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Hi Sorry State readers! Long time no see/talk! Hope everyone has had a great summer so far. Summer here in NC is brutal, but we’re managing. I’ve been listening to tons of good stuff, reading good books, and staying indoors. It’s really nice to be back after a little bit of a staff pick hiatus, but there is no shortage of things I could write about.

I was thinking of going with the Primal Screamer book by the man, the myth, and the legend, Nick Blinko, of Rudimentary Peni. But I decided to go with a record instead. We’ll get to that in a minute. But first, if you haven’t read that book yet and you are a fan of Rudimentary Peni and/or Nick Blinko’s fascinating art, I highly suggest it. It’s a semi-autobiographical account of a very complex and troubled young man (likely Nick Blinko, if we had to guess) from the point of view of his psychiatrist. The main character, Nat, undergoes primal therapy to unearth his feelings and trauma, which turns out to be quite an ordeal and obviously the direct inspiration for the book’s title. Nat goes on to form a band. Spoiler alert: Rudimentary Peni, although the band is never mentioned by name. So you gain some insight into RP’s early days. Although it’s hard to tell which parts are exaggerated, it’s probably safe to say it aligns closely with the early adulthood of Blinko.

Onto my official staff pick. It’s the new Lafff Box S/T LP, released on Neon Taste. Some of you may have gotten your hands on the EP they released last year. I really enjoyed it, so I had been looking forward to the release of their full-length album. Lafff Box is from Germany and comprised of members of Liiek, Ex-White, Poky, and Lassie, to name a few. What could go wrong? Not a thing. Their sound isn’t very easy to describe or place in a box, which is always a good thing in my opinion. They bring a little bit of this and a little bit of that and smash it all together to create a manic, in your face burst of fantastic energy. It’s fast, unhinged, and really catchy stuff. It’s fresh and modern, but with no synths in sight. The singer’s snarling, distorted vocals and dual guitars create the sound of perfect chaos. Don’t get me wrong, the album is thoughtful and sharp, with fast and clean beats. It’s also a good balance of mosh-worthy punk and more melodic tracks. The song Master is a perfect example of the latter. A mid-tempo melodic track with sharp infectious riffs and a catchy sing-along style chorus, but before you get too comfortable, the vocals turn absolutely manic. Which is totally my jam. I just love it when a good power pop track goes off the rails. The song Just a Fool seems to be a favorite, for good reason. It leans more on the power pop side and very catchy. The placement of this track in the middle of the album is smart because the sound is a bit more structured and formulaic in the middle of faster and more chaotic sounding tracks. All in all, this is a really good album and tons of fun to listen to. It’s the jolt of energy you need to get your day going. And well worth the wait. Check it out!

Thanks for reading! Until next time!

-Angela

Hi Sorry State readers! Hope everyone is having a great start to Gemini season. I’m not that into astrology, but I am a Gemini. Fun fact… at Sorry State, each member of the staff has a different zodiac sign, and they are ordered in the same sequence as in the zodiac calendar, one after another. We are only missing the first sign and the last four, but we have Taurus through Scorpio covered, in order, with no repeats. It makes for a good balance of personalities. Or it could all just be a bunch of bullshit. Who knows? All in good fun.

So my staff pick this week is something pretty new to me. It’s by the band Cel Ray, a four-piece post-punk band from Chicago. This is their debut EP, Cellular Raymond. I popped it on and it took all of five seconds to know I was gonna be into it. Totally my vibe. It’s a mix of basement punk, post-punk, egg punk, and punk punk. Each song leaning a little heavier on one of those sub-genres more than the others, which makes for an interesting mix.

It was the second track that got its hooks into me, as parts of it have some old school riot grrrl sass. It reminds me of the Bratmobile song, Cool Schmool. Basically, the shared message is “ew, I hate you. go away.” More specifically, she says, “I don’t want to touch anything you’ve touched. I don’t want to touch it too. Don’t want to touch anything that’s touched you.” Oh, the song is called Clorox Wipes, which is what makes those lines funny. I love the sassy vocals on that one.

That track and the fourth one (Attention) are way more egg punk than the others. I’m a fan of egg punk, so that works for me. One of the last tracks (Sorry Stew) is a really interesting one. It has this really low slung bass riff that plays perfectly with the manic vocals. But then they add in a high-pitched guitar riff that has a country twang. It really gives it a punk hoedown feel. It made me think of square dancing in fourth grade. Talking to other people that had to engage in this activity, it was always in fourth grade. No matter where you lived in whatever part of the country. Like someone decided that was the right age for our first major public humiliation.

I remember they had kids just go down the line and pick a partner. Girls lined up on one side and boys on another. Like we were on the Bachelor. Looking back, that’s a traumatizing event for a 9 or 10-year-old. And they’d spring it on you, so you couldn’t plan to fake sick that day. Dude, I swear, being a kid in the 90s was like playing a ten-year season of Survivor. Brutal.

Pardon my tangent. That riff stirred up some repressed memories. My point is that Sorry Stew is a standout track. What a great name, too.

Love the lead bass line in the last track, Dog War. Another fun, mid-tempo number. This one is really long, clocking in at almost four minutes. But they don’t mess around. They know that four minutes is half of a punk set, and they don’t waste your time. In fact, the last minute of this track (which is the last minute of the whole EP) may be the raddest part of the whole thing. Toward the end, there is a timely pause, and then a standout melodic bass riff. The vocals get tougher, and it’s an explosion of sound. A very cool track.

Oh, I should mention that the cassette is quite eye catching, which is why I grabbed it in the first place. Housed in bright green casing is a clear cassette with a generous amount of green glitter on the inside. I do appreciate the details.

Ok that should do it. Thanks so much for reading, and maybe give Cel Ray a try!

-Angela

Hi Sorry State readers! How are ya? It’s been ok on my end. It’s been kind of a dreary week or two around these parts. Which sucks now that I’ve committed to going for walks regularly. I’ve been trying to go out in the morning, because I read some science about the benefits of physically being in the sun (whether it’s behind clouds or not) when you first wake up. I say physically because it doesn’t count if you just look out the widow. Plus, it just makes me feel better all day. It also gives me the perfect opportunity to listen to new music! Let’s go.

My staff pick this week is by the Canadian band, Divorcer. They released an absolutely killer EP titled Espionage. It has been in very regular rotation for almost a couple weeks now. It’s so likable. It’s fun and catchy and all that good stuff, but also witty and clever.

It’s very pop-heavy, but it feels substantial. The vocals are sharp and sometimes breathy, with a lot of lovely harmonies. Tiny Devil (the first track) is absolutely infectious. It sucked me right in with its simple yet effective beat, and sharp vocals that are both sweet and taunting. They cleverly blend quieter vocals with the lead vocals to play the part of the tiny devil in her head. I mean, I think that’s what they’re doing. The layered vocals add great dimension to all the tracks.

This is also evident on the next track, Bug. It’s my other favorite track. It starts out rather simple and catchy, and just a little weird. You think you get the gist of the song after 30 seconds or so, but it gets more weird and then kinda trippy, but still maintains structure. I like when songs take weird, unanticipated turns, but they still find their way home.

Crying is a slower tempo, more stripped down track. The darker melodic bass riff lays ground for lovely vocal harmonies. I think it’s a well-placed track to slow things down and reset before going out with a bang on the closing track, Leech. This is another winner for me. It seems to draw inspiration from a popular alt-rock formula with its quiet verses and loud crashing choruses. It also incorporates some more noticeable distortion to roughen things up. It all makes for a well-rounded EP.

I’m really drawn to poppy songs with clean and simple beats, but don’t sound superficial. I think that making good use of simple sounds in a way that sounds creative and catchy is no easy feat, and Divorcer does this very well. Unfortunately, this may be sold out or very close to sold out at the time that you’re reading this, but if you get a chance, give it a listen! And hopefully we’ll get more.

Thanks so much for reading! Until we meet again.

-Angela

Hey Sorry State fam! Hope you’re having a fantastic week! Just wanted to quickly say thanks for your overall rad-ness, your kind words, and continued support. We appreciate you and we think you’re the coolest. Ok let’s go….

My pick this week is the new EP (Fantasy) by the English post-punk band, Es. This is their third release over seven years, but this is the first time I’ve heard them. Daniel said he really liked the EP too, so we got a grip for the store. It’s a good-looking EP. A beautiful turquoise/aqua (what’s the difference?) with a bright green sleeve (which compliments the vinyl color so well), and a good sized lyric sheet insert.

Aesthetics aside, it sounds really cool. Broadly, the sound is mid-tempo gothy synth punk with doomy, yet lovely, vocals. The crazy part is they don’t have a guitarist. Even crazier, I didn’t even notice until a few spins later when someone told me. It’s only four tracks, and while that makes for a short EP, the songs are very satisfying and ordered in a thoughtful way. Upon first listen I will admit that it sounded a little samesy to me. Not a bad thing, as I happen to like the style so why not hear more of it? But after a few listens I realized I rushed to judgement. More on that later.

The opener, Emergency, sounds like a period piece, and that period would be the early to mid-eighties. It’s a likable and sensible opener. It doesn’t blow you away, but it still makes sure you aren’t going anywhere. It worked, because here I am writing about the EP for my staff pick.

After the first track you can throw the sensibilities out the window because the song Too Late really struts its stuff. The crunchy bass parts sound great with the high-pitched synth nuggets. The latter sounds are reminiscent of an 80s video game, and lean a little egg punk. It’s like a demented pop song.

The song Unreal is kind of like the first track stylistically, but it’s cleaner, faster, and it just gets to the point quicker. It has a bigger chorus. The kind of simple and catchy chorus that gets stuck in your head.

Swallowed Whole closes out the album. It’s faster, more urgent, and the rhythm section is punchier and more apparent than previous tracks. It feels like the culmination of the prior three tracks.

It sounds like the songs build on one another. Not necessarily in a linear fashion, but in some sort of interconnected way. Each track has its core sound or style and also incorporates the coolest features of the other tracks, but in a subtle way. That might not make sense. I’m probably reading too far into it, but I think you have to read further into it to notice the nuances that make the record more unique and intentional than you may give it credit for.

Anyway, give it a go!

Until we meet again.

Thanks,

Angela

Hi Sorry State readers! Hope you’re having a good week. It’s been a pretty chill week on my end. May has been kind of meh so I’m gonna talk about June.

So I was writing down the stuff I’m doing in June so that I don’t create any schedule conflicts, and it looks like June is gonna be pretty fun so far. We’ve got Subhumans with Scarecrow right around the corner at Cat’s Cradle! Stoked to say the least. About a week after that, I’m seeing Pixies here in Raleigh. Seeing Pixies is just mandatory at this point. Public Acid is playing a couple days after that at King’s here in Raleigh. Super excited to start seeing shows there again!

Anyway, my staff pick is Display Homes: What if You’re Right and They’re Wrong? I was entertaining 3 or 4 staff pick options, but this one won out without question. I liked it immediately and I’ve played it a couple times a day every day this week.

To preface this, I just wanted to say that when visiting the band’s IG page, I learned that the band’s guitarist and close friend Darrell had passed away last June. My sincere sympathies go out to the band. Darrell does some incredible guitar work on this album.

Display Homes hails from Sidney Australia. They recently released this fantastic post-punk album that leans poppy in a wonderfully weird and dynamic way. It’s mid to fast tempo the whole way through and it keeps you on your toes. It’s raw and minimalistic, which gives you a chance to really hear and appreciate their individual contributions. And the vocals are one of their greatest instruments. Loud, raw, erratic, and exciting. You never know what you’re gonna get.

Sometimes the singer does a talk and sing type thing on certain tracks that reminds me of the Pixies. But just a little bit. What’s impressive is how the drums are perfectly locked in with every syllable she sings. Maybe that’s easier to accomplish when you’re the singer and the drummer, but it sounds seamless. The song Proofread is a perfect example. That’s my favorite track on the album. I love the shouting vocals that become increasingly more intense in the chorus. There are a lot of big choruses in the album and this is where the singer really shines.

I can’t say enough about the bass parts on this album. The bass is an integral part of their sound. I don’t think more than ten seconds go by where you don’t hear the bass. The album is full of boppy bass intros and solos, and he is a big part of providing a solid foundation throughout the album. It also feels like he’s very intuitive.

The clean and razor sharp guitar work sounds killer played over the lower melodic bass riffs. The sharpness of the guitar riffs and frenzied vocals are mediated by the rhythm section in a really complimentary way. It’s obvious the band has really great chemistry.

This album is a must have for melodic post- punk lovers, but I think its the type of record a lot of people would enjoy. Every track is good, but my favorites are Proofread, Nitty Picky, CCTV, and Background Check. Check it out!

Thanks for reading!

-Angela

Hi Sorry State fam! How’s it going? I’m coming off of a gnarly sickness. Possibly food poisoning. The worst has passed, but now I feel all beaten up and worn out. Like the aftermath of a hurricane. I wasn’t going to do a staff pick because my brain doesn’t feel like it’s operating at an appropriate capacity, but I got something cool in the mail and I feel inspired.

My pick this week is the new release by Abi Ooze called Julia’s Apartment! I think they planned to make around 100 copies according to Bandcamp, so I hopped on it, not knowing whether we would be able to get some for the store. We did get a grip of their Forestdale Sessions tape last year and it sold super fast. Unfortunately, I don’t think we’ll be getting the latest release at Sorry State, but not for lack of trying. Even though my copy just came in the mail yesterday, I had already been playing the digital version since it became available. It was love at first listen.

It’s hooky, fuzzy, scuzzy, and sometimes bouncy. Sonically, it sounds influenced by bands like X-Ray Spex and the Slits. Can’t get much cooler than that. The music is melodic, but it’s not squeaky clean melody. It sounds like there is a layer of film over the melodies, sort of like a dirty camera lens. In a good way.

It’s fun and poppy but it’s also edgy, mean, and weird. Abi Ooze can do it all.

The song Problematic is one of my favorites. It’s a mid-tempo song about hating yourself. I love the chorus “I am a problem with no solution!” The mood shifts on the next track called Alien. Are you ever just trying to hang out and chill but an alien is all up in your business and killing the vibe? That’s what this song is about. The chorus “Leave me alone. Get back in your UFO” makes me laugh. It’s just the casual way she’s telling the alien to go home. Maybe the alien is symbolic of something. Who knows.

My favorite track is Problematic 2. Not to be confused with Problematic. It’s a slow tempo song for the most part with a nice melody, although the lyrics are rather cutting. I love that type of dichotomy in music. The best part is when the intensity builds and builds toward the end of the song until she is now yelling “you know that I want to make you feel bad!” She sings that line throughout the song but it just hits differently with more emotion behind it. It’s a great closer.

What I love about this release is the different styles and emotions and moods it encapsulates. It goes from soft and kind of sweet to snotty and snarling, and from slow to mid to fast tempo. It’s never boring, not even for a second. They don’t promise anything pretty and polished. Abi Ooze is no frills, pure and simple punk. It just sounds good. Check out the link below if you want to give Julia’s Apartment a listen!

Thank you for reading!

-Angela

https://abiooze.bandcamp.com/album/julias-apartment-demos

Hi Sorry State readers! What’s up? I procrastinated this week which wasn’t smart, as Thursdays are already rather hectic for me. So I’m just gonna jump in.

I blindly purchased this Poison Ruin single last summer (side note: you get three songs) and it sold really fast. So I’m glad they did another run. It’s been a steady seller so grab one if you want one! Check out the new album while you’re at it. It’s sick. But let’s back up and chat about the 2022 release.

Poison Ruin has a really interesting sound. It’s kind of a blend of post punk, synth punk, and dungeon synth. The latter descriptor is a new one for me. The music is indeed swimming in darkness and gloom, but how deep they go in that pool varies, and that’s part of what makes the sound interesting. It’s also why the doom and gloom doesn’t define their sound.

In the title track (my favorite) they spend a little extra time creating a haunting intro and setting the tone. I think there’s even some thunder. I could do without such literal sound effects. But they make up for it with the rest of the song and it kicks ass. It’s not long before the drums kick in to speed up the tempo to lead into a welcomed explosion of gritty and urgent punk. I gotta say, the rhythm section goes hard.

Although the songs are atmospheric in a dark wave kind of way, they’re still melodic and hooky and exciting in a way that maintains cohesiveness with the overall vibe. There are several tempo changes per song, and typically a build up to an anthem style chorus. The big choruses are what I like most about the album.

With the mix of sounds and tempo changes, I actually felt a little anxious listening to the record for the first time. Like you don’t know what’s around the corner. Any of the tracks would be kinda perfect for a soundtrack to a suspenseful B movie. Like for a chase scene or something.

That all said, Poison Ruin has a unique sound that makes for some fresh punk. Give it a try. Thanks for reading!

-Angela

Hi Sorry State fam! What’s up? It’s that time of year again. It’s the calm before the storm known as Record Store Day. There are several records on this year’s list that are pretty on brand for me. I’m excited to see Poe (first time on vinyl!), The Donna’s, Hüsker Dü, and the Soul Jazz comps to name a few.

Anyway, my staff pick is not related to anything I just said in my introductory paragraph. I chose Blitz: Time Bomb, Early Singles and Demo’s Collection. It’s an import but if I’m not mistaken, it’s the same track listing as the Blitz Punk Singles and Rarities, which was a European Radiation reissue released in 2013. I think this is basically the same thing, but with a different cover. Don’t quote me on any of this. It’s not that serious. The main point is that it sounds good.

I was in the mood for some good old familiar classic oi! punk to get me going for the day, so I turned to Blitz. But I wanted all the Blitz, so this singles and demos compilation did the trick.

Consisting of demos and singles, including their first few EPs, their very first recording session from 1980, the Timebomb demos, and a few demos from Voice of a Generation. It also includes all four of their charted singles, like my personal favorite, New Age.

Blitz has such an infectious sound and I love that communal vocal style. Not communal like a shared toilet. More like “hey, we’re all in this together, so let’s swear and shout until we blow our vocals out.” Oh hey, that rhymed. It’s not that cool of a line but feel free to use it if you need a lyric. We’re all in this together, after all.

I love classic Blitz but I also love the more new wave/post-punk sound. Paired with their gruff, anthemic vocals, it just works. I think the darker riffs and boppy bass lines were a timely and refreshing fusion. The influence of Joy Division knows no bounds. Some people didn’t like the change in direction, and there is a whole history there with lineup changes and what not. People have their opinions, but I like pretty much everything the band put out. Their music always hits the spot, and this compilation is the perfect way to have all the Blitz in one place.

That’s all I got. Happy (upcoming) Record Store Day to those who celebrate. Thanks as always for reading!

-Angela

Hi Sorry State readers! How is everyone doing? Things are good on my end. I can’t really complain. I feel like I need some more introductory content that isn’t weather-related. Ya know, talking about the passage of time is also pretty popular. So like… can you believe we’re already halfway through April? Crazy, right?

So my staff pick is the self-titled debut record by the Philly phenoms, Dark Thoughts. Let me preface this by saying that I sadly do not have this record. Come to find out, it’s also not very easy to get (wink wink, nudge nudge). That’s why you’re seeing a generic stock photo. Sigh. Anyways, I’ve been listening to this band a LOT. This particular album is totally infectious.

I’ve only known of their existence for maybe six months? They popped up on my Spotify and I was like, wow this is really good. So I started playing their music at work and it was funny because at separate times, each of my esteemed colleagues said something like “oh you’re listening to Dark Thoughts?” which would subsequently be followed with a string of praise for the band. So yeah, pretty much everyone here already likes and literally knows the band, and I’m just late to the game.

I’ve listened to all three of their LPs, but I play the first one the most. It’s 20 minutes of the catchiest shit. I hate to use a Ramones comparison because it feels like a lazy cop out. But, it is the right band to reference to give a basic description of the type of punk this is. It’s that really catchy, boppy, fun, easy to sing-a-long with kind of punk. But it has a lot of depth.

I know a lot of bands go for that fun and simple straightforward kind of punk that the Ramones are known for, but a lot of them just don’t get their hooks into you. On the contrary, Dark Thoughts makes you feel something. I think that it you can accomplish that, any other measure of what’s good and what sucks doesn’t really matter anymore.

With all that said, I can’t stress enough this band sounds like they should be way bigger and more well known than they are. That’s the first thing that came to mind after listening to just a few songs. They really have their shit together and the songwriting is impressive. They play super tight and fast-paced from start to finish, often exceeding the pace of the track before it. Jim’s vocals are perfect for the music. They aren’t overdone or obnoxious, nor are they too understated.

There are zero duds on this album. Seriously, every track could be a single. But if I had to choose, my favorites are Identity Crisis, No More Soul, Where Did You Go, and Nothin to Do. I’m all for short and sweet tracks, but I wouldn’t be mad if their songs were a little longer. They’re that good. If their goal was to leave you wanting more, then mission accomplished.

I will leave a link to Spotify if you want to check out this album, but don’t sleep on their other two full lengths. They have a strong catalogue and I hope they add to it soon!

Thank you for reading! Until next time!

-Angela

https://open.spotify.com/album/6B7ej8MpaYYN5Z8jeLmgOj?si=jQ2KW5AARMKFU85hwV8GgA

Hi Sorry State fam! How are you? Things are pretty good on my end. Dude, it’s been blazing hot here in Raleigh and it’s super gross. But the temperature is gonna get 40 degrees lower in a few days. Nothing says tornado like 85 one day and 48 the next.

Anyway, I’m going off the beaten path this week to talk about a show I saw a couple of days ago. Bikini Kill! This was a momentous occasion, as I’ve had tickets since 2020! The shows in 2020 and 2021 were postponed because of the pandemic. But a 2022 cancellation came as a total shock. I did shed some tears, as I thought there was no way I will see them anytime soon. But they ended up rescheduling the few shows they had to cancel, so I was so excited! Except they cut the Raleigh date and kept the Asheville date, so I had to drive to Asheville. I don’t like driving to Asheville at all. I get car sick and it’s just a whole thing.

So we got to the venue two hours before Bikini Kill was to take the stage, so that I could stand right up against the barricade. But sadly I didn’t get there in time and I had to settle for somewhere around second and third row. Anyway, they came out on stage in all of their wondrous glory and I got a little emo. It was such a great show. They opened with my favorite BK song, New Radio, which was great, but I just wasn’t mentally prepared for that. I need a few warm up songs ya know?

They played most of my favorite songs like I like Fucking, Feels Blind, Suck My Left One, and lots more. It was super cool getting to see Tobi sing. And they closed out with Double Dare Ya and Rebel Girl. It was a sold out show so the place was packed. I’m so happy that they have sold out just about every show because they seemed to be having a blast.

They played 24 songs, which was amazing, and they put together a killer set pulling from all their albums. Kathleen used every opportunity she had between songs to speak out against all the bullshit. Old bullshit and new bullshit. That said, it made me think of how disheartening it must feel that the songs you wrote over 30 years ago are still very much applicable to the current social climate.

But besides her wisdom, Kathleen is also really funny, and to me she’s the absolute coolest woman on the planet. I really wanted to wait around to meet the band, but the way the venue is set up outside just isn’t conducive for such an activity. It was also cold and kinda rainy. Plus, I would probably piss my pants, and maybe say something stupid, which I would replay in my head at night for the rest of my life. It’s better this way.

I didn’t really take many pictures or video because I was way too into the show, but I’m attaching a few. It’s the best I could do. Anyway, thanks for reading. Until next time!

-Angela

Hi Sorry State readers! Hope everyone is having a good week. We are busy AF here at SSR headquarters, so thank you for your patience and continued support! I usually have a fair amount of energy, but the last two weeks or so have kicked my ass. I think I may finally be getting old. Or maybe it’s just pollen season.

Either way, we have gotten so many new records lately! It’s super fun and also overwhelming when you want to dig into some new music and don’t know where the hell to start. But spoiler alert, I did start. So here we go…

Although this isn’t my staff pick, I want to quickly mention an album I listened to this week that I really like. When I was sifting through our new stock, Jeff handed me the debut record by Camera Silens called Réalité, and I gave it a spin. It’s the 1985 debut from the band. It’s French. It’s oi! punk, I guess. Those are the only bullet points I can come up with for now, as it’s new to me. But it’s really good and the bass lines are the sickest. Their song Suicide has been stuck in my head. It’s got such an infectious chorus, and wouldn’t you know, the bass riffs are the sickest.

On to my staff pick. I will give Jeff credit for this one too because he was listening to this band one day and really liked it. I probably asked what it was, and he likely told me. But that happens a lot here at Sorry State, and there are a lot of bands floating around in my head that are waiting to be listened to. Anyway, that band happened to be Legal Weapon. And I know that because we recently received the reissue of their first album, Death of Innocence. I guess I was meant to listen to it because it was an immediate yes.

Legal Weapon is one of the LA punk pioneers, forming in 1980 and led by the fabulous Kat Arthur. There have been lineup changes along the way, but the lineup on this particular album is special as they added Steve Soto and Frank Agnew of the Adolescents on bass and rhythm guitar. I mean, enough said.

This album sounds like a blend of hard rock, classic punk, and melodic hardcore. Kat Arthur’s vocals are extraordinary and really the focal point for me. They’re strong and smoky, but really versatile too. She’s a killer punk singer, but she could have easily fronted any type of rock band of the time and skyrocketed into fame. Who knows? I think their later stuff does shift more toward hard rock, but we’re here to talk Death of Innocence.

Looping back to the versatility of Kat’s vocals for a minute. I am even reminded a little bit of Siouxsie Sioux. A good example of this is on the title track, Death of Innocence. Such a dynamic track. It’s melodic and also really gritty, with darker and more dramatic vocals.

Another great track that’s more on brand for a punk album is Daddy’s Gone Mad. It’s fast and furious, with gritty hooks and high-pitched riffs. Likewise, War Babies is another killer track. That one is angrier and more anthemic. Waiting in Line is my favorite song on the album. It’s rather simple, but I love the tempo changes on this one and how the vocals shift from playful to threatening. It’s a slower track, but it’s also really powerful.

That all said, there isn’t a bad song or even a mediocre song on the album. It kept me engaged from start to finish, and my attention span is pretty short. I don’t really know how well known this album is, but for how good it is, I imagine it’s tragically underrated.

By the way, this is the album’s first reissue with fully remastered audio. It’s limited to 500 copies on color vinyl. Plus, you get a bad ass and rather sizable poster featuring an unpublished photo of Kat Arthur. The poster did not come with the original album, so this is a really cool bonus! Oh, and even though you don’t see it in my picture, it does have a hype sticker on the poly bag it comes with.

Give it a try. You’ll like it, I promise. Thanks so much for reading and see ya next week!

-Angela

Hi Sorry Stare readers! How are ya? This has been a week of just pure chaos for me in pretty much all major aspects of life. So when life hits me in the head with a brick, I don’t experiment too much with new music. I like to reach for old favorites that take no thought. So this week I thought I’d write about one of my favorite albums of all time.

The Cure’s Wish record is a rather timely choice given it received its very first reissue at the end of last year. Also, they just announced their tour and everyone is going ballistic. Rightfully so, as you never know if this tour will be the last. What a terrible thought. Their last US tour was in 2016, and fortunately I was able to go broke seeing them in Miami two nights in a row to close out their NA tour. Prior to that, I believe the last time they did a real tour in the States was 2004. I’ve seen them a bunch of times, and it never feels much different from the first time. And they’re bringing The Twilight Sad on tour again! I fell in love with the amazing Scottish band when I saw them open for the Cure in 2016.

Anyway, moving on.

If you have Wish on CD or cassette but not vinyl, I highly suggest you buy this remastered reissue. Robert Smith was heavily involved with the remastering, and he certainly takes his time. Rumor had it that the record had been done for four years, as Cure fans have been champing at the bit waiting for it. I have the original European 92’ press (shown in the second photo, and yeah, this is a flex), but I also have the remaster and the picture disc. I know it doesn’t seem necessary. But… it is. Anyway, they all sound excellent.

While I don’t think it’s their best album, Wish is my favorite Cure album. It’s certainly a departure from Disintegration, but it’s no less haunting. Every Cure album takes on a different mood and style. Where Disintegration is overall more atmospheric and abstract in its darkness, Wish kind of just tells it like it is. Songs like Cut, The End, and Apart are downright brutal. But they also let more light in on this album with a few poppy and whimsical tracks like Doing the Unstuck and High.

My favorite song of all time (and not just from The Cure) is From the Edge of the Deep Green Sea. It’s very layered, with brilliant songwriting and masterful changes in structure and arrangement. Personally, I think this song is their finest piece of music. I get a little overwhelmed trying to put it into words.

I could go on and on about The Cure and Wish, but it’s really tough to be succinct when talking about a band you’ve loved for most of your life. But I will stop here. Also, if you’ve never really gotten into the Cure, I highly recommend it. The journey through their discography is anything but boring, and will be well worth it!

Thanks for reading!

Until next time,

Angela