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The Massacred: Post-Mortem 7” (Active-8 Records) Active-8 Records brings us the debut EP from this UK82-style band from Boston. While Post-Mortem is the first Massacred recording to get wide distribution and the band has no online presence, I’ve had the sense they’ve been bubbling up for a while now. I saw them in New York last summer and they were shockingly good, playing with the power and confidence you typically only see from well-seasoned bands. Their vinyl debut continues the pattern, confidently executing a fully formed vision. As I mentioned, the Massacred plays UK82-style punk, and while it would be appropriate to compare them with the Partisans, Skeptix, or Ultra Violent, the band the Massacred makes me think of is the Exploited, but without the goofy shit and if every single track was as good as their best ones. The band is on fire, and while their songs might have a straightforward and traditional framework, they’re executed in a way that maintains the highest level of intensity without wavering for a fraction of a second. In particular, I can’t get over the guitar playing. There’s nothing flashy about it, but it’s a relentless barrage of lightning-fast picking that’s flawless without sounding robotic… though they don’t sound like them, the way the Massacred approaches playing their music makes me think of the almighty Out Cold. The Massacred has put as much care and attention to detail into the design and presentation of Post-Mortem as they put into the music, too. I love that, rather than the 2 and 3-song singles that were de rigueur in the UK82 world, Post-Mortem features 8 tracks at 33rpm, and like the early Dischord and Touch and Go 7”s it seems to be modeled on, it feels more like an album than a single. The packaging design is also perfect. As with the Public Trust record Active-8 released a few years ago, holding Post-Mortem in your hands conjures a similar excitement to many of my favorite early 80s punk artifacts. This just rules in every way.

What’s up Sorry State readers? It’s been a couple weeks since my last entry here. I hope everyone had a nice holiday season and has been enjoying the new year. I travelled over to Memphis to visit my family for the holidays and had a nice time just relaxing at home for a few days. We were in the area that got hit by that crazy winter storm and for a lot of the time it was under 10 degrees, so we spent a lot of time just hanging out by the fireplace. When I drove back here to Raleigh, I decided to just do the 11 hour trip in one go instead of splitting it up. I’ve always enjoyed long road trips, so it was honestly kind of nice just driving on my own for that long. I just listened to whatever music I wanted to and could stop and take a break whenever. I feel like I still had another hour or two in me by the time I got back to Raleigh at 1AM. I almost took a detour just to keep driving for the hell of it. I listened to a lot of different stuff during my drive back, but I definitely spent a lot of time listening to some good ol bluegrass, from Doc Watson, Stanley Brothers, Old & in the Way, and everything in between. It’s nice to hear about songs about visiting home in Tennessee or the mountains and towns you’re driving through. I happened to find this Doc Watson record a couple weeks ago and really enjoyed it. It’s on streaming services as well so I was listening to it during my trip. It’s from a live show recorded in 1967 for the Seattle Folklore Society and also features players Clint Howard and Fred Price. I really like the entire show, but some of my favorite tracks are Way Downtown, Slewfoot, and Rank Stranger. I always love the banter in between songs on these old live albums too. It really can make it feel like you’re there at the show. Anyway, I hope everyone has a great start to the new year, maybe listen to some Doc Watson if you feel so inclined.

Hi Sorry State fam! Hope you all enjoyed some time off doing things you wanted to do over the past couple weeks. I went to Ohio to spend some time with family, then made it back to Raleigh for the actual holidays. Riveting stuff. It’s good to be back. Let’s go.

I’ve been listening to Sluggo’s S/T record daily for a couple weeks. It includes their well-received debut EP, Contradiction, and their second EP, Eighty-Four. The latter has never been released until now. Smash the two together and you get Sluggo’s first (and only) full length.

I hadn’t heard of Sluggo, but I saw the words Cincinnati and hardcore on the hype sticker, and my curiosity was piqued. I’ve never thought about the presence or absence of a punk or hardcore scene in Cincinnati. I grew up five hours north in Akron, so to be honest I never thought much about Cincinnati, period. Sluggo brought me up to speed in a great zine that comes with the record. Their bio is really interesting, and there are a ton of old fliers from killer shows they played.

A couple of hardcore-loving teens (as young as 14 and 15) living close to Cincinnati had the epiphany that their idols, like Minor Threat, look for local hardcore openers. But there were no local hardcore bands in Cincinnati. Cincinnati was not void of a punk scene, but they weren’t playing the more intense, faster style that characterized hardcore. So Sluggo was formed, becoming Cincinnati’s first hardcore band, and positioning themselves to quickly get on some of the best hardcore bills.

Oh yeah, their music. This is a really good record that truly gets better with each listen. It’s a smart mix of hardcore and ‘77 punk. They strike just the right balance in their music with a few lighter, mid-tempo tracks on each side. Also, lots of stand-out bass riffs and drum breakdowns. The intensity behind the guitar playing is pretty impressive too, given their ages. Speaking of which, Sluggo’s admiration for Minor Threat fueled their decision to add a second guitar by their second EP. It’s cool to hear the sonic differences between the two EPs, but I wouldn’t say the dual guitar set-up made them sound significantly different. The record sounds pretty cohesive.

You will definitely hear the vocal stylings of Minor Threat on the songs Demise and Figure it Out. And although Sluggo sounds less angry, when they shout “figure it out!”, it sounds like their version of “did you fucking get it?” Get it?

Anyway, I really like the super catchy songs like Put it Off and Friends I’ve Made. The riffs and beats on the latter track remind me of early Ramones. The song is said to be inspired by Sham 69, and you can tell. The sickest bass award goes to hardcore favorite, What Happens Next. That particular song was the only part of Sluggo to make it on a label, as it was featured on a Mystic Records compilation.

Sluggo’s sound was entirely different from the hardcore style that would soon emerge out of Cleveland. Sluggo would be more like Cleveland’s chill cousin down south who wouldn’t steal your wallet and beat you with it.

The story of Sluggo has its share of drama that would lead to line-up changes and ultimately, their dissolution. They were a new young band quickly gaining attention and playing gigs with major hardcore acts (see Sluggo zine). This would probably overwhelm anyone, but most of these dudes were one foot out of puberty. Even if short-lived, Sluggo made an impact and some impressive material.

It would be a shame if they never got a proper release, even if was 40 years later. So, what does one do when faced with this challenge? Obviously, you’d swing by Steve Albini’s electrical studio for a proper polish and transfer, pass go, and collect your accolades. And probably some closure, too.

We don’t have a ton of these in stock, so I wouldn’t sleep on Sluggo. It’s a great listen and the bonus zine is really well done.

As always, thank you for reading. See ya next time!

-Angela

Hello and thank you for reading. Also, Happy New Year to all ye who read our newsletter. There are so many good things out right now, and I am really excited about the two new releases we are dropping today. Sorry State co-released the HIC SYSTEEMI cassette with the Finnish Hardcore label, and that is so cool to me!! We also have the LAMA cassette available they released at the same time. I know the cost is expensive cos it’s an import cassette, but the sound is pretty good, and the packaging is cool. The SIRKKA 7” we just released is so fucking good. They blew my mind with their debut cassette and I have been dying to hear what they’d do next. It’s awesome their follow-up is released on Sorry State! I’m actually surrounded by discs, download cards, and unfolded covers as I write this haha... only about a hundred left to go though. We met the vocalist Sanja while we were on tour in Europe. It’s a small world... the amazing driver for SCARECROW tour, Liese, is the person who did the front cover of the EP! They live in the same building, so cool haha.

Our first night of tour was in Münster, and we played with this band INFERNO PERSONALE, and they were awesome live! I had never heard them before, so I had no idea what to expect. It was a great way to start the tour. At the time I had no idea they had an LP coming out soon, and this LP is a fucking scorcher… I love the art too. I listened to it so many times, if you haven’t heard it yet check that link and grab a copy here. I got a copy immediately. Seriously it’s so sick. The cover is screen printed too, ahh. I need to stop talking about other shit, but there are so many cool things to mention, like the MASSACRED 7" on Active-8 Records. I’ve seen them once (or twice?) and they were so good live. I had never heard them before I saw them, so I was excited to see this record come out and the sound really translated onto the record.

Alright getting on with it... well actually going back to tour again, Adult Crash dropped this cassette from NUKIES while we were on the road. I heard only bits of it cos my phone speakers are complete shit, but every bit sounded so sick and I couldn’t wait to hear the whole thing on proper speakers. The first run of tapes sold out super quick, but luckily Sorry State was able to stock the second run! This release is like everything I want to hear in a band. They got the fuckin riffs, they are playing that beat I like, and they without a doubt have the capability to simultaneously rip and groove at the same time. I love the vocals too. The vocalist has their own distinct sound. The name is a bit cheesy, but I love that they embrace it with the equally cheesy artwork. It’s fucking awesome, 10/10 release. OK, that’s it then, thanks to everyone for the support and thank you for reading. I hope everyone made it through the holidays alright. Cheers :)

Hey there everybody, a happy new year to you. I hope all is well with you and that you had a fun holiday period. We’ve been rockin’ at the store and sending a lot of folk home with cool records, which has been great. A big thank you to all of you, whether you visited us in person or on-line. We really appreciate it and will do our best to get even more ace records onto your turntables in 2023.

As for a staff pick this week, I could go anywhere. Just like the crazy changing weather here in North Carolina, my mood switches from one day to the other and often from one hour to the other. Typically, when it’s cold and grey the music soundtrack is similar, but what with all the sunny days we have had, along with the recently finished World Cup, I have found myself listening to a lot more music that I usually associate with summer. Reggae, Latin and Brazilian music, for instance. This past week on Worldy, Matt and I played an all Brazil special to honor the recently departed Pele. If you checked out my staff pick from a week or two ago where I talked about a Brazilian music mix CD, and you liked it, then you may enjoy this show. I’d be honored if you gave it a listen.

On the Latin music front, I was reminded of a great record this week that celebrated its 50th anniversary last year and it’ll be that one that I’ll steer you towards this week.

Eddie Palmieri and Harlem River Drive: Recorded Live At Sing Sing. Tico Records. 1972

Just like any other person with ears, I am a big fan of Johnny Cash, and particularly like his two prison albums recorded at San Quentin and Folsom. Over the holidays, we had copies of those two at the store and I gave them another listen. Coincidentally, John Scott told me that he had been playing them on his drive back from visiting his family for Christmas. He’s a fan too. With that in mind, we discovered a great show that Johnny Cash performed in 1968 at the Carousel Ballroom in San Francisco, right between the release of those two prison albums. The show was recorded by Owsley Stanley using his unique verité style of recording. As the listener, you really feel like you are stage side in the audience witnessing the show as it happened. The show was recently released commercially, and I snagged a vinyl copy for myself. It’s an awesome set and captures Johnny Cash at a very interesting point in his life and in history. I highly recommend you investigate.

The prison system in the United States is truly a blight on the country, and back in the late sixties and early seventies the conditions were particularly bad. Nixon’s war on drugs and the mass incarceration that resulted was just beginning, but the prisons were already overcrowded with terrible conditions and with an already too high percentage of people of color. At Attica in 1971 tensions boiled over into a riot, resulting in over 30 deaths. It was just months later in that atmosphere when Eddie Palmieri took his Harlem River Drive group up the Hudson river to Ossining, NY and the infamous Sing Sing Correctional Facility to perform for the inmates and record this great album. He wasn’t the only act though to perform and record there. That very year, a young filmmaker was granted access to the prison to teach a film making class and the resulting project had, among other performers, blues legend B.B. King giving a very emotional performance to the inmates for a special Thanksgiving concert. You should look at the footage and see for yourself. B.B. King said at the time that this performance was one of his best and most memorable and special. Filmmaker David Hoffman has made the whole concert available, so click here for the link.

Another name that performed that year at the prison was a new up-and-coming artist by the name of Bruce Springsteen.

The Harlem River Drive group consisted of leader Eddie Palmieri, his brother Charlie, the core of Aretha Franklin’s then touring band, plus several major names in the Latin music and session scene. The group was named after the controversial highway that was built cutting through the streets of Harlem, allowing cars to bypass the streets and neighborhood, thus avoiding the realities of the ghetto. The previous year, 1971, saw the release of the self-titled album, a great Latin Jazz Funk Soul crossover record, which is rightfully still held in high regard today and will cost you at least $100 for a nice copy, although there are now some reissues available. The Sing Sing album doesn’t go for quite as much, but is just as worthy, as is the follow up second volume that was released a couple of years later. That one has eluded me in the wild and doesn’t seem to show up as much.

On the original volume, you get to hear four long extended songs, plus poetry read by Felipe Luciano and introductions from M.C.’s Joe Cain and Paquito Navarro, and most importantly the very enthusiastic response from the audience of mostly Black and Latino inmates. By the end of the last performance, they are whipped up into a fervor. That last song on the album, called Azucar, is pure fire, and it’s worth owning the album for that alone, although the impact is more significant if you have listened to the preceding songs and readings.

The recording captures a real moment in time, and one where the musicians, just like in the case with B.B. King and Johnny Cash, bring their A game. Palmieri, to his credit, continued playing prison gigs throughout his career, including twice at the aforementioned Attica.

You should check this album out if Salsa and Latin funk is your bag, and of course those classic Johnny Cash and B.B. King performances. All killer.

Have a great week and I’ll see you next time. Cheers - Dom

What’s up Sorry Staters?

It’s a New Year! Exciting, right? At least I know it’s already been off to a good start for me. I just returned from my trip with Public Acid. We played 4 shows, all with exceedingly long drives from one location to the next. But all the shows were so good that it was worth it. We started off in Cleveland. We played the very first gig hosted in this brand new warehouse space that is being run by friends of ours. It was killer. Yambag and Sorry State alumni Woodstock 99 also played. Then we were off to Toronto. My first time ever in Canada! The show was basically a Not Dead Yet offshoot. We played with our friends in Poison Ruin, and SHIT closed out the show and totally tore the roof off the place. Then we spent New Year’s Eve in Montreal. Played once again with No Fucker. Public Acid got playing after some technical difficulties, and the clock struck midnight while we were still in the middle of playing. So there were no big cheers to “Happy New Year” or anything, but the bar did have free champagne for us, which was nice.

Then our last show was in Boston. This was my first experience playing in a proper VFW hall. I guess technically they called it a “legion hall.” To be honest, I don’t really know what that means. There was a small bar in the middle of the hall where a bunch of old men were hanging out drinking Budweiser. Probably just scowling at all the punks filling up the place. The bartenders were super friendly, but there was a still a part of me that was thinking these people do NOT want us here haha. In the big open room where all the bands played, a giant American eagle sculpture towered above the drum set. Pretty funny.

By the time we arrived, we only caught a few songs of that band Intensive Care Unit. Then, The Massacred played. It was the record release show for their new EP Post-Mortem. To me, it always seems like Boston bands have a high bar for sound, presentation and the way they play. Tight as FUCK. I was watching the guitar player’s picking hand, and there was no triplet or fast picking played outta time. Military style. The same goes for this 7”. You can hear how well-executed it is. The gruff, barking vocals are commanding and the riffs are super catchy. It seems like they’re going for kind of a UK82 style, but there’s an element of how the band puts it together that still undeniably US hardcore. But even the sleeve looks like it could a release on Riot City or something… outside glue tabs, thumb cut, and all that. The stamped dust sleeve is also a nice touch. Beautiful packaging. Sorry State already had copies in stock by the time we got to Boston and played this show. Definitely make sure all you punks grab a copy from us.

Savageheads also played and were great, as always. The show was over by 10pm, and we decided to break up the drive so that we didn’t need to drive straight to Richmond from Boston in one drive (and in my case, then head to North Carolina after that). We hopped in the van and discussed our options. We talked about possibly staying in Philly on the way home. I dozed off in the van expecting to take a shift driving if someone got too sleepy. I woke up who knows how much later in a McDonald’s parking lot. One of the dudes in the band said, “Guess what? We’re in Virginia.” Without knowing it, I found myself in Richmond at 8am. What a wild ride.

I feel like less than a week into 2023, we’re already getting some fresh bangers. Can’t wait to see what other killer punk releases this year yields. Speaking of which, all you Sorry Staters make sure you pre-order that Sirkka 7”. It’s one of my favorite releases we’ve put out in quite a while. Don’t sleep on it!!

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

‘Til next week,

-Jeff

Flower Leperds: Dirges in the Dark LP (1988, XXX Records)

My staff pick for this week is Flower Leperds’ 1988 LP Dirges in the Dark. Flower Leperds were a Southern California punk band who appeared on a few compilations and released a 7” on Mystic Records called Has Hate Been Kind Enough in 1985. The Mystic 7” documents an earlier iteration of the band and it’s cool (in fact, I know many people prefer this earlier stuff), but I prefer the version of the band that came together a few years later and featured Tony from the Adolescents on vocals. This version of the band recorded Dirges in the Dark, and if you’re a fan of Tony’s vocals (particularly anything he did after the first Adolescents album), you’ll recognize his distinctive rasp right away.

While Flower Leperds’ early sound combined punk with elements of goth and metal, Dirges in the Dark is a very “rock” album. Most of the time, when punk bands decide to rock out it’s not a great idea… see records like SSD’s last LP, the Necros’ Tangled Up, or Discharge’s Grave New World. However, a few bands got it right. I’d put Dirges in the Dark alongside the FU’s Do We Really Want To Hurt You as a great rock/punk hybrid record. Both records keep the energy level high just like any great punk record should, but borrow the memorable riffing and big choruses of classic rock records like Alice Cooper’s early 70s recordings, Ted Nugent, Blue Oyster Cult, and the like. The Leperds even cover Alice Cooper’s “Muscle of Love” on Dirges in the Dark, and it’s uncanny how much Tony’s voice sounds like Alice’s in places.

Besides the great music—there isn’t a bum track in the bunch—I really like Dirges in the Dark’s EC Comics-inspired artwork. It’s a shame the record has never been repressed and isn’t available on streaming services. Thankfully, though, a patient person should be able to score a copy for somewhere in the $20 range. What a value!

The Annihilated: Submission to Annihilation 12” (self-released) We’ve been eagerly anticipating new music from London’s the Annihilated ever since we heard their demo tape in early 2020. That was one of our favorite releases of that year, and Submission to Annihilationis exactly the follow-up we’ve been waiting for. The Annihilated’s sound is fast and jagged, with a dark and desperate vibe that reminds me of Black Flag’s Damaged. Bobby, the Annihilated’s singer, has an early Rollins-esque bark, but the music is mega-fast Koro-influenced US-style hardcore that might remind you of killer recent Texas bands like Nosferatu and Save Our Children. As with Koro, the Annihilated has a way of taking hooks (particularly catchy guitar riffs, but vocals, bass, and drums each have plenty of time in the spotlight too) and compressing them into dangerously unstable, hyper-dense cores of sound, this instability further emphasized by the band’s loose and swingy playing style. If any of the above references pique your interest, check this out right away… it’s scorching, not an ounce of fat in its svelte but substantial 19-minute running length. And kudos for putting together packaging for the physical version that stands out from the crowd, with a fold-out poster sleeve on yellow paper that’s packed with EC Comics-influenced pen-and-ink illustrations, ransom note lettering (the real stuff, not a font), and high-contrast photo collages. Yes, it’s on the nose, but nothing about Submission to Annihilation feels cliche. It’s as urgent and invigorating as the best hardcore from any era.

What’s up Sorry State readers? I hope everyone has had a nice week. It’s been cold and rainy here in Raleigh these last couple days. Winter has definitely arrived. This week I found myself listening to this Cramps 7” I picked up at the store a while ago, especially the B-side. Don’t get me wrong I definitely enjoy listening to Drug Train, but their cover of I Can’t Hardly Stand It on the flip side is really what does it for me. This song has such an infectious guitar riff that always gets stuck in my head after I hear it. Lux’s vocals also just fit right in perfectly as well. The Cramps really do this song justice and I usually listen to it a couple times in a row whenever I play it. I also really enjoy Love Me on the B-side as well. I think it serves as a nice precursor. Honestly, you could play just about any Cramps song around me and I’ll be happy.

https://www.youtube.com/watch?v=2k_TGaElmAI

Hi Sorry State fam! How is everyone doing? I’m leaving in a couple days to go to Ohio to see my family, so the pre-travel stress is in full effect. I’m not much of a planner, but I do lie to myself quite frequently about how this year is going to be different. It never is. So trust that I will be running around panic packing a few hours before I go to the airport, and frantically downloading music at the gate. Ugh, let’s get right off that topic.

At least a lot of cool shit is happening in Sorry State land! One of those things was the release of the ISS Spikes+ compilation album. It’s also my staff pick. I feel like I’ve really missed out because I hadn’t heard any ISS until a couple months ago on the American Idylls compilation that Sorry State released some time ago. So, the Spikes+ record allowed me to take a shortcut through their discography, and now I’m kinda working backwards and listening to individual releases.

Dude. I really love this record. It’s is a great way to get up to speed with a band you’re not that familiar with. It’s also a great way to journey through the many styles of ISS all on one convenient record. That’s all great but it makes it challenging for me to streamline my thoughts on the music.

Simply put, it’s just fun as hell to listen to and I really click with the music. I can’t imagine anyone (within reason) not enjoying the hell out of the anthemic opener, Spikes, Too Punk for Heavy Metal, or Wanna be Dated. All are fun, high-energy tracks. But there are many twists and turns on this compilation. You also get some darker, new wave sounds in songs like Sexts and Guidance, and more hardcore belters like Facemask. Basically, Spikes+ is like getting a gift basket of a bunch of cool stuff.

Prior to digging into ISS, I wasn’t aware of their use of samples from punk and other genres to construct new songs. So, its been fun for me to pick up on bits and pieces of some of the songs I recognize. I’m pretty sure I heard Siouxsie and the Banshees, and I definitely heard the Cure, Public Enemy, and the Dead Kennedys. And much more where those come from.

I think the use of sampling is a great way to enhance a song, but it’s also just a smart way to engage a new audience. That said, it’s definitely not something they have to rely on. It’s just another tool, and ISS happens to be really skilled at using it.

Besides that, there are some great beat drops, and catchy lines. The vocals are fantastically diverse, ranging from sometimes snotty, sometimes mean, sometimes serious, sometimes not. The lyrics are clever, and the the songs are thoughtfully and creatively structured. ISS has a talent for knowing what should go where. That sounds like a really caveman way to describe a difficult task, but it’s all I got.

Collectively, ISS Spikes+ is a bundle of energetic, dancy, punky, noisy, sometimes chaotic, sometimes more stripped down, but never ever boring songs. If you haven’t gotten your hands on one, I strongly recommend you give it a shot. Take a listen below!

As always, thanks for reading.

-Angela

https://sorrystaterecords.bandcamp.com/album/spikes

Hello Sorry State friends and family and a very happy holiday to you all. I wish you a happy and festive period and raise a glass to you all. Have a great time however or whether you celebrate.

I’ll finally be able to think about Christmas next week now that the World Cup is about to conclude with the final this coming Sunday. It’s been an exciting competition, and although there are lots of questions about issues off the pitch, the action on the field has been riveting.

This week I am excited to announce the beginning of a new partnership with a wonderful UK based label that I have been a big fan of since first discovering them. Ladies and Gentlemen please welcome to Sorry State, Big AC Records.

Big AC Records is an independent label from East London run by husband-and-wife team Nick Corbin and Sophie Heath. Nick is an accomplished and talented artist himself and, in addition to recording and performing, acts as the label’s A&R. Sophie manages the label and handles art direction and design. She also keeps busy as a radio and club DJ. Their focus is on new talent and delivering great sounding and beautifully packaged soul records to those of us out in the world that value and appreciate such things. If you are a modernist, soulie, rare-groover or a soul and funk DJ yourself, then this label is for you. Similar to other bespoke soul labels such as Big Crown or Colemine for instance, but less on the retro and more on the future soul sound.

I first became aware of Big AC through my involvement with The Face Radio. They host a radio show on the station and have been championed by station head Kurtis Powers from day one. My fellow station deejays are all big fans also and we always look forward to the next release.

Their roster of artists is small but delivers big. Currently they have released records from Nick Corbin and two fabulous singers, Abi Farrell and Carmy Love. If you click on their names, you’ll be linked to the titles we have available and can read some more detailed information about each one. To start us off here at Sorry State, we have brought in their most recent 45s and are expecting new records from Carmy Love very soon. Record manufacturing is just as hard and fraught with delays in England as it is here in America. I’ll definitely give you all the heads up when those arrive. What is exciting for all Stateside fans is that we are almost exclusively the only store with these releases available, which should help with overseas postal charges. Getting good records into the hands of those that want them at an affordable price is our shared goal.

Those fans lucky enough to catch the recent Big AC Records Revue shows that toured the UK were treated to the abundant talent on the label and hopefully in the future there might be similar magical nights for fans here in the US and other countries. In the meantime, check out these terrific 45s and find out why so many folks are falling in love with the label and the music they are producing.

Cheers everyone - Dom