Staff Picks

What’s up Sorry Staters?

Another week passes by like a warm breeze on an April afternoon. Or something like that? Gotta say, after Daniel’s announcement about Sorry State’s financial situation last week, the amount of support we received was amazing and more overwhelming than we expected. Pretty crazy, very heartwarming. Hope you all know how much gratitude we all feel for everyone showing their support, whether you were among the flood of in-store customers we had over the weekend, or you made a generous order online. There hasn’t been a dull moment in the last week haha. We’ve been scrambling and moving non-stop to pull records to get your orders together. Thanks for bearing with us!

Sorry, not sorry, but here’s one more mention about the show in Raleigh on April 8th. International hardcore! Indikator B all the way from Croatia! On tour with Totalna Tama from Oakland. Locals Plastique Pigs and Sunyata. By the time this newsletter comes out maybe the show will already be happening. Or maybe the show will already be over, and I’ll be blasting records with the Indikator B dudes at my house.

Speaking of blasting records, for my staff pick this week I’m gonna talk about the Proces / Stengte Dører split 7”. I love 80s Norwegian hardcore. Still, many of the releases on the excellent X-Port Plater label continue to evade me. I’ve got the Bannlyst 7”, but I still need a first press Svart Framtid, the one with the square-shaped center hole punchout. I don’t have any money… but hit me up if you’re holding! I’ll find a way. Haha. Anyway, small tangent there. No Plan Records has done the good work of repressing the Proces / Stengte Dører split, which has never previously been reissued (except for on a boot compilation LP, but that’s beside the point). Finally, I can jam this rager and convince myself I don’t need an og! …Even though I know I still do.

This split EP was an interesting release for X-Port Plater, because while Stengte Dører is Norwegian, Proces was a band from northern Serbia, which at the time of this release was former socialist Yugoslavia. Subotica, the city where Proces is from, is about 4-5 hours east of Zagreb where Indikator B is from (I just had to look it up haha). I don’t know if I have my facts totally straight, but I read somewhere that Proces and Stengte Dører formed a relationship somehow. I assume just by writing letters back and forth. I think Stengte Dører invited Proces to come to Norway to play gigs in 1985, but a member of Proces was denied the ability to leave the country. Crazy to think about. I think Proces might be one of the first Yugo-punk bands to release recorded material, right behind UBR from Slovenia. The Proces side of this EP is really cool. Kinda umpa-umpa 1-2-1-2 drumming style with super scratchy, noisy guitar, with the bass really carrying the melodic structure of the riffs. Good, kinda dark and menacing sounding hardcore. Almost still has a hint of dark post-punk, with chorus on the bass and delay on the vocals. My favorite track by them is probably the last song, “Beirut 83,” which starts with a haunting clip of a woman singing, but then launches into a rager. Ends with bleak sound clips of planes flying and gunfire.

Now, as much as I like the Proces side, Stengte Dører is just absolutely crushing. These 4 songs are maybe some of my favorite 80s Scandinavian hardcore material. The way the intro of the first track “Det Angår Også Deg” begins with that ominous pulsing kick drum, that fast palm muted chugga-chugga guitars before it hits those “WOMP WOMP WOMP” stabbed cymbal clutches, then just diving into barreling fucking raging hardcore. I love the deeper, desperate, raspy style vocals, which have some anthemic call-and-reponse and gang vocal moments. I’d be singing along if I knew any Norwegian. There’s a lot of cool, in-the-pocket rhythmic stuff going on with the drumming, stops and starts, unexpected punches… Super cool. Kinda wonky, jagged, and chaotic, yet groovy and smoothly executed at the same time. The second track, “Generalens Fremmarsj,” might be my favorite. It’s so raging FAST. Then the third track “På Ferie I Libanon” slows the tempo down a bit, and has some dissonant melody in the riff that reminds a lot of the weirdo riffing much like their contemporaries Barn Av Regnbuen, also on X-Port Plater. The last track, “Pålen,” brings the aggression back, one more killer rager to end the record. Stengte Dører released a couple LPs in the late 80s. They have some cool moments on them, even if musically they get a little whacky. Still, none of that material matches the magic of their 4 songs on this split EP.

Alright, that’s all I’ve got. Maybe even less eloquent than usual this time. Would I ever describe my writing in such terms anyway? I dunno, dude. As always, thanks for reading.

‘Til next week,

-Jeff

What’s up Sorry Staters?

I won’t delve too much into my personal life this round. Just know that pollen has infiltrated my nostrils and I’m already sweating the moment I walk out my door. Happy April, everybody. I was halfway tempted to do an April Fools write-up for the newsletter today, but I’ve decided to remain earnest. Just in case you were suspicious.

Quick reminder: One week from today, Indikator B from Croatia will be playing in Raleigh. I’ve been promoting their upcoming gig with tourmates Totalna Tama, but they hadn’t even shared their tour flyer on social media yet. Now it’s being shared, which I’m sure is directly related to the news that I have learned that the band have safely made it into the US. Thank the laaaaawwdd! So yeah, April 8th in Raleigh. Local rippers Plastique Pigs and Sunyata open. Don’t miss it!

Okay, onto talking about records:

As many of you readers already know if you’ve been paying attention, the fine folks at Tankcrimes have been peppering out reissues of the Inepsy catalog over the last couple years. Kinda funny to reissue the albums in order one at a time over several years, but I guess it does build excitement and anticipation. I remember when Sorry State first got in copies of Rock ‘N’ Roll Babylon a couple years ago and reacting like “whoa, didn’t realize this was happening!” Pretty much all the Inepsy records, at least the LPs anyway, were originally released on the illustrious imprint, Feral Ward. And as is the case with many of the great bands Feral Ward released on their label, most of those Inepsy records are out of print and in demand! Who would’ve thought one day records from the mid-00s would start fetching high prices? Like $80 for a Masshysteri record? Don’t get me wrong, I love ‘em, but that feels psycho to me.

I think a big part of the reason people have shelled out the cash to buy the og Feral Ward copies of these records is because they hold up, right? You listen to those records 20 years later and they still sound good. If anything, I think a bunch of the lore surrounding Inepsy has only gained traction over the years. They’re like a staple at this point. Canon, if you will. Every third or fourth young punker in a lineup meeting the required 200 stud minimum will most likely have an Inepsy patch on their jacket. I’ve literally heard City Weapons referred to as a “modern classic”, which is kinda funny. But honestly, I don’t disagree.

As of this past weekend, Inepsy’s 3rd album_ No Speed Limit For Destruction_ is back in print and available at Sorry State. And we’ve sold a few. Just a few. But my perception is that it’s not quite flying off the shelves quite like the previous albums. Some might consider this record a departure for the band. Is this record maligned and panned much like And Justice For All, Kiss’s Dynasty, or Fleetwood Mac’s Tusk? Perhaps. Obviously, I’m joking with these comparisons, but you get my point.

No Speed Limit is often described as basically the “hard rock” version of Inepsy. I suppose people think they softened their sound slightly. Even people who love the band are kinda like, “Dude, it just doesn’t rip the same way as the other records.” To which my response is an emphatic WHO CARES?? I gotta say man, over the years I think No Speed Limit is easily their best record. For real, I’m not just saying that to be contrarian. I really think it’s like a proper good-ass record. Trust me, I like City Weapons as much as the next motör-punker. But even early on, Inepsy obviously had those rocked-out elements in their sound. And I don’t necessarily need to seek out the earlier records to get my fix of ripping D-beat music. There’s actual raging hardcore records I could spin to satisfy that impulse.

Hear me out: Inepsy is a little bit silly anyway. Like, they’re kinda funny. And I think they knew it, too. Songs like “Bombshell Rock” on their supposedly superior earlier records still have that element of tongue-in-cheek vibe about them. It’s proper good-time, fist in the air, sing-along leather punk party music! Straight up. So sure, you can sing about dystopian themes, but you’re not gonna get Disclose-style lyrics from Inepsy. So, if you’re already singing about riding your motorcycle in a nuclear wasteland, you might as well go full-tilt into a record that sounds like it could be the soundtrack to a Mad Max movie. Sorry, not sorry. The band seems to be at their most comfortable crossing that divide and basically sounding like Tank for a new generation. I truly believe, whether they’re winking at the camera or not, their songwriting feels stronger and more refined on this record. It rules. The hooks are WAY bigger, growing exponentially. Super memorable. Badass aggressive music doesn’t need to be so self-serious like… ALL the time. When they sing, “Rock ‘n’ roll is the only way!”, is there a hint of irony? Sure. But you gotta suspend your disbelief. Rock’n’roll in fact IS the only way, dude. So maybe this conversation is all more Kiss-related than I thought.

Now I feel like everyone’s gonna accuse me of actually doing an April Fools staff pick after all. I promise I’m being 100% genuine. If you don’t like No Speed Limit For Destruction, I’m just gonna have to sit you down and tell you what exactly what you need: another Jack Daniels, another beer, and 10 packs of smokes to ease the pain. Everything is going to be okay. Just buy this record. Unless you hate fun.

I’m gonna end it there. As always, thanks for reading.

‘Til next week,

-Jeff

What’s up Sorry Staters?

I guess I’ll just dive right into my staff pick this week. In last week’s newsletter, I talked about the new Disintegrators tape and a new crop of bands emerging out of the Richmond scene. One of the other bands I mentioned was Massacre System. Now, perhaps I’m a bit biased choosing Massacre System for my staff pick, because Usman and I released their new cassette on our label Bunker Punks. But now that Sorry State has distro copies of the tape up for sale on the webstore, I hoped all you readers would indulge me while I give some attention to our label’s new release!

Massacre System’s vocalist Terrence is an old friend who relocated to Richmond from North Carolina a few years back. I remember Terry sent us the recording when it was finished, just as a friendly gesture to give it a listen. Several months back, Usman and I cranked the recording in the record store while we were working together, and it just sounded explosive coming out of the speakers. I was totally blown away.

The band definitely plays Discharge-inspired hardcore. Each song is stitched together with layers of hissing, turbulent noise. But once the music kicked in, one thing that struck me immediately is how powerful, yet clear and crispy the recording sounds. Definitely leaning more toward Disfear’s Soul Scars than Disclose from a production standpoint, if ya know what I mean.

This tape just sounds crushing. It feels like getting pummeled and beaten repeatedly. 4 songs, all short bursts of fury. Sammie, the drummer who plays in tons of other bands, brings that totally swingy groove to the Dis-beat. But then the last track, “War Crime Technology,” starts with a mid-paced military march tom-roll groove, only to suddenly launch unexpectedly into some Heresy/Ripcord-esque speedy thrash. I’ve known Terrence for years, and when I first heard their vocals, I was kinda like… Damn dude, I didn’t know you had it in ya!! Terrence’s unhinged, maniacal, rabid dog-style barking approach to the vocals reminds me of Joe from Urchin a little bit. Desperate howls shouted into the void, echoing down the halls of the asylum.

What’s extra cool about Massacre System is the combination of people that make up the band. A few of the members are a bit older, Richmond scene veterans who have played in many, many bands. Then a few of the people are a bit younger, punks who have been active in the scene for a while, but feel like fresh faces. Paul, one of the two guitarists, recorded and mixed this Massacre System recording. He’s also been doing a bunch of great recordings for other bands in the Richmond scene. Then the other guitar player Charlotte did the cover artwork for the cassette. So, it’s like the whole band is a totally self-contained DIY unit. All made in-house, baby. So rad.

I could continue to gush about Massacre System, but I’ll keep it brief this week. Stoked to see my friends making killer stuff. Hardcore rules. That is all. As always, thanks for reading.

‘Til next week,

-Jeff

What’s up Sorry Staters?

I haven’t been talking much about what’s going on in Jeff world lately. After a long absence, Public Acid is finally getting our shit together and has some plans coming up. In May, we’ll be playing a couple gigs in Canada with Sacrifice from Japan. I’m so pumped. Crest of Black is an 80s Japanese cult metal classic, but the reissues of the band’s 90s albums Total Steel and Tears have been on heavy rotation for me over the last few years. Then just a few days ago, Warthog announced the show we’ll be playing with them at the Bowery Ballroom in NYC on June 12th. No doubt this will be a fun gig, indeed. Hope to see some of you mofos there.

I’m not sure if I’ve discussed this in the newsletter, but I feel like I’ve talked ad nauseam about this mythical show that happened in Richmond around June of last year. It was a house show with no touring band and no headliner. Just 4 brand new Virginia local bands, all of which were playing their first show ever. Which to me, is such a cool idea. I’m still kickin’ myself for missing that gig. All of these new bands are killer, raging hardcore bands. The Richmond crew planning this gig just felt like an exciting way to give the scene a shot in the arm by debuting a surge of new activity all at once.

Since that gig, those 4 bands have all continued to play gigs. Slowly but surely, they’ve all started releasing their demo tapes. One of the new bands in this Richmond crop is called Massacre System, and Usman and I just released their demo tape on Bunker Punks! Call me biased, but this tape fucking kicks ass. Surely Sorry State will have copies available soon, so be on the lookout for that!

And now for my staff pick, I wanted to talk about yet another one of these new Richmond bands, which is Disintegrators. It’s funny, someone filmed every single band at that mythical gig from last June I was talking about and uploaded the footage on YouTube. I remember clicking the Disintegrators video, and the footage is so dark that you can’t even see who’s playing haha. But I remember thinking that the music really stood out and impressed me. Come to find out the band is made up of a bunch of people I’ve met hanging out at gigs when I visit Richmond.

Sorry State already has a stack of copies of this brand new Disintegrators cassette in stock! And hooooly shit this thing rips. The tape has a pretty raw-sounding recording. It could be recorded straight to a 4-track; I’m not sure. The tape has 4 songs, most of which are 1-minute-flat bursts of just fist-in-the-air, raging hardcore punk. It’s stylistically D-beaty… I guess. But seriously, I kinda hate to even say that. Even with the recording sounding pretty dark and gritty, Disintegrators don’t sound crusty to me at all. The catchy, jangly-ness of the riffs cut through in a way that feels… I dunno, “rockin” I guess. Makes me think of a lot of Swedish hardcore bands with big riffage like Axe Rash, or even other contemporary bands like The Hell or Bootlicker. Honestly, Disintegrators feels more aligned with that wave of Boston bands like Bloodkrow Butcher to my ears, where it’s raw, but it’s still hard as nails, and it’s still tuneful enough to bop your head and sing along to.

The drumming is absolutely killer on this recording, as expected. Sammi, the drummer, plays in like 17 other bands in Richmond (including Massacre System haha). Good drummers are always in high demand. But just the way the drums are recorded—like super dry with that “THUH-WHACK” sounding snare drum. Lo-fi, but still punchy and powerful. I love it. The drums have a ton of groove and swing, which really adds to the catchiness of the songwriting. On the 2nd track “No Control,” the drums just announce themselves with this super long snare roll before the band kicks in. Then the third track starts with just solo drums, playing a beat where you can really hear that in-the-pocket grooviness I’m talking about.

Speaking of the third track, “Erased” might be my favorite song on the tape. Just the way vocalist Ashley places the word “erased” rhythmically during the chorus is super catchy. Her vocals are super gnarly sounding, deep and raspy, and delivered with concise intensity. But still, the way the vocals carry the music underneath gives this hookiness that really grabs the listener’s ear. The last track, “State Decay,” is this unexpected stompy mid-tempo banger. Follow me here: the way the band drops out for that break at the end of the chorus, and then just solo kick and snare brings the beat back in, and then it’s just a floor tom beat and bass with the guitar feeding back… aaaand then the guitar does this little lead section and the vocals declaratively shout “STATE DECAY” before it kicks back into the main riff? Fuck man, that’s the stuff. The song feels like UK82 käng boot punk jamboree. I can envision the Richmond slam crew careening side-to-side in the pit already.

Sorry State has already sold a few of these tapes, and I have a feeling we might sell out by the time this newsletter comes out. So, if you missed out, then apologies in advance. But if you heed my words, do yourself a favor and grab a copy of this cassette if it’s still available! Exciting to hear new bands coming out making the type o’ hardcore I wanna hear. It’s a beautiful thang. The band hasn’t even existed for a year yet, and I’m already excited for a Disintegrators 7”. Life is short. So get on it, punks! As always, thanks for reading.

‘Til next week,

-Jeff

What’s up Sorry Staters?

Firstly, I wanna mention an upcoming gig in Raleigh on April 8th. Indikator B from Croatia will be coming through town. I met the band and got to see them play when Public Acid was on tour in Europe last summer. They totally rip! Check out what I wrote about their 7” on Doomtown Records if you’re so inclined. They’ll be on tour with a band called Totalna Tama from the Bay Area, whose singer moved here from Croatia and sings in the language! Super cool. Locals Plastique Pigs and Sunyata are also playing. Don’t miss it!

So, let’s dive right in, shall we? I didn’t know what to write about this week, but just yesterday, I had a blast listening to the new episode of 185 Miles South. I must say, it feels like Sorry State has developed quite a kinship with this podcast. I’m sure Daniel and I have mentioned them several times here in the newsletter. They often shout out Sorry State on the podcast as well, which is rad. Daniel has even appeared as a guest on 185 Miles South to participate in their European hardcore bracket.

Doing these bracket/tournament style episodes that try to weed out the best of the best is a daunting task, I’d imagine. Between 185 and that Hardlore podcast doing these bracket episodes, I always know what I’m getting myself into when I listen to these things. Sure, I’ve got my gripes with decisions that are made, but everyone’s got their own perspective, right? And if you’ve got deep love in your heart for all things punk and hardcore, and the records discussed are important to you, you’re gonna get fired up about ‘em. I have nerdy debates with my friends about this kinda stuff all the time, so these tournament podcasts are admittedly super fun to listen to.

I’m just gonna do a full-on spitballing reaction here, which is just meant to be fun and conversational, so bear with me:

On this most recent episode of 185 Miles South, Zack and the gang debated the best first-wave US hardcore 7”, the criteria being it must have been released between 1981 and 1983. When I listened to the European hardcore bracket, there were certain records that lost out in matchups, and maybe I didn’t agree with the ranking. And I don’t know what it is, but for some reason, listening to this US hardcore 7” episode made me react more uh… viscerally, I suppose. Maybe it’s because I learned more about international punk later on in my young adulthood, and these early 80s American records were so foundational for me. Like where I really cut my teeth getting into punk as a teenager. And then also, because hunting down these USHC records has been my biggest nerdy record-collecting endeavor.

First of all, I think off the rip Zack even announced that records like the first Minor Threat 7”, Negative Approach, and Poison Idea’s Pick Your King were basically unanimously agreed upon as no-brainers. I was like, alright sick, we’re all good there. Which it’s a cool feeling to strap in for something like this and know that you as a listener, along with all the people participating by speaking on the podcast, are already in agreement. It’s like a “Dude DUH” moment. Super funny. But that’s the whole point, right? Still, these battles are tough. With the 185 podcast pairing these opponents fair ‘n’ square with the alphabet, you never know what the outcome might be. For example, the Deep Wound 7” is an all-time ripper for me, but you gotta hand it to Minor Threat. Maybe some people would say the opposite, but that feels like you’re just being contrarian. I bet J Mascis and Lou Barlow would even vote for Minor Threat. But hey, maybe not.

And as I speak about contrarian opinions… When it got to the second matchup between the Abused and White Cross, I guess I shouldn’t be surprised that the Abused won. But I would have gone the other way, even if the Abused record is considered undeniable amongst my hardcore peers. I probably just have a soft spot for the White Cross 7”. Me being from the South and that record being the only one in 185’s bracket from that region, it feels like a big part of my world. It felt like a gem when I discovered that record many years ago. 80s hardcore always had a tribal thing about it, and I really dig that aspect. Like in the part in the American Hardcore documentary where that one dude talks about bands being like a pinpoint on a road map. It was nice to hear Zack give White Cross some love. And like I said, I get it. I think The Abused record is great, don’t get me wrong. But it just never appealed to me in the same way. The song “Drug Free Youth” kinda makes me roll my eyes. But whatever. And it’s like the stuff of legend, right? In the collector world, the Abused and Antidote 7”s are like holy grails. Over a G now? Maybe pushing $2,000 these days, I dunno. I’ll never have either of those, I don’t think haha.

I love Battalion of Saints, “Second Coming” being one of their best songs, but I would have given it to Rebel Truth. To me, the BOS EP is like a single. The 2 songs on the B-side are great too, but don’t stand out as much as the title track. The Rebel Truth EP as a standalone record feels stronger to me. I also understand Antidote beating out the State, I suppose. And again, Zack gave the State some love. I just think the State 7” is killer—and because it’s been in print for so many years, I am surprised people don’t talk about it more. Maybe people write it off because you can find the repress for $3 or whatever. But speaking of Havoc, I would have loved to see the Final Conflict 7” in the bracket rather than The State. That Final Conflict 7” is just so gnarly and pissed sounding, and right up my alley taste-wise. Maybe to me the superior Midwest hardcore EP in my opinion. No Mecht Mensch either. But you can’t include everything, right? Like you could have had more Pacific Northwest records represented in the tournament, like The Fartz EP, which was super early ripping hardcore for 1981, or even the Rejectors… but I digress.

It might just be in general that the NY hardcore stuff doesn’t appeal to me as much, and there’s a lot of it appearing on this bracket. And to some people, that’s the best of the best. I do like at least a good chunk of those early 80s NY records. Maybe because they’re a bit more punk sounding to my ears? Like, Urban Waste in particular, I just think is so killer. That said, as much as I love Victim In Pain, between the 2 “united’s” in question, the United Mutation 7” would have beat out United Blood. Easily. Some people will probably think that’s crazy.

But damn man, while we’re still on New York, one moment in the podcast that just hurt my heart was the way the Cause For Alarm 7” was discussed. Don’t get me wrong, Pick Your King should probably win the whole tournament, let alone that matchup. But I was just surprised how everybody talked about it. Describing this record as “baseline” NY hardcore? Seriously? To me, Cause for Alarm is like one of the best records FROM New York! Haha. I think that it’s easily better than a lot of other NY stuff people mention. Like the Mob for example. BOOM. (That record beating the Clitboys is insane, by the way.) Again, maybe it’s because Cause For Alarm is more on the punk side and less “hard” or whatever. But saying the songs don’t stand out? Dude, “United Races?” “I don’t wanna be labeled a punk or a skin!” The way the slow breakdown section kicks in on that song with the punches and stops and starts? Classic. Dude, and with everyone speaking about the drumming on Pick Your King (which agreed, it’s killer), BUT the drumming on Cause For Alarm is so groovy and has all those double kicks obviously done with one foot, getting into intensely raging and urgent territory unmatched by most bands of the era. Incredible. Just sayin’. I dunno man, I expected more love for that record even if it didn’t make it past the first round.

It’s funny to weigh in about Die Kreuzen, considering they won the round. But to say that “Think For Me” is one of the worst songs of the tournament? Come on, dude. I love that song. I appreciated John pushing back a little bit on that. Also, the Die Kreuzen LP is a masterpiece. And then also, even though the Youth Brigade EP isn’t as boneheadedly direct and ripping all the way through like SOA, I think it’s a powerful record top to bottom.

Then finally, speaking of Dischord releases. Don’t get me wrong, I fucking love Ill Repute. And obviously, I know the podcast does as well. I mean, it is the fuckin’ theme song, after all. But it beating out GI? Wiiiiild decision. Haha. Must be a West Coast thing. And honestly, it was kinda cool to hear the guys say they prefer Boycott Stabb. I might agree. Love the guitar playing and sound of that 12”. But I feel like in general, that might be the rare opinion. At least for most of my friends, they ride for Legless Bull all day long (no pun intended?). But it makes sense that 185 would cram some Nardcore into the discussion. I would’ve gone with RKL, personally, but I guess they don’t make the cut with the 7” coming out in 1984.

It was a great episode and super fun listen. Even if it made me audibly yell “WHAT” while I was listening. Haha. But getting heated is part of the fun, right? I’m hoping all the guys on 185 Miles South get a kick out of reading this. And trust me when I say this out of total respect, even if it is me vocalizing some opposition. Real quick, I just wanna mention that I’d never really checked out what a Substack is before. But man, I really encourage you readers to check out the one for this episode of 185. You can tell Zack really put in a lot of effort to show the records, flyers and ephemera, links to listen to the music, clippings of reviews from Maximum Rock’n’Roll… it was really cool to look at and helped contextualize the episode. Kinda pained me to click the “nah, I’m more into metalcore” link button to read it online. I guess I’ll have to subscribe to save myself the embarrassment next time.

I could write so much more, but I’ll cut myself off there. And if you’ve made it this far, I applaud you. As always, thanks for reading. And if you’re missing some of these records I discussed above, or have neglected ever giving them a listen, you’ve got no excuse. As Zack would say: Go handle business.

‘Til next week,

-Jeff

What’s up Sorry Staters?

I’ve been stewing on writing this staff pick for a couple months now. Might be a dramatic gear shift from the last few things I’ve written for the newsletter. But here we go:

Perhaps it’s cliché around the beginning of the year, but I’ve been actively trying to cut back on drinking, and also trying to exercise more regularly. Of course I wanna be healthier and get in shape; don’t we all? And not to make excuses to refute any accusations, but I think my making these decisions grew less out of a silly “new year, new me” resolution. These actions come more from that I’ve been going through a difficult time and decided I need to start making healthy brain decisions.

I think my strategy has worked so far, at least to some degree. It feels good to channel mental and physical energy into something positive. That said, on any given day, I just don’t know how I’m gonna feel when I wake up. I have some days where I rise from my slumber super early (well 9am, that’s early for me anyhow ha), feeling energetic and motivated, and I think to myself, “I’m gonna hit the gym and get in a workout before going to work!” Then other days, my mind slowly drifts and declines into: “Ah, fuck it, I’m gonna go get a beer.” Don’t we all struggle with this? No, just me? That’s okay. It’s tough, man.

When I do have the energy to go to the gym—feeling all positive, as we’ve discussed—I often wonder, “What shall I listen to?” Lately, Uniform Choice’s debut LP Screaming For Change has been on regular rotation. Which I admit, is hilarious. Like I’m trying to lay off the booze and lift weights, and all of a sudden, I gravitate toward listening to straight edge hardcore. I’ve had my copy of Screaming For Change for a loooong, long time, but I rarely break it out to listen to it. But I guess positive choices = positive records.

Funny timing, because we’ve had a bunch of original Youth Crew and Revelation-style hardcore records come through Sorry State in used collections lately. We had that Straight Ahead 12” sitting on the wall, and of all people, both Usman and I were both kinda like, “Damn, I want that.” I even watched the episode of the HardLore podcast where they interview Craig Ahead from Straight Ahead (not to mention Sick of It All and Youth of Today). Pretty good watch, if you’re so inclined.

Now, did I own a copy of Start Today by Gorilla Biscuits when I was a teenager and think it was fucking awesome? Yes. Yes, I did. I even used to have a copy of the Unity 7” on blue vinyl, but I traded it many years ago. I do kinda wish that I still had that. Does the artwork depicting a cartoon skinhead with X’s on his hands punching away bricks of negativity do anything for me these days? Not really. But what can I say? We all grow. And I will say, at this point in my life, very little about Youth Crew hardcore or straight edge in general is appealing to me. The scene, the fashion, or the music. I identify with many other corners of punk and hardcore way more, obviously. But I think it’s important not to box oneself in. Because a few months ago, I put on Screaming For Change for the first time in many years, and it fucking RIPS. I only debated shaving my head again for like one second.

When the first track “Use Your Head” kicks in, goddamn it’s fucking killer. The riffs, the fast drumming… It just explodes. I even like that it’s kinda loose. Like on the song “Build and Break,” I’m not exactly sure I understand what the drummer is even doing rhythmically, but it’s just intense and exciting. Makes me feel all hyped up. “Positive youth!” Nah, just kidding. You won’t find me jumping and punching the sky or anything. But the record really is great. It feels fresh to me again. I will admit, every now and then while I’m listening to the LP, I’ll catch the singer singing certain lyrics and think, “Woof, that is SO corny.” I mean the record ends with a fuckin’ spoken word poem… I usually lift the needle before that last track. But it comes with the territory, right? My man Pat Dubar is writing some earnest ass lyrics.

One sort of eyeroll criticism I always hear about Uniform Choice is that they were musically derivative of Minor Threat. To which I often respond: Uuuh, what the fuck is wrong with that?? I’m way more interested in a hardcore band taking cues from Minor Threat than a band trying to sound like fucking Pearl Jam or something. If more bands in the year 2026 were more directly influenced by Minor Threat, I’d be all for it.

Having said that, quick tangent: People are haters. I will acknowledge that in the history of hardcore punk, Minor Threat’s importance and legacy has been overexplained. Sure, it’s not too far removed from people who are way too deep into classic rock, and all they wanna talk about is Zeppelin II or Dark Side of The Moon all the time. Trust me, I get it. But when I hear people saying things like Minor Threat is too overplayed, or it’s “entry level” punk or whatever… No pun intended: I don’t wanna hear it. Fuck that. I’m here to say that is a trash opinion. Minor Threat rules. Just as good to me today as the first time I heard them when I was a teenager.

ANYWAY, I think that Uniform Choice coming out in that wave of mid-to-late-80s bands and sounding more like Minor Threat, it just gives me the same feeling of excitement as all that early 80s hardcore I love so much. I just find it more appealing. I’d rather hear a band that sounds like that over most of the late-80s Revelation stuff any day—like the chunky riffs, the big, slick production, or anything. Call me crazy if you want. This Uniform Choice LP is fucking killer. Fight me. Not sure I can defend the 2nd LP with the same intensity, but Screaming For Change is awesome in my book. I think we could all use a little more screaming for changes in our world at the moment. Gotta get buff for the resistance. Ya know what? I’m gonna wear my Minor Threat shirt today, fuckers!

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

‘Til next week,

-Jeff

What’s up Sorry Staters?

After writing about the excellent new Modem record in last week’s newsletter, I guess I’m sticking with Finland this week as well. But rather than contemporary beep-boop music, I’m throwing it way back to one of the earliest examples of Finnish punk rock.

I’m not sure exactly where my journey of discovery with early Finnish punk began. At a certain point, I think I started to notice Daniel accumulating lots and lots of cool Finnish punk records all of a sudden. And when I say that, I mean specifically showing interest in bands from that initial late 70s punk wave, and not necessarily 80s hardcore stuff. I would walk into work some days, and he would just bring in a stack of cool European punk records to listen to, some of which I’d never seen before. I’d react like, “Uuuh, holy shit dude, when did you get all of these?” So maybe the Sorry State bossman spear-headed a bit of motivation and inspiration for me to check more of these records out.

Many, many years ago, I randomly stumbled into hearing the first Ratsia LP through the channels of the mysterious internet blogosphere. I think at the time, my young, short-sighted takeaway upon hearing Ratsia was: “Wow, they cover Stiff Little Fingers in a different language!” And it would take me until much later in life to discover how brilliant and ingrained in my memory songs like “Lontoon Skidit” would become. I wasn’t ready yet, I guess. And it would be even many years after that realization before I’d actually get a chance to visit Finland and try to find those records in person, to varying degrees of success. It’s funny that it would take me until my 30s to finally grab a physical copy of that Ratsia LP. Then all of a sudden, it became all about learning more about bands like Ypö-Viis, Pelle Miljoona, Kollaa Kestää, and all the rest.

Now it’s time to talk about another band that’s on par with the bands I mentioned above: As some of you readers know, the fine people over at Svart Records recently reissued the first two albums by seminal Finnish punk band Eppu Normaali. Now, what’s funny is that I only recently learned the information, while reading some random internet article, that Eppu Normaali is like literally Finland’s biggest selling band—like, EVER. Record sales, singles in the charts… Which is crazy, because I had no idea. What I do know is that I heard an Eppu Normaali album from 1990, and let’s just say I was not a fan. A bit too tepid and soft for me. That’s not to say they don’t have other records from their 80s heyday that I might enjoy, but for the purposes of this newsletter, I’ll stick with the first two albums from the late 70s. Both of which, just to be clear, are incredible.

Eppu Normaali’s first LP Aknepop was originally released in 1978. If you think about it, that’s pretty early on as far as punk emerging and infecting other places beyond the US and England. Eppu Normaali and bands like The Clash and Generation X were basically contemporaries. This first record is killer. Kinda raw, high-energy rock’n’roll with great riffy guitar playing. A lot of the super frantic, rockin’ sounding guitar stuff reminds a lot of like Johnny Moped and the like. And I don’t know what it is about Finnish bands, like if it’s something in the culture, but they just leaned so heavy into incredibly hooky, almost folk-esque melodicism. A lot of the bands have such a gift for melody. I remember the first time I heard the song “Poliisi Pamputtaa Taas” off this record. It’s the first song on the B-side, which I accidentally played for the first time thinking it was the A-side haha. That song is just so damn catchy, I thought this must be like the pop hit off the record. Lo and behold, “Poliisi Pamputtaa Taas” was released as a single in 1978 preceding the release of the album. The recording on the single version is different, so naturally my record fiending brain was like I MUST FIND ONE. And of course, it’s expensive haha.

Over the last few years, I’ve spent so much time with Aknepop that I think my attention was diverted away from Eppu Normaali’s 2nd album Maximum Jee & Jee. Lately, I think I might even prefer the band’s sophomore album. They were great musicians from the beginning, but something about the performances, production and songwriting feels more refined on Maximum Jee & Jee. Even by the second track “Njet Njet,” the band incorporates a feeling of melancholy and a sense of longing with washy, jangly guitars you didn’t hear as much on the first album.

I feel like I could write a paragraph on just about every song on this record. I’ll try to refrain as much as I can. As a direct contrast to the melancholy I just mentioned, a song like “Lainelautailevan Lehmänmaha Rock N’ Roll” almost feels like Eppu’s take on Plastic Bertrand-esqu punksploitation with goofy sing-along boogie woogie doo-wop background vocals and stuff. One of my favorite songs on the record, “Pidetään Ikävää,” starts with this Teenage Head “Picture My Face”-paced groove, but then has a super hooky tongue-twisting, multi-syllabic vocal hook with a woman doing backup vocals—which THEN launches into this minor key section with eerie violin accompaniment. Might sound strange, but it’s fucking awesome. The track “Science Fiction” is a gem as well, starting with these pseudo-futuristic atonal synthesizers but then bursting out into one of the most up-tempo, catchy songs on the whole record. Okay, one more: The song “Jee Jee,” from where I assume the title of the album is derived, is also a favorite. Apparently “jee” is how the Finns spell “yeah”, so one of the big hooks in the song is them just singing, “yeah, yeah yeaaah.” It fucking rules. Call me crazy, but methinks Tiikerri might have borrowed this motif for some of their songwriting hehe. I just love how Maximum Jee & Jee pushes boundaries and experiments with songs in a way that feels light-hearted and playful rather than snobby or pretentious. Such a great record.

So maybe me deciding to write about Eppu Normaali from the perspective of a Finnish person would be like deciding to write about Green Day or something. But it must be undeniable even amongst Finnish people that these first 2 albums are all-time classics, right? Seems like the band had some records in the mid-80s into the 90s where they had a much higher level of mainstream success. And honestly, I don’t know much about those records. The Finnish rock/pop genre known as Suomi-rock is a rabbit hole that I’m not prepared to dive into. But it seems like Eppu Normaali’s appeal is something very insularly relevant to Finnish culture rather than the band having success as a big international musical export. Maybe I’m wrong? Interestingly, I find a parallel between the story of Eppu Normaali and the popularity of the band Ebba Grön in Sweden, whom I wrote about in a previous newsletter many moons ago. Or maybe that’s a weird comparison to make? I’m writing about all this stuff like I actually know what I’m talking about. I’m just a humble punk enthusiast trying to draft interesting tidbits for all you readers to enjoy. Or ignore. Either way. There’s always so much more cool stuff to discover.

We’ve still got a bunch of copies of Aknepop and Maximum Jee & Jee in stock. Don’t sleep on these, ya dummies!! If you’ve been hesitating to dive deeper into international punk that you’re unfamiliar with, now is the time to correct that. Don’t make the same mistake I did. These records are no-brainer purchases if you like good, catchy, badass punk rock.

Welp, that’s all I’ve got for you guys. As always, thanks for reading.

‘Til next week,

-Jeff

What’s up Sorry Staters?

What can I say everybody? Getting through constructing that year-end write up for the previous newsletter was A LOT. Thank for bearing with me if you actually read the whole thing. My brain is feeling less foggy over the last couple weeks. I’m finding myself enjoying new music lately, which is a relief. Speaking of which, let’s get right into it:

I’m not sure if my staff pick this week will come as a surprise to some of you readers out there. I think I’ve probably mentioned in previous newsletters that beyond my love for raging hardcore punk and low-brow heavy metal, I do have a soft spot for 80s synth pop, new wave, darkwave, freestyle, whatever. Sorry State just got in Interface, the latest album from Modem, and I’ve already listened to this record an unhealthy number of times. I think this record properly came out in the fall of 2025, but Sorry State only just got copies, so it’s new to me.

For those uninitiated, Modem is a duo based in Helsinki, Finland. Tytti is the lead vocalist and handles some additional instrumentation. And then the primary synth arrangements and production are done by Ville, who you might recognize from many Finnish hardcore bands like Kohti Tuhoa and Sorry State’s own Yleiset Syyt. I was lucky enough to get to see Modem play live here in Raleigh of all places. Kings, our local venue where they performed, must be like a 300-capacity room. And to the 20 or so people that actually showed up, Tytti still boldly and commandingly demanded the audience’s attention as if she was playing Wembley Stadium. She was on and off stage at any given moment. They were striking visually of course, in all latex and leather regalia, but they also sounded amazing. My man Ville looked cool as fuck: sunglasses on, not facing the crowd, pumping out killer synth lines, and had a guitar strapped to his back the whole time in case he needed to urgently whip it around and shred a smokin’ hot lead.

There’s been a few groups in the last few years that have faithfully accomplished a modern interpretation on this sound of drum machine and synth-based 80s pop music. I really enjoyed that record Love Lines by Nuovo Testamento from a few years ago, for example. I think that most of these contemporary 80s-style synth-pop groups certainly have no intention of reinventing the wheel. Rather, the intent is to wear their influences on their sleeves—more of an homage, if you will. It feels like the goal is to sonically capture the sound of a record that actually could have been released in the 80s. And I’m totally cool with that. That said, perhaps Modem’s interpretation of 80s synth-based music is one that can only be achieved by manifesting through the lens of isolation in a brutal Finnish blizzard.

Maybe the homie bias does come into play here a little bit, because I’ve interacted with both Tytti and especially Ville, and I think they’re both really cool people. But I just think Interface is a great record. The record has a short intro, and then it’s just 8 tracks, each song better than the one before. Sometimes I dive in blind listening to certain things, and it just hits me like a ton of bricks. I haven’t spent as much time with Modem’s previous LP Megalomania, but even in the couple weeks we’ve had this new LP in stock, it already feels super familiar to me. For one thing, the sound design and production are incredible. Beautifully sculpted. I was speaking to a friend on the phone the other day who plays around with synths and production. I recommended him Interface, and his instant reaction was how great it sounded. Discussing this record, he mentioned how it’s not necessarily easy to nail synth tones and mixes that sound this crisp, sharp and authentic. Juicy soundscapes, babyyy. And for how ominous it appears at first glance, the record is like… really fun. I mean, come on, it’s got fuckin’ handclaps, dude.

The sonic vibe of the record does encase you within a cold, robotic atmosphere. But much like the android concept in the album artwork, Modem captures a vibe that is simultaneously cold and distant, while also warm and approachable with their pop sensibility. A song like “Cowboy” has unexpected twangy surf lead guitar. But it doesn’t feel out of place. All the sonic textures feel methodically, intelligently constructed and intentional. To me, the whole record has an addictive quality. It’s either connecting to some pleasurable brain synapses, or maybe it’s my replicant wiring firing on all cylinders.

Tytti’s vocals are great. I think not understanding Finnish, you might think this would take me out of it. Instead, it makes me appreciate the melody and song construction rather than harping on lyrics I might find corny or whatever. She weaves together syncopated melody lines not unlike the catchiness of the synth parts behind her, but then also additional sweeping, distant and ethereal vocal adornments on a track like “Ave Maria.” I love the “do-do-do’s” on the song “Kulta-aika,” which almost have a soulful, funky kinda thang goin’ on.

Songs that evoke mystery and darkness are supplemented by a song like “Image,” which feels like the most “major key” straightforward pop banger on the record. So much of the record has familiarity to me, like kind of reminding me of later-period Depeche Mode. On the song “Pagliacii,” it’s almost like I’m waiting for the piano melody from “Enjoy The Silence” to start happening… call me crazy, but the vocal melody during the verse of “Passio” reminds me a lot of “Here Comes the Rain Again” by the Eurythmics. Coincidence? I think not. Then again, what do I know? Remember what I said about wearing your influences on your sleeve? And who cares? It’s fucking great.

Modem has released pretty much everything on their own label Modem Age Records in Finland. But on this new record, it looks like they have some sorta deal in the US with Don Giovanni. I think I also saw a picture of Tytti and Ville on a red carpet for some indie awards show the other day. And you know what? Good for them. This feels like a record that should be popular. If anything about the way I described this record sounds like it could be your bag, I highly recommend giving it a shot. You will not be bored for one second. All bangers. A good time and fun listen. Buuuut, you might turn into a robot… but like… a reeeally cool robot.

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

‘Til next week,

-Jeff

What’s up Sorry Staters?

Full transparency, I feel strange trying to muster any enthusiasm to assemble a “year in review” or a “top 10” list of any kind about 2025. In preparing to do this, I decided to revisit my entry from this time last year, when we did our “Best of 2024” write-ups. By comparison, it seems like my tone was full of hope and excitement at the beginning of 2025, still feeling pretty pleased about the year 2024 behind me. I even made a collage with all my favorite photos of places I visited and people I love. Unfortunately, I just do not feel that same way right now. The end of 2025 delivered such a blow that it has overshadowed many of the positive experiences I’ve had this past year. Right now, I think I could more easily come up with a “Top 10 Worst Things of 2025” list…

BUT—There’s also a part of me that understands that many of you readers don’t come here for that. While I appreciate this forum as an opportunity to express myself, the newsletter shouldn’t necessarily be my vehicle to cause you all to ingest more negativity. Especially now, as all of us are certainly being bombarded by negative shit constantly—whether it’s the horrifying state of the world at large, or maybe some of you are dealing with difficulties in your personal life I that I don’t even know about. It’s an extra scary time—only adding weight, feelings of existential dread, and heightening anxiety surrounding our moments of mundanity. So, in 2026? Resist. Take care of each other. And try to experience and appreciate what you love amidst all this madness.

Corny? I dunno. Anyway, here are some records I liked this past year:

1. Necron 9: People Die 12” - I think I made this call early on. But yeah, this is the best record released in 2025 for me. Ugly, grimy hardcore for outsiders. Delivered with ferociousness, a lot of heart, and not one ounce of pretense. A record that restores one’s faith. Inspires one to shout up to the sky: “Hardcore LIVES!” Too bad they broke up already. Cool that they left behind this little perfectly documented moment for all of us. Gut the pigs.
2. Ayucaba: Operación Masacre 12” - I already wrote a lengthy description about my feelings on this record, which you can read here if you want to. Based out of Barcelona and featuring members of Muro and Inyección, Ayucaba plays a triumphant, raw, inventive take on hardcore that’s just oozing with character. Metallic guitar leads, demonic vocals, epic songwriting, feeling very powerful and grandiose but still anarchic, earnest and approachable. Amazing record.
3. Kaleidoscope: Cities of Fear 12” - I think this band has reliably delivered me more goosebumps than any other band over the last 10 years. For real. But from record to record, they really shift sonically. Volume 3, released on Feel It in 2017, feels like a totally different band. Maybe they came across more post-punk? Less dense, more austere and otherworldly with an artsy sensibility. And while I love their previous records, they just aren’t HEAVY in the same way as Cities of Fear. I think maybe the void left behind after the inactivity of Tower 7 just caused Kaleidoscope to get reflexively heavier. The opening track “Burning Alive” is just like blazing hardcore. And it fucking rules. The band still evokes that off-kilter, weirdo punk vibe, but they just feel more driving and pissed off on this record. Seems like the genre descriptor du jour of the mid-2020’s is to describe a band as influenced by “heavy anarcho punk” or whatever, which Kaleidoscope surely is… buuuut straight up, a song like “Controlled Opposition” sounds like the dirgey moments of Bl’ast… And maybe it’s uncool to say a band sounds like Bl’ast or Black Flag anymore in the year 2026. I don’t give a fuck. I mean it as the most sincere compliment. Maybe their best record yet?
4. Save Our Children / Stunted Youth: Split 12” - 2 bands, both from Texas, and they share members. These guys clearly think Gang Green and Deep Wound are infinitely cooler than Disclose. 36 songs split between 2 sides of an album in 33 minutes. Never relents, never gets old. All killer all the way through. Another couple of bands that kept the faith, flying the flag for true blue oldschool US hardcore. But sadly, yet another fire that has already been extinguished. Came and went, exploding like a bottle rocket. Hardcore rules, dummie.
5. Ultimate Disaster: For Progress… 12” – The homies in Richmond delivered an absolute crusher with this 12”. Just 3 dudes, power trio style. Discharge-inspired hardcore? Well, yes. But I think the approach is like if you refined the elements of Discharge-inspired punk to its most pure form of brutality. A lack of epic crust influence. No drawn-out pondering experimental passages or melodic interludes. Trim all the fat. Full impact. Not to mention the excellent recording… big loud guitars and riffs played with airtight execution, like a battering ram assault on the ears. The intensity of the tight, sawblade-like riffing with a brutal, metallic edge brings to mind the Swedes’ take on the Discharge formula. To me, For Progress… sounds like Disfear’s Soul Scars way more than it sounds like it’s trying to perfectly replicate Why. Killer record.
6. Exploatör: Apokollaps 12" - A project comprising the 3 original members of Totalitär playing the style of punk I love so dearly. This could sound like hyperbole, but this is the band’s 4th LP and I think it’s their best yet. Just diving into the record, the production sounds crisp and bright and fresh. Maybe I didn’t realize this originally, but Kenko, the recording engineer aficionado who played in great bands like No Security and Dischange, now plays second guitar alongside Lanchy. This particular style of Swedish hardcore just gets the hair on the back of my neck standing up like nothing else. And just when I think I’ve heard it all, Exploatör still surprises me with their songwriting, bringing musical and rhythmic ideas I didn’t expect. No one does it like the OGs.
7. Lame: Lo Que Extrañas Ya No Existe 12" - Probably one of the most unique records I experienced this year. How do I even describe this band? Lame plays this driving but restrained-by-straight-jacket form of hardcore. Like a chaotic and anxious, yet intelligently orchestrated dirgey mess. Like if Killing Joke took too much speed before they took to the streets to fight cops. The glowing feature of Lame’s sound is the vocals though. I remember meeting Sally behind the bar at the pizza place one of my bands played in London. Now hearing the vocals, I’m like hoooooly shit. The lyrics are delivered like a (with all due respect) psychotic breakdown – erupting like an intense, terrifying stream of consciousness. I can’t believe how many syllables Sally crams in there. It sucks my Spanish isn’t better. I really feel like if I understood every word when listening, then this record would feel even more overwhelming. I really feel like I go through something when I listen to this record. I get like all sweaty ‘n shit. Nah, just kidding. So powerful.
8. Tàrrega 91: Ckaos Total 12” - Sometimes I almost feel guilty when I talk about so many records on La Vida Es Un Mus. But they put out a lot of great stuff, what can I say? I took home a copy of this Tàrrega 91 record, liked it a lot, but it didn’t really hit me until I’m now revisiting it at the end of the year. I thought to myself, this is like easily one of the most raging hardcore records I’ve heard in ages. Paco’s description mentions Discharge and MG-15, both good reference points. But damn man, 2 seconds into the first track “No És Cava Teva” and this band sounds so much like early Cimex and Shitlickers it’s not even funny. Maybe I’m trippin’, but that’s how it feels to me. I was a fan of the band’s previous 7” as well. But I love that when they graduated to the full-length format, they reduced their brutal take on hardcore to leaner, more explosive 1-minute-long bursts. I learned that the band’s name is a reference to a series of riots that occurred near the small town where they come from in Catalonia. Devastating, intense hardcore with a sincere and radical agenda. Doesn’t get much better.
9. Nisemono: S/T 12” - 偽者 aka Nisemono from New York. I remember loving this band’s demo a couple years back. I don’t have anything eloquent or any funny anecdotes to describe this record… I just think it kicks ass. Whether it’s Nisemono or his old band Nomad, I think I really gravitate toward singer/guitar player Tye’s style of riffing. He’s got that slippy-slide all-over-the-place approach to käng punk guitar vibe going on. There’s kind of a spiritual link between his style and a band like Infernöh, I think. Love the vocals too. Sang in Japanese, which is unique because I think his vocals really stand out over this type of hardcore. Adds another level of dimension for me. Naideu from Warthog’s drumming is absolutely insane as well. I’m not sure if this project was originally just Tye and Naideu, only intended to be a recording project. Recently, I’ve seen that they’ve added a bass player and are now playing gigs. Yet another power trio in my top 10. Hope I get to see them play later this year.
10. No Victim: S/T cassette - I originally didn’t intend to give attention to any cassettes for my year-end list. But I just wanted to shout this tape out one more time. I just love it. Another band from Richmond, Virginia. The guitar player may have been in a band that I already mentioned above. Young punks playing urgent, immediate, no-frills hardcore. Groaning, aloof and detached yet pissed lyrics and vocal delivery in a snotty Anti/Wasted Youth kinda way. I’m tellin’ ya man, “Short Haired Rednecks” might get my vote for hardcore punk song of the year. And much like Necron 9, Save Our Children and Stunted Youth, I think this band might have already imploded. Man, bands need to take a note out of Kaleidoscope’s book and just not break up. Be friends and make hardcore. I selfishly at least want No Victim to record a 7” as good as this tape before they call it quits. That way, I don’t have to get up to fucking hit the rewind button if I wanna listen to it again.

---SORRY, BUT NO HONORABLE MENTIONS---

There were plenty of other records I enjoyed or found interesting this year. Including stuff on Sorry State, like the Plasma LP. But I just don’t have the energy to write about 15 more releases.

I’ll try to keep this next section brief, but I usually like to include a “top 10” of my favorite moments or events of the year. This feels more difficult to do than usual, but I’m trying to look back fondly at some of the times I had that made me smile:

1. Keith’s art show - My buddy, singer of Meat House, and talented illustrator Keith Caves had a gallery showing in Richmond back in March. I’m sure you’ve seen my dude’s gnartwork everywhere in the current punk world. It was so rad to see Keith’s art on display being appreciated by the freaks and cretins he caters too. He displayed a bunch of original pieces he had for sale that I instantly recognized, some of which were commissions from me and my bands. I was half tempted to buy a couple. Then there was an afterparty gig with a bunch of sick bands playing. It was fun to rage side by side with my dude Eric, both of us just drooling over the homies Invertebrates destroying the place.
2. Municipal Waste weekend - 2 nights, one weekend in April, all celebrating the Waste’s 25th anniversary as a band. Public Acid played night one. Pretty rad getting to hang out while side stage and watch Annihilation Time. The big gig the following night at The National was pretty wild. That’s a big ass stage. But I must say, the impromptu after show on Saturday night was a rager to remember. Richmond’s most gnarly slammers with the least amount of self-preservation threw the fuck down that night.
3. SLC - Meat House went and played this insane festival in Salt Lake City that our boy Conrad put together. I kinda had forgotten what SLC was like. Upon arriving and being reminded, I was like wow, this huge ass valley surrounded by mountains is kinda beautiful. Turns out the fest was outdoors on an open-air stage in this alley right by a kickass punk market in a predominantly Latino neighborhood. Killer Mexican food everywhere, many Palomas were consumed, and it was killer hanging with homies like Cesar from Bloodstains, who flew out just to kick it with us.
4. The Damned - I finally got to see one of my favorite bands of all time. I took the train by myself to DC and had the best time ever. 3 original members in the lineup, including Rat Scabies back on drums, plus Paul Grey from the Black Album/_Strawberries_ period (my ideal era). They played absolutely incredible. The set list was damn near perfect, closing with “Curtain Call” and playing a few deep cuts from the Friday the 13th EP. Then I briefly interacted with Ian MacKaye outside the venue, but I was basically unable to form words. I was floating on cloud 9 that night.
5. Noise Annoys - Public Acid embarked on our month-long tour around Europe, and it all began at the amazing Noise Annoys festival in Sheffield, UK. Bry and all the crew in Sheffield are the coolest people and hosted one hell of a good time. Highlights of bands I saw include Rat Cage (of course), our lads in Tramadol, Muro, Indikator B, fucking GEFYR played one of the most raging live sets I’ve seen in years, plus so many other great bands.
6. K-Town – It was my third time experiencing the magical weekend festival in Copenhagen. Quite possibly THE best hardcore punk festival? I just feel more at home every single time I go. It’s like a big punk family reunion. Public Acid was the very last band of the entire fest. Still pissed I accidentally missed Lame’s set, especially with their LP being one of my favorites of the year. Ugh. But I did get to watch so many amazing bands: Kriegshög was devastating, Necron 9 absolutely destroyed, the homies in Cicada brought the house down, Futura from LA was great, Sorry State’s own Plasma and Lasso… and then along with all the music, so many great memories just hanging out with a bunch of friends. I plan to go back to Ktown in 2026 if I can swing it.
7. Halloween - It’s always my favorite day of the year. I decided to have myself a ghoul’s night out. So, what did I do? I made myself look dead (bolo tie and all), drove up to Richmond, went to a gig to see a Dead Boys cover band because it was Night of the Living Dead (Boys) after all, got covered in fake blood, and partied with all the homies at Chubb’s house afterward. Pretty solid.
8. New Public Acid - Public Acid has a bunch of new songs in the tank. We went up and recorded in Philly a couple months ago, and I must say I’m very proud of how the recording turned out. I can’t wait for everyone to hear it. There’s still work to be done, but expect a fresh slab o’ wax to be released at some point later this year. More PubAss news to be announced in the months to come.
9. Totalitär - This is probably the most difficult thing for me to talk about. I’ve barely had time to reflect on me and Usman’s trip to Sweden. But when I sit and think about it, it really is pretty amazing and a full circle moment that me and my best friend got to go see our favorite band play in the flesh while we were together in fucking Stockholm. And they played excellent. I never expected anything like that to happen when we were hanging out listening to records in my apartment when we were like 22 or whatever. Sounds silly, but it’s wild because us both loving Totalitär has been a big focal point of our bond since the beginning of our friendship. And once again, we got to visit our friends in Vidro (Melody, Lucas, Vendela and Staffan) as well as Wilhelmina, Christoffer, and many other people who travelled for the gig. I’m very grateful for that. I think I’ll mostly remember just the two of us riding the train all around Stockholm.
10. This year in record collecting - As always, I like to end things with records I managed to pick up over the course of the year. Last but not least, I suppose. Because let’s face it, in present company, we’re all just a bunch record fiending lunatics, aren’t we? Honestly, I did get quite a lot of records this year, but nothing totally bonkers. No brickwall 1st pressing Nervous Breakdown this year. Some of the coolest records I got were actually gifts. Between the Wretched 7” from Usman and the Kohu 63 12” that Daniel gave me, I’m a pretty happy camper. Still need to get back at Daniel with something equally cool because he knew how badly I wanted that Kohu 63. Believe it or not, it’s hard to find records for one of your best friends when he’s the owner of Sorry State Records haha. Feels like he has everything sometimes, but there’s ALWAYS more. So yeah, like I said, I got a lot of stuff this past year, but some of the more run o’ the mill stuff I decided not to squeeze into this photo. But anyway, here’s a quick glimpse at some of my favorites I got this year:

Alrighty, I guess I’ll bring it to a close now. Thanks for reading. Hope 2026 ends up being a better year for all of us.

Much love,

-Jeff

What’s up Sorry Staters?

Sitting down to write for the newsletter again right now feels surreal. I think that devoting any energy toward acknowledging the time that’s elapsed since my last entry, and explaining where I’ve been mentally and emotionally for the last few months… I’m just not sure I can do that right now. And for those of you reading who are in the dark, I’m not even sure you care to read what I have to say about all that. Needless to say, I’ve been having a very difficult time. My most sincere gratitude to everyone who has reached out or given support.

I’ll be honest, for a while, I hadn’t really been actively listening to music at all. I think I’m finally turning a corner around that barricade. But forgive me if I’m foggy on anything new that’s been released over the last couple months. I’ve got some catching up to do, I suppose.

I don’t even know why I decided to talk about this record exactly. I guess just because I’ve been listening to this song constantly within the last few days. Consider this less of a well-constructed “staff pick,” and rather more of a conversational write-up just to get myself back into the swing of things. We must get back on the horse.

For some reason, the song “Wasted” from the 1979 single by LA punk band Silver Chalice has become my recent obsession. I guess it all started with a conversation when a friend and I were texting back and forth about deathrock bands the other day. Upon revisiting the song, I was just like, “goddamn it’s SO good.” It’s like addicting. For those unfamiliar, I think the single remains fairly obscure and original copies are quite a rarity. It was reissued by Munster a little over 10 years ago, but it also appeared on the Bloodstains Across California comp. It’s interesting, because strictly speaking, this song precedes “death rock” being clearly defined by many years. So why is this single often included in the deathrock conversation? Is it the name? “Silver Chalice” does sound pretty spooky. Is it the austere, mysterious-looking cover art? I don’t know!

Silver Chalice seems to be the brainchild guy named Kim Komet, who I don’t know much about. He’s the frontman and songwriter. I’ve seen a few Ed Colver photos of him, but he still seems to be a rather mysterious character. Geza X also played guitar in Silver Chalice and was the producer/engineer. You can totally hear that signature sonic palette Geza X brought to many other early LA punk singles on “Wasted”. For all intents and purposes, “Wasted” is a pretty straight rockin’ tune with great vocal melodies. I’ve also heard this single described as “heavy glitter trash”, so I guess we’ve got that vibe goin’ on as well. As far as drawing a spooky vibe from the record, it does feel sonically veiled with murky production. I also interpret the lyrics to be a sort of a lament, sang with this mournful delivery which gives the song a haunting quality: “All my broken dreams… where are they? I’m wasting away. I’m goooone”. Beautiful, catchy, wailing backing vocals on the word “gone,” it’s awesome. Also, I think that this single remaining relatively obscure, like not being released on Dangerhouse for example, contributes to its feeling like a true outsider record – even for punk. Apparently, in an interview, Komet self-described Silver Chalice as “dead-crude rock”. So perhaps this influence made waves in the LA punk scene before you had the bands on Hell Comes To Your House like Christian Death, 45 Grave and Super Heroines. Is Silver Chalice like The Stooges of their kind? – are they proto-deathrock??

In 1985, Silver Chalice put out their only other release, a 12” EP called Evil Birds. By this time, Rob Graves from The Bags had joined the band, along with Don Bolles, who was probably doing 45 Grave around the same time. On this record, it seems like Kim, Geza and the gang had embraced the deathrock thing completely, both visually and musically. Evil Birds is a cool record, but still nothing quite does it for me like “Wasted”. I really am not a fan of the alternate artwork on the Munster reissue, which I think is a photo Kim holding a passed-out naked woman on stage (yikes). I would love to have a proper first pressing with the original picture sleeve, so if you’ve got one in okay shape for not stupid money, bang my line.

Anyway, that’s all I’ve got this week. Truly the best I could do I think, haha. Hope you at least found it interesting. Check out the song if you haven’t before. Missed you guys, hope you missed me…

‘Til next week,

-Jeff