News

Featured Releases: January 15, 2024

The Stupids: Slow on the Uptake 12” (Violent Pest Records) Slow on the Uptake is the new album from long-running UK hardcore band the Stupids. Originally formed in 1984, the Stupids were unique among their 80s UK punk/hardcore peers in that their sound was highly influenced by US hardcore. You can really hear that on their blistering first EP, 1985’s Violent Nun (see my staff pick on that record from a while back), but the Stupids stuck around until the end of the 80s, bringing in influences from west coast US skate punk on their later records. They reappeared in 2009 with a comeback LP that widened the sound even further, moving toward the big-guitar UK melodic hardcore/punk I associate with the label Boss Tuneage Records (who had reissued the Stupids’ back catalog in the intervening years). I liked that comeback LP, but I think Slow on the Uptake is even stronger, taking the early US hardcore influences they leaned on early on and seasoning them with the sounds the Stupids have mastered in the decades since. The result is a potent, song-oriented take on hardcore with all the ferocity of the early Dischord catalog, but with a newfound delicacy in the playing and songwriting, making furious but melody-tinged tracks like “Walnut Pacific” and “Come Into My Ear” sound like true masterpieces that synthesize years of work honing their craft. There’s also a surprising lyrical maturity here, which is most striking on the track “Neil’s Funeral,” whose lyrics are a thank-you letter written to attendees of the speaker’s deceased spouse’s funeral. With 8 songs in a brief 12 minutes, it feels like an update on the classic 80s US hardcore EP, losing none of that form’s excitement but finding room in it for all the wisdom (LOL) the Stupids have accumulated in the decades since that inspiring time.


Money: Punk Demo 7” (Discos Enfermos) Spain’s Discos Enfermos brings us the debut vinyl from this Bristol, UK punk group who has been banging out digital releases for a couple of years. When I checked out Möney, my first reaction was that they sound a lot like London’s Powerplant, particularly their soupy, underwater-sounding production style. As with Powerplant, it was difficult for my ear to make sense of Punk Demo at first, but repeated listens allowed me to parse the chaotic (but legible) knot of sound. The lyrics are split between English and Spanish, and for whatever reason the two Spanish-language tracks, “El Este” and “La Culpa” are the standouts for me, perhaps because they embody the polarities of Money’s sound. “El Este” is Möney at their fastest and most furious, while “La Culpa” finds them at their slowest boil, recalling (as the label notes) 80s Spanish post-punk like Paralisis Permanente. Unique, compelling stuff that gives more back the more attention you give it.


Money: S/T 12” (Beach Impediment Records) Not to be confused with the similarly-named band from Bristol, UK we also wrote about in this issue of the newsletter, this Money hails from Austin, Texas and plays furious metallic hardcore. Like Bristol’s Möney, Texas’s Money reminds me of another band from their part of the world: the Impalers. I found a note saying the two bands (Money and Impalers) share members, and that’s not hard to believe… it’s also a huge compliment, as for me Impalers are one of the very best hardcore bands of the past several decades. While the rhythm section’s relentlessness and the blistering lead guitars bring Impalers to mind, Money doesn’t sound exactly like them, peppering the furious metallic d-beat with parts that sound to me like straight up thrash metal (raw, punky thrash, but thrash nonetheless). It’s raw as fuck (three of these tracks originally came out via the current Kings of Noise, Roachleg Records), but bottom-heavy and powerful. The lyrics and artwork are also really interesting, set in a seedy underworld of violence and (especially) drugs, but in a cinéma vérité kind of way rather than a cartoony way. It’s well-developed, powerful, and compelling in a way that we’ve come to expect from every release on Beach Impediment Records.


Headcheese: Expired 12” (Neon Taste Records) We’ve loved every previous release from Headcheese, but I think Expired is these Canadians’ best one yet, amplifying everything I liked about their other records while honing and refining the most unique aspects of their voice. While it’s perfectly clear where Headcheese’s inspirations lie, they really sound like themselves on Expired, and it’s hard to imagine any other band delivering a track like “Special Forces,” for me the record’s standout track with its staccato rhythm and unforgettable vocal. The other tracks aren’t far behind, though, combining great songs with a loose, swaggering delivery that’s punk as fuck. While the rhythm section clearly appreciates the wild, lunging delivery of United Blood-era Agnostic front and early YDI, the guitarist’s riffs have a classic punk catchiness to them and the vocals drip with charisma, relying on an unlikely combination of off-the-beat wildness and a Dayglo Abortions-style way with a snotty, sinister melody. For me, Expired is one of the standout releases on one of current punk’s standout labels.


X-20 / Night Toy: Before the Green Flash cassette (self-released) This split cassette comes to us via the D4MT Labs camp, but it’s the furthest thing from hardcore punk I’ve heard from this crew, taking the 70s German influences we heard on Straw Man Army’s interlude tracks and their HMS cassette and going even further down the rabbit hole. Both X-20 and Night Toy remind me of the most out-there 70s German Kosmiche ("Cosmic”) music, including the early albums from Cluster, Klaus Schulze, and Tangerine Dream. It sounds like Night Toy relies solely on synthesizers, and rather than rhythmically-oriented, song-based music, their shifting soundscape approach and ability to wrench surprising textures from their instruments reminds me as much of the BBC Radiophonic Workshop as anything else. X-20 is a little more organic and earthy-sounding, with acoustic drums, field recordings, and horns evoking an alien landscape rather than the vastness of empty space that Night Toy brings to mind. With each group filling up a 20-minute side of the cassette, there’s a lot of music here, but it’s not really a zone-out type of thing because its always changing and moving in a way that holds your attention. Sonically, this tape is pretty far from Sorry State’s usual world, but it comes from our community and carries its spirit, and I doubt I’m the only punk who will really enjoy it.


Blue Dolphin: Robert’s Laffite 12” (Cleta-Patra Records) Robert’s Laffite compiles the recorded work of this mid-2010’s Texas punk group who released a handful of very limited cassettes while they were together. Sorry State carried a couple of those tapes, but they came and went before I could give them a close listen, so Robert’s Laffite feels new to me, as I’m sure it will to most of you. When I first sat down with Robert’s Laffite, I immediately felt like it evoked the pioneering early years of SST Records, not so much the Black Flag end of things as the Meat Puppets, Saccharine Trust, early Minutemen world. Some of that similarity is in the sound, as Blue Dolphin’s acid-fried country/rockabilly-type songs sound a bit like the Meat Puppets, and the singer’s sinister speak-sing style and cracked-up lyrical approach is a lot like Jack Brewer’s. More than just sonically, though, Blue Dolphin sounds like spiritual children of those SST bands, all three of whom seemed to be pushing fearlessly toward whatever artistic horizon lay ahead of them. However, while the SST groups generally worked at professional (if budget-priced) studios, Blue Dolphin’s production style is very lo-fi, evoking bedroom productions from the 80s UK DIY scene to the 90s US cassette underground and beyond. Like my favorite records from those eras, Blue Dolphin strikes a strong balance between traditional songcraft and more experimental approaches. In other words, if you have a record collection that includes groups like the Homosexuals, Desperate Bicycles, or even Sentridoh and Guided by Voices, you’re gonna be on board. Maybe I’m the rare case who has a deep appreciation for all that stuff, but I just love Robert’s Laffite, and if you share those frames of reference, I’m pretty sure you will too.


Record of the Week: Tozcos: Infernal LP

Tozcos: Infernal 12” (Toxic State Records) I have to start by saying how much I love this record. I’ve been listening to it non-stop since it dropped in late November; it’s now mid-January and I’m still listening to it daily. Santa Ana, California’s Tozcos hadn’t put out a record since 2018, so I imagine Infernal took a lot of people by surprise. I kinda knew it was coming, though. Last summer Thrasher magazine flew Tozcos out to North Carolina to play, and by then I had heard through the grapevine their next LP would be on Toxic State. This felt particularly special and exciting because Tozcos would be the first band on Toxic State not from New York. So I had an inkling that Tozcos had something special in the cooker, and they confirmed that at the Thrasher gig, where their new songs blew me away. I feel like I had the riff from “El Vacio” stuck in my head for the entire three months between that set and when I finally got to listen to Infernal. When I sat down with the record, it was all I’d hoped it would be and more. Tozcos’ style is unique, their rhythm section rooted in UK82-style punk with its grooving, driving beats and hooky bass lines, but with harsher, more hardcore-style vocals, and while the guitarist can lock into the rhythm section’s groove, he also has these great-sounding lead parts that provide many of Tozcos’ most memorable hooks. While it’s not an obvious reference point for Tozcos’ sound, the guitar-playing reminds me of John Haggerty from Naked Raygun… huge-sounding, but with a leanness to it and a knack for crafting earworm lead lines. And while Infernal feels inspired, it also feels crafted, its exquisite production balancing power and immediacy, the songs intricate without feeling over-worked, and the packaging and presentation thought through in every detail (a meticulousness you can also see in the video for “Presos”). Honestly, though, just listen to it. Infernal is, as its cover hints, an electrifying record that will grab you from the first note and not let you go until the last.

John Scott's 2023 Year in Review

What’s up Sorry State readers and Happy New Year. I hope everyone had a nice holiday season and a good start to the new year. I can’t believe it’s already 2024. I feel like the last half of this past year really just flew by, but I’m sure I’m not alone in feeling that way. 2023 was a great year of music for me between a ton of amazing live shows, new releases, and some great reissues too. I don’t think I’ve ever consumed more music in any year than I did in 2023. Here’s hoping there’s even more in 2024! Today, I’d like to highlight some titles that came out last year that I really enjoyed, some brand new and like I mentioned earlier, some reissues of older material. In no particular order, here are some of my favorites from 2023:

Delco MF’s - 100% Complete and Total Motherfuckers 12"
This record is a collection of the first year of material from Delco MF’s and what a great year it was. Every track on here is ripping, but what really solidified this as a favorite of mine was seeing them destroy their set at the Sorry State 10th Anniversary fest. No beer can was safe. If you haven’t already checked this one out, do yourself a favor and hop on it.

Tožibabe - Discography 1984-1986 12”
As you may gather from the title, this record compiles material released by the band between the years ‘84 -’86 as well as some recordings of live performances that honestly sound pretty good for what they are. This is a prime example of why I feel so lucky to have a job where I get to learn about so much different music and branch out. Without working at Sorry State, I probably never would have discovered an 80s all-female hardcore band from Yugoslavia on my own. I love this record though and I find myself wanting to run it back from the top whenever it’s finished.

Ida E Os Voltas - Demo 1986 12”
Another 80s banger, this one comes out of Brazil this time. This record features the only recordings of the short-lived post punk band on vinyl for the first time. This record is just so catchy and fun to listen to the whole way through. Warning: These songs will get stuck in your head.

Haunted Mansion - S/T 7”
Okay, how about something that actually came out this year. This thing is short, sweet and to the point at four songs. Favorite track on here is Your House is Mine. Not for the faint of heart if the sounds of a spooky haunted house and witches cackling scare you.

People’s Temple - I’m With The People’s Temple 7"
I am fully with the People’s Temple out of Brooklyn. There’s some seriously catchy guitar riffs all throughout the jam-packed eight track 7”. I’ve enjoyed revisiting this one throughout the year, as it came out in February. Only you can decide which side you stand on with this band. Hopefully you don’t share the same sentiments as the gentleman at the beginning of the track Nuclear War Obsession.

Frantix - My Dad’s A Fuckin’ Alcoholic 7”
Disclaimer: My dad isn’t a fuckin alcoholic but I’ve been around enough alcoholic dads to enjoy this one. Sometimes music can just be dumb and fun and forty years after this originally came out, it’s still just as fun to listen to. Plus, how can you not like that cover art?

Legal Weapon - Death Of Innocence 12”
I’m looking at this now and I actually think this reissue came out in ‘22 and not ‘23. Maybe it came out closer to the end of ‘22? Regardless, it’s close enough, and I listened to it a lot this year, so we’re gonna roll with it. Pretty sure everyone here at Sorry State is a big fan of this record, so I’m sure anyone reading this is familiar. There’s really nothing not to love about this one.

Gram Parsons and the Fallen Angels - The Last Roundup (Live From The Bijou Café In Philadelphia, 3/16/73) 12"
I just wrote about this one for my last staff pick so I don’t have too much else to say about it that I didn’t already say there. Of course, I had to sneak this into my end of the year list amongst a sea of punk. If you get the chance to, listen to this incredible live show. It just might save your soul punk.

Various - Screaming Death 12"
Holy smokes! What more can you ask for than four ripping bands kickin ass all over twelve inches? Always one of my go-to’s when someone comes into the store saying they wanna listen to some new shit. Maybe I’m biased cause the always-gnarly Scarecrow is featured on here with four pummeling tracks, but don’t get it twisted, every other band on here (Destruct, Rat Cage, Dissekerad) brings their A-game, which culminates in one incredible project from start to finish.

Meat House - S/T 12”
I had to get one Sorry State release in here, and I’m sure it’s one you all know and love. Hardcore noise to melt your face, delivered to you at blistering speeds. If you don’t like it, keep it to yourself, nerd.

Angela's 2023 Year in Review

Hi Sorry State fam! What a year it’s been. I tried to avoid any cliche “boy where does the time go?” openers, but 2023 felt like it lasted 3 months tops. Maybe as I’m getting older, it feels like time is going by much faster because I’m much more cognizant of time, existentially speaking. On the bright side, I had a pretty good 2023 and time flies when you’re having fun. So much for avoiding cliche statements. But to prove 2023 was indeed 12 months long, I scrolled back through my photos to remember and reacquaint myself with the past year, and it looks like I had a lot of fun. I don’t want to jinx myself, but the past year was relatively low key and drama-free. I went to a ton of shows, did a little traveling, and made a concerted effort to take better care of myself. You know, all that preventative stuff that adults are supposed to do to be alive longer.

It was also a really fun year here at Sorry State, and speaking of Sorry State, it’s that time of year again where we look back at the last year and try to narrow down a list of our favorite releases. Originally, I had about 17, but I had to be brutal and narrow it down to ten. Well, no one was forcing me to do that, but Top 10 has a nicer ring to it than Top 17. I’m probably trying to squeeze another one into my honorable mentions as we speak. Ok, so here’s the plan. First, I’m gonna jump into my top picks for 2023. I will preface this by saying that a set of strict criteria had to be met in order to get into my top 10. It had to be 1) released in 2023 and 2) not be a reissue. Then I’ll expand on my 2023 favorites a little further and include some honorable mentions, some reissues I was excited about, and favorite shows of the past year. So without further ado…. and in no particular order!

My Top 10 2023 New Releases

Cherry Cheeks - CCLPII
No surprise here. I have loved everything Cherry Cheeks has put out. CC has been the solo project of Kyle Harms, but recently he got himself a band and they’ve started playing live! Their second LP had big shoes to fill because their debut album is one of my favorites. But I gotta say, they did not disappoint at all. Same big energy, great hooks, layers upon layers of weird noises and synth, and a balance of humor and seriousness. Pure Power steals the show for me as the top track on the album, and one of my favorite CC songs, period. Hard Stancing, Bunny Does Ice, DATA, and Ad Shark are some other favorites.

Display Homes - What if You’re Right and They’re Wrong?
A fantastic post-punk album that leans poppy in a wonderfully weird and dynamic way. It’s mid to fast tempo the whole way through and it keeps you on your toes. Simple yet effective beats that are perfectly locked in with every word. Perhaps that is easier to do when the singer is also the drummer, but nevertheless it sounds really clean and sharp. I love the raw, loud, and erratic vocals on this album. There are some great boppy, melodic bass riffs that really stand out and become (for me) one of my favorite and most memorable things about the album. Favorite tracks are CCTV, Background Check, and Proofread.

Screaming Death Compilation
One of the most exciting releases of the year, for sure. Sixteen brand new tracks by four killer hardcore bands: Destruct, Scarecrow, Dissekerad, and Rat Cage. It’s just pure, raw, blistering hardcore. Some of the highlights include some of the sickest, fastest, drums I’ve ever heard, courtesy of Destruct. Check out the fills in the song Omnicide. Holy shit. Scarecrow’s new tracks are insane. The main riff in the song Compensation is so good that I find myself singing it. And I live for the drum breakdown in Space Race, which is followed by an explosive array of meaty bass and clean razor sharp guitar riffs. I wrote a whole staff pick on this record, so I need to shut up now. But, you need this record.

Illiterates - No Experts
I was so embarrassingly late to the game on this record and it was literally put out by Sorry State. In my defense, it can be really hard to keep up! I love this record. It’s one I put on if I need a kick in the ass. Self-described as the “dumbest band in hardcore” but the album is everything you’d want from a hardcore record, so they did something right. The songs are short, fast, and catchy, with killer hooks, and animalistic-style vocals. They also played a killer show at SSR Fest! I love the songs L.B.T.C., Happy to be Here, and No Experts. Top to bottom, this one is a banger.

Divorcer - Espionage
This EP is just so damn likable and it grew on me more and more. It’s fun and catchy and all that good stuff, but it’s also witty and clever. It is very pop-heavy, but it feels substantial. The first track, Tiny Devil, sucked me right in. It’s absolutely infectious as the vocals waffle between sweet and taunting. The vocals are sharp and sometimes breathy, with lovely harmonies. They seem to draw inspiration from a popular alt-rock formula with its quiet verses and loud crashing choruses. It’s a really well-rounded, albeit rather short, EP. The stand out tracks are Tiny Devil and Bug.

Lafff Box S/T
I totally dug the Lafff Box EP they put out in 2022, so I was really looking forward to a full-length album from them. The band is comprised of members of Liiek, Ex-White, and Lassie. It’s mostly mid-tempo, and the sound is manic, fast, fresh, and modern. The singer’s snarling, distorted vocals and dual guitars create a pleasantly chaotic sound. A good balance of mosh-worthy punk and melodic gems. I would call it off the rails power pop, which is right up my alley. The song Master is a great example of that description. I really like the song Just a Fool. It’s a bit more structured and formulaic placed right in the middle of the much more chaotic tracks. A wise choice. It’s a high-energy album that is just a lot of fun to listen to.

Meat House S/T
A supergroup, if you will, Meat House is made up of some of the finest punk musicians in the area (and a little further out). After only a few practices, Meat House went straight to recording (with Shaved Ape) and gave us these seven songs. This is some good ole’ 80s style American hardcore right here. Fast, straightforward, no frills hardcore with mean vocals and lotsa great riffs. I’m glad to have caught a couple of their gigs. Let’s just say they know what they’re doing. Looking forward to more from MH. My favorite tracks are Punk Star and Slimy Enemy (killer intro!).

Knowso - Pulsating Gore
I know this record is pretty brand spankin’ new, but it was love at first listen. Knowso is in a class by themselves. The best I can come up with is demented post-punk, although it feels like it transcends post-punk. It’s quirky, catchy, and creative, with lyrics that are sarcastic, funny, clever, and even intellectual at times. It’s weird but not too weird, but it’s weird enough to make it difficult to draw comparisons. You will have to listen and see what you think. My favorite tracks are Do the Work, Heavy Hauling, and Drink From the Lake.

Personal Damage - Atrophy & Entropy
This is one killer band. I’ve liked everything they’ve put out, so a full-length album was highly anticipated! If you’re into early 80s Southern California punk like Circle Jerks or the Adolescents, this is the band (and album) for you. Fast, snotty, raw, American hardcore. This is a high energy album front to back with lots of great hooky melodies and singalong style vocals. It was super exciting to get to see them play at Sorry State fest and one of the bands I was most looking forward to seeing! Favorite tracks are Head First and End of the Last (the opener and the closer!)

Lothario - Drunk Fuck/Black Hair
I would be remiss not to mention a record with two of my favorite songs from 2023 because I played the shit out of them both. Two of the catchiest songs of 2023, maybe even the catchiest songs of 2023. Lothario is the brainchild of Annaliese Redlich, and let me tell ya, she has a knack for writing a melody. Immediately ear-catching. It’s electric, fun, dynamic, gritty garage punk with clean, infectious beats and powerful vocals. Both are mid-tempo and melodic with razor sharp riffs. I love the vocal flow on Black Hair, and the subtle bending of the notes on the guitar parts really add some great dimension. The overall sound is dynamic and checks all the boxes. I’m really excited to hear a full-length, which I hear is in the works!

Honorable Mentions for 2023

Sluggo - S/T
Rough Kids - The Black and White and Gray
Abi Ooze - Julia’s Apartment
Delco MF’s - 100% Complete and Total Motherfuckers
Sirkka - Viivyttely
Cel Ray - Cellular Raymond
Rat Cage - Savage Visions

Top 2023 Reissues/Other Stuff

KORO

Legal Weapon - Death of Innocence

Minor Threat - Out of Step Outtakes

Dark Thoughts - Do You Dream

SSD - The Kids Will Have Their Say

Primal Screamer (book by Nick Blinko, Rudimentary Peni)

Favorite Gigs (oldest to most recent)

Bikini Kill (Asheville, Orange Peel)

Subhumans (Chapel Hill, Cat’s Cradle)

Reckoning Force (Raleigh, Kings)

Pixies (Raleigh, Red Hat)

Alienator (Durham, the Fruit)

Headkicker (Durham, the Fruit)

Scarecrow (Durham, the Fruit)

Scarecrow (Raleigh, Rumah)

Vidro (Raleigh, Rumah)

Pavement (Raleigh, Hopscotch)

Meeting Stephen Malkmus (Raleigh, Hopscotch)

Sorry State Fest (Raleigh, Everywhere)

As for Sorry State Fest, the whole thing was my favorite show this year, with special shout out’s to the performances of ISS and Public Acid. I know ISS has only played live a couple of times in the years they have been a band, so I was so damn excited to finally see them play. I was so curious how their sound would translate to a stage, and I was so pleasantly surprised. I could tell that some of the crowd didn’t know what to think, as they are so different from pretty much every other band there with respect to their style. But they’ve become one of my favorite bands, and I wish they would have done 20 hundred more songs. Also, there was something about Public Acid’s performance (besides it just being super sick) that stood out to me in a unique way. A new and different kind of energy swept over the room, and it was wild. By that point I had moved toward the back to chill with Dom in the DJ area, so I got a different perspective of the crowd, and it ruled. Finally, Tadzio’s (Golpe) “speech” was really cool and heart-warming, in the most hardcore way possible of course.

Ok, that’s a wrap……almost. Couldn’t end this without showing you my favorite record acquisition of 2023!

Anyway, thank you for reading and for supporting and for being so cool. Happy New Year to everyone. I hope 2024 is your best year yet!

-Angela

Usman's 2023 Year in Review

Hello, and thanks for reading. In this week’s newsletter, we are recapping 2023 with our “best of” lists. Unfortunately for me, I’m thinking about this for the first time as I am writing this. As a result, I’m sure I will miss a few records I enjoyed this year. It seems all the records from my “Top 10” are ass beaters, but that is no surprise, is it? Rather than going in order of which one I like the most or which is my favorite (cos I could not distinguish that), I am going to go in order of when it was released. I will also drop links to listen at the beginning of each release, in case you need or want to peep it. Before I write, I wanted to mention the SIRKKA Viivyttely 7". This record was not on my list this year, only because it was on my list last year. “Technically” it was released January 19th of 2023, but this came out at the end of 2022 if you ask me. I think this record is phenomenal and honestly, I think the sound of this band in the 2020s is profound. Sorry State repressed this record not too long ago, on clear vinyl. If you’re reading this and actually like hardcore but don’t own a copy, don’t think and just buy one now.

BLOODY FLAG: self-titled CS
https://bunkerpunks.bandcamp.com/album/bloody-flag
Actually, I do have a favorite release of the year, so I will write about that first. It doesn’t take much thought for me to know this is my favorite release of the year. It was a total honor that Jeff and I were able to release this debut on our label. The sound on this tape is just perfect. It really doesn’t get better than this. We wished it could have been a record, but the mastermind behind BLOODY FLAG is a bit too modest in my opinion, hehe. I’m not really gunna take the time to describe this shit. If you haven’t heard it, you can stream it from the link I dropped. I know there will be a follow up cassette at some point, and there has been talk of doing a small run of this self-titled cassette at that time as well. Alright, I will move onto my proper year end list now.

Πυρ Κατά Βούληση: Θύματα Ειρήνης 12"
https://pyrkatavoulisi.bandcamp.com/album/
God damn. This was released at the very beginning of 2023. It came out of nowhere for me, as this was the band’s debut and I have no idea what the members did previously. This record hits the spot for me. I guess all the records are going to have that effect on me, haha. While this band is from Greece, the sound is like a contemporary Swedish band like LARMA or NUKIES. I really like the vocals, and I especially like that the lyrics are in Greek rather than English. The guitar playing is just so damn good. The riffs are super catchy yet raging. The drumming is super locked in. The record sounds powerful; it’s nice and punchy. I also love that the jackets are screen printed. Damn, I thought this record was sold out, but it looks like we still have copies from when we restocked it. I remember the first time we had it, they sold out in like 15 minutes. If you missed it, you can grab a copy here. I think this record is excellent and I would love to see this band live.

DESTRUCT: Cries The Mocking Mother Nature 12"
https://gravemistakerecords.bandcamp.com/album/cries-the-mocking-mother-nature
Do I need to introduce or even describe this shit at all? If you haven’t heard them, don’t be misled by this cover that looks like it could be a 2000s CONTRAVENE record or something. I think DESTRUCT is one of the best bands active in USA right now, and their live performances are some of the best I have ever seen. I used to think they were the best band I have ever seen in my life, until this year when I saw another band (who I will mention later). Anyway, we don’t have this in stock anymore, but you can get a copy from Grave Mistake here. If you don’t own it, I wouldn’t sleep. None of their stuff seems to stay in print.

ELECTRIC CHAIR: Act of Aggression 12"
https://ironlungrecords.bandcamp.com/album/act-of-aggression-lungs-213-2
Technically, this was a 2022 release, cos it was a cassette first. The LP came out in early 2023, though. I’m sure you know Sorry State had our own exclusive color. Everyone and their mother knows this band. Everyone likes this band. I’ll tell you what though, it’s not just hype. This band is simply magical. I truly didn’t know until I organized/drove their tour with GOLPE earlier this year. I had seen ‘em live a fair amount of times, but it was always so crazy with people flying everywhere and shit. On this tour, I had a chance to witness them up close, and it was then I understood how good they are. They are also the silliest mofos ever, and it’s amazing how well they treat each other and how dedicated they are to their band. If you don’t own this for some odd reason, you can scoop it here.

SALVAJE PUNK: self-titled 12"
https://toxicstaterecords.bandcamp.com/album/salvaje-punk-lp-2023
This record is absolutely fucking nuts. It’s like LOBOTOMIA meets MOB 47 or NO SECURITY. I love the mix and master. I don’t make any adjustment on my stereo for this record. I always EQ shit a bit, namely scoop the bass out a bit and turn that treble up. This record is the definition of an ass-beater. No bullshit, just raw ass beating. I don’t think this record is for everyone. The speed and pummeling intensity is probably too much for the fainthearted. We don’t have copies in stock anymore, but it looks like Toxic State does. In Toxic State tradition, everything is screen printed in the packaging, including a sick ass foldout poster with art from guitarist, Mateo. I don’t personally own a lot of releases from Toxic State, but this is the first time I’ve got a record from them that wasn’t just standard black vinyl. I wonder if this was the first time they did that? Everything about this record is so sick.

PHYSIQUE: Again 12"
https://ironlungrecords.bandcamp.com/album/again-lungs-232
If I remember right, this came out as a cassette before it was an LP. PHYSIQUE was a band I slept on until I saw them live. I don’t think their previous records really did them justice. There was always something here and there I didn’t quite like, but I did overall enjoy the releases. This LP though, is the shit. Funny enough, I remember seeing the artwork around for a while online before I actually stopped to read what it said. I kept looking past it cos I took it for another rip-off band, with that DOOM-esque font that had been done many times before by other bands. They also start the LP off with a slower song and end it with a reprise of the same song. They aren’t doing anything new, but there is something that makes this band seriously stand out from the rest. I can’t wait to see them live again. If you missed this LP, we have it in stock.

FAIRYTALE: Shooting Star 12"
https://toxicstaterecords.bandcamp.com/album/fairytale-shooting-star-lp
I’m not really sure what this means, but I can’t remember the last Toxic State release I bought before this year. So, it’s insane to me that I have two of their releases in my list here. I think this label is sick, and I absolutely love the packaging of pretty much every release, but I typically don’t pick up the stuff. Oh, shit yeah this is on color vinyl too. Maybe cos it’s a cooperation with QCHC in UK? The record sounds really damn good too. Anyway, FAIRYTALE first came on my radar when they released the flexi. I remember something about the flexi didn’t hit me quite right, but holy fucking shit, live they absolutely blew me away. Sometime after that, they released their debut onto a proper 7", and I thought this was a top-notch follow up. If I remember right, Jeff and Daniel were super into it as well. Same with this LP. When these came in, we were super stoked. All the vinyl for USA actually came to Sorry State from the pressing plant overseas, since it was a cooperation with a label we already deal with heavily and this is a standard procedure for us. I remember unpacking these boxes to forward boxes of discs to Toxic State, and I saw the FAIRYTALE center label. I had no idea there was an upcoming release for them, but I knew only one band would have that name and that font, haha. Fuck it’s so good. I especially like that there are things I consider unorthodox about the record. The sound is not boxed in by any means. I mean yes, it does sound a lot like ANTI-CIMEX and DISCHARGE, but whatever. We don’t have this one in stock anymore, but you can pick up a copy direct from Toxic State here.

DELCO MOTHERFUCKERS - March of the MF’s 7"
https://delco-mfs.bandcamp.com/album/the-march-of-the-mfs

I wrote about DELCO MFs really briefly on two occasions, when they dropped each EP. I mentioned before this band started as Jim doing everything, but on this EP he had a proper line-up, and he just took care of vocal duties. I think this is an excellent follow up to their first EP. It is so pissed off and raging. It sounds like it was recorded on an old tape, and that really adds to what is happening. I appreciate that the label (aka Jim and the bassist Jakey), are sticking to small runs of these records. I know they could easily sell more, but fuck it. Static Shock in UK did a compilation of both EPs this year, and that shit sold out super quick too. Anyway, I think this EP was killer, and it really captured their live intensity. If you missed it, I am sorry cos you’re probably not going to find a copy.

G.U.N.: self-titled 12"
https://sorrystaterecords.bandcamp.com/album/g-u-n
There seem to be a lot of people talking about this record, and for good reason. I think this is a masterpiece. The full color artwork is ballsy, but they pull it off. The songwriting is so catchy; the songs will bounce around your head for days. Some of them I enjoy so much, it feels like it’s a cover song… I’m not sure if that will make sense. I didn’t know shit about this band. Usually, I make the test press covers for SSR releases, and I hadn’t heard these songs at all before the tests showed up. Naturally, I put on a copy as I whipped up the covers. Man, it hit me hard. I really like the vocals, too. I’ve legit spun this record so many times this year. This bad boy is sold out at the moment, but I’m sure it will be back in print in no time. Be ready if you missed it, it’s so good.

KINETIC ORBITAL STRIKE: The True Disaster 7"

https://kineticorbitalstrike.bandcamp.com/album/the-true-disaster
Alright, remember earlier when I mentioned there was a band who I saw this year who might be the best band I have ever seen? Well, it’s K.O.S. I saw them the first time in Richmond with ENZYME. I could not believe how good they were. They were locked tight, with explosive power that was carefully orchestrated into perfect song structures. Fuck. The second time I saw them was in Philly, and they played a cover set comprised of ANTI-CIMEX and SKITSLICKERS. They probably played those EPs better than either band ever did. They dropped a debut on cassette late last year that was re-done as 7" earlier this year. The songs from both records were actually done at the same time, and naturally I couldn’t tell you which record I prefer. I think they are both top-notch hardcore, and you can grab copies here if you’ve been sleeping.

There were A TON of 2023 releases I would call “honorable mentions,” but I don’t see the point in listing all those. How worthy is my honor, anyway? There were also a ton of killer reissues this year. I love it! Again, I don’t want to list all those, but I will just share this photo of all of them compiled together. And again, I could be missing some. I love the good old “replica” type reissue where it’s just a repro of the old shit on the same format. I also love when reissues go all out and compile as much as they can onto an LP. Unfortunately, in my opinion some of these bigger reissue labels don’t do the bands justice. They put out too much shit with the same basic formats. I know some of these labels will compromise the quality of the content, just to seemingly have the most deluxe shit out there too. Anyway, here are the reissues I was most stoked about this year. I know MISSBRUKARNA has been done by this same label before, but I like it so much I am including the 2023 reprint.

Besides a bunch of killer new releases and reissues, I certainly spent a good portion of my paychecks on ‘80s records from my want list. I crossed off some serious wants, one of which I never thought I would actually ever own. Sometimes I score a record in person at a shop, or through Sorry State, and that is the best feeling. But often I end up buying shit on the computer, and that just is what it is. I am happy that my major want came via a pen-pal reaching out to me, but of course the internet still played a role, haha. Anyway, instead of focusing on records I got this year from my want list, I am going to share the printed materials I got this year that I am really excited about. I have bought some flyers online before, but not much. A lot of my flyers are just recent photocopies that a friend has made, and that is pretty much just as cool as an original to me, plus it doesn’t cost me like $50+ or whatever insane amount someone is trying to charge. I have a good number of original flyers etc. that came from friends or pen-pals, and that is really special to me. Two of the things in this photo I bought online. One of them is the VARAUS poster sleeve. That record is so rare. Another top want I will more than likely never have, but I am absolutely thrilled to say I have the foldout sleeve at least and it is framed on my wall! If maybe someone reading this has a copy for sale (with or without sleeve), you know where to find me. The TOXIC REASONS poster was a birthday gift from my friend Eric (thanks dude, I love you.) The Swedish stuff (besides the BLACK UNIFORMS flyer) was a gift from my friend Anders. I’ve actually mentioned him before, and his photos from the Egg-Mangel gig. Hello Anders!!! And finally, the Finnish stuff was a gift from my friend Marko. If you’re reading this, hello my friend and I hope you are well :) This stuff I really hold close to my heart. The booklet from the first RIISTETYT LP is already rare enough, but in the photo is also a booklet which compiles lyrics from VAURIO’s LP and RIISTETYT’s Raiskattu Tulevaisuus LP. I didn’t even know this was a thing, and it blows my mind. What blows my mind even further is this TAMPERE SS fanzine. Alongside the fanzine, I also got an original cassette with their demo, and it includes a song that was never released. I’m sure you can understand how blown my mind is, and I feel honored to even have this stuff. I guess technically I paid Marko for that TAMPERE SS stuff, but whatever haha. OK I think that about sums up my year-end review. The years go by faster as I get older it seems. I am grateful to play a role here at Sorry State, and to be so tapped into something I am passionate about. I feel so lucky. Before I go, I want to say that I am grateful to be able to enjoy these records, posters, and all the other things and people I love in life. While this year has been good to me, the year has ended in unfathomable horror for others. I cannot sit here and write about records and not acknowledge the blatant U.S.-funded genocide that is taking place as this very moment in Palestine. It is a privilege that my life and loved ones are not suffocating slowly beneath the rubble of an airstrike in Gaza. If there is a God, I pray for the people of Palestine. Thank you for reading, and thanks to everyone for your support. Take care of each other.

Dominic's 2023 Year in Review

Happy New Year Sorry Staters!

Here we are in 2024 and beginning another turn around the sun in what will undoubtably be a year for the history books in many ways. Let’s hope that by this time next year we’ll be talking about great music and art and not the end of democracy.

Anyway, back to January and what is the obligatory look back to the year before, where folks like us and anyone with a social media account and internet access wax lyrically about all the great things that came out and what their favorites were. We’re not spoilsports here at Sorry State and although I might be a bit of a grumpy old man about stuff sometimes, we are going to play along. So here we go with our reminders to you, dear music lovers, of some things that we thought were cool in 2023.

On a personal note, the last year was the proverbial rollercoaster for me. Some highs and some lows. Unfortunately, I lost furry buddies and ended the year living the lyrics of a country or blues song when my relationship took an unexpected turn. However, earlier in the autumn, I was finally able to return to the U.K. and visit my family and that was without doubt the best part of my year. I can honestly say that the most enjoyable moments I had were walking my sister’s and cousin’s dogs out in the woods or along the beach. It was exactly what I needed.

Another great restorative for my mood and well-being has been the form of LFC, who ended the year top of the league. Halfway through the season and it’s been a great one, with any one of four teams looking a good bet still to win the title. As I write this, it’s ours to lose and theirs to win. Up the Reds.

Collectively, we lost many loved celebrities, musicians, artists, actors, poets and countless others who gave of themselves and made the world a better place. Rest in peace all of you.

There were some great moments though, and Sorry State’s ten-year anniversary festival was an absolute blast. So cool getting all these great bands in town for the weekend to party and play. It was one for the books. The cities of Raleigh and Durham get blessed with great bands and artists coming through to play, and the Hopscotch festival this year, for example, was one of the best yet. That and the Dreamville festival curated by J Cole, showcasing the best in hip-hop, have helped keep this part of the country on the musical map. Add all the gigs going on in the clubs, bars and alternative venues and you have quite a healthy scene. After the plague years, we were all so happy to get back out there and see live music.

In any given year, there are literally hundreds of new records released, and keeping up with everything is an impossible task. Not that anyone would, really. I don’t know too many people who like every single genre and style of music going. We all have our preferences and personal favorites in our listening habits and at the end of the day, who has the time to listen to it all? I read lots of other people’s best of lists and often there are similarities to my own, but mostly they are completely different. Either things I don’t care that much for or mostly things that I have never even heard. I work in a record store and have a bit of an advantage over most, but I realize even that leaves me uneducated to all the new music created. So, end-of-year reviews serve their purpose and hopefully us mentioning some of our favorites will steer you towards good things you may have missed or need reminding of.

Mine are in no order of importance or ranking, but are all records that I spent my lunch money on or were gifts. I will divide them into two sections though, new music and reissues of older stuff. Being the old dude here, I naturally listen to a lot of 20th century music and buy a good number of used records throughout the year. Unfortunately for me, I guess, I like a lot of different styles of music that span decades, and so find lots of reasons to take home more vinyl. My sweet spot would be the years spanning the mid 1960s to the mid 1980s, but I listen to old music made at the beginning of the recording era through to the jazz and swing of the 30s and 40s and love the 90s. I’ve always bought records and will never stop digging, and although a lot of modern music isn’t for me, will always keep an open mind and ear to anything new I hear. Thank you so much to all the musicians and artists who have enriched my existence through your music.

Quickly before I begin. As much as I would like to include all Sorry State ‘s own label releases on my list and the Screaming Death compilation on Bunker Punks, I will resist the temptation and will leave that to others less biased to include in their lists. Tell you what though, we put out some killers last year. Cheers to all the bands and to you guys for supporting us and them.

First the new: -

Gruff Rhys – The Almond And The Seahorse Original Soundtrack – Rough Trade Records
I’m going to begin with this little gem that my DJ partner Matt gave me as a gift. We both have a mutual love for Welsh band Super Furry Animals and have followed the solo career of main man Gruff Rhys. I’ve picked one of his previous albums here before and will have a lifelong love for the music he makes and for his voice that always sounds like a long-lost close friend talking to you. He’s done soundtrack work before, the excellent jazzy score to Set Fire To The Stars from 2016 being his first. I have not seen The Almond & The Seahorse yet, but really love the soundtrack. It’s a nice mix of pop songs and mood music. Obviously scored for scenes in the movie, the music is appropriately created, but can be enjoyed just as much without having seen it. There’s plenty of nice moments throughout, and at times I was kinda reminded of stuff that The Orb did back in the day.

Theee Retail Simps – Live On Cool Street – Total Punk Records
I’ve been digging these guys and their records a fair bit. Spazzy garage from Canada that sounds like it could have come out of Memphis and would be equally at home on Goner Records as they are on Total Punk. In truth, the band is more the brainchild of main Simp Joe Chamandy, ably assisted by those around him. Not sure how “live” this record is, but adding a chorus of female vocals, guest musicians and throwing in some choice covers makes it seem like a good time at a cool spot.

El Michels Affair & Black Thought – Glorious Game – Big Crown Records
From my days in New York, I have been a big fan of the music El Michels Affair make. The label Big Crown, along with Daptone and Colemine, have consistently brought the best in new soul and r & b. The Affair typically deals in funky Latin tinged instrumentals. Check out their Wu-Tang cover album. It was no surprise that they would collaborate with the hip-hop world again and Glorious Game features Black Thought of The Roots. Also has my favorite Big Crown artist Lady Wray on back-up vocals. Great album.

Institute – Ragdoll Dance – Roach Leg Records
I joined the party late for these post-punk guys from Austin, Texas, but they are firm favorites here at Sorry State. We all loved member Moses Brown’s solo record as Peace De Resistance and it got me into the Institute back catalogue. Still need a copy of Subordination on vinyl. Ragdoll dance is the group’s fourth record and combines a healthy dose of art-pop and punk rock in equal measure. Some nice nods to the glory days of Siouxsie and Magazine and DIY punk for sure, but enough fresh ideas and interesting songs to make them a part of your contemporary music listening.

The Serfs – Half Eaten By Dogs – Trouble In Mind Records
These guys are a good synth-punk band from Cincinnati, Ohio and have been around for a few years with a previous LP and a cassette release to their credit. This is a good album that delivers songs that aren’t all cut from the same cloth by using different textures and elements of the post-punk and synth-wave sound spectrum. Familiar yet very original stuff.

Morwan - Svitaye, Palaye – Feel It Records
Morwan is the project of Alex Ashtaui from Kiev, Ukraine, who now resides in Berlin and has two albums and an E.P. under his belt. The music style is post-punk with ethnic elements and an Industrial, Coldwave, Goth sound that only recording in Berlin can inspire. The Russian invasion of Ukraine influenced the album greatly. Initially, it was intended as a slightly dance/club sounding follow up to the previous record, but took on the pain, anger, fear, loss, and suffering of the war into the songs. A unique record and worthy of your investigation.

Personal Damage – Atrophy & Entropy – Test Subject Records
L.A. three-piece punk band that has won the hearts of all here at Sorry State. Regular readers will have read all of us here rave about these guys and their take on California Hardcore punk. There’s nothing about these guys not to like. Good energy, good songs, a good look, good humor mixed with a darker take on politics and modern living. Their set at our anniversary festival was a highlight (amongst so many) and it was a pleasure meeting them. Record comes with a sick poster too. Nice one guys.

Blur – The Ballad Of Darren – Warner Records
The 90s and the Brit-Pop years were heady times, but a long time ago now. Blur soundtracked that era for many. Singer Damon Albarn’s voice is another that sounds like a longtime friend or family member. More recently heard with Gorillaz than Blur, it’s a welcome return hearing him with his original band, their first in close to a decade. I was a fan back in the 90s and saw them a bunch of times, beginning with their first album Leisure through to the early 00s and the Think Tank album. They were always good live. When I first heard this new record, I was a little underwhelmed if I am honest, but I have given it repeated listens and really like it now. Certainly, a more mature sounding record and one that finds the band reflecting on where they find themselves now. Still the trademark Damon vocal and although mostly downtempo, still some louder rockers with plenty of sonic texture from guitarist Graham Coxon on display.

Irreversible Entanglements – Protect Your Light – Impulse Records
Those of you into spiritual free jazz that combines hip-hop, funk and spoken word poetry need look no further. This is their debut on Impulse, the label that they were almost destined to be on. They’ve been around for half a decade or so now and have three previous releases. I was lucky enough to catch them play here in Raleigh alongside Daniel and it was an experience we won’t forget. Very powerful stuff.

Fairytale – Shooting Star – Quality Control HQ / Toxic State Records
I’ll let others here at Sorry State tell you about hardcore punk, but I will say that of the many ripping punk records that came through the store last year, (other than our own releases) this was one of my favorites. They do so much with their sound, albeit within the contexts of a d-beat punk framework. The vocals and how they blend into the sound really impressed me. This is a record that initially blows your wig off with its intensity, but like an onion has many layers that reveal themselves each time you listen. We sold out our copies so snag one if you see it, but if ever a repress was needed, this would be it.

Now for a quick mention of some of the reissue highlights I would recommend you investigate.

De La Soul – Buhloone Mind State – Chrysalis Records
It took years, but finally the group took control of their back catalogue and 2023 saw the reissue of their long out of print albums back onto vinyl again. One of the best hip-hop groups ever, this album was their third release from 1993 and might well be my favorite. I’ve kept the CD I bought when it came out and had always hoped to get a vinyl pressing, but as the years went by that became an expensive task. Overall, the reissues of the records have been well done, although why the interstitial skits were dropped on this one is a question some are asking.

Inu – Don’t Eat Food – Mesh Key Records
Late 70s/early 80s post-punk from Japan that has remained Japanese punk’s best kept secret. This was the first licensed and remastered from original tapes reissue of this seminal album. Comes with a nice booklet of photos, lyrics and liner notes. I was new to this record and was impressed.

Dolly Mixture – BBC Radio Sessions – Sealed Records
Primo girl group post-punk from the UK circa late 70s/early 80s. Didn’t really get their due during their lifetime and I always thought that their unreleased material was way better than the actual records. Check out the album of demos and this collection of Radio One recordings for evidence of that. More famous during their time for being complete amateurs and one of them dating Captain Sensible. The group backed him on his solo album and classic single Wot. Thank goodness for the likes of John Peel and the Beeb for having bands cut live sessions like this. Joyous indie pop that never goes out of style.

Jimi Hendrix Experience – Hollywood Bowl, August 18, 1967 – Experience Hendrix / Legacy
When it comes to guitar heroes, there is Jimi and then everyone else. During his Experience era, he was literally recording music every day, whether in the studio, at home or on a stage somewhere. There are countless live recordings out there, and since the Hendrix family has gained control of his music there have been a whole slew of terrific live recordings officially released. This show from 1967 was recently discovered and is a great sounding soundboard recording. Hearing Jimi play never gets old, and this set kicks ass. He also covers Sgt. Pepper’s Lonely Hearts Club Band here, a song still freshly released in that summer of love. Like all Experience Hendrix releases, this comes with a great full-size booklet of liner notes and photos.

Shabazz 3 – Late Night With Shabazz 3 – Skylark Soul Co.
Legendary underground hip-hop album from 2000 that finally got a proper release as part of Record Store Day. Original copies of the scarce vinyl release were going for big bucks, so this repress was needed. I had a tape copy given to me years ago and was happy to get this cool set on wax. Fans of conscious jazzy hip-hop should look this one up.

Pharoah Sanders – Pharoah – Luaka Bop
Seminal 70s jazz from the master. One of his most beautiful and accessible albums that for years was only known by fans and collectors. We’ve had two original copies come through the store since I have been here. This release gets my vote for reissue of the year. An amazing package that comes in a box that includes an additional album of live recordings made around the same time along with great liner notes and photos. The live version of money track Harvest Time is worth buying this set alone but getting all the other goodies makes plonking down sixty bills a great deal considering original copies are getting close to four figures now. Invest and enjoy.

Blondie – Against The Odds 1974- 1982– Numero Group
Runner up for best reissue of the year for me was this four LP version of a massive Blondie boxset superbly put together by the good folks at Numero Group. Brilliant stuff throughout. (Mostly) all the demos and out-takes you could hope to hear and own. I love Blondie so much and hearing many of these familiar songs stripped down and differently has been a real treat. The book that comes with the set is worth the price of admission alone and makes for a great coffee table book to flick through and is chock-full of great insights and photos.

Alright then, I think that is going to do it for me this time around. Still loads more stuff to potentially talk about but hopefully there are one or two here that you might find just as enjoyable as I did if you missed them. We’re all fans of music first and foremost here at Sorry State and it is an absolute honor and a pleasure to talk about cool records with you all and help get them into your hands. 2023 was a great year. Let’s see what 2024 brings us.

Cheers to you all and as always thank you for your support.

Dom

Jeff's 2023 Year in Review

What’s up Sorry Staters?

2023 has come to an end. Ooooooh and what a year it was. I was reflecting on all the dumb shit I got myself into and all the records I listened to this year, and you know what? Not too shabby. I always have my ups and downs, and SURE, there’s been some speed bumps along the way, but there’s also been plenty over this past year to smile about.

Here’s my Top 10 of 2023. Forgive me for the overly long write-ups about records I’ve probably already talked about plenty this year. Maybe it’ll be worth your time to read what I have to say. Or if you end up scrolling past a whole bunch of it, shiiit, I don’t blame you haha. I decided to not even mention anything released on Sorry State. Surely GUN, Sirkka, Mutant Strain, and even Koro would be mentioned.

Whatever, here we go:

  1. Personal Damage: Apathy & Entropy 12” - Easily one of my favorite records of the year. When Personal Damage first emerged onto my radar a few years back, they caught my attention immediately. It seemed like they became prolific right out of the gate, beating me over the head with a tape, then a 7” flexi, then another tape, then a proper 7” EP. I was curious how well the band would make the leap to the full-length format, and they did not disappoint. You can hear the influence of early 80s LA hardcore like Circle Jerks or The Stains, but Personal Damage has their own thing going on too. Catchy, snotty, memorable, not to mention amazing sounding production and beautiful packaging. Killer.

  2. Electric Chair: Act Of Aggression 12” – I think I may have mentioned the pre-release cassette version of this LP in my end of 2022 review and said something like “this will surely end up in my best of 2023” haha. So yeah, I’d already been listening to this record a lot for over a year now, but it was exciting when the vinyl version finally dropped earlier in 2023. The band’s first full-length LP took their already frenetic style of hardcore and added even more craziness to the mix. Insane shredder leads, weird sort of trippy, psychedelic passages in songs like “Security Camera” – it’s wild. But still the same awesome, outta control, catchy songwriting you’d expect. Electric Chair really got around this year. Even myself, I saw them multiple times, in Minneapolis for the Thrasher event, in Philly for Something To Talk About Fest, at Sorry State 10th Anniversary, and on Halloween in Richmond. I don’t know what it is about Electric Chair. All the dudes are funny as fuck, and there’s something cartoony and silly about them. But they are also undeniably one of the most dead serious, potent, explosive and raging hardcore punk bands out there. They rule.

  3. Tozcos: Infernal 12” – This record snuck its way onto my list right at the tail-end of the year, but it had to be included. First non-NY band to be released on Toxic State? Tozcos have been active for over a decade now I believe. Infernal is their 2nd LP, and it is worth the wait. Tozcos brings an element of “song-based” hardcore punk that I think is sadly missing at the moment. There’s a really thoughtful, dare I say, almost “pop-oriented” attitude toward their constructing of songs. I don’t even speak Spanish very well, but I find myself continuing to sing the vocal hooks after I’m done listening to the record. Not to mention the monster musicianship in the band. Limon’s razor-sharp guitar tone, Corrina’s super in the pocket, pounding, groovy drumming… Also, Kevin’s gotta be one of the best bass players in the game. Walkin’ all up and down that neck. When I heard the bass break intro in the teaser track “Presos”, I was like “deeeeeeyum”. And Monsé’s vicious vocal delivery brings it to the next level. What a great record made by genuinely cool people. This is the real shit right here.

  4. Sick Thoughts: Born To Blitzkrieg 12” – So, I will admit, I was way late in discovering Sick Thoughts. Even over the years with Drew releasing a TON of records, I just assumed I wouldn’t really be into it. I’m choosing this 2023 EP in part because I feel like an idiot for not even giving 2022’s Heaven Is No Fun a chance until way into 2023. I surely would’ve included it on my best of 2022 list, but it feels like I experienced it all in 2023. But Born To Blitzkrieg is so great too. There are 4 songs on this bad boy, and surprisingly, it opens with an eponymously titled ripping hardcore tune. What I discovered is that beyond Sick Thoughts’ sort of silly, crude presentation and lyrical content, my dude just writes great songs. “(I’m A) Hellraiser” is like somewhere between Generation X or Blitz mixed with some random raw, rockin’ KBD tune or something. The classy title of “Schoolgirls in Chains” is almost like early GG Allin, but then breaks into some straight up harmonized Thin Lizzy guitar leads? So sick. Then this EP ends with an unexpected tender moment with “My Heart Is Breaking Over You.” Consider me converted. I love Sick Thoughts.

  5. Pyr Kata Voulisi: Thymata Eirinis 12” – I try my best to pronounce this band’s name NOW, but when we first stocked this record, I remember everyone referring to them as, “You know uuuh, the Greek band!” Haha. An unexpected ripper for me this year. It sounds like these Greeks take some cues from Swedish hardcore, namely I hear a little bit of Herätys influence in the riffs. Just a great hardcore record. I remember them getting some buzz this year amongst the true heads. I hope this band records something new in the not-so-distant future.

  6. The Hell: S/T 12” – These Cleveland boys teased a few tracks from this LP on a cassette back in 2022. Putting the “punk” back in hardcore punk. Direct, to the point, raging. Clean guitars pumping out riffs like a machine. Snarling, aloof vocals somewhere between Stiv Bators and Danny Spira. Tight, fast drumming. 10 songs in 12 minutes. What more do you want? I hear rumors that they’ve got something new geared up for 2024. Can’t wait.

  7. Deletär: S/T 12” – France’s finest, if you ask me. Deletär released a few records before this LP, but I think they really just nailed it on this round. From the moment you drop the needle, your face will melt immediately. Not unlike Pyr Kata Voulisi, Deletär definitely tips their hat to raging käng-style Swedish hardcore. The production on this LP is super dense and intense. Great guitar tone. And just one fist-pumping killer riff after another. Some of the guitar leads approach Skitkids territory. But for me, I like that Deletär have that heavier edge to their sound, but don’t quite cross into crust territory. They kinda remind of a band like Infernöh sort of. I saw Deletär at K-Town back in 2022, but I look forward to seeing this band live again soon. Also, there might be some cool news about this LP soon ;)

  8. Nuovo Testamento: Love Lines 12” – This might be a surprising choice against some of the other records on my list. But if I’m being honest with myself, I listened to this record a whole bunch this year. I don’t know anything about Italo-Disco, really. I know that’s what Nuovo Testamento is going for with the name and all. But when I listen to this record, I just think about 80s NRG and freestyle synth-pop like Stacey Q and Samantha Fox. Maybe I don’t know what I’m talking about. What I do know is that I’ll throw this record on when I’m in my kitchen and shake my tail feather while I’m cooking dinner. It rules.

  9. Tiikeri: Punk Rock Pamaus!!! 12” – Funny how a record with cartoon tigers and anarchy A’s inside of hearts made such an impact this year. The Finnish songsmiths were at it again this year with their first full-length. Maybe I live in a bubble, but a lot of people were super into this record this year, right? I’ll use the word I’ve used many times when I’ve described Tiikeri: INFECTIOUS. That’s the thing, it’s hard not to like it. When they make the cute battle cry of, “Okay, let’s punk!” You’re like, yeah I’m down. Saccharinely sweet poppy punk tunes about how “punk is love” and all that kinda stuff. A welcome positive distraction from the awful things happening in this world. Authentic late 70s Finnish KBD or Green Day? I’ll let you decide.

  10. The Massacred: Post-Mortem 7” – Wow, the only 7” on my list this year. I had to pick at least one. Funny enough, Public Acid played New Year’s Eve of 2022 in Toronto. Then, our next show on that trip on January 1st, 2023 was in Boston and it was the record release for The Massacred’s first 7”. So technically, this record just barely made it in time to qualify as a 2023 release. What a great way to kick off the year. This band rips. An almost militaristically tight approach to hardcore punk. The Massacred definitely have some UK82 influence going on with big, chanted sloganeering style vocals. But then, a friend mentioned to me that the riffing reminds him of Headcleaners. Now I can’t unhear it. Soooo, like a tough as nails, stompy version of Headcleaners? Sign me up. Awesome packaging on this record too. I remember Usman and I gushing over the hand-stamped dust sleeves.

-----Honorable Mentions-----

-Golpe: Assuefazione Quotidiana 7" – I almost feel guilty not including this 7” in my top 10! I love me some Golpe. Them sweet Italian boys. Part of the Sorry State family, this new 7” offering on Beach Impediment has some the band’s heaviest, stompiest songs yet.

-Yellowcake: Can You See The Future? 7” – This band came onto my radar this year out of nowhere. I think they’re making a big impression in general. Not For The Weak did a great job with this 7”, but I think seeing this band live is really what did it for me. So powerful. The drummer is insane.

-Bloodstains: Anti-Social 7” – Orange County, baby. I love that this band is bringing back that melodic side of early 80s California punk. The sleeves on these 7”s look great too. Thanks again for hooking me up with a copy, Cesar. Gimme more Agnew, people!

-Fairytale: Shooting Star 12” – Another record that probably should’ve made my Top 10. This LP is just insane. For bands doing the “d-beat” style or whatever, I always thought Fairytale were a unique, kinda spaced out, psychedelic take on the sound. Lulu’s vocals on that track “Possible to Grow,” so killer.

-Nukies: Can’t You Tell That This Is Hell 12” – Another ripper that I digested in tape format first. Nukies from Sweden play super riffy, almost rocked out hardcore that’s often stompier and groovier than it is ripping mangel style. Great stuff.

-Factory City Children: S/T 7” – Mateo from Warthog transforms into a demon and wreaks havoc on the streets of NY. Nasty, raw, blown out but catchy punk tunes recorded over a drum machine.

-People’s Temple: I’m With The... 7” – When a dude from Orange County infiltrates NY and brings that catchy style of hardcore from one coast to the other. There’s things I liked and kinda didn’t care for with this record, but the first track “Think For Me” really stands out.

-Destruct: Cries the Mocking Mother Nature 12” – Had to mention my Richmond homies. Seriously one of the deadliestly (is that word?) tight bands playing Japanese-inspired hardcore at the moment. Those tom rolls, dude. Makes the kids go nuts.

-Hez: Panamaniacs 12” – Even though I know we had stocked previous records by this band a few years back, John Scott actually turned me onto this record. Totally raging hardcore from Panama. Kinda raw but also atmospheric like Destino Final or bands of that style.

-Class: If You’ve Got Nothing 12” – Another band that, for me, appeared out of nowhere and all the sudden was super prolific with their releases. I never really checked them out until much later in the year. I heard such positive endorsements from people around me. I finally gave Class a shot and now I totally get it. I feel like the term “power pop” gets a bad rap. Class just writes great, jangly vintage sounding punk tunes. I really love the track “Behind The Ball” on this new LP.

-Chueko: Tools of Oppression 7” – I think I just talked about this 7” in the last newsletter, but it’s continued to grow on me. Great hardcore punk from Portland by members of Suck Lords, Alienator, etc.

-Secretors: Comparing Missile Size Vol.1 7” – Another release from later in the year. I feel like this EP is just a barrage of intense, heavy hardcore that definitely has a couple nods to Japanese punk classics. Great riffs on this record.

-Laughing Corpse: Demented Thoughts Posed As Dark Comedy cassette – New band out of DC. I think this tape is really cool. My homie Connor killing it on drums, as always. Funny enough, I detect a bit of COC and Double Negative influence in the songwriting. Totally Raleigh-biased over here, and of course I’m so here for it.

Certainly, there are several other records released in 2023 that I could talk about. But I tried to narrow it down to a few choice favorites, and I still feel like I wrote too much. I didn’t even mention REISSUES! That’d be a whole other verbose series of ramblings.

Alright, more generally speaking, here’s a “Top 10” list of my favorite and most eventful moments this year:

1. Sirkka gig weekend – I just remember this weekend being really fun. It was toward the end of April. Public Acid played in Norfolk on a Friday. Then on Saturday, Usman and I spent the whole day Saturday in Richmond. I remember hanging with a big group of friends, we got breakfast, went to a skatepark by the river, got margaritas, and it was just nice having the crew together. Then on Sunday, both Public Acid and Scarecrow played with Sirkka. Sirkka ripped so hard. That was a great gig. It was great seeing Sanja again after Scarecrow had met her in Germany on our European tour back in summer 2022.

2. Public Acid Thrasher gig – People who regularly read the newsletter might be aware that skateboarding was super important to me when I was younger. It was super cool to get invited by Thrasher Magazine to go to Minneapolis, watch some skateboarding, and then rip a gig with Electric Chair at the afterparty. A no brainer. We were hosted by Will from Desolate and it was awesome. I got to meet Tony Trujilo, one of my favorite skaters. We hung with the Electric Chair dudes and, you know, went and rode a giant wooden mechanical wiener at a sex shop. The usual stuff. Then after the gig, all of us in Public Acid and Electric Chair went to a swimming spot by a lakeshore at night with some Minneapolis locals.

3. Shomo Fest 2023 – I know the fest is called Something To Talk About. I call it Shomo Fest affectionately. Jim put together one hell of a fest. If it wasn’t already killer in 2022, he really upped the whole shebang this past year. It was my first time playing the First Unitarian Church in Philly, which has been doing punk and hardcore shows for a loooong time. And seeing Vaaska and Warthog was killer. The Saturday shows at Foto Club were a blast, too. The Wanted, Invertebrates and Mutant Strain killed.

4. Meat House Tour – Even though this run of dates we did was short, this was easily one of the funnest tours I’ve ever been on. Meat House went out and played some Midwest gigs with Mutant Strain, and it was great. Even more than I remember the gigs, I remember just laughing and hanging out. Rolling up to a White Castle, making Shrek Juice™ out of bright green soda and tequila and actin’ a fool for hours. I’ll never forget those cool local dudes we met at the liquor store who asked if we were on Spotify and then wanted to take a group picture with us, and then the one dude preceded to pull out his gun to pose with for the photo.

5. Scarecrow / Vidro Tour – The Swedes invaded! Vidro are the coolest. So stoked we got to tour together. Scarecrow and Vidro did 10 days in a van together up the east coast and dipped our toes into the Midwest a bit too. There were many highlights. Staying with Andy and Elise in Worcester ruled, where their house had horror movie ephemera in every corner and Andy showed us his many wares and special herbs grown on the property. Loved getting to hang with Trevor in Cleveland and I also got a sick tattoo from Lia. Also in Cleveland, we went to check out the Great Lake and there was trash and dead rats on the beach. Awesome. The Richmond show was great; it was fun hanging at Chubb’s after the gig and jamming Ramones records. Our last night in DC, we involuntarily spent 2 hours in a tiki bar and then went and danced at a goth club. I can’t wait to see Vendela, Lucas, Staffan, and Melody again soon. Perhaps back on their home turf sometime ;)

6. Hangin’ with Tozcos in a graveyard on my birthday – This was yet another Thrasher magazine event where they recruited punk bands to play. This time, it was Scarecrow that played, and it happened right in our backyard in Charlotte. We got to the skate park too late to see the skating, which I was bummed about. But the gig we played later was with Tozcos! The gig was on August 19th, so it was my birthday right when the clock struck midnight. We all got cases of beer and celebrated in the graveyard TSOL style – Well, actually NO, not like that.

7. Sorry State Anniversary weekend – This should be number 1 on the list. The coolest thing that’s happened in Raleigh in all the years I’ve lived here. 2 days of pure punk bliss, thanks to our Lord Commander Daniel. A lot of planning and work went into organizing our 10-Year Anniversary, and I’m so happy it went well. Thanks again to all the bands who came and played and all the people who helped out. I’ll never forget it.

8. Tampa – Generally speaking, I’ve never been the biggest fan of visiting Florida. But prior to actually arriving, Mike from Warthog/Heaven’s Gate picking me up at the airport and driving me into Ybor, I didn’t realize I’d never been to Tampa. I must admit, I had a pretty awesome time. Seeing mofos roll cigars fast as fuck in the windows of local shops and seeing wild chickens roaming around, it was a cool vibe. The gig Public Acid played was cool obviously, but moments like drinking Aperol Spritz at fancy hotel pool with palm trees while Chubb wore a cowboy hat—that and going to this huge, famous S&M goth club were the best moments in my mind.

9. Screaming Death – Me and Usman’s label, Bunker Punks Discs & Tapes, released a record I’m really proud of this year. It was a project that was in the works for a couple years: a 4-way split featuring our band Scarecrow, Destruct, Rat Cage, and Dissekerad. The final product came out amazing, and we’re really stoked on the positive response we’ve gotten from the release. Thanks everybody!

10. This year in record collecting – So last but not least, I managed to score some records this year. Pretty much all the records worth mentioning are of the miniature variety. Not so many full-size platters, but I crossed off some of my major bite-size wants. I always convince myself I didn’t go too too crazy. Whoops! The SOA was a huge one for me, of course. I’m also so stoked I was able to lock down an original Zmiv 7”. I didn’t know if I’d ever see one. The Damned Stretcher Case was a record that eluded me for years too; I guess they were given away at gigs in the late 70s? Wild. Thankful that Colin from Sit & Spin in Philly brought that down with him while being a vendor at the Sorry State anniversary. Hell yeah.

There are several more things I could drag on about, like the Krigshoder/Indre Krig gig in Richmond, the Halloween show where I dressed as Captain Sensible and barely anyone got it, the under the bridge show with Nosferatu, Subdued, and Tower 7, seeing Appendix… the list goes on and on. I think I’m gonna try to wrap it up here.

2023 definitely had plenty to keep me busy. Seems like 2024 is already shaping up to be just as, if not MORE, busy than last year. Thanks to all you readers who have supported us here at Sorry State. Here’s hoping 2024 ends up being a good one.

‘Til next week,

-Jeff

Daniel's 2023 Year in Review

I’m in a bit of a pickle regarding my Best of 2023 list this year. Maximum Rocknroll asked me to contribute a list for their year-end roundup, but they haven’t published it yet and I don’t want to steal MRR’s thunder by publishing my piece here first. In MRR this list will be fleshed out with brief explanations of what I liked about each record, so hopefully they won’t mind me publishing the bare-bones list here. Here it is:

TIIKERI: Punk Rock Pamaus!!! LP (Open Up and Bleed / Vox Populi)
PUFFER: EP 7” (Roachleg)
PERSONAL DAMAGE: Atrophy & Entropy LP (Test Subject)
FAIRYTALE: Shooting Star LP (Toxic State / Quality Control HQ)
DIE LETZTEN ECKEN: Talisman LP (Static Age)
FLOWER: Hardly a Dream LP (Profane Existence)
WHY BOTHER?: A City of Unsolved Miseries LP (Feel It)
SALVAJE PUNK: Salvaje Punk LP (Toxic State)
ELECTRIC CHAIR: Act of Aggression LP (Iron Lung)
THE COOL GREENHOUSE: Sod’s Toastie LP (Melodic)

Like I said, Maximum Rocknroll will publish the full piece on their website in the coming weeks, and I’ll note in the newsletter and on Sorry State’s socials when it’s available to read. Since I’m not writing about the actual records here, I thought I’d reflect on my list and tell you a bit about how I came up with it.

I think 2022 was the year I used playlists to keep track of the new music I listen to. Currently, my Apple Music library has 5,043 albums, and before I started using playlists, I would listen to a new release for a few weeks at most until it got bumped from the “Recently Added” section and disappeared into my unwieldy library. Now I maintain a playlist called “current stuff,” and every Monday I look at what new releases have come in at Sorry State and add the ones I want to check out to the playlist. When I’m working in my office at Sorry State’s warehouse or driving around doing errands, I usually have this playlist playing on album shuffle mode. Sometimes it’s just playing in the background and I’m not really paying attention, but I hear this playlist so often that I begin to get a feel for which releases interest me.

Another part of my Monday playlist maintenance routine is deciding which releases I want to write about for the newsletter. I usually choose seven releases, six of which will appear in the Featured Releases section and one of which I’ll name Record of the Week. I then give each of these seven releases a few closer listens at home on my nicer stereo, giving them my full attention and taking notes I’ll use to compose the descriptions for the newsletter. Once I’ve written all seven descriptions, I decide which one will be Record of the Week. Sometimes I have a good idea of which one will be ROTW before I start, but other times I’m surprised when closer listening causes a new favorite to emerge.

The last part of my Monday playlist maintenance routine is pruning the “current stuff” playlist. After I’ve written about the record for the newsletter, if I really liked it, I’ll add it to another playlist called “Best of 2023 releases.” I put this playlist on album shuffle when I need the good shit… usually when I have to do a long drive or power through a task at work that I don’t really want to do. If a release doesn’t make it onto the “Best of 2023” list, it disappears into the library. I listen to my entire library on album shuffle a lot, but with so many albums, no release comes up very often. Every once in a while (but not very often), I’ll dislike a release so much that I’ll delete it from my library so I never have to hear it again.

When it was time to compile my Best of 2023 list, the first thing I did was look at that “Best of 2023 releases” playlist. Next, I looked back at the Record of the Week archive on the Sorry State website to see which records I named ROTW throughout the year. Finally, I look at all the physical releases I bought throughout the year. This last step is not as helpful as I’d like, since the new releases are all mixed up with the reissues and used records I’ve bought, and I have already filed away some. But this stage always adds a few items where I played the hell out of the physical version, but either I didn’t have a digital version or the digital didn’t get as much attention.

In the past, I’ve always compiled a “short list” of several dozen releases that I then shuffle around, hemming and hawing about whether each one should go in the top 10 or appear as an honorable mention. This year, though, I didn’t compile a short list at all. After reviewing all that data, I sat down and spit out a list off the top of my head. When I looked at it, it was exactly 10 releases and I felt good about it, and that’s exactly the list that appears above. No revisions, no second guessing (well, until I wrote all this reflection / explanation I guess). In the past, I’ve agonized over lists like these to where they felt inauthentic, like I got too much in my head about which releases “should” be on the list and ended up with something that didn’t reflect what I actually liked and what spoke to me. Looking at this year’s list, though, they are definitely 10 records I really loved.

That being said, there are a ton of excellent records that aren’t on the list. I listened to the Destruct, Rat Cage, Physique, Kinetic Orbital Strike, and Avksum records a ton and I thought all of them were great, but I wanted my list to reflect the diversity of my tastes. The Deletär album would have been on the list, but once we agreed to do a US pressing on Sorry State, that disqualified it from consideration. (I never put releases I helped put out or played on on these lists… it’s hard to be objective about them, though l love all of them as much or more than the releases that appear on the list.) I really loved the Mandy, Indiana and Mary Jane Dunphe albums, but I wasn’t sure if they met Maximum Rocknroll’s criteria for inclusion, so I didn’t put them on the list. A few other releases arrived too late for consideration. I think the Tozcos LP came out right around the time I had to submit my list to MRR, and it has completely dominated my listening since then. If I composed my list today, Infernal would, without a doubt, be on it.

One thing I really like about my list, though, is that each release I highlighted has something that elevates it above the level of simply being a good punk or hardcore record. For me, these year-end lists are about more than simply ranking the “best” records, whatever the fuck that even means. It’s about identifying the records that speak to our moment, that emerge from their context in some kind of interesting way. I’m sure the Tiikeri record would sound great in any context, but there’s something about the way it melted the hearts of so many hardcore maniacs this year (myself included) that makes me love it even more. Similarly, the Flower and Why Bother? records probably got fewer listens than some releases that didn’t make it onto my list, but the fact that I wasn’t expecting to like them as much as I did made them feel more significant.

So yeah, that’s the thought process behind my list. Now enjoy the rest of the SSR staff’s lists, which are hopefully formatted in a more straightforward and traditional way than mine…

Oh, and after all that stupid process, I still totally forgot about the Bloody Flag tape, which 100% would have been on my list. God damn it!

Record of the Week: Secretors: Comparing Missile Size Vol 1 7"

Secretors: Comparing Missile Size 7” (Roachleg Records) We last heard from New York’s Secretors on 2019’s Antidote for Civilization flexi, but after seeing them last summer at Another Lost Weekend, I knew they were coming back in a big way. Secretors did not sound like a band that had been hibernating for four years… in fact, they might have played my favorite set of that entire weekend. Comparing Missile Size illustrates why. For me, it’s a consummate New York punk record, intense and raw, but developed and thought out in a way that makes it feel like a real statement rather than just a burst of inspiration caught on tape. Secretors recordedComparing Missile Size at D4MT Labs, and like all the recordings that come from that space, it sounds murky on the surface, yet it’s rich with the detail you need when the instruments’ tones and textures are a big part of the sound. Despite playing full-bore pretty much all the time, Secretors’ music goes to a lot of different places, from brutal, Shitlickers-inspired pounding to riffier moments like “Direct Order” and the rad, Randy Uchida-esque intro riff on the title track. The vocals play a huge part too, barked in a low register a la E.N.T., but rather than locking in rhythmically with the riffs, they tend to pull against the instrumental rhythms in compelling ways, creating this tension that makes the sound feel like it’s pulling apart at the seams. The artwork and lyrics are similarly compelling, with well-considered reactions to the new horrors of 21st-century warfare. Comparing Missile Size is one of those records that grabs you right away with its explosivity, but whose depth keeps you coming back for repeated listens.

Featured Releases: December 25, 2023

Muro: Imperio En Ascenso 7” flexi (Autsajder Produckcija) Bogota, Colombia’s Muro returns with a new two-song flexi, their first new material since 2020. For my money, Muro is one of contemporary hardcore punk’s most exciting bands, and it doesn’t sound like they’ve lost a step in the few years since we last heard from them. As ever, their music oozes passion, conviction, and energy… it’s so explosive you can’t help but get caught up in it. The first track here, “Cultural Mercenaria,” is a dramatic song, reminding me of Burning Spirits style hardcore with its metal-style punches and slightly neoclassical-sounding guitar leads. “Imperio En Ascenso,” on the other hand, is a raw and ugly hardcore song, blistering fast with a simple riff delivered with buzzsaw speed and precision, its sense of abandon bringing Headcleaners to mind. While these two songs are very different, they’re tied together by Muro’s trademark raw production and the infectious energy they transmit in every note they play. Hopefully Muro’s planned US tour works out, because I hear they’re just as impressive live.


Cross: No Beginning, No End cassette (Roachleg Records) I’ve seen this cassette from New York’s Cross billed as a demo, but there’s so much music here (8 songs in 18 minutes) and the band’s sound is so fully formed that it feels more like a cassette album to me. Cross plays super fast, approaching Siege / Deep Wound speeds in places, but with fast-and-hooky riffing that reminds me of the more hardcore side of Government Warning. However, the harsh, cymbal-forward mix and the singer’s raspy bark instills Cross’s sound with distinct black metal vibes (albeit the punkier black metal of bands like Craft rather than the atmospheric stuff). Cross also reminds me of bands like Nosferatu or Reek Minds in many respects, but the other elements they bring in give them a very different vibe. It’s very cool… intense and powerful, but without sounding quite like anything I’ve heard before. Another great release from Roachleg Records.


Die in Vain: Savage New Times 7” (La Vida Es Us Mus) This Istanbul group’s demo tape came out on General Speech and now their debut vinyl is on La Vida Es Un Mus, an impressive pair of endorsements. Die in Vain plays on-the-nose UK82-style punk without much of the hardcore influence that dominates much of what I hear called UK82 these days. In other words, they lean more toward the Vice Squad / GBH / early Exploited end of the spectrum than the Partisans / Ultra Violent End, with steady, typically mid-paced drums that aren’t super heavy on fills and accents, shouted verses with gang vocals on the choruses, and simple but very catchy riffs. It may sound simple, but it’s also effective, the starkness of these songs’ production and delivery making them hit with considerable impact. If you’ve been digging the Australian band Thatcher’s Snatch, this is in a similar style and hits just as hard.


Laughing Corpse: Demented Thoughts Posed as Black Comedy cassette (self-released) 4-song, 5-minute demo from this new group out of Washington, DC. Connor from Innumerable Forms, Red Death, Genocide Pact, and many other projects is on drums, so you know right off the bat this is going to be killer. Connor is from North Carolina, and I dare say I hear his Raleigh roots coming through in Laughing Corpse. The riffs remind me a lot of the first Double Negative album... listen, for instance, to the first riff in “Demented Thoughts” and then check out the Double Negative song “The Jacket.” While I hear similarity in the riffing, there’s a lot more to Laughing Corpse’s sound. I love the black metal-ish intro to the first song, and the swampy, rocked-out breakdown in “Demented Thoughts” is killer; it’s straight out of the Eye for an Eye playbook, but the way the two guitar tracks diverge on the woozy-sounding lead part is unexpected and very cool. The recording is great too, clear and powerful, but plenty of grit. A killer demo.


Imploders: S/T 12” (Neon Taste Records) After a couple of EPs, Neon Taste Records brings us the first full-length record from Toronto’s Imploders. If you didn’t check out Imploders’ previous releases, I’d put them in that space between punk and hardcore occupied by bands like Career Suicide, Angry Samoans, Dayglo Abortions, Adrenalin OD, and even early Screeching Weasel. Like those bands, Imploders play at hardcore tempos and have snotty vocals, but their riffs have a sense of melody that comes more from song-oriented punk than pure hardcore aggro. Imploders are still pretty fucking aggro, though, even dropping in a handful of almost moshy mid-paced parts across the record. While they can sound pretty tough on these parts, on the other side of the spectrum is a song like “Beatin’ on the Brain,” which isn’t as pedal-to-the-metal tempo-wise and whose structure and arrangement are more punky. The variety is nice, particularly since the sequencing is tight, with each song leading straight into the next; rather than a breather between songs, the most you’ll get from Imploders is a slight letup in tempo. Tight, fast, catchy, and totally punk.


Corker: Falser Truths 12” (Feel It Records) Falser Truths is the first album from Cincinanti’s Corker, it’s on Feel It Records, and it’s the latest in a series of excellent records from that city. When I first listened to Falser Truths, Corker’s gloom and grit reminded me of Glaas and Diät, but Corker doesn’t feel as pop as those groups. Instead, they sound more in line with the tradition of artier post-punk bands whose music was informed by 70s German progressive music. Corker seems interested in interlocking patterns, layering riffs and rhythms on top of one another in ways that can sound jarring at first, but grow into earworms through repetition. Not that the band meanders… the songs on Falser Truths have a logic to them, and they’re full of memorable hooks, particularly the angular lead guitar parts. Fans of abrasive yet beautiful music like the Fall, Pere Ubu, and Magazine should find plenty to like in Falser Truths.


Angela's Staff Pick: December 25, 2023

Hi Sorry State friends! Happy holidays to all of you who celebrate and have a good day to everyone else! I always stay at home for the holidays, but for the last several years I have gone up to Ohio for about a week and come back a couple days before Christmas, and this year I didn’t. It feels like a huge weight was lifted off my shoulders. Usually I stress out about it the couple weeks leading up to the trip and then I get cranky a couple of days before I leave, and this year I feel free. I will really miss seeing some of my family, though. But so glad to not be in an airport or on a plane. If I could press a button and land there, I would do that for sure. Where I live is about 8.5 hours and the route is kind of the worst. And for someone who suffers from car sickness, the thought of making that drive makes me feel nauseous. Anyway, I will have a low key Christmas and holiday season just the way I want! Hopefully reading the newsletter today will help you mentally escape from your family for a little bit (only if you want to, of course). Let’s get into it!

I’ve always liked the Lemonheads, but I guess my opinion is only based on their two early 90s albums, which doesn’t cover the full spectrum of their sound. They don’t evoke super strong feelings of love, but the sound of Evan Dando’s voice is so nostalgic. He just has that voice. That quintessential 90s alternative college rock voice. I think he’s a great songwriter. That said, a lot of the Lemonheads discography is uncharted territory for me. Like this EP right here! Their very first EP, Laughing All the Way to the Cleaners, released independently in 1986.

The EP gained some underground popularity and caught the attention of an independent label, Taang! Records, who would scoop them up shortly after. They released a compilation of hits in 2012 also called Laughing All the Way to the Cleaners. I found it interesting and strange that they used the same album name, but they didn’t include any of these EP songs on the compilation. And by “any,” I just mean the first song on the EP, which 1 million percent should have been on the 2012 comp. More on that below.

Before the Lemonheads entered the alternative rock universe, where they would stay for a million years and with a million lineup changes, they were just a few young Boston punks. In fact, they were still in high school when they recorded this EP. It’s just under five minutes long and it’s good. Especially given they made it in high school. It’s clearly influenced by the Descendants. Side note, they would go on to recruit a member of the Descendants as their bassist.

The first track, Glad I Don’t Know, is the outlier of the bunch, in a really good way. It sounds like Bad Religion meets Screaming Trees. And when I say Screaming Trees, I’m really only talking about the Nearly Lost You song. And when I say Bad Religion, I am specifically referring to the vocals and cadence. I’ve definitely heard this song before. In my opinion, this song is a poppy, alterna-punk gem that showcases Evan Dando’s songwriting ability. You can definitely hear the Evan Dando-ness in his voice, which is more obscured in the next few tracks. It’s this track that gives you some insight into how easily they could transition to the indie/alt-rock scene of the 90s.

The other three tracks are a departure from the style of the first track, but they are all catchy and enjoyable songs. They sound influenced by the Descendents’ Milo Goes to College album. I’ve also heard people say the Replacements. It was rather common in the late 80s for bands to abandon their punk roots, smooth out their rougher edges and transition to a radio-friendly, more money-making, alternative band. Honestly, Evan Dando was better suited for that style, because like I said, he just has that voice.

The Lemonheads, or maybe I should just say Evan Dando, as he is the only original member, have had an interesting career. They’ve amassed just enough fame to secure an audience if they tour, but their set list must be absolutely dominated by the early 90s hits and fan favorites to make the audience happy. Every old band has to play some of their classics, but a lot of bands from that era still make albums that people are excited to hear. Given that I only know It’s a Shame About Ray and Come on Feel the Lemonheads, it was really cool to hear this EP and their first full length (Hate Your Friends, 1987) and become more familiar with their origin.

Anyway, check it out. It was put out by Taang! Records and on orange vinyl. We only have a few left. And I truly mean only a few. And that’s a wrap for me! Thank you so much for reading. It’s been a really fun year here at Sorry State Records, and it flew by so fast. Again, happy holidays! Have fun and be safe! Until next year!

Thanks,

Angela

Usman's Staff Pick: December 25, 2023

Hello and thanks for reading. Wow, it doesn’t feel like it’s been a week already since I was last writing, but here we are. This week I am going to be writing about DISFEAR’s Everyday Slaughter. I brushed off DISFEAR for a long time. My introduction to the band was a mid-2000’s split they did. That, alongside their name, pushed me away. I can’t remember how or when, but luckily one day I heard their 1992 self-titled 7”. I’m not sure if it’s cos I’m a D-beatoholic or what, but fucking hell it doesn’t get much better than this record for me. I really can’t emphasize how much I enjoy it. The sound is RAW, but the production is still nice and clear. The songwriting is super primitive, but the sound is meaner than ever. I think because of the straight-forward songwriting and Swedish lyrics, it made them sound more like an ‘80s band. I feel like a lot of ‘90s bands sounded rather tough or were too busying doing “experimental” type shit, so this really made the release stick out more to me. When I heard this EP, it was a turning point, and I immediately checked out everything that followed. While this 7” was never reissued as a proper 7” again, it is in print and can be found on the back side of A Brutal Sight of War. This was originally released on a CD in 1993 by Lost and Found Records. The CD also included the tracks from their debut 7”. When I first heard these four new tracks, I thought they were a bit boring. But that opinion is actually wrong, haha. The songwriting is just the same as their 7”, however the production is certainly different. The lyrics are sung in English instead of Swedish as well. I think those two factors made it seem much more different to me than it really was. Now, I think these four tracks are excellent, and a perfect bridge into their debut 1995 LP Soul Scars. This one was released on CD and LP by Distortion Records. It depends on what day you ask me, but this one is probably my favorite DISFEAR release. The sound changed a bit here; they get noticeably heavier and faster. There is a line-up change before this recording, and Jallo Lehto of TOTALITÄR joins DISFEAR on the drums. Maybe that’s a major factor in my favoritism of the release, haha. Following this, in 1997, they released Everyday Slaughter on Osmose Productions. This album is the definition of a complete monster. If you thought the sound was huge on Soul Scars, wait ‘til you hear this one. I think some might ignorantly associate this record with “stadium crust.” I foolishly thought the same and got my ass slapped into place when I finally heard this beast. While this band or album or whatever has some characteristics of stadium crust, what sets them apart is the fact that they’ve got riffs and certainly know how to play them. Here is a killer video of them crushing it the same year Everyday Slaughter was released. As we can see, there is absolutely no banana on the guitar. Ah yes, there was another lineup change before this album was recorded as well. Jallo was replaced by Robin Wiberg on the drums. (I mentioned him playing drums in DISFEAR when I wrote about his current band SVAVELDIOXID last week.) So, the Everyday Slaughter LP took me forever to track down. I’m not sure if it’s cos it appeals to metalheads too or what, but it didn’t make sense to me. Soul Scars was not nearly as hard, and their 7” was a bargain bin record forever. I think this reissue of Everyday Slaughter is excellent and has really done this beast the justice it deserves. The record sounds and looks great. With detailed, full color artwork like this a lot can go wrong, and I think the gatefold jacket came out beautiful.

After Everyday Slaughter, I stop listening to DISFEAR. I recently came back to the albums that came after and they are still not for me. There were more line-up changes and a bigger change in sound. I don’t want to talk any shit, but I want to share this cool DISFEAR video I just saw for the first time. They still have Robin on drums, but Jeppe has been replaced on vocals by Tomas Lindberg. I have never seen footage with Jallo on drums, but I would die to. Same with any footage of ANTI-BOFORS. Alright anyway, I should get going, but if you want to check out any of the releases I mentioned today, you can stream them from DISFEAR’s Bandcamp. Grab these LPs if you don’t have ‘em. They are essential if you ask me. Thanks for reading, and thanks to everyone for your support!