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Record of the Week: Reek Minds: S/T 7"

Reek Minds: S/T 7” (Edger) Debut 7” from this hardcore band out of Portland, Oregon on Edger Records, the same label that brought us Suck Lords and Putzfrau. Reek Minds plays a similar style of high-velocity hardcore, and if you were a fan of those bands I recommend checking this out. Reek Minds is one of those rare bands that sounds both mind-bogglingly technical and totally brutal. They have a tempo change about every 1.5 seconds, like you’re flipping as fast as you can between channels playing vintage footage of Septic Death, Pick Your King-era Poison Idea, the Abused, and Siege. You wouldn’t think something this frantic could be so catchy, but I find myself trying to cram in fist pumps and solo mosh moves before Reek Minds moves to the next part. A lot of that catchiness is down to their great vocalist, who sounds about as much like Jerry A circa Pick Your King as a human being can. With eight action-packed tracks, this one provides value for money without wasting a microsecond of your time. After playing this record, it’s all I can do to lift my jaw off the floor, flip it over, and play it again. Seriously, get this NOW.

Featured Release Roundup: January 30, 2020

Fuga: Sin Frontera Sin Nacion cassette (self-released) A few weeks ago we had the second tape from Santa Ana, California’s Fuga and now we have their debut in stock. While Fuga’s combination of Discharge-inspired chaos and UK82 bounce doesn’t sound super original on paper, their way of combining those styles feels fresh and unique. The killer opening track, “Orgullo Idiota,” is a perfect example. It’s built around a catchy, major-key riff that wouldn’t be out of place on an early Casualties record, moves to a simpler, more Discharge-inspired riff during the chorus and the guitar solo splits the difference, taking a simple street punk-style lead and imbuing it with a heaping helping of Bones-inspired chaos. It all sounds seamless, particularly given that the raw and desperate vocals provide a consistent through line. These are just the comparisons that pop into my head because I’m a giant record nerd; the bottom line is that this tape is raw and vital hardcore punk the way it should sound.


Subversive Rite: Live in Japan cassette (Chaotic Uprising) Just like it says on the cover, this is a live set recorded on Subversive Rite’s recent Japanese tour. It sounds great; everything is audible, but there’s enough room sound to make it feel like a proper live recording. More importantly, the band is on fire. I love how live recordings can show a different side of a band or a song, and that’s the case here. The songs are noticeably faster than the studio versions and the band feels more vicious, with a lunging, unhinged energy that reminds me of Poison Idea’s Pick Your King EP. That this is a live recording might turn some people off, but it’s their loss; this thing rages.


Acute: _ みだら_ 12” (Desolate Records)New six-song, 45rpm 12” from this Japanese hardcore band that has been kicking around for at least a decade now. The tracks remind me of back in the early 2000s when Hardcore Holocaust was importing every title on Blood Sucker Records and I was buying as many of them as I could afford. A lot of it was ripping, but some of it was off the wall, especially to a young person who just wanted everything to rage at maximum capacity all the time. Acute can rage, but they have that oddball quality that I love about so many Japanese hardcore bands. These six tracks are full of quirky rhythms and changes, odd and unexpected vocal performances (a la what Crow was doing on some of their later records on Prank), and interesting production touches such as haunting backing vocals lurking low in the mix. While it’s not as confrontationally eclectic as something like Paintbox’s Trip, Trance, & Traveling, it’s on the quirkier end of Japanese hardcore. However, if you’re a fan of that style I’d check this out.


Secretors: Antidote for Civilization 7” flexi (Roach Leg) The debut four-song flexi from this New York band is a treat for those of us who love the early Japanese hardcore sound. Secretors’ primitive but catchy riffing style and straightforward drumming are a dead ringer for the great G-Zet, so if you’re a big fan of that band you’ll want to hear this. However, Secretors’ blown out, dirty production and harsh, delay-drenched vocals also imbue it with the sinister vibe I associate with GISM and Zouo. It’s dark and creepy, but rather than pushing you away with aggression, it seems to beckon you toward it seductively. More than just another good hardcore record, the unique feel of this one makes it stand out from the pack.


Staff Picks: January 30, 2020

Staff Picks: Daniel

Ramones: It’s Alive 12” (Rhino)

This week the Ramones’ legendary live LP got an official reissue on Rhino Records. I’ve owned It’s Alive for around two decades now so it’s not a new record for me, but I’m thankful this new reissue prompted me to revisit it. Critics have credited It’s Alive with helping to birth hardcore punk because the performances here are so fast… in most cases much faster than the studio versions. While, at this point, we’ve all heard music that’s much faster, It’s Alive is still a relentless record. Five years into their career when they recorded this show, the Ramones were master showmen, and the transitions between songs (or lack thereof) and legendary stage patter are a big part of the draw here. Since It’s Alive didn't originally come out in the US you don’t see the vinyl here too often, so I’d encourage you to jump on this reissue if it’s not in your collection already.

Staff Picks: Jeff

Secretors: Antidote for Civilization 7” flexi (Roach Leg) First release from this new band out of New York. This single-sided floppy record has 4 tracks of super raw hardcore. I’m pretty sure this band is people from Urchin and Subversive Rite, but they’ve scaled back the metallic/d-beat vibe from their other bands for just mean as fuck, primitive, mid-paced stompers. The recording is super blown out, but that really adds to the charm. The vocals are super up front and brutal sounding, barking like a damn rabid dog on attack mode. This thing is just over 4 minutes worth of music, so I can’t wait to hear more from this band.

Also, sticking with the NY theme, I heard the new demo by this band Sirkka this week and have listened to it like 10 times. I don’t much about this band, like who’s in it or who’s releasing the tape, but it’s some of the most killer punk I’ve heard in a while. Totally Finnish-influenced, right down to the vocals which are sang in proper Finnish. I don’t know if the vocalist is actually from Finland, but nothing about the band replicating this style feels forced. Great sounding recording. Love it.

(Note: we'll have copies of the tape in very soon!)

Staff Picks: Eric

Secretors: Antidote For Civilization 7" Flexi (Roach Leg) Raw, powerful, good riffs, and just straight up scary. The recording is super blown out, which is something I really love in hardcore; I love when it sounds like the cymbals are clipping and it sounds loud af even at a low volume. Moreover, the vocal style as well as the mid tempo, bare bones nature of the songs makes this fall into a category for me that I playfully refer to as "Caveman D-beat" (for reference, other modern bands that fall into this category for me would be Bloodkrow Butcher, Bootlicker, Future Terror, Innocent, etc.). I hope this band brings it live, cuz this flexi is menacing.

The Moderns: Year Of Today 7" (Hosehead) Killer Swedish Power pop/mod stuff from 1979. Based on the little bit of research I've done, apparently there were only ~500 of the original self released pressing, which makes this single a power pop dork's holy grail. I had never heard this 7" until the reissue showed up in the mail the other day, but I have definitely spun it a handful of times in the past couple days. Very playful, catchy, and lo-fi sounding. Buy it nerds!

Staff Picks: Dominic

Tyrnaround: Colour Your Mind (Expanded Version) Guerssen LP
 
This week I would like to draw your attention to a fantastic piece of psychedelic music that has become more easily available thanks to the good folks at Guerssen Records in Spain. Originally released in Australia back in 1986 as a mini album, Tyrnaround’s “Colour Your Mind” is now expanded to include the single sides that came out around the same time, including a track that was available on a flexi that came with an issue of Freakbeat Magazine. The collection is a blessing. Not that originals are too hard to find, but combined you will probably have to spend well over $100 to gather all these cuts on wax.

Tyrnaround were a fairly short-lived band from Melbourne that played and recorded from the mid 80’s through the early 90’s. Sadly their singer Michael Phillips died prematurely in the late 90’s and the band officially came to an end then, although in reality their prime period was the mid 80’s during the great second psychedelic wave. The Colour Your Mind EP perfectly captures that period and surely must sit alongside other classics of the era such as The Dukes Of Stratosphear’s “Twenty Five O’clock”, The Moffs’ “Another Day In The Sun” and High Tide’s “Dancing In My Mind” to name three.

Being from Australia the band chose a more UK influenced psych sound as opposed to say the US and West Coast inspired Paisley Underground groups and the spelling of Colour should be your first clue. If the sound of Syd era Pink Floyd mixed with the Magical Mystery Tour & Yellow Submarine Beatles and Village Green Kinks floats your boat then you will be in heaven with this record. There’s lots of swirly organ and Acid Fuzz Guitar TM to get you off and the songs all have some kind of hook, whether it be musically, lyrically or both.

Another record that might have been an influence for these guys that I hear in places is the Nick Nicely “Hilly Fields" (1892) single which is an awesome record and apparently had an influence on XTC and their Dukes record. I highly recommend checking that out also.

So yeah, if trippy UK Psych does it for you then Tyrnaround should be on your radar. Nice reissue too from the Guerssen crew, coming in an old English style flip over cover with an insert of photos and information and a download link to more music with demos and live tracks. Cool.

Record of the Week: Drill: This Is Not a Drill cassette

Drill: This Is Not a... cassette (self-released) This Is Not a Drill is the debut cassette from this Philadelphia band and it’s a keeper. Drill’s sound is primitive and noisy, with simple and loose drumming, catchy bass lines, and squealing, noisy guitars and synths. While the sound is nasty, the songs are memorable. “Assimilate” sounds like Fall’s early singles, while “Predator” has a darker, more propulsive energy that makes me think of Warsaw, the early incarnation of Joy Division. Things get more abrasive and avant-garde for the next handful of tracks (the wild vocalizations in “Incomplete” being a particular highlight) before the tape finishes out with “Kate Bush,” whose melodic bass line and slacker rhythm make me think of Slanted and Enchanted-era Pavement. Rather than developing a particular motif and beating it into the ground, Drill sounds like a band bursting with ideas. Great artists and musicians slumming it in the world of noisy punk rock is one of my favorite things, and if you agree, this little gem should fit snugly in your cassette collection.

Featured Release Roundup: January 23, 2020

Dayglow Abortions: Wake Up, It’s Time to Die 7” (Supreme Echo) Wake Up, It’s Time to Die is the first vinyl release of a 1982 recording session from this long-running Canadian hardcore band. Recorded between their ultra-rare Out of the Womb 12” and their high-water mark, the Feed Us a Fetus LP, the raw recording and loose playing give these tracks a more traditional US hardcore sound than the band’s two official vinyl releases. I know about half the tracks from Feed Us a Fetus, but the others are new to me. These new-to-me tracks find the band pushing their satirical lyrics to the limits of good taste. It’s hard to know where those limits were in 1982, but some of this stuff wouldn’t fly in 2020. It’s more than just empty provocation, though. “Whiter than Hitler,” for instance, points out the absurdity of the very idea of racial purity. Some people will love this because it’s provocative, some will think it goes too far, and some people won't care either way and will just appreciate the ripping vintage USHC. The vinyl version comes with a big booklet and it’s already sold out from the label, so if you’re interested you shouldn’t wait around too long.


The Cowboy: S/T 7” (Drunken Sailor) New 3-song 7” from this Cleveland project that released an LP in 2017 on Fashionable Idiots Records. The label’s description notes that the Cowboy features members of Homostupids and Pleasure Leftists, and if you know those two artists, you can hear the former’s weirdness and the latter’s catchiness seeping in here. The two tracks on the a-side both hover around the 90-second mark and sound like dirtied-up outtakes from Wire’s Pink Flag. “Swimming with the Fishies” is a breezy punk tune whose combination of snappiness and hookiness reminds me of classics like “Mannequin” and “Ex-Lion Tamer.” There’s an intriguing dynamic between precision and rawness that gets flipped for the longer b-side, “Way Out Beneath,” which seems to drift in and out of existence over the course of its three and a half minutes. Like any good single, this is good for repeated plays, but also has me eager to hear what the Cowboy does on their next full-length.


Nylex: Plastic for People 12” (No Patience) Debut LP from this Australian post-punk band. If you’re a fan of Pleasure Leftists’ or Public Service’s Siouxsie-inspired sounds, I recommend checking out Plastic for People. Nylex isn’t a Banshees tribute band, but they’re good at the things that the Banshees were good at, particularly creating shimmering, spacious arrangements that bubble over into a swirling, psychedelic boil. So much music in this style sounds cheesy to me; when bands go for a big, anthemic hook it often ends up sounding like emo or pop-punk, but Nylex remains tasteful throughout. While there are punkier tracks like “Forces,” most of the pleasure of listening to Plastic for People comes from subtle contrasts in rhythm, texture, and tempo. The guitarist is brilliant, creating memorable melodies without ever trying to cram in too many notes. Plastic for People has the energy of a punk record, but its subtlety and refinement remind me just as much of classic 4AD bands like Cocteau Twins and This Mortal Coil.


Armor: Some Kind of War 7” (11pm) Debut 7” from this band out of Tallahassee, Florida. I probably don’t need to tell you what Armor sounds like because they’ve been blowing up, but I will confirm they warrant the hype. Armor has the fuzzy, blown-out production of a great d-beat band, but their riffs and overall vibe remind me more of the skinhead-infused hardcore sound of bands like 86 Mentality and Violent Reaction. In other words, it’s fast and punk, but also tough and includes the occasional big breakdown. The playing is also great. While there are a lot of precise stops and starts, both the fast and slow parts have a swing and swagger that makes you want to move your body. Another winner from the ever-reliable 11pm Records.


Corvo: Live at Artifact cassette (Artifact Audio) We had the demo tape from DC’s Corvo a few months back, and here’s a new 6-song session recorded at Artifact Audio in New York. While the band still sounds raw, the recording here is big-sounding and clear, which makes this band hit even harder. Corvo combines elements of raw USHC like Armor with moments of fast and loose hardcore in the Deep Wound / Septic Death mode. I’m a sucker for that style, but Corvo keeps things spicy and original with moments like the United Mutation-ish “Rechazo Colonial” and the quirky rhythmic accents in “Pérdida” and “Ignorancia y Arrogancia.” They close things out with a cover of Void’s “Who Are You?,” which makes perfect sense given they’re from DC and have a similarly loose and sinister style.


Alien Nosejob: Suddenly Everything Is Twice as Loud 12” (Drunken Sailor) New LP (their second) from this Australian project helmed by Jake from Ausmuteants. Jake seems like one of those gifted musicians who always has a ton of projects going (he’s also in Heirophants, my personal favorites Leather Towel, and a bunch of others). While most of those have a particular style, Alien Nosejob seems to have no boundaries, with genre, style, and instrumentation often changing drastically from track to track, though most everything on Suddenly Everything Is Twice as Loud falls more or less under the punk umbrella. Several songs recall different eras of another eclectic group, the Television Personalities, with the plonky bass tone of “Blending In” reminding me of that band’s earlier stuff and the darker, more baroque “Rainbow Road” evoking their Painted Word album. Then there’s the Hardcore Devo-ish “Spin Cycle,” the Heartbreakers / Johnny Thunders-esque riff to “Emotional Rep,” and the New Order / Total Control-style closer, “Alien Island.” That’s already an eclectic list of comparisons, but it barely scratches the surface of what’s going on with this LP. Jake’s instantly identifiable voice and melodic sensibility holds everything together, so if you’re a fan of his other projects, odds are you’ll like at least a big chunk of Suddenly Everything Is Twice as Loud.


Nervous SS: Future Extinction 12” (D-takt & Råpunk) 14-song LP from this new project out of Skopje, Macedonia. According to the label, Nervous SS started as a solo project, and while mastermind Seksi recorded the drums, guitar, and vocals for Future Extinction, he brought in a friend to play bass. To me, Nervous SS sounds like pure Totalitär worship. Worship bands (if it’s fair to call Nervous SS that) can often be one-dimensional, but Totalitär covered a lot of stylistic ground over their career and Future Extinction references nearly all of it. There’s the primitive brutality of the opening track, “Sick to Death,” the warp speed mangel of “Total Braindead,” the rocked out “Blindless Desire,” and the mid-paced and slightly melodic “Neverending Soul Scars.” There’s so much to love about Totalitär, and it’s clear that Seksi has studied all of it closely in order to pay tribute to it in such an articulate way here. And even if you aren’t some kind of Totalitär scholar, this is perfectly executed d-beat with a perfect balance of catchiness and brutality. 


Staff Picks: January 23, 2020

Staff Picks: Daniel

Eddie Hazel: Game, Dame, and Guitar Thangs 12” (Warner Bros)

Game, Dame, and Guitar Thangs is the sole solo album from Parliament / Funkadelic guitarist Eddie Hazel. I’m always up for a good acid-soaked guitar freakout, and that’s why I came to this album (and Hazel’s other key work, Funkadelic’s Maggot Brain). This record delivers on that front—the covers of the Mamas and the Papas’ “California Dreamin’” and the Beatles’ “I Want You (She’s So Heavy)” both travel deeeeeeep into inner space—but this is more than a psych record. It occurred to me that the hazy, stoned vibe of this record was a big part of the 90s g-funk sound. I was 13 years old when The Chronic hit in 1992, and even a kid like me with a minimal interest in rap had a copy. Hearing that sound makes me think of long summer vacations when the heat seemed to stretch time into an endless, un-fillable ocean. I’m currently in the middle of a chilly January week with too much on my plate, so this masterpiece from Eddie Hazel provides the perfect antidote.

Staff Picks: Jeff

Anti-Metafor: S/T 7” (Adult Crash) 2nd EP from this band out of Sweden. I threw this platter on after I noticed a lot of people were ordering it from us at Sorry State. Now I think we’re sold out! Based on the artwork and descriptions I’ve read online, I expected this to be either heavy crust or super noisy. It’s actually much leaner, punchier and faster than I expected. While Victims-era Cimex is a good point of reference, I feel like Anti-Metafor sounds a lot like that band Diskonto. Anyway, a super solid EP.

Also, a friend recently turned me onto the demo by this old UK anarcho-punk band called A Touch of Hysteria. I’ve been listening to it on repeat. It was released only on cassette in 1983, but apparently was reissued as a single-sided 12” back in the mid-00s? I don’t know if a lot of people are aware of this band and I’m just late to the game, but I think it’s fucking great.

Staff Picks: Eric

Subversive Rite: Live In Japan cassette (Chaotic Uprising) What a great live set. Not only did Subversive Rite kill it this night, but the mix is really good for a live album, and the actual cassette dub is LOUD and powerful. Live albums usually aren't my jam, but I will definitely be taking a copy home with me.

Fuga: Sin Frontera Sin Nacion cassette (self-released) Great bonehead hardcore sung in Spanish from Santa Ana. Super nasty, in your face, and urgent. I'm loving the recording quality, which is just clear enough for my liking but still really raw. Hardcore lives!

Staff Picks: Dominic

Star Wars Original Soundtrack: John Williams & The London Symphony Orchestra. 1977 20th Century Records
 
I was nine years old when the first (or fourth) Star Wars movie came out back in 1977 and can remember seeing it in the cinema as if it was yesterday. One of the many great things about the film was the music and I have had a copy of the soundtrack since it was released. The music has become a part of popular culture and it may seem odd that I am picking this record as something to write about this week for a staff pick as there probably isn’t anyone reading this that is not aware of the movie and the iconic main theme. I have mentioned before that we get all kinds of awesome records coming through Sorry State and recently we bought a copy of this soundtrack that brought me right back to 1977 and the thrill of seeing the film and hearing the soundtrack for the first time. This particular copy was in amazing condition and had the information insert and the order form for a “May the Force be with you” T-shirt and even more amazingly still had the original poster that initial copies of the record came with. Wow! You never see these. In fact, you rarely see posters that came with records back in the day as people put them up on their walls and usually didn’t take them down and put them back in the record jackets anticipating resale years later. So, imagine my joy to open this copy and see that poster still inside. It even had pin holes, so someone did put it up and take it down again. Crazy. What a cool poster too, X-wing fighters attacking the Death Star. Heck yeah.

And the music? Do I need to describe it? The main theme is almost a part of our DNA at this point but it is still great. John Williams and The LSO were on top form when they created this one. The only thing better might be the follow up music to The Empire Strikes Back with Darth Vader’s Theme on it. The original still cuts the mustard though. The Imperial Attack piece of music is one of the best pieces of film music made and I can play that six minute and ten second track over and over.

So, if you have got your Disney subscription just to see baby Yoda like I did and are feeling all things Star Wars, I would highly recommend pulling out your copy of this soundtrack, sticking it on and transporting yourself to a Galaxy far, far away. If you don’t have one with a poster, then hurry on down to see us at the store and snag this gorgeous copy. May The Force Be With You.

Staff Picks: Ava

Evildead: Annihilation of Civilization (Steamhammer)

Came across this insane underground thrasher the other day and have not been able to stop jamming on it. Started by Juan Garcia of legendary AGENT STEEL and Mel Sanchez of ABATTOIR in 1986. Sounds like a cross between early King Diamond and Kill em All era Metallica (whom Sanchez actually auditioned for after the tragic death of Clif Burton). Hailing from Los Angeles, CA with lyrical themes of horror, death, and even social/political issues.

Record of the Week: Midnite Snaxxx: Music Inside LP

Midnite Snaxxx: The Music Inside 12” (Slovenly) I’ve been singing Midnite Snaxxx’s praises at least since 2011, and here we are nearly a decade later with the band’s third album. How many punk bands these days make it to a 3rd LP? Listening to The Music Inside makes me think it’s a shame that so few bands have that kind of longevity, because this LP is a record I could only imagine a veteran band making. Until this point, most Midnite Snaxxx songs have been sugar rushes of garage-pop energy, and while they had all the pop hooks and sophisticated songwriting of classic girl groups, the Snaxxx bashed out their pop masterpieces with the energy and power you hear on an early Angry Samoans or Circle Jerks record. There are a few songs on The Music Inside that follow this template—“Cyborg” and “12 O’clock”—but most of the album finds the band expanding their sound outward. Dulcinea Gonzalez’s brilliant songwriting ensures that every song is still a hit, but rather than just explosions of power chords and Ramones beats, we get a wider range of sounds, textures, moods, and influences. Tracks like “She Don’t Want That” and “Lights Out” have early Rough Trade Records-type post-punk vibes, while “Phased Out” and “Disconnected” remind me of the second Undertones album, when their music got a little more sophisticated but still kept their punky energy. The more spacious arrangements allow room for a ton of interplay between the two guitars, making every track an orgy of criss-crossing melodic lines. While there may be some garage turkeys who peg this as a departure record, I think Midnite Snaxxx has achieved that rare feat of growing and changing while losing none of the things I already loved about them.

Featured Release Roundup: January 16, 2020

Deadyn: Backstreet Heroes 12” (Splattered!) Vinyl reissue of this Italian band’s 1989 cassette. If you’ve been following Splattered! Records, you know they specialize in Motorcharged punk and NWOBHM, and it’s easy to see why they wanted to resuscitate this obscurity. Deadyn worshipped at Motorhead’s altar, and tracks like “Burn Him Down” are very much akin to what Motorhead worshippers like Inepsy have done in the intervening years. While Deadyn is capable at Motorhead’s style, I like the tracks that are a little slower, which have a grimy, trudging through sand quality that sounds like an early Celtic Frost rehearsal tape. And speaking of tapes, Splattered! presumably remastered this reissue from a somewhat degenerated cassette as there is audible tape hiss throughout. It’s not like Deadyn is doing anything fancy, though, and what they might lose in clarity they more than make up in spooky cvlt vibes.


Zyfilis: E.P. One 7” (Adult Crash) Debut vinyl from this Danish hardcore group. These tracks appeared on a split tape with Colombia’s Muro, but I don’t think many of those made it to the US. I love a six-track 33rpm hardcore 7”, and Zyfilis do it right with this EP. They alternate between bruising pogo-hardcore a la Gag and catchy d-beat punk that reminds me of Vaaska or Larma’s catchier moments. My favorite track is “Samhälssystemets Kyrkogård,” which has a catchy, fist-pumping rhythm that reminds me of Toxic Reasons’ great Kill by Remote Control album. If you’re into a catchy, fast punk like Toxic Reasons or Electric Deads, it’s worth giving these Danes a listen.


Raamattu: S/T 7” (Best Seller) Debut vinyl from this ripping fast band out of Finland. The label’s description mentions Heresy as a point of comparison and I can see that, but there are a few keys differences: 1. this 7” has a more powerful recording than Heresy ever got; 2. Raamattu doesn’t have Heresy’s occasional straight edge-type breakdowns; and 3. Raamattu is so much meaner than Heresy. Their tempos, however, roam in that space between Mob 47’s ripping fast d-beat and the hyper-drive of Siege or early Napalm Death, but infused with the tightness, anger, and attitude of top-shelf Finnish hardcore. With ten lightning-speed rippers, this one also tips the value-for-money scales. Limited to 300 copies and a Finnish import, so snooze and lose.


Rata Negra: La Hija del Sepulturero E.P. 7” (La Vida Es Un Mus) Brand new two-song single from Spain’s Rata Negra. If you like their particular brand of moody melodic punk, it’s hard to imagine these two tracks would disappoint you. That being said, they sound like a leap forward from the band’s earlier stuff. Rata Negra seems to be growing more sophisticated, retaining their trademark style, but with more delicate arrangements and extra little touches like backing vocals and subtle synth overdubs. These two tracks remind me of something Echo and the Bunnymen or the Chameleons might have done early in their respective careers, and that’s high praise.


Jarada: Ma'agal Sina'a 12” (Doom Town) 45rpm one-sided 12” from this Israeli hardcore band. Jarada has a noisy yet progressive style that reminds me of the more stripped-down and 80s-influenced 90s hardcore bands like Born Against and Deathreat. Like Deathreat, they have hoarse, shouted vocals and are fast, but touches like the dissonant lead guitar on “Fed Up with the Future” and “They Wore You Down, They Burned You Out” (I’m using the English translations of the song titles) and the instrumental breaks that connect the tracks make me think of progressive hardcore bands from Born Against to Una Bestia Incontrolable. Also, in case you’re not sure about supporting a hardcore band from Israel, their lyrics are critical of their country’s policies while offering a perspective on what it looks like from the inside rather than simple, crowd-pleasing sloganeering. If you’re a fan of the aforementioned bands (or newer ones like Shit Coffins who play a similar style), I recommend checking this out.


Various: Hardcore Unlawful Assembly 12” (Fan Club) Unofficial repress of this excellent Japanese hardcore compilation from 1984. The list of artists should be enough to convince you this is worth your while, but I’ll confirm this comp’s excellence. Also, except for G.I.S.M., every band gets a heavy, professional recording, which is a big plus. On the a-side, Laughin’ Nose and Cobra both offer UK-influenced punk, and Mobs deliver two tracks that combine the best elements of their first and second EPs, which makes sense as this compilation came out between those two records. Lip Cream delivers a huge helping of classic Japanese hardcore with bonkers riffing and G.I.S.M. and Zouo close things out on a weirder tip. While I wish G.I.S.M.’s recording here wasn’t so murky, “Nervous Corps” is a classic with its moshable riff repeating underneath a chaotic sound collage of war sounds. Zouo’s tracks are also rad, particularly the creepy-sounding “Frustration.” Fortunately, this version doesn’t have terrible cover art, and the vinyl sounds phenomenal.


The Only Ones: Live in Chicago 1979 12” (Alona’s Dream) Over the past few years, I’ve gotten more interested in both live albums and the Only Ones, so I was eager to give this one a spin. Like many people, I used to hate live albums, but I’ve come around to them in a big way. At this point I’ve played in bands long enough to know the day you record the record is only one of hundreds of times you play a song, and lightning can strike (or not strike!) at any moment. Often, a live version of a song isn’t just a lesser version of a studio track, but a different beast, and often more interesting than the studio version. As for my interest in the Only Ones, I’ve loved “Another Girl, Another Planet” for decades, but a year or two ago I came across a copy of their brilliant second album, Even Serpents Shine, and got obsessed. Even Serpents Shine is a lush, delicate record, but this LP showcases a different side of the group, one that’s much heavier and more “rock” rather than pop. The Only Ones’ drummer, Mike Kellie, served time in 70s rockers Spooky Tooth, and it’s amazing how much the Only Ones sound like a 70s rock band here. They strip their arrangements down and sound like four people playing in a room, which is a stark contrast to the much more polished studio recordings. That being said, they all sound great, with Peter Perrett giving a particularly strong vocal performance. This set was professionally recorded for a radio broadcast, and according to the liner notes they recorded many other bands the same way, and hopefully we’ll see more releases. In the meantime, this LP is a great way to kick off the series.


Staff Picks: January 16, 2020

Staff Picks: Daniel

The Abandoned: Killed by Faith 12” (Radiation)

We first got copies of this reissue from the Abandoned a few months ago, but we kept selling out before I could grab a copy for myself. Things have quieted down to the point where I could sit down with this record, and holy crap am I blown away! I’ve long been a fan of Dirges in the Dark, the Flower Leperds record that Tony Cadena sings on, and Killed by Faith is like a faster, punker, and better version of that record. It sounds a lot like Tony’s old band the Adolescents, but with an added layer of 70s rock sleaze a la Alice Cooper or early Motorhead and a ton of shredding lead guitar. While the Adolescents’ second LP, Brats in Battalions (which came out a few years after this), never grabbed me, Killed by Faith is up there with Rikk Agnew’s All by Myself LP as essential listening for Adolescents fanatics. Thanks so much to Radiation for putting this ripper on my radar and bringing it back into print!

Staff Picks: Jeff

Zyfilis: EP One 7” (Adult Crash) 

Killer release from this band out of Sweden. I’m pretty sure this same batch of recordings was originally released as one side of a split tape with Muro from Colombia. I’m glad these tracks got a proper vinyl treatment, because even though I think Muro rips, these Zyfilis tracks are definitely strong enough to be a stand-alone EP. I’d say Zyfilis falls under the käng punk umbrella, but to my ears, they've also got a good dose of metal influence. One thing I love about this band’s style is that they never really play ripping fast. It’s all swinging, grooving d-beats or pounding, neanderthal pogo beats. Some strong riffing on noisy, buzzsaw guitars that come in with a scorching lead every once in a while. The bass very often goes up and shreds in the higher register, which is super cool. All of this toppled by powerful and sinister vocals with a healthy amount of delay. Also, the packaging with slick, eye-pleasing artwork and a double fold-over quarter flap style sleeve design make for a classy presentation :)

Staff Picks: Eric

Corvo: Artifact Session cassette (Artifact Audio)

DC is always leading the way of kick ass youth hardcore. Corvo features members of a handful of active bands, but this one might be my favorite of the bunch. It is chaotic without losing structure, which is something I really like. Not to mention the riffs and songwriting styles are super original and catchy, and there is a SICK Void cover. This session was recorded at Artifact Audio in NYC, so obviously the production is awesome despite it being a "live" recording. Corvo is gunna blow people away when they finally put something out something on wax!

Staff Picks: Dominic

The Cool Greenhouse: Landlords 7” (Drunken Sailor Records)
 
So, we have had a previous 7” and a 10” record by The Cool Greenhouse and made one of them our record of the week and this little 45, although out for a short while now, is my record of the week. You can check out the review and our take over on the website for a more detailed and professional description, but the long and short is brilliant DIY Post-Punk of the highest order with a generous dose of humour for good measure. Plus, the cover has a photo of a chimpanzee on the phone, a reference to the lyrical content of the record, which is a winning move for me as I have a soft spot for chimps on record covers and grew up drinking PG Tips and watching the great adverts that they used to advertise their tea. If you don’t know what I am talking about, please google PG Tips tea and chimp ads and have a fun time. As for this release? Well if you like the sound of vintage Casio keyboards and a basic guitar riff paired with deadpan lyrics delivered in a monotone spoken vocal style that sounds like it was recorded in a bedroom for a fiver then this is a record for you. A cool modern update on the post-punk oeuvre. Oh, and don’t be a dope and miss grabbing a copy like I did with the previous 10 inch. These move fast, get yours today.

Record of the Week: Cesspool: We Hide Among You LP

Cesspool: We Hide Among You 12” (Adult Crash) Bummed that Warthog hasn’t released an LP yet? Well, this debut LP from Denmark’s Cesspool might help tide you over. I wouldn’t say Cesspool is biting Warthog’s style, but they deal in a similar market of mid-paced, pit-clearing riffage, punishing drumming, and charismatic vocals. In a typical hardcore band, the fast parts are the base and the breakdowns are the sauce, but Cesspool flip that equation, only bubbling over into a full-tilt thrash a few times over the course of these 8 tracks. However, I don’t see anyone complaining because these riffs are burly as hell, edging right up to being dumb but staying on the tastefully crowd-pleasing side of that line. The production is also huge and powerful, but with the perfect amount of grit. Throw in cool packaging (including a sick black-on-silver poster insert) and you have one crushing hardcore record.

Featured Release Roundup: January 9, 2020

Chain Cult: Shallow Grave 12” (La Vida Es Un Mus) Debut album (their earlier 12” was their demo pressed to vinyl) for this post-punk band out of Athens, Greece. Chain Cult sound, to me, like a band who takes equal influence from the Wipers and Bauhaus. From the Wipers you have those long, melodic, chorus-drenched guitar lines, and from Bauhaus you get the gloomy vibe and more percussive vocals. I can’t put my finger on it (maybe it’s just the heavy chorus effect on the guitar), but I want to place Chain Cult alongside modern melodic punk bands like Masshysteri, Signal Lost, and Rata Negra… bands who are melodic but not poppy, and whose political and aesthetic approach seems more aligned with hardcore than pop music or pop-punk. As with the Wipers, my favorite parts of Shallow Grave are the longer instrumental passages where the guitarist lets loose on longer, more complex melodic lines, but if you’re a fan of this gloomy, grey-skied punk, the whole album will be a treat.


Poison: Flexi + EPs 12” (Poison Records) Unofficial reissue compiling a flexi and two 7”s by this Japanese band, the latter two featuring Chelsea of Death Side / Paintbox on guitar. While Poison (who later changed their name to Poison Arts) would eventually have an extensive discography, these earlier releases find the band experimenting and developing their sound. Their first flexi (recorded before Chelsea joined the band) is one of the most primitive Japanese punk records out there, with beyond-basic oompah drumming, rough sound and a noticeably out of tune performance. While the record has a cool cover featuring the singer’s huge mohawk, it reminds me more of bargain-basement UK82 punk than the more studied, avant-garde primitivism of Confuse or Gai. Things get much more interesting on their second EP, Mystery Temptation, when Chelsea joins the band and drenches every song in his trademark shredding lead guitar. Even beyond Chelsea’s contribution, you can hear Poison homing in on the classic Japanese hardcore sound, with some tracks leaning more toward melodic hardcore (not unlike Chelsea would later explore in Paintbox) and others with a more metallic edge. There are some great moments on Mystery Temptation, but I think what I love most about it is how it sounds not-quite-right, like a band taking chances and inventing a new style on the fly. If you’re deep into Japanese hardcore, you have a few quirky records like this in your collection, and if you have developed the taste for it, this kind of record provides a fix you can’t get anywhere else. Finally, the band’s third 7”, Hot Rod, takes up the entire b-side of this collection and finds the band locking into a consistent style. While the reverb-drenched production isn’t as powerful as the bigger sounds that some of these bands would get later on, if you’re a fan of Death Side, Lip Cream, and Gudon, Hot Rod is in that same vein. While this collection is a mixed bag, I love hearing how the band progressed, and if you enjoy hearing all the strange, unique Japanese hardcore records out there, I’m sure you’ll love it too.


The Inhuman: We Will Build b/w Cheap Novocain 7” (Lumpy) Two-song single from this very obscure bedroom recording project from Tucson, Arizona in 1983. According to the liner notes, the Inhuman only played one show and the person behind the project didn’t do much else that we would have heard of, so it’s a miracle that these tunes found their way from an old cassette to 7” vinyl in the year 2020. The songs are cool, too! They build both songs around primitive drum machine rhythms augmented with synth, guitar, and vocals, and have a creepy, sinister vibe. The a-side lurks in the shadows with a vibe like Suicide, while the b-side gets more confrontational, giving it a Screamers-type menace. If this recording had gotten out back in the day, this would be a $200 single.


Paranoid: Kind of Noise 7” (Paranoid Northern Discs) Latest 4-song EP from Sweden’s Paranoid. If, like me, you weren’t really feeling the more polished, metallic sound of last year’s Heavy Mental Fuck-Up LP, it’s worth giving Paranoid another chance, as these four tracks are full-on, noisy Disclose worship. That being said, there are subtle touches that make it more than a generic d-beat workout. There are the cool tempo changes on the second track, a nice, semi-melodic guitar solo in the 3rd, and some intense near-blasting-speed drumming in the final track. That final track reminds me of D-Clone’s crazed attack, and it’s a style I hope the band explores further. Also, note this record is limited to 250 numbered copies, and it’s already sold out from the band, so Sorry State is your only bet for picking up the vinyl on this one.


Sniper Culture: Combat Rock 7” (11pm) Debut 7” from this raw and nasty hardcore band out of Chicago. Sniper Culture has a bruising sound that’s not unlike their label-mates Armor, but with insanely raw production. The first few times I listened I thought Combat Rock had a vibe similar to Urban Waste, but then I remembered that on the Urban Waste 7” it’s only the guitar that sounds blown out and fucked; on Combat Rock, pretty much everything sounds like that. You’d think such nasty production would blunt a hardcore band’s impact, but it works well for Sniper Culture. When they’re raging out, they can slip into a Larm-esque blur of speed, but those moments serve as an appropriate balance for bits like the oompah drumbeat on “Terminators” or the blazing riff in “Brad’s World.” Limited to 300 copies, so if you like your hardcore raw, nasty, and mean, I’d suggest to grip this soon.


Screaming Fist: Templanza 7” (Iron Lung) Debut vinyl from this East Bay, California hardcore band featuring Jasmine from Torso / Siamese Twins / a million other bands on vocals. Jeff and I commented that this record seemed to appear out of nowhere. I hadn’t heard anything about Screaming Fist before checking this record out, but it’s easy to see why they got the Iron Lung stamp of approval. Screaming Fist’s sound fits somewhere between modern d-beat and a more traditional US hardcore sound; while they often find that fist-pumping groove that I associate with bands like Vaaska or Criaturas, their playing is extremely tight and the songs are technical, with lots of perfectly executed intricate rhythms. For example, there’s my favorite moment of the record, when the last track, “Betrayed” takes a slight breath before putting the accelerator to the floor for its last few seconds. That microsecond pause before the change makes my heart feel like it's skipped a beat and serves as a perfect ending for a ripping hardcore punk EP.


Slender: Time on Earth 12” (La Vida Es Un Mus) Debut album from this New York City group featuring familiar faces from a bunch of Toxic State bands, but you won’t find any raging punk on Time on Earth. In fact, Time on Earth is one of the weirder, more esoteric records that has come across my desk lately, more akin to the outsider music on a label like Ever/Never than what you’d expect to hear from these people or this label. Trying to describe Slender’s sound is a fool’s errand, but primitive drum machines overlaid with acoustic guitar are the core of many of the tracks. Usually they overlay those tracks with some other combination of sounds, including (but not limited to) electric guitar, synth, sampled vocals, singing, and bowed string instruments (violin and/or cello?). “New Country” is the only track I’d call a song as such; the rest are more like free-flowing auditory experiments that flow from part to part in a way that’s experimental and/or symphonic. Many of the tracks are short, but I particularly like the three longer tracks that end the album which unfold gradually in a way that makes time seem to slow down. When I first listened to Time on Earth I definitely had some trouble wrapping my mind around it, but it got its hooks into me and it’s become a regular listen. I’m guessing most of Sorry State’s crowd might think this record is a bunch of nonsense, but if you like spaced-out psychedelic music, avant-garde composition, and/or home-recorded experimental music, give this a try.


Eddy Current Suppression Ring: All in Good Time 12” (Castle Face) If you care, you already know that Eddy Current Suppression Ring ended a lengthy hiatus by releasing a brand new album with very little advance notice. They’ve reached the point in their career where their records get dissected by Pitchfork, so I don’t need to yammer on about All in Good Time too much, but I thought I’d throw in my two cents as a longtime fan. While there isn’t a great pop song like “Which Way to Go” or “Memory Lane” here, it’s still a top-notch album that should please anyone who’s into Eddy Current beyond their “hits.” One thing I love most about this band is how they find these gentle, lazy grooves and ride them into the sunset, hanging on riffs and grooves for way longer than most bands would without ever sounding repetitive. If that’s an aspect of Eddy Current’s music that you love, All in Good Time is a record for you. This isn’t a record I’d throw on at a party, but it’s a record that I’ve already spent several quiet evenings on the couch with, sometimes giving it my full attention and sometimes letting it wash over me as I read a book or do the dishes. It’s not background music, and while it doesn’t beg for your attention, it rewards it. So, that’s my piece… I’m thankful that All in Good Time exists.


Staff Picks: January 9, 2020

Staff Picks: Jeff

Screaming Fist: Templanza 7” (Iron Lung)

So we got in the new batch of Iron Lung releases, and I threw this 7” on without really knowing what to expect. 30 seconds in, and this thing RULES! Come to find out the vocals duties are handled by Jasmine who plays bass in Torso. Musically, it’s a little bit d-beat-influenced, but definitely is not total “dis-rock”. The record isn’t noisy and doesn’t ape Discharge song structures. Really, Screaming Fist has the directness and energy of just good classic hardcore. Killer riffs, killer drumming. The vocals, which are sang almost entirely in Spanish, have a lot of melody to them, but are still gnarly and aggressive. Between the vocals and some of the smokin’ guitar leads, this band reminds me a lot of Criaturas! That said, they perhaps have even more sing-a-longy vocals and are a little less spooky. Definitely a slammer.

Staff Picks: Dominic

Les Jaguars: Volume Two. Tournesol 1965
 
We see all sorts of great and interesting records here at Sorry State and my first pick this week is a classic Hipster LP from 1965. A French-Canadian Surf Instrumental band that wisely allowed their record company to pick the art work for their second record. The cover sports a classic sixties hipster go-go cheesecake image that has probably been used as a flyer for a 60’s DJ night many times over. I first saw this record at the legendary Midnight Records in New York City where the owner, the late J.D. Martingnon had a copy on his wall. The imagery and vibe suited his store very well. As for the music? Do you like surf guitar? Do you like the The Ventures, Dick Dale, Link Wray and all the other one-off intro combos that plied their trade in the early sixties? If the answer is yes then this record has more for you than a cool cover. Tracks like “Guitare Jet” and “Tourbillon” sound perfect for the next Tarantino movie and rock a classic surf sound. Apparently lead guitarist Arthur Cossette (real name Jean Guy) pierced his amp speaker to get the right distortion sound. A trick that he might have learned from The Kinks or Link Wray. Although not as dirty and cool as either of those perhaps, Les Jaguars still deserve to be remembered as a good band with more than cool art work on their record. Originals are hard to come by, especially in good condition. There has been a limited reissue also. Our copy is in beautiful condition, sounds great and looks good on the wall. Who’s going to ask us to take it down?

Next up is another rare record with a great cover that has become a cult classic and quite in demand. From England’s Studio G, a music library started in 1966 by John Gale, the Beat Group record like all other library records was produced for use in TV, Film and Radio and was indeed used many times for that purpose but since the 90’s, producers, DJs and collectors alike have gotten hip to the great far out sounds that can be found tucked away on library records. The Beat Group LP came with one side instrumental and the other side with vocal cuts. The instros win for me on side one and are the work of Cliff Johns featuring a group consisting of organ, guitar, bass and drums for the most part. The first three tracks are worth the price of admission alone with titles “Movin”, “Sounds A Go go” and “Hi, bird “ all packed with groovy Hammond organ and snapping drums and sounding similar to the great Mohawks. Very sixties sounding despite the 1970 date and more like the type of sounds Austin Powers would go for. The second side with the vocal cuts sounds a little more seventies or at least late sixties. As the interest in these records has increased so have the prices but there are plenty of good compilations and reissues out there of many classic library recordings and you dear reader are highly encouraged to explore this world of music. You will be rewarded with the kind of well recorded sounds that you will unlikely find anywhere else other than on soundtrack recordings.