Hello and welcome to another edition of the Sorry State Records newsletter! Once again this week, I’m scrambling to finish the newsletter before rushing off to a gig. Tonight Fried E/M is rolling through North Carolina and playing with hot locals DE()T and Bug E.M.S., then tomorrow Scarecrow is traveling to Virginia Beach to play with Fried E/M and Reckoning Force there. Hologram and Fashion Change came through on Sunday and crushed… if you love Hologram’s records like I do, they will not disappoint you live. North Carolina’s Tetanus and Image of Man also did our home state proud by ripping it up at that gig. I hope you’ve been seeing some good bands live if that’s your thing, but if you’re still sticking to homebound rage-outs, we have some items that may interest you below.

Rigorous Institution: Cainsmarsh 12” (Black Water Records) I make no bones about loving Portland’s Rigorous Institution. I loved all three of their singles, and two of them were Record of the Week here at Sorry State. For me, Rigorous Institution is one of the most exciting and original-sounding bands in contemporary punk, and my expectations were sky high for Cainsmarsh. On the first listen, it was clear Rigorous Institution had not only met, but exceeded those expectations. Cainsmarsh does precisely what you want a band’s debut LP to do after you’ve loved their singles: it gives you a little of what you expect but expands their sound and challenges their listeners. Tracks like “Fever (City)” and “Laughter” are in line with Amebix-influenced post-apocalyptic punk of their three singles, but other songs caught me off guard. “Criminal Betrayers” channels the heavy industrial clatter of early Swans, while “Feral Dogs III (The Feral Hunt)” sounds like harsh noise or power electronics, yet still somehow carries forward Rigorous Institution’s grandiose, medieval-sounding aesthetic. Even the album’s shortest non-instrumental song, “Tempt Fate… and Win!” feels like something new and unexpected, an upbeat and triumphant punk anthem that no one but Rigorous Institution could make. My favorite track on the album, though, is “Nuclear Horses.” This song floored me the first time I listened to the album, and subsequent listens have not dulled its impact. The song’s lyrics address the domestication of horses, and the originality of the topic and the vividness with which the lyrics explore it hit so hard for me… I’m not sure if they intended “Nuclear Horses” as an animal rights song, but I’ve heard a thousand of those and few have stirred the emotions I feel when I listen to “Nuclear Horses.” During the song’s outro, where they sample sounds of horses whinnying uncomfortably, it’s all I can do not to cry. While “Nuclear Horses” is the standout for me, Rigorous Institution’s lyrics are fascinating throughout. They established their aesthetic early in their tenure as a band, channeling some period of history that might be before or after the collapse of our current civilization… or maybe that’s not what they’re doing… whatever it is, their lyrics and music have an utterly distinctive and immersive vibe that I can’t get enough of. Every lyrical topic gets filtered through this aesthetic, so a song like “Ergot,” which seems to be about heroin, feels like it’s written from the perspective of the gods scoffing at humanity’s folly. Maybe some of you won’t want to visit the world Rigorous Institution’s music transports you to—it’s fucking bleak and frightening—but few bands can send you somewhere else as effectively as Rigorous Institution can.

3 New Releases on Sorry State Shipping Soon

Thanks to everyone who picked up the preorders for the three new Sorry State releases we announced last week! As I write this, there is one copy of the Hüstler LP on pink vinyl left, and after that the limited color versions for all three releases will be sold out. The good news is that there’s plenty of black vinyl available, and hopefully you’ll see these popping up on the shelves at your local haunts soon as well. Speaking of which, the jackets for all three records are scheduled to arrive on Monday. Hopefully the remaining inserts aren’t far behind and many or most of you see your order ship before the release date.

Woodstock 99: Super Gremlin LP Up for Pre-Order

Everyone has to swallow the world’s shit, but Cleveland’s Woodstock 99 regurgitates it in technicolor. Their nihilistic and antagonistic take on hardcore punk can recall the Kings of Punk in their prime, but this band is too fucked up to focus on their rage… sometimes they’d rather wander away after a psychedelic riff or poke around in the trash for scraps of 90s pop culture. On Super Gremlin, Woodstock 99 examines the void from all angles, and while it might look frightening or intimidating from some vantage points, from other angles all you can do is laugh. One pill turns you into Jerry A (“La Casa De Fuck You”), and one pill lands you at the denouement of a French noir film (“Budget Inn”), and another one summons DJ Lethal to lay down some sick scratches (“Beatboxing in Viet… Nam!!”). Down them all, chase them with a couple shots of cheap whiskey, and follow Woodstock 99 down the rabbit hole.

The first pressing of Super Gremlin is 500 copies with a full-color jacket, black-and-white inner sleeve, and an 8”x10” color photo print of the band. 150 copies are on clear vinyl.

Invalid: S/T LP Up for Pre-Order

Invalid’s cassette-only debut, Do Not Resuscitate, came out on their hometown label Cruel Noise Records early in 2020 and, for me, it was love at first listen. Invalid plays hardcore in the tradition of Black Flag’s Damaged, deploying sophistication and craft not to show off, but as tools that allow them to go further and deeper as they exorcise their demons. Invalid’s bulldozer intensity is the first thing that grabs you, but the great riffs and songs keep you coming back, every track containing an improbable hook like the martial chant of “Wake up / eat / shit” in “This Life,” the primal howl of “wasting away” in the chorus to “Escape,” or the instant-classic intro riff to “Stupid Pills.” Fans of records like Direct Control’s first 7”, C.O.C.’s Eye for an Eye, and Unseen Force’s In Search of the Truth are perhaps best primed to appreciate Invalid’s punishing yet catchy and energetic style of hardcore. This self-titled LP contains all eight tracks from Do Not Resuscitate plus six new ones cast from the same mold.

The first pressing of Invalid’s self-titled LP is 500 copies with a black and white jacket, two-sided lyric insert, and 24”x36” poster insert. 400 copies are on black vinyl and 100 clear red vinyl copies include an additional screen printed cover.

Hüstler: S/T LP Up for Pre-Order

Both of Hüstler’s cassette releases for Sorry State Records sold out almost instantly, so compiling those two cassettes for Hüstler’s first vinyl record was a no-brainer. Hüstler burst through the gate on their first tape with one of the most distinctive voices in the contemporary underground, smashing together elements of punk, death rock, and metal into a sound that is both anthemic and intense. Their second tape only upped the ante, widening their stylistic scope while leaning into the crowd-pleasing choruses and mosh parts. We’re very proud to present Hüstler’s early years on the format that matters.

The first pressing of Hüstler’s self-titled LP is 500 copies with a full-color jacket, full-color insert, and 24”x36” poster insert. 150 copies are on clear pink vinyl.

Lasso Touring Europe Right Now!

Lasso’s European tour starts TONIGHT in Frankfurt, Germany! They’re in Europe for a couple of weeks (see the poster above for dates), so go see them if you have the chance.

This week’s edition of Hardcore Knockouts matches up two more 80s Japanese flexis. While I’ve contributed a few photos to Hardcore Knockouts, most of the records pictured belong to Usman. Whenever I own both of the records in a Hardcore Knockouts, I give myself a little mental high five. I got one this week.

1. Rudimentary Peni: S/T 7” (Sealed Records)
2. Woodstock 99: Super Gremlin 12” (Sorry State Records)
3. Hüstler: S/T 12” (Sorry State Records)
4. Invalid: S/T 12” (Sorry State Records)
5. Peace de Résistance: Bits and Pieces 12” (Peace de Records)
6. Valtatyhjio: Lukko cassette (Sorry State Records)
7. Straw Man Army: SOS 12” (La Vida Es Un Mus)
8. Torso: Sono Pronto A Morire 12” (Sorry State Records)
9. Rigorous Institution: Cainsmarsh 12” (Black Water Records)
10. Violent Apathy: 11/29/81 7” (Radio Raheem Records)

Here’s your weekly roundup of the best selling releases of the past 30 days at Sorry State. Not a lot of changes from last week… thanks again to everyone who is picking up all the new Sorry State titles!

Shotgun Solution: Shotgun 7” (1983, High Rise Records)

I have little in the way of biographical information on Shotgun Solution. I know they were from Rome, Italy, and released this 7” in 1983. Other than that, I only have a few scattered shards of information I’ll share further down.

I believe I first heard Shotgun Solution in the early 2000s. I can’t pinpoint the first moment I heard them, but I had three primary sources for finding out about long lost 80s hardcore bands around this time. The first was exploring other people’s Soulseek libraries, and there were some doozies out there jam-packed with every punk rarity you could imagine. Another was making my way through the Kill from the Heart website and trying to hear every band it listed. The third was record collecting friends, chief among them Brandon from Direct Control and Government Warning. He and the people he introduced me to had a huge hand in shaping my taste in punk to this day.

Back then, I remember wanting a copy of this EP, but being convinced I could find a copy for under $50. Two decades later, I consider myself very lucky to have paid more than double for this copy. I bought this copy from Discogs on Record Store Day. I’m always a bundle of nerves leading up to Record Store Day, because we invest so much money in it. If it went poorly, we would be pretty fucked. However, it’s gone well every time (so far), and this year I think it went well. Weeks, if not months, of work go into making Record Store Day happen at Sorry State, and I remember basking in the glow of what felt like a job well done when I opened Discogs and saw this sitting there. Riding on good vibes, I smashed the buy button and my high was only slightly impacted when I opened the package to find the record had been over-graded. Oh well, the record sounds great, and that’s what counts.

The day this came in the mail, I brought it to a party at Usman’s house and my friend Rich told me he’d never connected with this record. I found that surprising, because I just love it. I’m a huge fan of early 80s Italian hardcore, particularly the loose and wild-sounding bands. Shotgun has plenty of that. While the playing isn’t straight up sloppy like Wretched, there’s a looseness that makes the record feel dangerous. The guitarist is also insane, with a noodly style that reminds me of Negazione in the way there are a million notes but you’re not sure they all make sense. And the lengthy, wah-wah drenched solo at the end of “I.C.Y.K.I.M.F.” is a fucking masterpiece. Trigger warning, though: that song has graphic and misogynistic lyrics that will be enough for some people to write them off completely.

Shotgun Solution’s wildness connects them to bands like Negazione, Wretched, and Cheetah Chrome Motherfuckers, but the anthemic, oi!-ish elements of their sound remind me of Raw Power’s big choruses and the oi! influences you hear in groups like Basta, Klasse Kriminale, and Nabat. There’s just a slight oi! feel, mostly in the guitars, as Shotgun Solution’s catchy and hyperactive anthems are more like classic California punk than anything else. In other words, you can sing along with it. (Though, as I mentioned, you might not want to sing along to “I.C.Y.K.I.M.F.”)

While Shotgun isn’t an easy record to get (I went twenty years without an attractively priced copy presenting itself to me), it seems like there are a lot of copies in the US. I remember an old Raleigh punk telling me about how Raw Power’s van broke down outside their house and the band stayed there for an entire week while they figured out new transportation. I think someone from Shotgun Solution might have been on tour with Raw Power, and they left a big stack of them at the house as thanks for the hospitality. I’m sure that person sold and gave away a bunch of other copies while they were in the States. Side note, this is not my story so I’ve probably mis-remembered the details, but I think it ends with Raw Power’s van rotting in front of said punk house for years until one night the punks lit it on fire and tipped it over. It was gone the next morning, apparently taken away by the city, and no one heard anything else about it.

Another short anecdote about this record. In 2011 (or maybe 2012?) I drove Smart Cops on their US tour. Of course, there was lots of talk of classic Italian hardcore, and the Smart Cops were rabid fans and very knowledgeable. Smart Cops guitarist Edo even played drums in the reformed lineup of Klasse Kriminale. However, at some point, I realized they hadn’t heard of Shotgun Solution. Getting to introduce a bunch of Italians to a killer record they didn’t know about is a highlight in my history as a record nerd.

What’s up Sorry Staters?

So I’m finally back to write for the newsletter after my trip to NYC, and STILL all I wanna talk about is Poison Idea…

But first, since I missed my opportunity last week, I have to write a little bit about the trip. Firstly, biggest appreciation to Jim and Amy in Philly (as always) and Mike H in NY for giving us Acid idiots a place to crash and putting up with our nonsense. It was truly humbling to watch some of the best bands in hardcore every night. All the bands ruled. Quarantine is insane, and I can’t wait for their new record. Impalers were a blast to see since it had been years. Public Acid played a spontaneous show at a small bar in Brooklyn and our homies in 80HD tore it the fuck up. And of course, Warthog’s 10-year anniversary performance was really special to see. If you haven’t seen footage yet, the dramatic opening of the curtain at the beginning of their set made my jaw drop. Public Acid’s own Eric Chubb kept drunkenly repeating, “That was coolest thing I’ve ever seen!”

Anyway, back to Poison Idea. TKO is truly doing the lord’s work with these series of reissues. Even though I already owned most of the recordings on these latest 2 offerings on other versions of these records, I still feel like a fool for not paying more attention when the limited versions dropped. Oh well, black vinyl will have to do! Goddamn, I really do feel like a pretentious asshole. The care that was put into the packaging on both of these reissues has great attention to detail and really feels like it was designed for someone who’s a big fan of Poison Idea. Get Loaded and Fuck, more infamously known as the Ian MacKaye 12”, compiles tracks from the Filthkick EP, Getting the Fear 12”, and an extra track. Only 6 songs, but daaaaamn such a killer under-the-radar batch of songs from the War All The Time-era line-up of the band. The attention-grabbing hype sticker even has little Easter eggs like a little headshot of Ian MacKaye. As for the other record… Of course, we are provided with the properly updated title for the reissue of Record Collectors Are STILL Pretentious Assholes. It doesn’t get much better than that. This classic EP also comes with a few bonus tracks including the band’s compilation cuts off of Drinking Is Great and Cleanse The Bacteria. Both LPs contain heavy duty inner sleeves with tons of cool photos both from the early period of the band and the latter period, along with setlists, flyers, etc. Both records come with funny and profane bumper stickers, both of which I want to paste onto my vehicle. But then obviously I’d have to get a 2nd copy of each record to have an unpeeled sticker (again, pretentious asshole over here.) Then, the most rad and legendary part of the packaging… Record Collectors includes a poster with a map key pointing out every single record included in the notorious cover photo… AMAZING. I hear that TKO has some more goodies in the pipeline with some other much pined-after bonus packaging ;)

Damn, I love hardcore. And records. I mean seriously, I think the cover of that record must be the model for me and a bunch of my dumbass friends’ obsession with all this mess. It occurred to me that all the stuff I just rambled about is probably information that is readily accessible from TKO before you buy either of these records. But who cares? I’m just reiterating because it RULES.

Forgive me for figuratively drooling all over you in this newsletter write-up. I’ll try to tone it down next week. As always, thanks for reading.

‘Til next week,

-Jeff

What’s up Sorry Staters, I hope you are doing okay out there? Another week and another newsletter. Thank you for joining us. With so much going on around us in the world of news, it is often hard to think straight these days. Here in the United States particularly there just seems to be bad story after bad story. We just have to find ways to keep going and not let all this negative shit get us down. Finding things that bring us joy and fuel our passions is so important. Thank goodness here at Sorry State we have all this great music to enjoy and share with you all. Records really are the best, and we have a ton of good ones here and plenty more on their way. Let’s talk about a couple that I have been enjoying this week that maybe you’ll dig too.

Firstly, a fun compilation that we got in called Good Times Rock N Roll Comp Vol.3.

I’m a sucker for a good compilation and especially dig a great cover version. This one although slightly out of my own personal wheelhouse was making me smile as I was playing it yesterday. It’s a double LP made up of all covers done by a truly worldwide array of punk bands. Some songs are old classics and some are more recent songs. The songs chosen range from Abba’s On And On to ZZ Top’s Sharp Dressed Man, making stops at Judas Priest, Poison Idea and even the Fab Four along the way. The band Snooper do an interesting job on Come Together and the Abba song On And On is handled by Prison Affair particularly well. There are over forty tracks across the two slabs of wax and too many songs to go into here, but some you’ll really like and some you might think are just okay, but I don’t think there were any misses. Granted I have only had a couple of listens, but the tunes I did like made it for a fun party kind of record and worthy of picking up. My only gripe would be the lack of any kind of information other than the track listing and the fuzzy blown out type face used which my old man eyes have a hard time reading. But that’s just me being picky.

Often with these types of affairs you’ll hear something from a band that either confirms your feelings that they suck or makes you think, oh that was good, these guys aren’t bad. Lol. There are a few of these here. Don’t make any judgment before you listen is what I say. There also might be bands you don’t know and that can be interesting hearing someone for the first time doing someone else’s songs. Possibly, right? I think so. I also like that some bands just can’t quite pull off the musicianship on their interpretations. The slightly wonky amateurish recordings add charm, and what is lacking in musical chops is made up for with enthusiasm and good vibes. That’s not meant to belittle anyone involved here. On the contrary. Everyone puts in a spirited performance. Nice job all involved.

Moving along to something slightly different now and a quick point in the direction of a record I just discovered last week whilst going through our bins here at the store. A record by a band named Metz from Texas who recorded an album in 1974 that has been barely heard. Reason being the record was a private pressing of just a handful of copies and has not been officially reissued. The copy we had was a grey area reissue, but for $8 it will do just fine. Particularly as originals if ever seen go for big bucks. Which surprised me why the price for even an unofficial pressing is so low. We didn’t screw up either. I double checked online and you can pick up the same reissue I snagged for under $20. Why should you? Why indeed?

There’s not too much information out there on the record and the story behind it, but reviewers of these types of things have described it as Glam sounding with a sound far more at home in London than Texas. The comparisons to Mott The Hoople, Cockney Rebel and Alex Harvey et al are fair, as too are the observations that the vocals sound somewhere between Marc Bolan and Johhny Rotten. It’s all of that and then just a good rock ‘n’ roll band getting down. What sets the sound apart here is the addition of female vocals. They provide great back up and take lead on songs also, providing a bit more street swagger. They kinda remind me of the girls singing on the GG Allin album Always Was Is And Shall Be. It has that sort of vibe. Slinky and sexy 1970s style.

The glam tag I can see, though. Along with the vocals, there’s also plenty of tap tapping keyboard action and art rocky style song structure. Several songs have stretched out repeated codas, and it has been hypothesized that this may have been to please the audiences in the Texas clubs back then who would have been enjoying legal MDMA at the time. It’s an interesting theory. It could also be that they hadn’t written proper endings to songs and just went with the groove and feel of the recording and mimicked the live set. Who knows?

I read also that the main man behind the album is a Richard Metzler, which would explain the name. He apparently was linked with Houston’s Moving Sidewalks, the psych band that had future ZZ Top members, and did the photography for their album.

Probably the best thing for you to do is hit the link here and give it a listen and see what you think. Hopefully you’ll dig it and have fun listening. I know I have.

Okay, time for me to get out of here and let you go. I’ll see you next time friends.

Cheers - Dom

Hi Sorry State readers! Here we are again. I hope you got a chance to read about and hopefully have a listen to Dominic’s staff pick last week, Laura Lee’s Women’s Love Rights. Music is an incredible outlet to seek solace when things are extra fucked up, and right now they are extra fucked up.

I wanted to take this time to just pay general homage to some women who showed me, when I was only a kid, that it was not only OK to push ourselves into spaces traditionally held by men, but that it was absolutely fucking necessary. Bikini Kill was that band for me, and Kathleen Hannah was that voice. She’s still that voice. And I’m about to hear that voice live next month!

Bikini Kill is often the face for the riot grrrl movement, but they didn’t start the movement. It was a subculture developed by a group of women who were tired of the sexism in their local male-dominated punk communities. Riot grrrl started as a DIY foundation that allowed women to have a free space to share their feminist political beliefs through art and zines. Women could publish opinion pieces that would have never seen the light of day in traditional literature. Bands like Bikini Kill and others naturally worked their way into the riot grrrl scene, and of course they were also influenced by predecessor icons like The Slits and Kim Gordon. There’s a lot more to it, but for the sake of brevity, I’m gonna get back to Bikini Kill.

Kathleen was the most bad ass front-woman. She just didn’t give a fuck. She stood up on stage in her underwear completely unbothered, unshaven, hyper-focused on getting their message across, encouraging girls to the front! Great book, by the way. Often heckled and even assaulted by men in the audience, Bikini Kill would not budge. An unapologetic force to be reckoned with, they are an important part of punk history.

I remember being so stoked to find a first pressing of Bikini Kill’s Pussy Whipped from Sorry State a few years ago, which I think is their best album. One of my other favorite Bikini Kill items (also procured at Sorry State) forever ago is the 7” New Radio single, as it has three of the band’s best songs: New Radio, Rebel Girl, and Demi Rep. That’s seven minutes of essential Bikini Kill.

Anyway, we typically stock many Bikini Kill albums, but they’re sold out now, so check back for a restock! And if you’re local, you never know what gems you may find lurking in the bins like I did. And if you’re just starting out on your Bikini Kill journey, I would for sure grab The Singles album to get the most bang for your buck. Pussy Whipped and Revolution Girl Style Now are other must haves!

I found all three songs that comprise the New Radio single if you want to check it out below!

Thanks for reading! Have a good weekend!

Angela

https://youtu.be/91TC7BoWFvY

What’s up Sorry State readers? I’m gonna get straight to the point. I’ve listened to I am the Blues probably 10-15 times this past week. Released in 1970, this record is the sixth studio album by the legendary Chicago bluesman Willie Dixon and is nothing but heavy hitters from beginning to end. The album features songs written by Dixon but originally recorded by other artists such as Howlin’ Wolf and Muddy Waters for Chess Records. These songs have been covered countless times by artists like The Rolling Stones, The Doors, and The Grateful Dead to name a few, and are essentially part of the blueprint for rock n roll. Willie Dixon is pretty much the most badass person to ever walk this earth. Born in Vicksburg, Mississippi in 1915, he was one of fourteen children. His first venture into the world of music was at the age of four, where he sang in his church’s choir. Later, as a young teenager, he served time on prison farms in Mississippi, where he was first introduced to the blues. In 1936, he left Mississippi to head up to Chicago and began boxing. At 6’6 and 250 pounds, Willie was a force to be reckoned with. After winning the Illinois State Golden Gloves Heavyweight Championship in 1937, he began his short career as a professional boxer, only fighting in four fights before leaving the sport due to a dispute over money with his manager. During his time as a boxer, though, he met Leonard Caston, and the two would harmonize together while at the gym. Caston was the first person to persuade Dixon to start taking music seriously, even going as far as to build him his first bass, crafted from a tin can and one string. He also learned how to play the guitar during this time. In 1939 he helped found the Five Breezes along with Caston, a group that blended blues, jazz, and vocal harmonies. However, this came to a halt in 1940 with the draft for WWII. Dixon was imprisoned for ten months for refusing to fight for a nation with such deeply rooted institutionalized racism. After the war, he formed a few more groups and recorded for Columbia Records. The biggest move in his career though came in 1950, when he signed with Chess Records as a recording artist but quickly became more involved with administrative tasks for the label. By 1951, he was already a producer, studio musician, talent scout, and staff songwriter for the label. Over the next decade is when he penned the legendary songs you’ll find on this album, my favorites being “Back Door Man,” “Spoonful,” and “The Little Red Rooster.” These songs are just incredibly written, and I’ll never get tired of listening to them. Willie Dixon is a southern legend and his music wonderfully stands the test of time and will be appreciated by music lovers for generations to come. If you ever want to learn about the roots of rock n roll, listen to Willie Dixon.

P.S. Shoutout to my brother William, who just moved to Seattle, for introducing me to the blues and Willie Dixon’s music. Thanks for fulfilling your duties as an older brother by always putting me on to cool shit. Good luck in Seattle brother, I’m gonna miss listening to records until the crack of dawn with you.

If you’ve checked the site over the past few days, you might have noticed that we got in a huge shipment of classic punk and hardcore reissues from Puke N Vomit Records and their associated labels. I’m stoked to have Sin 34 records on the shelves, can’t wait to check out the Sado Nation stuff, and there’s plenty more including classics from Blitz, Appendix, and Reagan Youth and reissues from lesser-known bands like the Yaps from Mexico and Kumikristus from Finland.

Venas Rotas Discos from Mexico just reissued Los Monjo’s discography as a beautifully packaged double album. Los Monjo was a band from Guadalajara, Mexico made up of four brothers (Monjo is their surname!). They formed in 2003 and put out several releases between 2008 and 2015. I was head over heels for their anthemic sound and I’m so stoked for this reissue. The price on these is quite high, but it’s very expensive to make records in Mexico, and the packaging is lavish and beautiful. When you hold the record in your hands, it feels well worth the price tag.

Roach Leg Records brings us two new tapes, a new demo from SØRDÏD and a repress of the People’s Temple tape, whose original run sold out in a flash before we could get copies.

Germany’s Erste Theke Tonträger also has two new releases, a split 7” between Australian punks Mini Skirt and C.O.F.F.I.N. and a massive double LP compilation called Good Times Rock and Roll Compilation Vol 3 that features a mass of contemporary punk bands doing cover songs, ranging from straightforward takes on punk classics to wild reinterpretations of contemporary pop nuggets.

Not to be outdone, we also have two new releases from Buffalo’s famed Feral Kid Records: a reissue of a Florida KBD obscurity by Antler Joe & the Accidents and a new split 7” between Mononegatives and Mystery Girls.

After a long wait, Supreme Echo’s reissue of the Neos’ discography, Three Teens Hellbent on Speed, is back in stock! This sold out so quickly we didn’t have time to write a description last time, but this release has excellent packaging and essential music… a mandatory pickup for any hardcore punk nerd.

Sonarize Records continues its vinyl reissues of the entire Doom catalog with three more albums: Re-Viled, World of Shit, and Doom’s split 12” with Cress.

Prank Records just reissued the Grimple / Logical Nonsense split 12” with upgraded packaging, and while we were picking up those, we also restocked a bunch of other classics from Prank, including Christ on Parade’s Sounds of Nature, which I was just listening to the other day.

Phobia Records has four new releases this week, including new 12”s from Vancouver’s Phane and Sweden’s Parasit and Utrota, and a new 7” from Komplex Viny from the Czech Republic.

RIP Osamu Sueyoshi