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What’s up Sorry State readers, I hope everyone has had a nice week. We got faked out by some snow as usual here in Raleigh this past week. It’s starting to feel like we’ll never get a real good snow ever again. Maybe I should consider us lucky for not having to deal with it, but I’d be lying if I said I didn’t love a good snow day. Anyways, last week we had our year end lists here at Sorry State and it was awesome to get to read everyone’s list. I’m lucky to have coworkers with such awesome taste in music. This week I’d like to talk about a record I had mentioned in my list actually, The Soul Jazz Records compilation Punk 45 - There is No Such Thing as Society (I’m gonna just go ahead and shorten it to that) which features UK underground punk and post-punk from ‘77-‘81. I picked this up when I was over in London at Sounds of the Universe, which I was really excited to visit on my trip over there. It’s always interesting to listen to music from the end of a decade going into a new one. I feel like you can really hear certain sounds and ideas taking shape before they’re really fully formed. This compilation is particularly great as you get so many styles on here, from the more garage sounding stuff like The Users’ Sick of You, to more dancey/electronic stuff like 23 Skidoo’s Last Words. One thing all these songs have in common, though, is that they’re catchy as fuck and they’re all kinda just lighthearted and seem to not be taking themselves too seriously on tracks like The Shapes’ Wot’s For Lunch Mum? These British lads are all cheeky as hell. You get some real punk rock bangers on here too though, like Puncture’s Mucky Pup, which I believe Sorry State still has some 7” singles of a recent reissue if you wanna pick that up. I think all the Soul Jazz Punk 45 compilations are great and give you a bunch of info about all the releases they include, but I really love this one particularly. Definitely check it out if you haven’t before.

Hello and thanks for reading. We’ve got this ripper from Greece in stock, a debut from ΠΛΕΚΤΑΝΗ (PLEKTANI), and I wanted to write about that a bit. However, as you can see the photo I have taken for this week’s staff pick is not of this record. That is cos I have also written a bit about my scores of 2024, since I didn’t take the time to mention any personal record scores in our last newsletter.

So ΠΛΕΚΤΑΝΗ is from Athens, Greece, but I hear a lot of Swedish influence in there. We also had a small restock of the ΠΥΡ ΚΑΤΑ ΒΟΥΛΗΣΗ (PYR KATA VOULISI) 12”, but it has sold out. While ΠΥΡ ΚΑΤΑ ΒΟΥΛΗΣΗ also takes a huge influence from Sweden, these bands have different approaches to it. ΠΥΡ ΚΑΤΑ ΒΟΥΛΗΣΗ leaned more into the catchy side of things, reminding me of bands like HERÄTYS. While ΠΛΕΚΤΑΝΗ rips in a similar fashion, the riffs are less rocked-out and delivered with a bit more DISCHARGE. It’s hard to describe what I mean exactly cos I am not the best writer, but I often find myself thinking of INFERNÖH when jamming their record. ΠΛΕΚΤΑΝΗ aren’t religious to the d-beat formula though, with some bouncy pogo parts and breakdowns here and there. I don’t hear a ton of bands from Greece, and this one instantly caught my attention. Definitely check this one out, especially if you were into that PYR KATA VOULISI 12”.

Alright, let’s talk about the heat in the photo. I buy a lot of records. I love to buy new releases just as much as “collectable” old records. I guess often I find that older pressings tend to sound better than the records I come across that are manufactured these days. They are typically cut louder at least. Anyways, I seriously consider each record in the photo a score of a lifetime. When I say it like that, I can’t believe I landed three of those in one year. Now, one of these I was not actually looking for, as I did not know it existed. I will save that one for last and start with the VARAUS 12”. I previously wrote about this record when I landed it a few months ago. I explained how this is the most expensive record I have ever bought. Yep, it was more expensive than the test press up in the photo too, which is kinda nuts to think about. Maybe it just means I got a great deal on the test though, haha. I won’t take more time with VARAUS though, cos you can just hit that link and read what I previously wrote.

Moving onto the WRETCHED / INDIGESTI split 7”. Oh baby...I have been dying for this one for a long time now. It’s sick that Daniel and I both got a copy this year, haha. I tried to buy this record a few years ago online, and I got ripped off. I paid out the ass and never got the record. It was some elaborate Discogs scam where a reputable seller with thousands of positive feedback got hacked temporarily. Who knows if their story was true, but I am lucky enough to have gotten all my money back from PayPal. This copy of the split ain’t a top copy like that one I originally tried to buy, but I am just as happy to have it in the end. Sometimes it’s kinda nice to get a rare record for a bit cheaper cos it’s a little beat up. I don’t stress as much about handling it, and of course I know there will inevitably be surface noise, pops and ticks. I absolutely hate it when I am playing a record that has always played super clean, and then one day I have a pop in there. Ugh.

Alright, let’s wrap this up with the ELECTRIC DEADS: Mind Bomb 7” TEST PRESS!!! What the fuck!!!! Still speechless about this one. I got this copy from a guy in the US I’ve known for a while now. He mentioned he was thinking about selling it and I couldn’t get it outta my mind. I didn’t even know one of these existed. I have no idea how many were made, but he told me he got it from a guy who helped release the record. I should probably ask him some more questions to see what else I can learn, haha. I love collecting test presses… but never has it been a test from the ‘80s!! I almost bought a HEADCLEANERS test for $300 and I talked myself out of it. I still think about that day often, sucks. Especially now cos the same guy who once was trying to sell it for $300 now has it for sale for like $1,200… Jesus. Alright, I am about to be late on the submission deadline for my staff pick, per usual. Thank you for reading, and thanks to everyone for your support. Check out ΠΛΕΚΤΑΝΗ!

Hey there Sorry Staters. We hope you are all safe and well out there. Here in North Carolina, we had a minor ice storm the other night and have been experiencing some cold weather, but our hearts go out to any of you in areas affected by severe weather and particularly right now the dreadful fires in California. Just so sad to see so much devastation and poor folks losing everything they have. I get broken up thinking about all the animals killed or now displaced that might not end up living. We obviously had a tragedy here last year with the flooding, so to be seeing communities being wiped out again so soon is doubly hard to take. Just like then, it appears that a certain shit ball and his followers are using the fires to score political points. What a bunch of scumbags. Anyway, fuck them, and much peace and love to those suffering.

We hope that our 2024 round up newsletter last week made for interesting reading. I always enjoy seeing what my colleagues write about and what they rated. I wonder how much or not you agreed with us. I must stress again that all of us felt we had forgotten something or felt bad about leaving an artist, album or single off our lists. Apologies to anyone we didn’t include or mention. We weren’t trying to make definitive statements, but rather just celebrate music and the arts in general and support the scene that supports us. Music hits us all in different ways and what works for one may not work for the other. All I conclude each year when we do these things is that a lot of music is made each year and it’s only possible to listen to a fraction of it and each of our tastes are different.

A quick mention about a record that we just got in before I get into my “pick” for this week. Technically it’s a 2024 release, but for us and most folks, this year will be the first we are hearing about the group Gossip Collar and their debut LP Spinning Silk For Parasites. They’re a post-punk group from Boston and should appeal to anyone that enjoys a Deathrock edge in their music. I’ve been spinning this one and liking it. Check ‘em out.

Okay, this week I am going to write about an artist whose records I had not heard about until last week, even though they have been making music since the late 1990s. I feel almost embarrassed that I was unaware of these records, as the sound is right up my proverbial alley. Just goes to the show that the more you know, the more you find out you don’t know. The artist I am referring to here is Matt Rendon, talented multi-instrumentalist, songwriter, producer and main man behind the Tucson, Arizona Garage band The Resonars.

My main love, music-wise, will always be guitar-based made in the golden era of Rock And Roll that was 1957 through 1977. From Elvis to The Sex Pistols, those twenty years saw the best of the best. Rock ‘N Roll, Rockabilly, Country, Blues, R & B, Merseybeat, British Invasion, Garage, Psych, Soul, Funk, Glam, Bubblegum, Prog, Krautrock, Reggae and Punk. So much quality music and those tags only scratch the surface. I particularly love that period of the mid 1960s where groups in the UK who were inspired by earlier US groups and artists were now influencing the current crop of musicians in America and then how quickly they, in turn, were again inspiring the Brits (and the rest of the world) and changing their sounds. Things progressed at such a rapid rate during that period. But I’m not here to give a history of music. You all know how it went down and have the internet to tell you more if you’re interested. The point is, I love original 1960s music and culture and all the subsequent waves of revival that followed. Any band that plays a 60s inspired style of music will always get my attention. Some I like and some I like less so, but if I see a record with a 60s Mod aesthetic and the band have a good look and there’s at least one Rickenbacker in sight, I’ll give them a listen.

So, at the store last week I was going through the bins and boxes of records we have on the back shelves, looking for titles that hadn’t sold or might get a better shot if listed online, and I came across a record that instantly caught my eye. It was the 1998 self-titled album by The Resonars on Star Time Records. It has a very 60s psych inspired look and l felt like it might be a decent Garage record. My hunches were confirmed the moment I put the needle on the record and the music burst forth. Total 60s garage pop-psych with vocals that recall a few British Invasion bands, but particularly The Hollies. Great tunes and songs, all written by Matt Rendon apart from a choice cover of The Peanut Butter Conspiracy’s Dark On You Now. I was hooked instantly and played the record at least two more times, asking myself why I had never heard of it before. As I started to research, I learned that the group was essentially Matt Rendon and assorted other players and band members rotated over the years, and that the records were mostly recorded at his own studio, Coma Cave Studios, that he has been steadily building these past twenty-odd years. I also learnt that there were a lot of records made since that 1998 debut, and that they were all good. We had a few here. Sorry, but I have snagged them. Hey, I don’t like to be one of those record store clerks who do that, but locals had a few months to buy them and although we sold one or two, these others were still here.

I’ve been playing them these past few days and have been enjoying them all. The sound on the records might change a little due to players, better equipment and instruments, and in a couple of cases different studio locations, but essentially, they stick to the blueprint of pop-psych garage. If you love The Hollies, The Who, The Yardbirds, The Rolling Stones, The Kinks, The Byrds, The Electric Prunes, Big Star, Badfinger and all the rest of the Nuggets type groups then you probably will like The Resonars. If you like the kind of bands talked about in Bomp! Magazine and the bands who had records released on Big Beat, Get Hip, Norton, Dionysus, Sundazed, and Voxx, to name a few labels as examples, you’ll probably like The Resonars.

I admit I fell down a rabbit hole as I read more and more about Matt Rendon and listened to the records. For a fellow that has kept a regular job during most of his bands’ lives, he sure keeps busy. Not only writing, playing, recording and producing for his own band, but also doing the same with other local groups in the Tucson area and having a few side projects and other groups going at certain times too. He was in a band called The Knockout Pills that played a punkier style of music that has correctly been compared to the sound of Australian punk legends The Saints. That band released two albums in 2003 and 2004. Jeff and I listened to both in the store the other day and thought they were both good. I scored the first one online cheaply and easily, but the second one called 1+1+Ate might take a bit more work to find. If anyone reading this is from Tucson (or anywhere else) and can find me a copy for a reasonable price, get in touch.

I went nuts on Discogs and have now bought several Resonars albums, along with another of the side projects called The Butterscotch Cathedral, which was a one off, more psychedelic record but essentially The Resonars under a different name, plus a couple of records by a group called The Marshmallow Overcoat, who Matt was in for a while and who are part of that same Arizona scene. That last group has an interesting documentary made about them called ALL YOU NEED IS FUZZ: 30 Years In A Garage Band. Click here to watch a trailer. The Overcoat was yet another name unbeknownst to me, despite having hits and worldwide success. I really like their album from 1993 called A Touch Of Evil, which has a more of a darker, Goth-like sound to it. On that one, they dropped the marshmallow and are just The Overcoat.

If that wasn’t enough new-to-me music to discover, there are still yet other bands that Matt Rendon is or was involved with for me to check out. There’s one called Lenguas Largas who, since 2011, have four albums and a bunch of singles to their credit. This band plays in a psychedelic garage punk style with Indie Rock leanings from what I have heard so far. I’ll need to investigate further, but will most likely be seeking at least one or two of their records once I’m done.

He’s also in Freezing Hands, playing drums, who since 2014 have released four albums, described as psychedelic Garage/Power Pop, along with one of his bandmates from The Knockout Pills. As I write this, I have only listened to a few songs and watched some live video clips. I liked what I heard.

Additionally, he played in a Garage group called The Vultures, who have an album from 2004. He played in a one-off psychedelic project from 2020 called The Green Children and has recorded and appears on records by The Exbats. Then there are lots of other groups that have recorded at his studio where he produces, engineers and/or adds vocals and instrumentation. Like I said, a busy chap.

Who knew there was such a great vibrant scene coming out of Tucson? Err, lots of people Dominic, not least the good folk that live there. I am joking of course. The city of Tucson and the rest of the State of Arizona have produced countless great artists and bands throughout the years. Green On Red comes to mind straight away. I like them. Didn’t the pre- Alice Cooper garage band The Spiders come from Phoenix? Linda Ronstadt, Meat Puppets, Gin Blossoms, the list goes on.

There’s a good interview with Matt Rendon done by It’s Psychedelic Baby Magazine that I would recommend you reading. In it, he briefly talks about each of the records and some of these other projects. Click here for a link.

I still need to track down copies of the last two full lengths from The Resonars, along with a few 7” singles that are out there. I’m sure I’ll get to those at some point. I’ve given them a listen to online and they all sound good. Then there are those other bands, such as Freezing Hands, whose records it would be cool to have. Maybe I’ve gone too deep down the rabbit hole, but who cares? It’s a fun trip and recommended. I would be hard-pressed to pick a favorite record quite yet, but the self-titled debut is a good place to start. I liked That Evil Drone from 2008 and Nonetheless Blue from 2007 and Bright And Dark from 1999. All three have good, well produced, catchy tunes. You should also for sure check out The Knockout Pills albums from 2003/4 for a more pop-punk sound. Bottom line, Tucson has a great musical heritage and if you want to travel back to a place where it’s always 1967, then choose The Resonars as your soundtrack. They’ll deliver.

Cheers and happy listening - Dom

What’s up Sorry Staters?

After last week’s epic newsletter, what could any of us possibly have left to talk about? I got a lot of positive feedback about the chaotic mess I crammed together for my personal “year in review” write-up last week. Thanks to everyone who reached out for the kind words!

Not much to mention about what’s going on in my life since last week. Got a couple outta town gigs coming up, both of which are benefit gigs that I’m happy we got invited to come and support. Firstly, January 18th in Richmond is a benefit for M.A.D. RVA, which stands for Mutual Aid Distribution. I’m stoked to see Yankee Bastard, will be my first time. Then the following weekend, Public Acid is making a trip up to Baltimore for a Palestine benefit gig at Ottobar. If you’re reading this living in Richmond or Baltimore and will be attending one of these events, I look forward to seeing you at the gig!

This week, I decided to write about this LP by Slevy. Sorry State stocked this record for the distro along with our most recent order from Discos Enfermos. I’m pretty sure these copies are left over from a pressing back in 2017. For those unfamiliar, much like I was, Slevy is a one-man recording project from this dude based out of Basque Country. Titled Vol. 1, I’m pretty sure this LP is the first edition of a 2 LP discography, collecting Slevy’s recordings dating back from the mid-00’s onward. The grey artwork is misleading, this record is super bright and catchy punk!

The recordings sound super lo-fi DIY style. I’m pretty sure all the drums you’ll hear on the record are from a programmed drum machine. Either that or an electronic drum kit. Super clean guitars, very dry, boxy sounding production. It often feels like the dude is just goofing around and messing with weird sounds and instruments for a laugh. Moments in the vocals are super funny. The songs basically come across like they were recorded in the guy’s bedroom. But once I got past the no-frills aesthetic of the record, I realized that this dude is actually a very skilled songwriter. The songs are SO good. A super melodic style of punk, but his influences seem incredibly broad, ranging from raging guitar-forward ’77 garage bangers to slow, brooding post-punk with layers of synth. The songs are so anthemic, they demand backup vocals sang in a gang-like chant, so the dude must have just doubled his own voice a bunch of times. From one song to the next, the sounds of each instrument sound kinda different and the fidelity really varies too—almost like when inspiration struck, dude just set up microphones wherever he was sitting in his bedroom at that particular moment. As a result, this album almost listens like an all-Spanish Bloodstains or Killed by Death compilation, but of course all recorded by the same dude.

At certain moments, mainly on the more brooding songs, the vocal delivery reminds me a bit of Paralisis Permanente… I mean, I guess? Like the less gothy, toybox version. For a more contemporary reference, something about the super melodic almost-but-not-quite-Oi! DIY sound with that toybox instrumentation kinda reminds me of Pura Manía? But then the more up-tempo jangly clean guitar KBD-style songs remind a bit of Tiikeri, though not sang in Finnish, obviously. The further I get into these songs, the better and better it gets. I find myself easily listening to the whole record and flipping it over and over again. A track like “No Lo Sé” on the B-side is definite standout track, leaning more toward pop punk, with this guitar melody underneath the vocals that reminds me of “Talk To Me Summer” by Screeching Weasel. I don’t know if this record really sounds like any of those things haha. Just imagine all those elements thrown in a blender.

That’s all I’ll say for today. Do yourself a favor and take a gamble on this under the radar Basque punk banger. As always, thanks for reading.

‘Til next week,

-Jeff

For those of us with big record collections, it can be a challenge to dig deep into the stacks rather than just repeatedly playing the same records that are physically and/or mentally accessible. One strategy I’ve been using lately is using the “random item” function on Discogs to suggest things to listen to. I’ll hit that button a few times and make myself a stack of under-appreciated records to listen to over the next few days. Often they get one play before they get re-alphabetized, but sometimes this process gets me stuck on a record I’ve been neglecting. Such was the case with this debut LP from Brazil’s Cólera. I can’t remember the last time I listened to this record, but when I spun it last week, it blew me away. I’ve been playing it constantly since then.

São Paulo’s Cólera is one of the most well-known punk bands from Brazil, starting all the way back in 1979, their lineup coalescing around the brothers Redson (guitar and vocals) and Pierre (drums). They contributed tracks to the essential Brazilian punk compilations Grito Suburbano (1982), SUB (1983), and O Começo do Fim do Mundo (1983), but didn’t release their own record until this one, Tente Mudar o Amanhã, in 1985. While I’m sure this record’s release was a big event, Tente Mudar o Amanhã quickly got overshadowed by the band’s second album, Pela Paz Em Todo o Mundo, which came out a year later in 1986. Pela Paz Em Todo o Mundo not only became Cólera’s best-known album, but one of the best-selling Brazilian independent releases of all time. Cólera released a flood of material in the second half of the 80s, the band apparently remaining creatively vital; there are nearly forty excellent tracks just on those first two albums, and material continued to spill out generously in the years after. They were also the first Brazilian punk band to tour Europe in 1987.

Listening to Tente Mudar o Amanhã, it’s easy to understand why Cólera is so well regarded. As you might expect from a band that started in 1979, there’s a healthy dose of catchy 70s punk influence in Cólera’s sound, but they also seemed determined to match the frenetic energy of the emerging hardcore scene. They construct their songs tightly, with hooky instrumental parts and explosive dynamics, performing them precisely at near-manic tempos. Just this morning it occurred to me that Cólera reminds me a lot of D.O.A. Maybe it’s that both bands are three-pieces, but they both have this perfect interplay between the instruments and vocals. For both bands, the instrumental tracks sound like they would be explosive on their own, but the vocals come in at strategic points that always bump the energy level up a couple of notches. It’s rare to find a stand-alone vocalist with such a perfect sense of how their parts should fit in a song. For a perfect example, see Cólera’s “São Paulo,” perhaps my favorite song here with its brisk tempo, big riff, and mega catchy chorus.

I can’t remember exactly where I got this original copy of Tente Mudar o Amanhã, but I’ve had a couple of good Brazilian scores over the years. I remember in the early years of the store we got an email from someone from Brazil who wanted to buy some current releases from Sorry State and offered to trade us 80s Brazilian vinyl for them. I can’t remember why we didn’t nail down something more specific, but I remember sending him what he wanted and basically saying, “send me back something cool.” One record I remember he sent was an original copy of Sarcófago’s I.N.R.I., which I was totally unfamiliar with at the time. Then a few years ago I had another big Brazilian score when a guy emailed me to say he was a professor from Brazil who was doing research at the University of North Carolina, and he was hoping to subsidize his trip by bringing some rare vinyl from Brazil to the US. I told him Sorry State specialized in punk and metal, and he really came through for us with multiple original copies of the Sepultura / Oversplit split LP, another original I.N.R.I., and a bunch of other cool records. I picked the records up from his office at UNC, just across from a building where I used to teach when I was a grad student there. I remember he offered an original copy of the As Mercenárias LP, but I thought it was too expensive. I kinda regret that.

If you’re into tracking down original Brazilian vinyl, though, you’d best be prepared to loosen your standards on condition. Brazil is sort of like the opposite of Japan, where grading standards are strict and beater copies are few and far between. This copy of Tente Mudar o Amanhã is what I’d call “Brazilian VG+.” It looks pretty decent aside from where a previous owner has customized the band’s logo with a ballpoint pen (I’m not sure what they were going for there), but like nearly every record I’ve ever gotten from Brazil, it smells kind of musty, like it’s spent too much time in a very humid environment. Most of my other Brazilian records look like they’ve spent a chunk of their lives buried underground, been fought over by wild dogs, and otherwise used and abused. I kinda like that, though… the idea that a record has been through some real shit before it found its way into my hands.

So yeah, give it a listen. Tente Mudar o Amanhã is on all the streaming services and it’s been reissued on vinyl and CD numerous times, so it’s easy to hear and well worth your time.

Happy New Year Sorry Staters! What a wild ride 2024 was. I hope everyone had a great year! For me, I always like to reflect and think about the new experiences I went through during the year, whether it be new foods, new places I traveled or, most importantly, new music that I have listened to. I am grateful that working at a record store/label offers the opportunity to listen to stuff that I would never find on my own. Also, working with an eclectic group of folks helps too! My list is quite like my brain at any given moment—all over the place—but I would not have it any other way. This list is in no particular order and if you haven’t checked any of these out, I hope you do!

Chat Pile – Cool World
This record was so hyped when it came out, and it definitely lived up to it. This noise rock band from Oklahoma City continued where they left off with 2022’s God’s Country. From the start, the tracks are just heavy riff after heavy riff with punishing vocals, which cover the horrors of modern human suffering.

Dan Spencer – Return To Your Dark Master
Black metal influenced country music. What more could you ask for? Dan Spencer has been blowing up this tour non stop and for a very good reason. This record rules and has some fun songs about vampires and other evil shit.

Zorn – Endless Funeral
Evil, dark metal-punk from Philly, PA on Sorry State. My favorite Sorry State Records release this year by far. I unfortunately have not seen them live, but I hear they put on one hell of a live show.

The Dogs – Total Dog Shit
This record caught me by surprise one day while randomly clicking on records to listen to on Bandcamp. The Dogs are a drum machine backed oi/punk band from the UK and as you guessed it all the tracks are about dogs. This record is super fun and super catchy.

Poison Ruin – Confrere
This record quickly became one that I play consistently play at work when it came out. This record is has tons of catchy hooks and medieval imagery just makes it that much more fun.

The Cure – Songs Of A Lost World
It would surprise me if this record was not on many people’s end-of-year list. It took Robert Smith a long time, but he finally released this masterpiece of an album this year. I can’t say anything you didn’t already know about this record. It’s quintessential Cure from beginning to end. The record is beautiful and melancholic. It almost plays out like a dream sequence to a movie you have seen a thousand times before. If I had to put my list in order, this would easily be at number one.

Nala Sinephro – Endlessness
London, UK based ambient jazz that will make your brain tingle. I went back to this record a lot over this year when I need something to listen to help clear my mind and to get my mental creative juices flowing. The music throughout the record seems to go in and out of consciousness with really great highs and really great lows. One of my favorite modern jazz records of this year.

SIKM – Now I Must Comply
Everything about this album I love. It’s infectious and full of great riffs, and the cover art by Jeff Polen is one of my favorites of the year. You can hear the French oi influences on this one, which made it a top record for me. It was hard to pick my favorite oi album this year, and it was hard not to have a list full of them.

Chain Cult – Harm Reduction
Dark, gothic influenced punk done so very very well. This band never seems to disappoint from release to release. This record has some heavy T.S.O.L. vibes, which is probably why I love it so much. I’m a sucker for anything dark, fast and heavy as you can tell with my previous pick of the new Zorn record. If you are living under a rock and have not checked this out yet, please do so.

Underage: Afri Cani 7” (Attack Punk Records, 1983)

It’s been a while since I featured an obscure 80s hardcore record as my staff pick, so I’m righting that wrong today with this 1983 EP from Italy’s Underage. It goes without saying that I’m a huge fan of classic Italian hardcore. After filling in on guitar for Golpe for a few gigs, I even consider myself something of an honorary Italian. (Since those shows, I’ve noticed my spaghetti tastes more authentic). That peninsula produced (and continues to produce!) so much great punk, much of it with a distinct flair you don’t get from anywhere else in the world. There’s also something romantic about the original vinyl from this scene. I remember when I was first hearing this stuff, records like Raw Power’s You Are the Victim or Cheetah Chrome Motherfuckers’ 400 Fascists seemed unattainable, but I’ve tracked down copies of both over the years. I still don’t have a Wretched / Indigesti split, though! What I couldn’t have known until I held these artifacts in my hands was that the packaging and design was often just as distinctive as the music, typically handmade and packed with text and graphics, in keeping with the anarchist values so many in that scene held.

Back to Underage. Underage was from the Southern Italian city of Napoli. While I’m no expert, I am aware of the cultural divide between Northern and Southern Italy, the North being richer and more connected to European culture, while the South is poorer and more connected to the Mediterranean world. I wish I knew enough Italian to glean more from the dense insert booklet that comes with Afri Cani, particularly the essay on the back page by Jumpy from Attack Punk Records. It starts with the words, “Africani, Marrochini, Terroni”—Africans, Moroccans, and Terroni (a racial slur referring to people from Southern Italy and/or of Southern Italian heritage)—and the words I can make out paint a picture of a turbulent environment rife with injustice. There’s clearly a lot to be said about that topic, given that most of the classic, best-known Italian hardcore bands came from the more affluent North.

Musically, Underage is—like so many other Italian bands—most notable for their idiosyncrasies. They clearly take Discharge’s raw and primal hardcore as a big influence, but the charmingly shaky drumming, piss-raw production, and (most of all) the truly bizarre guitar sound are the aspects of Afri Cani that I find the most interesting. The EP’s highlights include “Thanks U.S.A.” with its Void-like pitch-shifted backing vocals, and “Entro Domani,” which captures something of Discharge’s sinister tone on Hear Nothing See Nothing Say Nothing, albeit without that record’s huge production. Both politically and aesthetically, Afri Cani feels like a radical statement, which is in keeping with Attack Punk’s other releases by raw bands from under-appreciated scenes like Spain’s MG15 and Yugoslavia’s U.B.R. It’s clear from the 9(!)-song track listing and the dense insert booklet that Underage had so much they wanted to say to the world.

While I couldn’t find much info about Underage in English, I discovered their drummer, Davide Morgera, wrote a book about his time in the band and the scene called Africani, Marrochini, Terroni, though it’s in Italian and also appears to be out of print. The one anecdote I found about Underage presumably comes from that book. 1983, Underage was offered an opening slot for the Exploited in Bologna, and after traveling all the way from Napoli to Bologna for the gig, the band Bloody Riot (whom I also like) jumped on stage and played instead of Underage, bullying the band out of their prestigious opening slot. After traveling dejectedly back to Napoli, the guitarist quit the band, effectively bringing Underage to an end.

What’s up Sorry State readers? I hope everyone enjoyed their holiday season and end to 2024. I can’t believe it’s already that time again. Another year in the books and time for a year end roundup. I hope everyone else had a great year like I did. I discovered a ton of great music, saw a bunch of amazing live shows, and got some good traveling in as well. The following, in no particular order, are ten of my favorite records I got this year. A note that not all of these are records that came out in 2024, but new to me this past year.

Homemade Speed - Faster is Better 7”
This record just rips straight up. Definitely one of my favorite hardcore releases of the year and I love the Keith Caves cover art as well. Killer from start to finish. I would love to see these guys live one day.

Cicada - Wicked Dream 7”
After an amazing demo, this Richmond band struck again with this incredible release. Only bangers from start to finish. I’m really looking forward to more music from this group.

Tiikeri - Tee Se Itse 7”
I can’t help but smile when I listen to Tiikeri. It’s just fun music to listen to. Everything this Finnish band puts out just seems so fresh and full of life. Definitely always a hit amongst us here at Sorry State.

Public Acid - Deadly Struggle 12”
Hell yeah Public Acid! Another ripper from start to finish. It feels like a lifetime ago when this came out in February; I had to double check this came out in 2024. Right up there with one of my favorite bands to see live, they always bring the house down.

Various - Punk 45: There Is No Such Thing As Society - Get A Job, Get A Car, Get A Bed, Get Drunk! - Vol. 2: Underground Punk And Post-Punk In The UK 1977-81 12”
Quite the title, huh? Originally released on CD in 2013, I picked up this bad boy on my recent trip to London at Sounds of the Universe as I saw it fitting to commemorate my trip across the pond. There are so many catchy songs on here, but the Notsensibles I’m in Love With Margaret Thatcher has been stuck in my head since I heard it.

Various - Studio One Dub 12”
Another record I picked up in London. What can I say? I love a good compilation and this is about as good as they come. A great one to just throw on and relax. I could easily just listen to a bunch of dub compilations all day and never get tired of it.

Various - The Roots Of Chicha (Psychedelic Cumbias From Peru) 12”
Okay, one more compilation I swear. I picked this one up when I was over in Seattle this past summer. I discovered my love of Peruvian music this past year thanks to Dom and am thankful for it. If this record doesn’t make you wanna shake them hips around you got a problem.

Jimi Hendrix - Songs For Groovy Children (The Fillmore East Concerts Highlights)
This record came out this past Black Friday, and I had to snag it. This is just a few songs picked from his Filmore East shows on December 31, 1969 and January 1, 1970. I’d love to get the whole box set one day, but this is a much cheaper option. They did a great job of selecting the songs they put on this one. I love this version of Izabella and I could listen to Jimi rip up Machine Gun for 24 hours straight and not get tired of it. All hail Jimi.

Doc And Merle Watson - Never The Same Way Once - Live At The Boarding House - Thursday, May 2, 1974
You bet your ass I was gonna get some bluegrass on here. Honestly, I think I could safely say this is my favorite record I own. I love Doc Watson, and I love live albums and this one truly makes it feel like you’re stepping back in time and you’re right there in the crowd listening to Doc and Merle pick on some classics. If I could ever go back in time and see an artist live, it would be Doc, so this is about as close as I’m gonna get and I ain’t complaining. Thank you Owsley Stanley for this incredible recording (and everything else).

Billy Strings - Live Vol. 1
You know I had to get my boy on here. I’ve said so much about Billy and his live shows in past staff picks, but I really can’t emphasize how great this band is live. I’ve had so much fun at shows with friends and family both and it’s so awesome to have that experience captured on vinyl. I’m already eagerly anticipating Vol. 2 and know it won’t disappoint. The next show is always the best one.

Hello and thanks for reading. 2024 was a complete shit year. I did some cool stuff, but the state of the world consistently weighs on my mind. I find it hard to enjoy stuff to the fullest or embrace the rewards of an accomplishment. I don’t want to dwell on that though, since you came here to read about records. There were a lot of great new releases in 2024, as well as some well-needed reissues. I managed to cross off some serious wants in my world of record collecting. Maybe I will share some of that later. Looking back on the year, it’s always hard to remember every single record I really enjoyed. Of course, there are things that instantly come to mind, but there is always a record or two I played pretty heavily ,but it escapes me as I do a year-end review. I try to keep all the records I got together over the year as I buy them, but inevitably I must do some filing away or my shit gets outta hand.

I don’t really like doing a traditional year-end top 10, where everything is ranked in order. It’s cool when people do that, but I don’t think I can effectively score things like that. I also don’t like to narrow it down to just ten records. I decided not to include tapes, though. Looking back to the start of the year, PHYSIQUE’s Overcome By Pain 7” was one of the first records I bought. I’ve been spinning it again more recently and I still think it’s a monster of an EP. I am pretty sure they made my list last year with their Again 12” as well. This band is absolutely punishing live as well. I can imagine whatever they release will always be up for review in my year-end lists, haha. It looks like we don’t have any copies of this one in stock currently, but we have Again.

THE MASSACRED is another band that has grabbed me since their debut. Seeing them live really solidified my love for them. It’s funny, I used to associate them with a super UK82 sound, but after a revelation at my mate’s house I now hear a serious HEADCLEANERS influence. I had a lot of anticipation for Death March. The label dealt with like two years of delays with this pressing. Naturally, it was well worth the wait. You know I didn’t even realize until today they had an LP come out just a month or so ago?! I can’t wait to hear it. I know we will get distro copies of it like all ACTIVE-8 titles.

I know it’s probably a tacky look to choose a Sorry State or my own label’s releases as a chart-topper, but I don’t care. If the record hit me hard, I wanted to include it. PERSONAL DAMAGE’s Violent Ritual was one of a few Sorry State releases that really hit the spot for me in 2024. These tracks were actually put on a cassette in 2022, but Daniel gave it the proper vinyl treatment it deserved. I think I wrote about this as a staff pick upon the release. Not only are the songs excellent, the recording itself sounds so damn good. The band really sounds like they could be from the ‘80s, and that is no easy feat. The last song of the EP, “Banned From Society,” is one of those you can seriously listen to on repeat. It was awesome they came over and played the Sorry State 10th Year Anniversary weekend.

When it comes to chart-toppers, INVERTEBRATES’ Sick To Survive 12” is a no brainer for me. These mofos rip so hard live it is nuts; riff after riff of high-threshold hardcore. Jeff and I had a special version of this LP on BPDT. That was super cool of the band and Mark from Beach Impediment to orchestrate. I feel like this band is on everyone’s radar, so I don’t need to say much.

Sticking with the theme of not saying much, PUBLIC ACID’s Deadly Struggle 12” is obviously on my list. I feel like you must be sleeping under a rock to not know how hard they rip. Sometimes when bands get popular, they are just all hype. But that is not the case here. They’ve been putting in the work for well over a decade, and it really shows on this record. A while back, I gave a brief ‘history of’ the band, with their roots dating back to Greensboro, North Carolina. I don’t think Jeff had joined the band when I wrote that, though. This is the first record he plays on and obviously adding Chef Jeff to the equation spiced things up a bit. The packaging on this record is awesome, just as one would expect. I appreciate how the band really intentionally makes sure there are hand-touches with every release, like screen-printed covers, etc. Maybe one day the band will grace BPDT with a record ;)

NUKIES’ Paralysis of Fear 12” is a record that came out pretty recently, and god damn I think it rules. Oddly enough, I don’t think enough of my friends like this record and I don’t understand why. I’ve enthusiastically written about both of their records in staff picks, so you could probably expect to see this 12” in my year-end review. NUKIES are from Stockholm, and I am 99% positive that they worship TOTALITÄR and HERÄTYS just as much as my band does, haha. One of my friends said our bands sound the same, so naturally I took this as a compliment. I mentioned this in my staff pick recently, but I really love the dirge-y track they threw on this one. It really shakes things up. I feel like everyone follows the same formula for having a slower or mid-pace song, and they stand out a bit from the rest with a track like that.

Staying in Stockhkolm, I have included SVAVELDIOXID’s Främmande Samtid Skrämmande Framtid 10”. Unfortunately, we are currently sold out of this one, but I feel like this is one we will restock next time we get stuff from Phobia. SVAVELDIOXID has been around for a long time, like ten years. While their sound has slightly evolved, their roots in traditional käng are strong. They’ve always reminded me of BOMBANFALL, but these days I hear some more death metal influence in their songwriting and I am all for it. I think that 10”s are a pretty unpopular format, so naturally it makes me like this release even more. I like when bands in our world do what they want and go against what is considered ‘cool’ by today’s standards. It hasn’t been properly announced yet, but this year there will be a split with SVAVELDIOXID and DESTRUCT. So sick.

Oh shit, that reminds me of yet another Swedish slab I was stoked on this year, PX-30. It looks like we are currently sold out of this one as well, but hopefully we can restock it from Adult Crash. Adult Crash also released the NUKIES 12”, by the way. PX-30 features a member of HERÄTYS on guitar. Need I say more? Haha. I am so happy we got to share a stage with them in Uppsala and I really look forward to what they record next!

Haha, so that brings me to the GEFYR / RAT CAGE split 7”. GEFYR is yet another Swedish band, while RAT CAGE is from across the pond in Sheffield. I feel like RAT CAGE has veteran status now, with their demo coming out in 2016. RAT CAGE is just one guy in the studio, Bry, and he has been putting in relentless work. The RAT CAGE sound has certainly evolved, but goddamn it stays unbelievably ripping. They were also on the Screaming Death compilation that Jeff and I released on BPDT. I really hope to catch them live one day. We played with GEFYR in Uppsala, the same gig with PX-30. Playing Uppsala is so cool to me. I know it’s just some nerd shit and not many people would care at all, but it is a historical place to me for hardcore punk. GEFYR is from a few hours north though, in Hudiksvall. Jeff and I heard them on their debut 12” and got really blown away. Jeff and I released this split 7” on BPDT. Again, it is probably tacky for me to have this one in my year-end review, but I don’t care. We operate a small label, and obviously I was super stoked on it since we released it in the States.

Alright, I just have a few more to mention and I am late for the submission date on this haha. YELLOWCAKE released a monstrous 7” this year entitled A Fragmented Truth. I thought their first 7” was good, but holy shit this one is really next level. I know they aren’t doing anything that hasn’t been done before, but the delivery hits so hard. We were lucky enough to have them in Raleigh, and they hold down that intensity live without a doubt. I remember when I wrote about them in a staff pick I mentioned how even though they don’t do anything that’s super crazy, I really appreciate how they don’t box the sound completely in with things I’d expect. On this record, they did several things I did not expect, things that wouldn’t typically ‘fit’ in this style, but they executed it well, and with authenticity. I can’t wait for their next record!

Next, I will write about ZORN, another Sorry State release from 2024. These guys have played here more times than I can count now, haha. It never gets old, though. Honestly, I think they just get better and better. Seeing them live really does it for me. I know they are gimmick-y with the coffin and chains, but if you stripped them of this stuff, the music would still rage so hard. They are so tight and locked in, it’s amazing. I am not really a fan of this style of music I guess, the metal-punk shit, but ZORN is a chart-topper in my book. If for some reason the gimmicks pushed you away from them and you haven’t checked this record out, please do cos I think it’s awesome.

Finally, I have saved the best for last with the LIFE / DESTRUCT split 12”. Just kidding. (Kind of.) The first press of this record sold out fast as hell, and for good reason. Luckily, Desolate put it right back in print. LIFE’s tracks on this record are absolutely nuts. They recorded at Noise Room and it sounds fucking awesome. The drums are compressed in this perfect way; it reminds me of the 90s/00s crasher sound but even better. DESTRUCT delivers some of their most intense tracks yet. That is probably no coincidence since they just appeared on a split with these Japanese crust veterans. I’ve talked about DESTRUCT so much, and I probably always will. I don’t think their style is for everyone, but I have yet to meet someone who has seen them live and doesn’t think they rip beyond belief. These guys stay super busy, and I know they’ve got some great stuff already planned for the year.

Alright, I think that about covers everything. I didn’t talk at all about record scores of the year. I certainly grabbed a lot of shit, and there are a few that come to mind as scores of a lifetime. Maybe I will write about that next week or something. It’s really cool how much Sorry State has grown over the years, and I am so grateful for my job here. We could not maintain an operation without the support of all of you. Thanks so much for support over the years. I hope we can all get something good out of 2025. I hope we can find the light at the end of this dark tunnel. Much love to everyone.

Greetings Sorry Staters. Happy New Year to you. I can’t believe the holidays came and went already. It feels as if we only just got through with Halloween. Time flies. I hope you all had a good festive period and that 2024 was a good year for you. Totally understand if it wasn’t, or if your Christmas wasn’t so merry. I totally get that. I did my best to distract myself from my lack of Christmas cheer by watching as many holidays themed movies as I could over the festive week. That and all the Premier League games that take place over Christmas and spinning records kept me occupied. Not that I had too much free time as we’ve been busy here at Sorry State and it’s been all hands on deck. Which of course we are not complaining about. It was fantastic seeing so many folks come through the store and be excited about their records. A big thank you to any of you reading that came in or bought online and helped thin out our inventory. As I type, Daniel is out on a used record buy, already working to replenish our supply of good classic rock and pop staples. Always digging.

Okay, so 2024 is done with, but before we get stuck into the new year, it’s customary to take a quick glance back over the previous year and mention some records that we liked. We’re giving you our top ten, but like anyone else doing these types of things there’s always way more than just ten to pick from. I hate to leave so many out. We’ll have to have an honorable mentions section, too. My rules were, it had to be a record I have a physical copy of, even though I have been enjoying several albums digitally, and had I owned a vinyl copy they would have made my list. Probably top of the list for albums that many people rate as one of the best but don’t have a copy of is Cindy Lee’s Diamond Jubilee. That’s because it doesn’t yet exist. A physical vinyl edition will finally see release in a few weeks’ time. I’ll be getting one as I really loved this album. Go investigate if you haven’t heard it yet. It’s a long one, but for those of a certain soulful disposition you’ll dig every minute.

Before I start my list, here are a few other albums that came out in 2024 that I have streamed, don’t yet own a copy of, but enjoyed. Paul Weller’s 66 album continues his run of always interesting records. Tindersticks released another good one this year tilted Soft Tissue which if you follow them you should enjoy. I try to pick up any of theirs that I see on vinyl. They do a lot of soundtracks also, which are good, but this new one is a solid actual Tindersticks album. Another artist that I try to pick up anything they do is Michael Head. His current band is called the Red Elastic Band, and their latest album is Loophole. The city of Liverpool has much to boast about and Mick is someone whose name is praised highly and rightfully so.

Lo-fi Americana group Grandaddy released a new album this year called Blu Wav which I still haven’t fully listened to, but I always had a soft spot for their country-fried electronica lo-fi sound. My radio partner Matt introduced me to French pop group Juniore through our show Worldy on The Face Radio, and 2024 saw them release Trois/Deux/Un. If you like La Femme, you’ll like them just as much. Talking of whom, La Femme released a good one called Rock Machine last year, which follows on with their run of very enjoyable albums. Cool, retro-futuristic Franco pop. Oui, oui.

Lastly, I might have included another French group Alvida in my list, but unfortunately the first two pressings of their album C’est Deja L’Heure sold out before I could snag me one. Third pressing will hopefully be the charm and I can finally own a physical copy.

2024 saw new music releases from a lot of established names, some of whom hadn’t released anything in several years. So, it was a welcome back to them, as across the board, they all came back with strong releases. For fans of 80s and 90s Brit Pop etc. 2024 was a bumper year. My favorites for the year lean heavy in that direction. I’m showing bias towards bands whose music I have known and loved for years. Whatever. Just trying to be honest, but if the records hadn’t been any good, I wouldn’t be including them. It should also be noted that for the most part my year hasn’t been that great and my mood on the downside, so consequently I have found myself listening to more melancholy music and stuff with deeper themes than just let’s get wasted and party. Not that I don’t enjoy loud and dumb rock ‘n roll or pop music, but this year wasn’t the year for too much of that for me personally. No brat summer here. Although I really enjoyed watching the Olympics over the summer and found myself buoyed and feeling more upbeat during that period. I’ve seen a few good shows during the year and Liverpool finished the year top of the league, so plenty to be happy about. I won’t dwell on the sadder aspects of the year. We all know the election results here in America sucked and unfortunately as in any year we lost loved ones and heroes. We just have to keep fighting the fight and keeping the memory of those loved ones alive in whatever way we can. I’ll leave it at that.

In non-ranking order, here are my favorites from 2024.

The Cure – Songs Of A Lost World
The world needed a new Cure album. We’ve been waiting years for one and now just like buses, three are apparently on the way. Robert Smith has told us that Songs is the first in a trilogy with the second album due before summer of this year. Give thanks. What a great record it is and sounding like classic Cure from the 80s. They haven’t missed a beat or lost any of their magic. There’s a reason they are so well loved by several generations of fans. The wait was worth it. Favorite song? End Song.

Gruff Rhys – Sadness Sets Me Free
If he puts out a record, then chances are it will be in my best of the year list. For 2023, he featured with a soundtrack and for 2024 his album Sadness Set Me Free became an early contender for the best of the year. Coupled with the privilege of seeing him and his band perform the record live here in town made for a good start to the year. Or was it springtime already? Maybe, but that doesn’t matter. This is a great record that deals with melancholy and heavy subject matters in some cases, but with lightness and a pop sensibility that is uplifting and comforting. Long time fans will find his usual sense of humor and wordplay in full effect. Another fine addition to his discography.

Primal Scream – Come Ahead
The group’s twelfth album and one that some fans liked, and others didn’t. I’m in the former camp, obviously. This one has production from David Holmes, an artist and producer I have a lot of time for and takes in rock, gospel, funk and pop in equal measures. It’s no Screamadelica (what is?) but it has enough merits to make it a worthy addition to their catalogue. As with my other picks, I just connected to the lyrics, politics and vibe of this one.

Bill Ryder-Jones – Lechyd Da
Former Coral man Ryder-Jones has been releasing solo music for several years now. Those earlier albums have been hard to find here stateside on vinyl, and as a result I haven’t listened to them much, but when this record was released at the beginning of the year, I was determined to get a copy as the pre-release buzz was extremely positive. That praise was deserved. This is a beautiful record that has been tugging on my heart strings all year. It’s no surprise that it has topped many best of the year lists. Any record that can begin with incorporating Rita Lee singing Baby has my immediate attention. I’ve read people comparing the album to Mercury Rev’s Deserter’s Songs from 1998 and I certainly get that, especially on songs like This Can’t Go On. If I had to pick just one record that soundtracked my year this would be it.

The Hamiltones – In Space
These upstate New Yorkers play a retro space-aged 60s surf sound a la The Ventures, etc., and released this “concept” album that was a soundtrack to a movie not yet made about moon missions, aliens and Elvis. It came packaged with secret CIA documents, a bonus 45, and ticked all the right boxes for my sci-fi geek self. These guys aren’t reinventing the wheel, but deliver an authentic take on the genre that if you told me was released fifty years ago, I probably would believe you. That is meant as a compliment to them btw.

Neutrals – New Town Dream
San Francisco based Post-Punk DIY Indie band Neutrals have a bunch of great singles and a previous album to their credit and are the perfect band for anyone wishing that Television Personalities, The Jam, and Belle And Sebastian were making records together. Smart and witty pop songs that recall late 70s and early 80s Indie and Punk with a UK slant. Another hit from the great Slumberland Records label.

The Smashing Times - Mrs. Ladyships And The Cleanerhouse Boys
Ploughing a similar turf to Neutrals are Smashing Times from Baltimore. This was their third album and again, if you dig 80s UK DIY and indie, then this should appeal. Their sound takes cues from 80s bands in love with 60s culture and comes with a Psych and Mod edge. If you like Comet Gain you would like these guys. I do and I do.

Fontaines D.C. – Romance
I still remember a cool friend and Raleigh musician telling me years ago to look out for these guys and sure enough, over the years their stature has risen to headliner status. No need for me to run down their resume as hopefully these Irish lads have appeared on your radar by this point. Romance saw them moving to XL Recordings and working with producer/artist James Ford, known for many credits but perhaps mostly as being Arctic Monkeys’ producer. Romance is more of a polished pop record than their previous, but has lost none of the wit and charm. Elton John gave them his thumbs up and endorsement, proclaiming them the best band currently around. So there you go. Certainly, the audiences at Glastonbury and Reading agreed. I just love the track In The Modern World. Massive tune.

Nala Sinephro - Endlessness
We were big fans of her first album Space 1:8 here at Sorry State, and the followup did not disappoint. Ambient Electro Jazz on Warp Records? Absolutely. Sign me up. This has been a great record to put on and read to, meditate to, and do the dishes to in equal measure. Just good mood music that would appeal to lovers of Music Library records and fans of labels like ECM from the 70s. File somewhere between your Pharoah Sanders records and Aphex Twin.

Peace De Résistance - Lullaby For the Debris
I think I included the first album by Moses Brown of Institute’s side project Peace De Resistance in a previous year’s best of list, and the follow up makes the top ten cut again this time around. I just love the 70s New York/Berlin inspired gritty Art-Rock Glam sound that is in the grooves here. Coupled with the sharp, smart lyrics, it’s an all-win situation. Lou Reed is smiling.

Honourable Mentions

I really could have chosen one of at least another two dozen records to be in my top ten, and it was hard to decide which made the cut (purely for space). Here are some more that I have been enjoying throughout the year.

Beth Gibbons – Lives Outgrown – Portishead frontwoman came out with a mature and personal album. Ten songs written over the last decade. Don’t expect a Trip-Hop album here. If you love her voice though, you’ll be drawn in and connect with this record.

Lady Blackbird – Slang Spirituals – Her sophomore album and a cool collection of Modern Soul-Jazz. Real name Marley Munroe, she made an impact with her debut album Black Acid Soul. I loved her version of the song Collage, a Joe Walsh composition that The Three Degrees covered so well back in the day. In fact, she has a knack for covers and even took her name from the Nina Simone song Blackbird. Although no one can compare to Nina, Lady Blackbird deserves your attention if you seek a contemporary soul voice who channels the spirit of the greats like Nina Simone.

De()t – Think Of Your Future – Raleigh/Richmond all-star band that finally came out with their debut record. Snappy synth-punk, good songs and a nice sounding record. Cool.

Kula Shaker – Natural Magick – Britpop stars reformed and releasing a fun “classic” sounding Kula Shaker album. That being, a 90s take on 60s Eastern influenced psych with a pop edge. This is a good record. Nothing “new” maybe, but good tunes and true to their original style and spirit.

The Libertines - All Quiet On The Eastern Esplanade – The second album of the reunion period. The Likely Lads returned with a decent, if not great record. Worth checking out if you are a fan. Perhaps not the best endorsement, but it was never going to be like it was twenty-five years ago. A lot of drugs have gone under the bridge and pies eaten since then. Still, for those of us who loved the early ‘Libs and Babyshambles and Dirty Pretty Things, it was good to hear the lads back together again. Again, my biases showing through. Perhaps I’m too forgiving. I didn’t think it was such a poor record despite less than stellar reviews. Not sure about Pete’s tash though.

The Jesus And Mary Chain – Glasgow Eyes – Another strong album late in the game for these guys. I was on the fence about whether to include this record over fellow Glaswegians Primal Scream’s album. I love both groups equally and as Bobby Gillespie started in JAMC back in the day, they still kind of got my vote.

Jack White – No Name – This was another good album. I admit to getting diminishing returns from some of his solo albums but still love the man. He’s truly a national treasure and has done more for the good of music than can be listed here. This album had more of the straight-ahead garage rock sound of the White Stripes, and I liked it. Favorite track – That’s How I’m Feeling.

Straw Man Army – Earth Works – The third in a trilogy of albums from this NYC duo that takes a good look at the state of America. It’s post-punk in a 90s vein that could well have been released on Dischord back in the day. That’s a very simple description, but the music and lyrics are far from simple. There’s a lot going on here. This is a mature and accomplished album, and if I had been living with it a little longer probably would have made my top ten.

Johnny Marr & The Healers – Boomslang – Technically not a new record, it originally came out in 2004, but never received a vinyl pressing. That was corrected in 2024 with a nice deluxe double disc release that included equally strong tracks that were left off the album. I can’t praise Johnny Marr enough. He’s the coolest dude ever, and this record is a good one. Check it out if you haven’t heard it.

Okay, I had better end there. Apologies for everyone that was left out. Like I’m sure Billy Strings is crying because I didn’t include his album or Thee Retail Simps are going to be mad because I forgot them. Doubtful, but just in case, sorry chaps, I liked your records too. 2024 was a great year for music. Just too much to include all of it, and we didn’t even get in to the ton of great albums and music on compilations that saw a reissue.

Thanks for reading, thanks for supporting us and all the artists and bands and labels that helped produce these records. Music is the great healer and will always be one of the most important non-important things in life. Enjoy whatever you enjoy and if between all of us here at Sorry State we steered you towards some good stuff, then we’ll consider our jobs well done.

Cheers to you all and here’s to 2025, whatever that may bring.

Dom

What’s up Sorry Staters?

It’s the end of another fucked up year… and there’s another one coming! Nah, real talk, 2024 was a pretty great year for me. Much like I said last year: I always have my ups and downs, and SURE, there’s been some speed bumps along the way, but there’s also been plenty over this past year to smile about.

Diverting attention from my “year in review for a second”—the big news this newsletter: the release of Subculture’s Fred is super exciting! Make sure you pre-order that bad boy. So killer to have this missing piece of 80s North Carolina hardcore history see the light of day. Also, I know you need to rock one of those historically accurate reproduction I Heard A Scream shirts ;)

Without further ado, here are my top 10 records of 2024 along with a few honorable mentions. I’ve already talked about many of these records in previous Sorry State newsletters, but maybe it’ll be worth your time to read my year-end revised thoughts. Or if you see how long my ramblings are and decide to scroll on past, that’s fine too haha. I never include Sorry State releases because it feels like cheating, but of course I love Personal Damage, Golpe, Lasso, and a whole bunch of other releases Sorry State put out this year. No Bunker Punks stuff either.

Whatever, here goes nothin’:

1. Invertebrates: Sick To Survive 12” - Okay, so sure, the homie bias comes into play a bit here with making this my number 1. But judging by what I’ve seen from a lot of other people’s “best of” lists, it looks like the HCPMF community at large agrees with me. Sick To Survive is hardcore punk the way I wanna hear it. No pose, no posturing. In fact, quite the opposite. This record feels pure and passionate. Not to mention that the riffs and drumming are SO dialed, played so tight with total ferocity. And while for me it falls under the “traditional 80s” sound in terms of influence, for all of its “go-for-the-throat” straight-forward rage, there are so many quirky, creative musical moments on this record that feel fresh and unexpected. I find it so interesting that I’ve seen tons of people compare Max’s vocals to Ian MacKaye. Maybe the reason has less to do with that Max actually “sounds” like Ian, but is just because Sick To Survive sounds so good and classic that everyone feels like they should compare it to as high of a bar as Minor Threat. Good work, dudes. Can’t wait for their next record to top my list at the end of 2025.

2. The Massacred: Death March 7” - I believe I included The Massacred in my top 10 last year with their previous 7”, Post-Mortem. But since then, The Massacred has become one of my favorite and most revisited current hardcore punk bands. I often use the term “militaristic” when I describe The Massacred. Not one note or beat sounds out of place, deadly accurate. Surely influenced by everything on Riot City and No Future, that UK82 style works its way into band’s songwriting, and right down to the aesthetic and packaging. I believe last year I mentioned that The Massacred riffs sounded like Headcleaners, and I will die on that hill. So yeah, throw in a little Swedish riffage for good measure. The way the opening of the title track “Death March” starts with just drums, then hitting these punches on the guitar riff… I threw on this record the other day having not listened to this EP for a couple months, and I remember it feeling like my face was getting battered repeatedly… Then thinking, “Goddamn, this is a perfect hardcore recording.”

3. Subdued: Abattoir 12” - 4 years after releasing their first LP, London’s Subdued finally returned with this 8-song 12” in 2024. While I always liked the band’s previous records, something about Abattoir just really hit on all cylinders for me. Subdued, whether it’s musically, lyrically, or visually, conjures a tone of bleak seriousness that I don’t feel with many other current bands. Obviously taking cues from the anarcho punk of yesteryear, the music blends these creepy, moody passages of darkness into moments of melodic beauty, and then fragments into full-on brutality. The eeriness of Part 1 meets the frantic force and power of English Dogs? But the palpable feeling of antagonistic dread and bitterness is really intoxicating. I always know that I think a record is really good when I walk away remembering the words. Bluntly delivered like a sermon from the pulpit, lyrics declaring: “Living in a world of evil bastards always wanting more,” and “Nothing good can survive. It dies… It dies.” Such a powerful record.

4. Cicada: Wicked Dream 7” - Didn’t I just talk about Cicada in the last newsletter? Whatever, here we go again. I’ll keep it brief. Richmond locals that this year solidified themselves as one of my favorite bands in hardcore. This record is great, and what an explosive live band. A little freaky US hardcore styling a la Die Kreuzen or United Mutation. A little bit o’ Italian spices a la Cheetah Chrome Motherfuckers. But also something left of center that’s all their own. These dudes are creating something chaotic, unique and special. Killer.

5. Bloodstains: S/T 12” - Debut LP by these dudes out of Orange County. Unashamedly representing for the punk and hardcore where they grew up, Bloodstains crafts songs in the finest traditions of melodic, song-based OC punk. Agent Orange, Adolescents, early Social D—they show love for all that stuff and it’s from the heart. Then also, getting to travel with these fools this year only heightened my love for this band. Genuinely cool fucking dudes. Gimme more Agnew, people! OxC rules, baby.

6. The Dark: Sinking Into Madness 12” - Another West Coast record makes the list! I really loved The Dark’s cassettes that were released like over 10 years ago now. So what a pleasant surprise that Toxic State announced The Dark was releasing their debut LP in 2024! The band features a few members from Tozcos, Personal Damage, and many other bands, I’m sure. The Dark definitely set themselves apart sonically. I always say that I feel entirely certain that The Dark are way into mid-80s Japanese punk, namely, Blunt Sleazy-era The Execute. Still, to me it sounds some of their SoCal influences can’t help but work their way into the sound, like some creepy Weathered Statues-style TSOL. The Dark play this restrained, chugga-chugga tempo that makes you clench your fists and grit your teeth, almost like something bubbling beneath the surface ready to explode. The swirling, maniacal vocals illicit this smoky, psychedelic atmosphere. An acquired taste maybe, but I love it. Then a song like “Heartless” starts with this total motorcycle riding through the desert Motley Crue type riff. Hell yeah. Such a great record.

7. Muro: Nuevo Dogma 12” - Once again, Bogota’s finest release a killer LP. And once again, released with 2 completely different cover art variants for the same record… Why do they do that? It makes record completist scum like me just totally crave having both! Haha. But of course, as expected, the packaging is next-level. Beautifully screenprinted artwork, along with all these posters and bonus goodies that make the experience of cracking open the record feel special. I would say this new record has murkier sounding production than the band’s previous records. More distant and raw, and yet somehow musically this feels like the band’s most ambitious. Sharp, neck-breaking tempo changes, ripping guitar leads—in general, it seems like the band is maybe leaning heavier into their metallic influences. Not in a bad way at all. I feel like I’m raising my fist to these kinda “epic,” triumphant chord progressions. The song “Destierro” opens with this delicate, solo clean arpeggiated guitar, and then charges into this badass chugging riff with this almost anthemic, power metal sounding guitar lead that makes me feel like I’m listening to GISM M.A.N. or something. This band is so rad, and I’ve heard they’re one of the best live bands in hardcore at the moment. Can’t wait to finally witness them throw down in the UK in May.

8. PX-30: S/T 12” - Bless the Swedish riff lords for granting us with rippers like this every once in a blue moon. I feel like if the DNA which continues to generate Totalitär-influenced käng style riffing which I hold near and dear to my heart ever disappeared, and new bands like PX-30 stopped emerging from Sweden, then it would be a sad existence indeed. PX-30 has the same guitar player as Herätys, so you know what to expect with the guitar playing. Totally shreds. This band came right out of the gate with an LP and it’s clearly fully realized, expertly executed Swedish hardcore by seasoned veterans. Seeing this band play in Uppsala on Scarecrow tour was a definitely a highlight of my year. Killer stuff.

9. Pura Manía: Extraños Casos De La Vida Real 7” - Another band where after 10 years or so, I found out: “WHAT? Pura Manía has a new record coming out??” The record opens with this weird, almost modern classical sounding synth? But of course, they’re only fooling you once you realize they’re self-referencing, reinventing an all-too familiar melody from one of their previous records. Then within moments, you feel at home realizing you’re in familiar territory. Nothing has changed in 10 years for this band musically. Well… not too much, anyway. If you’ve somehow managed to miss out on this band until now, Pura Manía has that melodic New Age-era Blitz thing going on, but not overtly “Oi!”... It’s super high energy, super hooky and super punk. Chorusy bass, super catchy single-note guitar melodies—but on this new EP, everything in the production just feels more lush, grander, and more psycho. Like phaser on the drums? Huge choir backup vocals? Plus, a totally killer Screamers cover, translated into Spanish of course. I love this band, so happy they came back with new material in 2024.

10. Kristiina: Palavan Rakkauden Aika 12” - My oddball choice for the year. I have listened to this Kristiina record countless times over the course of 2024. I think technically the record came out in Finland in late 2023, but Sorry State only stocked the record as an import this past year. So yeah, I’m cheating and including the record anyway since 2024 is the year when I truly discovered it. There are things about this record that I feel like if certain criteria were different, I wouldn’t love it so much. Like if this were an American band singing in English with bombastic, slick production, then it just wouldn’t hit the same way. There’s something special about the cold, yet elegant sound of this recording. Not overtly punk, really. The sound is melodic, sweet, vulnerable, and understated. I don’t speak Finnish of course, but I can somehow imagine that Palavan Rakkauden Aika is a very personal record from the songwriter, lyrically speaking. Infectious power pop melodies, backed up by Joni Ekman’s signature Thin Lizzy-esque harmonized, rocked-out guitar goodness. I was wondering from my initial discovery and constant listening of this record if it would stick with me for the rest of the year. If anything, I only love it more as time goes on.

-----Honorable Mentions-----

-Straw Man Army: Earthworks 12” - I feel slightly guilty not putting this record in my top 10. I do love it! SMA’s sweeping, intelligent, almost proggy take on anarcho punk has really gripped my attention over their last several releases. On this 3rd LP, I really like that they’re leaning a bit more into hooky, melodic songwriting. Great record.

-S.H.I.T.: For A Better World 12” - Man, this must just be the year of bands that have been around for 10 years or more finally putting out another record. There’s a new lineup with a different drummer, I think? The construction of the riffs, how the 2 guitars diverge in different directions and reconvene in a way that’s so hooky and powerful. I will say that for my money, this is the most potent record SHIT has put out to date.

-Peace de Résistance: Lullaby For the Debris 12” - Moses from Institute’s 2nd LP under this moniker. I really dug the previous record, and this one I like just as much, I might say. Displaying a bit of that later 70s era Bowie or Iggy with a little glam rock and austere NY art rock sensibility. I love the guitar playing. And for all the ponderous meandering that happens on the record, you’ve got tracks like “40 Times The Rent” and “Fast Money” that are just monster pop tunes.

-Vidro: Upp Till Dans 7” - Had to show some love for my Swedish homies. Chunky, trudging heavy riffing delivered so viciously. Interestingly, they have a track titled “Allt Brinner”, which is the title of their 2019 LP—but this track has gotta be one of Vidro’s most ripping hardcore pace songs they’ve ever done! Touring Scandinavia with Vidro this past summer was one of the best experiences ever. Best band, best people.

-Yellowcake: A Fragmented Truth 7” - This record really blew me away. Yellowcake from Arizona’s first 7” from a while back was good, but they really took it up a notch with this one. Crasher crust style a la Framtid, but the way the layers of frequencies of noisy guitar are orchestrated is truly impressive. Ripper.

-Malakili: S/T 12” - Debut vinyl release by this band out of Portland. I feel like this might be a sleeper hit that I’ll hear more people talking about in years to come. A bit of Scandinavian hardcore influence, but not crusty. Cleaner sounding guitars, delivered through the snotty lens of US hardcore. A little Poison Idea in there, which you know I’m here for. Hope to hear more from this band.

-Indikator B: S/T 7” - Another maybe slightly under-the-radar ripper I really enjoyed this year. Doom Town Records is a great resource for discovering new bands coming out of Eastern Europe. Indikator B I believe are from Croatia. Raging, dark, dissonant yet melodic hardcore. Really anthemic “AH-AH” style vocals. Kinda sounds like UBR, Mecht Mensch, but kinda UK82 influenced as well? Great stuff.

-Alvilda: C’est Déjà L’heure 12” - Okay, okay, I’ll talk about the big French pop record of the year. Twist my arm why don’t ya! I am pretty taken aback by how much this record seemed to hit the pulse of the greater melodic punk zeitgeist. Granted, this thing is undeniably pretty damn catchy. I definitely have enjoyed listening. Catch this band at any given fest you can think of in 2025.

-Tiikeri: Tee Se Itse EP 7” - The lawd knows in the year 2024 that I was ready to scream “Let’s punk!” yet again. Tiikeri never fails me. I love that this 4-song EP was totally DIY self-released. Beautiful graphic design on the packaging. Some of my favorite songs by this catchy, pop punky, yet Finnish 77/KBD band as of yet. “Rokenrollia” is one of the more riff-forward tracks Tiikeri has pumped out, and I love it. It does; in fact, rock.

Alrighty, more generally speaking, here’s a “Top 10” list of my favorite and most eventful moments this year:

1. Deadly Struggle - A seed of an idea was planted some time in 2020, still during the pandemic, that I would join the already established band Public Acid to round out the 5-piece/2-guitar lineup. Since then, playing in this band with my good friends has allowed me to travel and play many amazing gigs. When we finally recorded a new record, I was excited and a bit nervous to present this updated version of the band with me in it. While I still consider the songwriting in Public Acid to be a couple of the other members’ baby, it was still gratifying to be involved and bring some of my guitar stuff to the table. Deadly Struggle feels like a particularly special record to me among the squillions of other bands I’ve played guitar in. I feel humbled to see the record appear in some folk’s “best of the year” lists. Cheers:)

2. Public Acid in NY/KOS tour and Lie Detector fest - Public Acid had a trip this year that was basically a 2-parter. We started off playing 2 nights in NYC—one gig at a proper venue, one at more of a DIY space. At the DIY gig we billed it as “Public Acid & Friends” where we got a few guest rippers to join our band. First of all, it was 2 full drum sets with Sasha of Artifact Audio/80HD fame playing in unison with Chubb. Then Mateo from Warthog played a 2nd bass. And also, Margaret from Pharmakon did noise over top all that. After NY, we flew to Washington and crashed with Electric Chair, only to wake up and lift weights in their driveway the next morning. Tour begins, and we got to gig with the rippers KOS every night. Also was cool meeting the oh-so handsome and muscular Matty, their tour driver. Our show in Portland was awesome because old friends of mine came to the gig and we got to catch up. I’ll never forget Public Acid exploring the redwood forest in Muir Woods. In LA, I ate insanely good Mexican food every day. Had a blast at Lie Detector Fest. Met up with the rest of Scarecrow, who also played the fest. Getting nopales chilaquiles with Kevin from Tozcos ruled. Chilling with Baño from Personal Damage was awesome. Drinking Palomas at some DIY back alley gig afterparty. It was all a blast.

3. Scarecrow / Vidro take on Scandinavia - 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. Beyond how great they are as a band, everyone in Vidro—Lucas, Vendela, Melody, and Staffan—are all just a bunch of sweeties. In Uppsala, we got to see Gefyr and PX-30, both bands killed. Visiting Finland for the first time was amazing, I finally got to see Tiikeri play live! 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, I’ll never forget our adventure on the overnight party boat back to Sweden, which had 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. Kinda makes me tear up a little bit thinking about it.

4. K-Town Hardcore Fest 2024 - Seriously the best hardcore punk festival in the world. I would go every year if I could. Christina and everyone who helps organize the fest at Ungdomhuset are amazing. Got to party in Copenhagen for 3 days straight, getting sloshed on boozy slushies. Also, we met up with Invertebrates, so getting to chill with the homies while in Denmark was incredible. Invertebrates’ set was incredible. Also, Larma, Mujeres Podridas, Paranoid, Industry, Vidro, Enzyme, so many great bands. I’m still so pissed I missed Alambrada’s set.

5. Long Guy Land - Public Acid randomly got invited to play a gig with Integrity in Long Island. The main show was cool for what it was. But what I mostly remember is hanging out with a big crew of homies at Jones Beach. Then there was this after show at this weird dive bar with neon pink walls and 90s Nickelodeon clips and old cereal commercials on the TVs. I came out of mosh retirement when Invertebrates played, being incredibly hammered on cartoon-themed cocktails and attempting my best spineless HB strut. Then we all stayed at this swanky air bnb and continued partying with the dudes from Lethal. Wild times.

6. Meanwhile in Pittsburgh - Not like “meanwhile… in Pittsburgh.” Lol. I mean I got to see Swedish hardcore legends Meanwhile rip it up at Skull Fest. It was in this fancy, huge venue with a curtain like the House of Blues or the Apollo or something. You ordered beer from a menu on a smart TV. Weird setting, but the crowd went the fuck off. Meanwhile crushed it. Also, Kenko the drummer wore a Scarecrow shirt while they played. So sick. I’m a dork, I don’t care.

7. Invertebrates / Public Acid hit the Midwest for Unlawful Assembly - I could not ask for a more fun group of idiots to travel the beautifully flat middle part of our country with. Highlights include: seeing my boy Trevor from Woodstock 99 in Cleveland, the show at the Empty Bottle in Chicago (Cicada destroyed), visiting the Mars Cheese castle in Wisconsin, Unlawful Assembly—2 crazy raging days of hardcore at Cactus Club, which had an apartment above the venue that we stayed in—drinking fancy drinks with commemorative glasses at the tiki bar, posing to say “‘Eeeey” at the Fonzie statue, exploring the caves on a guided tour at Mammoth Cave National Park in Kentucky, and experiencing the swankiest hospitality while hanging out in the green room at the Third Man venue.

8. Halloween / The Swedes come to visit - I always get psyched around Halloween time. This year, we put together a cover band show on Halloween night. I was in a 45 Grave cover band and then Scarecrow did Misfits also. It was at a house, and it was really fucking fun. Best part of October is that Wilhemina, who drove Scarecrow on tour in Sweden, along with her partner Christoffer who’s in Exil now and also played in DS-13, came to North Carolina to visit! We made fast friends with them hanging out on tour in Sweden and at K-town. The 2 of them dressed as Hank Von Hell and Euroboy from Turbonegro, and having them at the Halloween gig shouting along to Misfits songs was the fucking best. Miss those two right now.

9. Bloodstains / Meat House / Shaved Ape tour - So of course I really liked the Bloodstains LP. Cesar the singer and I had kinda chit-chatted on social media before. But when the band put out the word that they wanted to come to the East Coast for the first time and have us dingbats join them made me kinda nervous! As we got to know each other on the tour, we quickly found out that the Bloodstains are the coolest, and we bonded over tons of SoCal punk and other music nerdy-ness. The gigs in NY and Philly were great, but I gotta say man, the Southern gigs really represented. Norfolk, Charlotte, and Raleigh were all great shows. Bloodstains were so fucking good every night. Almost to a professional degree. Raging, amazing guitar playing from David, Cesar’s such a great, charismatic frontman, and of course Miles and Nick threw the fuck down too. Had a blast chillin’ with my boys in Meat House. Eric’s got his baby these days, so gettin’ to cut up with him ruled. But I don’t get to see Alex or especially Keith very often. Having Vince trust us to butcher Shaved Ape songs every night made the tour extra special, plus Vince is a cool ass dude and ultimate road dawg. Having Meat Master Michael along for the ride ruled too. The trip ended with my injury, sustaining a fracture in my knee. I had to be on crutches for 6 weeks all the way through Christmas and New Years. Whoopsie!

10. This year in record collecting - Last but not least! Between all the traveling I did, I still managed to score a few heater records. I amassed many more records than what I have pictured below, but here’s a handful that feels most exciting. Just like last year, most of them are 7”s rather than LPs. Seems like maybe I went a little less crazy than previous years? Then again, I always get to the end of the year and look at the few records I did buy, and realize shiiiit, I guess I did spend some dough. Especially that brick wall Nervous Breakdown set me back a little, but I’m so stoked to have it. Between that CA classic along with some Bags and Middle Class? Not too shabby. I’m particularly stoked to FINALLY lock down the Huvudtvätt & Headcleaners 7”s that I was missing. Hell yeah.

No surprise, I dragged on about all this stuff for much longer than I had intended. Hopefully at least a few of you people out there enjoy reading while I reflect on this past year and wax poetic about all the shenanigans I got myself into. There’s so much I’m leaving out too! But I reeeally should wrap it up at this point.

2024 was a busy year, indeed. Already got some exciting punk-related adventures on the calendar for the coming year. I’m just happy I got to squeeze in a few moments that make me smile looking back. Thanks once again to all you readers who have supported us here at Sorry State. Here’s hoping 2025 ends up being a killer year, even amongst all the bullshit on the horizon.

‘Til next week,

-Jeff

So let’s jump right in with my top 10 new releases of 2024 (in no particular order, of course).

PURA MANÍA - Extraños Casos De La Vida Real 7” (Roachleg)
PUBLIC ACID - Deadly Struggle LP (Beach Impediment)
INVERTEBRATES - Sick to Survive LP (Beach Impediment)
MARCEL WAVE - Something Looming LP (Feel It)
SUBDUED - Abbatoir LP (La Vida Es Un Mus)
THE CARP - Knock Your Block Off LP (Total Punk)
TOZCOS - Infernal LP (Toxic State)
TIIKERI - Tee Se Itse 7” (self-released)
ALVILDA - C’est Déjà L’heure LP (Static Shock)
STRAW MAN ARMY - Earthworks LP (D4MT Labs / La Vida Es Un Mus)

Maximum Rocknroll asked me to contribute a year-end list again this year, so you’ll have to tune in there for my two cents about each record on my list. It looks like MRR hasn’t run their year-end lists yet, but I’ll drop a link in a future newsletter.

A couple notes about my list this year: 1. Typically I would never be so gauche as to include a release I didn’t own a physical copy of, but like a lot of you I haven’t been able to lay my hands on a copy of the Alvilda LP to call my own. We sold a lot of first and second press copies at Sorry State, but both times I was like, “eh, I’ll place my pre-order tomorrow,” and then suddenly it’s sold out. I didn’t make the same mistake with the 3rd press, but we’re still waiting on those so it’s not in my photo. 2. Last year I wrote a whole essay about my method for crafting my list, but this year it was a lot more from the hip. I looked through a few sources (Sorry State’s Record of the Week, the records I actually bought this year, and what I added to my digital library), made up a short list of around 30 releases I really liked, and pruned that list down to 10. Every year there are some things on the bubble, but I’m pretty happy with the 10 I landed on. For me, a record needs to feel “important” in some kind of way to merit a spot on the list, and I think all 10 of these clear that bar.

If you’re wondering about my shortlist, here are the artists on it. I thought all the releases these bands put out were awesome: Viscount, Nightfeeder, Tia Rosa, The Dark, Excess Blood, Savage Pleasure, Peace de Résistance, Homemade Speed, Class, Naked Roommate, Yellowcake, the Massacred, Guiding Light, Gimic, Thought Control, Paranoid Maniac, Kriegshög, Why Bother?, S.H.I.T., Muro, Bloodstains, Flower.

I also saw a lot of sick gigs this year. Some of my favorite sets were: Tiikeri, Lebenden Toten, Paranoid, KOS, Putkipommi, Meanwhile, Larma, Physique, Mob 47, Personal Damage, Paranoid, Kohti Tuhoa, Slan, Yambag, Deletär, and a bunch more I’m probably forgetting. And there are a ton of incredible bands I got to see multiple times this year, including Public Acid, Invertebrates, Destruct, Ultimate Disaster, Paranoid Maniac, Meat House, Mutant Strain, DE()T, and Vidro. I should get out to gigs more than I do (especially ones I’m not playing), but it feels like my social awkwardness is in full bloom lately.

Now let’s look at my year in record collecting. Every year, friends post pictures on Instagram of their favorite scores of the year, and it always makes me reflect on my collecting philosophy. I rarely buy records on Discogs, and I don’t aggressively pursue certain records the way many people seem to. I’ve always been more of an accumulator, happy to appreciate what the universe puts in my path. Usually that’s more than enough to keep me satisfied and my budget fully blown, and that was certainly the case this year. That being said, if anyone wants to help me get any of these into my collection in 2025, please get in touch:

La Banda Trapera Del Rio: 1st LP
Nerorgasmo 7”
Ratsia: 1st LP (I’d settle for a reissue of this one at this point!)

As for what I found this year, I’ll break it into chunks. (It is both sad and embarrassing that I have to break it into chunks.) Since I rarely go to the other record stores in Raleigh, I’ve developed a habit of splurging when I go out of town. This year Scarecrow toured Scandinavia, and I definitely went hard while we were there. Here are a few of my favorites that I picked up on the trip.

Krunch I’d never really spent much time with, but I played this 7” a ton once I got home. My Totalitär collection pales compared to my bandmates’, but I was stoked to fill this gap. Like Krunch, I didn’t know the Pohjalla compilation well, but it’s stayed close to my turntable. The Hilselp compilation I actually bought online once I got home, but I learned about the record on the trip when we stayed with our friends Markku and Kerttu. It’s one of many records I snapped a pic of that night and checked out online when I got home. When an original copy with the zine popped up on Discogs for a good price, I jumped right on it. Gauze is the one non-Scandinavian record here, but I got it on the trip thanks to my friend Anders. This completes my collection of Gauze OGs! Eppu Normaali… I mean, it’s just an awesome record, and finding it at a flea market in Turku is too perfect a provenance. Finally, the Huvudtvätt / Kurt I Kuvos split LP is probably my favorite record I got this year. It was so cool to find it in Sweden, and it’s even more important to me because it’s Staffan from Vidro’s old band. Every time I look at it, I think of all the great times we’ve had with our (twice!) tourmates in Vidro.

This next batch is kind of a made-up category, but it makes sense to me. These are all classic records that I knew to a degree, but this year I nabbed OG copies that significantly deepened my appreciation. I’ve loved the Feederz’ LP for decades, and we’ve had many copies of the Placebo pressing of Jesus come through over the years (and even one OG copy), but I’ve never taken one home until this year. When I blasted this one at home, it cracked my brain open… I now consider it one of the most unique and best American punk records. The Wipers… I got kinda sick of them for a long time. For a while they were name-checked and poorly imitated so much that I didn’t even want to hear the original. But I picked up this totally beat, water-damaged first pressing and couldn’t get it off the turntable. Alternative had already gotten me with Sealed’s reissue a while back, and finding this minty OG rekindled the love affair. Reagan Youth is another one we’ve had many times at the shop, but this year the invisible voice finally said, “take me home and have your mind blown.” Personality Crisis is a record I was always kinda meh on, but after a bunch of folks (including Jeff!) talked it up on What Are You Listening To?, I gave it another shot. It really clicked this time, so much so that I had to invest a pittance in this charmingly partied-on copy.

This next stack features a few heavy hitters (for me, at least) that came my way this year. Modern Warfare got me so hard it sparked a whole sub-obsession with Bemisbrain Records. Chemotherapy is a record I never thought I’d own, but after flipping out for the reissue a few years ago I couldn’t turn down this nicely priced, minty OG. I think in a previous staff pick I put it out into the universe that I really wanted the Svart Framtid 7”, and this year I finally connected on one. Wretched / Indigesti was, amazingly enough, an extremely generous gift that I’m not allowed to be weird about. And U.B.R. had been high on the want list for a long time and got a lot of play time once it was in my hands.

And now for this fourth (and thankfully final) stack, which collects a few other records that were significant to me for different reasons. It’s crazy it took me this long to find the Zounds LP. I think I’d found all their singles on previous trips to the UK (going back some 20+ years), but the album proved elusive. I swear these never pop up… after waiting for years for a reasonably priced copy I finally had to buy this one from a Japanese seller. Annie Anxiety I’d never listened to before, and it just blew me away (see my staff pick on this record here). The Alley Cats was another gift, and another one that has stayed close to the turntable. And finally, I also wrote a staff pick about this Hugh Mundell record, so you can read that for the full story.

I hope this list hasn’t been too indulgent, but it’s nice to reflect on everything I’m grateful for. Honestly, it’s been kind of a rough holiday season for me personally, so it’s good to feel the warm and fuzzy feelings I get when I think about all the friends all over the world who enhanced my life so much this year. And likewise the friends and family at home whom I get to spend my days with, including my wife Jet, my pets Patti and Tobio, my bandmates, and everyone who works at Sorry State. Cheers everyone, and happy new year!

What’s up Sorry State readers? I hope everyone has been having a good December. As I’m sure you’ve heard a million times at this point, I can’t believe the year is nearly over. Time flies! I recently returned from a very fun trip to Edinburgh and London and had a fantastic time out there. Especially Scotland. Hopefully I’ll be able to get back out there one day and explore the Highlands and more of the nature because it seems like it’d be right up my alley. Today I’d like to talk about something not related to music or really any media at all, but more of an experience. London can be a very overwhelming city, especially if it’s your first time visiting. There’s so much cool stuff to do and places to check out, but only so many hours in a day. There’s also a bunch of dumb shit, like any major city, and you kinda have to wade thru the bullshit to find the good stuff. One day while we were there, me and my girlfriend were out shopping for vintage clothing. We went to an area that was supposedly flush with vintage shops and a large market where people set up booths. I love going to different areas and looking for cool vintage shit cause you never know what you’ll find in different places, so I was excited to check it out in a whole different country. I was greeted with immediate disappointment, “re-worked” Carhart jackets that aren’t even a year old, Levis from 2022, the works. I don’t know if this is a result of social media, the internet, everyone and their mama wanting to sell vintage clothing or a combination of it all, but it seems individuality has gone out the window a bit. Everyone sees the same trends and styles online and it creates kind of a hive mind. Do these people even care about what they’re selling, or are they just trying to put some quick cash in their pockets? I’m not trying to sit on my high horse here and act like I know everything and have the ultimate authority to say what’s cool and what sucks, but it’s a bit disappointing when you’re in another country trying to find some cool different stuff and it feels like you’re just shopping in some lame rich kid’s store back home who got interested in vintage 6 months ago and his parents bought him a retail space. After a couple hours of finding absolutely nothing, I was feeling jaded and discouraged. While walking out of another disappointing store, something caught my eye across the street, a sick ass vintage military jacket hanging in the window. I almost didn’t even bother, but I thought why not and wandered in and I’m so happy I did. Levisons is a cozy, small store which was absolutely stacked with all my favorite shit: British, French, US military/work wear from the 30s-60s. I could’ve spent all day flipping through this stuff. It was all so sick. You could tell so much love went into this store and it was actually curated by the owner’s own style and taste. I got to talk with the owner, Michael, a bit and he was so knowledgeable and nice and told me how it all kinda came to be. We shared the same sentiments on vintage clothing and how each piece of clothing can be so unique and tell a story of its own. It was so refreshing to find a store that actually felt like it had a soul and someone behind it that really cared about what he was doing. I ended up snagging something I’ve wanted for a hot minute, a nice 50s French moleskin chore jacket that fits perfectly. I’m so thankful for people like Michael who do what they do for the love of the game, not for a quick buck. Whatever you do, do it with a love and appreciation for whatever that thing is and it’ll be 100x better.