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Hi Sorry State fam! How’s it going? Hope all is well on your end. I’m gonna just jump into it!

This week’s pick is the sophomore album from The Whiffs, called Scratch N’ Sniff. The Kansas City power pop band released an album full of really well-done, cool and catchy songs. I gotta get this out of the way first. It comes adorned with a banana scented scratch and sniff sticker! I very lightly “scratched” mine with the side of my finger to preserve the smell because I’m just a nerd like that.

Anyway, on to the music.

This album is so damn likable. It’s so damn listenable and so damn wholesome. But it’s not at all lame. It’s not the style of music I typically reach for, but it’s very hard to not like it. Don’t get me wrong, it rocks, but in a very easy going, feel-good, retro, pop sort of way. It’s one of those albums that I didn’t know I needed.

It’s Not Over is a great opener for what’s to come. The chorus is perfect, and the song is just so damn lovely. I don’t know why this record is provoking me to say damn so many times. I tend to lean on cuss words for emphasis, and this is just not a fuck type of record. Let’s talk about the second track called Shot Thru. Holy Rick Springfield. The intro is giving Jessie’s Girl, which I’m definitely here for. I’m not saying the song sounds like Jessie’s Girl, but it feels like they’re going for that vibe.

The first few songs on the record really pulled me in, but the rest of the album does not disappoint. It’s a cohesive album from top to bottom. Plenty of big choruses and smooth and clean guitar work throughout. The whole album is very hooky and chorus-driven.

The song Won’t Go Away is the perfect example of the retro meets contemporary style of this record. I like that they seem to borrow certain stylistic elements from the 50s through the 80s. It’s very carefully done, as it projects just the right amount of nostalgia without dating themselves.

Overall, Scratch N’ Sniff sounds very polished and thoughtful. It’s a shining example of masterful power pop.

And the sticker! I’m a sucker for the details. Thanks so much for reading!

Until next time.

Thanks,

Angela

Hi Sorry State readers! Hope everyone is having a good week. Things are pretty good on my end. It’s been a really good couple of weeks for music listening, so it was hard to narrow it down to one record this week. I just realized I haven’t even written about the Koro release, which is absurd because I’ve played it a ton. So I’m going to honorably mention it because you absolutely need it. I’m convinced it will never sound better.

That said, I chose to go a different direction this week and write about the new release from Rough Kids. Rough Kids is a consistently good LA power pop/punk band that should probably be more widely known than they are. Their third LP, The Black and White and Gray, is on Dirt Cult Records, and it does not disappoint. I popped it on right when we got it, but it didn’t quite get its hooks in me until the second spin a few days later. And now I’m sold.

The album is very guitar-driven with some great guitar leads, and the rhythm section is really tight and focused. It’s very obvious that they mean business with this album. The songs are reminiscent of ‘77 punk, but I also hear a good amount of more modern sounding post-punk. I like the diversity in vocal styles throughout the album because it changes the feel of the songs and just makes the album more fun and unpredictable. It feels like Rough Kids get a little more intense and more focused with each album. While you're at it, check out their second LP on Sorry State Records.

From top to bottom, the energy of this album does not wane. Don’t Blow it Away and Breakdown are two standout tracks for me. Both are pretty straightforward, mid- to fast tempo tracks with razor sharp riffs and simple yet super catchy beats. She’s All Gray is another one of my favorites and a good example of the diverse styles on the album. This one has a more emotional tone and sense of urgency, with some killer guitar solos. The guitar work is really the star of the whole album.

This is just one of those albums you throw on when you just want something high energy and fun to listen to. It may help pull you through the last part of your shift, or keep you motivated while you clean your house. Or, more realistically, while you organize or re-sleeve your record collection. Give it a try!

Anyway, thanks for reading and have a great weekend!

-Angela

Hi Sorry State readers! How is everyone? Things aren’t too bad on my end. Can’t complain.

So I’m gonna go a different route for my staff pick this week and talk about a zine. I’ve really enjoyed the latest installment of the Network of Friends (volume 5). I’m a big fan of zines. I really hope print media will make a comeback one day.

I made a zine once (literally once) in 8th grade with a friend. It was mostly music reviews, me bitching about my favorite bands selling out, passive aggressive opinion pieces aimed at classmates, and some super cringe poetry. We got one issue under our belt before my school pulled the plug on it for failure to seek permission to distribute. Who asks permission from school to circulate a zine at school?

Anyway, back to a zine that’s enjoyed more success than my 8th grade effort. Network of Friends was originally started by Steve of the long-running UK zine Ripping Thrash. The zine consists of several DIY mini-zines. The purpose of compiling parts of existing zines was to collaborate with punks across the globe, and to essentially spread the love. Volume 5 was compiled by Negative Insight, with Steve’s permission.

Some of the participating zines include but are not limited to UK’s A Blast From The Past, Initonit, and Crisispoint. Bootlegs Of Filth from Australia, Negative Insight from the US, and Brazil’s Vermynoze Putrida.

There is a hilarious review of a Discharge show in Leeds gone wrong. Let’s just say they had put out an album that wasn’t/isn’t well-received, and a certain integral member of the band did not want to play the classics. Audiences generally frown upon this approach. And some people frown more violently than others. I won’t spoil that story, but it gets infinitely better when paired right next to a copy of a letter written to MRR by another member of Discharge to explain what was happening behind the scenes during this period of time. That letter made me laugh a few times. Out loud.

There’s also a pretty lengthy interview with Jim Whiteley, who played bass on part of Napalm Death’s Scum album. You may also know him from Ripcord, Doom, and like 10 other bands. It was cool to get his insight on UK hardcore in the 80s. Now, I’m perfectly content with interviews, music and show reviews, fliers from cool shows, etc., but there was an extra bit of depth to this zine that I appreciated. Paul from the Initonit zine contributed some interesting opinion-style pieces on social and political topics. He writes from a place of personal experience and comes off really honest and relatable. There’s no elitist and pretentious bullshit in there.

Overall, Network of Friends is a cool concept and just a good reminder of how important collaboration and cross-promotion is in the underground punk world.

We only have a handful of these left, so I’d grab one if I were you. There’s loads more stuff in this zine than I mentioned, and it’s a rather small price to pay for the amount of content you get!

Thanks for reading! Until next time..

Angela

Hi Sorry State readers! Hope all is well. We’ve been busier than ever in SSR land. We were so stoked to put out the Koro reissue, so thank you to everyone who grabbed one. It’s not too late to pick one up. It sounds so sick. We’ve been extra busy filling orders, so you should have yours soon.

My pick this week is the Feral/Judy and the Jerks split called Free Violence. It’s the product of Earth Girl Tapes in good ole’ Hattiesburg Mississippi. Feral is an Atlanta hardcore punk band that I’ve recently come to know. They’re interesting. I guess I would call their sound anarcho punk. The vocalist sings/shouts with a lot of intensity, and the music has a dark, gothy feel to it. Genocide is the standout track. Not gonna lie, it’s a very lo-fi recording. It’s pretty quiet, so you’re going to have to play this side loud.

The Judy and the Jerks side is a better recording. However, their style is tighter and cleaner in general, which may be biasing me a little when I say it’s a better recording. It’s definitely louder. The style of Judy and the Jerks is a good contrast to the darker and more serious tone of Feral. High-energy vocals, sharp and distorted riffs, standout bass lines. It’s just pure fun. Very short, but very satisfying. I mean, it’s Judy and the Jerks. You know what you’re getting.

I’m gonna make this one short, but thanks for reading!

Until next time.

Angela

Hi Sorry State readers! How’s everyone doing? We’re going through early summer in February over here and I’m not a fan. Other than that, things are pretty decent.

My pick this week is the Nacht und Nebel EP from the Dutch band, Indirekt. It’s my favorite thing I’ve heard from the band. It just hits differently. Start to finish, it meets my personal criteria for a pretty perfect EP. I’d love two more songs, but I still feel really satisfied after a spin. All in all, it’s mid to fast tempo punk with really confident and dynamic vocals.

Nacht und Nebel is the opener and one of my favorite tracks on the record. It’s vying for top spot. There is an absolutely infectious riff that anchors the song. The song opens with that riff and it chugs along throughout the song and speeds up when appropriate. It’s a really straightforward but meaty riff that could work as a jumping off point in a million different songs. You could add some distortion to it and throw it on any L7 record and it wouldn’t sound out of place. I now realize that was a very wordy way to say it’s a great, versatile riff.

The vocals are fantastic on that track and there is an unexpected, very high-pitched scream that could break glass. Or maybe it’s a whistle and I’m totally wrong. I love the way the song picks up a lot of speed and aggression, and then seamlessly returns to the mid-tempo intro it started with. There is also a quick little bass melody at the very end of the track that leaves you wanting more.

On the second track, you do get more. Prose C opens with a much longer and more melodic bass riff. I love a thoughtful transition. The drums lock in perfectly with the bass, which becomes much faster and more intense. It sounds so cool. The vocals oscillate between aggressive and poppy. Trust me, it works. The seamless tempo and style changes are wild on this one. I like this track as much as the first one.

I really can’t get enough of this bass player, and I love how prominent the bass is on most of the tracks. The singer is not messing around on the third track. She comes right out of the gate with anthemic style vocals and plenty of attitude. It feels like she’s right up in your face. Well, my face. I can’t speak for your face. Trust me when I say this record finishes just as strong as it starts. It feels like an understatement to say it’s a solid EP, but all four tracks hold their own. No lulls, no duds, no filler.

I think we’re all digging Indirekt around here. I’m probably the only one hearing them for the first time, but I love that for me. That said, check out Indirekt’s Op Oorlogspad. Jeff crafted a nice lil’ write-up on that record last week.

Couldn’t find them on Bandcamp, but there’s a link to the EP on YouTube below.

Thanks for reading!

Until next time,

Angela

https://youtu.be/yTzgEybR1xw

Hi Sorry State readers! How ya doing? Things are pretty chill on my end. Hope you guys enjoyed our Best of 2022 newsletter. We had a lot of fun with it. Big props to our fearless leader Daniel for putting that beast together.

This would have been my staff pick last week if it were a normal week. I’m talking about the Blatant Dissent 1985-1986 LP. The Chicago-area band made its mark in the mid-80s, with their major influence being Naked Raygun, and also Minutemen, Trial by Fire, and the Replacements.

The record sounds really good, quality-wise, and that’s probably because the ‘85 tracks were produced and engineered by Jeff Pezzati (singer for Naked Raygun) and Iain Burgess, respectively. The ‘86 tracks were recorded by Steve Albini. I love Albini’s recording style, and he’s just such a great character in this whole rock machine.

Ok let’s get back on track. This is a solid midwest 80s hardcore punk record. If you like that style, you will probably like this. Because it really is likable. For lack of a better description, it’s the “woahhh-ohhh-ohhh” kind of punk. You know what I mean. When you hear it, you picture young punks in the 80s with their arms over one another’s soldiers swaying back and forth chanting that very phrase.

It’s really melodic hardcore punk, and fairly straightforward. But they throw some curveballs every once in a while. It’s mostly mid-tempo, but there are some well-timed tempo and structural changes, and some unexpected riffs and guitar solos. Catalyst (They, They, They) includes some classic rock and roll style guitar and even some funk.

The songs are very hooky and high-energy.

Songs like How Can I Lose show their artsy punk side, and some of their fun and bouncy choruses remind me of the Ramones’ “let’s just have fun and not kill each other” style of punk. On the flip side, there are songs like Status Quo which really picks up speed and leans more hardcore. In fact, the whole record goes back and forth between 80s midwest punk and melodic hardcore.

I prefer side two because it has more attitude and I think it just sounds tighter, musically. A good example of this is The Man in Black, which is one of my favorite tracks.

I also have to highlight The Beast, because I love the music in that one. There is a darker sounding riff that stands out from the rest. I might botch this description, but it sounds like something you’d hear in an 80s movie whenever a group of teens is preparing for some kind of mission. Picture the vampire and civilian showdown in The Lost Boys or something.

The last track, (My Hands are Tied), caught me off guard. The music starts out sounding like a gloomy early Metallica song, but with off key emo vocals. But like 40 seconds in, they remember they’re a punk band and bring it home. After hearing the song a few times, I think it’s amusing. Especially for the closing track. Maybe the band didn’t mean for it to be funny, but it is.

Blatant Dissent sounds like what I imagine Sluggo may have sounded like all grown up. I brought up Sluggo only because I just wrote about them a couple staff picks ago, but Naked Raygun is a better comparison.

You get your money’s worth with this record. You get a ton of tracks on quality vinyl, and the color is a really cool deep ocean blue. We only have a handful left, so grab one and see what you think!

Thanks for reading!

Until next time,

Angela

Hi Sorry State fam! Hope you guys are doing well. This is an extra fun newsletter because we get to talk about our Top Ten releases from 2022 and other random favorites. And I get to read everyone else’s contributions!

So without further ado, because this is gonna be a long one, let’s get going. We’ll start with my top 10 releases of 2022, because that’s the point. And who knows where we’ll go after that.

Anyway, my criteria for determining my top 10 was simple: whatever I played the most. Although my list isn’t in order, the first five are my favorites. Oh, I had to add a picture of one of my picks separately because I forgot it at home.

My Top 10 2022 Releases

Yambag - Strength in Nightmares EP

Cleveland represent. Easily one of my top two favorite hardcore releases. It's chaotic and raw, with well-timed spit noises (blech!) We sold out before I could grab one, so I had to get one from the label, and they sent me a brown one! Standout tracks: Lowlife, Capture the Flag.

ISS Spikes+ (compilation)

The creativity of ISS impresses the hell outta me. So talented and so much fun to listen to. Having so many styles on one record is killer. Standout tracks: Spikes, c.h.u.d.f.r.e.a.k. swap meet, Too Punk for Heavy Metal.

Scarecrow - Crisis EP

This is easily my other favorite hardcore release. I think I was their first online customer when it dropped while they were on tour last summer. Two words: total ripper. This is the way EPs should be done. A super solid set of songs. Great chemistry, technically savvy, and they know how to write a fucking song. Standout tracks: Leeches, Abolition.

Cherry Cheeks LP

This is my “pick me up” album. If caffeine were an album, it would be this one. I love it. It’s weird and fun and totally addicting. I could have sworn it was released in 2022, but recently learned it was technically 2021. Just let me have this one. Standout tracks: Trickin’, Boxes.

No Knuckle S/T LP

The most underrated record on my list. I feel like a lot of you would like this record. Post-punk but with elements of 60s rock on a couple tracks. Normally the psychedelic sounds wouldn’t be my thing, but it works. It’s layered and it’s just very satisfying. Standout tracks: Advertisement, Halo.

Straw Man Army SOS LP

“Humankind can be hard to find.” A brilliant sign of the times record, and perfect way to summarize the giant pot of fucked up soup we were/are still swimming in. A post-punk record that’s hooky but not overly polished. It’s very focused and thoughtful. Is it probably the most important album released in 2022? Yeah.

Judy & the Jerks - Music to go Nuts LP

Referred to as basement punk but also garage punk. Does it sound different when a band moves from the garage to the basement? Seriously though, this record is an energetic mix of songs that are sometimes snotty and sometimes more aggressive and anthemic. The dichotomy is apparent in the two Standout tracks: California, Nothing to Prove.

Headkicker S/T EP

Raleigh’s own Headkicker gives you a mix of styles. It’s punk but certain parts remind me of Lou Reed/Velvet Underground. Their musical arrangements are really good, and I want them to make more stuff. Standout tracks: Crafty, Televise.

Indre Krig Destroyer EP

A female-fronted band hailing from Denmark playing speedy hardcore. Love at first listen. Never a dull moment. I also want to highlight the last 20 seconds or so of Pinball Eyes. It is just so sick. Standout tracks: Pinball Eyes, Loudhead.

Wet Leg S/T LP

Dude. I know. But the shit’s catchy as hell. I wasn’t impressed by many/almost any indie releases in 2022. There were plenty of indie girl releases, but they just didn’t hit. Then Wet Leg came strolling in with their funny, seemingly autobiographical lyrics, and catchy bass lines. A breath of fresh air. I saw this album posted on IG by people from all walks of music life. You know why? Because it’s a banger.

Here are some others I really liked

Girlsperm Muse Ascends LP

Liquids Life is Pain Idiot LP

Sniffany & the Nits The Unscratchable Itch LP

Personal Damage Ambush EP

Sluggo S/T

Let’s talk record collecting in 2022

I set a goal for myself to be very intentional and purchase only new releases and records on my Discogs want list. I thought I did pretty good cutting back, but all I did was spend more and buy less.

Anyway, I got a lot of cool stuff in 2022, but this was the year for buckling down and filling a few important gaps in my collection.

Favorite Record Scores in 2022

Wire - Pink Flag, UK first pressing

So I’ve always wanted a UK press of this record, and I was lucky enough to just trade a dude on IG for it. My US first press for his UK. Done deal.

The Cure - Wish, European first pressing.

Ive never seen this in the wild, nor have I heard of an OG Wish sighting in the last 10 years at least. I’ve been on the hunt for the right copy (UK or Europe, all original materials, a strong VG+/VG+ at minimum) for so long. Almost sealed the deal twice. I got my heart broken once in a sale that fell through, and then just shattered in a second attempt that came with the promo bag that they gave with purchase in 92’ at certain shops. I didn’t get one with a promo bag but finally, she’s mine!

The Wipers - Is this Real? US second pressing

Pressed in the same year as the OG (1980) but technically a second pressing. I don’t care. I wasn’t gonna wait around any longer.

Veruca Salt - American Thighs, UK first pressing.

Another very hard to find in the wild album. They finally did some reissues, so the price dropped some on the first pressings, but not by a lot. The nostalgic effects are strong on this one. It’s crazy how music can trigger memories you had long forgotten about.

As for the future, I have a want list a mile long. So I’m just including the records that I must have or I will forever feel incomplete.

Nirvana - original Love Buzz single

2022 Wrap up

Ya know, 2022 was a pretty good year. Infinitely better than the two years prior, which were incredibly rough for so many reasons. Even outside of the pandemic and modern day civil war. So in 2022, I was determined to find some sense of normalcy.

For one, I got an opportunity to work here at my favorite record store with rad people I really like, surrounded by my favorite thing (records!). I also started volunteering at a community center downtown, helping socially disadvantaged kids who struggle academically. I work as a consultant there too, and just finished up a research study to examine social and behavioral stuff with the kids. I won’t bore you with those details but it goes with the narrative.

In addition, I crammed in as many shows as I possibly could. That really helped make life feel more normal again. Seeing Pavement in DC at Warner Theatre was my highlight. They played all the deep cuts you could ask for. And Stephen Malkmus is still dreamy.

In closing, I’d like to thank 2022 for calming the fuck down for two seconds so we could do some stuff.

I’m not used to talking this much about myself this much, so I’m gonna stop that now and say thank you to our customers/friends for being the coolest.

Until we meet again.

-Angela

Hi Sorry State readers! Hope everyone is doing well. Things are busy as usual around here, so thanks so much for your continued support! I’ve been in a new wave mood for the last week or so, and enjoying the nostalgia. The other day I played a ‘Til Tuesday radio mix on Spotify, and needless to say, there were some bangers in there.

So I finally decided to check out Home Front’s debut EP, Think of the Lie, released by the always excellent La Vida Es Un Mus. Home Front is a Canadian duo, and a lot of you seem to really like the record. Ya’ll have great taste, so I trust you. I had no idea what to expect, but I knew it was a new wavey pop kind of record. It is. It’s reminiscent of the Cure or New Order. And if it was playing during an 80s prom scene in a John Hughes film, it wouldn’t sound out of place.

Graeme MacKinnon, the singer, sounds a bit like Robert Smith, but more charged up and anthemic in his delivery. He sings, sometimes shouts, with a bit of attitude. Like he has something to say, and he’s gonna make sure you hear it. But still, if he dialed it down a few notches, you’d definitely hear the Robert Smith in his voice.

This EP is melodic, and it’s an easy listen. There is a really cool interplay of synthesizers and guitar, which gives the record an indie pop feel. And the darker bass lines and drum beats give it a new wave vibe. Collectively, it all works. It makes you feel nostalgic without leaving you in the past. I think Home Front’s more aggressive attitude helps pull the listener toward the future. The title track, Flaw in the Design, best exemplifies the fusion of old and new. It’s my favorite track on the album.

The second track, a Bit of Dust, totally reminds me of the Pornography era of the Cure. The intro is haunting with weird screechy and creaky noises, and a build up that keeps you interested in what’s around the corner. But when the vocals kick in, they go off and do their own thing. I know I’ve made a couple Cure comparisons, but their sound is probably more in line with New Order.

I think one of the main differences between Home Front and their predecessors is that their songs feel very centered around the chorus, and making the chorus sound big and anthemic, and something you can sing along to. It’s pretty much a full-on pop record. While the EP is sonically interesting, the band keeps things pretty tight and focused.

It’s definitely worth a listen if you’re up for some new wave pop nostalgia that’s still fresh, and with a little bit more attitude.

Thanks for reading! Until next time!

-Angela

Hey Sorry State readers! How are you? It’s been a meh kind of week for me. A lot going on that I don’t want to do, like dental work (please go to the dentist more frequently than every four years). It feels like a lot of the things I’ve majorly procrastinated on are now coming to a head. Something I don’t procrastinate on is listening to music. How’s that for a positive segue into my staff pick?

This one’s tough because I really like the Sirkka release (it’s so bad ass, highly recommended) but I figured someone else could do that write-up more justice at this time. So, I’m going with a band that’s not new, but new to me: Vanilla Poppers. I’ve been playing their EP, I Like Your Band, on repeat.

I think most of the band is from Melbourne, but for the last several years they made Cleveland their home. Still not sure why they chose Cleveland, but they actually found the scene to be very welcoming. But I think most of the band actually moved back to Melbourne.

Anyway, the EP is raw, somewhat melodic hardcore played with the utmost confidence. Vanilla Poppers get straight to the point and play with such urgency. It’s full of classic and interesting riffs and fast and furious drumming. The opening hook on the first track, Get Away from Me, is so killer. But it’s the singer’s wailing, screeching, vocals that take center stage for me. Not only are they cutting, but full of early 70s punk attitude.

The lyrics are simple but funny, and cover things like fake friends and being broke punks. And also the ritual of meeting people in the bathroom at punk shows and telling lies like “I like your band.” Which also happens to be the catchiest track on the EP. The EP is only four songs, so it’s over way before you’re ready.

I think if you like Judy and the Jerks, you will like Vanilla Poppers. Unfortunately it’s sold out on our web store, but I highly recommend checking them out.

Thanks for reading! See ya next time.

-Angela

https://vanillapoppers.bandcamp.com/album/i-like-your-band

Hi Sorry State fam! Hope you all enjoyed some time off doing things you wanted to do over the past couple weeks. I went to Ohio to spend some time with family, then made it back to Raleigh for the actual holidays. Riveting stuff. It’s good to be back. Let’s go.

I’ve been listening to Sluggo’s S/T record daily for a couple weeks. It includes their well-received debut EP, Contradiction, and their second EP, Eighty-Four. The latter has never been released until now. Smash the two together and you get Sluggo’s first (and only) full length.

I hadn’t heard of Sluggo, but I saw the words Cincinnati and hardcore on the hype sticker, and my curiosity was piqued. I’ve never thought about the presence or absence of a punk or hardcore scene in Cincinnati. I grew up five hours north in Akron, so to be honest I never thought much about Cincinnati, period. Sluggo brought me up to speed in a great zine that comes with the record. Their bio is really interesting, and there are a ton of old fliers from killer shows they played.

A couple of hardcore-loving teens (as young as 14 and 15) living close to Cincinnati had the epiphany that their idols, like Minor Threat, look for local hardcore openers. But there were no local hardcore bands in Cincinnati. Cincinnati was not void of a punk scene, but they weren’t playing the more intense, faster style that characterized hardcore. So Sluggo was formed, becoming Cincinnati’s first hardcore band, and positioning themselves to quickly get on some of the best hardcore bills.

Oh yeah, their music. This is a really good record that truly gets better with each listen. It’s a smart mix of hardcore and ‘77 punk. They strike just the right balance in their music with a few lighter, mid-tempo tracks on each side. Also, lots of stand-out bass riffs and drum breakdowns. The intensity behind the guitar playing is pretty impressive too, given their ages. Speaking of which, Sluggo’s admiration for Minor Threat fueled their decision to add a second guitar by their second EP. It’s cool to hear the sonic differences between the two EPs, but I wouldn’t say the dual guitar set-up made them sound significantly different. The record sounds pretty cohesive.

You will definitely hear the vocal stylings of Minor Threat on the songs Demise and Figure it Out. And although Sluggo sounds less angry, when they shout “figure it out!”, it sounds like their version of “did you fucking get it?” Get it?

Anyway, I really like the super catchy songs like Put it Off and Friends I’ve Made. The riffs and beats on the latter track remind me of early Ramones. The song is said to be inspired by Sham 69, and you can tell. The sickest bass award goes to hardcore favorite, What Happens Next. That particular song was the only part of Sluggo to make it on a label, as it was featured on a Mystic Records compilation.

Sluggo’s sound was entirely different from the hardcore style that would soon emerge out of Cleveland. Sluggo would be more like Cleveland’s chill cousin down south who wouldn’t steal your wallet and beat you with it.

The story of Sluggo has its share of drama that would lead to line-up changes and ultimately, their dissolution. They were a new young band quickly gaining attention and playing gigs with major hardcore acts (see Sluggo zine). This would probably overwhelm anyone, but most of these dudes were one foot out of puberty. Even if short-lived, Sluggo made an impact and some impressive material.

It would be a shame if they never got a proper release, even if was 40 years later. So, what does one do when faced with this challenge? Obviously, you’d swing by Steve Albini’s electrical studio for a proper polish and transfer, pass go, and collect your accolades. And probably some closure, too.

We don’t have a ton of these in stock, so I wouldn’t sleep on Sluggo. It’s a great listen and the bonus zine is really well done.

As always, thank you for reading. See ya next time!

-Angela

Hi Sorry State fam! How is everyone doing? I’m leaving in a couple days to go to Ohio to see my family, so the pre-travel stress is in full effect. I’m not much of a planner, but I do lie to myself quite frequently about how this year is going to be different. It never is. So trust that I will be running around panic packing a few hours before I go to the airport, and frantically downloading music at the gate. Ugh, let’s get right off that topic.

At least a lot of cool shit is happening in Sorry State land! One of those things was the release of the ISS Spikes+ compilation album. It’s also my staff pick. I feel like I’ve really missed out because I hadn’t heard any ISS until a couple months ago on the American Idylls compilation that Sorry State released some time ago. So, the Spikes+ record allowed me to take a shortcut through their discography, and now I’m kinda working backwards and listening to individual releases.

Dude. I really love this record. It’s is a great way to get up to speed with a band you’re not that familiar with. It’s also a great way to journey through the many styles of ISS all on one convenient record. That’s all great but it makes it challenging for me to streamline my thoughts on the music.

Simply put, it’s just fun as hell to listen to and I really click with the music. I can’t imagine anyone (within reason) not enjoying the hell out of the anthemic opener, Spikes, Too Punk for Heavy Metal, or Wanna be Dated. All are fun, high-energy tracks. But there are many twists and turns on this compilation. You also get some darker, new wave sounds in songs like Sexts and Guidance, and more hardcore belters like Facemask. Basically, Spikes+ is like getting a gift basket of a bunch of cool stuff.

Prior to digging into ISS, I wasn’t aware of their use of samples from punk and other genres to construct new songs. So, its been fun for me to pick up on bits and pieces of some of the songs I recognize. I’m pretty sure I heard Siouxsie and the Banshees, and I definitely heard the Cure, Public Enemy, and the Dead Kennedys. And much more where those come from.

I think the use of sampling is a great way to enhance a song, but it’s also just a smart way to engage a new audience. That said, it’s definitely not something they have to rely on. It’s just another tool, and ISS happens to be really skilled at using it.

Besides that, there are some great beat drops, and catchy lines. The vocals are fantastically diverse, ranging from sometimes snotty, sometimes mean, sometimes serious, sometimes not. The lyrics are clever, and the the songs are thoughtfully and creatively structured. ISS has a talent for knowing what should go where. That sounds like a really caveman way to describe a difficult task, but it’s all I got.

Collectively, ISS Spikes+ is a bundle of energetic, dancy, punky, noisy, sometimes chaotic, sometimes more stripped down, but never ever boring songs. If you haven’t gotten your hands on one, I strongly recommend you give it a shot. Take a listen below!

As always, thanks for reading.

-Angela

https://sorrystaterecords.bandcamp.com/album/spikes

Hi Sorry State readers! How’s it going? All is well on this end. Let’s jump into the fun stuff.

Powerplant’s EP A Spine/Evidence is one I’ve been enjoying for a while now, so it’s time to shine the spotlight on it. People in the Sun, their 2019 full length, has always been a popular one among our customers. I like it too, but I think this 2020 EP is my favorite in the Powerplant discography. It’s more simplistic, less animated, and overall just more accessible. It’s still synthy, but it’s more subtle and sounds more post-punk than their other stuff.

Evidence is the catchiest and most accessible track, which is probably why it’s placed right in the middle of the EP. It’s the most no frills post-punk sound of the bunch, and has the cleanest beat. I actually wish it was a little longer.

Prelude is what it sounds like. A prelude. It also sounds like the intro to a Goosebumps episode. But it sounds really cool paired with the super fast and frenzied album closer (Hurtwood). Hurtwood is the culmination of all the twists and turns up until this point, and it really ties everything together. I like the vocals best here because they’re the most raw, and that style juxtaposes the synthy sound nicely. If the vocals were dark and brooding like they are on the first track, Hurtwood would sound way too gothy and dated for me.

Anyway, I’d like to hear more of this style from Powerplant in the future. That’s all for now.

Thanks for reading!

-Angela