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Feederz: Jesus 7” (Placebo Records, 1983)

I don’t know how many times I’ve listened to this Feederz 7” since I picked it up a month or two ago. I’ve been a fan of the Feederz for many years, yet I watched several copies of this 7” (as well as one copy of the very rare first pressing with the original sleeve) come through Sorry State without ever taking one home for myself. This is one of the records I added to my want list last year when I started putting new polybags on my entire collection (I still haven’t finished) and noticed how many gaps there were, records I felt like I “should” have but didn’t. Realizing these 1983 Placebo pressings of Jesus weren’t getting any cheaper, I decided to get one while I could. It took a few months for an attractively priced copy to come my way, and I’ve been totally obsessed with it since I got it in my hands.

Originally released in 1980, the Feederz’ first 7” is pretty early on hardcore’s timeline, and it sounds like it. Big, distorted guitar sounds and monochromatic rhythms hadn’t yet become de rigueur; a few years later, the Feederz would have had a template to follow, but on Jesus they sound like a new wave band possessed by the spirit of hardcore. The surfy main riff on the title track makes me think of the B-52’s, while “Stop You’re Killing Me” sounds like its riff and tom-heavy drumbeat were more or less swiped from “The Attack of the Giant Ants” off Blondie’s first album. Even that crushing riff in “Terrorist” has something about it that reminds me of early Talking Heads. But the attitude of the Feederz’ music is so different. There is none of the flirtation with accessibility that defined new wave; the Feederz sound like a band whose entire existence is about channeling negative feelings and refining them to knife’s-edge sharpness.

The most infamously negative (and infamous in general, really) song is the first one on this record, which also appeared on Alternative Tentacles’ Let Them Eat Jellybeans compilation and on the Feederz’ first album, Ever Feel Like Killing Your Boss? (the latter of which is, thankfully, still sporadically in print). Weirdly, the track is called “Jesus” here, while it’s “Jesus Entering from the Rear” on Let Them Eat Jellybeans and “Entering from the Rear” on Ever Feel Like Killing Your Boss?. Whatever you call it, listening to it in the year 2024 is a weird experience. I’m pretty sure they meant this song as a good old-fashioned piece of blasphemy, and it’s a good one at that. I love the way the chorus focuses on the moment of penetration; the temporal and physical precision of it feels so sacrilegious when referring to a being that is supposed to transcend time and space. In 2024, though, most people probably couldn’t give a shit about the blasphemy, but many people might be offended by the prominent use of a homophobic slur in the chorus. The word hangs heavy over the song, and to be honest it’s hard to listen past it. I don’t want to get into the weeds assessing whether or to what degree the Feederz are guilty of homophobia, but I find it interesting that a song whose entire purpose is to offend ended up being offensive for completely different reasons than what the band intended.

Back to the music, though. For me, this single has absolutely perfect punk production, with the kind of dry, unadorned recording that is always the best move for a band that can really play. As I mentioned above, the guitars have essentially no distortion, achieving their aggressive, slashing sound just by hitting the strings really fucking hard. The guitar sound is so nasty and percussive that it makes the songs sound even more intense, though the locked-in rhythm section (which works with a variety of different, often off-kilter rhythms) does a pretty good job of maximizing intensity on their own. The sound is perhaps a little fuzzy (I wonder if they recorded on used tape?), but every instrument lives in its own distinct frequency range. Aside from just getting great, dry tones, the only “production” touches are a little double-tracking of the guitars and the occasional backing vocals, with the ahhhhhs on “Jesus” sounding so much like the Adolescents that it makes you wonder if there’s a direct connection.

So yeah, what a great EP. I could talk more about how much I love that all four songs are so different from one another or how Frank Discussion is my favorite punk nom de plume of all time, but I’ll leave it there. If the slur I mentioned above sounds like it might offend you, then abide by the trigger warning. But if you’re willing and able to put that very of-its-time transgression to the side, I think Jesus is a truly great American punk record.

Hello Sorry State friends! Hope you are all doing well! And I hope you enjoyed our year-end beast of a newsletter. I always have fun reading the picks of my esteemed colleagues, and they did not disappoint! If I'm remembering correctly, there was a little more overlap between our top new releases from the year prior, but I like that we all had the new Personal Damage on our lists. Just to let you in on some hot internal gossip, another one of our staff had this record in his 2023 top picks but forgot to include it in his picture, and being the detail-oriented person he is, he wanted to maintain consistency. Coincidentally, the record was in my top 10 list but not in my photo, and we couldn't just borrow one from the store for the shot because it sold out the day prior! Oh well. Missing from our pictures, but not from our hearts.

My staff pick for this week was among my favorite reissues in our year-end newsletter! It's the 2023 reissue of the Dark Thoughts single, Do You Dream? It was originally released in 2019 ahead of their full-length album, Must be Nice. It includes an alternate 7” only mix of Do you Dream? And an exclusive to this single b-side called It's Too late. The original record was released in 2019 on black, with a small amount on opaque pink wax. This time around, we got two super cool variants: a pink with black splatter (100 copies) and coke bottle green (150 copies). In my photo for the last newsletter, the color of my coke bottle green looked really off. But you can see the true color in our website listing. It's one of my favorite wax colors.

I didn't see this record when it first came through, so it had already been shelved by the time I saw it. I squealed with delight when Jeff came around the corner with it in his hand. He either asked me if I got it yet, or if I’d seen it yet, which I don't remember because I was too locked in on the words Do You Dream? in big pink letters. I was actually late to the game on Dark Thoughts and am grateful to Sorry State for making the band accessible to me, as they quickly became one of my favorite bands of the last couple years.

Directly inspired by the Ramones, these Philly punks do Ramones-style punk better than everyone else, after the Ramones. I just can't imagine anyone not liking them, unless they just don't like cool music. If you don't already know this band, they are massive Ramones fans and they wanted to form a band to play Ramones-inspired music. So they did. They even choose their color schemes for each LP to mirror the main colors used for Ramones LP's, and in the same order. So, their third album, Must be Nice (the album from which this single comes from) uses pink and black to align with the colorway of the Ramones’ third album, Rocket to Russia.

Do You Dream? clocks in at almost a minute and a half. And what a minute and a half it is. Fast and fun, melodic, catchy power pop style o' punk that you'll want to play back to back to back. I love the b-side, It’s Too Late. The guitar is louder and more dominant than the first song, with more aggressive vocals and lots of "WOAH OAH OAH's." Jim Shomo’s flowmo is so damn catchy as he belts out the lines “…bite my tongue and take my time… gonna hold my breath and take what’s mine… gonna quit this town.. take my place.. pack my bags and leave this place.” I mean, every punk band that's worth its salt has an “I’m gettin’ outta this town!” song, and Too Late checks that box.

Hey, I just looked and we have only three or four (there may be one going out as we speak) copies of this single left, so you better hop on it if you want it! You'll either get the pink and black splatter or the coke bottle green. I don't know how many are left of each one, but you will be happy either way! I hope they aren't gone by the time Daniel posts this. I can say with 100% confidence that if you like the Ramones, or just fun and catchy punk, you won't be disappointed. Ok, I'm gonna call it a day. Thank you for reading, and until we meet again....

-Angela

Shit I am not ready for this week’s staff pick. There’s this new record out on Iron Lung that I am pretty into, but I will wait to bust that out until we have our copies in stock. There is also this killer reissue Mäkitie 8 is distributing in USA, but I will also wait to write about that til we have it in stock. We do have this pretty cool reissue from this ‘70s band named BLAST from Belgium in stock now. This has been reissued once before in 2015 and it was getting some high dollar amounts on Discogs in the recent years. I am not sure how I heard this record originally, but it was not from that reissue. I only heard the band recently, and it certainly stuck out in my head cos of what year it was. I don’t listen to like any 70s music. What I typically look for in music did not translate into what I like until the 80s. Haha. Don’t get me wrong, I am exaggerating, and I do listen to more than just hardcore. Here is a great example of some 70s music I really enjoy. The love of my life got me into this. Anyway, what makes this BLAST record special is that they are playing d-beat! Of course, it’s not like a straight up DISCHARGE song or these guys would have been legends, but the drummer is playing a proper d-beat. Everyone used to say BUZZCOCKS used it first in 1978; well we were wrong. I’m guessing everyone has heard this BLAST reissue by now, as I’ve seen it online a ton. If you haven’t though, you can hear their d-beat it here. I think this record is quite expensive for being a 7”, but I will say it has pretty nice packaging. I really like the silver and red center labels, and the full color booklet is nice. If it wasn’t for the A side with the DISCHARGE beat, I probably would not give a shit about this record. The B side sounds like some hippy shit.

Moving on but keeping the DISCHARGE beat, this week I am going to write about VERDICT. I’m writing about this record as I’m listening to it for the first time(s). I remember buying their first LP, or at least spinning it a few times. I also know it’s a member or two of bands I really enjoy, but I’m not gunna take the time to look that far into it as I just want to write a bit more candidly. I am not sure why I ended up listening to a copy of this LP, but I’m glad I did. I knew about it cos I saw the release details online, but I didn’t think much of it. I think the artwork and color scheme is not that great. The artwork has this cool cut-n-paste vibe, but it comes off as totally digital. I’m sorry for hurting anyone’s feelings, but that’s just my take and I am not an artist or graphic designer by any means. The album title is also kind of funny, it reminds me of that movie with Mr. Bean. But whatever, this is coming from a guy whose band is named after a John Mellencamp song. Anyway, I think this record rips! It has an excellent blend of fast and slower songs. I’m really enjoying the pulled back songs especially; the drummer has an excellent groove, and the riffs are especially catchy when they slow it down just a bit. I don’t remember liking the first LP as much as this one, but I am definitely gunna visit it again tonight. I just realized this LP is 14 tracks and it blew right by. That is pretty sick if you ask me. It’s hard to make an LP with a good number of tracks AND not get too boring. Or alternatively, bands these days make 12”s with eight to ten songs. I guess ten songs is fair, and they cut it at 45rpm, blah blah. My band had to talk me down from making like a twenty song LP. (I think we settled on fourteen.) To me, there is nothing like a fuckin hardcore record that just gooooes. Here are three excellent examples; one, two, and three.

Alright I should get going, Thanks to everyone for reading and thanks for your support! Oh yeah, you can check that banger VERDICT LP out here. See ya next week.

Greetings guys, how’s it going? Thanks for taking time to read the ol’ newsletter. We had a lot of fun looking back at our favorite releases from 2023 in our last one. Hopefully you enjoyed reading and it served some purpose. If just one of you found something new to you that you are digging, then we can be satisfied, but hopefully there are a few more of you than just one. I know I cast a wide net in my tastes and some things might not be for all, but variety is the spice of life and all that. I know I left a bunch of things out and that certainly wasn’t because I didn’t like them, but I figured my colleagues might pick some of them and we set our limits to just ten. I chose not to include our own label releases, but damn we are proud of everything that sported an SSR catalog number last year. 2024 is already beginning with a bang, with our two newest releases hot off the presses and in store. Click for more details on Deletar and Fugitive Bubble and get ‘em in your lives.

Alright, back to this newsletter and what the heck to write about? We are not (always) trying to hype stuff to sell you, but rather take pleasure in just talking about music and steering you in the direction of interesting stuff and this week will be one of those from me. I tend to write about things that are resonating with me at the time rather than just pull random “cool” records off the shelf and try to come up with something just for the sake of it. I’ve never been able to plan DJ sets in advance because of the way my brain works like that. I make decisions in the moment based on the current vibe and circumstances, which for me makes it fresher and more interesting. It also means having to bring a lot more records to gigs to select from, and with my aching back that’s not as easy anymore. I can see why a lot of folks went digital. Vinyl gets heavy.

So, I enjoy watching old movies. A lot. I pay for cable TV primarily to keep getting the Turner Classic Movies channel as that’s almost all I watch. I particularly like Westerns and WWII films and Film Noir. Robert Mitchum is one of my favorite actors. Another favorite, due to watching him with my Dad, is John Wayne. I know both guys wouldn’t pass the PC police these days, and there’s no doubt Wayne said some dodgy shit and people certainly have their opinions on whether he should have served during the war, but as an actor portraying a character, there’s no denying his charisma. Over the past few weeks, I’ve watched films about Pearl Harbor, one of my favorite Christmas films, Three Godfathers and last night another western with him and Mitchum. A film called El Dorado from 1966 which was produced and directed by the great Howard Hawks. It’s a decent movie with Mitch and Duke being the reason to watch rather than a great plot, but interestingly some scenes of Wayne from this film were reused in his final film The Shootist as flashback scenes.

Anyway, this morning I woke up and fancied listening to some reggae and flipped through a few things I had to hand and stopped at one by John Wayne called Boogie Down. Naturally after just watching Wayne the gunfighter, I had to hear Wayne the DJ, backed by Sly & Robbie with The Aggrovators and produced by Bunny Lee. LoL. Obviously not the same Wayne a.k.a. Marion Morrison but rather the Wayne known to his mother as Norval Headley from Jamaica.

This album Boogie Down is a top-notch rub-a-dub reggae record. Released in 1983 on the Vista Sounds label out of the UK, it’s the only full length credited to Wayne, but he had a career lasting through the 90s and is on a ton of singles either solo or with other performers.

With the pedigree present on this album, it had to be good. Sly & Robbie with The Aggrovators in their prime and Bunny “Striker” Lee at the controls. It’s a fun album in the rub-a-dub style and cut right before the digital era, so retains the feel of a classic 70s reggae record. If you see it, I highly recommend picking it up. There is a recent reissue out there, but otherwise just that original pressing.

As I was listening to the record, sipping my coffee, I attempted to continue reading a book that Daniel lent me ages ago and which I had left unfinished. It’s a book on The Clash which delves into the political climate of Britain and America during their time, and it’s fascinating reading. The historical aspect really interests me, and the author gets into the true nature of Thatcher and Reagan’s relationship and talks about how particularly Reagan’s whole presidency was pure theatre and a massive PR exercise with the White house fully concentrating on keeping whatever narrative that served them going and spending almost all their time doing that instead of doing actual helpful shit. Sound familiar? Pretty much the Republican playbook ever since.

The irony of the US Republicans who drape themselves in the flag and talk about the constitution and conservatism is that they are now the opposite of that. It’s all show and a distraction and deflection from what they are up to. Which is of course a huge problem and threat on democracy and the very foundations on which America was founded upon.

After the reggae record finished, I stuck on an album that I have by the actor John Wayne where he gets all patriotic. I think he was being sincere on it, but in the post MAGA world now, all these overtly patriotic, flag waving type of things come off badly. Which is a shame because the American dream should be a good thing. Normal patriotic citizens who are proud to be American shouldn’t have to feel ashamed or feel that by displaying Old Glory on their porch makes them a Trump supporting racist. I’m an immigrant to America who came to chase the dream too. I’m finally going to try and get my citizenship this year. A few hurdles in my path over the years stopped me. As I listened to the Duke reading the poems that looked mostly to be written by his son, I couldn’t help but get a little emotional myself. I believe in the true America and want to be a part of the rebuilding and uniting part of the population. Becoming a citizen will give me a vote and I can use that to be a part of the solution and not the problem.

Wasn’t intending on getting into a political conversation with my staff pick, but there you go. We live in charged times. What can I say? Fuck Trump. Listen to good reggae records and watch western movies. Thanks for your support and see you next time.

Cheers - Dom

What’s up Sorry Staters?

After the hours I spent constructing the epic “year in review” newsletter last week, it seems funny sitting down just to write a normal-length one o’ these bad boiz. I wish I had more to report on the personal front this week. 2024 is off to a decent start I’d say. Vibes are pretty good. Many fun things to look forward to in the months to come.

Anyway, let’s get into it. Not too long ago, Sorry State stocked this new record by Jerry A from Poison Idea in which he commissions a backing band, and they call it Jerry A & The Kings of Oblivion. This 6-song 12” EP, titled Life After Hate, features a handful of original tunes, and several cover tunes. So of course, speaking of “kings of oblivion”, they do a pretty killer cover of “City Kids” by the Pink Fairies. And of course, I love Jerry’s gnarly vocals in Poison Idea, but I was actually pleasantly surprised by his cleaner vocal approach and singing ability. He sounds great! My dude Jerry’s got some pipes.

But really, this Life After Hate record isn’t really what I actually wanna talk about. Ready for a smooth segue? The 4 dudes who act as the backing band for Jerry are a bunch of younger Dutch guys. Follow my lead, here. The first track on this record is also a cover tune, but I didn’t recognize it. The song is called “Degeneration,” and I was like damn man, I really like this song. Catchy as all hell. After some detective work, with Dom’s help of course (thanks man), I discovered that this song is a tune by an old band from Amsterdam called The Blitzz – yes, with 2 “Z’s” haha. I looked the band up on Discogs, and turns out that The Blitzz was short-lived, and only released 2 singles in 1978. These 2 singles were even released on a major label, EMI Holland. Crazy that the band even with a record deal never managed to release a full album. Kinda cool in a way. It only adds to the mystery. I come to find out that “Degeneration” is actually the B-side on The Blitzz’s first single entitled “So Free”. So, what I did I do? I immediately ordered a copy overseas from a seller in Holland. The single wasn’t even very expensive. Perhaps in the used bins in record stores in Amsterdam, this single is pretty easy to come by. But for someone like me, living in Raleigh, North Carolina, I was willing to pay up for the international shipping and add this banger in my stack of 7”s.

If I hadn’t known any better, I would have guessed that The Blitzz were English. For my money, The Blitzz sounds like one of those bands that could have shifted out of more of a power pop or “pub rock” kinda sound into the emerging punk rock movement. Almost like Chelsea or a band of a similar vein. I mean it just sounds like it should be filed in your “sound of ‘77” punk bangers bin. High energy, big, jangly rock’n’roll guitar sounds, and huge choruses. It rules. The singer’s voice has that slightly deeper, gruffer tone, which reminds me of Buzzcocks songs that Steve Diggle would sing lead on, like “Harmony In My Head” or other bangers. And though The Blitzz is devoid of any reggae influence to my ears, I could cite The Ruts as a pretty good comparison as well. “Degeneration” is just one of those tunes that I can’t believe I didn’t absorb into my consciousness before now. It RIPS, dude. When it gets to that refrain, “Everybody’s talkin’ about DE- GEN- A- RAAATION!” it stretches the corners of my mouth into a shit-eaten grin. But I gotta say, the A-side track is a total banger as well. “She’s so free! So Free! So Free! So Free!”

I feel so stoked that listening to this new Jerry A record, which functions almost like a loveletter to early punk and proto-punk, exposed me to a great classic punk tune I had never experienced. If any of you readers have never heard The Blitzz and my write-up sounds up your alley, I highly suggest checking them out. The songs are on YouTube. The other single sells for a significantly higher price point, but I’ll inevitably need to lock down that record as well.

Welp, that’ll do it for this round. As always, thanks for reading.

‘Til next week,

-Jeff

No Security / Crocodile Skink: Split 7” (1995, D.I.Y. Records)

Last week work was kind of getting me down… too much to do, too little time, which meant that every night when I got home I was exhausted and grumpy. Sometimes when I feel like that, I try to pull my mood in the other direction with music that’s on the gentler side (for me, at least), but often I just want to blast hardcore, having it overwhelm me to the point where I can’t think about anything else. I was on one of those kicks the other night, and pulling 7”s to listen to, I ended up spinning a whole bunch of Swedish stuff. I thought about writing about several of the records I played, but this is the one I landed on, both because it rips and because I think it’s a little more under-the-radar than some of the other slabs I jammed.

Even though it’s side B according to the labels, I’ll start with No Security, since their side is the reason I bought this record. None of No Security’s records have been in print for many years (as far as I know), so I’m not sure how well-known they are nowadays. They started in 1985, and I’m not clear on when they split up. Discogs says this EP came out in 1995, but No Security’s tracks were recorded in 1990. I wonder if perhaps the record just took a long time to come out, because on the insert No Security refer to themselves in the present and even tease an upcoming LP on which these three tracks were slated to appear. Unfortunately, that LP never happened. I haven’t heard it, but it looks like No Security recorded six songs for this session and the other three are available on the Lost and Found Records compilation CD When The Gist Is Sucked From The Fruit Of Welfare (The Ugly Faces Of Truth Show). I may have to track that down.

As for the music, No Security contributes three rippers that any fan of early Totalitär is bound to love. No Security featured Jallo on drums, who went on to play for Totalitär on Sin Egen Motståndare and all the records after that. It’s interesting that these tracks, while they have a similar grooviness to that Totalitär stuff (which makes sense as it’s the same drummer), they’re also rougher-sounding, with a loose, chaotic edge to them that makes them even more exciting.

It would be cool if there were an easily-available No Security collection (aside from the Lost and Found CD, there was also a 2019 collection CD on a Peruvian label), but I think there’s something cool about the way their discography is spread across all these split records. I could be wrong, but I think an EP’s dose of No Security is the right amount. Plus, if you track down all these splits, you get to hear a bunch of other interesting bands. Case in point, Japan’s Crocodile Skink.

While they slightly interrupted the flow of my Swedish hardcore night, Crocodile Skink is a great match for No Security, as their two contributions here are similarly blazing and riff-oriented, but with a crustier, more bottom-heavy sound. The vocalist is great too, with a mean-ass bark that sounds a little like Tokurow from Bastard, but with a freer (or maybe just worse) sense of rhythm. The lyrics are in English and they’re inscrutable in a really interesting way, though the animal rights message behind the line “you wear the steak” certainly comes through. Oh, and like No Security (and a lot of 90s bands, I suppose), Crocodile Skink has a very split-forward discography.

So yeah, pretty cool record if you can find it. If anyone has a spare complete collection of No Security and Crocodile Skink splits, get at me.

What’s up Sorry State readers and Happy New Year. I hope everyone had a nice holiday season and a good start to the new year. I can’t believe it’s already 2024. I feel like the last half of this past year really just flew by, but I’m sure I’m not alone in feeling that way. 2023 was a great year of music for me between a ton of amazing live shows, new releases, and some great reissues too. I don’t think I’ve ever consumed more music in any year than I did in 2023. Here’s hoping there’s even more in 2024! Today, I’d like to highlight some titles that came out last year that I really enjoyed, some brand new and like I mentioned earlier, some reissues of older material. In no particular order, here are some of my favorites from 2023:

Delco MF’s - 100% Complete and Total Motherfuckers 12"
This record is a collection of the first year of material from Delco MF’s and what a great year it was. Every track on here is ripping, but what really solidified this as a favorite of mine was seeing them destroy their set at the Sorry State 10th Anniversary fest. No beer can was safe. If you haven’t already checked this one out, do yourself a favor and hop on it.

Tožibabe - Discography 1984-1986 12”
As you may gather from the title, this record compiles material released by the band between the years ‘84 -’86 as well as some recordings of live performances that honestly sound pretty good for what they are. This is a prime example of why I feel so lucky to have a job where I get to learn about so much different music and branch out. Without working at Sorry State, I probably never would have discovered an 80s all-female hardcore band from Yugoslavia on my own. I love this record though and I find myself wanting to run it back from the top whenever it’s finished.

Ida E Os Voltas - Demo 1986 12”
Another 80s banger, this one comes out of Brazil this time. This record features the only recordings of the short-lived post punk band on vinyl for the first time. This record is just so catchy and fun to listen to the whole way through. Warning: These songs will get stuck in your head.

Haunted Mansion - S/T 7”
Okay, how about something that actually came out this year. This thing is short, sweet and to the point at four songs. Favorite track on here is Your House is Mine. Not for the faint of heart if the sounds of a spooky haunted house and witches cackling scare you.

People’s Temple - I’m With The People’s Temple 7"
I am fully with the People’s Temple out of Brooklyn. There’s some seriously catchy guitar riffs all throughout the jam-packed eight track 7”. I’ve enjoyed revisiting this one throughout the year, as it came out in February. Only you can decide which side you stand on with this band. Hopefully you don’t share the same sentiments as the gentleman at the beginning of the track Nuclear War Obsession.

Frantix - My Dad’s A Fuckin’ Alcoholic 7”
Disclaimer: My dad isn’t a fuckin alcoholic but I’ve been around enough alcoholic dads to enjoy this one. Sometimes music can just be dumb and fun and forty years after this originally came out, it’s still just as fun to listen to. Plus, how can you not like that cover art?

Legal Weapon - Death Of Innocence 12”
I’m looking at this now and I actually think this reissue came out in ‘22 and not ‘23. Maybe it came out closer to the end of ‘22? Regardless, it’s close enough, and I listened to it a lot this year, so we’re gonna roll with it. Pretty sure everyone here at Sorry State is a big fan of this record, so I’m sure anyone reading this is familiar. There’s really nothing not to love about this one.

Gram Parsons and the Fallen Angels - The Last Roundup (Live From The Bijou Café In Philadelphia, 3/16/73) 12"
I just wrote about this one for my last staff pick so I don’t have too much else to say about it that I didn’t already say there. Of course, I had to sneak this into my end of the year list amongst a sea of punk. If you get the chance to, listen to this incredible live show. It just might save your soul punk.

Various - Screaming Death 12"
Holy smokes! What more can you ask for than four ripping bands kickin ass all over twelve inches? Always one of my go-to’s when someone comes into the store saying they wanna listen to some new shit. Maybe I’m biased cause the always-gnarly Scarecrow is featured on here with four pummeling tracks, but don’t get it twisted, every other band on here (Destruct, Rat Cage, Dissekerad) brings their A-game, which culminates in one incredible project from start to finish.

Meat House - S/T 12”
I had to get one Sorry State release in here, and I’m sure it’s one you all know and love. Hardcore noise to melt your face, delivered to you at blistering speeds. If you don’t like it, keep it to yourself, nerd.

Hi Sorry State fam! What a year it’s been. I tried to avoid any cliche “boy where does the time go?” openers, but 2023 felt like it lasted 3 months tops. Maybe as I’m getting older, it feels like time is going by much faster because I’m much more cognizant of time, existentially speaking. On the bright side, I had a pretty good 2023 and time flies when you’re having fun. So much for avoiding cliche statements. But to prove 2023 was indeed 12 months long, I scrolled back through my photos to remember and reacquaint myself with the past year, and it looks like I had a lot of fun. I don’t want to jinx myself, but the past year was relatively low key and drama-free. I went to a ton of shows, did a little traveling, and made a concerted effort to take better care of myself. You know, all that preventative stuff that adults are supposed to do to be alive longer.

It was also a really fun year here at Sorry State, and speaking of Sorry State, it’s that time of year again where we look back at the last year and try to narrow down a list of our favorite releases. Originally, I had about 17, but I had to be brutal and narrow it down to ten. Well, no one was forcing me to do that, but Top 10 has a nicer ring to it than Top 17. I’m probably trying to squeeze another one into my honorable mentions as we speak. Ok, so here’s the plan. First, I’m gonna jump into my top picks for 2023. I will preface this by saying that a set of strict criteria had to be met in order to get into my top 10. It had to be 1) released in 2023 and 2) not be a reissue. Then I’ll expand on my 2023 favorites a little further and include some honorable mentions, some reissues I was excited about, and favorite shows of the past year. So without further ado…. and in no particular order!

My Top 10 2023 New Releases

Cherry Cheeks - CCLPII
No surprise here. I have loved everything Cherry Cheeks has put out. CC has been the solo project of Kyle Harms, but recently he got himself a band and they’ve started playing live! Their second LP had big shoes to fill because their debut album is one of my favorites. But I gotta say, they did not disappoint at all. Same big energy, great hooks, layers upon layers of weird noises and synth, and a balance of humor and seriousness. Pure Power steals the show for me as the top track on the album, and one of my favorite CC songs, period. Hard Stancing, Bunny Does Ice, DATA, and Ad Shark are some other favorites.

Display Homes - What if You’re Right and They’re Wrong?
A fantastic post-punk album that leans poppy in a wonderfully weird and dynamic way. It’s mid to fast tempo the whole way through and it keeps you on your toes. Simple yet effective beats that are perfectly locked in with every word. Perhaps that is easier to do when the singer is also the drummer, but nevertheless it sounds really clean and sharp. I love the raw, loud, and erratic vocals on this album. There are some great boppy, melodic bass riffs that really stand out and become (for me) one of my favorite and most memorable things about the album. Favorite tracks are CCTV, Background Check, and Proofread.

Screaming Death Compilation
One of the most exciting releases of the year, for sure. Sixteen brand new tracks by four killer hardcore bands: Destruct, Scarecrow, Dissekerad, and Rat Cage. It’s just pure, raw, blistering hardcore. Some of the highlights include some of the sickest, fastest, drums I’ve ever heard, courtesy of Destruct. Check out the fills in the song Omnicide. Holy shit. Scarecrow’s new tracks are insane. The main riff in the song Compensation is so good that I find myself singing it. And I live for the drum breakdown in Space Race, which is followed by an explosive array of meaty bass and clean razor sharp guitar riffs. I wrote a whole staff pick on this record, so I need to shut up now. But, you need this record.

Illiterates - No Experts
I was so embarrassingly late to the game on this record and it was literally put out by Sorry State. In my defense, it can be really hard to keep up! I love this record. It’s one I put on if I need a kick in the ass. Self-described as the “dumbest band in hardcore” but the album is everything you’d want from a hardcore record, so they did something right. The songs are short, fast, and catchy, with killer hooks, and animalistic-style vocals. They also played a killer show at SSR Fest! I love the songs L.B.T.C., Happy to be Here, and No Experts. Top to bottom, this one is a banger.

Divorcer - Espionage
This EP is just so damn likable and it grew on me more and more. It’s fun and catchy and all that good stuff, but it’s also witty and clever. It is very pop-heavy, but it feels substantial. The first track, Tiny Devil, sucked me right in. It’s absolutely infectious as the vocals waffle between sweet and taunting. The vocals are sharp and sometimes breathy, with lovely harmonies. They seem to draw inspiration from a popular alt-rock formula with its quiet verses and loud crashing choruses. It’s a really well-rounded, albeit rather short, EP. The stand out tracks are Tiny Devil and Bug.

Lafff Box S/T
I totally dug the Lafff Box EP they put out in 2022, so I was really looking forward to a full-length album from them. The band is comprised of members of Liiek, Ex-White, and Lassie. It’s mostly mid-tempo, and the sound is manic, fast, fresh, and modern. The singer’s snarling, distorted vocals and dual guitars create a pleasantly chaotic sound. A good balance of mosh-worthy punk and melodic gems. I would call it off the rails power pop, which is right up my alley. The song Master is a great example of that description. I really like the song Just a Fool. It’s a bit more structured and formulaic placed right in the middle of the much more chaotic tracks. A wise choice. It’s a high-energy album that is just a lot of fun to listen to.

Meat House S/T
A supergroup, if you will, Meat House is made up of some of the finest punk musicians in the area (and a little further out). After only a few practices, Meat House went straight to recording (with Shaved Ape) and gave us these seven songs. This is some good ole’ 80s style American hardcore right here. Fast, straightforward, no frills hardcore with mean vocals and lotsa great riffs. I’m glad to have caught a couple of their gigs. Let’s just say they know what they’re doing. Looking forward to more from MH. My favorite tracks are Punk Star and Slimy Enemy (killer intro!).

Knowso - Pulsating Gore
I know this record is pretty brand spankin’ new, but it was love at first listen. Knowso is in a class by themselves. The best I can come up with is demented post-punk, although it feels like it transcends post-punk. It’s quirky, catchy, and creative, with lyrics that are sarcastic, funny, clever, and even intellectual at times. It’s weird but not too weird, but it’s weird enough to make it difficult to draw comparisons. You will have to listen and see what you think. My favorite tracks are Do the Work, Heavy Hauling, and Drink From the Lake.

Personal Damage - Atrophy & Entropy
This is one killer band. I’ve liked everything they’ve put out, so a full-length album was highly anticipated! If you’re into early 80s Southern California punk like Circle Jerks or the Adolescents, this is the band (and album) for you. Fast, snotty, raw, American hardcore. This is a high energy album front to back with lots of great hooky melodies and singalong style vocals. It was super exciting to get to see them play at Sorry State fest and one of the bands I was most looking forward to seeing! Favorite tracks are Head First and End of the Last (the opener and the closer!)

Lothario - Drunk Fuck/Black Hair
I would be remiss not to mention a record with two of my favorite songs from 2023 because I played the shit out of them both. Two of the catchiest songs of 2023, maybe even the catchiest songs of 2023. Lothario is the brainchild of Annaliese Redlich, and let me tell ya, she has a knack for writing a melody. Immediately ear-catching. It’s electric, fun, dynamic, gritty garage punk with clean, infectious beats and powerful vocals. Both are mid-tempo and melodic with razor sharp riffs. I love the vocal flow on Black Hair, and the subtle bending of the notes on the guitar parts really add some great dimension. The overall sound is dynamic and checks all the boxes. I’m really excited to hear a full-length, which I hear is in the works!

Honorable Mentions for 2023

Sluggo - S/T
Rough Kids - The Black and White and Gray
Abi Ooze - Julia’s Apartment
Delco MF’s - 100% Complete and Total Motherfuckers
Sirkka - Viivyttely
Cel Ray - Cellular Raymond
Rat Cage - Savage Visions

Top 2023 Reissues/Other Stuff

KORO

Legal Weapon - Death of Innocence

Minor Threat - Out of Step Outtakes

Dark Thoughts - Do You Dream

SSD - The Kids Will Have Their Say

Primal Screamer (book by Nick Blinko, Rudimentary Peni)

Favorite Gigs (oldest to most recent)

Bikini Kill (Asheville, Orange Peel)

Subhumans (Chapel Hill, Cat’s Cradle)

Reckoning Force (Raleigh, Kings)

Pixies (Raleigh, Red Hat)

Alienator (Durham, the Fruit)

Headkicker (Durham, the Fruit)

Scarecrow (Durham, the Fruit)

Scarecrow (Raleigh, Rumah)

Vidro (Raleigh, Rumah)

Pavement (Raleigh, Hopscotch)

Meeting Stephen Malkmus (Raleigh, Hopscotch)

Sorry State Fest (Raleigh, Everywhere)

As for Sorry State Fest, the whole thing was my favorite show this year, with special shout out’s to the performances of ISS and Public Acid. I know ISS has only played live a couple of times in the years they have been a band, so I was so damn excited to finally see them play. I was so curious how their sound would translate to a stage, and I was so pleasantly surprised. I could tell that some of the crowd didn’t know what to think, as they are so different from pretty much every other band there with respect to their style. But they’ve become one of my favorite bands, and I wish they would have done 20 hundred more songs. Also, there was something about Public Acid’s performance (besides it just being super sick) that stood out to me in a unique way. A new and different kind of energy swept over the room, and it was wild. By that point I had moved toward the back to chill with Dom in the DJ area, so I got a different perspective of the crowd, and it ruled. Finally, Tadzio’s (Golpe) “speech” was really cool and heart-warming, in the most hardcore way possible of course.

Ok, that’s a wrap……almost. Couldn’t end this without showing you my favorite record acquisition of 2023!

Anyway, thank you for reading and for supporting and for being so cool. Happy New Year to everyone. I hope 2024 is your best year yet!

-Angela

Hello, and thanks for reading. In this week’s newsletter, we are recapping 2023 with our “best of” lists. Unfortunately for me, I’m thinking about this for the first time as I am writing this. As a result, I’m sure I will miss a few records I enjoyed this year. It seems all the records from my “Top 10” are ass beaters, but that is no surprise, is it? Rather than going in order of which one I like the most or which is my favorite (cos I could not distinguish that), I am going to go in order of when it was released. I will also drop links to listen at the beginning of each release, in case you need or want to peep it. Before I write, I wanted to mention the SIRKKA Viivyttely 7". This record was not on my list this year, only because it was on my list last year. “Technically” it was released January 19th of 2023, but this came out at the end of 2022 if you ask me. I think this record is phenomenal and honestly, I think the sound of this band in the 2020s is profound. Sorry State repressed this record not too long ago, on clear vinyl. If you’re reading this and actually like hardcore but don’t own a copy, don’t think and just buy one now.

BLOODY FLAG: self-titled CS
https://bunkerpunks.bandcamp.com/album/bloody-flag
Actually, I do have a favorite release of the year, so I will write about that first. It doesn’t take much thought for me to know this is my favorite release of the year. It was a total honor that Jeff and I were able to release this debut on our label. The sound on this tape is just perfect. It really doesn’t get better than this. We wished it could have been a record, but the mastermind behind BLOODY FLAG is a bit too modest in my opinion, hehe. I’m not really gunna take the time to describe this shit. If you haven’t heard it, you can stream it from the link I dropped. I know there will be a follow up cassette at some point, and there has been talk of doing a small run of this self-titled cassette at that time as well. Alright, I will move onto my proper year end list now.

Πυρ Κατά Βούληση: Θύματα Ειρήνης 12"
https://pyrkatavoulisi.bandcamp.com/album/
God damn. This was released at the very beginning of 2023. It came out of nowhere for me, as this was the band’s debut and I have no idea what the members did previously. This record hits the spot for me. I guess all the records are going to have that effect on me, haha. While this band is from Greece, the sound is like a contemporary Swedish band like LARMA or NUKIES. I really like the vocals, and I especially like that the lyrics are in Greek rather than English. The guitar playing is just so damn good. The riffs are super catchy yet raging. The drumming is super locked in. The record sounds powerful; it’s nice and punchy. I also love that the jackets are screen printed. Damn, I thought this record was sold out, but it looks like we still have copies from when we restocked it. I remember the first time we had it, they sold out in like 15 minutes. If you missed it, you can grab a copy here. I think this record is excellent and I would love to see this band live.

DESTRUCT: Cries The Mocking Mother Nature 12"
https://gravemistakerecords.bandcamp.com/album/cries-the-mocking-mother-nature
Do I need to introduce or even describe this shit at all? If you haven’t heard them, don’t be misled by this cover that looks like it could be a 2000s CONTRAVENE record or something. I think DESTRUCT is one of the best bands active in USA right now, and their live performances are some of the best I have ever seen. I used to think they were the best band I have ever seen in my life, until this year when I saw another band (who I will mention later). Anyway, we don’t have this in stock anymore, but you can get a copy from Grave Mistake here. If you don’t own it, I wouldn’t sleep. None of their stuff seems to stay in print.

ELECTRIC CHAIR: Act of Aggression 12"
https://ironlungrecords.bandcamp.com/album/act-of-aggression-lungs-213-2
Technically, this was a 2022 release, cos it was a cassette first. The LP came out in early 2023, though. I’m sure you know Sorry State had our own exclusive color. Everyone and their mother knows this band. Everyone likes this band. I’ll tell you what though, it’s not just hype. This band is simply magical. I truly didn’t know until I organized/drove their tour with GOLPE earlier this year. I had seen ‘em live a fair amount of times, but it was always so crazy with people flying everywhere and shit. On this tour, I had a chance to witness them up close, and it was then I understood how good they are. They are also the silliest mofos ever, and it’s amazing how well they treat each other and how dedicated they are to their band. If you don’t own this for some odd reason, you can scoop it here.

SALVAJE PUNK: self-titled 12"
https://toxicstaterecords.bandcamp.com/album/salvaje-punk-lp-2023
This record is absolutely fucking nuts. It’s like LOBOTOMIA meets MOB 47 or NO SECURITY. I love the mix and master. I don’t make any adjustment on my stereo for this record. I always EQ shit a bit, namely scoop the bass out a bit and turn that treble up. This record is the definition of an ass-beater. No bullshit, just raw ass beating. I don’t think this record is for everyone. The speed and pummeling intensity is probably too much for the fainthearted. We don’t have copies in stock anymore, but it looks like Toxic State does. In Toxic State tradition, everything is screen printed in the packaging, including a sick ass foldout poster with art from guitarist, Mateo. I don’t personally own a lot of releases from Toxic State, but this is the first time I’ve got a record from them that wasn’t just standard black vinyl. I wonder if this was the first time they did that? Everything about this record is so sick.

PHYSIQUE: Again 12"
https://ironlungrecords.bandcamp.com/album/again-lungs-232
If I remember right, this came out as a cassette before it was an LP. PHYSIQUE was a band I slept on until I saw them live. I don’t think their previous records really did them justice. There was always something here and there I didn’t quite like, but I did overall enjoy the releases. This LP though, is the shit. Funny enough, I remember seeing the artwork around for a while online before I actually stopped to read what it said. I kept looking past it cos I took it for another rip-off band, with that DOOM-esque font that had been done many times before by other bands. They also start the LP off with a slower song and end it with a reprise of the same song. They aren’t doing anything new, but there is something that makes this band seriously stand out from the rest. I can’t wait to see them live again. If you missed this LP, we have it in stock.

FAIRYTALE: Shooting Star 12"
https://toxicstaterecords.bandcamp.com/album/fairytale-shooting-star-lp
I’m not really sure what this means, but I can’t remember the last Toxic State release I bought before this year. So, it’s insane to me that I have two of their releases in my list here. I think this label is sick, and I absolutely love the packaging of pretty much every release, but I typically don’t pick up the stuff. Oh, shit yeah this is on color vinyl too. Maybe cos it’s a cooperation with QCHC in UK? The record sounds really damn good too. Anyway, FAIRYTALE first came on my radar when they released the flexi. I remember something about the flexi didn’t hit me quite right, but holy fucking shit, live they absolutely blew me away. Sometime after that, they released their debut onto a proper 7", and I thought this was a top-notch follow up. If I remember right, Jeff and Daniel were super into it as well. Same with this LP. When these came in, we were super stoked. All the vinyl for USA actually came to Sorry State from the pressing plant overseas, since it was a cooperation with a label we already deal with heavily and this is a standard procedure for us. I remember unpacking these boxes to forward boxes of discs to Toxic State, and I saw the FAIRYTALE center label. I had no idea there was an upcoming release for them, but I knew only one band would have that name and that font, haha. Fuck it’s so good. I especially like that there are things I consider unorthodox about the record. The sound is not boxed in by any means. I mean yes, it does sound a lot like ANTI-CIMEX and DISCHARGE, but whatever. We don’t have this one in stock anymore, but you can pick up a copy direct from Toxic State here.

DELCO MOTHERFUCKERS - March of the MF’s 7"
https://delco-mfs.bandcamp.com/album/the-march-of-the-mfs

I wrote about DELCO MFs really briefly on two occasions, when they dropped each EP. I mentioned before this band started as Jim doing everything, but on this EP he had a proper line-up, and he just took care of vocal duties. I think this is an excellent follow up to their first EP. It is so pissed off and raging. It sounds like it was recorded on an old tape, and that really adds to what is happening. I appreciate that the label (aka Jim and the bassist Jakey), are sticking to small runs of these records. I know they could easily sell more, but fuck it. Static Shock in UK did a compilation of both EPs this year, and that shit sold out super quick too. Anyway, I think this EP was killer, and it really captured their live intensity. If you missed it, I am sorry cos you’re probably not going to find a copy.

G.U.N.: self-titled 12"
https://sorrystaterecords.bandcamp.com/album/g-u-n
There seem to be a lot of people talking about this record, and for good reason. I think this is a masterpiece. The full color artwork is ballsy, but they pull it off. The songwriting is so catchy; the songs will bounce around your head for days. Some of them I enjoy so much, it feels like it’s a cover song… I’m not sure if that will make sense. I didn’t know shit about this band. Usually, I make the test press covers for SSR releases, and I hadn’t heard these songs at all before the tests showed up. Naturally, I put on a copy as I whipped up the covers. Man, it hit me hard. I really like the vocals, too. I’ve legit spun this record so many times this year. This bad boy is sold out at the moment, but I’m sure it will be back in print in no time. Be ready if you missed it, it’s so good.

KINETIC ORBITAL STRIKE: The True Disaster 7"

https://kineticorbitalstrike.bandcamp.com/album/the-true-disaster
Alright, remember earlier when I mentioned there was a band who I saw this year who might be the best band I have ever seen? Well, it’s K.O.S. I saw them the first time in Richmond with ENZYME. I could not believe how good they were. They were locked tight, with explosive power that was carefully orchestrated into perfect song structures. Fuck. The second time I saw them was in Philly, and they played a cover set comprised of ANTI-CIMEX and SKITSLICKERS. They probably played those EPs better than either band ever did. They dropped a debut on cassette late last year that was re-done as 7" earlier this year. The songs from both records were actually done at the same time, and naturally I couldn’t tell you which record I prefer. I think they are both top-notch hardcore, and you can grab copies here if you’ve been sleeping.

There were A TON of 2023 releases I would call “honorable mentions,” but I don’t see the point in listing all those. How worthy is my honor, anyway? There were also a ton of killer reissues this year. I love it! Again, I don’t want to list all those, but I will just share this photo of all of them compiled together. And again, I could be missing some. I love the good old “replica” type reissue where it’s just a repro of the old shit on the same format. I also love when reissues go all out and compile as much as they can onto an LP. Unfortunately, in my opinion some of these bigger reissue labels don’t do the bands justice. They put out too much shit with the same basic formats. I know some of these labels will compromise the quality of the content, just to seemingly have the most deluxe shit out there too. Anyway, here are the reissues I was most stoked about this year. I know MISSBRUKARNA has been done by this same label before, but I like it so much I am including the 2023 reprint.

Besides a bunch of killer new releases and reissues, I certainly spent a good portion of my paychecks on ‘80s records from my want list. I crossed off some serious wants, one of which I never thought I would actually ever own. Sometimes I score a record in person at a shop, or through Sorry State, and that is the best feeling. But often I end up buying shit on the computer, and that just is what it is. I am happy that my major want came via a pen-pal reaching out to me, but of course the internet still played a role, haha. Anyway, instead of focusing on records I got this year from my want list, I am going to share the printed materials I got this year that I am really excited about. I have bought some flyers online before, but not much. A lot of my flyers are just recent photocopies that a friend has made, and that is pretty much just as cool as an original to me, plus it doesn’t cost me like $50+ or whatever insane amount someone is trying to charge. I have a good number of original flyers etc. that came from friends or pen-pals, and that is really special to me. Two of the things in this photo I bought online. One of them is the VARAUS poster sleeve. That record is so rare. Another top want I will more than likely never have, but I am absolutely thrilled to say I have the foldout sleeve at least and it is framed on my wall! If maybe someone reading this has a copy for sale (with or without sleeve), you know where to find me. The TOXIC REASONS poster was a birthday gift from my friend Eric (thanks dude, I love you.) The Swedish stuff (besides the BLACK UNIFORMS flyer) was a gift from my friend Anders. I’ve actually mentioned him before, and his photos from the Egg-Mangel gig. Hello Anders!!! And finally, the Finnish stuff was a gift from my friend Marko. If you’re reading this, hello my friend and I hope you are well :) This stuff I really hold close to my heart. The booklet from the first RIISTETYT LP is already rare enough, but in the photo is also a booklet which compiles lyrics from VAURIO’s LP and RIISTETYT’s Raiskattu Tulevaisuus LP. I didn’t even know this was a thing, and it blows my mind. What blows my mind even further is this TAMPERE SS fanzine. Alongside the fanzine, I also got an original cassette with their demo, and it includes a song that was never released. I’m sure you can understand how blown my mind is, and I feel honored to even have this stuff. I guess technically I paid Marko for that TAMPERE SS stuff, but whatever haha. OK I think that about sums up my year-end review. The years go by faster as I get older it seems. I am grateful to play a role here at Sorry State, and to be so tapped into something I am passionate about. I feel so lucky. Before I go, I want to say that I am grateful to be able to enjoy these records, posters, and all the other things and people I love in life. While this year has been good to me, the year has ended in unfathomable horror for others. I cannot sit here and write about records and not acknowledge the blatant U.S.-funded genocide that is taking place as this very moment in Palestine. It is a privilege that my life and loved ones are not suffocating slowly beneath the rubble of an airstrike in Gaza. If there is a God, I pray for the people of Palestine. Thank you for reading, and thanks to everyone for your support. Take care of each other.

Happy New Year Sorry Staters!

Here we are in 2024 and beginning another turn around the sun in what will undoubtably be a year for the history books in many ways. Let’s hope that by this time next year we’ll be talking about great music and art and not the end of democracy.

Anyway, back to January and what is the obligatory look back to the year before, where folks like us and anyone with a social media account and internet access wax lyrically about all the great things that came out and what their favorites were. We’re not spoilsports here at Sorry State and although I might be a bit of a grumpy old man about stuff sometimes, we are going to play along. So here we go with our reminders to you, dear music lovers, of some things that we thought were cool in 2023.

On a personal note, the last year was the proverbial rollercoaster for me. Some highs and some lows. Unfortunately, I lost furry buddies and ended the year living the lyrics of a country or blues song when my relationship took an unexpected turn. However, earlier in the autumn, I was finally able to return to the U.K. and visit my family and that was without doubt the best part of my year. I can honestly say that the most enjoyable moments I had were walking my sister’s and cousin’s dogs out in the woods or along the beach. It was exactly what I needed.

Another great restorative for my mood and well-being has been the form of LFC, who ended the year top of the league. Halfway through the season and it’s been a great one, with any one of four teams looking a good bet still to win the title. As I write this, it’s ours to lose and theirs to win. Up the Reds.

Collectively, we lost many loved celebrities, musicians, artists, actors, poets and countless others who gave of themselves and made the world a better place. Rest in peace all of you.

There were some great moments though, and Sorry State’s ten-year anniversary festival was an absolute blast. So cool getting all these great bands in town for the weekend to party and play. It was one for the books. The cities of Raleigh and Durham get blessed with great bands and artists coming through to play, and the Hopscotch festival this year, for example, was one of the best yet. That and the Dreamville festival curated by J Cole, showcasing the best in hip-hop, have helped keep this part of the country on the musical map. Add all the gigs going on in the clubs, bars and alternative venues and you have quite a healthy scene. After the plague years, we were all so happy to get back out there and see live music.

In any given year, there are literally hundreds of new records released, and keeping up with everything is an impossible task. Not that anyone would, really. I don’t know too many people who like every single genre and style of music going. We all have our preferences and personal favorites in our listening habits and at the end of the day, who has the time to listen to it all? I read lots of other people’s best of lists and often there are similarities to my own, but mostly they are completely different. Either things I don’t care that much for or mostly things that I have never even heard. I work in a record store and have a bit of an advantage over most, but I realize even that leaves me uneducated to all the new music created. So, end-of-year reviews serve their purpose and hopefully us mentioning some of our favorites will steer you towards good things you may have missed or need reminding of.

Mine are in no order of importance or ranking, but are all records that I spent my lunch money on or were gifts. I will divide them into two sections though, new music and reissues of older stuff. Being the old dude here, I naturally listen to a lot of 20th century music and buy a good number of used records throughout the year. Unfortunately for me, I guess, I like a lot of different styles of music that span decades, and so find lots of reasons to take home more vinyl. My sweet spot would be the years spanning the mid 1960s to the mid 1980s, but I listen to old music made at the beginning of the recording era through to the jazz and swing of the 30s and 40s and love the 90s. I’ve always bought records and will never stop digging, and although a lot of modern music isn’t for me, will always keep an open mind and ear to anything new I hear. Thank you so much to all the musicians and artists who have enriched my existence through your music.

Quickly before I begin. As much as I would like to include all Sorry State ‘s own label releases on my list and the Screaming Death compilation on Bunker Punks, I will resist the temptation and will leave that to others less biased to include in their lists. Tell you what though, we put out some killers last year. Cheers to all the bands and to you guys for supporting us and them.

First the new: -

Gruff Rhys – The Almond And The Seahorse Original Soundtrack – Rough Trade Records
I’m going to begin with this little gem that my DJ partner Matt gave me as a gift. We both have a mutual love for Welsh band Super Furry Animals and have followed the solo career of main man Gruff Rhys. I’ve picked one of his previous albums here before and will have a lifelong love for the music he makes and for his voice that always sounds like a long-lost close friend talking to you. He’s done soundtrack work before, the excellent jazzy score to Set Fire To The Stars from 2016 being his first. I have not seen The Almond & The Seahorse yet, but really love the soundtrack. It’s a nice mix of pop songs and mood music. Obviously scored for scenes in the movie, the music is appropriately created, but can be enjoyed just as much without having seen it. There’s plenty of nice moments throughout, and at times I was kinda reminded of stuff that The Orb did back in the day.

Theee Retail Simps – Live On Cool Street – Total Punk Records
I’ve been digging these guys and their records a fair bit. Spazzy garage from Canada that sounds like it could have come out of Memphis and would be equally at home on Goner Records as they are on Total Punk. In truth, the band is more the brainchild of main Simp Joe Chamandy, ably assisted by those around him. Not sure how “live” this record is, but adding a chorus of female vocals, guest musicians and throwing in some choice covers makes it seem like a good time at a cool spot.

El Michels Affair & Black Thought – Glorious Game – Big Crown Records
From my days in New York, I have been a big fan of the music El Michels Affair make. The label Big Crown, along with Daptone and Colemine, have consistently brought the best in new soul and r & b. The Affair typically deals in funky Latin tinged instrumentals. Check out their Wu-Tang cover album. It was no surprise that they would collaborate with the hip-hop world again and Glorious Game features Black Thought of The Roots. Also has my favorite Big Crown artist Lady Wray on back-up vocals. Great album.

Institute – Ragdoll Dance – Roach Leg Records
I joined the party late for these post-punk guys from Austin, Texas, but they are firm favorites here at Sorry State. We all loved member Moses Brown’s solo record as Peace De Resistance and it got me into the Institute back catalogue. Still need a copy of Subordination on vinyl. Ragdoll dance is the group’s fourth record and combines a healthy dose of art-pop and punk rock in equal measure. Some nice nods to the glory days of Siouxsie and Magazine and DIY punk for sure, but enough fresh ideas and interesting songs to make them a part of your contemporary music listening.

The Serfs – Half Eaten By Dogs – Trouble In Mind Records
These guys are a good synth-punk band from Cincinnati, Ohio and have been around for a few years with a previous LP and a cassette release to their credit. This is a good album that delivers songs that aren’t all cut from the same cloth by using different textures and elements of the post-punk and synth-wave sound spectrum. Familiar yet very original stuff.

Morwan - Svitaye, Palaye – Feel It Records
Morwan is the project of Alex Ashtaui from Kiev, Ukraine, who now resides in Berlin and has two albums and an E.P. under his belt. The music style is post-punk with ethnic elements and an Industrial, Coldwave, Goth sound that only recording in Berlin can inspire. The Russian invasion of Ukraine influenced the album greatly. Initially, it was intended as a slightly dance/club sounding follow up to the previous record, but took on the pain, anger, fear, loss, and suffering of the war into the songs. A unique record and worthy of your investigation.

Personal Damage – Atrophy & Entropy – Test Subject Records
L.A. three-piece punk band that has won the hearts of all here at Sorry State. Regular readers will have read all of us here rave about these guys and their take on California Hardcore punk. There’s nothing about these guys not to like. Good energy, good songs, a good look, good humor mixed with a darker take on politics and modern living. Their set at our anniversary festival was a highlight (amongst so many) and it was a pleasure meeting them. Record comes with a sick poster too. Nice one guys.

Blur – The Ballad Of Darren – Warner Records
The 90s and the Brit-Pop years were heady times, but a long time ago now. Blur soundtracked that era for many. Singer Damon Albarn’s voice is another that sounds like a longtime friend or family member. More recently heard with Gorillaz than Blur, it’s a welcome return hearing him with his original band, their first in close to a decade. I was a fan back in the 90s and saw them a bunch of times, beginning with their first album Leisure through to the early 00s and the Think Tank album. They were always good live. When I first heard this new record, I was a little underwhelmed if I am honest, but I have given it repeated listens and really like it now. Certainly, a more mature sounding record and one that finds the band reflecting on where they find themselves now. Still the trademark Damon vocal and although mostly downtempo, still some louder rockers with plenty of sonic texture from guitarist Graham Coxon on display.

Irreversible Entanglements – Protect Your Light – Impulse Records
Those of you into spiritual free jazz that combines hip-hop, funk and spoken word poetry need look no further. This is their debut on Impulse, the label that they were almost destined to be on. They’ve been around for half a decade or so now and have three previous releases. I was lucky enough to catch them play here in Raleigh alongside Daniel and it was an experience we won’t forget. Very powerful stuff.

Fairytale – Shooting Star – Quality Control HQ / Toxic State Records
I’ll let others here at Sorry State tell you about hardcore punk, but I will say that of the many ripping punk records that came through the store last year, (other than our own releases) this was one of my favorites. They do so much with their sound, albeit within the contexts of a d-beat punk framework. The vocals and how they blend into the sound really impressed me. This is a record that initially blows your wig off with its intensity, but like an onion has many layers that reveal themselves each time you listen. We sold out our copies so snag one if you see it, but if ever a repress was needed, this would be it.

Now for a quick mention of some of the reissue highlights I would recommend you investigate.

De La Soul – Buhloone Mind State – Chrysalis Records
It took years, but finally the group took control of their back catalogue and 2023 saw the reissue of their long out of print albums back onto vinyl again. One of the best hip-hop groups ever, this album was their third release from 1993 and might well be my favorite. I’ve kept the CD I bought when it came out and had always hoped to get a vinyl pressing, but as the years went by that became an expensive task. Overall, the reissues of the records have been well done, although why the interstitial skits were dropped on this one is a question some are asking.

Inu – Don’t Eat Food – Mesh Key Records
Late 70s/early 80s post-punk from Japan that has remained Japanese punk’s best kept secret. This was the first licensed and remastered from original tapes reissue of this seminal album. Comes with a nice booklet of photos, lyrics and liner notes. I was new to this record and was impressed.

Dolly Mixture – BBC Radio Sessions – Sealed Records
Primo girl group post-punk from the UK circa late 70s/early 80s. Didn’t really get their due during their lifetime and I always thought that their unreleased material was way better than the actual records. Check out the album of demos and this collection of Radio One recordings for evidence of that. More famous during their time for being complete amateurs and one of them dating Captain Sensible. The group backed him on his solo album and classic single Wot. Thank goodness for the likes of John Peel and the Beeb for having bands cut live sessions like this. Joyous indie pop that never goes out of style.

Jimi Hendrix Experience – Hollywood Bowl, August 18, 1967 – Experience Hendrix / Legacy
When it comes to guitar heroes, there is Jimi and then everyone else. During his Experience era, he was literally recording music every day, whether in the studio, at home or on a stage somewhere. There are countless live recordings out there, and since the Hendrix family has gained control of his music there have been a whole slew of terrific live recordings officially released. This show from 1967 was recently discovered and is a great sounding soundboard recording. Hearing Jimi play never gets old, and this set kicks ass. He also covers Sgt. Pepper’s Lonely Hearts Club Band here, a song still freshly released in that summer of love. Like all Experience Hendrix releases, this comes with a great full-size booklet of liner notes and photos.

Shabazz 3 – Late Night With Shabazz 3 – Skylark Soul Co.
Legendary underground hip-hop album from 2000 that finally got a proper release as part of Record Store Day. Original copies of the scarce vinyl release were going for big bucks, so this repress was needed. I had a tape copy given to me years ago and was happy to get this cool set on wax. Fans of conscious jazzy hip-hop should look this one up.

Pharoah Sanders – Pharoah – Luaka Bop
Seminal 70s jazz from the master. One of his most beautiful and accessible albums that for years was only known by fans and collectors. We’ve had two original copies come through the store since I have been here. This release gets my vote for reissue of the year. An amazing package that comes in a box that includes an additional album of live recordings made around the same time along with great liner notes and photos. The live version of money track Harvest Time is worth buying this set alone but getting all the other goodies makes plonking down sixty bills a great deal considering original copies are getting close to four figures now. Invest and enjoy.

Blondie – Against The Odds 1974- 1982– Numero Group
Runner up for best reissue of the year for me was this four LP version of a massive Blondie boxset superbly put together by the good folks at Numero Group. Brilliant stuff throughout. (Mostly) all the demos and out-takes you could hope to hear and own. I love Blondie so much and hearing many of these familiar songs stripped down and differently has been a real treat. The book that comes with the set is worth the price of admission alone and makes for a great coffee table book to flick through and is chock-full of great insights and photos.

Alright then, I think that is going to do it for me this time around. Still loads more stuff to potentially talk about but hopefully there are one or two here that you might find just as enjoyable as I did if you missed them. We’re all fans of music first and foremost here at Sorry State and it is an absolute honor and a pleasure to talk about cool records with you all and help get them into your hands. 2023 was a great year. Let’s see what 2024 brings us.

Cheers to you all and as always thank you for your support.

Dom

What’s up Sorry Staters?

2023 has come to an end. Ooooooh and what a year it was. I was reflecting on all the dumb shit I got myself into and all the records I listened to this year, and you know what? Not too shabby. 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.

Here’s my Top 10 of 2023. Forgive me for the overly long write-ups about records I’ve probably already talked about plenty this year. Maybe it’ll be worth your time to read what I have to say. Or if you end up scrolling past a whole bunch of it, shiiit, I don’t blame you haha. I decided to not even mention anything released on Sorry State. Surely GUN, Sirkka, Mutant Strain, and even Koro would be mentioned.

Whatever, here we go:

1. Personal Damage: Apathy & Entropy 12” - Easily one of my favorite records of the year. When Personal Damage first emerged onto my radar a few years back, they caught my attention immediately. It seemed like they became prolific right out of the gate, beating me over the head with a tape, then a 7” flexi, then another tape, then a proper 7” EP. I was curious how well the band would make the leap to the full-length format, and they did not disappoint. You can hear the influence of early 80s LA hardcore like Circle Jerks or The Stains, but Personal Damage has their own thing going on too. Catchy, snotty, memorable, not to mention amazing sounding production and beautiful packaging. Killer.
   
   
2. Electric Chair: Act Of Aggression 12” – I think I may have mentioned the pre-release cassette version of this LP in my end of 2022 review and said something like “this will surely end up in my best of 2023” haha. So yeah, I’d already been listening to this record a lot for over a year now, but it was exciting when the vinyl version finally dropped earlier in 2023. The band’s first full-length LP took their already frenetic style of hardcore and added even more craziness to the mix. Insane shredder leads, weird sort of trippy, psychedelic passages in songs like “Security Camera” – it’s wild. But still the same awesome, outta control, catchy songwriting you’d expect. Electric Chair really got around this year. Even myself, I saw them multiple times, in Minneapolis for the Thrasher event, in Philly for Something To Talk About Fest, at Sorry State 10th Anniversary, and on Halloween in Richmond. I don’t know what it is about Electric Chair. All the dudes are funny as fuck, and there’s something cartoony and silly about them. But they are also undeniably one of the most dead serious, potent, explosive and raging hardcore punk bands out there. They rule.
   
   
3. Tozcos: Infernal 12” – This record snuck its way onto my list right at the tail-end of the year, but it had to be included. First non-NY band to be released on Toxic State? Tozcos have been active for over a decade now I believe. Infernal is their 2nd LP, and it is worth the wait. Tozcos brings an element of “song-based” hardcore punk that I think is sadly missing at the moment. There’s a really thoughtful, dare I say, almost “pop-oriented” attitude toward their constructing of songs. I don’t even speak Spanish very well, but I find myself continuing to sing the vocal hooks after I’m done listening to the record. Not to mention the monster musicianship in the band. Limon’s razor-sharp guitar tone, Corrina’s super in the pocket, pounding, groovy drumming… Also, Kevin’s gotta be one of the best bass players in the game. Walkin’ all up and down that neck. When I heard the bass break intro in the teaser track “Presos”, I was like “deeeeeeyum”. And Monsé’s vicious vocal delivery brings it to the next level. What a great record made by genuinely cool people. This is the real shit right here.
   
   
4. Sick Thoughts: Born To Blitzkrieg 12” – So, I will admit, I was way late in discovering Sick Thoughts. Even over the years with Drew releasing a TON of records, I just assumed I wouldn’t really be into it. I’m choosing this 2023 EP in part because I feel like an idiot for not even giving 2022’s Heaven Is No Fun a chance until way into 2023. I surely would’ve included it on my best of 2022 list, but it feels like I experienced it all in 2023. But Born To Blitzkrieg is so great too. There are 4 songs on this bad boy, and surprisingly, it opens with an eponymously titled ripping hardcore tune. What I discovered is that beyond Sick Thoughts’ sort of silly, crude presentation and lyrical content, my dude just writes great songs. “(I’m A) Hellraiser” is like somewhere between Generation X or Blitz mixed with some random raw, rockin’ KBD tune or something. The classy title of “Schoolgirls in Chains” is almost like early GG Allin, but then breaks into some straight up harmonized Thin Lizzy guitar leads? So sick. Then this EP ends with an unexpected tender moment with “My Heart Is Breaking Over You.” Consider me converted. I love Sick Thoughts.
   
   
5. Pyr Kata Voulisi: Thymata Eirinis 12” – I try my best to pronounce this band’s name NOW, but when we first stocked this record, I remember everyone referring to them as, “You know uuuh, the Greek band!” Haha. An unexpected ripper for me this year. It sounds like these Greeks take some cues from Swedish hardcore, namely I hear a little bit of Herätys influence in the riffs. Just a great hardcore record. I remember them getting some buzz this year amongst the true heads. I hope this band records something new in the not-so-distant future.
   
   
6. The Hell: S/T 12” – These Cleveland boys teased a few tracks from this LP on a cassette back in 2022. Putting the “punk” back in hardcore punk. Direct, to the point, raging. Clean guitars pumping out riffs like a machine. Snarling, aloof vocals somewhere between Stiv Bators and Danny Spira. Tight, fast drumming. 10 songs in 12 minutes. What more do you want? I hear rumors that they’ve got something new geared up for 2024. Can’t wait.
   
   
7. Deletär: S/T 12” – France’s finest, if you ask me. Deletär released a few records before this LP, but I think they really just nailed it on this round. From the moment you drop the needle, your face will melt immediately. Not unlike Pyr Kata Voulisi, Deletär definitely tips their hat to raging käng-style Swedish hardcore. The production on this LP is super dense and intense. Great guitar tone. And just one fist-pumping killer riff after another. Some of the guitar leads approach Skitkids territory. But for me, I like that Deletär have that heavier edge to their sound, but don’t quite cross into crust territory. They kinda remind of a band like Infernöh sort of. I saw Deletär at K-Town back in 2022, but I look forward to seeing this band live again soon. Also, there might be some cool news about this LP soon ;)
   
   
8. Nuovo Testamento: Love Lines 12” – This might be a surprising choice against some of the other records on my list. But if I’m being honest with myself, I listened to this record a whole bunch this year. I don’t know anything about Italo-Disco, really. I know that’s what Nuovo Testamento is going for with the name and all. But when I listen to this record, I just think about 80s NRG and freestyle synth-pop like Stacey Q and Samantha Fox. Maybe I don’t know what I’m talking about. What I do know is that I’ll throw this record on when I’m in my kitchen and shake my tail feather while I’m cooking dinner. It rules.
   
   
9. Tiikeri: Punk Rock Pamaus!!! 12” – Funny how a record with cartoon tigers and anarchy A’s inside of hearts made such an impact this year. The Finnish songsmiths were at it again this year with their first full-length. Maybe I live in a bubble, but a lot of people were super into this record this year, right? I’ll use the word I’ve used many times when I’ve described Tiikeri: INFECTIOUS. That’s the thing, it’s hard not to like it. When they make the cute battle cry of, “Okay, let’s punk!” You’re like, yeah I’m down. Saccharinely sweet poppy punk tunes about how “punk is love” and all that kinda stuff. A welcome positive distraction from the awful things happening in this world. Authentic late 70s Finnish KBD or Green Day? I’ll let you decide.
   
   
10. The Massacred: Post-Mortem 7” – Wow, the only 7” on my list this year. I had to pick at least one. Funny enough, Public Acid played New Year’s Eve of 2022 in Toronto. Then, our next show on that trip on January 1st, 2023 was in Boston and it was the record release for The Massacred’s first 7”. So technically, this record just barely made it in time to qualify as a 2023 release. What a great way to kick off the year. This band rips. An almost militaristically tight approach to hardcore punk. The Massacred definitely have some UK82 influence going on with big, chanted sloganeering style vocals. But then, a friend mentioned to me that the riffing reminds him of Headcleaners. Now I can’t unhear it. Soooo, like a tough as nails, stompy version of Headcleaners? Sign me up. Awesome packaging on this record too. I remember Usman and I gushing over the hand-stamped dust sleeves.

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

-Golpe: Assuefazione Quotidiana 7" – I almost feel guilty not including this 7” in my top 10! I love me some Golpe. Them sweet Italian boys. Part of the Sorry State family, this new 7” offering on Beach Impediment has some the band’s heaviest, stompiest songs yet.

-Yellowcake: Can You See The Future? 7” – This band came onto my radar this year out of nowhere. I think they’re making a big impression in general. Not For The Weak did a great job with this 7”, but I think seeing this band live is really what did it for me. So powerful. The drummer is insane.

-Bloodstains: Anti-Social 7” – Orange County, baby. I love that this band is bringing back that melodic side of early 80s California punk. The sleeves on these 7”s look great too. Thanks again for hooking me up with a copy, Cesar. Gimme more Agnew, people!

-Fairytale: Shooting Star 12” – Another record that probably should’ve made my Top 10. This LP is just insane. For bands doing the “d-beat” style or whatever, I always thought Fairytale were a unique, kinda spaced out, psychedelic take on the sound. Lulu’s vocals on that track “Possible to Grow,” so killer.

-Nukies: Can’t You Tell That This Is Hell 12” – Another ripper that I digested in tape format first. Nukies from Sweden play super riffy, almost rocked out hardcore that’s often stompier and groovier than it is ripping mangel style. Great stuff.

-Factory City Children: S/T 7” – Mateo from Warthog transforms into a demon and wreaks havoc on the streets of NY. Nasty, raw, blown out but catchy punk tunes recorded over a drum machine.

-People’s Temple: I’m With The... 7” – When a dude from Orange County infiltrates NY and brings that catchy style of hardcore from one coast to the other. There’s things I liked and kinda didn’t care for with this record, but the first track “Think For Me” really stands out.

-Destruct: Cries the Mocking Mother Nature 12” – Had to mention my Richmond homies. Seriously one of the deadliestly (is that word?) tight bands playing Japanese-inspired hardcore at the moment. Those tom rolls, dude. Makes the kids go nuts.

-Hez: Panamaniacs 12” – Even though I know we had stocked previous records by this band a few years back, John Scott actually turned me onto this record. Totally raging hardcore from Panama. Kinda raw but also atmospheric like Destino Final or bands of that style.

-Class: If You’ve Got Nothing 12” – Another band that, for me, appeared out of nowhere and all the sudden was super prolific with their releases. I never really checked them out until much later in the year. I heard such positive endorsements from people around me. I finally gave Class a shot and now I totally get it. I feel like the term “power pop” gets a bad rap. Class just writes great, jangly vintage sounding punk tunes. I really love the track “Behind The Ball” on this new LP.

-Chueko: Tools of Oppression 7” – I think I just talked about this 7” in the last newsletter, but it’s continued to grow on me. Great hardcore punk from Portland by members of Suck Lords, Alienator, etc.

-Secretors: Comparing Missile Size Vol.1 7” – Another release from later in the year. I feel like this EP is just a barrage of intense, heavy hardcore that definitely has a couple nods to Japanese punk classics. Great riffs on this record.

-Laughing Corpse: Demented Thoughts Posed As Dark Comedy cassette – New band out of DC. I think this tape is really cool. My homie Connor killing it on drums, as always. Funny enough, I detect a bit of COC and Double Negative influence in the songwriting. Totally Raleigh-biased over here, and of course I’m so here for it.

Certainly, there are several other records released in 2023 that I could talk about. But I tried to narrow it down to a few choice favorites, and I still feel like I wrote too much. I didn’t even mention REISSUES! That’d be a whole other verbose series of ramblings.

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

1. Sirkka gig weekend – I just remember this weekend being really fun. It was toward the end of April. Public Acid played in Norfolk on a Friday. Then on Saturday, Usman and I spent the whole day Saturday in Richmond. I remember hanging with a big group of friends, we got breakfast, went to a skatepark by the river, got margaritas, and it was just nice having the crew together. Then on Sunday, both Public Acid and Scarecrow played with Sirkka. Sirkka ripped so hard. That was a great gig. It was great seeing Sanja again after Scarecrow had met her in Germany on our European tour back in summer 2022.

2. Public Acid Thrasher gig – People who regularly read the newsletter might be aware that skateboarding was super important to me when I was younger. It was super cool to get invited by Thrasher Magazine to go to Minneapolis, watch some skateboarding, and then rip a gig with Electric Chair at the afterparty. A no brainer. We were hosted by Will from Desolate and it was awesome. I got to meet Tony Trujilo, one of my favorite skaters. We hung with the Electric Chair dudes and, you know, went and rode a giant wooden mechanical wiener at a sex shop. The usual stuff. Then after the gig, all of us in Public Acid and Electric Chair went to a swimming spot by a lakeshore at night with some Minneapolis locals.

3. Shomo Fest 2023 – I know the fest is called Something To Talk About. I call it Shomo Fest affectionately. Jim put together one hell of a fest. If it wasn’t already killer in 2022, he really upped the whole shebang this past year. It was my first time playing the First Unitarian Church in Philly, which has been doing punk and hardcore shows for a loooong time. And seeing Vaaska and Warthog was killer. The Saturday shows at Foto Club were a blast, too. The Wanted, Invertebrates and Mutant Strain killed.

4. Meat House Tour – Even though this run of dates we did was short, this was easily one of the funnest tours I’ve ever been on. Meat House went out and played some Midwest gigs with Mutant Strain, and it was great. Even more than I remember the gigs, I remember just laughing and hanging out. Rolling up to a White Castle, making Shrek Juice™ out of bright green soda and tequila and actin’ a fool for hours. I’ll never forget those cool local dudes we met at the liquor store who asked if we were on Spotify and then wanted to take a group picture with us, and then the one dude preceded to pull out his gun to pose with for the photo.

5. Scarecrow / Vidro Tour – The Swedes invaded! Vidro are the coolest. So stoked we got to tour together. Scarecrow and Vidro did 10 days in a van together up the east coast and dipped our toes into the Midwest a bit too. There were many highlights. Staying with Andy and Elise in Worcester ruled, where their house had horror movie ephemera in every corner and Andy showed us his many wares and special herbs grown on the property. Loved getting to hang with Trevor in Cleveland and I also got a sick tattoo from Lia. Also in Cleveland, we went to check out the Great Lake and there was trash and dead rats on the beach. Awesome. The Richmond show was great; it was fun hanging at Chubb’s after the gig and jamming Ramones records. Our last night in DC, we involuntarily spent 2 hours in a tiki bar and then went and danced at a goth club. I can’t wait to see Vendela, Lucas, Staffan, and Melody again soon. Perhaps back on their home turf sometime ;)

6. Hangin’ with Tozcos in a graveyard on my birthday – This was yet another Thrasher magazine event where they recruited punk bands to play. This time, it was Scarecrow that played, and it happened right in our backyard in Charlotte. We got to the skate park too late to see the skating, which I was bummed about. But the gig we played later was with Tozcos! The gig was on August 19th, so it was my birthday right when the clock struck midnight. We all got cases of beer and celebrated in the graveyard TSOL style – Well, actually NO, not like that.

7. Sorry State Anniversary weekend – This should be number 1 on the list. The coolest thing that’s happened in Raleigh in all the years I’ve lived here. 2 days of pure punk bliss, thanks to our Lord Commander Daniel. A lot of planning and work went into organizing our 10-Year Anniversary, and I’m so happy it went well. Thanks again to all the bands who came and played and all the people who helped out. I’ll never forget it.

8. Tampa – Generally speaking, I’ve never been the biggest fan of visiting Florida. But prior to actually arriving, Mike from Warthog/Heaven’s Gate picking me up at the airport and driving me into Ybor, I didn’t realize I’d never been to Tampa. I must admit, I had a pretty awesome time. Seeing mofos roll cigars fast as fuck in the windows of local shops and seeing wild chickens roaming around, it was a cool vibe. The gig Public Acid played was cool obviously, but moments like drinking Aperol Spritz at fancy hotel pool with palm trees while Chubb wore a cowboy hat—that and going to this huge, famous S&M goth club were the best moments in my mind.

9. Screaming Death – Me and Usman’s label, Bunker Punks Discs & Tapes, released a record I’m really proud of this year. It was a project that was in the works for a couple years: a 4-way split featuring our band Scarecrow, Destruct, Rat Cage, and Dissekerad. The final product came out amazing, and we’re really stoked on the positive response we’ve gotten from the release. Thanks everybody!

10. This year in record collecting – So last but not least, I managed to score some records this year. Pretty much all the records worth mentioning are of the miniature variety. Not so many full-size platters, but I crossed off some of my major bite-size wants. I always convince myself I didn’t go too too crazy. Whoops! The SOA was a huge one for me, of course. I’m also so stoked I was able to lock down an original Zmiv 7”. I didn’t know if I’d ever see one. The Damned Stretcher Case was a record that eluded me for years too; I guess they were given away at gigs in the late 70s? Wild. Thankful that Colin from Sit & Spin in Philly brought that down with him while being a vendor at the Sorry State anniversary. Hell yeah.

There are several more things I could drag on about, like the Krigshoder/Indre Krig gig in Richmond, the Halloween show where I dressed as Captain Sensible and barely anyone got it, the under the bridge show with Nosferatu, Subdued, and Tower 7, seeing Appendix… the list goes on and on. I think I’m gonna try to wrap it up here.

2023 definitely had plenty to keep me busy. Seems like 2024 is already shaping up to be just as, if not MORE, busy than last year. Thanks to all you readers who have supported us here at Sorry State. Here’s hoping 2024 ends up being a good one.

‘Til next week,

-Jeff

I’m in a bit of a pickle regarding my Best of 2023 list this year. Maximum Rocknroll asked me to contribute a list for their year-end roundup, but they haven’t published it yet and I don’t want to steal MRR’s thunder by publishing my piece here first. In MRR this list will be fleshed out with brief explanations of what I liked about each record, so hopefully they won’t mind me publishing the bare-bones list here. Here it is:

TIIKERI: Punk Rock Pamaus!!! LP (Open Up and Bleed / Vox Populi)
PUFFER: EP 7” (Roachleg)
PERSONAL DAMAGE: Atrophy & Entropy LP (Test Subject)
FAIRYTALE: Shooting Star LP (Toxic State / Quality Control HQ)
DIE LETZTEN ECKEN: Talisman LP (Static Age)
FLOWER: Hardly a Dream LP (Profane Existence)
WHY BOTHER?: A City of Unsolved Miseries LP (Feel It)
SALVAJE PUNK: Salvaje Punk LP (Toxic State)
ELECTRIC CHAIR: Act of Aggression LP (Iron Lung)
THE COOL GREENHOUSE: Sod’s Toastie LP (Melodic)

Like I said, Maximum Rocknroll will publish the full piece on their website in the coming weeks, and I’ll note in the newsletter and on Sorry State’s socials when it’s available to read. Since I’m not writing about the actual records here, I thought I’d reflect on my list and tell you a bit about how I came up with it.

I think 2022 was the year I used playlists to keep track of the new music I listen to. Currently, my Apple Music library has 5,043 albums, and before I started using playlists, I would listen to a new release for a few weeks at most until it got bumped from the “Recently Added” section and disappeared into my unwieldy library. Now I maintain a playlist called “current stuff,” and every Monday I look at what new releases have come in at Sorry State and add the ones I want to check out to the playlist. When I’m working in my office at Sorry State’s warehouse or driving around doing errands, I usually have this playlist playing on album shuffle mode. Sometimes it’s just playing in the background and I’m not really paying attention, but I hear this playlist so often that I begin to get a feel for which releases interest me.

Another part of my Monday playlist maintenance routine is deciding which releases I want to write about for the newsletter. I usually choose seven releases, six of which will appear in the Featured Releases section and one of which I’ll name Record of the Week. I then give each of these seven releases a few closer listens at home on my nicer stereo, giving them my full attention and taking notes I’ll use to compose the descriptions for the newsletter. Once I’ve written all seven descriptions, I decide which one will be Record of the Week. Sometimes I have a good idea of which one will be ROTW before I start, but other times I’m surprised when closer listening causes a new favorite to emerge.

The last part of my Monday playlist maintenance routine is pruning the “current stuff” playlist. After I’ve written about the record for the newsletter, if I really liked it, I’ll add it to another playlist called “Best of 2023 releases.” I put this playlist on album shuffle when I need the good shit… usually when I have to do a long drive or power through a task at work that I don’t really want to do. If a release doesn’t make it onto the “Best of 2023” list, it disappears into the library. I listen to my entire library on album shuffle a lot, but with so many albums, no release comes up very often. Every once in a while (but not very often), I’ll dislike a release so much that I’ll delete it from my library so I never have to hear it again.

When it was time to compile my Best of 2023 list, the first thing I did was look at that “Best of 2023 releases” playlist. Next, I looked back at the Record of the Week archive on the Sorry State website to see which records I named ROTW throughout the year. Finally, I look at all the physical releases I bought throughout the year. This last step is not as helpful as I’d like, since the new releases are all mixed up with the reissues and used records I’ve bought, and I have already filed away some. But this stage always adds a few items where I played the hell out of the physical version, but either I didn’t have a digital version or the digital didn’t get as much attention.

In the past, I’ve always compiled a “short list” of several dozen releases that I then shuffle around, hemming and hawing about whether each one should go in the top 10 or appear as an honorable mention. This year, though, I didn’t compile a short list at all. After reviewing all that data, I sat down and spit out a list off the top of my head. When I looked at it, it was exactly 10 releases and I felt good about it, and that’s exactly the list that appears above. No revisions, no second guessing (well, until I wrote all this reflection / explanation I guess). In the past, I’ve agonized over lists like these to where they felt inauthentic, like I got too much in my head about which releases “should” be on the list and ended up with something that didn’t reflect what I actually liked and what spoke to me. Looking at this year’s list, though, they are definitely 10 records I really loved.

That being said, there are a ton of excellent records that aren’t on the list. I listened to the Destruct, Rat Cage, Physique, Kinetic Orbital Strike, and Avksum records a ton and I thought all of them were great, but I wanted my list to reflect the diversity of my tastes. The Deletär album would have been on the list, but once we agreed to do a US pressing on Sorry State, that disqualified it from consideration. (I never put releases I helped put out or played on on these lists… it’s hard to be objective about them, though l love all of them as much or more than the releases that appear on the list.) I really loved the Mandy, Indiana and Mary Jane Dunphe albums, but I wasn’t sure if they met Maximum Rocknroll’s criteria for inclusion, so I didn’t put them on the list. A few other releases arrived too late for consideration. I think the Tozcos LP came out right around the time I had to submit my list to MRR, and it has completely dominated my listening since then. If I composed my list today, Infernal would, without a doubt, be on it.

One thing I really like about my list, though, is that each release I highlighted has something that elevates it above the level of simply being a good punk or hardcore record. For me, these year-end lists are about more than simply ranking the “best” records, whatever the fuck that even means. It’s about identifying the records that speak to our moment, that emerge from their context in some kind of interesting way. I’m sure the Tiikeri record would sound great in any context, but there’s something about the way it melted the hearts of so many hardcore maniacs this year (myself included) that makes me love it even more. Similarly, the Flower and Why Bother? records probably got fewer listens than some releases that didn’t make it onto my list, but the fact that I wasn’t expecting to like them as much as I did made them feel more significant.

So yeah, that’s the thought process behind my list. Now enjoy the rest of the SSR staff’s lists, which are hopefully formatted in a more straightforward and traditional way than mine…

Oh, and after all that stupid process, I still totally forgot about the Bloody Flag tape, which 100% would have been on my list. God damn it!