For this week’s staff pick, I’m going to get into something really nerdy: catalog numbers. I’m not sure when I started paying attention to record label catalog numbers, but it was very late in the game. With digital music it’s even easier to be deeply into music without ever giving much thought to catalog numbers, but for record nerds, catalog numbers can encode useful and interesting information.

Pretty much every single commercially released record has a catalog number. If you’re making vinyl, you’d have to go out of your way not to have a catalog number. Pressing plants require you to specify a catalog number, which is necessary for them to distinguish between the many projects they are working on. The simplest catalog number has a prefix (typically an abbreviation of the label name) followed by a sequential number. Sorry State’s catalog number prefix is SSR-. I don’t remember giving this much thought when I started the label, but in retrospect it bums me out there are so many labels with the same prefix. However, it’s also worked to my advantage. We’ve done several collaborative releases with the UK label Static Shock Records, who use the same prefix. When we worked together on the Number Ones’ Another Side of the Number Ones EP, we just put “SSR” on the center label since that could stand for Static Shock Records or Sorry State Records.

Of course, a catalog number’s prefix doesn’t have to be an abbreviation of the label’s name. Feral Ward Records’ catalog prefix is YAN-, which I assume is an abbreviation of Yannick, the label owner’s first name. Matador Records’ prefix is OLE-, as in the word matadors shout at bulls. When the Rolling Stones got their vanity record label Rolling Stones Records in the 70s, the catalog prefix was COC-, which I assume referred to their drug of choice and not to legendary Raleigh band Corrosion of Conformity, who wouldn’t form until several years later.

Catalog numbers can also encode information beyond the label that released it. A quick way to identify stereo versus mono pressings from the 60s is by their catalog number. For Capitol Records, the prefix for titles in mono was T, while stereo was ST. RCA Records used variations of the AYL- prefix for its “Best Buy” product line, which offered reissues of older catalog titles at a lower price than new releases, which had the prefix LSP-. RCA’s classical releases appeared with an LSC- prefix, “C” denoting the record’s genre. Release formats are also encoded in catalog numbers, specifying whether an item is an LP, CD, cassette, 8-track, reel-to-reel tape, or whatever.

This is a famous anecdote I’m sure many of you know, but visionary Manchester post-punk label Factory Records assigned catalog numbers to more than just music recordings. FAC 7 is Factory Records letterhead designed by in-house graphic designer Peter Saville. FAC 15 was Zoo Meets Factory Halfway, a festival featuring performances by artists on both Factory and Zoo Records. FAC 21 is the Factory Records logo. FAC 51 is the Haçienda, the Manchester night club that operated in various iterations from 1982 to 1997. You get the picture.

Catalog numbers also reflect new product lines, shifts in direction, or other changes at a record company. Blue Note Records’ early catalog numbers started with 1501, but when they introduced their “modern jazz series” in 1957 they restarted with the catalog number 4001. These are still known by collectors as the “1500 series” and the “4000 series.” At some point Blue Note was acquired by United Artists records, who used the prefix UA-LA- for their releases, so Blue Note adopted the prefix BN-LA- for their releases to conform with their parent company. United Artists was then acquired by EMI and Blue Note continued using the BN-LA prefix for some releases, but catalog numbers with the prefix LT also appeared on Blue Note labels. LT referred to another EMI acquisition, Liberty Records. What does Liberty Have to do with Blue Note, aside from being owned by the same parent company at one time? I’m not sure to be honest. The Blue Note catalog number story has much more to it than that, so feel free to head down that rabbit hole yourself if you are so inclined.

If you’re paying close attention, you might notice the catalog number on Sorry State’s first release, Direct Control’s Nuclear Tomorrow EP, is not SSR-1, but SSR-7001. I planned for Sorry State 7”s to have the prefix SSR-7 and 12”s would be prefixed SSR-12, but I dropped this idea after a few releases. The last 7” with this prefix is Christian Club’s Final Confession EP (SSR-7004) and the last 12” is Rabies’ Test Your Might LP (SSR-12002). In 2013, I put together a “visual discography” detailing every version of every Sorry State release up to that point. When I created that discography (along with a lot of help from a summer intern whose name I can’t remember), I retroactively assigned catalog numbers for the older titles. SSR-7001 became SSR-01, etc. That’s why, when you look up these early releases on Discogs, you’ll see both the old and new prefixes.

It’s important to note that while catalog numbers typically proceed in regular increments, they don’t always reflect the precise order when records came out. There has been a recent spate of podcasts that go through a record label’s discography one release at a time (the grandaddy of all being You Don’t Know Mojack, the podcast devoted to SST Records). Since these podcasts base their episodes on catalog numbers, they quickly find that the catalog numbers don’t reflect the order in which records hit the shops. Production delays can cause a record with a later catalog number to come out before an earlier number. For Sorry State, assigning a catalog number coincides with creating a folder on my computer for that release. I assign a release’s catalog number when I get the first piece of that release. Usually that’s the master recording, but every once in a while it will be a piece of artwork or some other component. Sometimes a band will send me a zip file with the master recording and all artwork for the release and production goes quickly, while for other projects I get a master recording, drop it in that folder, and months go by while we work on artwork and packaging design.

One catalog number tradition that might be unique to punk labels is the fractional number. While most of Dischord Records’ catalog is sequential digits (as when Blue Note was an independently owned company, there is no formal prefix), I noticed there were several releases in their catalog with fractional numbers. I think the first one I came across was 10⅞, United Mutation’s first EP, which I came across digging at Plan 9 Records in Richmond in the late 90s. I soon discovered Dischord had several fractional catalog numbers, and I’m holding a few of my favorites in the photo above. Don’t take this as gospel because I could be mis-remembering, but I’m pretty sure Dischord’s fractional releases weren’t co-releases (since Dischord didn’t fund or help distribute them). Instead, Dischord “lent” their logo and brand name to friends to help raise these releases’ profiles. Looking at a list of Dischord fractional releases, this seems to make sense, since I’ve never seen a Dischord ad that said you could order the Necros’ IQ32 or SSD’s The Kids Will Have Their Say from them (or even Iron Cross’s Skinhead Glory, and I’m pretty sure Sab Grey from Iron Cross lived in Dischord House with Ian and Jeff).

It’s no secret that Sorry State draws a lot of inspiration from Dischord, and I adopted the fractional release scheme, though I use decimals rather than fractions, and how I’ve used these numbers has changed over the years. The earliest SSR decimal releases are by my first band, Cross Laws. Cross Laws’ demo tape and first 7”, Behind the Curve, don’t have an SSR catalog number on them, and I intended them to be self-releases by the band. At the time I wasn’t confident in my work as a musician and I didn’t want to seem like I was using my slightly better known label to hype my totally unknown band. However, at some point I decided that since I paid for and did pretty much all the work for these two releases they were part of the Sorry State story and should get catalog numbers. I gave Cross Laws’ demo tape SSR-04.5 and Behind the Curve SSR-06.5 (the catalog number that appears on the actual record is CL-01). Shortly after that I released a demo tape / CDR from a young Raleigh hardcore band called the Obtruders, assigning that the catalog number SSR-7.5. Since then, I’ve used decimal numbers for cassette releases and a few co-releases. For the Insomnia EP from Denmark’s Under Al Kritik (SSR-15.5), I was repressing a very limited release on Denmark’s Mastermind Records, since I thought it deserved a wider audience. For Smart Cops’ 1-sided tour 7” (SSR-18.75), the band paid for the release and sold it on tour, but I helped them get it manufactured here in the US. These reasons for assigning a decimal catalog number are different, but I suppose these are projects that either didn’t feel like a “real” release because of their small run or limited scope, or where I felt like I wasn’t part of the creative vision. Like most stuff with record labels, there are no hard and fast rules.

Rules also aren’t set in stone. The whole idea for this staff pick came to me because I mentioned to Rich that, from now on, I’m planning to assign cassette-only releases regular catalog numbers. The first Sorry State cassette-only release to get a full catalog number is the Hüstler demo (SSR-103). I made this choice because Hüstler put so much work into the release and the quality was so high that I thought it deserved to be considered a full, proper release. Maybe I’ll use fractional catalog numbers again at some point when it feels like the project warrants it, but for now I feel like cassette releases are just as much work as vinyl, so our catalog numbers should reflect that.

I’ve already written more than I intended, but here’s one more quick anecdote. If you look at Sorry State’s catalog numbers, you’ll see there’s no release with the number SSR-11. I got as far as creating the folder on my computer and dropping in a few files, but the project never came together and I abandoned the idea. Here’s what I wrote about it on the Sorry State visual discography:

SSR-11 was intended to be a compilation (7″ or 12″… I never quite got that far) of North Carolina hardcore bands. Three bands actually recorded for the comp:

• • Cross Laws recorded an alternate take of “Violent Disposition” (the other version is on the rejected test press of Ancient Rites, while the version intended for the comp eventually appeared on Abuse Records’ Cross Laws discography LP).
  • Crossed Eyes recorded a track during their 7″ session (though I don’t remember the title); this track remains unreleased.
  • Logic Problem recorded a track called “Creatures” during the session for their demo; ironically, it was probably the best song from the session, despite the fact that it was left off the demo. This track was eventually released as part of the digital version of the Logic Problem demo on Sorry State’s BandCamp.
  • I think that one of the tracks from the aborted Street Sharks 7″ session may have also been intended for the comp.

Depending on when plans for the comp were finally canceled, other bands considered for inclusion may or may not have been Double Negative, Devour, and the Obtruders, but as far as I know none of those bands actually recorded.

Abandoning this project bothered me for years, but I fulfilled my dream of doing a North Carolina punk compilation with the American Idylls double LP (SSR-93) in 2019. Maybe one day I’ll figure out how to fill the SSR-11-sized hole in my heart.

What’s up Sorry Staters?

This week I’m writing about the debut cassette release from Children With Dog Feet, a new band based out of New York. Based on the photo used for the cover art, it looks like there’s a few of the usual suspects from other great New York bands like Extended Hell and Subversive Rite involved in this project. That said, CWDF isn’t exactly a raging fast hardcore band.

While I understand that it’s not every punk’s can of cheap beer, I’ve gotta admit that I have a predilection toward goth and death rock. What can I say? I like to indulge in a little darkness from time to time. But I would be remiss not to point out that not only is there an oversaturation of bands adopting the “dark/goth/post-punk” sound, but I feel like it’s very rare that a band pulls it off well or makes a record that warrants repeated listens. Forgive me if it sounds like I’m sipping on the haterade as I write this: I get the impression that some “goth” type bands I hear don’t try very hard. They think all they have to do is obscure their face with their black hair and mumble like a bored, third-rate Ian Curtis while staring at the ground… but stay with me.

On the packaging for this tape, the credits for the band members are aliases (which I think is fucking sick), so hopefully I’m not wrong, but I’m pretty sure the vocalist in this band is Chi who’s also sang in many other NY-based goth/punk bands. But if Anasazi and Blu Anxxiety were already a great start, then those bands were only a taste of what was to come because Curb Your Anarchy is a damn great death rock record. I can’t stop thinking about Jason Bateman when I hear the title, but that’s beside the point.

When I’m listening to Children With Dog Feet, sure, I’m captivated by eerie atmosphere, but the music isn’t all just dark and moody—it’s INTENSE. It’s funny to bring up the most obvious goth reference point, but there are moments that remind me of In The Flat Field-era Bauhaus. I hear a lot of the death rock-inflected OC hardcore in their sound as well. But even as I make those comparisons, I shouldn’t get caught up in other bands CWDF happen to sound like. Really, they are their own beast and clearly made this recording like they fucking mean it. The vocal performance drips with charisma and reckless abandon, almost to the point of sounding demented—but like in the best way possible. And this is gonna sound strange, but as I’m gritting my teeth to the tension of the music on this tape, it also feels almost… dangerous. Like if you were to witness the actual seance that may also resemble this band performing live, it would feel like anything could happen. Maybe blood would rain from the ceiling? Who knows?

As much as I love stark imagery, I appreciate that this tape still looks and feels like a punk band. I guess there are spooky elements. But, even though I think the way they incorporate these elements into the collage style cover art is crisp and well-done, the look still comes across DIY and unpretentious.

That’s it, I think. Thanks for reading.

‘Til next week,

-Jeff

Hey gang! How are we all doing this week? Waiting for that Stimmy check to drop, right? Me too. I will use it responsibly, of course. There may be one or two record purchases, but I’m putting that down to essentials. If your budget allows, then I hope you can treat yourself to some cool wax also. My pick this week might not be the cheapest of my recent recommendations but isn’t too out there price wise. Not that monetary amounts equal quality of music, but I would like to think in this case your money would be well spent.

I’ve been doing a lot of filing of records and came across my pick for this week in a stack of records that I had been listening to a while ago. This record I had taken round to a friend’s house for a listening party and it seemed to be well received by those present so now is a good as time as any to spread the word about this obscure gem.

Spoils Of War: The Spoils Of War. Shadoks Music. 1999

Although only getting released in 1999, this material was recorded back in the late 1960s with only a few tracks getting a small vinyl release on an EP that came out in 1969. So not an album proper, but what the artist had envisaged. Shadoks Music is a boutique reissue label from Germany that specializes in super rare and obscure records and unreleased recordings of psychedelic leaning music. I have one or two of their other albums and they are great. They manufacture in small runs and put a lot of effort into producing a quality product. Heavy vinyl, thick card stock covers, bonus 45s etc. The graphic design is pretty cool, whether it’s from original images associated with the artist or something else inspired by the music. The awesome cover to The Spoils Of War is taken from a painting by Malcom Smith for the cover of Imagination magazine from 1954 for a story called Slaves To The Metal Horde by Milton Lesser for all you vintage sci-fi buffs.

Spoils Of War were active between 1967 and 1970 in the Champaign, Illinois area and took their name from an instrument made from spent artillery shells invented by Harry Partch. The band leader and main artist was a fellow called James Cuomo. He was a multi-instrumentalist who wrote most of their music. The band consisted of Cuomo on keys and other instruments, Al Lerardi on lead guitar, Roger Francisco on bass, Frank Garvey on drums, James Stroud on electronics and lights, and Annie Williams on vocals. This lineup changed here and there, particularly towards the end of their career, with other players contributing to certain tracks. Their sound combined psychedelic rock with jazz and pop and a good dose of Musique Concrete. People compare them to other groups from the period like United States Of America, Red Krayola, and Fifty Foot Hose who were incorporating electronics and avant-garde touches to their music. Certainly, with the San Fran hippie style female vocals on some tracks, there are a lot of similarities to these groups. But it is the early use of computers, synths, and other electronics that Spoils Of War share with these groups. On Spoils Of War sounds were generated from primitive computers needing to be fed with punch cards that contained the instructions for the digital-analog converter. Tapes were cut and spliced and manipulated on playback. Anything to create interesting new sound textures. Stuff that can all be done on our phones now but back then took a lot of painstaking time and attention.

Spoils Of War gigs were quite the “happenings” around the University campus area where they played. They were loud and had an impressive light show, and when combined with the artificial electronics, must have stood out from the average group back then.

Shadoks and Wah Wah Records from Spain have since issued some surviving live tapes and the rest of the band’s material from that period, along with some solo Cuomo recordings to complete the picture. You can get an idea of how ahead of the curve they were when you hear these live recordings. We take a lot for granted all these years later but back then you didn’t see groups like Pink Floyd, Velvet Underground, or the aforementioned United States Of America performing every week at your local venue and might have been lucky if your record shop stocked the more progressive groups. Which is what makes records like this one so special. Had it come out as a full album backed by major label finance, perhaps it would have done better, who knows? Music history is full of stories of unreleased masterpieces and what could have been. We can just be thankful that some of this awesome music has been saved from obscurity and has reached a wider audience and is available to us now.

I’m pretty rubbish at describing how music sounds and have found our ears are the best judges anyway, but if you like the bands referenced already and are into 60s psych and garage, you will find a lot to enjoy here. The fuzz guitar leads are pretty cool, but it’s the crazy electronics that steal the show. Sometimes they sound like alien computers talking or like the death robots on the cover. Other times it sounds like helicopter blades right overhead. Lots of panning and phasing and beeps and boops. High-pitched squeals, almost painful, mixed with low frequency rumbles. Songs getting lost in the cacophony. Then there are straight numbers like First Love, Last Love and You’re The Girl sung by Cuomo that come over almost as lullabies in comparison. The second side of the record features vocals from Annie “The Hat” Williams which lend the similarities to, say, Fifty Foot Hose. The center piece tune that was released on the EP is called Now Is Made In America and it’s an organ led sort of Baroque song with jazzy undertones. Lyrics are simple but memorable. Elsewhere the electronics continue over some decent playing from the band on songs that would have entertained the crowds at the Fillmore in San Francisco or any other hip venue during that time. I guess there are also similarities to some stuff that Frank Zappa and The Mothers Of Invention were doing and this may or may not seal it for you (thinking of you, Jeff) depending on your taste. I dig it but can see that the weird and quirky isn’t for everyone. But that’s the great thing about music, isn’t it? Sounds resonate within us in different ways. You might love it or not. As always with these picks, they are just recommendations made with love hoping some of you might discover something new and like it. For those already hip perhaps it will serve as a reminder and for those that don’t care, no biggie, go play something that you do like.

Here’s a link so that you can check out the sounds. Happy digging.

https://youtu.be/CcnNjq1wn8M - Spoils Of War -Full album plus bonus tracks.

Take care everyone. See you next time.

-Dom

I wasn’t sure what to write about this week. I’ve been having a blast with the “Hardcore Knockouts” series on the SSR Instagram stories. It’s a fun challenge to pick out two rippers from the same country and put them into a battle, while of course littering the image with silly emojis (and whatever else they call those symbols you can put on there). I will probably run out of ideas, and all my coworkers resources will be drained too… I guess at that point, we can move on to Round 2! The winners of the first matches will continue on to face off with each other. This week I selected Nog Watt’s “Fear” to go head-to-head with BGK’s “White Male Dumbinance.” This one was hard for me to choose who to vote for! I feel like it might depend on the day you ask me, but I ended up choosing Nog Watt.

I first discovered Nog Watt in 2014. Local celebrity, Elizabeth Lynch, had posted about Nog Watt on the “Distort Raleigh” message board/forum (R.I.P.). I had never heard of Nog Watt. I didn’t know much Dutch HC, and to be honest I feel like I still don’t know much HC from there. Man, I put it on and instantly loved it. It is fucking sick Discharge worship, but with their own unique approach to it. I guess it’s unique to me, cos it’s “weird.” And by weird, I mean it’s not just straight forward the entire time. I dunno, maybe I have no idea what the fuck I’m talking about. But I think the songs have more dynamics than a typical band who plays Discharge-style. Anyway, Jeff has this EP too. I was talking to him the other day and I learned that Elizabeth also showed him Nog Watt! So cool. What an #influencer... she definitely influenced me to want to get a copy! I had my eye out for like 5 years, but I never got a copy. But it was my birthday 3 years ago when I saw this copy available for offers. So make an offer I did, for $100, and they accepted! What a great birthday gift to myself haha. Maybe you think I’m crazy for spending $100 on the EP, but good luck trying to find a copy for cheaper now... I didn’t realize how intense the lyrics were until I got the EP. Yeah, they are political of course, but they are worded in a way that hits me deep. It’s obvious the vocalist heavily evaluated her thoughts and then actualized them almost philosophically. At least that’s how it comes off to me haha. I think this band is all women. I’m not sure though. Maybe that is why I find so many elements about it so moving. It’s difficult to do what they did in a world (and our scene) that is dominated by men.

When I write here, I feel like I don’t ever talk about the way shit sounds. I guess if you read what I write, you are reading cos you know my taste, and more or less know the way something might sound before you check it out. But I do like to share cool info on stuff. I wish I knew more about Nog Watt. However, three months ago I saw Brandon of Meat House Productions share something on social media involving Nog Watt. I remember the message being kind of unclear, so I messaged him and realized that he is re-issuing the Nog Watt EP!!! AHHH!!!!! It looks like he will release it on a brand new label. Maybe since Meat House is for reissuing bands from California? Peep the bandcamp link below to hear this amazing shit, or if you already know it, now its yer time to get top-notch tracks! Not a mediocre rip done with little care and a dirty disc. I also dropped a YouTube link with some amazing footage of Nog Watt preforming live in Italy, 1985! I leave you with a quote from the inside of the fold-out sleeve.

Emma has been squatted 28th of July 1984. The place, which is very important to us, it totally self-managed. There is a small and a big concert hall, a restaurant, recording studio, practising spaces and a printer. When you have the opportunity, come and visit Emma.

https://finaldoomsdayrecords.bandcamp.com/album/fear

https://www.youtube.com/watch?v=O7z4ufXYhU0

Hey there. Rich here. Longtime newsletter reader. First-time newsletter writer. I wish I could feign coolness for a second, but I gotta admit that I VERY eagerly await this email every Thursday. If you can name a better weekly punk-focused e-almanac than the Sorry State Records Newsletter, I’ll eat whatever fucking hat you throw in front of me. What a resource, huh?! So, when Daniel “Dr. D-Beat” Lupton asked if I’d be interested in writing for it, my affirmative response was like an involuntary reflex.

While not an actual employee, I’m pretty well steeped in the world of Sorry State. If I’m counting correctly, I’ve contributed to approximately 12 percent of the label’s releases. And though most of those are complete horseshit, there are a few records I BARELY got my stink on that I could still recommend (No Love LP, Davidians LP, “American Idylls” comp). In order to repent for the financial burdens I’ve cast upon Daniel & Co. through the years, I tend to spend a solid 20 percent of my income at the store. A fine investment, I’d say! And if I continue buying records and maybe—by chance—stop releasing so many, perhaps we’ll break even one of these days?

So, yeah, I buy a lot of records, but I also very much enjoy writing/talking about them. If you ever wanna dish about your 10 least favorite ADK releases or wax poetic on the plight of NOFX, hit me up on Instagram at @every7inch. Unsurprisingly, I also post pictures of (mostly punk) records just like every other jagoff I associate with on there.

Now, with that whole awkward intro out of the way, let’s get to some tunes! First, have y’all heard this shit called PILGRIM SCREW? Apparently it’s a couple folks from Olympia, Washington’s Gen Pop, and their new five-track cassette on Stucco Label imprint IMPOTENT FETUS has me feeling all kindsa ways.

The first track, “Foodie,” (great title, btw) appears to make good use of those “Feeding of the Five Thousand” stems that the Crass estate dropped on our lowly world in December of 2019. With Penny Rimbaud’s signature shuffle pumping at 280 BPM, droning synth and vocal loops and a pitched-up leader channeling both The Residents and Madlib’s Quasimoto, this duo is barking up every goddamn tree I have. Like, are y’all fucking with me or what?

Over the next four tracks, Pilgrim Screw takes skewed stabs at freakazoid synth-punk, lo-fi jungle ska, industrial footwork and more than a few subgenres of internet rap I’m too out of touch to name. But, hey, IT WORKS. Whether you fuck with old standby weirdos Royal Trux, now-lost 2000s geniuses Liars or any pick of punk’s best modern electro-inclusive degenerates—Special Interest, Heavy Metal, FNU Clone, etc.—then Pilgrim Screw might just be the band for you! insert obligatory Atari Teenage Riot reference(#)

While we’re on the topic of electro-inclusive punk, how about some punk-inclusive electro? GLORY FUCKIN’ BE, in my hands is the new full-length LP from lord supreme CUBE! For the uninitiated, Cube is the moniker of distinguished geographical/musical nomad Adam Keith. This fine young man was mucking up tape decks and fogging out basements for more than half a decade before dropping his vinyl debut, “My Cube,” in 2016. It’s one of my favorite LPs of this century… a chunky, sickly, rhythmic, screeching, bleeding mass of well-programmed hardware, tape manipulation, distorted vocal, guitar and—wait for it—SONGWRITING.

We’re not talking about this boring new world of fashion-over-function Soundcloud darkwave “songwriting,” either. Hell nah. Cube is like a REAL songwriter! An arranger! A master! Dude crock pots a mess of acoustic/electric kitchen sink noise and somehow churns out extremely orchestrated and MEMORABLE work. And though I’m only two spins into Cube’s new “Drug of Choice” LP, I can already say it’s gonna spend A LOT of time on this turntable. It’s huge and encompassing and ugly and beautiful and… OH YEAH, THIS IS SUPPOSED TO BE A PUNK NEWSLETTER.

In that case, what do y’all know about the live ROBOTRIP tape that came late last year? That sucker’s found a pretty steady living arrangement in the Walkman I leave hooked up to the aux in my car. Featuring members of LSG and Splitting Heads, the Chicago quartet slays: fast-as-fuck, rawass USHC with nutso (clean) Strat licks and a menacing bark. They do a lot of that move where the guitar stops, but the drums keep going faster than fuck… man, I love that move! They also borrow Germs’ “We Must Bleed”—note for note, lyric for lyric—for the end of one of their songs. Another classy move! The recording quality for this early 2020 live set is appropriately rough, but there’s a slightly cleaner 2018 demo on the flip if you’re feeling cowardly. At any rate, this is super fun stuff and gets bonus points for lining up perfectly with my daily commute. There’s an email address in the comments of this YouTube rip if’n you’d like a copy.

Other stuff I’ve been into lately:

This Electric Chair video

The new 2 Low Key reissue (sold out everywhere)

The new Horrendous-3D 7” (SSR re-restock forthcoming)

The new Reek Minds 7”

The new GG King LP (and companion tape, “Evoker”)

The new Status Set tape

The new Gimmick 7” (Am I allowed to say this? I promise I wasn’t paid.)

The new Anti-Cimex demos LP

Whew, that was a lot. Consider me introduced!