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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.

Record of the Week: Fairytale: 2-track tour flexi 7"

Fairytale: 2 Track Tour Flexi 7” (self-released)* *Teaser release from New York’s Fairytale; the back of the sleeve says to expect a 5-song EP soon, but it’s not clear whether these two tracks will reappear there. Regardless, this is some raging, primitive d-beat. It’s clear that Fairytale takes a lot of inspiration from the 2nd and 3rd Anti-Cimex 7”s and the Shitlickers 7”, and while those aren’t uncommon influences, Fairytale makes it work. The sound is raw and very analog, constantly veering into the red, and while the riffs and rhythms are straightforward, there’s something about them that sounds classic rather than derivative. The only complaint I have about this EP is that it’s so short, but I can confirm it retains its impact through repeated plays. Nothing fancy, nothing flashy, just pure d-beat hardcore done exactly right.

Featured Release Roundup: December 19, 2019

Warhead: Change the Reality 7” (Farewell) Latest 7” from this long-running and legendary Japanese hardcore band. This is the first new material from Warhead in four years, and the band has not mellowed or changed at all with age. Their music is noisy and primal, with riffs that feel as violent and as precise as an attack from a seasoned assassin. It’s a sound they’ve honed over 30 years, and they own it… it’s hard to imagine anyone else writing these songs or performing them in exactly this way. While it’s a short record, I can’t see it disappointing any of the band’s many passionate fans, myself included.


Leather Lickers: Eye of the Scared 7” (Cool Death) Latest 7” from this Australian hardcore band who turned a lot of heads with their debut vinyl a few months ago. On Eye of the Scared we get three tracks. The first one is blistering fast, noisy, and out of control, like wilder groups from Japan or Cleveland. The second turns up the punk dial, accentuating the Cleveland over the Japan, while the entire b-side is a mid-paced fist-pumper that has the anthemic quality of Wasted Time or Fucked Up’s great early singles. The execution is raw and nasty, and the packaging—silver ink screen-printed on red paper—is nice. Another solid release from a band to watch.


The Wraith: Gloom Ballet 12” (Southern Lord) We carried the demo tape from LA’s the Wraith several years ago, and now their debut LP is out on Southern Lord. Wild, huh? Anyway, if you don’t remember the Wraith, the title Gloom Ballet hits the nail on the head. The Wraith bills themselves as death rock, and the record reminds me both of vintage post-punk like Killing Joke or Chameleons and more rock-oriented dark stuff like the Cult or even the modern metal band Ghost. The production is slick and took some getting used to for me—I’m more of a basement and 4 track type of guy—but if you’re a fan of the latter two bands I mentioned, you’ll appreciate the powerful sound.


Lipid: Nuclear Masturbation cassette (Vinyl Conflict) Second cassette from this hardcore band out of Richmond, Virginia. Having seen them live I expected Nuclear Masturbation to have a strong d-beat vibe, but it’s way more original than that. How it’s not quite hardcore, punk, d-beat, or metal makes me think of records like Crucifix’s Dehumanization and Agnostic Front’s Victim in Pain, gritty and primitive records that feel 100% honest and devoid of bullshit. I doubt that early 80s NYHC is much of an influence on Lipid, but “Obey the Whip” even reminds me of the Abused. I don’t think this is streaming online anywhere yet so you’ll just have to trust me, but this is some rad punked-up hardcore.

Sorry, this doesn't appear to be streaming online anywhere!

Noxeema: S/T 7” (Dot Dot Dot) Debut 7” from this Portland band. The sound is fast punk rock bordering on hardcore with an undistorted guitar and a dynamic, charismatic vocalist. While people who were into hardcore in the 00s would compare them to Regulations or Social Circkle, the personality-drenched vocals and proto-hardcore sound remind me the most of the Bags. Despite being in this stylistic pocket, it doesn’t sound like Noxeema is trying to be anyone but themselves, so they aren’t afraid to experiment with simple melodic vocal parts like on “Time to Go” or push into Amde Petersen’s Arme-type hardcore territory on “Victim Story.” With a great recording and eight songs packed onto a 45rpm 7”, you’ll enjoy this if you’re a fan of the bands mentioned above.


Program: Show Me 12” (Anti-Fade) Between the Whiffs, ABC Gum, and Program, it’s been a good month for power-pop records at Sorry State. While Australia’s Program aren’t as indebted to the American power-pop tradition as the former two bands, they’ll appeal to the same ears, particularly if you also have an affinity for the Television Personalities’ poppiest moments. While the guitars mostly jangle, the power chords in “Motorbike” make me think of new wave like the Cars, Tom Petty, or Joan Jett, and I also love the punky energy of “They Know,” whose Treacy-esque melody makes it my favorite track on the album. Program’s reserved, unpretentious presentation may mean it takes their music a little longer to catch your ear, but once it does, you’ll be so refreshed to hear a band that isn’t trying to be louder than everyone else. Like I said, if you’re a fan of vintage 70s power-pop, this should be on your list of new records to check out.


Staff Picks: December 19, 2019

Staff Picks: Daniel

The Raincoats: S/T 12” (Kill Rock Stars)

I seem to remember a few represses of the Raincoats’ debut LP over the past few years. Kill Rock Stars bills this one as a “40th Anniversary Edition,” which doesn’t mean anything except colored vinyl and a new hype sticker. This record doesn’t need bells and whistles, though, as the music already contains more than enough of them.

While the Raincoats have connections to the ’77 scene and critics tend to view them within the context of post-punk, this album sounds like it’s arguing against those movements as much as it is pledging allegiance to them. Listening to this record feels like peering into the briefcase in Pulp Fiction, mystical, beautiful, yet somehow also secret and private. It’s brimming with possibility and discovery similarly to post-punk landmarks like PiL’s Metal Box, Siouxsie & the Banshees’ Juju, or Wire’s Chairs Missing, but it’s also nothing like any of those records.

Any way you slice it, the Raincoats' debut is a landmark album, and awakening to its beauty is like achieving some lower level of spiritual enlightenment.

Staff Picks: Jeff

Soberanía Personal: Benditos Sean Muñecos Que Pegan cassette (Outsider Tapes)

Killer reissue! This recording by Soberanía Personal, a hardcore band from Buenos Aires, was originally released in 1988 and was only available on cassette. It’s a shame this record was never properly released as an LP in its day, because this thing smokes! It’s surprisingly good fidelity and very well recorded. Most of the songs center around pogo/umpa-umpa style drumming with blazing riffs that sometimes get dissonant in a Die Kreuzen-y kinda way. The major standout though is the vocals, which are vicious but also have a sing-along, melodic vibe at times. The mix of sounds is very cool and unique. I was blown away upon first listen. There’s no reason why this shouldn’t be considered a classic hardcore record. But then again, what do I know? Maybe Soberanía Personal are considered rockstars in Argentina. But check this out if you've never heard it!

Staff Picks: Eric

Torso: Sono Pronta A Morire 12" (Sorry State)

It had been years since I had listened to this record, but while processing the third press (Woah!) of this here at the store I gave it another spin and fell in love with it again. I feel like it would be easy to catagorize Torso as a "d-beat" band, but that's not how I see them at all. It's totally raging hardcore with perfect hooks. It's what happens when a bunch of straight edgers listen to a lot of Totalitar (that description doesn't sound very appetizing, but don't knock it til ya try it).

The Whiffs: Another Whiff 12" (Dig!)

I was talking with Jeff about how I remember not loving the first Whiffs LP, but I threw this record on and said out loud, "FUCK I love this". The Whiffs are channelling that '77 sound that the '77 bands channelled from the '60s sound. I'm picking up on some heavy Nerves, Buzzcocks, Boys, and Undertones vibes. I also hear some 90s sounds reminiscent of the Gin Blossoms and The Lemonheads, and some very apparent Exploding Hearts influence. Need I say more? Throw this record on and have some feelings.

Staff Picks: Dominic

Muddy Waters: Electric Mud. 1968 Cadet Concept/Third Man Records
 
This week I invite you to wrap your heads around a terrific psychedelic blues record by the great Muddy Waters. If you already own a copy of this classic slab of wax then congratulations to you, go put it on, but for those who have not added this LP to their collection yet, your friends at Third Man Records have a nice and affordable version ready for you.
 
This record caused a little controversy amongst the blues purists when first released and famously Muddy himself was reported not to have been a fan, although when sales figures came back and it was time to make another, he was more than on board. Howlin’ Wolf on the other hand was not such a big fan of his “psychedelic” record and his quote regarding that was actually used as an album title.

But back to Muddy and Chicago in the late sixties. The year before, 1967, Marshall Chess formed Cadet Concept Records as a subsidiary of Chess Records with the intent of reaching the younger “Rock” audience. The first project was the great Rotary Connection featuring Minnie Riperton. I would encourage you to seek out those records as they are excellent. Using some of the same musicians that played on the Rotary Connection, in addition to bringing in some of the hippest jazz rock session players in Chicago along with the talented Charles Stepney as arranger and producer, the idea was to create a concept record that would appeal to the blues crowd and the new, younger, rock generation alike. The results pleased some but did have a polarizing effect on many listeners. The record sold fairly well initially but seemed to disappear from view fairly quickly. The reception in overseas countries such as England and France was much better. Over the years, fans caught up with the record and it slowly became quite a collector’s item and prices for original copies began creeping up. Its appeal reached DJs and Producers who began plundering its grooves for samples and beats.

I personally have used the record in my DJ sets for many years and still get people coming up to the booth to check who’s playing whenever the sounds of “Tom Cat” wail through the venue.

The plain white cover (there was a black one too) opens up to fantastic shots of Muddy having his hair processed at a beauty salon. It’s pretty awesome and similar to photos of James Brown doing the same that I recall from one of his albums. The music is all fantastic and the band build upon the basis of blues classics like “I’m A Man” and “Hoochie Coochie Man” and take them from mid-century Delta to Twenty First Century Asteroid Belt style with the use of fuzz and wah-wah pedals, squealing saxophone, grooving organ and head nodding, hip-hop style beats. This is a record for then, now and tomorrow. Dig it baby, it’s electric.

Staff Picks: Vincent

The Muffs - No Holiday LP (Omnivore)

The final, posthumous Muffs record is an uneven production, with some material sourced from demo recordings, but the late Kim Shattuck’s riffs and growl sometimes sounds better without the commercial polish The Muffs enjoyed in their fruitful 90s heyday. It’s a heart-searing document of a now-vanished talent, relishing her last breath. If you do nothing else today, at least read this article documenting how The Muffs recorded this album in the midst of Shattuck’s fight with ALS shows how great a feat this is.

Record of the Week: Itchy Bugger: Double Bugger LP

Itchy Bugger: Double Bugger 12” (Low Company) Second LP from this project helmed by Josh from Diät, Idiota Civilizzato, the Love Triangle, and a bunch of other bands. Itchy Bugger’s first LP flew under the radar—probably because the vinyl sold out immediately—but it was one of my most listened-to records of 2018. Josh comes from punk and hardcore so I doubt he'll go full indie rock in a way that alienates those of us who share his background, but Itchy Bugger explores a much broader range of sounds and emotions. That trend continues on Double Bugger. Since the first LP Josh has moved from Berlin back to his native Australia, and Double Bugger brims with the hazy sunshine I associate with that country and its recent musical output. That being said, the sonic framework comes from UKDIY in that it’s pop music, but with idiosyncratic ideas and primitive execution. In other words, it’s pop music that isn’t for the popular crowd… think the Cleaners from Venus or the Television Personalities’ The Painted Word album. In terms of songwriting, I think Double Bugger is a masterpiece. There are silly moments like “The Wanker from Mataranka,” heartbreaking ones like “Have You Seen John?,” and upbeat ones like “Nothin Tougher Than Hard Yakka,” but there isn’t anything I would call less than brilliant. If you’re a fan of ambitious pop music with DIY aesthetics, you’ll love this. I, for one, can’t get it off my turntable and I can’t recommend it highly enough.

Staff Picks: December 12, 2019

Staff Picks: Daniel

Dome: Dome 4: Will You Speak This Word 12” (Editions Mego) 

I’m a huge fan of Wire; in fact, if push came to shove I’d say that Pink Flag is my favorite record ever. However, until this recent round of reissues on Editions Mego, I'd barely listened to Dome. Dome is the project that Bruce Gilbert and Graham Lewis started after Wire’s original dissolution in 1980. Critics tend to regard Gilbert and Lewis as the arty / experimental yang to Colin Newman’s poppier yin, and the 4 LPs that Dome released between 1980 and 1982 have a lot to do with that reputation. They certainly take up the thread of conversation started on the less poppy moments of Chairs Missing and 154 and run with them, so if you think those records are front-to-back classics you may want to try Dome.

Dome 4 is the last record that the duo recorded during their original run, and it’s the most out there. They devote the entire a-side to one lengthy experimental track that integrates saxophone into the band’s usual palette of minimal instrumentation and tape manipulation.

Despite the more or less total lack of overt melody, there’s something engaging and memorable about Dome’s music, even at its most out-there points. And Dome won’t be too much for you if you’re into the weirder, more experimental end of Krautrock, modern classical music, or early electronic music. If you’re looking to try Dome, I’d start with their first LP as that’s the most accessible to the average Wire fan, but if you’re anything like me, you'll eventually add all four albums to your collection.

Staff Picks: Jeff

Putzfrau: Demo 2019 cassette - Wow, yet another rager from those pissed Portlanders over at Edger Records. The urgent, franticness of the riffs, along with the snarling, mean vocals reminds me of 80s US hardcore like Sin 34. That said, the recording on this Putzfrau demo is just thick, noisy and punishing. Super powerful. There’s only one song over a minute long -- the way you just need it to be sometimes. Love it, can’t wait for a vinyl release from this group.

Staff Picks: Eric

Dark Thoughts - Do You Dream? 7": I'm sure this has been written about in a previous newsletter, but I was out for a week or two. Dark Thoughts has stayed a consistent band in my life, a band that can never let me down. And this new single is no exception. They have really carved out where their sound fits... which seems to me to be somewhere between Ramones worship, 77 punk, and 90s pop punk. I can't get enough! Perfect bubblegum punk. Can't wait to get my hands on that LP in a few weeks!

Staff Picks: Dominic

The Factory: Path Through The Forest EP. Guerszen 2008
 
Not a new release from me this week and not even a new reissue and actually something that we have stocked previously but a record that I keep on playing in the store and turning on whoever is there listening with me.

The Factory were a young group from England who came and went in the blink of an eye but during a few months in 1968 they managed to record and release two awesome pop-psych singles that rival anything being put out at the time and although at the time did nothing, have since gone on to be prized objects for those who collect psychedelia. Original copies have long commanded three if not four figures. The two songs that made their reputation and get people all excited are “Path Through The Forest” and “ Try A Little Sunshine”. The first came out on MGM and the second on CBS. Most peoples’ exposure came through the excellent compilation Chocolate Soup For Diabetics (Essential btw) and since then the tracks have cropped up on other collections. With this nice Guerszen release you get both sides of the two singles along with a couple of unreleased tracks and a previously unreleased version of Path with additional sound effects added. Cool.

So why all the fuss? What does it sound like? Think See Emily Play by Floyd as a starting point and take off from there. The producers throw every psych trick in the book at this one. You have sound effects, phased vocals, underwater bass, screaming guitar in a whirling and intoxicating maelstrom. The B-side to Path is a Paul Revere and the Raiders cover, “Gone” and the band to a more than capable job on that tune, turning it into an acid drenched pleasure.

Try A Little Sunshine is perhaps not as brain frying as Path but is still a great poppy freakbeat type number that would have sat comfortably on Who Sell Out maybe and if released by a more popular band would have been a hit for sure. It’s a driving number that climaxes with crunching power chords and pounding drums that make you want to play it again.

There is good pedigree behind these songs, Path was written by Clifford T. Ward whose demo for Path is worth a listen and Sunshine was written by John Pantry, another studio boffin who was responsible for a number of great lost British pop-sike moments. Do yourself a favor and seek this release out, it’s well worth it.

Featured Release Roundup: December 12, 2019

ABC Gum: New Arcade 12” (Let’s Pretend) Debut vinyl from this band out of Bloomington, Indiana. As I was listening I thought the vintage, 60s-style production and songwriting chops reminded me of the Cowboys, and indeed the Cowboys share members with ABC Gum. The vibe here is a little different, combining the naive-sounding lyrics and vocals of Television Personalities with hooky American power-pop like the Nerves, the Speedies, or the Shoes. Like the Cowboys, ABC Gum tread a lot of ground across this LP, ranging from angrier tracks like “On Your Side” and “My Wild Life” to poppier tracks like “Lovey Quicksand” and “Lack of Sleep,” ending with the quirky, organ-driven “New Arcade.” The production is spot-on and the hooks are plentiful, so if you’re into quality, retro-sounding power-pop I’d grab this along with that new Whiffs LP.


Nukkehammer: A Distant Hissing in Your Ear 7” (Solar Funeral) Latest EP from this band out of Columbus, Ohio, coming a mere eight years (!!!) after their debut. I was a fan of Nukkehammer back then, and after spinning A Distant Hissing in Your Ear I’m even more of a fan now. While the record doesn’t sound out of step with the times, it also doesn’t feel constrained by the current scene’s trends and styles, as you might expect from a band that has been around for so long. The standout track for me is the opening “Kills by Nuclear,” which captures the manic style of peak-era Gauze (albeit through a grainy filter), but the wild-sounding “Skeletal Hand of Reagan” and brutal, Corrosion of Conformity-esque “Chainsaw of Storms” are also totally ripping. There’s a lot to digest on this EP, but if you’re the type who demands more from your hardcore than just a competent take on an established style I recommend picking this up.


Mobs: Kill ‘em All 12” (Fan Club) Compilation release from this 80s Japanese hardcore band, bringing together their first two 7”s with a handful of rare demo tracks. I don’t remember hearing anyone talking about Mobs ten years ago, but they’ve surged in popularity over the past few years thanks to YouTube and Discogs making it easier to hear them. Their first EP, Diabolism, is a solid slice of early Japanese hardcore. Like a lot of Japanese hardcore from this period, it’s indebted to Discharge (particularly the first track, “Dead People Having Sex”), but the murky production and uniquely Japanese vocal phrasing mean it sounds very different from the Discharge-inspired bands from, say, Sweden or Finland. The two demo tracks on the a-side are cool if you’re a fan of Diabolism, as they’re along the same lines, only with a rougher sound and more UK punk influence. While Diabolism is cool, for my money Mobs got a lot better with their second EP, Projection of Astral Body. With much-improved production and more complex and engaging songwriting, it finds Mobs establishing their own style. While it’s not as raging as something like Gauze or G.I.S.M., if you’re into the quirkier end of Japanese hardcore this EP is an essential listen.


Putzfrau: Demo 2019 cassette (Edger) Demo cassette from this new band out of Portland featuring members of Suck Lords. If you’re a fan of Suck Lords, you’ll want to check this out, as these folks know how to put together a great-sounding hardcore recording. Putzfrau has a very different vibe than Suck Lords, though, putting the emphasis on speed rather than anger. These tracks are blazing, too, lightning-fast and packed with thetight little rhythmic tics that make Koro so great. Only one song breaks the one-minute mark, and while it’s ostensibly the mid-paced song, it’s still faster than at least 90% of hardcore that I hear. Totally ripping!


Doldrey: Invocation of Doom 12” (Iron Lung) Five tracks of brutal, grimy death metal-infused hardcore (or is it the other way around?) from this band out of Singapore. Particularly during their churning mid-paced parts, Doldrey reminds me of Innumerable Forms; I guess it makes sense that Doldrey would catch Jensen from Iron Lung’s ear, since he plays guitar in Innumerable Forms. While Doldrey has all the heaviness that you want from a death metal band, their mosh-able rhythms and economical compositions (only two tracks break the 3-minute mark) are tailor made for an attention span shaped by hardcore. Like everything on Iron Lung, Invocation of Doom is worth hearing, but I’d be sure to check it out if you’re a fan of classic death metal.


The Whiffs: Another Whiff 12” (Dig! Records) Second record from this power-pop group out of Kansas City, and it’s one of the most accomplished examples of the genre I’ve heard in some time. The downfall of many a modern power-pop band is a weak vocalist, but the Whiffs have not one but three capable singers. Not only that, but they’re able to nail incredible three-part harmonies that will send chills up your spine. While the Whiffs are accomplished players, Another Whiff has a dirty, home-recorded quality that keeps their songs sounding fresh and organic. They’re also adept at balancing out the sweeter moments in their music. For every gentle moment like the country-tinged “Please Be True” or the beautiful pop song “She,” there’s something like the Velvets-y guitar solo on “My Vision of Love” or the high-energy rock-and-roll of “Now I Know.” In fact, for something that fits comfortably in the “power-pop” subgenre, there’s a huge amount of variety on Another Whiff. Rather than rewriting the same song over and over, the Whiffs have crafted a lengthy album (fourteen tracks!) that doesn’t overstay its welcome. While Another Whiff isn’t as punk as, say, the Exploding Hearts, if you’re a fan of the heyday of American power-pop—bands like the Flamin’ Groovies, Big Star, and the DBs—you should check out Another Whiff.


Gino & the Goons: Do the Get Around 12” (Drunken Sailor) Latest full-length from this long-running Florida punk/garage band with a bulging discography. While I checked out their singles on Total Punk, I’m not familiar with Gino & the Goons’ long history, so I won’t be able to tell you how Do the Get Around stacks up against their previous records. I can tell you is this is a raw and primal slice of rock-and-roll. Gino & the Goons sounds like a seasoned band, able to pull off a broad range of garage rock styles, from the Chuck Berry-esque “Take It Off” to the more melodic, Ramones-y “Pills in My Pocket” to the swampy “Better Believe.” The recording is loose and grimy, but it adds to the feeling that you’re in a room fragrant with the smell of spilled bear and sweat. Gino is also a great vocalist, with a library of unique tics and inflections that give each song that little something special it needs to stand out.


Record of the Week: The Tits: Great Punk Tits LP

The Tits: Great Punk Tits 12” (Distort Reality) Compilation LP and first US release from this Japanese noise-punk band who recently toured the US. I hadn’t heard of them before the tour, and when I looked them up on Discogs, it surprised me to find how extensive their discography is, with several demos, 7”s and flexis, and an LP. There isn’t much info on Great Punk Tits, so I’m not sure what comes from where, but you can hear some progression across its sixteen tracks. While you could describe everything on this LP as noise-punk, the earlier tracks have more of a traditional Japanese hardcore sound a la the Execute or early Lip Cream. As you get further into side 1, the Tits get crazier and more unhinged, moving more toward a sound that reminds me of Indignation-era Confuse or Creation and Destroy-era D-Clone. With powerful production, great dynamics in the arrangements, and a noteworthy vocalist, the Tits are worthy of those lofty comparisons. Despite their tour, I haven’t heard a ton of hype about the Tits, but I’d put this up there with Physique and Extended Hell as some of the best raw hardcore I’ve heard this year. Highly recommended.

Sorry, no streaming link for this one!