News

Usman's Staff Pick: January 27, 2025

Hi and thanks for reading. It’s funny I am starting off the year by writing about two tapes back-to-back cos I usually am not a fan of tapes for a number of reasons, but of course there are exceptions. If tapes were all still just $5 or less, I would probably still buy the hell out of them, but that’s not the standard anymore. There are times I write about a record that I enjoy but don’t buy a copy in the end cos I am pretty selective about records I buy these days as well. I am even more selective about cassettes, but I would not write about a tape that I haven’t bought myself as well. Anyways, if you’re someone like me who is a RAT CAGE fan and never seen them live (and probably never will), this tape is perfect. It’s not a sound board quality recording, but it certainly captures their raw intensity I always hear about from those who have seen them live.

RAT CAGE’s sound has evolved quite a bit over the years, but they’ve always had a pummeling sound. I’ve definitely heard more melodies or unexpected bits recently, but it’s always delivered with such intensity and speed. “Spitting on the ceiling” is a perfect example of some shit that came way outta left field or whatever for me, haha. That record is kinda all over the place, but fuck it rips. Some songs are so fast but played so damn tight, it’s insane. I kinda forgot that Sorry State had an exclusive color of that one. I am all for changing shit up a bit, especially when you can really pump out releases like RAT CAGE can. I feel like people already know, but it’s Bry playing everything on the recordings, and then live he sings with some mates playing the instruments. Regardless of his song-writing approach changing subtly, it’s always fucking ripping. This live cassette is a testament to that. They sound so intense it’s nuts, haha. Bry’s vocals rule, too.

A big reason why I hate tapes is cos they are too short. Typically, the program repeats on both sides as well. So much material can fit on one tape, but I also understand that demos are typically short and released exclusively on tape. The ABERRATE demo I wrote about last week, (which is now in stock!) featured their demo on side A, and a live recording on side B. I loved that. I feel like they made better use of the tape by adding an alternate B side, and I will never see them live, so I really appreciated that. Anyways, this RAT CAGE tape isn’t short by any means. It’s nearly 30 minutes total. It doesn’t seem like they cut anything out from the live set, so you can really pretend you are there, haha. Don’t worry about weird or boring gaps between songs though, these guys are like seasoned veterans; if they stop between songs, it’s not for very long. We also get Bry’s stage banter as well. I guess it’s not so much banter, as he talks mostly of politics on stage. He does say “fuck” a lot though, so it’s not weird pretentious or preachy politics, if you know what I mean, haha. I know the longer the tape, the more expensive. But they kept the price fairly low on these regardless, especially with import shipping costs etc. DIY to the core. OK, I think the sums it up for this week. Cheers and thanks for reading, and thanks to everyone for your support.

 

Usman's Staff Pick: January 21, 2025

Hello and thanks for reading. SCARECROW played a benefit the other night in Richmond. I was really happy to do something like that and spend quality time with some friends. I got some really sad news last week when a friend passed away. A few days later, my BFF from back home called me to let me know the drummer of our old band had just passed away as well. Death is hard for me to accept. I understand that every living thing on this planet must die. It is something we all have in common. But still, I fear death. Like most, it brings me great pain when someone dies who I know and love. Even with strangers, it always makes me really sad to hear about someone passing away. I guess this is why people probably look to higher powers for acceptance and understanding. It is times like this when I am reminded life is shorter than I expect. Too short to waste. Too short to spend dwelling in negativity or hating on other people’s shit. Too short to let days float by without slowing down to admire all the beautiful things, no matter how small they seem. Too short to not constantly show those around us how much we love and appreciate them.

When we were in Richmond, we met up with Patrick from DESTRUCT and picked up his latest release on Acute Noise Manufacture, ABERRATE. I imagine this tape is probably not on most people’s radar, unless you know Patrick or you’re one of those nerds who pays close attention to the Japanese scene. You can’t hear it online as far as I know, and this is the band’s debut. ABERRATE is from Tokyo, and I think it’s awesome that Patrick made this tape available outside of Japan with a US version. ABERRATE consists of guys who were in FRIGORA, ABRAHAM CROSS, and LIFE. For anyone that knows those bands at all, that’s probably all they need to hear, haha. That was the case for me at least. If you don’t know those bands and love the 90s/early 2000s Japanese crust style, ABERRATE hits the spot. When I say crust, I mean the crasher side of things of course. ABERRATE delivers a classic, unrelenting pummeling sound with wall-to-wall noisy guitar. I feel like demo tapes are generally pretty bare bones, but I was really happy this tape included a rather large double-sided insert, and it’s not just a tape with a few songs on each side. The A side features the complete demo, but rather than having the program repeat on the flipside, they gave us a taste of their live performance instead. ABERRATE’s lyrics cover topics like war and capitalism, but there are also lyrics that focus on self-reflection. I always appreciate coming across messages like this, and it’s something I have always loved about ABRAHAM CROSS. This is the second release on Acute Noise Manufacture, and I know their third release is in the works. I guess I shouldn’t say much about it, but I know it’s a proper record this time and I think people are gunna be super stoked about it. I hope the label can stay more active, as their first release was back in 2022 and it’s great to see a new/small label releasing cool stuff. Alright, I guess that’s it for the week. Thanks for your support.

 

Usman's Staff Pick: January 13, 2025

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

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

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

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

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

 

Usman's Best of 2024

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

Usman's Staff Pick: December 16, 2024

Hi and thanks for reading. It’s been a minute since we’ve had a newsletter, and we’ve had a ton of killer records come in and out of stock since. There are a number of records in stock currently that I’d like to write about, but I am going to keep this short and focus on this NUKIES 12”. I have been pretty sick the last week or so, and as a result I have not been listening to much of anything. My head is so congested I legit can’t hear properly. When I finally get my ears to pop, I’m like oh my god that’s what this is supposed to sound like… but unfortunately the relief is only for a few minutes and then my heads is back to the clouds.

I wrote about NUKIES previously when their debut came out. The songwriting is right up my alley, so when I saw they had a new record coming out I got mad excited. NUKIES take obvious influence from TOTALITÄR, but they also remind me of modern classics like HERÄTYS. It’s no easy task trying to emulate that sound, but NUKIES deliver it with authenticity. The songs on this record range from a faster tempo (but not like blazing fast, cos you gotta leave room for the killer riffs to breathe) to the more pulled-back, super in-the-pocket tempo that brings head banging to the max. Luckily, I think I counted only one breakdown on the entire record, hehe, so it really is up my alley. I really love how the A side ends with a full-on dirge. I feel like I never hear that on modern records, and they really pulled it off. On the B side they bust out this pogo one, “Paralysis,” and it really compliments their sound. Bouncing back and forth between pogo and d-beat can be a bit cheesy if you ask me, but again, NUKIES pull that shit off. The record was recorded by Kenko at Communichaos and it sounds killer. If you haven’t heard these guys yet, check ‘em out! I was going to suggest their first 12” as well, but it appears we’ve sold out as of last week. I did see that we have copies of this absolute Danish classic from KALASHNIKOV in stock! I’m sure we highlighted the hell outta this record when it was initially reissued a few years ago, but if you aren’t familiar, this record is essential to every collection as far as I’m concerned. Check it out! Anyway, that sums it up for me this week. We don’t have many copies of Paralysis of Fear from NUKIES, so don’t sleep! I hope everyone is taking care out there. Cheers and thanks for your support!

 

Usman's Staff Pick: November 18, 2024

Hello and thanks for reading. At last, we have our copies of the brand-new DESTRUCT / LIFE split 12” on Desolate! Japan’s LIFE has been a band since the 90s and they have released stuff pretty consistently since. I find it super impressive that DESTRUCT did a split with them. DESTRUCT’s tracks are just getting more and more intense with each release if you ask me. While I find it impressive they have a split with LIFE, it is not shocking by any means. DESTRUCT is such a powerhouse, and has continued to turn heads for the last five years. They also seem like a super busy band, with releases following closely one after another. I just saw Noise Room shared a teaser of some new stuff that is being mastered there as well! So sick. OK, I have no time at all unfortunately, so this is it for today. Don’t sleep on this record. If you don’t like splits, wake up. Cheers and thanks to everyone for your support!

 

Usman's Staff Pick: November 4, 2024

Hello and thanks for reading. I have not been home very much since the last newsletter, which also means I have not been playing many records at all. I do listen to music at work a lot, but it’s usually digital. I can’t even tell you what I was jamming this last week though. My brain is feeling pretty foggy. I unexpectedly woke up today feeling like shit, so I did not come into work. I was going to bail on the newsletter, but on second thought I decided to write about one of the records that was featured in this week’s Hardcore Knockouts. It’s kind of funny to me how bad DESTRUCKTIONS beat VARAUS. I think that DESTRUCKTIONS are really good, but I think that VARAUS’s songs are more memorable to me. Maybe DESTRUCKTIONS is more popular because they were active after the 80s? They’ve also had more reissues. There’s no particular reason why I paired them together for the match, except that I recently got the VARAUS record and was looking for another Finnish 12” to put them against. I’ve had the DESTRUCKTIONS LP for a long time and it really was not that hard to find when compared to other Finnish records. VARAUS seems to be extremely rare. I’ve only ever seen one in person, and that was literally in Finland when we went on tour earlier this year. It’s ironic this record is so rare because I too commonly hear the story of someone finding their copy for something like $15 or even $2, but of course this is a very long time ago, before the internet started dictated the going rate for records. Regardless, it’s crazy to think about something so rare going for so cheap.

I should’ve taken the time to do some proper nerding before writing, but I didn’t plan for this staff pick. I think the first pressing of the 12” had 200 copies and the repress in this poster sleeve had 150. I’m really not sure, but Finnish punk/hardcore bands often pressed stuff in small quantities back in the 80s. I think their 7” had 300 copies pressed. Anyway, I think I’m just explaining how rare it is in my head, since it was the most expensive record I have ever bought! Haha. TAMPERE SS would probably be around the same I paid on this one, but that was a not-so-straightforward deal with cash and trade. If I can remember right, Anarkist Attack was the most expensive record I ever bought for a really long time. I remember when the most I’d spend on a record was $50. That amount went up to around $100 fairly quickly, and I feel like it hovered there for years. It’s hard to remember, but I think the SVART FRAMTID or maybe BANNLYST 7” was the first record I ever spent more than $100 on. After that, it was all downhill. Or uphill? Haha.

I am no longer in denial of being a collector, but I like to think that I’m not as pretentious or snobby as many of those I encounter on the internet. I always pick up a good reissue, mail order from labels I wanna support, and of course I buy records from bands at gigs. The one thing about an 80s pressing of a record, though, is that like nine times out of ten it is gonna sound so damn good. I know this isn’t always the case, especially when the recording wasn’t the greatest. The interesting thing about tons of Finnish hardcore records is that they were recorded with professional engineers. If you didn’t know, tons of bands would be working with engineers who hated them and who obviously hated their music. Typically, bands could afford just enough time to record one take of each song. Regardless of the conflicts these bands would encounter during record sessions, the results were phenomenal. I remember reading about the original VARAUS 12” online, and how bad the sound was. Not that the band was recorded poorly necessarily, but that tape they used was shit or something. In the Svart reissue of the 000 7”, they explained a similar situation they had when they recorded. The engineer didn’t give a shit about them and recorded them on a heavily used tape. The volume is kinda all over the place, and even falls out at times on the original pressing of that record.

The VARAUS 12” material was reissued on a discography CD in the 90s and later on LP in the 2000s. I’m pretty sure the vinyl version was just made from the CD master, since it’s the same track list. The unfortunate thing about the reissues is that they are missing three songs from the original 12”. I had read that when they were mastering the audio for the reissue, they decided these tracks were no longer usable. Obviously, it couldn’t be that bad since the reissue sounds really good and I have heard the rip on YouTube, but I was really curious what to expect when it came to the real deal. It felt pretty crazy to open up the parcel. I actually felt pretty crazy for days after, knowing this record was now tucked away in my shelves. I don’t think that feeling has disappeared either, really. It was packed like mad, which I really appreciated of course. The dude said it was NM, and NM it was indeed. I laid the needle down and the speakers were overwhelmed with that fuzzy VARAUS guitar tone.

When it came to the sound stuff I read about, it was apparent once I was able to play the original. The recording is good, and the pressing sounds nice. It’s not like the 000 7”. It’s not apparent immediately, but on a few songs you can actually hear another band in the background! I think I heard harmonica? Not really sure, but there’s something going on there, haha. I can hear some Finnish folk-type singing here and there too. This stuff doesn’t just happen between songs, but even between some quiet parts. I’m probably making it sound a lot worse than it really is, cos the record does sound really good and you gotta be paying attention to catch this stuff, but it is certainly there. It’s silly to think about some Finnish folk stuff being recorded on this tape before some raw hardcore shit like VARAUS. It also makes me wonder what the sound source for the reissue was, cos maybe they didn’t even have the original tape anymore? I’m gunna have to get back on that one. Alright that’s it for the week. Thanks for reading. And thanks A TON to all of those who bought records off me last month so I could pay off this sucker!!

 

Usman's Staff Pick: October 28, 2024

Hello and thanks for reading,

I haven’t been spending much time listening to records the last two weeks, unfortunately. I haven’t been home much, and at work I’ve mostly been listening to MISFITS in preparation for a Halloween cover show, and INDIGESTI. For some reason I can’t stop listening to INDIGESTI. I have picked up a handful of records here and there over the last few weeks. When I saw DESTRUCT up in Richmond a few weeks ago, I was very excited to grab their new 12” split with LIFE. Sorry State does not have our copies yet, but hopefully this time next week you will be reading me rave about it, haha. If you missed this one, you can check it out here and get excited for us to get copies in stock. I was wondering what I would write about this week, since I haven’t been playing much stuff at home. I realized this morning I was overlooking a record that I have been jamming the last few months that I can finally write about. And that is ZORN’s brand new 12” on Sorry State, Endless Funeral. No joke, my housemate just walked by room and said damn man you’ve been playing this shit a lot lately…haha.

While Sorry State has many parts of the operation that all of us significantly contribute to, Daniel is the one who decides what’s released on the label. It is his label in the end, of course. There is some stuff we release that I don’t like at all, and then there is some stuff that I think is absolutely killer. This new ZORN is some of that killer shit. I do kinda have a soft spot for these goofy maniacs, since we’ve known each other since like 2017 I think. I feel like I have seen them more times than I can count. If I remember right, SCARECROW’s first outta town show was with ZORN and DARK THOUGHTS in Philly. I remember our demo tape was not even out yet, haha. I feel like ZORN has come really far since their earlier stuff, and live… holy shit. They are so powerful and tight, with just a touch of violence, haha. Anyone that knows me, knows that I am not a fan of metal. While ZORN leans so far into metal, it might be more metal than punk; their roots in hardcore are still present and bring driving force to their songs. They are a bit gimmick-y with the make-up, chains, and coffin; but don’t let that mislead you into thinking the band relies on gimmicks. They write excellent, dynamic songs. I’m not really sure what their influences are. I feel like music is the last thing we ever talk about when hanging out, haha. Surely the vocalist Eric loves MERCYFUL FATE, though, and I know he is a major songwriter in the band. The B side begins with a song entitled Endless Funeral, and it’s my favorite song on the record. The guitar is just so crazy, and it’s even more crazy they incorporate it into hardcore. It took me a minute to figure out what it reminded me of. Maybe I’m nuts, but it sounds like some shit you’d hear on a castle level on Super Mario. I love it.

They just kicked off their Euro tour today. If you live in Europe check out their tour flyer. If you live anywhere close to the cities they are playing, be sure to make the effort to see them cos you will not be disappointed. If you missed it, their debut 12” is now back in print! They will have copies of both 12”s on tour. Alright I think that’s all for this week. Thanks for reading, and thanks for your support.

Usman's Staff Pick: October 14, 2024

Hello and thanks for reading.

Today I am writing about two records. I have been waiting for us to get the new SVAVELDIOXID for a minute, and YELLOWCAKE totally caught me by surprise last week. The homies at Not For The Weak delivered this ripper, alongside Total Peace. I think this record is insane. I am super selective these days about what 7"s I actually buy. Even records I enjoy I may not buy cos I know I probably will never play the actual 7". Usually it’s cos they are kind of short, and obviously cos 7"s aren’t cheap as fuck anymore. When I heard this YELLOWCAKE record, it was a no-brainer for me, though. Funny enough, the last 7" I bought as also a NFTW release. YELLOWCAKE has been on my radar since they played here a few years ago. They took me by surprise back then, and they have just delivered an amazing follow-up to their debut. It’s not that they are playing anything super original or special, but the execution is just nuts. Live they had such speed and power, and they deliver just that on this EP. The first EP was great, but the sound is a bit less developed compared to the new one. It seems like they really found their sound on this one. I don’t make this comparison like ever, but they really remind me of FRAMTID with their fierce, pummeling intensity. They also do some things I would not expect. I appreciate that they don’t box in their songwriting style, but make it all fit together just right. If you missed this one, check it out!

Sweden’s SVAVELDIOXID is back with another record! I guess the last one came out about this time last year? I think there was a holdup with the artwork on this one, which delayed them, cos they recorded it in March. It still feels like they are a busy band, and I find myself enjoying each record even more than the last. They re-visited Sunlight Studios for this one, with Tomas Skogsberg on recording and mixing duties. This record sounds even more death metal than the last. Surprise, haha. I love this touch, though. While they sound pretty damn heavy, it still reminds me of traditional hardcore punk like BOMBANFALL. I might be crazy, but I feel like they are getting faster with time as well. The drummer plays so locked in… his perfect groove really hits the spot. I think the artwork on this one is great, too. I feel like I see them less these days, but I think it’s funny they chose 10" format. Ironically, I just mentioned last week when I wrote about a different one; I am pretty sure all 10"s are just 12"s cut down these days. I’m more than happy to add another to my collection, though. Check this one out if you missed it. I think we were low on stock already, but hopefully we can restock if it’s sold out by the time you’re reading. Alright, I guess it’s a short one this week cos that’s all I’ve got. Cheers and thanks for reading.

Usman's Staff Pick: October 7, 2024

Hello and thanks for reading.

I have not found myself in the mood for writing the last week, so I apologize for the state of my staff pick. It feels like it’s been a minute since we’ve had a consistent newsletter, but there’s a bunch of great records in stock and I wanted to mention a few. I also need to go back and talk about a previous staff pick cos I learned some integral information since then. But more importantly, I need to talk about hurricane Helene first. I think most readers know about this hurricane and the devastation it has caused in the southeastern United States. I’ve had some friends from overseas hit me up cos they hear North Carolina, but we are lucky enough to have been a few hours north of the floods. I don’t want to get into how the US can afford to send billions to Israel to fund a full-on ethnic cleansing, but can’t afford adequate relief efforts to these communities that are suffering complete and total loss right now. I wanted to drop this link to our friends at RUMAH. If you are able to send some funds to help with supplies and essential items, you can find a number of trustworthy places via that link. If you live in the triangle, it’s also got information on how you can help by volunteering. If you’re in Raleigh, be sure to come out to the Halloween cover show! All the money from the door will be used in relief efforts. There is also a benefit on the 14th at Kings and Neptunes. I’m sure there will be more benefits to follow. Let’s stand together and look out for each other. The systems in place fail us, but we are not powerless without them. They need us; we don’t need them.

Last week we traveled north to bear witness to the mighty MOB 47. These guys are old. I guess Christoffer, the bassist, ain’t quite as old since he is a newer member. I think Åke said he was 62, shit. I’m not tryna talk shit by talking about their age, but give praise that they are still full-on rocking at this point in their lives. So sick. Naturally, I am a huge fan of MOB 47. I was very excited to see them. But of course, I wondered how well they would actually perform at this age. I didn’t wanna get my hopes up, but man, they were so damn good. I really didn’t expect it. After the gig we hung late at Patrick’s house, where I proceeded to grill the fuck out of Åke about MOB 47 and of course, DISCARD. I don’t want to spend too much time writing about it, but I asked Åke about the two different DISCARD sessions and where the songs were used. And most importantly, I asked him about DISCARD’s logo that rips off DISCHARGE. I was talking to him and said I knew about the art in Really Fast Vol 3, but said from my understanding they didn’t have a DISCHARGE rip-off logo until the 1990 7”. Åke corrected me and explained how they did it—in the ‘80s. I wanted to explain this cos I was so wrong when I previously wrote about DISCARD. It’s probably cheesy and unimportant to most, but it’s super significant they had done something like this so early on. Thinking back now, I wish I had asked him and Chrille even more questions, haha.

There are some reissues we have in stock I wanted to mention, cos I consider them essential. SWANKYS Very Best Of Hero has just been released by General Speech in the USA! I don’t think this band needs an introduction, and this record has been dying for a reissue for decades now. General Speech has added an additional insert that includes the history of SWANKYS. While it is brief, it is awesome to read. I didn’t quite understand the history of GAI and SWANKYS, so I really appreciated it. If you didn’t know, SWANKYS and GAI were the same band, just under different names at different times. They were initially forced to change their name to GAI, as SWANKYS had been banned at clubs due to extreme performances. General Speech did an absolutely amazing job on the reissue, down to the actual sound of the record. The packaging is almost identical to the original. It’s super nice and slick—in a good way. There are just some subtle, and tasteful, changes to denote it is a reissue. I know General Speech has more reissues lined up after this and I really can’t wait. I think this record is essential for every collection, so grab one if you have not!

I also wanted to mention this reissue I have been playing the hell out of, We Can’t Help It If We’re From Florida. The artwork and title of this compilation is hilariously awesome. Especially cos the bands fucking rip. To me, this is a whole new world. I’ve heard of two of the bands before, but never heard any of these songs. It’s funny to me they chose 10" format for this reissue. I know the original was a 7", but this one has bonus tracks so obviously it could not fit on the original format. From my understanding, these days all 10"s are just 12"s cut down to size. 12"s sell better than 7"s, and I think 10"s sell the worst. To me, I don’t care about the size, as long as it’s good. Again, this record is all new to me. I think all the bands are super cool. Maybe MORBID OPERA is one I wouldn’t jam so much, haha. I know I heard ROACH MOTEL before cos we had some 7"s come through the shop, but hearing em again on this compilation really made em stick out to me. HATED YOUTH obviously rip so fucking hard, shit. I had no idea. I’ve seen the name around forever, but my ignorant ass never checked them out. Now I need to find one of those 7"s previously released on Burrito Records. I think these compilation tracks are a different session from what was released on that 7"? I actually picked one of these 10"s up from my buddy Chris a few weeks ago cos I wasn’t sure if we’d get distro copies. He told me to check it out, and I instantly grabbed one, haha. If you don’t know shit like me, check this compilation out and you’re gunna one grab one. If you already have the original, maybe you’ll be tempted to grab it for the bonus tracks, haha. Alright, I think that sums it up for me today. Free Palestine.

Usman's Staff Pick: September 23, 2024

Hello and thanks for reading.

Surprise, I am writing about yet another Swedish band. There are still a few other recent releases from Sweden I have been jamming, but I am going to pace myself and just go one at a time. This week it’s PX-30 from Uppsala. I should have done some proper nerding before writing but unfortunately, I did not. I say that cos PX-30 has the same guitarist from HERÄTYS. That has significance to me cos I think HERÄTYS is one of the greatest contemporary bands ever to exist. I guess I should say that my definition of a contemporary band would be one who formed in 2000 or after. If you don’t know them, you can check out their 12” here. Or maybe I should call it an LP? I don’t know. It’s two different recording sessions, one on each side. My friends and I always debate which side is better, haha. My last conclusion was that the B side obviously had way better sound/production, while I still found the songs on the A side to be more memorable. Maybe that will change one day, though. Those B side riffs are really kicking around my head after this latest listen. They have a few other 7"s, and luckily for you these records are not hard to find if you’re just now hearing how excellent this band is.

Anyway, PX-30 has been on my radar since they dropped a digital version of this LP all the way back in May of last year. Insane it was that long between the recording and the record actually coming out. I think a big hold up was the artwork, but man if you ask me this super captivating, unique, thought-provoking and complex artwork they came through with in the end was definitely worth the wait! The sound of HERÄTYS can be found in PX-30 in a sense, but the bands don’t really sound the same. The riffs are unbelievably catchy and played locked-tight with the drums that are grooving hard as fuck. They have a tendency for songs to evolve into breakdowns or mid-tempo parts. Typically, this is a formula I really do not like, but every now and again there is a band like PX-30 who pulls me in deep enough for me to forget my standards on breakdowns.

The vocalist of PX-30 is named Martin, and we became friends when we played in Uppsala on our European tour in 2022. I remember when we met. He said something like, “Probably no one is going to come to the gig. I’m sorry. I will be sure you get 100 euros, though.” If I remember right, it was a bad time for a gig cos everyone was at a fest or on holiday or something. I guess we had planned that tour a little too late in the summer. I can’t remember when it was exactly, but in almost every city they told us to tour earlier in the summer next time cos so many people were away on holiday. There were a few gigs, like Uppsala, where we played totally alone. I didn’t give a fuck, though. I think I’ve mentioned before how I hold Uppsala in high regard. I guess it dates back to BOMBANFALL for me, but when I first became obsessed with Uppsala, I did not know who they were. My introduction was via Your Own Jailer, a killer label operated by Jan Jutila, who released and also played on some essential records throughout the 90s. I’ve gushed over this guy before, and I am way off topic.

So back to Uppsala, I think we played there cos we could not get a gig in Stockholm, but obviously I was very happy to visit this place that was so legendary in my mind. Yeah, we played alone, but holy shit there were like 80 people there or some shit by the time we played. After the gig, we drove to Stockholm to sleep with a mate, so we didn’t really spend much time with Martin. But I thought it was a pleasure to meet, and we kept in touch after. When I let him know of our plans for touring in Sweden again, he insisted we play Uppsala again, as it was not on the initial itinerary. Obviously, I wanted to do this, and I insisted the PX-30 play. I was so happy that in the end we played there with both GEFYR and PX-30. I can’t express how happy and grateful I am to have shared a stage with both of these bands.

This time after the gig, we hung out hard with Martin at his flat. We had a lot of good laughs, some drinks, and snacks. I learned that PX-30 is actually a paint marker that people use for graffiti. I’m sure that was obvious to others, especially with the band’s logo choice, haha. But my noob ass does not know shit. Martin gave us some PX-30 hand-dubbed promo cassettes before we parted ways at the end of tour. He also gave me a PX-30 marker that will remain un-opened, and I will cherish it until the day comes that I materialize our memories and bond of friendship in an act of vandalism. Fuck, I really have not talked about much of anything again and I need get to work. Buy this record; you won’t be disappointed. Cheers and thanks for reading. Thanks to everyone for your support. If you’re reading this Martin, Hi :)

Usman's Staff Pick: September 3, 2024

Hello and thanks for reading.

Surprise, I am writing about yet another Swedish band. This week it’s MEANWHILE, from Eskilstuna. There is a ton of other killer shit out right now, namely a few other Swedish rippers that have my attention… but it’s too much for me to get into today. So, I will stick to MEANWHILE and I will keep it brief. MEANWHILE played Skullfest in Pittsburgh a few weekends ago. They were excellent. It was everything I could have hoped for really. We also played the fest, but we played the day before. It was crazy to see Kenko, the drummer of MEANWHILE, wearing one of our shirts on stage. It blew my mind, haha. It means he watched our set… I wonder if he bought it before or after we played? Cos I don’t think I played very well, even though I heard some encouraging feedback after our set. I guess he still decided to wear it after he saw us, which means he probably thought we were sick. Hell yeah. I had been seriously looking forward to seeing them, as I am a huge fan of MEANWHILE.

If I am going to talk about MEANWHILE, then I need to talk about DISCHANGE. Actually, I need to go a bit further back into Swedish hardcore history and mention NO SECURITY first. I was just gushing over Kenko, but in reality, it is Jallo Lehto who I have been a fanboy of since my teenage years. Jallo was the drummer of NO SECURITY. He also did Finn Records with another dude named Jari Juho. I don’t think that dude did bands, though. Jallo joined TOTALITÄR on drums after their first few EPs. This is where I first became aware of his existence. While he was not a founding member, I consider him just as original as the rest since he has played on like 85% of their releases, including every full-length LP. Finn Records did not have their first release until 1989, but I consider them pretty essential when it comes to Swedish hardcore. Aside from releasing a lot of TOTALITÄR, they released stuff from other notable bands like SVART PARAD, ASOCIAL, and DISFEAR. DISPENSE was another absolutely killer band they released. I think they are criminally underrated.

I think NO SECURITY is fairly underrated in the world in international hardcore. Most people have probably heard of them cos they did a split with DOOM in 1989. They formed in 1985, but their impact was really felt in the later 80s and into the 90s, where most notable Swedish bands existed in an earlier wave. They never had an LP, and they only released one proper 7" in 1988. The rest of their material was spread onto some cassettes and four different splits. I think this isn’t the greatest formula for releasing your stuff, but man, they are one of the greatest Swedish hardcore bands ever to exist if you ask me. Most of their stuff was released between 1987 and 1989, but they had a split 12" in 1990 and a split 7" in 1995.

Kenko joined the band in 1989 on guitar. I think he only appears on the ‘90s records, though. Before his time in NO SECURITY, he was playing in death metal bands. After he joined NO SECURITY, he and Jallo cooked up a new project: DISCHANGE. However, in this band, they switched instruments! DISCHANGE has such catchy and memorable riffs. I think this is an obvious symptom of the riffs being written by an insane drummer. Between 1989 and 1991, they weren’t really an active band, since it was just the two of them recording everything. It wasn’t until 1991 when they recruited a few more guys and started gigging live. They released a masterpiece entitled Seeing Feeling Bleeding in 1993. This full-length followed two split 7"s they had released the years prior. Oddly enough, on the center label of their 1991 split with E.O.W, they credit themselves as both DISCHANGE and “MEANWHILE.” This is the only place where I saw the name mentioned until they formally changed it in 1995, when they released their debut, Remaining Right: Silence, under the new name MEANWHILE. This LP is so damn good, just as good as the DISCHANGE LP in my mind.

Alongside their name change, there was an evolution in the sound of DISCHANGE/MEANWHILE. I associate DISCHANGE with a much heavier sound and meaner riffs. Although, that it is clearly still heard on MEANWHILE’s Remaining Right: Silence. I mean, it was at Sunlight Studios, haha. But on their following LP in 1996, The Road To Hell, you can hear them leaning super hard into the catchy side of things. I know they still have straight up DISCHARGE songs on each record; I just mean I can really hear this evolution in the guitar playing that makes the band shine even more. The way Kenko plays d-beat is so groovy, with Jallo’s super-catchy riffs, the combination is just too good. In 2000 Sound Pollution released their third LP, Same Shit, New Millennium. Their first two LPs were actually only available on CD originally. It wasn’t until 2008 that Feral Ward reissued both of those on vinyl, alongside their final LP, Reality or Nothing. Between 1995 and 2008, they released four LPs and four EPs. I think each of these records is legit excellent and worth listening to. While I favor their first LP a lot, their 2005 7" Ghostface Democracy is so unbelievably good. This one was interesting cos it really sounds like they turned the dial up to 11 on DISCHARGE, namely Hear Nothing See Nothing Say Nothing. I’m sure anyone who has heard this record knows how damn good it is. But to be honest, I think the artwork is pretty bad and I understand if someone would pass it over based on the art, haha. While artwork may not be their strong suit, they certainly make up for it with what’s actually on the record.

Alright, well shit, it doesn’t seem like I talked about much of anything and I didn’t really talk about this reissue much either, haha. This reissue is brought to us by Fight For Your Mind Records, a killer label from France who first got on my radar with their TOTALITÄR release. While MEANWHILE records are not painfully hard to find if you look for them, I am happy this is back in print! For being such a big fan, I actually don’t have this record. This pressing of Same Shit, New Millennium has been remastered by Communichaos, which was something else that also got on my radar via TOTALITÄR. I remember seeing it often in the recording credits of their 2000s records. Communichaos is actually operated by Kenko, which is yet another reason I am such a fan of him and his bands. The original artwork for the LP wasn’t so bad, but it really took a turn for the worse with the reissue... haha. (I am sorry if the artist is reading this.) Don’t let the artwork fool you and check out the LP! These 19 raging, riff-heavy tracks will without a doubt have your fist pumping and head banging from start to finish. Cheers and thanks for reading.