because any particular formal choice the band has made in songwriting or production reminds me of them (though there are a few that do, notably how the slightly out-of-tune double-tracked guitars remind me of the strange chorus effect on a lot of Rudi Peni records), but rather that this 12” seems to have the weight of deep psychological struggle behind it in a way that’s similar to some of the best Rudimentary Peni records, particularly Death Church. While this is sense of psychological or emotional depth is ostensibly what a lot of us are after in music, ironically it makes the music a little tougher to get into. This is music you have to engage with, that you have to open yourself to in order to receive anything from it. If you’re not prepared to do that, this might go in one ear and out the other, but for whose who take a step toward the band and attempt to enter their universe, the connection you establish to this album is bound to be much deeper and more profound.

Antichrist Siege Machine: Morbid Triumph 12” (Stygian Black Hand) Brief but compelling 7-song LP from this Richmond, Virginia death metal band. While I’m no scholar of metal in general or death metal specifically, I have to say this is a real bruiser. I’ve noticed a bit of a resurgence of old school death metal in the past few years and Antichrist Siege Machine is definitely part of that, though like a lot of other recent bands they seemed informed as much—if only subconsciously—by black metal. While ASM are definitely riff-based and raw—rather than “atmospheric” and deliberate, even pretentious, in their presentation in the way so many black metal bands were and are—you can also sense the specter of black metal lurking in the background. I hear this mostly in the recording quality, which is full, lush, organic, and analog-y; on the surface that’s pretty much the opposite of so much black metal (whether you’re talking about the ornate, symphonic kind or its bedroom-made cousin), but in another way it’s certainly of a piece with it. In other words, I don’t think that the original-era death metal bands—particular during their respective early eras—paid quite so much attention to how they sounded. And it’s really the sound that feels like the focus of Morbid Triumph… more than any particular riff or moment, what I take away from this record is its overwhelming atmosphere of wounded bleakness.

Cruz Somers: UV-B cassette (Big Dunce) I know absolutely nothing about Cruz Somers, but I sure do like this EP. This kind of vaguely garage-y, catchy punk with a drum machine is kind of a thing at the moment with bands like Racecar, S.B.F., and Stake, and if you’re interested in hearing bands like that at the moment then Cruz Somers is certainly worth checking out. It seems like some bands in this style really push the production super hard to the point where the texture of the recording is at least as important as the underlying songs, but these four tracks are extremely song-oriented. While the drum machine rhythms are very robotic and inhuman, the songs and the melodies (the vocal melodies in particular) are so memorable that you often forget about the robotic backing track. The singer’s voice and ear for melody also reminds me quite a bit of Chaz from Stake, so if you checked out that band’s tape on our recommendation and liked it I’d strongly recommend this one as well.

Bore Hole: demo cassette (Big Dunce) Debut cassette from this project out of LA, and I must say I’m really feeling this one. Given the artwork, the recording quality, and the Devo-esque rhythm that the first songs starts with you think this is going to be some pitched-down-the-middle Lumpy Records-type stuff (which is AOK by me, honestly), but this one quickly unravels. The first song, “Time In,” is a perfect case in point. It starts off with what could be a really good intro, but rather than go into something one might call a “song” it just wanders from part to increasingly bizarre part. The rhythms become more and more difficult to parse as the song goes on (I’m sure this is a live drummer because I don’t think drum machines can get this weird, but how does a human count this stuff out?) with the guitars gradually disintegrating into freeform jamming. The second track, “Sultan,” has a different arc, starting with the chaos, transitioning into a truly warped “breakdown” that makes you feel like you’re having a bad acid trip, then ending with another burst of chaos at the end. I won’t go through all of the tracks, but you get the picture. Even though the sound and vibe of this are both utterly different, this reminds me of the Housewives 12” I raved about a few months ago in its complete obliviousness to the unspoken rules that govern most music. But despite the fact that Bore Hole cleverly sidestep so many conventions (cliches?) this somehow still sounds totally punk. If you like your music as freaky as possible I really can’t recommend this one highly enough.

Resource Group: demo cassette (Big Dunce) Another cassette missive of weird punk from the Big Dunce crew, and interestingly this one comes from Savannah, Georgia rather than being based in the Los Angeles area like a lot of the other projects this label has released. I must admit that I don’t hear much of Savannah’s sleepy, swampy vibe coming through here… instead everything has a jittery and skittery vibe that makes this feel kind of cold and robotic even though it sounds like Resource Group is using live drums and guitar plays a much bigger role than it does in some similar bands. So, sound-wise this is more in the vein of stuff like Race Car that still sounds really punk rather than groups that get rid of the guitar entirely and go full synth. Songwriting-wise I’m also hearing a lot going on here… while the tape is quite short, the songs do seem to go places and to pull and push in interesting ways. If you’re into this whole chaotic, synth-based “weird punk” sound you should probably be checking out everything on Big Dunce, and Resource Group is no exception to that rule.

The Brain: S/T 7” (High Fashion Industries) Debut (I think?) 7” from this band out of Toronto. Here you get two long-ish (one four and a half minutes, one six and a half minutes) songs that take two different approaches to the whole idea of “psychedelic punk.” To me, the Brain sound like Hawkwind and Husker Du smashed together, sometimes uncomfortably but often intriguingly. On the a-side the approach is to take the surface-level elements of psychedelia—namely loose and spacey guitar sounds and licks—and apply these to the standard pop template. It’s a tried and true approach and it works here. For me, though, things get more interesting on the b-side, where that conventional song structure dissolves and the Brain embraces psychedelia more deeply, alternating between a propulsive motorik-esque beat and looser parts that sound like they might have been inspired by the jam-ier bits of the first Stooges album. All in all the Brain remind me of some of the bands on the Wharf Cat Records roster… groups like the Ukiah Drag or Cottaging that might have a background steeped in punk and hardcore but have widened their scope to take in influence from 60s and 70s psych, progressive 80s post-punk like the Gun Club or Nick Cave & the Bad Seeds, and maybe even a touch of improvisational music. Of course this kind of music is generally more at home on a full-length than a single, but these two songs definitely hold my attention and have me intrigued about what a full-length might hold.

Combatant: Sick Plot 7” (Not Like You) Here’s a record and band that I literally know nothing about, but I have a rule that I’ll check out any record with a be-wigged judge on the cover, and that rule has rarely steered me wrong. Here we have some gnarly early NYHC-inspired stuff… this pretty much sounds like an exact 50/50 mix between the Abused and Antidote. It’s got Antidote’s slightly cleaner production and more metallic guitar sound, but the Abused’s gruffness and cool little stop/start patterns. While there isn’t a lot to surprise you here, if you got a whole lot of spins out of that Chain Rank LP from a while back I think your own wig might get flipped by this one.

USA/Mexico: Laredo 12” (12XU) Debut LP from this gnarly new Texas band featuring King Coffey of the Butthole Surfers / Hugh Beaumont Experience. While die-hard Buttholes fans will certainly find plenty to like here, USA/Mexico are much more straightforward “noise rock,” building most of their songs around a similar combination of impossibly blown out bass, noise guitar that sounds straight off of a Confuse record, and pounding, repetitive drums. The formula is not dissimilar to what the Melvins have done at various points of their career, but I like this SO much better than any Melvins I’ve ever heard. The Melvins have always just sounded like a kind of boring rock band to me, but Laredo sounds like music turned inside-out… it’s as if rock music has had its skin flayed off and is walking around with just exposed muscle and tissue so you can tell it’s human, but it looks like no human you’ve ever seen before. While this is undeniably ugly, it’s also music that pushes me toward a meditative state… the bass is so impossibly deep and thick that it almost seems to be massaging my body with sound waves, and the droning drum beats free my mind to wander. For such an ugly, confrontational record this is a surprisingly enjoyable listen.

All New Arrivals
Jets to Brazil: Orange Rhyming Dicitonary 12" (Epitaph)
Jets to Brazil: Four Cornered Night 12" (Epitaph)
Jets to Brazil: Perfecting Loneliness 12" (Epitaph)
Mastodon: Blood Mountain 12" (picture disc; Reprise)
Mastodon: Crack the Skye 12" (picture disc; Reprise)
Green Day: Dookie 12" (picture disc; Reprise)
My Chemical Romance: I Brought You My Bullets 12" (picture disc; Reprise)
Mastodon: The Hunter 12" (picture disc; Reprise)
The Flaming Lips: Yoshimi Battles the Pink Robots 12" (picture disc; Warner Bros)
My Chemical Romance: Three Cheers for Sweet Revenge 12" (picture disc; Reprise)
Protomartyr: Relatives in Dissent 12" (Domino)
The World Is a Beautiful Place & I Am No Longer Afraid to Die: Always Foreign 12" (Epitaph)
Alice Cooper: Love It to Death 12" (Rhino)
The Velvet Underground: Loaded 12" (Rhino)
Thin Lizzy: Live and Dangerous 12" (Rhino)
Skid Row: B-Side Ourselves 12" (Rhino)
Testament: The Legacy 12" (Rhino)
Various: Wayne's World OST 12" (Rhino)
Alice Cooper: Pretties for You 12" (Rhino)
Jane's Addiction: Nothing's Shocking 12" (Rhino)
Through the Eyes of the Dead: Disomus 12" (E One)
No Warning: Torture Culture 12" (Last Gang)
Skinny Puppy: Bites 12" (Nettwerk)
Skinny Puppy: Remission 12" (Nettwerk)
Samael: Hegemony 12" (Napalm)
Motorhead: Under Cover 12" (Motorhead)
Of Montreal: Rune Husk 12" (Polyvinyl)
The Replacements: For Sale: Live at Maxwell's 1986 12" (Sire)
Sepultura: Chaos AD (expanded edition) 12" (Roadrunner)
Mastodon: Emperor of Sand 12" (Reprise)
Citizen: As You Please 12" (Run for Cover)
Metallica: Hardwired... to Self Destruct 12" (pink vinyl; Blackened)
Spoon: Ga Ga Ga Ga Ga 12" (Merge)
Bully: Losing 12" (Sub Pop)
Don Caballero: Singles Breaking Up 12" (Touch & Go)
R. Ring: Ignite the Rest 12" (Sofaburn)
Destroyer: Ken 12" (Merge)
John Carpenter: Anthology: Movie Themes 1974-1998 12"+7" (Sacred Bones)
Pageninetynine: Document #5 12" (Reptilian)
Big Huge: Cruel World 12" (Erste Theke)
Rashōmon: Demo 2017 7" (Society Bleeds)
Klazo: Embarrassed of Living 12" (It's Trash)
Various: Killed by Meth Vol 2 12" (It's Trash)
The Brain: S/T 7" (High Fashion Industries)
Humiliation: Laughing Wall 7" (High Fashion Industries)
Brainstorm / Battle of Disarm: Join No Army Police And Politician / Anti-War 12" (Rest in Punk)
Lebenden Toten: Static 12" (self-released)
Discard: Four Minutes Past Midnight 12" (Unrest)
Brainbombs: Obey 12" (Armageddon)
Brainbombs: Singles Collection 12" (Armageddon)
Aus Rotten: And Now Back to Our... 12" (Profane Existence)
City of Caterpillar: S/T 12" (Repeater)
Born Wrong: S/T 12" (Schizophrenic)
LSD: 1983 to 1986 12" (Schizophrenic)
Sons of Ishmael: Hayseed Hardcore 12" (Schizophrenic)
Neanderthal: A History of Violence 12" (Deep Six)
Slam: Wild Riders of Boards 7" (Not Like You)
Combatant: Sick Plot 7" (Not Like You)
Doom: Police Bastard 7" (Profane Existence)
Zellots: S/T 7" flexi (Supreme Echo)
Twitch: Mess with the Bull 7" (Supreme Echo)
Triton Warrior: Satan's Train 7" (Supreme Echo)
Jerk Ward: Too Young to Thrash 12" (Supreme Echo)
Twitch: Dark Years 12" (Supreme Echo)
Sphex: Time 7" (Supreme Echo)
Kid Chrome: Demons / W.A.I.G.D.? 7" (Goodbye Boozy)
bAd bAd: Modern Man / Prepare To Coup 7" (Goodbye Boozy)
Aquarian Blood: Right Between Yer Eyes / Sleep 7" (Goodbye Boozy)
Giantology: Hold Me Down / The Great Refrigerator 7" (Goodbye Boozy)
Sewer Cide: Wire / Vape Escape 7" (Goodbye Boozy)
Fire Heads: Sleep At Night / Hardly There 7" (Goodbye Boozy)
Resource Group: demo cassette (Big Dunce)
Bore Hole: demo cassette (Big Dunce)
Cruz Somers: UV-B cassette (Big Dunce)
Loincloth: Psalm of the Morbid 12" (Southern Lord)
Testament: The Ritual 12" (Metal Blade)
Unsane: Sterilize 12" (Southern Lord)
Ted Leo: The Hanged Man 12" (Super Ego)
Kadavar: Rough Times 12" (Nuclear Blast)
Faceless Burial: Grotesque Miscreation 12" (Iron Lung)
Condition: Subjugated Fate 7" (Iron Lung)
Antichrist Siege Machine: Morbid Triumph 12" (Stygian Black Hand)
Barrow Wight: Kings in Sauron's Service 12" (Stygian Black Hand)
Plague: Silenced by Death 7" (Stygian Black Hand)
United Void: Doomsday Clock 7" (Babysworld)
Slender: Walled Garden 7" (La Vida Es Un Mus)
Permission: S/T 12" (La Vida Es Un Mus)
Warwound: Burning The Blindfolds of Bigots 12" (Unrest)
The DSS: Temple of Heat cassette (self-released)
Urchin: Peace Sign 7" (Roach Leg)
Jackal: demo cassette (self-released)
Nightfall: Deadly Game 7" (Ryvvolte)
BETOE / Besthoven: Tribute to Shitlickers
7" (Ryvvolte)
Eye Jammy: Live at the BBQ cassette (self-released)
Judy & the Jerks: Alive at the Skatepark cassette (self-released)
Active Minds: The Age of Mass Distraction 12" (SPHC)
Dendö Marionette: 傀儡電伝 12" (Bitter Lake)
Extended Hell: S/T 7" (Brain Solvent Propaganda)
Glorious?: Neverending Butchery 7" (Brain Solvent Propaganda)
Aspects of War: A Look Into the Nightmare cassette (Brain Solvent Propaganda)
Mujeres Podridas: S/T 7" (Symphony of Destruction)
Lubricant: 2017 flexi 7" (Symphony of Destruction)
Kold Front: S/T 7" (Symphony of Destruction)
Black Dahlia Murder: Nightbringers 12" (Metal Blade)
Haemorrhage: We Are the Core 12" (Relapse)
Primitive Man: Caustic 12" (Relapse)
Birds of Avalon: Operator's Midnight 12" (Third Uncle)
Last Sentence: Solitude cassette (Doomed to Extinction)
Massacre 68: Sembrando Muertos cassette (Doomed to Extinction)
Romanticne Boje: 1983-84 cassette (Doomed to Extinction)
Patsy: LA Women 12" (La Vida Es Un Mus)
Neon: Neon Is Life cassette (self-released)
Publique: Outlying Self 12" (Burning Rose)
Collate: Material Inspection cassette (self-released)
EEL: Night Parade of 100 Demons 12" (Beach Impediment)
Altarage: Endinghent 12" (Season of Mist)
Blink 182: Enema of the State 12" (SRC)
Enslaved: E 12" (Nuclear Blast)
Lillingtons: Stella Sapiente 12" (Fat Wreck)
Stick to Your Guns: True View 12" (Pure Noise)
Gen Pop: S/T 7" (Lumpy)
U-Nix: S/T 7" (Lumpy)
Vanilla Poppers: S/T 12" (Lumpy)
The World: First World Record 12" (Lumpy)
Trash Knife: TK 7" (FDH)
Ydinaseeton Pohjola: Synny, Kärsit, Kuolet, Unohdut 12" (Nightstick Justice)
Darfür: 8 Tracks E.P. 12" (Nightstick Justice)
Wound: S/T 12" (Nightstick Justice)
Uncle Acid: Vol 1 12" (Rise Above)
Death: Individual Thought Patterns 12" (Relapse)
Brand New: Science Fiction 12" (Procrastinate! Music Traitors)
GWAR: The Blood of Gods 12" (Metal Blade)

Restocks
Rash: Skinner Box 12" (High Fashion Industries)
Life's Blood: Hardcore AD 12" (Prank)
Accused: The Return of Martha Splatterhead 12" (Unrest)
World Burns to Death: A Dream Dies Every Day 12" (Analogue Violence)
X: Los Angeles 12" (Porterhouse)
Dicks: Hate the Police 7" (1234 Go!)
Zero Boys: Livin' in the 80s 7" (1234 Go!)
Marduk: Fuck Me Jesus 12" (Osmose)
DAUÐYFLIN: Ofbeldi 12" (Iron Lung)
Flesh World: The Wild Animals in My Life 12" (Iron Lung)
Iron Lung: Life.Iron Lung.Death 12" (Iron Lung)
Mozart: Nasty 7" (Iron Lung)
Total Control: Typical System 12" (Iron Lung)
Crisis: Kollectiv 12" (La Vida Es Un Mus)
The Nurse: Discography 12" (La Vida Es Un Mus)
Sacrificio: Pulidores de Tumbas 12" (SPHC)
Exit Hippies: Dance Maniac 12" (SPHC)
Warthog: S/T 7" (Beach Impediment)
Fried Egg: Back and Forth 7" (Beach Impediment)
Concealed Blade: S/T 12" (Beach Impediment)
Blood Pressure: S/T 12" (Beach Impediment)
Entombed: Left Hand Path 12" (Earache)
Iron Maiden: Number of the Beast 12" (Sanctuary)
Iron Maiden: S/T 12" (Sanctuary)
Iron Maiden: Killers 12" (Sanctuary)
Can: Tago Mago 12" (Spoon)
Hawkwind: Space Ritual 12" (Parlophone)
Green Day: Kerplunk 12" (Reprise)
Joy Division: Closer 12" (Rhino)
David Bowie: Ziggy Stardust 12" (Parlophone)
David Bowie: Hunky Dory 12" (Parlophone)
Motorhead: Iron Fist 12" (Sanctuary)
Motorhead: Ace of Spades 12" (Sanctuary)
Operation Ivy: Energy 12" (Epitaph)
The Cure: Disintegration 12" (Rhino)
The Cure: Three Imaginary Boys 12" (Rhino)
The Replacements: Let It Be 12" (Rhino)
Metallica: Ride the LIghtning 12" (Blackened)
Parquet Courts: Human Performance 12" (Rough Trade)
Celtic Frost: Morbid Tales 12" (Noise)
Celtic Frost: To Mega Therion 12" (Noise)

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