What’s up Sorry Staters?
 
I don’t know what’s going on with me lately… Sure, I wrote about some Mexican new wave last week, but beyond that, I do feel like I probably have sounded awfully sentimental for the last couple weeks. I hope all you reading this don’t mind me waxing nostalgic about hardcore. Is this what happens when you get to a certain age? I don’t think I’m unhappy with my current existence in the punk world, but whether it’s been talking about Big Boys or Career Suicide, I guess I have been reminiscing like a dum dum.
 
I’ve been listening to DRI a lot again recently. I know, big surprise, right? I’m pretty sure that about a year ago, I wrote about DRI in the newsletter when I finally scored an og copy of the Dirty Rotten EP. I’m worried that I’m just gonna regurgitate a bunch of the same shit I said in that newsletter from last year, so I’ll try to make this fresh. By pure coincidence, as I realized I might be repeating myself sitting down to gush about DRI, this young dude came into the store today with his dad. It was like the punk-metal universe was trying to tell me something! This dude must’ve been about 14 or 15, and he was wearing a vest just totally decked out in patches. And of course, right on the chest panel of his vest was a big DRI patch. I was like, “Hell yeah, kid.” I must’ve been about his age when I first became obsessed with DRI. While I was standing at the counter listening to this kid and his dad chat with Dom, it sounded like they go to gigs together… which is cool! I don’t recall ever going to see Circle Jerks and Negative Approach with my Pops haha, my dad is more into hard rock and metal. Then his dad bought a copy of Crossover, which admittedly is not my favorite DRI record. They’re not quite into the lyrical territory of “Don’t be tardy,” and shit like that yet, but even by this album, they’re already getting a little too thrashy for me. But THEN, the kid bought both Death Side CDs we had in stock. Didn’t matter that we didn’t have any copies on vinyl -- he was happy to buy them anyway. That got me stoked. He had never heard Wind of Pain by Bastard, so I told him to immediately go check that out.
 
Around the time I was first getting into DRI in high school, I was playing drums (badly, I might add) in my first real band called Feeble Minded. I recently stumbled across my old bass drumhead in my closet, which I’ve held onto after all these years. The drumhead had our band’s logo on it. I hand drew that skeleton design when I was around 16 or so. I also burned the screen and screen-printed the logo onto the drumhead myself. I was also skateboarding every single day around that time. Damn, I used to do so much cool shit… What the hell happened? Haha.
 
Anyway, that’s all I’ve got to say this week. Go blast some Dirty Rotten Imbeciles, ya freaxxx. Speaking of which, a heads up for all you local punks: I’m putting out some DRI records this weekend for our used new arrivals. We’ve got an og 12” version of the Dirty Rotten LP going out. But if you crave that original format, I’ve also got a 7” version with all 22 tracks crammed onto a bite-size platter for ya (not an og, of course.) Plus, tons more killer used punk 7”s!
 
As always, thanks for reading.
 
‘Til next week,
 
-Jeff

Hi Sorry State readers! Hope everyone is doing well. Or at least above average. I realized after the last couple weeks that I just jumped right in to the staff picks and never really introduced myself here. I will keep it brief. I’m Angela. I’ve been an avid Sorry State consumer for years and have accumulated some of my most prized vinyl here. I worked at two record stores a long long time ago in college, and then some more years passed and I became a psychologist. I’m also pretty unconventional, and nothing is more fun than working for a record store. Let alone my favorite record store, and with some really cool people. It’s a pretty ideal gig to be surrounded by music, talking about music, and also writing about it… which brings me to my staff pick.

The Neutrals Bus Stop Nights EP has been flying off the shelves here since it released. I keep a stack of them next to me because I pack them in so many orders! It really is SO good. It’s a straightforward, poppy, jangly, post-punk gem with super clean guitar work and complimentary vocals. Allan McNaughton’s Scot accent is apparent, but it comes to the forefront in the ridiculously catchy song, Gary Borthwick Says. This standout track was love at first listen. It’s a song about a bullshitter type of guy, with great lines like “Gary Borthwick is completely sure he played bass guitar for The Cure.”

The EP accomplishes a lot in only 11 minutes. It’s cohesive, and there’s a thoughtful dichotomy between Side A and Side B. The first side is fun and jangly, with clever punchy lines. Side B is less harmonious, and goes deeper, delving a little bit into new wave post-punk. On the song Pressure of Life, I got a late 70s Cure vibe (think of the album Three Imaginary Boys). The EP wraps up with my second favorite track, New Town Dream. The guitar speeds up, and the band delivers what I think is the catchiest riff and best drum beat on the EP. And then it’s over. You’re sort of thrown out of the car while it’s moving, but you’re not mad at it. You just want to get back in that car. So, by my calculation, you need roughly three spins to feel more satisfied.

So yeah, the only downside to the new Neutrals EP is that it ends. After my very first listen I thought, aww, that’s it? And I can’t think of a better indicator we have something special on our hands. Grab it! You won’t regret it.

Link below to check out the standout track “Gary Borthwick Says.”

https://staticshockrecords.bandcamp.com/track/gary-borthwick-says

Thanks for reading!

Angela

Hello, and thank you for reading. Today I write about CONSEC from Athens, Georgia. They just released a new flexi on Futile Force. The label is operated by the vocalist of the band, Reeth. He actually recorded, mixed, and mastered this release as well! I became friends with the bassist of the band, Zach, when SCARECROW was down in Charlotte some years ago. (If yer reading this, what up ya’ll!) I don’t think CONSEC was a band back then, but I could be wrong. Anyway, Zach hit me up a few months ago to book CONSEC and unfortunately the date couldn’t work out on my end. I was lucky enough to hear the flexi tracks at this point it time as well. But after hearing it I was really bummed the show didn’t work out, cos I think this shit fucking rips. We did have the privilege of bringing them up here to gig with ZORN soon after though, so I got to see ‘em rip in real life in the end. I’ve been excited to get these in stock since I heard it, and the finally arrived today after some postal delays. Definitely check out the link I dropped above and grab a copy if you dig it! I look forward to what they do next. Cheers, and also fuck everyone that I think sucks.

Greetings Sorry State gang. How are you all? Did you have a great Record Store Day this past Saturday? We hope so. We had a great day here at the store even though we couldn’t please all of our Taylor Swift fans waiting in line. However, that release aside, we did well in getting the other records to those that wanted them. If you stopped by or ordered from us, a big thank you for your support. We appreciate it. I thought this year's RSD list was a good one although I wish some releases that came out in the UK were available here. I was happy with my grabs and perhaps as time moves on I’ll find those missing odds and ends. I wish the same to you for whatever you are hunting for.

This upcoming Saturday is International Jazz Day in case you didn’t know. A global celebration of all things Jazz. My DJ friends over at The Face Radio will dedicate the whole day to special Jazz filled broadcasts as our part of joining the fun. I’ll be working here at the store that day, but there is a Jazz record that I have been enjoying that I recently picked up which I would like to tell you all about.

The Wayne Powell Octet: Plays Hallucination. Lo-Lace Records. 1965 / Mo-Jazz Records. 2022

Fellow DJ pal Tim Spurrier turned me on to this one when he made it his featured album on one of his Soulside shows recently and I must thank him. He got his hands on a limited reissue that Mo-Jazz Records had just put out. I was impressed and immediately secured a copy for myself. I’m so glad I did as this type of record is right up my Strasse.

Originally released as a private press album on the Lo-Lace label out of Los Angeles in 1965 it is rarely seen, and I don’t feel too bad for not having heard of it.

Wayne Powell played vibes, inspired by Lionel Hampton, and put together this combo for gigs and recorded this one album with those players. The record is a nice mix of mood and tempo. Jazz with a healthy dose of Rhythm & Blues. Pop in places and deep and spiritual in others. The main selling point for me though is when the band get into a Mod-Jazz mood and remind me of my favorite Ramsey Lewis, Billy Larkin and The Deligates, and Harold Johnson Sextet records or like on the song Duckin’ similar to The Googie Rene Combo’s tune called Smokey Joe’s La La that is a Mod classic and was sampled nicely by DJ David Holmes for his My Mate Paul track. Compare the two yourselves and see what you think.

Another cut in this style is the song Tootsie, which obviously predates the Dustin Hoffman film by quite a few years. I doubt very much that there is a connection. Interestingly though, is that on the 45 that was released back in the day the song was titled Tutzy. I wonder how and why the change in spelling came about or whether it is just something as simple as a typo. If anyone has the answer, get in touch.

As mentioned, Wayne Powell played the vibes and I just love the sound of a vibraphone in jazz. Roy Ayers, Cal Tjader, Milt Jackson, Lionel Hampton, Dave Pike, Terry Gibbs, Bobby Hutcherson, Mulatu Astatke, Gary Burton, et al are household names round my place and represented well in my collection. So, it was a bonus that vibes feature on some tracks. Title track Hallucination allows Powell to show his chops. It’s a beautiful track helped along by some tasteful Latin conga and tidy piano playing, not to mention great trumpet and horns and a guitar solo rounding out the sound.

Guitarist Don Kobayashi and trombone player Clint Arnold share the spotlight on album closer Quernemoen, another strong cut. The tempo here is more late night or lazy sunny afternoon. A nice plodding bass line and brush work from the drummer help give the track the finishing touches.

There are two cuts with a slow blues feel to them, Blue And Easy and More Blues, and two more danceable R ‘N B numbers called Jurkit and Brown’s Bucket, which are fun. The whole album has a strong R ‘N B feel rather than just straight jazz, and that part appeals to me. Additionally, the jazz component is more of a big band style than a small combo and for these tunes that works.

The only thing missing would be some vocals on one or two tracks. Generally, I prefer without, but I could see a good singer tackling some tunes here if they wrote lyrics.

Also of note are the typos on the sleeve. I must assume that Mo-Jazz reproduced the original exactly, and those mistakes were left unchanged. Right? Other than the Tootsie/Tutzy spelling difference between the single and album, which seems intentional. Regardless, who cares? It’s the music that matters. I certainly won’t let that bother me when the music is this good.

Mo-Jazz made this reissue a limited pressing of just 500 copies, so if I have whetted your appetite I wouldn’t hang around on this one. Stateside dwellers might have to stump the Euro shipping charges, though.

Jazz music still has so much to offer the world. Recordings like these that are over fifty years old are being discovered and enjoyed by a wider audience and reaching different generations. I am always excited when I hear something old like this for the first time. Especially when it ticks so many boxes. So, pour yourself a drink and imagine you are in a Los Angeles night club circa 1965 and nod your head and tap your feet to the cool sounds of The Wayne Powell Octet.

Cheers! Until next time - Dom

The Apostles: Blow It Up Burn It Down Kick It Till It Breaks 7” (self-released, 1983)

Like my staff pick from last week, this 7” by the Apostles is another one I removed from my want list recently. Patience has always been the name of my game with record collecting. When someone recommends something to me or I hear about it, rather than rushing out to grab the first copy I can come across, I add it to the want list and wait for favorable terms to present themselves, whether that’s a copy from a US seller, an off condition copy for a bargain price, or the all-too-rare screaming deal. Occasionally, I break these rules and splurge (my impulse toward thrift is apt to dissolve when the item I want is in front of me, like at a shop or record fair), but my patience typically gets rewarded.

I added this 7” to my want list a few months ago when I was hanging out in the well-appointed artist lounge at Sorry eStates. (JK, I was just exchanging emails with a punk whose record we’re putting out from the drab, untidy confines of my windowless office.) Said punk mentioned this 1983 by the Apostles was one of their favorites so I checked it out on YouTube, liked what I heard, added it to the old want list. Eventually, the right deal came along and after a fraught journey from the UK to North Carolina, I finally had the EP in my hands.

I wasn’t a total stranger to the Apostles when I checked out Blow It Up Burn It Down Kick It Till It Breaks. If memory serves, sometime early in the history of Sorry State’s brick and mortar shop, someone (I can’t remember who… maybe La Vida Es Un Mus?) turned up dead stock copies of their 1986 LP for Mortarhate, Punk Obituary, and we carried them in the shop. I’m certain I listened to it, but I can’t remember how I felt about it and it didn’t move me enough to keep a copy for myself. I also knew the Apostles had a massive discography comprising numerous cassette albums, LPs, and singles. When a band has a huge discography, I’m apt to start at the beginning, but the many cassette albums and live tapes that preceded their first vinyl release made it difficult to figure out what one should consider the beginning.

As far as I can tell, Blow It Up Burn It Down Kick It Till It Breaks is the Apostles’ first vinyl release (though Discogs lists both it and Rising from the Ashes as having come out in 1983). The sound is eclectic even by anarcho-punk standards, landing somewhere between the more melodic sound of bands like Zounds and Crisis and the tougher, more hardcore anarcho sound of Conflict and Crass. For me, the standout track on this five-song EP is “Alien Asian,” which leans on an excellent melodic lead guitar line. The playing throughout is loose but powerful, with idiosyncratic touches like falsetto vocals and a lengthy drum solo at the end of “Pigs for the Slaughter.” I love how the Apostles can sound like a messy racket most of the time, but interesting and memorable bits frequently emerge from the din.

I also must note the EP’s awesome packaging. The foldout poster sleeve is pretty much de rigueur for anarcho punk, but the Apostles make good use of the format. The giant foldout is dense with text and imagery, much of it reproduced on such a tiny scale that it’s barely legible. You get the usual assortment of underground comics, lyrics, and political screeds along with some spicier content, like public callouts of other scene members and instructions for making petrol bombs and breaking into buildings (presumably for squatting). You get the impression the Apostles were bursting with ideas. I wonder if the other releases in their massive discography are similarly dense?

Blow It Up Burn It Down Kick It Till It Breaks takes me into the Apostles’ world so effectively that I’m eager to explore more of their discography. (As a devoted fan of the Fall, you might guess I have a weakness for bands with huge discographies and a proclivity for immersive world-building.) The small amount of research I’ve done on the group leads me to believe Blow It Up Burn It Down Kick It Till It Breaks might be one of the more straightforward releases in the Apostles’ discography, but if anyone has tips on what to explore next, I’m all ears.

Pitva: S/T 12” (Static Age Musik) I spent the first several listens to this Pitva record just trying to wrap my ears around it, figuring out what was going on. Really, I’m still in that stage… what is this strange record? The easiest way to describe Pitva might be to say that they live at the intersection of hardcore and noise music, but that can mean so many things. Pitva isn’t hardcore with noise elements laid on top like Bad Breeding (whom I also love), and they aren’t noise music with a hardcore pulse. Maybe they’re not hardcore or noise music at all, as Pitva seems to arrive at their sound by some kind of weird alchemy. The one record in my collection that Pitva reminds me of is the first Iceage LP, another record that had me wondering, “is this hardcore? and if not, then what is it?” Perhaps, like Iceage, Pitva will abandon the chaotic and abrasive elements of their sound and focus on the icy atmospheres and ghostly hooks, but it’s hard to image that based just on this record… the abrasiveness is too baked in. Despite having spent a lot of time listening to Pitva since this record landed at Sorry State, I feel like I’m still not really hearing the music, because I’m still staring agog at the turntable, wondering how they arrived at this sound. Where most music seems to be built up by a gradual accretion of rhythms, melodies, lyrics, and other musical elements, Pitva sounds like they started with a block of white noise and chipped away at it with chisels, axes, hammers, hydrochloric acid, and other caustic agents. This isn’t music you dance to or sing along with, it’s music that inspires wonder, that transports you to a place that’s strange and uncanny.

Straw Man Army: SOS 12” (D4MT Labs) I love so much music that I rarely have a definitive album of the year, but Straw Man Army’s first LP, Age of Exile, was that for 2020. That album sounded so fresh, its impact intensified by landing during one of the scariest parts of the pandemic, when everything suddenly seemed so real and terrifying. Punk has such a long, complex, and exciting history and many of us are so immersed in it that contemporary bands can seem strangled by context. Maybe it’s the way the bands present themselves or maybe it’s just the way I listen to them, but thinking too much about how a band fits into punk’s history or where their allegiances lie within today’s complex scene politics can get in the way of actual communication, of an artist sending an important idea to their listeners through this potentially magical medium. Somehow Straw Man Army got around all that on Age of Exile, making music that sounded important and relevant, like someone whispering something into your ear that you know is going to change your life forever. And they keep that magic going on their second album, SOS. Things are a little different this time, though. We know Straw Man Army a little better (we also got the Her Majesty’s Ship OST in 2021, which showed the band at their most daring and experimental), and they reveal even more sides of themselves on SOS, most potently on the climactic track “Beware,” which finds their urgent and confrontational anarcho punk drifting toward gentle and melodic pop. Their lyrics feel as real and as important as ever too, a portrait of a planet and a species in turmoil, unable to push back against their histories’ relentless momentum. This is why we’re here folks, for records like this.

Hi Sorry State readers! So this week I felt compelled to write about the Wet Leg release. I was initially very intrigued and confused by the hype surrounding it. I couldn’t help but notice that people across different demographics with very different music tastes were touting this album all over Instagram. Not to mention, Wet Leg had already been gaining commercial recognition as a front runner in the UK billboard race.

And I gotta say, I really like it. Wet Leg S/T is a bratty, humorous guitar pop album with catchy hooks, and riffs and fuzz reminiscent of indie rock’s past. It also feels retro at times. It’s not super groundbreaking, but it’s super fun.

I’m really into riot grrrl type shit, and Wet Leg isn’t that, but it still has enough edge to keep me engaged. The confidence with which they deliver their lines is pretty infectious. It’s probably the Gemini in me, but I’m attracted to the unapologetic emotional confusion present in the songwriting. It’s like telling someone “fuck you! I hate you!” but motioning for them to call you later.

And given that it’s an indie album, you’re for sure getting some “adulting is hard” content, whether it’s sincere or making fun of the young millennial stereotypes. You hear this in the lines “I went home all alone. Checked my phone. Oh no. Oh my God. Life is hard. Credit card. Oh no. You’re so woke. Diet Coke.” Yeah, it’s silly, but it’s still funny and pretty on point.

I will say that the album’s tempo can be a little samesy in the first half of the album, but there are a couple gentler, wispier ballads toward the latter half to break things up. Personally, I happen to like an album that you can depend on to keep the same high energy, and won’t just abruptly bring you down just as you’re gaining the momentum to do things.

Chaise Longue is the big hit on the album but check out Angelica, Loving You, and Piece of Shit. Songs like these may help to ensure that Wet Leg isn’t buried in the one hit wonder graveyard anytime in the near future.

So again, why is this album, in a sea of indie releases, getting so much attention? The best that I can come up with is that it’s not just a fun album. It’s a fun album that just happened to come along at the right time, and timing really is everything.

Link to one of my faves (Angelica), the fourth single from Wet Leg:

https://youtu.be/8qWHthLQ1Uw

Hello and thanks for reading. Today I will be here with the quickness for real as I am writing mad last minute. With Rachel leaving, me getting Covid, and training our new team member Angela I found myself deeper in the weeds than ever before. Luckily Daniel came to motherfucking rescue and whooped ass at everything fulfillment related. Anyway, today I write about INSTRUCT. A month or so ago I was writing with someone I haven’t talked to in ages. (If yer reading this, what up Devin!) We both used to live in the Midwest and moved to separate coasts. I was obsessed with his Kansas City band NO MASTER so naturally I was very excited to check out INSTRUCT when Devin mentioned he had a new band. The styles aren’t really the same, aside from being filthy fuckin’ hardcore punk. INSTRUCT has a definite metallic edge, while NO MASTER was pretty much on-the-nose DISCHARGE style. It appears INSTRUCT are just making music they want to, rather than what seems “cool” or hyped now days. I guess what I mean is it rules to hear some disgusting, not-give-a-fuck crust amidst all the contemporary hardcore releases coming out these days that all have the same formulas. While I am here to write about INSTRUCT, I would check out the NO MASTER link I dropped as well, both tapes rule. Thank you for reading, and thanks for everyone’s support. Peace!