What’s up Sorry Staters?

Sometimes, I’ll somewhat involuntarily step out my front door and take a walk around my neighborhood to clear my head. This usually takes place around midnight or so, the streets are always empty, and I often wonder if my neighbors notice me creeping alone down past their houses. Maybe I’ll get a t-shirt that says “Won’t rob you.” I tend to listen to music on headphones while I’m wandering around. I wish I could say that my listening habits on these walks were more adventurous. Maybe this is why, as the years continue to pass me by, my brain continues to devolve into mush from lack of stimulation. I usually throw on albums that capture a certain mood and that are more than anything… “comfortable” to listen to. Lately, I’ve been listening to It’s A Shame About Ray by The Lemonheads to the point of ad nauseam. Like… a lot. Funny enough, unbeknownst to me and by pure coincidence, It’s A Shame About Ray just got reissued for its 30th anniversary. There’s a “standard” version and a “deluxe” version, both of which are way too expensive.

The Lemonheads are an interesting band. It’s A Shame About Ray is clearly their standout commercial success, but I was surprised to discover that their earlier releases on Taang! Records sounded more like a New England take on Husker Du or something, especially with the alternating lead vocals between Ben Deily and Evan Dando. But for whatever reason, there’s something uniquely special about It’s A Shame About Ray. It’s a decidedly softer and more light-hearted record. There’s sense of ease and breeziness, but with just a hint of melancholy buried underneath the surface. No more Ben Deily on this record, but I also just find Evan Dando to be such a magnetic, enigmatic character. I’m really not sure… was he a sad person? I’m not sure I think he’s like a genius or anything. I almost kind of find him frustrating, but also sort of accessible? As opposed to the posturing of grunge icons of the era, he seems like a pretty cool and genuine guy. He seems like a dude you could know that lives just down the street. His songs to me have more in common with like a Neil Young than say Kurt Cobain. There’s something about the easy, breezy, laid back mood of this record that really captures a true slacker’s spirit. But while maybe the songs on this album are not so bombastically lush and impressive, I think Dando writes songs that are beautifully poignant and understated. But seriously, the dude is so goddamn handsome in the traditional sense that what does he have to be depressed about? Wish I could relate. Sometimes I wish I was more intense and viciously, unrelentingly passionate. Unfortunately, here I am wandering around at night feeling lost and unmotivated, which is maybe why I’m gravitating toward this record. Lately, feeling more and more uncomfortable with my disposition in this existence as I meander around my neighborhood in the dark, I guess I do kinda feel like a ship without a rudder. I know, pretty corny.

In 1992, this record felt unfairly overshadowed by The Lemonheads becoming quite well known for the band’s cover of “Mrs. Robinson” by Simon & Garfunkel, which was featured in the Wayne’s World soundtrack. The other night, the first notes of “Rockin’ Stroll” kicked off right as I stepped out my front door. Then when I returned, almost like the record was timed perfectly for my midnight stroll, the quiet acoustic notes of “Frank Mills” faded out right as I turned the key to unlock the door and I cut off the music just before “Mrs. Robinson” would’ve auto-played as a bonus track. Seemed fitting.

Anyway, hope I didn’t bore you with my musings of 90s-fueled nostalgic melancholia. That’s all I’ve got this week.

As always, thanks for reading.

‘Til next week,

-Jeff

The other night we canceled Scarecrow practice last minute so we could drink beers and spin records with a bunch of our hardcore-loving homies. I had a great time, and I was stoked to rifle through other people’s boxes of old hardcore 7”s. Of course, there were some items that made me very jealous, but it also made me come home and see my box of 7”s I’ve bought in the past year or two with fresh eyes. In honor of that, here are thoughts on four 7”s I’ve listened to recently.

Desperate Children flexi (1986, Joy Riders Records)

One-off flexi from this little-known band from the noise-core hotbed of Kyushu, Japan. Like Gai and Swankys, there’s more than a little bouncy, melodic punk in Desperate Children’s sound. While they don’t have the over the top intensity of those two bands, the two a-side tracks are odd enough to hold my attention. The b-side track puts the melody center stage, and even if you prefer the noisier stuff, you gotta agree with the sentiment of the track’s title: “I Love Punk.” I always loved the cover art on this one too… the crispness of the graphic design is eye-catching and makes an interesting contrast with the music.

Śmierć Kliniczna: ASP / Jestem Ziarnkiem Piasku (1984, Tonpress Records)

A handful of old Polish punk bands got EPs out on the state-run Tonpress label, and I always pick them up when I can. They’re usually cheap, and the bands are often super interesting. Like Dezerter, Śmierć Kliniczna had already been a band for several years when they released this single, and their sound is distinctive and complex… they can play their asses off! Of course I don’t know what the lyrics are about, but the dark complexity of the music reminds me of outsider hardcore like the Crucifucks or Power of the Spoken Word. Very cool.

The Expelled: No Life No Future 7” (1982, Riot City Records)

“Dreaming” is the best song in this little batch of 7”s that I’m looking at today, a dark and hooky track with memorable guitar and vocal melodies. The other two tracks are more aggressive, but the playing is looser. That gives these songs an off the rails energy that I like, but the hooks don’t land as hard as they do on “Dreaming.” I think I’m going to spin that again right now.

Riot Squad: Don’t Be Denied 7” (1983, Rot Records)

I’m a sucker for a beater UK82 picture sleeve… something about these records just feels right when they’re all bent and dog-eared like this one. This is the third Riot Squad single I’ve picked up, nabbing their first two records at shops over the years. I think Don’t Be Denied is the best one, though… just classic-sounding UK82 punk with chanting vocals, simple riffs, and a shit-ton of punk attitude. They put the mid-paced song up front and it’s cool, but it’s the three rippers that form the balance of the record that get me going. Exploited fans are particularly encouraged to check out this EP.

Agoni: En Röst För Fred 12” (De:Nihil Records) Sweden’s De:Nihil Records brings us the collected recordings of this early Stockholm d-beat / hardcore band. While Agoni later changed the spelling of their name to Agony and released a thrash metal record on the UK’s Under One Flag Records, they’re perhaps best known to punks for touring the UK with Anti-Cimex in 1986. I knew their name from flyers for that tour, but they released two demos in their earlier d-beat style and appeared on a couple of very hard to find cassette compilations. Actually, the second of these demos is so obscure they believed it lost, but a friend of the band turned up a copy and it appears here, where most people will hear it for the first time. If you’ve heard that first demo, you’ll be pleased to hear the second demo is just as ripping. In fact, the two sessions are so similar that it’s easy to miss when it switches from the first tape to the second on this LP. This is raw, Discharge-inspired hardcore in the vein of Agoni’s contemporaries like Mob 47, Anti-Cimex, and Shitlickers… the good shit. If you’re a Swedish d-beat fanatic, you’re going to want to hear this… I’ve had side A playing on repeat since this arrived earlier this week. The b-side features their third demo, where they transition toward their thrash metal style (I like these tracks, but they’re not the main draw here) and a live set from the d-beat era with a rough but listenable recording that captures the band sounding ferocious. The sound on the LP is great, and the gatefold features liner notes in Swedish. If you take the time to translate them (here is a link to an official translation the label provided us!), you’ll glean some interesting tidbits, like how they were frustrated with their drummer for not playing the d-beat exactly like Discharge, how they recruited their guitarist when they spotted him at a pub with Discharge painted on his leather jacket, and how the bass player (who writes the liner notes) turned up to the second demo session to find the guitarist had already recorded the bass tracks (he quit the band in protest). If you live for unearthed obscurities like this, you won’t want to miss En Röst För Fred.

David Lynch: The Big Dream

The collection Daniel brought back from Denver is pretty freaking nuts. The amount of ‘grail’ items I’ve found… and we’re only about halfway through. All the Uncle Acid and Electric Wizard you could want? Check. Super special edition black metal? Check. A ton of Harvey Milk records? Yep. Dude even had some weird educational/spoken word/field recording records I’ve been eying on Discogs for a while. A lot of it is special editions way out of my price range, but I’ve already snagged some stuff I’m fucking ECSTATIC to finally have in my collection.

I don’t know if my coworkers heard the awful sounds that came out of my mouth when I found The Big Dream in a stack of records I was pricing the other week, but it was definitely loud and probably embarrassing. I’ve loved David Lynch ever since I watched Eraserhead in high school and binged his short films for weeks afterward. That led me to Twin Peaks and his other movies, but as I switched my major from film to printmaking while in college, I found out Lynch is also quite the accomplished lithographer! I think all of Lynch’s work is very distinctly his style, but it’s hard to put a finger on what makes something Lynchian. One of those things where I know it when I see it.

The same goes for his music. In college, a friend was playing The Big Dream in their car and I remember saying ‘this sounds like the soundtrack to a David Lynch movie’... lo and behold, he’s the singer. The whole album is ethereal and creepy. In my head, Twin Peaks is the perfect backdrop for this music. For being electronic and vocoder-y (I don’t even know if he actually used one), there’s something anachronistic about this entire album and I love the line it straddles. I don’t know any other artist besides David Lynch who could make music like this and have it work so well. When I tell people his singing voice is similar to his talking voice, I see a lot of hesitation, but LET ME TELL YOU, it works so well! If you haven’t listened to any David Lynch music but are a fan of his visual art—you have to listen to this shit.

Hello and thanks for reading. I’ve been moving the past few weeks, very slowly. It’s an hour drive one way, so I only have good opportunities on the weekend. Most of my belongings have moved but only a small portion of my records are at my new spot, which is why I said “very slowly,” haha. I move just a few boxes of LPs at time, so my selection is mad limited at my new crib. I’m pretty much just diving back into shit I haven’t jammed in ages. I just got done with that first WASTED TIME compilation, and now I’m moving onto my favorite (and only) SPITS LP. I didn’t get into THE SPITS until 10+ years after this came out, but I probably would not have liked it until later in life. I remember when my friend from ATX came to visit soon after I moved to Raleigh, and he called me poser for listening to something that was not blazing HC hahah... I first fell for this band when I heard “Let Us Play Your Party” and eventually I tracked this LP down. While that song closes out the A-side of the record, I really love the B-side. It’s actually just ended, and I’ve dropped the needle on B1 again.

Anyway, we have plenty of great records (and tapes) to write about, but I will embrace my inner fanboy and write about this TERVEET KÄDET book. I’ve raved about this label Finnish Hardcore in several Staff Picks, so it’s no surprise I am thoroughly impressed with their latest release. While this book is not loaded up with interviews and liner notes, it is brimming with fucking sick (and HUGE) photos. There is still bits of info surrounding each photo, however. I am grateful again for the English translations, cos there is some cool info/trivia about TERVEET KÄDET during these early years. The book itself is over 100 pages long, and it’s hand-numbered out of 600 copies. I could be wrong, but I think most of these photos have never been released. Some of them I recognized from TK records though, and of course they mention this in the book. I know for certain this book features photos by only one person, Heikki Kemppainen, spanning from 1980 to 1984. Unfortunately, I don’t know much about this person, and there is not much to learn about their history in Tornio, Finland from what the book says in the English translations. Alright I’m jamming SKITKIDS ‘Onna For Pleasure’ now, and it’s time for me to get back to work. If you are a fan of classic Finnish HC or TK in specific, I would grab a copy of this book cos you will not be let down! It’s not like that Sakevi book that has a shit ton of garbage that came later that no one gives a fuck about, haha or that one F.O.A.D. book where the last like 15 pages were just ads from the label... the name of that book escapes me at the moment. Anyway, thanks for reading, peace.

What’s going on everyone? I write to you today as Jeff and I listen to the theme from Rocky and Beetlejuice playing. Some 45s that were brought in yesterday. The Rocky soundtrack with music by Bill Conti is a goodie and not to be slept on. Anyway, I didn’t really have any kind of write up on a favorite album to share this week, but did want to quickly tell you about an interesting 45 that I have been playing.

The record is credited to Made For TV, the song is called So Afraid Of The Russians, and it was released on Conflict Records in 1983. Recorded in New York City and produced by John Cale who also is credited on guitar, synth percussion and transatlantic telephone. Cool.

As someone who grew up in the shadow of the cold war where drills were held in schools to prepare for nuclear attacks and the government was telling us how to protect and survive, I had a weird fascination with Russia. The 80s were the Reagan Gorbachev summits and Frankie Goes To Hollywood singing Two Tribes, CND protestors, the Greenham Common Women’s Peace Camp, Russian spies and poisoned umbrella spikes. James Bond and Rocky all took on the might of Mother Russia. I later visited the country several times in the 1990s.

If you have watched the show The Americans, you’ll know what I mean. They did a great job of recreating that time in history for those too young to have lived through it themselves.

So, on this track, So Afraid Of The Russians, the general theme is the Russians are spying on us and all the paranoia that causes. It’s a good post-punk type of production with added intercepted Russian radio messages for good measure. On the B-side, we are treated to a cover of Unknown Soldier by The Doors. All housed in a sleeve with a painting of the Kremlin or similar Russian architecture on one side and a guy wearing a gas mask on the rear. It’s all good stuff and of course still just as topical. The John Cale connection is cool and yesterday was his 80th birthday. His body of work is full of great recordings, and this is an interesting part of it. Check it out and see what you think.

Cheers- Dom

Gauze: 言いたかねえけど目糞鼻糞 12” (2021, XXX Records)

Recently, copies of Gauze’s 6th album hit US shores. If you follow punks on Instagram, you’ve likely seen people showing off their copies. My sincere apologies to anyone who was hoping to get a copy from Sorry State. I dropped the ball and didn’t look into getting copies until it was too late, but hopefully we can rectify that in the future and carry the next pressing. Luckily for me, I could order a copy for myself from the venerable Velted Regnub distribution.

Much like when Gauze released their 5th album, the reactions I’ve seen online have been mixed. Lots of people are excited about this new chapter in Gauze’s legacy, but there are always haters. I’m not sure what people could be looking for in a Gauze album that they don’t hear here, but I love the record. I’ve seen several people say that the first song on the record is whack but the rest of it is good, but when I listen to the record, I can’t for the life of me figure out what’s so different about the first track. Maybe I’m missing something?

The word I keep coming back to when people ask me my thoughts on this album is “anthemic.” The anthemic qualities of Gauze’s music have always been cut off to me as someone who doesn’t speak Japanese, but I can tell by the way their fans sing along when I watch videos of their shows that their songs have always been anthemic. However, this new album seems to give the vocals more of a spotlight than previous records, with even a sung a capella part. Unexpected, but brilliant as always, if you ask me.

While I’m still formulating my thoughts on the record, I thought it might be interesting to reflect on what makes Gauze so great. Those of us who love Gauze revere them, which probably confuses people who have little context for their music. If I didn’t know better, I’d chalk up my passion for Gauze to the way I encountered them. I mail ordered a copy of their 7” on Prank Records when I was in high school, intrigued by the crisp graphic design and the fact that the band was from Japan. A year or so later at a show in Richmond, I complimented Jay from Hardcore Holocaust on his Gauze t-shirt and he encouraged me to buy a bootleg of GISM’s Detestation that had just come out. That record melted my brain as thoroughly as Gauze did, and a lifelong obsession with Japanese punk was born. I remember when I discovered eBay around 1998, one of the first things I did was search for Gauze records, and I ordered a very expensive import copy of their fourth album. As more information about Japanese punk hit the internet, I devoured everything I could and continued to expand my knowledge of the scene.

Back to Gauze. Even for those of us with a particular interest in Japanese punk, Gauze stands head and shoulders above other bands. Why? Here are four things I think contribute to Gauze’s legendary status:

Longevity

Having released their first recordings on 1982’s City Rockers compilation, Gauze is one of Japan’s longest-running punk bands. Their first album, 1985’s Fuck Heads, came out on the legendary ADK label, which was run by Tam from the Stalin. Their 1986 and 1991 albums came out on the equally legendary Selfish Records, the label that released much of the seminal music that shapes people’s understanding of Japanese hardcore to this day. Thus, Gauze is a throughline connecting almost the entire history of Japanese punk. Gauze’s longevity may mean even more for Japanese hardcore than it does for other scenes, given the deferential and courteous nature of Japanese culture and language. Also, while plenty of bands from the initial explosions of punk and hardcore are still going in some capacity, Gauze is one of the few who have done so with minimal changes in lineup and sound. Gauze has never put out a pop record, never made a video for MTV, and never deviated from hardcore’s narrow path. In other words, Gauze has never sucked.

Style

To put it simply, no band has ever sounded like Gauze. This is particularly true of everything they recorded after their landmark second album, 1986’s Equalizing Distort. When you drop the needle on a Gauze record, you know it is them instantly and without question. Further, while every semi-famous punk band has its imitators and acolytes, I’m not aware of any band that has cracked the code for how to write a song that sounds like Gauze. Plenty of people imitate Death Side or Bastard or Judgement with some success, but it appears Gauze is the only band that can make Gauze songs.

Mystery

Speaking of Death Side, Bastard, and Judgement, while all those bands have played reunion shows and even played in the US, Gauze remains indifferent to whatever the West might offer. Gauze toured the UK in 1989 (a live set performed in Scotland appeared as the b-side of their 3rd album) and played three US shows in 1996 (on this tour they recorded the Prank 7” that introduced me to the band). However, those trips seem to have satisfied Gauze’s international ambitions. While Prank wrangled a US release for their 5th album in 2007, finding physical copies of Gauze’s releases or seeing the band live has entailed meeting them on their turf. Even in Japan they seem to exist as a scene unto themselves, playing the same clubs again and again with seemingly no aim to expand their passionately devoted core audience. Press both in and out of Japan has been minimal, with the few Gauze interviews I’ve seen eliciting only curt and enigmatic responses from the band. In the absence of reliable info, legends about Gauze have proliferated in the rumor mill. My favorite of these is that Gauze practices consist of the band playing every song they have ever written without stopping, a feat of near-superhuman strength. Which brings me to my final point.

Musicality

Perhaps this could fly over your head if you aren’t a musician, but Gauze’s mind-boggling technical skill as players is a huge part of their appeal. Part of the distinctiveness of their sound is that few bands can play with anything close to their power and precision, which is more impressive since, at their gigs, they perform their songs in rapid-fire succession with no stopping in between. I’ve seen very few bands have the gumption to cover Gauze, and nearly all of those make it apparent why they shouldn’t have tried. While Gauze’s songwriting isn’t flashy in an Eddie Van Halen / Yngwie Malmsteen kind of way, they are mazes of sharp and dramatic changes in rhythm. Even remembering these changes must be a struggle, much less performing them with Gauze’s airtight level of precision. Not every hardcore band aspires to tightness, but if you have ever played in a hardcore band with that goal, Gauze is the unequivocal gold standard.

I’m sure other Gauze fanatics have their own relationship with the band, but those are some reasons the band remains so special to me. If you are lucky enough to be discovering Gauze for the first time, jump into their discography at whatever point you find most convenient. As I said, they have never sucked. Whether your jumping-on point is the rhythmic mazes of their fourth or fifth LPs, the classics Fuck Heads and Equalizing Distort, their punkier tracks on the City Rocker compilation, or something else, you’re going to get a taste of what makes this band so legendary.

The Drin: Engines Sing for the Pale Moon 12” (Drunken Sailor) I’d noticed a few people I trust hyping up this record by the Drin on Drunken Sailor, and I’m glad I took the time to check this out, because it’s a fantastic record. Originally released in a small cassette edition, Drunken Sailor plucked this gem from potential obscurity and gave it the wider release it deserved. Describing the Drin’s sound is difficult, because they don’t sound quite like anything I’ve heard before. I’ve seen a few people (including Will Fitzpatrick in the label’s official blub) mention Joy Division, but I feel like that does the Drin a disservice because they sound so completely different from the legions of Joy Division wannabees that have populated the punk scene for the past forty-odd years. Thankfully, you won’t hear any faux-Ian Curtis baritone vocals here, but you will hear a couple of tracks that have chord progressions that are familiar from Joy Division songs as well as some of the subtler elements of Joy Division’s sound, such as the heavily processed drum sounds and the steady motorik rhythms that powered so many of their greatest songs. But there are other ingredients in the stew too. I hear plenty of UKDIY pop in the Drin’s scrappy but accessible sound, and there’s a palpable (and non-cheesy) reggae influence that you hear in some of the heavy bass lines (see the standout track “Down Her Cheek a Pearly Tear”) and the frequent use of the melodica. It all adds up to a record that’s dense with distinctive atmosphere. Engines Sing for the Pale Moon really transports you to another place, and it’s a place I’ve been addicted to visiting ever since the first time I put this record on.