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Krimtank: Ditt Fel 7” (Pike Records) Latest EP from this long-running Swedish band. I’ve seen their EPs kicking around over the years (in fact, I’m sure we’ve had used copies come through Sorry State), but I don’t think I’ve ever listened to Krimtänk before. The sound is a guitarist and bassist banging out simple riffs with little to no sense of melody while another guys yells and the drummer plays as fast as they can. In other words, it’s punk! There are 13 tracks crammed onto this 45rpm EP, so everything is short and to the point. The shortness of the songs and how blisteringly fast everything is makes me think of the Swedish band Pusrad that had a string of great records a few years ago, but this is wilder-sounding, like the fastest and blurriest moments of Mob 47. Raging!
Litige: En Eaux Troubles 12” (Destructure Records) Second LP from this melodic punk band out of France. Litige’s big, crunchy guitar sound and charismatic, melodic vocals remind me of the 90s, when punk bands were first getting put into studios that got them huge sounds, but the compositions remained lean and to the point. The Muffs come to mind, but many of the songs on En Eaux Troubles also remind me of darker Screeching Weasel tracks like “What We Hate” or “Every Night.” While the big, confident vocal melodies are the star of the show, there are also great, Greg Sage-esque lead guitar hooks that any Masshysteri fan will flip for. Recommended for fans of heavy melodic punk that’s not cute or commercial.
Impotentie: Leopold II Is Niet Dood Genoeg 12” (Roach Leg) You might remember Impotentie from their earlier tape (which Drunken Sailor re-released as a 7”, which we still have in stock), and this 45rpm 12” picks up right where that recording left off. From the moment I heard them, I thought Impotentie had an oddball element to their sound, and that remains the case here. Roach Leg’s description mentions Reich Orgasm and French oi!, and like a lot of French oi! bands, Impotentie has a turgid sound, like they’re purposefully playing the songs at a very slow tempo. That choice gives these tracks a unique vibe, but the songs themselves are excellent. I mentioned Warsaw (the band, not the city) in my description of Impotentie’s tape, and that reference comes to mind again here, particularly on tracks like “Medemens,” which is simultaneously gloomy, melodic, and raw. That mix of characteristics will also appeal to people who love dark and melodic UK anarcho like Hagar the Womb, the Mob, and Crisis. While Impotentie reminds me of these things, it doesn’t sound exactly like any of them, so if you value originality in your punk and you think you might be into the general vibe, give this a try. Oh, and in case you’re wondering, the LP’s title translates to “Leopold II Is Not Dead Enough,” an indictment of the Belgian king who presided over a brutal colonial regime in the Congo.
Mobs: Demo + Live 1986 12” (Fan Club) A few months ago we carried a Mobs fan club LP that featured their first two 7”s, Diabolism and Projection of Astral Body. In case you missed that release, Mobs were an 80s hardcore band from Japan who mixed gritty hardcore in the vein of Kuro or L.S.D. with some goth-ish elements. This LP raids the rest of the officially released Kill ‘em All CD, taking the demo tracks and live set that appeared on that disc and putting them on vinyl. (By the way, the cheapest copy of the Kill ‘em All CD on Discogs will set you back over $200.) The demo tracks sound great, at least as good as or better than their debut EP, Diabolism, and three of the tracks are exclusive to that demo. As for the live set, the recording is raw but clear and heavy, and features several more unreleased tracks. While I think Projection of Astral Body is Mobs’ finest moment, the tracks collected here are much better than leftovers or castoffs.
All Hits: Men and Their Work 12” (Iron Lung) Well, this rules. Iron Lung once again surprises me with a release by a band I knew nothing about, yet is better than at least 90% of the bands I know about. All Hits is from Portland, and they sound like Crisis and Bikini Kill had an unlikely baby. Their sound is bass-driven (like a lot of anarcho punk) and the lyrics aren’t afraid of sloganeering (also like a lot of anarcho punk), but All Hits makes frequent detours into more melodic directions. Take a track like “Sugar Supply,” which goes from a driving, Gang-of-Four-on-speed verse into a bright, melodic chorus that wouldn’t have been out of place on Lookout! Records. All Hits also pepper Men and Their Work with punkers like “Don’t Wanna” and “World Is a Fuck,” either of which could have been a standout Raw Records single if a bunch of dudes had written it in the UK in 1978. A less talented band would sound scattered making transitions like these, but All Hits nails it, confidently claiming this quirky mix as their signature. I love that this came out on Iron Lung, but Men and Their Work is so lively and so infectious that I could see All Hits getting huge, not because they sound is palatable or watered down, but just because they’re that good.
Subdued: Over the Hills and Far Away 12” (Roach Leg) Like their Roach Leg label-mates Rigorous Institution, Subdued is a band I’ve been following for a while. Their previous releases were powerful, but Over the Hills and Far Away is a big leap forward, elaborating on the Amebix influence that characterized Subdued’s earlier releases and hitting upon a sound totally their own. The first track, “Sanctuary Is Nowhere,” comes out of the gate ripping at full hardcore velocity until the second track, “The Joke,” brings in the punked-up Killing Joke vibes we all loved on the early Amebix singles. The energy level reaches an ebb for the long bass intro to “Problem of Evil,” but Subdued gradually works themselves up to a tizzy until the a-side climaxes with another ripper, “No More,” which peaks with one of the most ripping guitar solos I’ve heard in some time. The b-side pulls from the same bag of tricks, but the songs are longer and more intricate, bringing a Celtic Frost-esque sense of grandiosity to the album’s second half. While Subdued has some familiar points of reference, Over the Hills and Far Away is ambitious in a way few modern punks records are. Subdued pushes past the familiar and the cliche and gets at something that feels more substantial, both musically and lyrically. It’s a big swing, but Over the Hills and Far Away fully connects. Mark my words; you’ll be seeing this record on a lot of Best of 2020 lists, mine included.Various: Keats Rides a Harley 12” (Happy Squid Records)
Last Saturday I was sitting on the couch, scrolling away on my phone and having a relaxing afternoon, when a picture of the Fuck-Ups’ FU82 popped up on a local shop’s Facebook feed (Sound Off Records & Hifi here in Raleigh, in case you’re wondering). I jumped in the car and nabbed that record for a good price, and I was very stoked because I’ve been looking for that one for a long time. I also bought a few other records that must have come in with the same collection, including a copy of Keats Rides a Harley, a 1981 compilation on Happy Squid Records, the label associated with the Urinals.
I’ve been aware of Keats Rides a Harley for many years, but I can’t remember if I’d ever listened to it. I can, however, assure you that it never hit me like it did this week. In fact, my Fuck-Ups EP hasn’t been getting nearly the attention it should because Keats has been monopolizing my turntable.
There are a few things I like about this record. First, the production is great. The recordings resemble what you hear on a lot of early California punk records like the Dangerhouse singles or the American Youth Report compilation, with all the instruments clear and present, but with the perfect amount of grit. It’s also super short and doesn’t wear out its welcome, much like Chunks or Cracks in the Sidewalk. I’m not sure why Californians loved short compilations, but I’m down. Finally, it’s just full of great tracks. The Gun Club song is awesome, the Meat Puppets turn in a scorcher from their early hardcore period, Toxic Shock sounds like a reject from the American Youth Report comp and the unknown S Squad serve up the record’s best song. And that’s just the a-side!
I also picked up a copy of Keats Rides a Harley’s unofficial sequel, Warf Cat Tales, and it’s also excellent, though it’s not as punk and the artwork’s Dick Tracy vibe hasn’t aged as well. The recordings are still raw, though, and the mix of bands is eclectic but very strong. cordings are still quite raw, though, and the mix of bands is eclectic but very strong.
R.M.F.C.: Reader 7” (Anti-Fade) We last heard from Australia’s R.M.F.C. on their Hive 1 + 2 compilation LP, on which Germany’s Erste Theke Tonträger compiled two previous cassette releases. Now they’re back on the Australian label Anti-Fade, and maybe it’s just my imagination, but the sound this time is less robotic and poppier, more in line with the pop-oriented bands on Anti-Fade. The a-side, “Reader,” starts with a pogo-punk part, but slides into a mid-paced, melodic punk tune that would fit comfortably on Devo’s Freedom of Choice. I know Devo comparisons are as common as oxygen molecules, but this track hits the nail on the head with its tight playing style and melodic sophistication. The b-side, “Faux Freaks,” is shorter and faster, and the emphasis on rhythm over melody puts it more in line with modern Devo disciples. It’s still a good song, though, which is important to note since it seems like only the a-side is on bandcamp and streaming services. I can’t imagine these two tracks will disappoint anyone who picked up that first record and liked it.
Peace Talks: A Lasting Peace 7” (Cruel Noise) A Lasting Peace is the debut vinyl from this Pittsburgh hardcore band. Peace Talks reminds me of Torso in that I hear traces of modern d-beat and straight edge hardcore in their sound, with the complex and furious riffing style of bands like Herätys mashed up with dramatic breakdowns that get the pit boiling over. The recording is clear, raw, and refreshingly un-stylized. I’m at a loss for how to elaborate because this just sounds like honest, angry hardcore made for our historical moment. If you’re a fan of Torso, C.H.E.W., and other contemporary bands who tap into hardcore’s vitality without pandering to particular cliques of record collectors, I encourage you to check out Peace Talks.
Régimen de Terror: Inherente del Poder 7” (La Vida Es Un Mus) I was just writing about how Pittsburgh’s Peace Talks sound modern and un-stylized… well, this 7” from Régimen de Terror is the complete opposite of that. It’s like they’re trying to convince us Discharge’s Fight Back and Decontrol EPs are the only records they’ve ever heard in their lives. I’m not complaining, though, because this totally rips. While a lot of d-beat bands go for a wall of sound production style, Régimen de Terror has a sound more like Minor Threat, with drum and vocals way up front in the mix and guitar and bass much less prominent. Maybe it’s because I listened to so much Minor Threat as a young’un, but “drums up front” has always been my preferred mixing style for hardcore… it just makes the music sound so relentless and energetic. While the riffs won't wow anyone with their complexity, the songs are sturdy and well-constructed. Maybe this won’t melt your brain, but it’ll get you out of your seat and thrashing around the room.
Barcelona: Resuduous del Ultrasonido 7” (La Vida Es Un Mus) Barcelona remains one of the wildest and most innovative bands in the world, creating punk rock that edges right up to the cliff of “completely unlistenable” without ever falling over. There are moments I love on records like Wretched’s In Nome Del Loro Potere Tutto E' Stato Fatto... EP or Negazione’s split with Declino when I wonder if the band is playing in time with one another or whether some or all of them have lost the plot. While, for bands who pursue tightness as a goal, this can be a deflating moment, a handful of bands thrive in this under-explored zone between order and chaos, and Barcelona is one of the best of them. Not that Resuduous del Ultrasonido is a mess… “Me Jode La Felicidad” even has a little of melody to it, sort of like Wretched’s later stuff circa La Tua Morte Non Aspetta. However, most of what you’ll hear on this record blurs the line between “toddler temper tantrum” and “musical performance.” This isn’t for everyone, but I love it.
Tozibabe: Anthology 12” (Hardcore Ljubljana Records) Fan club LP compiling Tozibabe’s great 4-song 7” along with their contributions to the Hard-Core Ljubljana and Novi-Rock compilations. I remember when I first heard Tozibabe thinking, “why didn’t I discover this earlier?” The answer is probably sexism (3 women comprised Tozibabe), but regardless of why, I think my impression that they’re vastly under-appreciated is a common one. While Tozibabe is a hardcore band, their sound weaves in elements of goth and post-punk, giving them a creepy and melodic vibe that is totally their own, though it’s not miles away from goth-tinged UK anarcho bands like Part 1 or Vex were doing. Tozibabe’s 4-song EP is an unheralded classic of 80s punk and one of the most unique and worthwhile punk records to come out of Eastern Europe in the 80s. There have been a few reissues over the years (including an official one in 2015), but the compilation tracks are a pleasant bonus. The Hard-Core Ljubljana LP is great all the way through and worth getting on its own, but Tozibabe’s tracks are strong, a little more straightforward and hardcore than the goth-ier EP. There aren’t many frills with this bootleg, but the sound is great, and it’s a nice way to get the tunes in your collection. 
Geld: Beyond the Floor 12” (Iron Lung) I loved Geld’s last LP, Perfect Texture, and if you’re in that same camp, check out Beyond the Floor because it takes everything I loved about Perfect Texture and pushes it just a little further. I’ve always been a sucker for bands that combine hardcore with dense and punishing noise rock, and there’s a lot of that on Beyond the Floor, though I also hear elements of stomping, mid-paced black metal on tracks like “Infrasound.” Double Negative was a band with a similar set of influences, and there are moments on Beyond the Floor (particularly “Nocturnal Hand” and “Red Mist,” the frantic one-two punch that opens the b-side) that sound uncannily like early Double Negative. Geld travels much further into the damp caves of noise rock, though, with a handful of tracks breaking the three-minute barrier, making space for psychedelic jamming and droning that causes the hardcore to hit that much harder. Beyond the Floor is a dense LP with rich, velvety sonic textures throughout. Sometimes my ear gets lost in those textures, while sometimes I let the rhythms pound me in the gut. It’s like a hardcore version of a Choose Your Own Adventure novel! Seriously, though, if you like your hardcore heavy, noisy, and a little bit arty, you can’t go wrong with this LP.
T.S.O.L.: Beneath the Shadows 12” (Dink) Dink Records brings this American punk masterpiece, T.S.O.L.’s second album from 1982, back into print. Unconstrained by the lack of ambition that kept most American punk bands ghettoized in the underground, with Beneath the Shadows T.S.O.L. created a sound and a record that could stand alongside any of the bigger-budget, pop-chart-troubling records by bands like the Buzzcocks, the Stranglers, the Damned, or Siouxsie and the Banshees. Beneath the Shadows’ closest soundalike is the Damned circa The Black Album, when they reveled in Beatles-inspired pomposity without losing their ability to write a great hook (case in point: “Wait for the Blackout”). Similarly, Beneath the Shadows is a dense and lush record, with the guitars, keyboards, and vocals fighting for center stage. When all three players go for the gold—as they do on the brilliant title track—it’s orgiastic, melodies bombarding you from every direction. Really, though, there isn’t a dud on the entire record. If you’re a fan of the bands I mentioned, or if you’re a fan of T.S.O.L.’s earlier, equally brilliant records who never ventured on to album #2, get this in your ears right away. While this reissue is free from frills (only upgrading the jacket with foil stamping and embossing), it sounds great and it’s the quickest way to get this brilliant record on your turntable.
Poison Arts: Flexi + Comps 12” (DTK) Fan Club LP that compiles Poison Arts’ Hi-Energy 7" flexi as well as their appearances on the Attack of 4 Tribes compilation 12", Nobody's Fault Sulais Omnibus compilation 12", and Game of Death compilation 12". Poison Arts can be an intimidating to get into because they have a slew of releases, but this compilation gathers up several odds and ends from the band’s discography into a digestible chunk. The tracks from the flexi and Attack of the 4 Tribes compilation are from 1988, and while Japanese hardcore deep heads will love them, the band feels a little less focused at this earlier stage, combining elements of thrash, rock-and-roll, hair metal, and punk in a way that has plenty of charm, but doesn’t hang together into a consistent sound and vision. However, the b-side compilation tracks from only a year later are a major upgrade. While not as anthemic as Death Side (with whom Poison Arts shared their guitarist Chelsea), everything seems to click together on these 1989 tracks, showcasing a band that is locked in, channeling their undeniable musical virtuosity into a sound whose intensity matches its complexity. As with a lot of these recent Japanese fan club releases, the packaging is meager but the sound reproduction is very strong.
Cassie: Change My Image 7” (Reminder) Reminder Records reissues this 1982 obscurity from the Isle of Wight, and it is a full-on blinder. While, judging from the label’s description, Cassie couldn’t catch much of a break during their original run as a band, these two songs show that it wasn’t for lack of talent. Perhaps by 1982 they were just late, as these two slices of amped-up, punky power-pop make me think the pop gems bands like the Pointed Sticks, Nasty Facts, and the Go-Go’s were pumping out a few years earlier. Vocalist / songwriter Debbie Barker’s unpretentious lyrics and high-energy vocal style are the star of the show, but the band is explosive here, summoning 60s garage energy and filtering it through a new wave pop style. Another reason Cassie’s single might not have taken off is the production. Like the Protex album Sing Sing Records reissued in 2010, it has a grainy sound that isn’t up to major label production standards, but is just perfect for those of us who love discovering old punk singles like this. What a kick off for Reminder Records! I can’t wait to see what they bring us next.
Irreal: 2020 EP 7” (La Vida Es Un Mus) Oh man, what a ripper! We loved Irreal’s first 12” here at Sorry State, but this new 5-track EP might melt your turntable. The a-side is devoted to three short tracks with clipped, busy-sounding riffs. While a lot of bands who sound similar to Irreal let their riffs breathe and hang on a groove for a while, these three tracks sound anxious and compressed, reminding me early Riistetyt in how it take an early Discharge influence and applies it to the more tightly wound sound of US hardcore. The two tracks on the b-side breathe a little more, climaxing with the killer closer, “Inútil,” which adapts the main riff from Anti-Cimex’s “Pain” into a track that could cause serious mosh pit injuries. But then in the chorus the guitarist takes a total left turn with an airy, melodic guitar line that sounds right out of early Public Image, Ltd. or Magazine and it’s all over for me… I’m in love with this record. This record makes me so bummed out that shows aren’t happening right now because I would love to see Irreal live. Until then, I’ll be blasting this EP.
Loss Prevention: Shoot to Kill 7” (11pm) The whole recent drop from 11pm Records has been great, and while I love the Cadenaxo LP and Freon tape, this four song rager from Loss Prevention takes the title for me. Loss Prevention plays the kind of fast and grimy US hardcore that I love, taking cues from the early Dischord and Touch and Go catalog, but augmented with a big dollop of Black Flag’s hopelessness. While they’re not as fast as Suck Lords or Electric Chair, this appeals to the same nihilistic sensibility, and if you’re a fan of what those bands are doing, I recommend checking this out. All four tracks are ace, but the fast hammer-ons in “Devil’s Fools” brings a little early C.O.C. into the mix, making it this southern boy’s clear favorite. Lovers of pure USHC, don’t miss this!
Cheryl: Killer Kiss 7” (Reminder) More brilliant vintage power-pop from Reminder Records, who this time give us a reissue of the lone 1981 single from Cheryl. These two songs sound like they’re straight out of the Stiff Records catalog with their amped-up, Phil Spector meets Dr. Feelgood style, but for all of their pop classicism the energy level is as high as any second-wave punk single you can throw at it. Fans of the Pointed Sticks, Nasty Facts, and Protex’s Strange Obsessions should take note, as this has the same time of manic pop energy. Oh, and if you noticed that I used the same comparisons for the Cassie single that came out on Reminder at the same time, that’s because they’re very similar (and similarly awesome). If you love this style, you need both… trust me.
ISS: Too Punk for Heavy Metal 7” (Total Punk) This new two-song single from North Carolina’s own ISS is the final single on punk institution Total Punk Records (the label will keep going, but will drop the hand-stamped sleeves and focus on 12”s). In much the same way they take samples from classic punk records and bend and twist them into new songs, ISS has turned the Total Punk aesthetic against itself. The a-side track, “Too Punk for Heavy Metal,” takes several swipes at Total Punk and its owner and, to add injury to insult, they put the lyrics on the record’s cover, forcing Rich at Total Punk to stare at them for hours on end while he hand stamps hundreds of sleeves, like Bart Simpson writing out his offenses on the chalkboard. Fortunately, Rich at Total Punk has a sense of humor and an ear for a great track, because “Too Punk for Heavy Metal” is as great as anything ISS has done so far, taking a Dead Kennedys bass line and adding the perfect disco beat the original never had. The b-side dips back into the Rudimentary Peni catalog for more sample material, and while it’s not as anthemic as the a-side, it reminds me of a classic b-side in that it feels looser and more introverted. 100% Total Punk and 100% essential.
Lockheed: Conflict Delirium 7” (Blown Out Media) Usman wrote about this debut EP from Löckheed in his staff pick a few weeks ago, and now the vinyl is in. It’s easy to see why this would grab Usman’s ear, because this is top-shelf, memorable d-beat with a healthy Totalitär influence. It’s pretty on the nose stylistically (the vocalist even sounds like Poffen), but there are so many details here I love. The recording is strong; while the tones are all powerful and gnarly, there’s a lot of separation between the instruments, which makes it feel spacious whereas so many d-beat bands’ recordings are dense and claustrophobic. The drumming is also stellar. I love it when fast punk drummers play behind the beat; it makes me feel like I’m bombing a hill on a skateboard, going super fast but feeling chill with the wind rushing past me. The kick drum is also high in the mix, but the playing is so precise that it works. Great songwriting, great execution… there’s nothing here a d-beat fanatic shouldn’t love.
Cadenaxo: Lenguas Podridas 12” (11pm) I’ve heard several people mention how great Tenochtitlan, Mexico’s Cadenaxo are live, so I was pumped to check out this 12” from 11pm Records. It’s easy to imagine the crowd going off to this band, because the way Cadenaxo combines big, mosh-worthy riffs and blazing d-beat makes it hard to sit still. The beefy parts remind me of Warthog or S.H.I.T., while the ripping parts have the propulsive feel of Impalers or Vaaska, with plenty of the latter’s catchy, anthemic quality. I just love how upbeat and punk this record feels… it has a sprightly energy that many bands find it difficult to capture on a recording. There’s nothing unexpected or weird here, just well-written, well-executed, infectious hardcore punk.
Freon: PYK cassette (11pm) Debut cassette from this new hardcore band out of St Louis. I’m not sure what the title PYK refers to, but I suspect it might be a reference to Poison Idea’s Pick Your King EP, which seems like an important influence on this tape. The guitar sound is straight Pig Champion, and the tightly wound riffage on tracks like “Crisis Aborted” betrays a lot of time spent studying the GOAT’s every move. I get a little whiff of straight edge hardcore in places (as I do from several 11pm bands), but this isn’t positive, good-living shit… not only are their lines of cocaine on the cover but also the vocals are way too mean for that. After the intro intro’s slow build-up, this is one of those hardcore EPs that feels like a dead sprint for its entire runtime. Recommended for fans of fast hardcore that doesn’t waste a second of your time.
Redd Kross: Red Cross EP 12” (Merge) Merge Records takes Redd Kross’s debut EP (from back when they were called Red Cross) and brings it back into print, beefing up the package with some excellent bonus material. I have a lot of friends who view the Red Cross EP as total godhead punk, and while I love it, it’s never gotten its teeth in me as deep as it should, probably because I’ve never been able to track down an original copy. Revisiting it now, though, it’s fucking great. I mean, “Cover Band?” “Clorox Girls?” “Standing in Front of Poseur?” These are bona fide punk classics, exactly the catchy, song-oriented west coast punk I adore. While Red Cross’s name was an obvious nod to Black Flag, these songs sound less like Flag and more like Dangerhouse / Masque-era LA punk or the more melodic sounds of the Simpletones or the Cheifs. As for this reissue, the a-side presents the original EP, while the b-side collects a bunch of demo tracks. While the demos date to a few months before the proper EP, the sound is clearer and beefier and I could see how some people would prefer these versions. There’s also a live track by pre-Red Cross band the Tourists that’s well worth hearing. It’s crazy that, even though they were so young when they recorded this EP, there’s still a pre-Red Cross band to dig in to. As you would expect from Merge, the sound, the design, and the presentation are all on point. If, like me, you’ve never laid your hands on an original, this is an essential grip.
The Sound: Physical World 7” (Reminder Records) Reminder Records is a new reissue label from Jeremy Thompson, formerly of the great Sing Sing Records, and they’re starting strong with this much-needed reissue of the first single by the Sound, which has never been reissued. I was excited to get this because I’m a massive fan of the Sound. Their first two LPs, Jeopardy, and From the Lion’s Mouth, are unheralded post-punk classics, both of them overflowing with classic tracks. (Their LPs after that are decent too.) Jeopardy is a particular favorite, and if you’re a fan of how the Chameleons combine punky energy and post-punk brooding with big pop hooks, you’ll agree. As for this single, it’s not as great as the albums, but it’s worth hearing if you’re a fan. The first two tracks are upbeat punk with a mechanized groove that hints at where the band was going. Adrian Borland was a huge Joy Division fan, and it’s not unlike the early Warsaw-era tracks that found that band using punk rock as a jumping-off point. The closer is an early version of “Unwritten Law” (which would appear in a different version on Jeopardy), and I’d say it’s one of those Wizard of Oz moments of stepping from black and white into technicolor, but it’s more like stepping from punk’s flat plastic day-glo into the grey and grittily textured world of post-punk. Whereas the first two tracks are all bluster, “Unwritten Law” breathes, showing off the memorable bass work that gives Jeopardy so much of its power. While Jeopardy is hardly a high production value affair, these tracks are even grittier and grainer. It’s hard for me to say how this single would land with someone who isn’t familiar with the albums, but as a fan of the Sound, I’m stoked to have this.
Paragons: Abba 7” (Fan Club) Fan Club repress of this great, obscure garage single from North Carolina circa 1966. An original will set you back upwards of two grand, and I can see why… this is as brilliant a slice of 60s garage as you’ll find. The a-side pulls out all the stops with a great guitar hook, a huge chorus, and even a rousing call-and-response part. The vibe reminds me of Them’s best tracks, but it could have just as easily come from London or Canada or Peru or anywhere that was pumping out garage bands as quickly as teenagers could lap them up. While the a-side has been comped several times, the b-side hasn't gotten out there as much, and it’s worth hearing. More mid-paced, it’s driven by a Byrds-y guitar line and features some great fuzz guitar too. North Carolinians will be particularly interested in this, but this is a heavyweight for any deep 60s garage head.
