News

Sorry State is participating in this year's second RSD Drops date on June 18, 2022, featuring titles that didn't make it in time for the main Record Store Day date in April. Our rules and policies remain the same from April's Record Store Day date:

- Sorry State still requires masks inside our store
- We open at 12PM.
- For everyone's safety and comfort, we may limit the number of customers we let inside the store at once. Everyone will be let in in the order in which they arrived.
- For customers who can't make it to the shop, all of our remaining inventory of RSD exclusive releases will go online on our webstore at 8AM on Sunday, June 19.
- As per Record Store Day's rules, we are unable to reserve RSD Exclusive items. All RSD Exclusive are first come, first served.

Check Sorry State's social media accounts for posts about RSD releases we're excited about! Instagram Facebook Twitter

Below is a list of RSD Exclusive titles we ordered. We cannot guarantee we will have any of these titles. Shipments get delayed, releases get bumped, things happen. But here's what we should be getting. Note also that many releases we will only get in very limited quantities, sometimes as low as only 1 copy.

RSD exclusive will be published on this page at 8AM on Sunday, June 19. Feel free to bookmark it!

Hi Sorry State readers! Hope all is well. Things are good here. Busy… but busy is good, so thank you for your continued support of the store!

The Hazmats is my pick this week. They’re a brand new indie power pop project released on Static Shock Records, and comprised of members of Chubby and the Gang, Big Cheese, and Game. But it sounds nothing like any of these bands. It packs a totally different kind of punch, and very much worth checking out.

This new UK-based band has been compared to Teenage Fanclub, and that’s not wrong. But I hear more Jesus and Mary Chain, and that’s great for me because I love JAMC. You’ll hear their influence right away in the super catchy hook that introduces the first song, Empty Rooms. You might wonder, “what does this remind me of?” I will save you the time. It reminds you of Head On by Jesus and Mary Chain. It “makes you want to feel, makes you want to try, makes you want to blow the stars from the sky.” Be warned, the song is five minutes long. In punk time, that’s called an EP. But despite their roots, they aren’t on punk time. If you do think the song drones on a little bit, there’s a sick melodic bass line and drum beat in the last 10 seconds of the song that mitigates that issue perfectly.

Today is the second song, and it’s my favorite of the two. Clocking in at just under three minutes, Today is faster, less shoegazey, less fuzzy wuzzy, and more crisp and jangly than Empty Rooms. It’s catchy as hell and I’ve played it many times. You can’t ignore the Brit-pop vibe to both songs really, but I feel like that’s kind of unavoidable when making this kind of music.

Anyway, I’m digging The Hazmats. I think it’s really cool and brave that these guys came together to bring us something different. A lo-fi, melodic, hazy shoegazey, power pop gem.

If you’re into other Static Shock bands like I am (e.g. Boss, Neutrals, Powerplant), or the big aforementioned icons like Jesus and Mary Chain and Teenage Fanclub, or you just want to try something new and support punk dudes not doing punk songs, you should pick up The Hazmats. It’s limited to 300 copies, so hop on it.

Take a listen!

https://staticshockrecords.bandcamp.com/track/today

Alright, we finally have the ‘new’ KAAOS 7” on Fight Records in stock!!! I say new in quotations cos it’s certainly not new material from KAAOS, but a recording session that was recently unearthed! I don’t know much about this 7" but I know it’s a completely unreleased session from 1982. However, there are two songs from this session that initially appeared elsewhere on a proper vinyl release. One song was on their split with CADGERS and the other appeared on the “Systeemi Ei Toimi E.P.” Those tracks were recorded at a different studio, though. These Huvikumpu tracks are different versions which, I think, were recorded later. I am also pretty sure one song has never been released at all until now! So sick. The Fight Records webpage said the other track was never released as a KAAOS song but it was actually given to BASTARDS. They released their own version on the “Maailma Palaa Ja Kuolee” EP. Fight also said it’s actually the guitarist of BASTARDS playing on this entire session! Both bands were from Tampere, so it makes sense to see this connection. I think most bands from this town shared a member or two during this time. This session was recorded by Sidney Salminen. I think I read he was the one with the original tape that evolved into this release as well. According to the internet, he played in killer bands like KAAOS, BASTARDS, ANTIKEHO, and PROTESTI. However, I can’t find much info on what he did on any records. Maybe he played live with them or just filled temporary roles? I do know he played a major role in PROTESTI, which I think is a bit underrated compared to other Finnish hardcore bands of the time. Maybe it’s cos the band never had a proper record back in the day. We have some copies of the excellent 7" reissue in stock actually if you haven’t ever checked it out. This band to me sounds more like BASTARDS with their ‘sloppy’ sound, rather than bands with more groove like RIISTETYT or PAINAJAINEN. Alright then, that is about it for today. I will leave you with this sick video of KAAOS playing lots of the material I’ve mentioned here, live in 1982. If you are a Finnish hardcore fiend, don’t sleep on this Kaaos 7", stuff on Fight usually sells pretty quick. The quality of the recording isn’t the greatest, but it’s definitely one for the archives. Thanks for reading, peace!

Hi there, everyone out in Sorry State land. How are you all? We missed you last week, but that wasn’t because we were slacking. There were gigs to play at, and record collections to be bought, which kept our glorious leader on the road for a good part of last week. The good news is that we have tons more cool records to get excited about. And that’s just the used stuff. As always, new releases and new issues of classics are coming at us thick and fast. Which is a good thing. We all need more records don’t we?

There has been a lot going on in the news these past couple of weeks. Here in the US the mass shootings are ongoing with the country being divided (amazingly) by that issue. We have the January 6th hearings about to commence. And it’s Pride month. Back in my old country they are still nursing their hangovers after a four daylong celebration of the Queen’s Platinum Jubilee that had all kinds of events happening across the land. Perhaps you saw some of it on television? My Mum loves everything Royal and decked herself and the house out in red, white and blue bunting etc. Personally, I have mixed feelings about the Royals and having lived here in America for more than half my life, I’m less excited by it all but seventy years as a sitting Monarch is still an achievement and I’m happy for the country and those that value this type of stuff.

For the radio show I do, I wanted to play something to mark the Jubilee but wanted to throw something in a little less obvious than the sounds of a military band or even say The Sex Pistols and their God Save The Queen. What could I spin? The question was answered when I pulled out a great compilation of Brazilian music we have at the store titled Brazilian Guitar Fuzz Bananas, which reminded me of the perfect track to play. The song is coincidentally titled God Save The Queen but has nothing to do with the Pistols’ version. It’s from a group called 14 Bis and was recorded circa 1972. What a banger it is too. Killer fuzz psych with a tasty drum break. This single was the only thing that the band recorded and was released on the cool looking Mad label. There is some confusion out there over the identity of these guys, as there is also another group with the same name, 14 Bis, but they were not formed until later in the 70s. Could they be the same guys? The latter group were a lot more pop sounding than this, although it has been conjectured that they could have been related to the progressive band O Terco, who hailed from the same region of Brazil. It’s probably not them, but who knows? Whatever their origin and identity, the single rocks and is rarer than rocking horse shit, so having it on this compilation is the easiest and cheapest way to own it.

Brazilian Guitar Fuzz Bananas was compiled by a Brazilian gentleman named Joel Stones and released on his own Tropicalia In Furs label in the late 00s. Assisted by World Psychedelic Classics and Egon, it’s a killer set of obscure and underground Brazilian music made between 1967 and 1976, some of which even the compiler himself didn’t know existed until he found the records. The double album comes with a great booklet featuring notes and photos about all the records compiled, has a cool inner gatefold art spread and even came with 3-D glasses to view the cover with.

I met Joel when I was living in New York back in the day. He sold records initially at shows and then had a small corner of a clothes boutique for a while. He then took over the old Wowsville Records Store spot on Second Avenue in the East Village and renamed the store Tropicalia In Furs. The store I worked at, Rockit Scientist, was just around the corner on Saint Mark’s Place. I loved the vibe at Wowsville. The owners were a lovely couple from Spain, Alberto and Sonia and it was a loss for the city when they had to return to Europe after just five years of running the store. Joel kept the spirit going with the new incarnation and soon turned the spot into the go-to store for Brazilian and other South American music. All whilst keeping up with the party atmosphere. Back in the 90s and early 00s there weren’t too many people selling quality world music. You’d be hard pushed to find anything. Some things were getting reissued and occasionally you’d find a store selling those, although a lot were “Fan Club” pressings of varying quality. Slowly but surely though legit reissues started to appear on the market and then it seemed like the flood gates opened and all sorts of great compilations became available. I had barely any Brazilian records, but thanks to the likes of Mr. Bongo in the UK and Tropicalia in Furs, I now have a few good ones. As with say, Reggae, Cumbia and Afro-Beat, originals are often impossible to find and expensive when you do, so it’s fantastic having some of this great music released on these modern reissues.

At the time of the original release of this collection, a short promo video was made, which is worth the view. It puts into sounds and images the spirit of the collection and shows glimpses of the old store along with the personality of Mr. Stones. Check it out. And check this compilation if you don’t already own it. We have a copy in the store currently for a wise and discerning local punter that might be intrigued. The 3-D specs are missing from this copy, so you’ll have to pull out your old Grand Funk album and use those. Come through, why don’t you?

Okay, let me leave you there. Thanks for reading and I’ll see you next time.

Cheers - Dom

What’s up Sorry Staters?

I’m gonna jump right in: God-DEYUM this Ammo LP rips! I remember seeing this band’s demo floating around a couple years ago. The band was always being described to me as the band that PJ from Nightbirds was doing vocals for. Of course, I remember PJ’s vocal talents from back in the Wormeaters days. Now we have this new Ammo LP and it is GNARLY. Don’t underestimate New Jersey hardcore. The dudes in Ammo are cut from that Mutha cloth baby. Self-identifying as “Jersey Shore Hardcore,” this shit is probably too hard even for Snooki. From the moment I dropped the needle on this LP, the record just sounds immediately explosive. It’s like Ammo is trying to cram as many intense and burly elements from all corners of the “killer USHC encyclopedia” as possible. The band weaves between totally ripping classic hardcore speeds but then breaks into Negative FX or Death Wish-style double-time ripping tempos. This batch of songs just sound so mean, rough, dirty, and forceful all the way through. I’ll be honest, there’s a few moshy passages that are like a total ignorant, pit-clearing call to arms. Generally, I’m not into super tough mid-paced breakdowny stuff. I had to ask myself, “is this too tough for me?” But I do like it when it’s done right. A homie pointed out to me that the pit-inducing riffs almost kinda sound thrashy like Attitude Adjustment. After a chin scratch, I was like damn… you’re right. The vocals are also totally demented. When PJ in a totally shredded, frustrated fervor howls “You FUCK!” just before the breakdown kicks in… I’ll admit, I got chills. He sounds so pissed. The anger feels so real to me, it’s palpable. It’s almost like the band got all riled up and recorded all these songs in a fury without stopping. Then I was like, FUCK, this all killer.

Luckily, I’ll have the pleasure of seeing Ammo shred at Shomo Fest 2022. Just black out… Fists start swinging… Remember nothing… Just kidding haha.

Sorry State got a big ol’ stack of these LPs, and we’ve already sold a good amount of copies. But to me, this is the kind of hardcore record that should sell out instantly. If you’ve been sleeping on this ripper… just buy it, punk.

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

‘Til next week,

-Jeff

The Devil’s Anvil: Hard Rock from the Middle East LP (Columbia, 1967)

I’d been on the lookout for a copy of the lone album from New York’s The Devil’s Anvil for some time now, and this week one popped up in a collection I bought out in the Raleigh suburbs. I’m not sure where I heard about this record—it’s on streaming services, so an algorithm may have served it to me—but the title, Hard Rock from the Middle East, intrigued me. It turns out the Devil’s Anvil isn’t hard rock and isn’t from the Middle East, but it’s still an interesting LP.

Based on the artwork, you might think this was some kind of exploitation record, but my research tells me the Devil’s Anvil’s cultural bona fides are at least somewhat legit. The band was based in New York and the members were either from the Middle East or of Arabic heritage. The lyrics for all but one track are in Arabic and besides farfisa organ, electric guitar and bass, and drums, the Devil’s Anvil also employed traditional instruments like the oud and the tamboura. The compositions smash together then-contemporary rock sounds with traditional melodies and modes from across the Middle East. I wouldn’t call it hard rock a la Blue Cheer, more like 60s garage akin to the Standells or the Electric Prunes, though some songs lean more toward traditional music than rock.

Reading what people have written about Hard Rock from the Middle East is interesting because opinions are all over the place. Some people view it as an exploitation record, a brazen act of cultural appropriation. Most of these people condemn it, but I found one person who described it as “hilarious,” a cringeworthy statement. Even beyond assessing its political correctness, opinion is divided on the quality of the music, with some people viewing it as an unfairly forgotten psych gem, while others find it ham-fisted and cheesy. I quite like it. While it’s not as self-serious as something like Agitation Free, a 70s German progressive rock band who also mined Middle Eastern sounds for inspiration, I think the songs are legit and I love that it doesn’t sound like anything I’ve heard before.

Nearly everything I’ve read about the album online mentions that it didn’t sell, having been released just as the 1967 Arab-Israeli war was fomenting anti-Arabic sentiment in the United States. As we all know, anti-Arab sentiment in the US only got worse in subsequent decades. From what I can tell, the Devil’s Anvil disbanded after the album’s commercial failure, with producer Felix Pappalardi and guitarist / bassist Steve Knight working together again in Leslie West’s Mountain. I would love to visit an alternate reality where the Devil’s Anvil made more records, especially if they pulled in influences from bands like Black Sabbath and Blue Cheer who made hard rock much harder.

Ammo: Web of Lies / Death Won’t Even Satisfy 12” (Wallride Records) Web of Lies / Death Won’t Even Satisfy is the vinyl debut from this hardcore band from New Jersey, and it is a full-bore scorcher. Ammo plays ferocious US-style hardcore with a lunging, unhinged style that reminds me of groups like early Agnostic Front, Void, and Eye for an Eye-era Corrosion of Conformity… not so much in style, but in the way Ammo sounds like they’re maniacs who might materialize out of your home speakers in order to slash your throat. It’s a rare enough feat to capture this sort of wild energy on tape, but Ammo fuses this crazy energy with memorable songwriting, with tracks like “Black Site,” “Slam Slam Slam,” and “Ethnostate” hitting even harder because they’re so damn catchy. Sounding fast and crazy is Ammo’s forte, but their secret weapon is their ability to play at mid tempo, like on the crushing NYHC-style mosh part in “Known Unknown” and the singalong during the breakdown to the epic “All You Do (Is Want Me to Die).” I love music that expands hardcore’s boundaries, but Ammo isn’t that… they distill hardcore its essence, their sound ground down to the sharpness of a knife’s edge. This is not a record to sleep on.

Hi Sorry State readers! Hope everyone is having a great week. Let’s just jump right in.

So it’s been six years since Bloc Party put out an album, and 17 years since they put out a good one. Understandably, my expectations were pretty low going into this one, but Alpha Games might just be their comeback album. Or at least their most promising effort in a long time.

Their latest release circles back to the fun, guitar-focused, dancey post-punk rock of Silent Alarm, but it’s more experimental with the addition of some darker beats and elements of hip hop. But to be honest, my praise and enthusiasm are almost entirely directed at the first side of the album. Alpha Games is so obviously front-loaded in my opinion that it’s confusing why they would put all their best songs on one side. Never dawning on me until now that my preference isn’t everyone’s preference. Maybe the stark contrast between the two sides was intended to just give us two different flavors. But I just don’t really like the taste of side B. At least I don’t have to get up to flip the album over, which is arguably the only real downside to listening to vinyl.

The opener, “Day Drinker”, instantly captured my attention with its catchy chorus. And Kele Okereke hasn’t lost his touch at all when it comes to his high-energy engaging vocals. And things get even better with the second song, “Traps.” This is the point I was is totally locked in and hopeful. Between Okereke’s flow and the fresh and interesting beats, it’s easily one of the best songs on the album. Sorry, but you can’t not like it. “Rough Justice” is another strong contender for my favorite track. There’s a lot going on in this one as the sound turns a bit darker and more new-wavey, and ends with an unanticipated burst of manic guitar and a drum solo that feels like the encore at a fireworks show. This song just gives the record a lot more edge.

Things were going so well… but the change of pace and general direction of the second side totally lost me. The energy and interest totally dissipates with the song “Of Things Yet to Come.” This song could be on the soundtrack for The Greatest Showman or a high school musical. At times, it sounds like there is an attempt to go in a new wave direction, but things just don’t quite work out. While the song “In Situ” does provide somewhat of a lifeline to an otherwise boring second side, the album doesn’t end nearly as strong as it started. That said, I still think it’s worth it. And hey, if Alpha Games were nothing but fun dancey grooves, it would be Silent Alarm. Regardless, I still think this is the band’s best album in 17 years. So if you liked Silent Alarm but then fell off, it may be time to give Bloc Party another chance.

The standouts for me are Day Drinker, Traps, and Rough Justice. Linked below is “Traps” if you want to give it a listen!

https://youtu.be/0Y86GEcmcnw

Thanks for reading!

Angela

Hello readers and thank you for reading. Today I will be here with the quickness to mention the repress we just got of the RECKONING FORCE 12”. Their debut LP Broken State maintained a spot on the top of the Sorry State charts for weeks on end when we initially stocked it, and for good reason. This record is fucking pummeling. I’ve been lucky enough to catch ‘em live a few times and god damn they do not disappoint. The drumming is ripping with catchy punches that lock right in with the guitarist’s lightning fast strumming hand. Fucking hell. They seriously shred. If you slept on this record, now is the time to wake the fuck up. If I am being totally honest with you, I slept on this LP for a few days cos the art did not really do it for me. Artwork is probably the least of my concerns when it comes to hardcore, but artwork can certainly draw me towards to record (for better or worse.) Shit, TOTALITÄR is one of my favorite bands and art was certainly not their forte haha. Anyway, I was working at the warehouse when I heard this absolutely pummeling hardcore coming from the fulfillment room and I rushed over to discover that Daniel was blasting their (then brand-new) 12". I bought a copy immediately. Maybe I should’ve waited for this sick silver version though... Fuck it, maybe I’ll buy both. This style of hardcore isn’t necessarily my go-to, but then again I’m not really sure how to stereotype this record into one of the sub-genres of hardcore. Some elements of the band remind me of WASTED TIME. Their styles are similar, and both bands go hard as fuck. I am not well-rounded on 80s USHC so I have no idea what to compare it to when it comes to the classics, but I am sure they have plenty of 80s influences. This Norfolk crew always seems busy with their projects, so I am sure RECKONING FORCE will lay down another hot ass slab for our turntables sooner than later, and I can’t wait. Alright, thanks for reading. If anyone from RECKONING FORCE is reading this, what up mofos!!! Thanks to everyone for the support. Peace!

Greetings everyone and thank you for clicking on our corner of the internet. As always, it is appreciated. Mixed emotions this week. I was disappointed that my Reds couldn’t win the league on Sunday—we finished one point behind Manchester City in the end but kept things in the balance up to that final game and still have a Champions League final to play in Paris against Real Madrid on Saturday, so a third trophy could be possible this season. This though pales in importance to the news stories that we in the US are enduring currently. More mass shootings this week as children and innocents pay the price of “Freedom” so that dumb fuck gun nuts and Republican Nazis can stop the Libs from taking away their precious guns. Because we all need an assault rifle and arsenal at home, don’t we? I thought the “good guys” with guns were supposed to stop the shooters. Not so much. So, like I say, mixed emotions this week but one way to keep the blues at bay is music, and this is what we are all here for. Let’s talk about records, shall we?

Firstly, though, I did just want to say that I have been working a little more in the store these past few weeks helping get John Scott acclimatized and it has been a lot of fun working alongside him. Having a younger dude here is cool because he is turning me on to stuff he knows and likes, and I can return the favor by hipping him to cool stuff that comes through that I know about. Having some years under my belt has meant that by default I have been exposed to a lot of music and knowledge and it’s great to pass a little of that on. As an evangelist of music, there is nothing more pleasing than turning on people to the good shit. I also enjoy turning over the turntable controls to someone else and hearing what they select. John Scott has great taste and likes Jazz and Blues (among other things) and that’s just fine with me. Anyway, it’s great having him working with us and it’s also great having Angela on the team too. You couldn’t ask for two cooler co-workers who share our collective passion for music. Pay attention to them. They’ll point you towards worthy additions to your music library.

This week as I was going through boxes of records from collections we had bought I found a couple by the guitarist Harvey Mandel which were the last two I needed to complete my collection of his work. I generally prefer to just wait until records find me or I find them and could have completed my Mandel discography years ago if I had wanted to, but where’s the fun in that? As John Scott has been enjoying some Rolling Stones and Blues and Jazz Fusion here in the store whilst we have been working, it seemed like talking about Harvey Mandel would be very appropriate.

Mandel, born in Detroit and raised in Chicago was a guitar virtuoso who by his late teens was already a professional musician gigging and recording blues music in the early to mid-sixties. He played firstly with Charlie Musselwhite and went on to play with Canned Heat, Barry Goldberg, and John Mayall, and was even considered as Mick Taylor’s replacement in The Rolling Stones. He did play on their Black And Blue album however, contributing lead guitar to the song Hot Stuff.

Going back to the 1960s Mandel had relocated to San Francisco and exposure there led to a deal with Philips where he cut three solo albums beginning in 1968 with Cristo Redentor. That was the record that exposed me to him as an artist. I was drawn to the great artwork firstly and to the fact that he was playing versions of Cristo Redentor and Wade In The Water, two of my favorite songs. He kills both and that record became a regular in DJ sets. They are good tunes to start the night off with. Bluesy, psychy, jazzy instrumentals, as are the rest of the tracks on the album. Good stuff and recommended. Mandel is credited with an innovative approach to his guitar playing and uses various techniques like slide, delay and tapping to achieve his sound.

1969 and 1970 brought two more albums on Philips, Righteous and The Games People Play. On these records, vocals are added on some tracks and he also ventures into some Latin and Brazilian themes as well as the psychedelic blues. He does a nice version of Jive Samba for-instance. A scan of the musicians playing on these records reveals some quality names, including drummer Earl Palmer, which should be enough to prick the ears of any crate digger who knows his onions.

Mandel resumed his solo album career with the Janus label in 1971 and the record Baby Batter (probably not the best title) and went on to cut three more albums for the label. The Snake in 1972, Shangrenade in 1973 and finally Feel The Sound in 1974. It was these last two that I was missing in my collection that we just got in. They’re not expensive or rare per se and these copies had some light wear but played just fine.

I really like the Shangrenade LP. It has much more of a Jazz Funk vibe to it than the previous records. The drummer kills it throughout. Very funky. Mandel still has his psychedelic blues style going on but gets into a much more modern sound for this one and you can hear him using the tapping technique. The follow up record the next year, Feel The Sound Of Harvey Mandel continues the Jazz Funk feel. There are some changes in personnel, but the sound is similar with perhaps one or two more vocal cuts on that one. Both records have colorful and interesting artwork, though. Shangrenade is literally a painting of a mountain valley scene with folks frolicking in the meadows with a huge hand grenade sitting in the middle. On Feel The Sound the cover sports a painting of a red-haired woman lying naked in a botanical garden scene. Nice.

As I have only been listening to these last two records for a couple of days, it is still early days to pick out a favorite track, but I have added the links there for you to go take a listen to and decide for yourselves. I think there will be some of you out there that will dig hearing these albums and if this is your first-time hearing about Harvey Mandel, then you are in for a treat and will have fun exploring his records. Great thing also is that they won’t hurt your wallet too much. I don’t think you should have to pay more than $20 for a copy of any of these, perhaps because they are still somewhat under the radar, but whatever, grab ‘em when you see them.

Okay friends, that’s all from me. Thank you for reading and enjoy your week ahead.

Cheers - Dom