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What’s up Sorry Staters?

We’re back again! Sorry for the lack of newsletter content over the last couple weeks. I’m sure you missed us! What’s new in Jeff world? I dunno. Public Acid drove up and had a nice weekend in Long Guy Land last weekend. We played with Integrity. Kinda funny. Highlights include me getting totally hammered and attempting my best spineless HB strut while raging to Invertebrates with no sense of self-preservation. I’m still a little sore. They played an after show at this tiny, brightly colored, 90s-themed Nickelodeon dive bar in Long Island. A wild time indeed.

There’s a gig in Raleigh on August 12th with Argh all the way from Chile and also a new band from NY called No Knock, which has members of Fairytale and 80HD. Scarecrow is also playing. Spread the word! Hoping it’ll be a rager. Then that same week, Scarecrow will head up to Pittsburgh to play Skull Fest. Hope to run into some homies there. Can’t wait to see Meanwhile play.

And speaking of Swedish hardcore, my staff pick is this Neu-Ronz 7” we just got copies of at the store. I think I already wrote about this record for a staff pick a few years ago. But shiiit, I don’t care. Here we go again! Do people know about this record? To me, it seems like a record that kinda flew under the radar when it first came out. The always reliably killer Adult Crash label released this EP back in 2015. Crazy that the record is already almost 10 years old. But honestly, I don’t think I ever heard it when it first came out. I remember showing Daniel at work one day, and having not heard the record either, he similarly flipped the fuck out and was like, “This RIPS.”

Right after hearing it, it became my mission (and Daniel’s as well) to track down a used copy of the Neu-Ronz 7”. I figured that since the record was on Adult Crash and seems relatively inexpensive on the second-hand market, it wouldn’t be too terribly difficult to track down. Over the years, I would check the used bins whenever I would visit punk record stores out of town. Whether it was Vinyl Conflict in Richmond, or Sit and Spin in Philly, or wherever, I just could NOT find a copy. Not only that, but I would ask the clerks at the record stores and people seemed to have no idea what band I was talking about haha. My difficulty finding the record only heightened its allure for me. I guess its scarcity makes sense. The EP is the sole release by Neu-Ronz, and it was only released on Adult Crash in Europe. So really, the only way the record would have made its way over here is if distros had imported copies. Maybe people would know the record better if it had a US pressing a decade ago?

Okay, so let me talk more about the story with this record and what it actually sounds like. How I first heard about Neu-Ronz is several years ago, my buddy and I were talking about Regulations and how those records from the early 00s are still totally killer. He then asked me if I had ever heard the Neu-Ronz EP, to which I responded, “Nah, what’s that?” He billed it to me as Otto singing in a band with dudes from Nitad and Raped Teenagers. He sent me a YouTube link back then those couple years ago and as soon as it started playing, it knocked my fuckin’ socks off. A Swedish supergroup of sorts, you might say? For any skeptics, let me just emphasize to you readers: this record RIPS. It’s like a lost gem. 6 songs, all about a minute flat or less. The immediacy with which the band launches into these songs will rip off your lid right off your dome. If you’re familiar with 80s Swedish ragers Raped Teenagers, you’ll hear that these folks are involved because all the riffs have this catchy, while also a signature wonky quirkiness and off-kilter rhythm about the way they play. Still, this record is a focus of turbulent rage, and of course is topped with Otto’s hooky vocals that we all know and love. It’s an explosive combination. If you’re anything like me, once you grab this EP, you’ll play it over and over ‘til you puke.

Funny enough, I finally locked down my copy of this 7” when me and the dudes from Public Acid went record shopping in Portland while on our west coast tour earlier this year. We went to Blackwater, and I went straight to the 7” used “N’s” section. And there it was… like a golden nugget glowing in the bins. I think it was like $3. I was so stoked. No one in Public Acid knew anything about the record either haha. Then, only a few months later, Scarecrow played K-Town festival and Jakob from Adult Crash had a table where he was selling the titles on his label. Come to find out that he had several dead stock copies of Neu-Ronz 7” available. My first reaction was like… “Are you KIDDING me?” I was sneaky and bought a copy for Daniel while he wasn’t looking. Talking to a bunch of Swedish friends at K-Town, Neu-Ronz was not just a recording project, and the band did in fact play shows. Apparently, they only played around 10 gigs. Lucas from Vidro told me they would count in the first song super fast, and then would just tear it up for like 7 or 8 minutes without stopping. That would be the whole set every time. Perfection.

All this exposition is to draw attention to the fact that I guess Daniel discussed with Adult Crash that next time Sorry State ordered their new titles, that we’d also like to get a fat stack of dead stock Neu-Ronz 7”s. We got ‘em, baby. So, now’s your chance! If my glowing endorsement isn’t enough, the record also only costs $5. Shit, ya know what? Grab that Instängd Konkret Och Brutal 7” while you’re at it.

That’s enough. As always, thanks for reading.

‘Til next week,

-Jeff

What’s up Sorry Staters?

Another week, another barrage of bleak and depressing news in this fucked world. Some good moments too, of course. “I Shot The Devil” by Suicidal Tendencies has sounded pretty good lately *winkwink. I wonder… what’s the campaign budget for squibs? Who cares.

Hey! I’m booking a show here in Raleigh on August 12th. ARGH is coming all the way from Chilé, and also No Knock from NYC, which I believe has couple of the same members as Fairytale. The show’s at RUMAH. Hoping at least some of you newsletter readers are local, and I can spread the word through this channel. Come to the gig!

Public Acid heads to play with Integrity in New York on July 27th, but the same day NFTW recording artists Bato are playing in Raleigh as well. Don’t miss that. Then Scarecrow plays Skull Fest. Then Public Acid plays Unlawful Assembly. AAAAHHH.

Sorry to start off so negative. Maybe it’s because I’m also listening to this new Subdued record on repeat ad nauseum. But trust me, I have nothing negative to say about this new record. The other night, I was once again a guest on the Analog Attack show What Are You Listening To? The host Mike beat me to the punch talking about the new Subdued on the podcast. So now’s my opportunity to further express my thoughts.

Obviously, I was also way into Subdued’s previous 12” Over The Hills and Far Away. I’ve even been lucky enough to catch them play live a couple times: once on stage in Copenhagen, and the other time was outside, under a bridge in Richmond. But I gotta say, when I first threw this new record Abattoir onto the turntable, it really blew me away. I was like holy fuck, this is a great record. For me, easily their best yet. Whereas I feel like the anger represented in current hardcore can either feel like performative posturing, or if earnest, perhaps a bit corny?... Subdued just feels DEAD serious. Almost in a way that I can’t explain. The vocalist Jack feels less like he’s yelling, and more like he’s pontificating from a pulpit, delivering observations of vile realities in a manner both poetic, and simultaneously like a frenzied stream of consciousness. When the record gets into the third track “Vulturemen,” the lyric delivered so bluntly as “Living in a world with evil bastards who are always wanting more.”—A simple enough sentiment, but spat out with such a palpable feeling of disgust that you believe every word. Even just hearing the repeated refrain of “Nothing good can survive. It dies. It dies.” I just sat there listening, staring at my turntable going, “FUCK.”

Clearly, the band’s influences are rooted in UK anarcho punk. I’ve heard people compare Subdued to Icons of Filth or Exit Stance, which I hear, I suppose. But musically, I feel like I hear the band merge a lot of disparate musical ideas. Slow, dirgey mid-paced riffs with tribal rhythms. Melodic, yet eerie and spider-weaving arpeggiated guitar work. And then brutalist explosions of speed and intensity. The heavy slow parts aren’t too metal. The melodic parts aren’t too cheesy. And the fast parts aren’t too reminiscent of all other “raw or d-beat or whatever.” I love the intro to the track “Children of God” that opens with this lone, trudging bass and when the guitars enter, they play this unexpected “lick” I’d guess you’d call it? It’s so killer. And all these theoretically opposing musical sections don’t clash or feel unfocused. They are blended smoothly and seamlessly, like a natural extension of the band’s unique vision. This record isn’t just a mirroring of the English anarcho punk sounds of yesteryear. It’s like a bleak reflection in its own right—like a cold, psychedelic nightmare.

Most of Subdued is based out of London. But now Cody, who plays in Nosferatu and I’m sure many other bands, has joined on 2nd guitar. Nicky Rat makes the commute to play in Nosferatu, and now Cody makes the commute to play in Subdued. Why not, right? Interesting punk world we live in these days. But I think the recording of this record was split between London, but was mostly recorded at D4MT Labs where the likes of Tower 7 and Straw Man Army do their recordings. The sonic signature of D4MT recordings really suits Subdued, I’d say. 8 songs is the perfect length as well. 12” EP, best format. The peaks and valleys you journey through over the course of Abattoir feel like the perfect amount of sickness for one to stomach. All ending with the grand finale: a pulsing monotonous build into nothing, with the echo of “WE DESERVE ANARCHY NOW.” We do, don’t we?

Anyway, that’s all I’ve got. Another showstopper from La Vida Es Un Mus. Who woulda thought? You need to hear this new Subdued. It’s really great.

‘Til next week,

-Jeff

What’s up Sorry Staters?

Hope everyone reading this stateside had a good time on America’s bullshit holiday. July 4th, aka National Hot Dog Day… Hey, don’t get me wrong. I love a good veggie wiener with mustard. I was supposed to drive up to Richmond and play an outdoor gig with Public Acid, but my fuckin’ tire exploded while I was driving 70 mph on the highway. It was fucking scary. All I had for a spare tire was one of those shitty donut tires, so I couldn’t make the rest of the trip. I saw clips of the gig online, and it looked like a blast. Explosions going off in the background while my dawgs in PubAss ripped a 4-piece set without me. Wamp wamp. I was bummed. I’ve got the shit-eatin’ blues, I guess you could say.

So yeah, if that last little ‘wink-wink’ of a sentence wasn’t good enough to clue you in, I’m talking about The Cheifs for my staff pick. One of the unsung great bands of the early Hollywood punk scene. The other day at work, I was blasting The Cheifs as Daniel was walking into our warehouse. He said something along the lines of, “Good call, stoked to hear The Cheifs today.” For me, the HCPMF appeal of the band is universal, and yet, it seems I rarely hear people talk about The Cheifs (except for a bunch of my punk friends in LA haha).

I remember my first exposure to The Cheifs was on the Who Cares compilation LP. This comp features great tracks by bands like AKA, Suspects, and Civil Disobedience—all of which are bands whose only recorded output was on this comp. I was familiar with Shattered Faith prior to my first exposure to this compilation, but the main reason I discovered the record many years ago was because of Political Crap. Now, for those that don’t know, Political Crap was one of Duane Peters’ first bands. Love him or hate him, I was super into everything revolving around Duane Peters when I was a teenager. Come on dude, he’s the master of disaster! I listened to everything from US Bombs, Die Hunns, you name it. Okay sure, so now those bands don’t hold up for me much these days, but I was just devouring everything I could find when I was a kid. Of course, I was also way into Duane because of his skating. I first saw him in the Black Label video Blackout from 2003, and even back then I was like, “Who is this gnarly OLD dude shredding pools?” Then to discover later on that he had a punk band from 1980 that sounded like an unhinged, youthful version of Black Flag? I was sold. Say what you want, “Slow Death” is an all-time banger.

Anyway, The Cheifs also have 3 songs on the Who Cares compilation, all of which I loved when I first heard them. I came to find out later that The Cheifs’ self-titled 7” single, released on Playgems Records in 1980, is the stuff of legend. Funny enough, Darby Crash is credited as a “creative consultant” on the record? Interesting. And amongst record nerds and KBD heads, this 7” has become quite the coveted collectors’ item. I’d love to have a copy one day. The A-Side track “Blues” is such a killer song. A song that feels like it should be a “hit” in the punk lexicon. Granted, it’s a rough recording and much more obscure than bands that appeared in Decline of Western Civilization, for example. But I mean shit, all of the band’s songs are killer. I just think The Cheifs were great songwriters. Aggressive attitude and style of playing, but still that hooky, sing-along tunefulness we love in our early LA punk, vocal harmonies and all. I would imagine they were super influential on the Orange County sound that would emerge a year or 2 later.

A 13-song compilation LP entitled Holly-West Crisis compiles all The Cheifs’ recorded material. This LP was first released by Flipside in the 90s, and included the band’s legendary 7” single, as well as the songs from both of their compilation appearances. But most importantly, the first 6 songs on the compilation are a recording session from 1982 that were previously UNRELEASED. So crazy, because a bunch of these songs are just as good as the songs on their early 80s vinyl releases. The title track “Holly-West Crisis” is like a long-lost gem and a perfect opener for the whole record. Really, the 13 songs on this compilation function like a perfect full-length LP for The Cheifs… even though the separate recording sessions do sound pretty different from one another. It’s awesome though, because you get all the ragers in one half-hour dose. Since the early 2000s, Dr. Strange Records seems like they have ALWAYS kept Holly-West Crisis in print. And gawd bless ‘em for it, I say! Overlooked yet not difficult to find? I don’t get it. I guess the cover art has gone through several iterations over the years, but the record is available for $20 or less at any given moment. That’s a beautiful thang. The album cover pictured in the thought bubble in my photo above is the artwork from the latest version pressed in 2022, which Sorry State is currently stocking. Not my favorite graphic design in the world, but I much prefer it to the purple artwork on the copy I used to have many years ago.

Yeah dude, you gotta blast some Cheifs this summer. “Knocked Out” or “Eddie’s Revenge” is gonna sound really good out of your car stereo while you’re cruising to the lake, rockin’ those sunglasses with the top down.

Anyway, that’s all I’ve got this week. As always, thanks for reading.

‘Til next week,

-Jeff

What’s up Sorry Staters?

Well shit, it’s been a while huh? Hope all you Sorry State readers out there weren’t hurting too badly without a newsletter for the last better part of a month. Scarecrow only made our triumphant return home from our Nordic European tour less than 2 weeks ago. But still, I only just now feel like I’m settling back into normalcy. Without going into crybaby mode too hard, I will say that the post-tour blues hit me really hard this round. I gotta say, this tour was easily one of the best punk-related trips I’ve ever been on in my life. This is due greatly in part to spending a grand majority of our travels alongside our good friends in Vidro. While watching them play every night, the conviction, intensity and energy they deliver in their performances is truly inspiring. Made me wanna throw a couple extra high-kicks into my repertoire during Scarecrow’s set. My attempts are surely much less cool looking or graceful haha. Beyond how great they are as a band, everyone in Vidro—Lucas, Vendela, Melody, and Staffan—are all just a bunch of sweeties. The smartest, the funniest, the coolest. We all feel like family now. Stay tuned for the upcoming sitcom where all live in a big house together. Shenanigans will ensue.

I won’t go into a full-on tour diary, but here are a couple tidbits I’ll mention:

• In Uppsala, we got to see Gefyr play, and they ripped. PX-30 also were so killer—they have the same guitar player as Herätys, so of course I geeked out on him.

• Visiting Finland for the first time was amazing. I finally got to see Tiikeri play inside of a bicycle shop, which had me smiling ear to ear for their entire set.

• I got to touch and listen to an original copy of The Fix Vengeance in the home of a super funny, sweet and welcoming Finnish married couple, who we found out probably have one of the best hardcore punk record collections in the world.

• Kohti Tuhoa’s set in Helsinki was incredible.

• After Finland, you obviously must take the overnight party boat back to Sweden. There was late-night karaoke on the ferry. Melody from Vidro did impressive renditions of the Jackson 5 and KISS (awesome). Usman did an equally impressive performance of “Walk” by Pantera (LOL). Usman hates Pantera btw.

• Our show in Stockholm (where Vidro is from) was a killer gig. Red from Scarecrow joined on guest vocals for Vidro, and Vendela from Vidro jumped up and sang with Scarecrow for a song. Such a special moment.

• In Oslo, we got to play the legendary Blitz venue that’s been around and hosted bands in Norway since the 80s. Daniel’s bass got stolen in Norway, but that’s about the only bad thing worth mentioning (oof).

• Our show in Gothenburg was great too. We played with Slan, whose EP Usman and I released on Bunker Punks. I for one definitely partied hard that night.

• Then we were off to K-Town. Christina and everyone who helps organize the fest at Ungdomhuset are amazing. Maybe the best punk festival ever.

• Got to party with the homies in Invertebrates in Copenhagen for 3 days. They absolutely crushed when they played.

• Danced my ass off during Mujeres Podridas.

• Larma was insane. Most ripping band I’ve seen in years.

• Visiting Cliff Burton’s memorial, nearby where the bus accident happened in the Ljungby area of southern Sweden.

• Lastly, our driver Wilhemina fucking rules. Was so rad getting to hang out with her, and also meeting and talking about hardcore with her partner Christoffer (from DS-13 and more recently, Exil).

Alright, so that bulleted list ended up being longer than I thought. So yeah, life back in Raleigh has been dull by comparison. But I’ve been stoked to see friends, and definitely have enjoyed being back working at the record shop. Also, The Spits/Electric Chair gig here in Raleigh was killer the other night. Looking forward to hopefully equally killer local gigs in the months to come. One more thing, Usman and I are proud to announce our new release on Bunker Punks: the Gefyr / Rat Cage Split 7”! Available directly from our webstore or Sorry State if that’s more convenient for ya. We’re stoked on this one. 2 ripping bands from Sweden and England, respectively.

Sooooo, time to talk about what record I chose for my staff pick for fuck’s sake? Apologies for the long intro. I went with the debut full-length by The Dark, entitled Sinking Into Madness. Perhaps this record needs little support or exposure from little old me, seeing as you folks already seem to be gobbling up our copies here at Sorry State. But I think this is a great record, so why not give it a little attention? The Dark, based mostly out of the Los Angeles area and partially Orange County as well I believe, has been a band for quite a while. The band’s previous vinyl release was a 7” called Demons, which came out in 2018. And I remember really loving the band’s series of demo tapes, which now feel like they came out about 10 years ago. Wild. I remember there being a little buzz around when those initial couple demos were floating around. Not only that, but the band’s sound and aesthetic gave this illusion of a veil of mystery. Like… who were these characters lurking in the shadows making this evil sounding hardcore? Which was a funny thought for me to have back then, because the names of the people of in the band are totally credited on the j-card lol. Maybe the band only seemed obscure and hard to find because of their lack of internet presence? But for example, Corrina the drummer of The Dark also plays drums in Tozcos. Which is interesting, because now following Toxic State’s breaking out of their usual scene and starting to release non-NY based bands… first Tozcos, and now an unexpected full-length from The Dark. Imagine that.

Speaking of that first demo by The Dark, listening to this new LP, I was like, “Huh, these songs sound familiar.” Turns out that the first 4 songs on Sinking Into Madness are the same 4 songs on The Dark’s first demo. That said, those are great songs, and definitely deserving of a sonic facelift from the raw recording on the cassette. Okay, let me talk more about what I think the music sounds like. Compared to everything I hear in the current hardcore punk landscape, I think The Dark are doing something super unique. The Dark is a fitting name, because I hear a lot of influence from the creepier, darker depths of Japanese hardcore. The Dark in particular seem to borrow from the more metallic, plodding side of Japanese punk, reminding me a bit of Blunt Sleazy-era Execute. They straddle raw punk influence, while incorporating glam-influenced, chugga chugga guitar stylings a la Randy Uchida. Then again, I also hear like GBH.

Unlike their earlier recordings, the vocals are less the heavily effected and sit more up front in the mix. Still a bit of delay on the vocals, but all the instruments sound heavier and punchier with more weight to the sound. The vocals have more clarity, while still maintaining a demonic and vomitous atmosphere, yet also a feeling of creepy, desperate emotion over the powerful riffs behind them. And while the familiar songs on the A-side are great to revisit, the new songs the band have written on the B-side sound fresh and powerful. The opening B-side track “Face In The Mirror” to my ears leans into a bit of that Orange County influence, with these eerie, arpeggiated chords that make me think of something off of Weathered Statues by TSOL. Then probably my favorite track on the record, “Heartless,” opens with this sassy, chuggy mid-paced riff that straight up sounds like Judas Priest or Motley Crue. Maybe the band would hate me saying that haha, they’re probably still thinking about Randy Uchida writing those riffs. But that shit fuckin’ BANGS. Makes me wanna hop on a motorcycle and mow down posers with a battle axe or some shit. FUCK and the double kicks behind the dissonant Die Kreuzen-y riffs on “Nightmare”? Get the fuck outta here, it’s so killer!

As always, Toxic State did a beautiful job with the all-screenprinted packaging. From what I can tell, it doesn’t seem like The Dark plays live super often. Hopefully this LP will get the band some well-deserved love and implore them to play some fests or maybe even tour? I would love to see them play. Do yourself a favor and snag this LP while you can.

Okay, that’s all I’ve got this week. As always, thanks for reading.

‘Til next week (hopefully),

-Jeff

What’s up Sorry Staters?

Another week, another newsletter, amirite? Only this time, a few of us are certainly trying to squeeze this thing in real quick before leaving the country. By the time this newsletter is available for your viewing pleasure, I’ll be in Sweden along with Daniel and Usman. Crazy talk. I can’t wait for Scarecrow to embark on our journey along with our friends in Vidro. Seeing the beautiful Scandinavian countryside once again. I’ll also be going to Finland for the first time!! So stoked. K-Town is gonna be sick. And my homies in Invertebrates will be there too? LFG.

Speaking of Invertebrates… I know their LP was “Record of the Week” last week. I know Usman wrote about the record in his staff pick as well. But I think it would be a glaring misstep—a DAMN shame I say!—if I didn’t take the opportunity to also share some love for the new Invertebrates record. Considering my last staff pick was all about how I was feeling ill, SICK to Survive would have been a perfect theme for last week. Yet another missed opportunity. Oh well.

Let me start by saying that Invertebrates made the hardcore record that I feel like I’ve been waiting to hear, but that no other band was making. I think it’s one of the best executed hardcore punk records I’ve heard in years. 10 songs in under 14 minutes and a crushing blow. I remember hearing the Invertebrates demo tape a few years back. Particularly the first track “Down Under,” to me it sounded like the songwriting was leaning toward other contemporary bands not unlike Bootlicker: that kind of restrained, bouncy fast-paced UK82 style a la The Partisans. I think Sick To Survive is a different beast altogether. To the point where people who loved the demo might be taken aback. In a good way. Sure, I have an inherent bias because I’m also in a band with 3 out of 5 active members in Invertebrates. Call it nepotism. Whatever, sue me. I love watching my friends do cool shit. Now by comparison, Public Acid likes the heavy stuff. I feel like we incorporate some metal influences. But to me, Invertebrates is devoid of any of the trappings I find with modern hardcore, whether bands are d-beat/crust/grind… whatever. Invertebrates got no crust. They got no metal. They got no spines? Haha.

I remember Will (who plays guitar in Invertebrates) telling me that he was listening to a ton of Career Suicide when writing the songs he contributed to this record. I can totally hear that. Especially just the urgency with which a song like “Lost Illusion” starts with. Immediately ripping. I’m just like: “YES!!! HARDCORE!!!” But I think the grander idea of what I’m getting at, and what this LP really electrifies in my brain synapses is the same feeling I got when I would listen to bands that I associate with the initial 80s hardcore punk revival of the early 2000’s. A special time, if you ask me. And I gotta say, as much as I love watching my boi Chubb play that Discharge beat style, I just love his drumming on this LP. The stylistic approach just seems right up his alley. My man is on FIRE. The speed and ferocity is outta control, but dialed and focused simultaneously. In the pocket. And this record is FAST. The band is hitting some really intricate rhythms that most degenerate punks I’m sure would find difficulty playing. Just listen to the intro of the title track “Sick To Survive,” with its blistering snare rolls back to back, but then everyone drops out into this quick hiccup-like pause that makes your heart feel like it skips a beat. Clean guitars are played fast furious, no “buh-nah-nuh” bullshit. If you know what I mean, then you know. Real deal non-stop right hand exercise. But also some left field, spaced out psychedelic sounding leads on a song like “Bated Breath.” The band also launch into some unexpected, quirky chromatic parts like the intro to “Shit Pit”. Super cool. As much as this record is dead serious in its commitment to total rippage, there are moments of levity. Straight rage and super fun. What a concept.

I don’t know man, there’s something special about this record. And it seems like the punk community at large agrees with me, because it’s already selling really well. At risk of sounding cheesy, I think this record embodies a spirit. Invertebrates is the truth. From the heart, pure and genuine HARDCORE. Now, as I mentioned, I play in a band with 3 of the people in Invertebrates and consider them close friends. Merm, who absolutely tears it up on the bass, is also an old friend seeing as I’ve known him since his North Carolina days. Max the singer I’ve only gotten to know in the last several years. He’s even travelled with Public Acid overseas. Max is a talented artist, a good friend to most everyone who knows him, and a fixture of the Richmond punk scene. One of the few mofos I know who is actually FROM Richmond. The kinda dude who you think to yourself, “You know what? Max should really sing for a band.” Might as well be the best band. Man, okay, so a song like “Humid Crypt” on this record has this long, building crescendo that breaks into this crushing mid-tempo part that ends the song. Dare I say “breakdown?” It’s one of my favorite riffs and moments on the entire record. And there’s something about it where, sure, it is no doubt mosh-inducing. But the thing is, it doesn’t come across like bone-headed dumb tough guy hardcore. It really reminds me of authentic Richmond area hardcore, that blend of ripping fast with hardass dance parts that still feels totally punk. I hear a little Direct Control, even a little Wasted Time maybe? But even more than that, I hear like Unseen Force. So, watching a bunch of Richmond local punks tear it up at the gig, dancing hard as fuck when that riff in “Humid Crypt” drops, all while Max is beckoning the crowd while wearing a Direct Control shirt? That’s what I’m fucking talking ‘bout. Real HCPMF shit.

Anyway, I’ll quit gushing like a dork. Buy this record. I’m sure you probably have already.

‘Til I’m not sure when?

-Jeff

What’s up Sorry Staters?

It feels a bit surreal for me to be sitting down writing for the newsletter again. Not only because of my last couple weeks of traveling, but also because of the hazy fever dream state that is my current existence. The other Scarecrows and I returned from our excursion to LA, arriving at the Raleigh airport late on Sunday evening (for context, this would be the previous week on May 19th). And what did I decide was a good idea? To return straight to work at the record store that Monday, barely a few hours later. To say that I felt fried beyond belief at work on Monday would be an understatement. At first, I assumed that I must just be feeling fatigued after all the travel, but I only felt worse as the day went on. I come home to find out that I’m running a fever of 102 and that night when I went to sleep, I would not be able to stop coughing. Whoops! It’s almost as if when the adrenaline of partying on tour wore off, I immediately got sick. Who woulda thought?

I had a blast on this trip I just returned from. Public Acid began our journey in New York. We played 2 shows: the first at TV Eye, a proper club; the 2nd at more of a DIY venue. We billed the 2nd gig as “Public Acid & Friends,” where we commissioned people to play extra instrumentation along with us. Sasha from 80HD (among other bands) played dual drums in unison with our own Eric Chubb. Hearing both of those monster drummers in synchronicity was an amazing thing to witness. Dual drums? Why not dual bass? We also got Mateo from Warthog to throw down some additional booty to the mix. Also, Margaret from Pharmakon added some additional layers of harsh noise. Insane. Goofy even. But a super fun and special moment, nonetheless.

Then we ventured to the west coast, starting in Seattle. I got to reunite with some old friends in Portland, which was amazing. Of course, the gigs we played were great. Mainly though, I feel like the memories of just hanging out and goofing off will stick with me more: lifting weights with Electric Chair in the driveway at their house, jamming Freestyle singles with B in Oakland, eating chilaquiles with Kevin in Santa Ana, jamming Spanish new wave records with Baño at his apartment, gawking at sea lions literally a few feet away from me at La Jolla cove, walking through a forest of redwoods at Muir Woods, eating burritos the length of my forearm… I could go on and on. I grabbed a few records along the way as well. Lie Detector was definitely fun, and I was stoked to be in LA with my good friends and bandmates in both Scarecrow and Public Acid. Anyway, that’s enough of my tour diary. Funny to think I’ll probably have just as much to blab about later, seeing as I’ll be in Sweden in less than 2 weeks (holy shit).

Alright, time to talk about records. Like I said, I’ve been out on my ass with a fever for the last few days, just wasting hours dozing in and out. It sucks. I hate being sick, especially if I feel like I’m watching days just pass me by. I will say that nothing has been a better antidote for my feelings of despair than this new Kristiina LP. Seeing as this record is my current obsession, I obviously would’ve written about it regardless. But why not redirect its healing power to my current physical and mental state? Simply billed as “Kristiina” on the cover, this album Palavan Rakkauden Aika is a project led by Finnish singer-songwriter Kristiina Tuhkanen. According to the limited information I can pull off the internets, it looks like Kristiina has played in several bands and previous projects. But for all intents and purposes, this is her first solo effort—albeit with a kickass backing band.

Being the HardcorePunkMetalFreak that I am, I have spent a good chunk of years obsessing and trying to devour anything in the world of Finnish hardcore that I could get my hands on. Distracted by hardcore perhaps, I would say that hyper-melodic, (perhaps) punk-adjacent Finnish power-pop is a genre of which I am far less knowledgeable. I don’t even want to go there, but I do detect something about the sound from that region of the world, a darker take on melodic punk with indie or rock’n’roll sensibilities not unlike Masshysteri or the like. But I KNOW, Sweden and Finland are very different.

In fact, I think Finnish melodic punk, or really just straight up pop music, is finally finding its way onto my radar. A while back, I remember a friend turning me onto this Finnish guitar player and songwriter called Joni Ekman. I remember him from playing in a more raw garage punk band called The Achtungs. But on Joni’s solo records, he evolved into much more melody-based pop songwriting, and these records were also a showcase for his brilliant lead guitar work, often with notably harmonized guitar leads. Now being much much later, I’m listening to this new Kristiina album and it suspiciously also has killer harmonized guitar parts all over it… Now in my mind, I’m thinking, is this like a hallmark of the Finnish power-pop genre? And what have I been missing??? So now hearing this Kristiina record… it’s got well-executed songwriting, sweet lead vocals, and is toppled with Thin Lizzy-esque guitar solos? I’m like “What is not to like?” But OF COURSE, now I have the physical copy of the Kristiina album in my hands. I’m reading the liner notes, and guess who plays guitar on it? Joni Ekman. DUH. I should have known, I suppose. And before I get more into this Kristiina record, I really think Joni Ekman is a mad genius. And while I honestly don’t love his vocals on everything I’ve heard of his own material, I think his playing mixed with Kristiina’s voice is like a chemical explosion.

I don’t know why I find myself loving this record so much. I like that I don’t know too much about it and I’ve been blindly digesting it without outside influence. Maybe I find the mystery alluring. Whatever. Looking at the visual aesthetic of this album, the cover photo of our lady in question, along with that font… “it’s giving vintage,” as the kids might say. The production sounds sonically pristine with layered, lush instrumentation. Tons of ear candy to experience. Twelve string guitars, synthesizers, you name it. But nothing about the production feels bombastic or ridiculous. But I also don’t think the record sounding “lo-fi” is the intention either. To me, this record sounds beautifully recorded if not for having vintagey, almost boxy sounds at certain moments. Maybe if it were a Fleetwood Mac record from 1977, the layers of instrumentation on this album would seem ambitious and heavily produced. But in Kristiina’s case, the record feels restrained and understated in a way that is very intentional. This might be a weird way to describe it, but there’s almost like a toy playhouse quality, almost like this record is an adult conjuring of a child’s music box or something.

Kristiina’s voice is of course the focal point of the whole record. Her singing can be sharp with attention-gripping, rock’n’roll charisma at one moment, but she will then sound sweet, ethereal and wistful at another—like on the song “Liisa,” one of the more stripped-down numbers on the record. I think that’s what I find frustrating about many singers from punk-adjacent backgrounds making pop records. Granted, the crafting of good pop songwriting is tough. Kristiina’s songs also read as genuine, intimate, and put on display with vulnerability. It’s not that the feeling derived from the sound of this record elicits nostalgia—it’s more like it conjures a mystifying, dream-like sense of longing. Even though the melodic structure of most of these are in a major key, there’s still an intangible moodiness and melancholy.

Probably my favorite track on the album is “Aloe Vera” (which, I don’t speak Finnish, but is this song about soothing gel?). The track opens immediately with an infectious synth riff bouncing over a propulsive, up-tempo drumbeat. Kristiina’s vocal weaves this pointed, concise and syncopated pattern that gets stuck in my head… even though I unfortunately don’t know anything about what she’s saying besides the aforementioned anti-inflammatory plant. The synth part reaches crescendo after the second chorus, blooming into this dense explosion of sound that gives me goosebumps. Makes me feel a pit in my stomach, like I could be having a breakthrough tripping on mushrooms while looking at the stars… or a disco ball… Either seems fitting, really.

I love pretty much every song on this record. The last song “Hai” has gotta be another favorite. Beginning with mainly acoustic guitars, this song is a bit slower, mellower, but has a perfect, earworm chorus. Later, the song is dressed with some Wire-esque choral “oooooh” background vocals and a hypnotic, whirlwind-like repeating refrain that slowly fades to close out the record. Only 8 songs is a bit cruel. Leaves me wanting more. I guess that’s the point, right?

So yeah, I really dig this record. Maybe my strong feelings for it are currently being heightened by the gross and sad disposition I’m currently living in. Hopefully I’ll be feeling well by the time this newsletter comes out, and I’ll feel embarrassed reading this back. I think the copies we got of this Kristiina record are already sold out from Sorry State. The tracks are on bandcamp. I think the record is still available from the label. Give it a listen and tell me if my description makes sense, or if it just reads like I’m high on cough medicine.

Anyway, as always, thanks for reading.

‘Til who knows when?

-Jeff

What’s up Sorry Staters?

I know I had plenty of extra time on my hands over this past weekend, so why am I always scrambling? Just an indication of my true lunatic-like tendencies. In just a couple days, I’m hopping on a train and hitting the road and the skies with Public Acid. We’re playing a couple shows in NYC and then meeting up with our friends in KOS in Seattle. We’ll be touring down the west coast and ending at Lie Detector Fest in LA. It’s gonna be sick. Hope to see some west coast friends I haven’t seen in a long time on this trip. It’s gonna be a blast, but I always get the pre-travel anxiety jitters a few days before. Feelin’ a little crazy.

Anyway, let’s talk about records. Recently, Sorry State did a big distro order from Nada Nada Discos. It’s so rad to me that the label has expanded beyond solely doing punk reissues. Under the flipped around version of the label, when they use “Discos Nada” instead, they’re doing mostly all Brazilian music but in genres of all kinds—whether it’s jazz, avant-garde, electronic… you name it. And yet, for the purposes of my staff pick, we’re still gonna talk about a punk record. Big surprise.

Inocentes is one of those bands where I’ve definitely heard the name, but I don’t really think I’ve taken the time to sit down and fully digest an entire record by them. I debated writing about this Cólera record, too. I was already familiar with Cólera because of their appearance on the classic SUB compilation. Cólera definitely plays at hardcore-speed tempos, but with anthemic, melodic vocals that maybe even hint at Oi! influence from time to time. With that in mind, I wasn’t really sure what to expect with Inocentes.

This LP we just stocked from Nada Nada Discos is a reissue of Inocentes’ first 12” release, entitled Pânico Em S.P. Originally released in 1986, Pânico Em S.P. is really a 12” EP with only 6 songs on it. This Nada Nada reissue puts the whole studio session on Side A, and then Side B has a 1986 live performance which actually sounds pretty good. Firstly, though, the studio side sounds amazing. Kicking right in with the first track “Rotina”, I already knew this LP was gonna be right up my alley. Inocentes play at a mostly upbeat mid-tempo pace with songs that sound pretty melodic and catchy. That said, rather than the kind of anthemic, Oi!-gang beer-sloggin’ folk melodies that I mentioned with Cólera, I would say Inocentes has way more in common with early punk from Southern California. I hear a huge surf influence. Pounding tom grooves that launch into lightning speed ride cymbal Bill Stevenson-esque double-snare-hit beats. Most notably, when I hear the washy, reverby, but mostly clean swells of guitar and the spidery walking bass lines, these elements lead me to believe the dudes in Inocentes probably had Living In Darkness on heavy rotation. On a track like “Salvem El Salvador,” the singer is barking what I can only assume are intense, politically driven chants over top of a riff that sounds like a blend of the riff from “Abolish Government” by TSOL and a single-note riff lifted from the nastiest sounding Ventures instrumental.

While this other band is from Uruguay, this Inocentes record is scratching a similar itch as that Los Invasores record I loved from several months back. What I think is so cool about records like this Inocentes 12” is that you can hear a clear blend of influences, whether it’s SoCal surf-infused punk, new wave, goth… Still, the result comes out sounding totally unique with the Latino punk influence and maybe some other things in their sound I couldn’t even pinpoint. Man, I even hear a little bit of that signature familiar chord change in a song “Ele Disse Não,” which I directly associate with my young over-indulgence of bands on Epitaph before discovering hardcore. All this is to basically get across the idea that I hear things about Inocentes that grab my ear because they are comfortable and I’m sucker for it, but their take on this sound is so different and well-done that it feels totally fresh and exciting. Nada Nada did a great job with the packaging as well. Super thick, high-quality laminated gatefold sleeve (oh baby, I Iove a laminated sleeve). It also comes with a printed inner sleeve, a poster, and 3 additional leaflet inserts. And it’s on clear vinyl!

Anyway, Inocentes rule. Now I gotta check out some of the band’s other records in greater detail. I know at least early in the day on the day this newsletter comes out, Sorry State still had a few copies of Pânico Em S.P. in stock. If my write-up got your attention at all, definitely try and snag a copy if you’re new to Inocentes like me. Highly recommend.

Anyway, that’s all I’ve got this week. As always, thanks for reading.

‘Til next week,

-Jeff

What’s up Sorry Staterrrrs?

Another month is coming to an end in just a couple days. Before you know it, Justin Timberlake memes will flood your social media feed. April was a pretty good one for me, though. Several killer local gigs here in Raleigh. What a concept, right? Deletär absolutely killed when they played here last week. Killer riffs, even more killer dudes. Wish we could’ve gotten to hang out more. Anyway, let’s see what shenanigans await us this month…

By the time this newsletter comes out, Sorry State will have already had my staff pick in stock for a couple weeks. Old news? Well, technically by definition, it really is. LA’s own Decry released their debut LP Falling in 1984, and it ought to be revered as an all-time banger classic punk record. Look at that bright pink album cover! It’s iconic, dude. This new pressing is on fancy pink color vinyl. You know the kids love that. But why do I get the impression that this record isn’t getting any love? Maybe I’m projecting, but I rarely hear my peers who love 80s hardcore hyping it up. I figured the feeling on the street would be that there was more excitement surrounding this reissue because… IT’S FOR THE FIRST TIME EVER. It’s hilarious, unlike any other record from the 80s, you go on Discogs and there’s only 2 listings for Falling: the original Toxic Shock pressing from 1984, and this brand new pressing now out 40 years later. How is that possible?

Let’s talk about what’s going on with Decry musically for a minute. Personally, I lump in Decry with other Southern California punk and hardcore of the era that conjures images of sketchy kids with flannel shirts around their waists flying off the stage at the Hollywood Palladium. Background music that sounds like a perfect soundtrack for skaters blasting airs out of a backyard pool. While the band is a little rough around the edges, Falling is full of big riffs and big shout-along choruses. The title track “Falling” will get your fist in the air, chanting along, and make you immediately wanna go stage dive. Lyrics still harken back to a vivid dystopian image of Reagan-era hopelessness. Exaggerated and possibly not the most informed lyrical content, but still enough to get your blood pumping. Just the aloof, snarling delivery of a song like “American Way,“ with lyrics like “Go to church, go to school. Be another one of societies’ tools. This is your American way, Mom and Dad drive their Chevrolet.” Like the idea of a bunch of LA punks scoffing and rolling their eyes at the idea of driving a brand name automobile. Hilarious. Some songs do touch some gnarly subject matter, like “Suburban Death Camp.” For my money though, the hit single off of this record is “My Bloody Dream”. “Is this real? Am I CRAZY??” Such a ripper.

Decry have a similar rock’n’roll edge that I might compare to bands like Agression. And while they’re not covering Elvis tunes or anything, Decry also fit right in with a band like Tales of Terror. In my mind though, Decry’s rock’n’roll attitude and influence in the guitar playing has a sonic personality and attitude that feels purely like they could have only come out of Los Angeles. This is no Doug Moody production—this record sounds thick and powerful with a pinch of Hollywood studio pixie dust on top. You can hear a bit of the snotty, speeded out aggression of Wasted Youth still in the mix. But then again, when you see old photos of Decry, most of the dudes in the band have grown their hair long and teased it out. The fashion sense man… let’s just say you can see a bolo tie or 2 working its way into the outfit. It’s not a difficult stretch of the imagination to see these dudes trying on some leather pants a few years later. I don’t think I’d venture to say we’re quite in Guns N Roses territory. Decry still embody that snotty, nihilistic, punk attitude. They do a somewhat outta tune rendition of “Sonic Reducer” by the Dead Boys. Rough as it may be, Decry’s take on the song is really perfect for them. I think they feel right at home interpreting the snotty attitude of Stiv Bators and the crude, destructive attitude of the song. I guess some of these dudes did later go on to play in that band Junkyard along with Brian Baker from Minor Threat. So, all in all, I guess their leather pants/cowboy boots/hot rod cruising rock’n’roll dream did come true.

Anyway, check out Decry if you’re not super familiar. And maybe Junkyard too if you’re feeling feisty… or not. Whatever haha.

Anyway, that’s all I’ve got this week. As always, thanks for reading.

‘Til next week,

-Jeff

What’s up Sorry Staters?

By the time this newsletter comes out, the Shaved Ape/Meat House/Starving Bomb benefit gig for the Palestine Children’s Relief Fund will be behind us already. Weird to write this preemptively. I really hope that show goes well. I’m fuggin stoked for it and hope the punks and freaks come rage and support the cause. Also, the day this newsletter comes out will be the same night as the mighty Deletär’s infiltration of Raleigh! So pumped for that gig.

Man, my staff pick this week caught me off guard. Sometimes, we stock records here at the store of which I have no prior knowledge or point of reference. Then, upon first listen, the record knocks my socks off. Okay, here’s the kicker though: especially a few years back, the genre descriptor of “gothy post-punk” really was the kiss of death, wasn’t it? I remember a period where contemporary DIY punk was way too oversaturated with bands that tried to do their best Joy Division impression. We’d stock record after record like that at Sorry State, and after a while I just remember finding all those bands exhausting. If your objective is to sound like 80s goth band “X”, I think the difficulty is whether you can actually write a good song or not. You can decorate the gothic castle of your dreams with all the correct sonic gargoyle statues and spooky drapery you want. Dark, moody vibe? Check. Chorus and delay on the guitars? Check. Wailing, low-pitch, budget Ian Curtis vocals? Check. Anybody else yawning yet?

This new LP by Montaña is antithetical to all of these negative trappings of post-punk I’m describing above. I played this record, and within 10 seconds I was already hooked. Hailing from Seville in Spain, Montaña has many sonic identifiers that tempt me to draw comparisons to other bands. But whatever, this record is just really GOOD. I think the strength of the band is that they know how to write hooky, catchy, and intelligently constructed songs. For my money, this band’s take on mining familiar sounds of post-punk/new wave/whatever stands head and shoulders above hack imitators. For one, I love that even with an incorporeal feeling of melancholy moodiness detectable, Montaña exchange the typical drudging broodiness for uplifting, frenetic energy in their songwriting. The opening track “6:45” is a perfect example, where the frenzied, relentlessly moving bassline meets a vibrant, hooky guitar melody. Funny enough, the herky jerky, unyielding bass and rhythm section kinda remind of Gang Of Four, and they have that song “5:45”… Coincidence? But they knock the musicianship out of the park. Brilliant counterpoint occurs between the propulsive basslines and the often syncopated, ethereal guitars. The second track “Negro Calor” opens with a bass part that immediately has a catchy guitar line that comes in with an unexpected, angular rhythm that rubs against the pulse of the bass. Moments of complex rhythmic intensity seamlessly transition into euphoric, spaced-out dreamy releases of tension.

Gah-DEYUM I love what the guitar player is doing on this record. It’s like total ear candy. While it is drenched with effects, I don’t gather that the guitar player is just trying to squeeze a bunch of pedals on his pedalboard unnecessarily like an obnoxious, nerdy guitar store employee. The variety of textures feels deliberate and heightens certain passages in the songs. The role of the guitar functions less like a vehicle to lead the listener’s ear for chord changes, and more like another layer of melodic complexity against the vocals. It’s like an additional dressing… that special sauce, baby. It’s funny, the guitar player every now and then will hit these chord accents with a particular delay cadence that sounds so much like “I Ran” by Flock of Seagulls. I don’t mean that as a diss at all. I really like Flock of Seagulls haha.

Speaking of the guitarwork against the vocals, the woman singing is the pot of gold under the rainbow obscured by the clouds. Another remarkable element within an already excellent backing band. All the lyrics are sung in Spanish of course, which for whatever reason is a bonus for me. Whether it’s Paralis Permanente or whoever, I think Spanish singing, even just sonically, sounds at home and rad over this style of music. Her voice and approach to the singing just oozes charisma and personality. She’ll do these explosive high-pitched squawks that (I hate to even go there) remind of Siouxsie on tracks like “Head Cut.” I guess a more contemporary comparison I could make is Violeta from Rata Negra—more just as a reference point for lively, talented singers in a similar vein. And that’s not to take anything away from the singer of Montaña—she’s got her own thing going on of course.

I think 8 songs is the perfect length for a record like this. All the songs are around 3 minutes in length and jam-packed with hooks and interesting, clever song structures. The record doesn’t overstay its welcome, and it also leaves the listener wanting more. The recording is also incredible. Crisp, clear, punchy and all the players in the band shine. It sounds professional, which is a funny word to use I suppose. Not slick exactly, but just expertly executed. The record comes housed in this unassuming brown cardboard jacket. The feel of the record is very DIY, with silkscreened minimal, graphic-designy looking artwork. I think this record is also a pressing of only 300 copies or something like that. I think the record is so damn good that it feels like it should be on a bigger indie label for some reason. But the fact that it’s not on a bigger label, and maintains a real deal DIY punk sensibility only adds to the record’s allure in my book. Maybe I wouldn’t have even listened to Montaña if they were on Sacred Bones or whatever haha.

It’s funny, the band is called Montaña, which I assume means “mountain” in Spanish. But here in North Cakalaky, I keep forgetting about the tilde on the “ñ” and keep jokingly calling the band Montana. The best post-punk to ever emerge from the hills of Missoula. This record is great. If any of the references or comparisons I made tickle your fancy, then I highly recommend checking it out.

That’s all I’ve got. As always, thanks for reading.

‘Til next week,

-Jeff

What’s up Sorry Staters?

Not a whole lot to report on the personal front this week. I’m feeling the tingles of being busy with band activities just around the corner. I was reminded that Public Acid’s 2 shows in New York are only a month away! And then from there, we fly out of New York to go tour the West Coast with KOS on the way down to Lie Detector fest in LA (dizzy guy emoji). All of which I’m thoroughly looking forward to, but always have a little anxiety about. It’ll be rad though.

Last week, I jumped the gun and talked about Record Store Day a couple weeks early. Now I’m back to talking about punk. The new reissues we just stocked from General Speech are killer! Legion of Parasites and Puncture were long overdue for a proper, nicely executed reissue. Along with these new General Speech titles, while GS was not directly involved, Tom was also nice enough to include these new reissues from Dead Ends. Dead Ends were a band based out of the Philippines during the mid-to-late 80s. The 3 LP’s Sorry State just stocked were originally released on cassette during the time the band was active. Thanks to this label Merciless Records, the Dead Ends recordings are finally given a long overdue and well-deserved vinyl treatment.

Weirdly, I was actually made aware of Dead Ends many years ago. My old buddy Ace, who has played in many bands I’m sure all you Sorry State readers are familiar with, first introduced me to Dead Ends back when he still lived in North Carolina. Come to think of it, I don’t even know how Ace found out about them way back when. For me, Dead Ends were relatively obscure, especially 10 years ago and considering they only released their albums on cassette. But I do recall Ace told me that he wanted to take a deep dive and learn about 80s Filipino hardcore. I remember him even rocking a Dead Ends snapback baseball hat at one point? You can check my sources on that detail. Back then, Ace probably played me a song or two. I remember thinking it was cool at the time, but after that, I surely didn’t know where to hunt down recordings online or anything. And I certainly had no idea that Dead Ends had 3 full-lengths worth of recorded material.

I can’t remember exactly what my initial impression of Dead Ends was when I first listened to them like over 10 years ago. I wanna say I remember it not being super aggressive or heavy. Maybe I was expecting them to sound more metallic, as one might think in the mid-to-late 80s, like Death Side or Final Conflict or something. But now, listening to these records with fresh ears, these feel like long-lost gems of an overseas hardcore scene. I’m sure Dead Ends made a huge impact in the Philippines where they’re from. Which also makes me wonder how much the band was aware of what going on in hardcore punk in the 80s. So, the band was a 3-piece. And one sort of legendary piece of the narrative I heard is that the 2 brothers in the band, Al and Jay Dimalanta, visited in New York in the early 80s, absorbed everything that was going in punk while they were there, and then returned home to the Philippines and started a scene from scratch. That could be totally untrue. But if it is true, it makes for an interesting development of the band’s story.

Listening to these records now, it seems very clear that Dead Ends took influence from punk and hardcore in the US (and also maybe a bit from the UK). I guess you could say that Dead Ends’ sound is fairly westernized. All the lyrics are sung in English as well. What’s funny though, is that to me it seems like each LP is sonically about 4 or 5 years behind what was happening in the US. And I don’t mean that disparagingly at all! Dead Ends’ first record Complaints came out in 1985, and really sounds a lot like California punk circa 1980 or ’81. And then with each record, the band gets slightly faster and more aggressive. Al’s vocals really are a huge aspect of the band’s sound. He’s super quirky and charismatic with his delivery. I’ve heard many people compare his inflection to Jello Biafra, which I totally hear, and would imagine Jello was a big influence. But I hear a bit of John Lydon in there too. I think the influence of UK punk shouldn’t be underestimated. Complaints will get you raging with faster-paced rippers, but then there are occasional uber-melodic, sort of anthemic tunes that sound like The Clash. I mean, dude, there’s even a few ill-fated reggae sections in some songs, which gives me a little smirk. Of course, a punk band incorporating a reggae groove in their song was par for the course if they were in the UK in 1978. If only someone was there to warn Dead Ends that not only would this not age well for bands in the late 70s, but it was DEFINITELY not a cool move in 1985 haha.

The next record, Second Coming, has its moments as well, but I found myself gravitating most strongly to the 3rd record, Damned Nation, probably the most instantly raging and urgent record out of all of them. When you listen to the riffs and fast, in-the-pocket groove of the drums, you could draw comparisons to like Battalion of Saints or even Poison Idea. That said, I think this record is where Dead Ends really comes into their own. And even with all of what I’ve said previously, I don’t think Dead Ends sound purely derivative on any of their records. I think the band shows strong songwriting and intense conviction on every single one of these records. Damned Nation in particular, though, has some super intricate musicianship, shredding guitar leads, clever song construction with some neck-breaking punches and tempo changes, and big sing-along hooks. The speed of the drums almost gets into blast beat territory on a few songs, but not in a metallic/power violence way. This still feels like classic, tuneful, albeit RAGING hardcore. But then along the way, in the middle of the record, you get songs like “Lights Are Out,” which breaks into an unexpected, super melodic refrain of “Teenage lust!” Or a song like “Johnny Loves Hardcore” is almost like Dead Ends’ answer to “Richard Hung Himself.” Big chanted chorus. It rules. So killer.

Another thing I want to point out is that Merciless Records did a really great job with these reissues. The packaging looks great. Most importantly, these records sound great! I’ve heard rough sounding rips of the Dead Ends cassettes on Youtube. And not unlike many other hardcore reissues I’ve heard, I half expected these LPs to have hiss or audible EQ dropouts. I’m not sure what the label’s sound source was for this new pressing, but I was thoroughly pleased how clear and punchy they sound. These sound like classic records, certainly deserving of having a proper release back in the 80s. Kind of a shame they didn’t from one point of view. From another, I’m stoked I get to listen to them on vinyl now in the year 2024. Dead Ends broke up in 1996 after the death of Jay Dimalanta. RIP. His brother Al, who was the chief songwriter in Dead Ends, has continued to play in bands even as recently as the mid-to-late 2010s. On each of the LPs, Al provides some history and insight in the liner notes. Pretty cool to read.

We only got a handful of copies, so I really hope Sorry State isn’t sold out of these Dead Ends by the time the newsletter comes out. If we are, I think there might a handful of distros still carrying them. Hopefully, Merciless will do a repress if these records become totally unavailable. Show some love for Dead Ends.

That’s all I’ve got. As always, thanks for reading.

‘Til next week,

-Jeff

What’s up Sorry Staters?

We’re already about a week into April. Funny enough, (at the time I’m writing this) last night I went to go to see Adolescents, Circle Jerks and Descendents. Originally, I had no intention of going. The show was at this bigger club in Raleigh called The Ritz and tickets were pretty expensive. But last-minute, Zander from Circle Jerks visited the store and offered to put a few of us Sorry State employees on the guest list. I’m not sure what I think about his new solo record exactly, but it was a very nice gesture on his part. Dom and Usman ended up not going, so I just rolled solo to the gig. Kinda weird. But sure enough, there was a ticket waiting for me at the box office. The show was sold out and PACKED, which stressed me out, but I did run into a few friendly faces. It bummed me out that the only original member in Adolescents was Tony, but I enjoyed watching all the bands. Honestly, the Descendents came out sounding the most tight and professional and got the best crowd reaction. Not surprising, I suppose. Once they played “Myage,” I dipped out early. Beyond that, as far as punk gigs in the greater Raleigh area, things have been pretty dead for a while. Luckily, there’s a few sick gigs coming up this month that I’m excited about. The first one is on April 7th at our local watering hole Kings, and the main attractions are punk-metal ragers Absolut from Canada. Then I’m really looking forward to this benefit gig at Rumah on April 20th—Shaved Ape, along with Meat House and new group Starving Bomb will be rockin’ together for a Free Palestine relief effort. There are a lot of other local events going on that same day, but hopefully the punks and freaxxx will show out for a rager and a good cause. Then just 2 days later, members of the Sorry State stable of artists Deletär from France are gonna rip in Raleigh! Hell yeah.

Speaking of 4/20 (hehe), the other big event we always know is on the horizon once April comes around is Record Store Day. Is it too early to talk about RSD releases already? I don’t care; this is what’s been on my mind this past week. Boxes, boxes and more boxes of fresh, exclusive titles have already been piling up on Sorry State’s doorstep. Honestly, I always have mixed feelings about RSD. Usually, once the new list of RSD-branded titles is made available to the public, I kinda roll my eyes. As I’m scrolling through, rarely do I see any records that grab my attention. You almost get kinda bored with the predictability of what records they decide to do: there’s probably gonna be a The Cure-related reissue (most likely a picture disc), some sort of Nuggets-related box set, something with the Grateful Dead, some sort of bloated triple-LP live bootleg by a crowd-pleasing classic rock band, a reissue of a famous movie soundtrack for $30-40 that you can probably find an old copy of at Sorry State in our bargain bin… I dunno, sorry if I’m sipping on the Hate-orade. Long gone are the days of packaging The Fix’s Vengeance and Jan’s Room as a double 7”. That’s all I’m saying.

While the punk titles might be in short supply, every now and then some cool heavy metal reissues come out for Record Store Day. One record in the batch this year is a fresh pressing of Death Penalty, the debut album by Witchfinder General. Knowing me, it might come as a surprise to some Sorry State readers that I even enjoy some Witchfinder General. I’ve been known to indulge in some dirtbag headbanger tendencies from time to time. But the other day, news of the RSD reissue inspired me to go dig out my og copy of Death Penalty. I gotta say, I threw that slab on the platter with fresh ears, and Witchfinder got me rockin’ out in no time.

How does one describe Witchfinder General? I guess the band is an early example of what the kids are now calling “trad metal” or traditional heavy metal. Death Penalty was released in 1982, which was the era when the tail-end of NWOBHM was still lingering, but also when speed metal & thrash were just beginning to emerge as the dominant force in the heavy metal landscape. But Witchfinder General really kind of set themselves apart by sounding much more reminiscent of 70s Sabbath. Thick, girthy guitars that to me sound heavily down-tuned—which is interesting, because besides Tony Iommi tuning down to account for his chopped off finger tips, I think down-tuning the whole guitar for that “doomy” sound was pretty uncommon at that time. The lead singer “Zeeb” (no one knows his real name lol) approaches the mic with what I affectionately refer to as billy goat vocals. Come on, y’all know what I mean, right? It’s that more high-pitched singing with a warbly vibrato. As a result, many annoying imitators would follow. But with Zeeb, I dig it.

This record was released on the aptly titled indie imprint Heavy Metal Records. Early on, around 1980, the label began to predominantly put out 7” singles in true DIY fashion. There’s an unspoken, yet detectable mission statement of sorts that this label was dedicated to only releasing real deal, traditional, “true” heavy metal. And ya know what screams authentic heavy metal more than anything else? A bunch of dudes in renaissance fair garb slaying a sinful, evil wench wearing lingerie while in a graveyard. Titties, cloaks, and swords… Horns UP, amirite? And how does the band up the ante on the 2nd album? Instead of just one, there’s 5 nekkid ladies being attacked. It’s all pretty silly.

I guess the medieval aesthetic lumps in Witchfinder as an early example of the whole “doom metal” thing. I mentioned Black Sabbath earlier. Especially the instrumental intro to the song “No Stayer” not only sounds similar, but I think the guitar player is literally imitating particular licks that Tony Iommi would play. Sounds like “Electric Funeral,” I’m pretty sure. Kinda crazy. In general though, I find a lot of pure doom metal pretty boring for my tastes. Like when you get into Candlemass territory, everything becomes so like ceremoniously corny cabaret. Witchfinder stands apart in my mind because they have songs with a driving, propulsive tempo. More edgy. And not to mention, an element of, dare I say… FUN? The dudes in Witchfinder General don’t wanna sit around throwing eye of newt into a cauldron or whatever. They wanna rock. Like, you could still cruise in your convertible with the top down wearing aviator sunglasses jamming most tracks on this record and feel badass as hell. For me, the total banger hit off of this record is “Free Country.” Every time it gets to the chorus and is like “Look out for me-eeh-eeh, let’s trip on LSD!” I’m like, ooooh fuk yah. He’s talkin’ about all kinds of shit in this song. Mushroom tea? Yes please. My man says, “amphetamine is real good speed.” True, true. No doubt, no doubt lol. But he’s gotta draw the line somewhere when he goes, “Heroin is a killer, you gotta say no.” Stick with that hippie shit. That’s what the druids would do.

I know this record has been reissued before. Back On Black did their treatment on Death Penalty, but the latest pressing that was only available as a picture disc? Big no no for me. So really, this album has been out of print for over 10 years! Realizing this makes the RSD reissue feel more exciting in my mind. And it’s also cool that the new version is back home being released on Heavy Metal Records once again. I didn’t crack the RSD reissue open obviously, but I wonder if the record is on color vinyl or not. My og copy is on clear vinyl. PS, my copy is missing the insert. This is a long shot, but if anyone reading this has an extra insert they can spare then hit me up!

That’s all I’ve got this round. Look out for me. I’m about to slip into my monk’s robe and brew some mushroom tea. Or just drink beer. We’ll see. As always, thanks for reading!

‘Til next week,

-Jeff

What’s up Sorry Staters?

Had a pretty good weekend this past weekend (for clarity, at the time I’m writing this we’re talking March 15th/16th). I guess in the previous newsletter, I already talked about Public Acid playing the National, so I’ll spare you. But I realized I completely forgot mentioning the previous night: Much to my surprise, there was a gig in Richmond when I drove up on Friday night where that new band Cross from NY was headlining. They ripped it, and it was cool getting to kick it with them after the show. Cicada totally destroyed, love getting to see them. But a big highlight for me was this new Richmond band No Victim (whose name was something different on the flyer, but they changed it right before the show haha). The band featured my homie Merm of Invertebrates fame, but also fairly recent Richmond transplant Chester on guitar, who played in those Texas bands Stunted Youth and Save Our Children. For a first gig, No Victim crushed it. Fast, kinda dissonant and chaotic, but they also covered “Commando” by the Ramones. When they finished playing, I just looked down and muttered quietly to myself, “Goddamn, I love hardcore.”

In other news, I believe in this edition of the newsletter we’re announcing that the repress of Scarecrow’s first EP Revenge is finally back in print! Usman and I first released Scarecrow’s debut record on our Bunker Punks label back in early 2020, just a couple months before the pandemic hit. Crazy that 4 years have already gone by. Stoked that this record is available once again after being outta print for a long while. So, if you missed out first time around, hope you grab one either directly from us Bunker Drunks or from right here at Sorry State. You know you wanna snag that red vinyl! ;)

Alrighty, record write-up time: I feel like this Drunk Mums LP might be an unexpected choice for my staff pick. We just got in a bunch of new releases from this label Legless Records, which is based out of Australia. Funny enough, I checked this record out on Bandcamp when I was inspecting invoices for records we should be expecting to arrive in the mail very soon. Somehow, it totally slipped my mind that Angela had written about this very same Drunk Mums record for her staff pick several weeks ago. Whatever, I’ll double down.

Full transparency, based on this cover art alone, this looks like a record I would ordinarily avoid like the plague. The record is called Beer Baby, and I hate the look of the font they chose for the band name. Just looks kinda like a late-90’s half-ass photoshop job. And also, when someone throws out the genre-descriptor “Australian garage,” I’m usually like, nah… I’m good on that haha. Daniel and I use this term a lot: “Garage turkey.” Anyone know what I mean by that? I know you know these types o’ mofos you all see at gigs. Brown corduroy jacket, scraggly curly hair, flared bellbottom jeans, possibly a roadkill bone necklace? Textbook garage turkey. Perhaps that would be the target demographic for a group such as the Drunk Mums. But I gotta say, I threw this record on and just immediately was diggin’ it. Don’t try to box me in, muthafucka. I’m a multi-faceted creature.

I think these Aussie boiz are just good songwriters. To be fair, this record benefits from great sounding production too. Nice, upfront, lightly overdriven guitars. Thankfully, the drummer plays proper Tommy Ramone style on the hi-hat. I feel like garagey punk bands often suffer from a “trashcan” aesthetic and they proudly lean on that low-fidelity/low-effort stylistic approach. And for my money, it gives these bands an excuse to not try hard enough to write good songs. And while the Drunk Mums surely guzzle a few pints from that keg they’re carting around, you can tell these guys are actually really good players. Tight musicianship, and yet, not “stiff.” They’re rockin’ it out with swagger. Melodic, catchy tunes, man. Cool arrangements with the riff writing. I’m not sure if these dudes are slightly older, but it seems like they do owe a debt to the classic punk stylings of their local predecessors like The Saints. And I gotta say, as far as rockin’ punk style goes, I’d much prefer to hear a band from Australia that wants to sound more like Radio Birdman than they do like Pussy Galore or Royal Trux or whatever. I was saying to Dominic, the Mums have that intangible quality where if you were to go see them in a divey club and get totally hammered right up front, you’ll already be singing along with the chorus of the tunes before they’re over—even if you’ve never heard ‘em before. Possibly not the deepest lyrical content, but just fun. And what’s wrong with a little fun every now and then? I’ll find myself singin’: “It’s an apocalypse, baby!” Hell yeah.

Weirdly, I don’t know if this will make sense to some of you Sorry State readers, but I feel like a lot of these Drunk Mums tunes would sound properly great in a skate video. Have y’all ever watched that King of The Road series that was on Vice a few years back? I loved those King of The Road features that would come out on home video back when I was a teenager. Then the reprised TV show version had a theme song by this band called the Black Lips, and I don’t know why, but it would always put me in a good mood. Lo-fi catchy Ramones-ish with whistling melody for the chorus. Why not, right? Maybe I just enjoy it because I happen to associate the song with skateboard-related antics. The Drunk Mums’ songs I feel like could fit that same vibe. Like one of my favorite videos from my youth was Black Label’s Blackout video. I can imagine Patrick Melcher or Jason Adams killin’ slappies on a curb while a couple cuts off Beer Baby are kickin’ in the background.

Anyway, that’s all I’ve got this week. I believe I’m gonna crack a cole one and jam some Drunk Mums. As always, thanks for reading.

‘Til next week,

-Jeff