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What’s up Sorry State readers? I hope everyone has had a nice week. As spring approaches and the weather heats up, I find my listening habits start to change too. It’s hard not to crave some good rhythm and warm sounds while enjoying a nice sunny and 70 day. This past week I picked up the newest release from Analog Africa, Gnonnas Pedro & His Dadjes Band - Roi De L’Agbadja Moderne 1974-1983. I’m a sucker for the world/international section in a record store and we had just got in some cool new arrivals at Sorry State, but this one really caught my eye/ear. A very high quality 2LP release that includes a nice gatefold jacket and an incredible booklet that includes a bunch of great interviews, photos and biography about the man himself. Not that I’m usually super in depth with my reviews, but I don’t have much to say about this one other than it’s really good music and I’m glad I discovered it. My favorite tracks on here would probably be Agbadja Moderne No2 and Gbeto Enon Mon. I wasn’t too familiar with Analog Africa before this other than the African Scream Contest compilation, but their releases are definitely gonna be on my radar going forward. I’ve already found some past releases that definitely catch my attention like the Cameroon Garage Funk compilation. Luckily, it seems the label has most, if not all, their releases available on their Bandcamp for your listening pleasure. Definitely check this out so you have some fresh new tunes to enjoy this spring/summer.

What’s up Sorry State readers? I hope everyone has had a nice week. I can’t believe I’m sitting here writing this while Raleigh gets another snow day, woohoo! What better time to lounge around and listen to some cozy music. Today I decided to throw on a record I got for my Valentine (although maybe it was secretly also for myself) the Be My Valentine, Charlie Brown soundtrack by Vince Guaraldi. Even though the holiday has already passed, this music can be enjoyed throughout the year. Dom put me on to these Peanuts holiday special soundtracks they’ve been putting out recently and they’re all awesome. I especially like It Was a Short Summer, Charlie Brown. I hadn’t snagged any of them yet though, so when I heard this one and really dug it, I had to pick a copy up. It comes with a nice insert that gives lots of info about the special and the recording of the soundtrack, and the vinyl is a very fitting Valentines red. It’s perfect relaxing background music that you can get some real good thinking done with, but also if you do kinda zone out and snap back to it you’re like, “damn this is really good.” Great for staring out your window and watching the snow fall. Dom and I both are fans of the track Woodstock’s Mambo. Badass name aside, it kinda comes out of nowhere on the soundtrack, sounding like something that came out like 20 years after everything else on there with a funky ass synth line. Woodstock is kooky like that, so he gets a funky song. For more of the kinda straightforward stuff on here, I really like Freddie’s Mood, which is based on Chopin’s Nocturne op.9 No.2. My favorite track on here though, is Jennie L. I don’t know how to describe it accurately, but it just makes me feel very happy. It has this kinda dreamlike sound to it with the synth and I just can’t get enough of it. I always find myself playing that one back. Also, I have to give a shoutout to the Music Supervisor on this, John Scott Trotter, simply because I don’t come across many other John Scotts. If you like Peanuts and good music, then these soundtracks will be right up your alley.

What’s up Sorry State readers? I hope everyone has had a nice week. Billy Strings just wrapped up a six night run up in the mountains of Asheville spread across two weekends and it was an absolute barn burner. No songs repeats over the six nights either, which I have big respect for. I had the pleasure of attending the first three nights and had a ball. I’m sure everyone reading this is aware of the hurricane that struck the area a few months back and completely destroyed certain parts, so it was nice to spend some time up there and support local businesses as best as we could. If you’re familiar with Asheville, you know that’s easy to do as it’s full of incredible restaurants of all types. We stayed right in the middle of downtown, so it was nice to just walk to and from everywhere and we got lucky with 70 degree weather all weekend. Anyways, the shows were incredible. It’s no secret Billy loves Asheville and NC as a whole, as they play here all the time throughout the year. I think bluegrass and folk music is so ingrained in the history of NC that you can just feel it in the air. As Billy put it, “you can walk down the street here and everyone knows who Doc Watson is.” I always appreciate at NC shows how he pays respect to the legends that came before him by playing lots of old timey traditionals and folk standards. This time I caught a song I’ve been wanting to hear forever and finally got it as the encore the first night, Salty Dog Blues. A folk song dating back to the early 1900s that’s been covered by countless artists like Misssissippi John Hurt, Lead Belly, Doc Watson, Flatt and Scruggs… the list goes on. It’s debated what the song is really about: “let me be your salty dog or I won’t be your little man at all.” I always heard it as a guy being like “I wanna be your man, but I also may be a bit of a dirty dawg.” It’s just a funny, tongue-in-cheek song and different lines and lyrics have been added in throughout the years, depending on which dirty dawg may be singing it. There were some pretty great lines from this version such as

“I like gravy, I like grits, I like girls with great big teeth”
“Two old men laying in the grass, one’s got a finger in the other man’s ear”
“I met a girl and she was willin, now I’m taking penicillin”

I think y’all may get the gist of it now. I’ve really worn my girlfriend out with that grits line. To wrap it all up, it was a great weekend full of incredible music and it was awesome to see the streets of Asheville full of life and happiness again after a historic and unimaginable natural disaster and the hard months that followed. Thanks Bill!

What’s up Sorry State readers? I hope everyone has had a nice week. In classic North Carolina fashion, we have gone from snow to springtime in the matter of a week, although I’m sure the winter weather will return with a vengeance. I’ve been off my movie game the past month or two, but have gotten back on track and have been hitting the theaters heavily recently. One movie I saw the other week was actually a sequel to a movie I wrote about back in October, Basket Case 2, and I can safely say it was one of the most out of left field movies I’ve ever seen. Truly a fever dream of a film. If someone out there listened to my recommendation and watched this, I implore you to watch this sequel. I’m not here to talk about blob coitus though. This past Thursday I went and watched Profondo Rosso (directed by Dario Argento) at the Rialto here in Raleigh for the conclusion of their “Gialo January” series. The movie features an amazing, off the walls score by Goblin. This actually marks the first time the Italian band worked with Argento, and they would go on to work on many more films together, including Suspiria two years later. I can’t lie, and maybe I’m showing my ass here, but I wasn’t completely in love with the film. Not to say it isn’t shot beautifully and isn’t entertaining, including some funny dialogue, but I guess it wasn’t my cup of tea. It also doesn’t help that the theater is next-door neighbors with a hookah lounge blaring music the whole time, but that’s besides the point, not even the bombastic bass could overshadow this creepy and captivating score. The title track is like the Halloween Theme’s cool older cousin that smokes weed. I’m not sure if that’ll make sense to anyone else, but it does to me. This score is not afraid to go out there, but if you’re familiar with Goblin, then you already know this. Come for the Italian murder mystery, stay for the bangin’ Goblin score.

What’s up Sorry State readers? I hope everyone has had a nice week. Raleigh finally broke its 1000+ day drought of no snow this past week, which was a welcome surprise. It’s always fun to watch the city shut down from an inch or two of snow and everyone buy up all the milk and bread for some reason. This week I’ve got another blues banger lined up for my pick this week, Hound Dog Taylor and The HouseRockers. I’m pretty sure any time I’ve put this on while I’m in the store, a customer will come up and ask about what it is. All killer, no filler on this 1971 release, which launched the now legendary Alligator Records label. At the time, a 23-year-old Bruce Iglauer was a massive blues fan and wanted to put out a record by his favorite Chicago blues band, Hound Dog Taylor and the HouseRockers, so he scraped all his savings together and went and recorded them and started his own label, Alligator, and pressed about 1000 copies. The rest is history. I’m forever thankful of individuals from the past that heard such great music and thought, “damn I gotta record this so everyone can hear this,” because now we’re left with this rich history that can be so exciting to explore and learn about. Anyway, the music on this record speaks for itself; if you like the blues, you’re gonna love this record. It’s just rocking the whole way through (as if the HouseRockers are gonna do anything other than rocking the house). I’m always a big fan of the slinky sound of a slide guitar and it’s in full effect on this record. I also really dig Hound Dog’s vocals on this. They’re a little bit higher than a lot of his Chicago blues contemporaries. My favorite track on here would probably be his cover of It Hurts Me Too, about as good as it gets.

What’s up Sorry State readers? I hope everyone has had a nice week. It’s been chilly here in Raleigh, but I’ve been staying warm listening to some classic heat here, Bo Diddley Is A Gunslinger. Often when I’m at the store and need to throw something on real quick, I’ll pay a visit to the blues section cause it never disappoints. This copy is a repress on Chess with a nice laminated cover and sounds great. Clocking in just under 25 minutes, this record is short n sweet but packs a real punch in that short time. The opening track, Gunslinger, gets things going, and the train keeps on rolling through Ride On Josephine and before you know, you’re Doing The Crawdaddy. This album features all originals by Bo Diddley except for a phenomenal cover of Sixteen Tons, which sounds totally different from any other version I’ve heard, but it’s great. A certified classic, worthy of adding to anyone’s collection. If you ever find yourself in Oxford, Mississippi, there’s a bar in the downtown square that has cool ass paintings of Bo Diddley and Robert Johnson and other Mississippi legends.

What’s up Sorry State readers, I hope everyone has had a nice week. We got faked out by some snow as usual here in Raleigh this past week. It’s starting to feel like we’ll never get a real good snow ever again. Maybe I should consider us lucky for not having to deal with it, but I’d be lying if I said I didn’t love a good snow day. Anyways, last week we had our year end lists here at Sorry State and it was awesome to get to read everyone’s list. I’m lucky to have coworkers with such awesome taste in music. This week I’d like to talk about a record I had mentioned in my list actually, The Soul Jazz Records compilation Punk 45 - There is No Such Thing as Society (I’m gonna just go ahead and shorten it to that) which features UK underground punk and post-punk from ‘77-‘81. I picked this up when I was over in London at Sounds of the Universe, which I was really excited to visit on my trip over there. It’s always interesting to listen to music from the end of a decade going into a new one. I feel like you can really hear certain sounds and ideas taking shape before they’re really fully formed. This compilation is particularly great as you get so many styles on here, from the more garage sounding stuff like The Users’ Sick of You, to more dancey/electronic stuff like 23 Skidoo’s Last Words. One thing all these songs have in common, though, is that they’re catchy as fuck and they’re all kinda just lighthearted and seem to not be taking themselves too seriously on tracks like The Shapes’ Wot’s For Lunch Mum? These British lads are all cheeky as hell. You get some real punk rock bangers on here too though, like Puncture’s Mucky Pup, which I believe Sorry State still has some 7” singles of a recent reissue if you wanna pick that up. I think all the Soul Jazz Punk 45 compilations are great and give you a bunch of info about all the releases they include, but I really love this one particularly. Definitely check it out if you haven’t before.

Underage: Afri Cani 7” (Attack Punk Records, 1983)

It’s been a while since I featured an obscure 80s hardcore record as my staff pick, so I’m righting that wrong today with this 1983 EP from Italy’s Underage. It goes without saying that I’m a huge fan of classic Italian hardcore. After filling in on guitar for Golpe for a few gigs, I even consider myself something of an honorary Italian. (Since those shows, I’ve noticed my spaghetti tastes more authentic). That peninsula produced (and continues to produce!) so much great punk, much of it with a distinct flair you don’t get from anywhere else in the world. There’s also something romantic about the original vinyl from this scene. I remember when I was first hearing this stuff, records like Raw Power’s You Are the Victim or Cheetah Chrome Motherfuckers’ 400 Fascists seemed unattainable, but I’ve tracked down copies of both over the years. I still don’t have a Wretched / Indigesti split, though! What I couldn’t have known until I held these artifacts in my hands was that the packaging and design was often just as distinctive as the music, typically handmade and packed with text and graphics, in keeping with the anarchist values so many in that scene held.

Back to Underage. Underage was from the Southern Italian city of Napoli. While I’m no expert, I am aware of the cultural divide between Northern and Southern Italy, the North being richer and more connected to European culture, while the South is poorer and more connected to the Mediterranean world. I wish I knew enough Italian to glean more from the dense insert booklet that comes with Afri Cani, particularly the essay on the back page by Jumpy from Attack Punk Records. It starts with the words, “Africani, Marrochini, Terroni”—Africans, Moroccans, and Terroni (a racial slur referring to people from Southern Italy and/or of Southern Italian heritage)—and the words I can make out paint a picture of a turbulent environment rife with injustice. There’s clearly a lot to be said about that topic, given that most of the classic, best-known Italian hardcore bands came from the more affluent North.

Musically, Underage is—like so many other Italian bands—most notable for their idiosyncrasies. They clearly take Discharge’s raw and primal hardcore as a big influence, but the charmingly shaky drumming, piss-raw production, and (most of all) the truly bizarre guitar sound are the aspects of Afri Cani that I find the most interesting. The EP’s highlights include “Thanks U.S.A.” with its Void-like pitch-shifted backing vocals, and “Entro Domani,” which captures something of Discharge’s sinister tone on Hear Nothing See Nothing Say Nothing, albeit without that record’s huge production. Both politically and aesthetically, Afri Cani feels like a radical statement, which is in keeping with Attack Punk’s other releases by raw bands from under-appreciated scenes like Spain’s MG15 and Yugoslavia’s U.B.R. It’s clear from the 9(!)-song track listing and the dense insert booklet that Underage had so much they wanted to say to the world.

While I couldn’t find much info about Underage in English, I discovered their drummer, Davide Morgera, wrote a book about his time in the band and the scene called Africani, Marrochini, Terroni, though it’s in Italian and also appears to be out of print. The one anecdote I found about Underage presumably comes from that book. 1983, Underage was offered an opening slot for the Exploited in Bologna, and after traveling all the way from Napoli to Bologna for the gig, the band Bloody Riot (whom I also like) jumped on stage and played instead of Underage, bullying the band out of their prestigious opening slot. After traveling dejectedly back to Napoli, the guitarist quit the band, effectively bringing Underage to an end.

What’s up Sorry State readers? I hope everyone enjoyed their holiday season and end to 2024. I can’t believe it’s already that time again. Another year in the books and time for a year end roundup. I hope everyone else had a great year like I did. I discovered a ton of great music, saw a bunch of amazing live shows, and got some good traveling in as well. The following, in no particular order, are ten of my favorite records I got this year. A note that not all of these are records that came out in 2024, but new to me this past year.

Homemade Speed - Faster is Better 7”
This record just rips straight up. Definitely one of my favorite hardcore releases of the year and I love the Keith Caves cover art as well. Killer from start to finish. I would love to see these guys live one day.

Cicada - Wicked Dream 7”
After an amazing demo, this Richmond band struck again with this incredible release. Only bangers from start to finish. I’m really looking forward to more music from this group.

Tiikeri - Tee Se Itse 7”
I can’t help but smile when I listen to Tiikeri. It’s just fun music to listen to. Everything this Finnish band puts out just seems so fresh and full of life. Definitely always a hit amongst us here at Sorry State.

Public Acid - Deadly Struggle 12”
Hell yeah Public Acid! Another ripper from start to finish. It feels like a lifetime ago when this came out in February; I had to double check this came out in 2024. Right up there with one of my favorite bands to see live, they always bring the house down.

Various - Punk 45: There Is No Such Thing As Society - Get A Job, Get A Car, Get A Bed, Get Drunk! - Vol. 2: Underground Punk And Post-Punk In The UK 1977-81 12”
Quite the title, huh? Originally released on CD in 2013, I picked up this bad boy on my recent trip to London at Sounds of the Universe as I saw it fitting to commemorate my trip across the pond. There are so many catchy songs on here, but the Notsensibles I’m in Love With Margaret Thatcher has been stuck in my head since I heard it.

Various - Studio One Dub 12”
Another record I picked up in London. What can I say? I love a good compilation and this is about as good as they come. A great one to just throw on and relax. I could easily just listen to a bunch of dub compilations all day and never get tired of it.

Various - The Roots Of Chicha (Psychedelic Cumbias From Peru) 12”
Okay, one more compilation I swear. I picked this one up when I was over in Seattle this past summer. I discovered my love of Peruvian music this past year thanks to Dom and am thankful for it. If this record doesn’t make you wanna shake them hips around you got a problem.

Jimi Hendrix - Songs For Groovy Children (The Fillmore East Concerts Highlights)
This record came out this past Black Friday, and I had to snag it. This is just a few songs picked from his Filmore East shows on December 31, 1969 and January 1, 1970. I’d love to get the whole box set one day, but this is a much cheaper option. They did a great job of selecting the songs they put on this one. I love this version of Izabella and I could listen to Jimi rip up Machine Gun for 24 hours straight and not get tired of it. All hail Jimi.

Doc And Merle Watson - Never The Same Way Once - Live At The Boarding House - Thursday, May 2, 1974
You bet your ass I was gonna get some bluegrass on here. Honestly, I think I could safely say this is my favorite record I own. I love Doc Watson, and I love live albums and this one truly makes it feel like you’re stepping back in time and you’re right there in the crowd listening to Doc and Merle pick on some classics. If I could ever go back in time and see an artist live, it would be Doc, so this is about as close as I’m gonna get and I ain’t complaining. Thank you Owsley Stanley for this incredible recording (and everything else).

Billy Strings - Live Vol. 1
You know I had to get my boy on here. I’ve said so much about Billy and his live shows in past staff picks, but I really can’t emphasize how great this band is live. I’ve had so much fun at shows with friends and family both and it’s so awesome to have that experience captured on vinyl. I’m already eagerly anticipating Vol. 2 and know it won’t disappoint. The next show is always the best one.

What’s up Sorry State readers? I hope everyone has been having a good December. As I’m sure you’ve heard a million times at this point, I can’t believe the year is nearly over. Time flies! I recently returned from a very fun trip to Edinburgh and London and had a fantastic time out there. Especially Scotland. Hopefully I’ll be able to get back out there one day and explore the Highlands and more of the nature because it seems like it’d be right up my alley. Today I’d like to talk about something not related to music or really any media at all, but more of an experience. London can be a very overwhelming city, especially if it’s your first time visiting. There’s so much cool stuff to do and places to check out, but only so many hours in a day. There’s also a bunch of dumb shit, like any major city, and you kinda have to wade thru the bullshit to find the good stuff. One day while we were there, me and my girlfriend were out shopping for vintage clothing. We went to an area that was supposedly flush with vintage shops and a large market where people set up booths. I love going to different areas and looking for cool vintage shit cause you never know what you’ll find in different places, so I was excited to check it out in a whole different country. I was greeted with immediate disappointment, “re-worked” Carhart jackets that aren’t even a year old, Levis from 2022, the works. I don’t know if this is a result of social media, the internet, everyone and their mama wanting to sell vintage clothing or a combination of it all, but it seems individuality has gone out the window a bit. Everyone sees the same trends and styles online and it creates kind of a hive mind. Do these people even care about what they’re selling, or are they just trying to put some quick cash in their pockets? I’m not trying to sit on my high horse here and act like I know everything and have the ultimate authority to say what’s cool and what sucks, but it’s a bit disappointing when you’re in another country trying to find some cool different stuff and it feels like you’re just shopping in some lame rich kid’s store back home who got interested in vintage 6 months ago and his parents bought him a retail space. After a couple hours of finding absolutely nothing, I was feeling jaded and discouraged. While walking out of another disappointing store, something caught my eye across the street, a sick ass vintage military jacket hanging in the window. I almost didn’t even bother, but I thought why not and wandered in and I’m so happy I did. Levisons is a cozy, small store which was absolutely stacked with all my favorite shit: British, French, US military/work wear from the 30s-60s. I could’ve spent all day flipping through this stuff. It was all so sick. You could tell so much love went into this store and it was actually curated by the owner’s own style and taste. I got to talk with the owner, Michael, a bit and he was so knowledgeable and nice and told me how it all kinda came to be. We shared the same sentiments on vintage clothing and how each piece of clothing can be so unique and tell a story of its own. It was so refreshing to find a store that actually felt like it had a soul and someone behind it that really cared about what he was doing. I ended up snagging something I’ve wanted for a hot minute, a nice 50s French moleskin chore jacket that fits perfectly. I’m so thankful for people like Michael who do what they do for the love of the game, not for a quick buck. Whatever you do, do it with a love and appreciation for whatever that thing is and it’ll be 100x better.

What’s up Sorry State readers, I hope everyone has had a nice week. Last week here in Raleigh we had two great shows: one with Meat House, Shaved Ape, and Bloodstains which was a bunch of fun, and the other show featured Ultimate Disaster and SLANT all the way from South Korea who tore the roof off the building. Always a good week when you get to go to two ragers. Anyways, it feels like forever since I’ve written anything, especially about music cause last month I was just writing about movies to celebrate Halloween. It’s only right that I come back with a banger, Rupa’s Disco Jazz, put out by the Numero Group. Daniel had mentioned this record way earlier this year and I remember checking it out when he did and thought to myself “man this is amazing!” I’m focusing on the 7” release today which features Moja Bhari Moja on the A-side and East West Shuffle on the B-side. The album was originally released in 1982 in India and features a variety of different players. There’s a quote on the back that says, “The first objective of this album was to create vibrant, new dance music with universal appeal” and I think they definitely achieved their goal. If this record starts playing and you’re not at least bopping your head along to it, you must be a real stick in the mud. I am especially a fan of the B-side; it has this bounce to the beat that’s very infectious. It’s got everything: some groove, funk, a killer bass line, and sarod and tablas! What more could you ask for? Definitely give this one a spin if you haven’t checked it out yet.

What’s up Sorry State readers? Another month has flown by. Halloween is this Thursday and I’ll be driving up to Baltimore for two nights of Billy Strings and company performing the music of O Brother, Where Art Thou?, and to say I’m excited would be an understatement. Not only is it one of my favorite movies, but it also has one of my favorite soundtracks for a movie and ‘ol Billy always puts on a hell of a show for Halloween. My girlfriend and I will be dressing up as Ash and Linda from Evil Dead and I’m excited to see other people’s costumes. Since the month is almost over, I guess this will be my last write up about a movie and this one isn’t even really a horror movie. It’s probably the least Halloween-y one I’ve written about, but I still think it’s worth mentioning. Continuing from last week with the theme of psychological terror, this week I’m writing about the 1971 Australian film Wake in Fright directed by Ted Kotcheff and written by Evan Jones. Like some of the other movies I’ve talked about this month, I caught this one probably a month or two ago here at the Alamo in Raleigh and instantly loved it. I had never heard about it before going to see it, but the description for it sounded very appealing and I trust Raleigh Alamo’s Weird Wednesday picks. This film follows a young Australian school teacher who, because of a financial bond he signed with the government, must teach for two years at a small school in the outback. He plans to go visit his girlfriend in Sydney for the holiday so he heads to the nearby town of Bundanyabba (AKA The Yabba) so he can catch a flight there. When he arrives, he heads to a local pub where he meets a police officer who befriends him over a couple of pints. The officer then takes him somewhere where a room full of people are illegally gambling on a game that’s essentially just flipping a coin. Our main character joins in and happens to find some luck and win a couple games, probably making more in those games than he had all year teaching. He sees his way to financial freedom and paying off his bond in one fell swoop, put in all that money he made and let it ride. He loses it all in two rounds. The ultimate gambling sin: never wager what you can’t afford to lose. Now penniless and stuck in The Yabba, he turns to the people of the town and the bottle. The rest of the movie is watching this seemingly put together man unravel in the heat and exhaustion of this mining town and its wild inhabitants. Drink all day, drink all night. If you’re hungover in the morning, keep drinking. Very similar to The Lighthouse, which I wrote about last week. Maybe it says more about me that movies like these freak me out the most. This story actually seems not that far-fetched.=; maybe it could even happen to YOU! Okay maybe not, but all I’m saying is if I was all alone in the middle of the outback, there may be some overlap (maybe minus the kangaroo hunts.)

What’s up Sorry State readers? I hope everyone had a good week. Man, this month is flying by! I can’t believe Halloween is just around the corner. Time waits for no one. Continuing on with the theme of horror movies this month, the film I’m writing about today is probably my favorite genre of horror, psychological horror. While I love watching a good slasher, what really gets my gears going is watching something that really fucks with your head. Often when me and my girlfriend are sitting on the couch trying to figure out what to watch, she’ll say “can we watch something made after 2000?” Fine, we can’t always live in the past. At least this movie is in black and white and takes place in the 1800s, so we got that going for the old time feel. Today I’ll be writing about The Lighthouse (2019) starring Robert Pattinson and William Dafoe. I actually really enjoy Robert Pattinson as an actor. For the longest time I only knew him as the dude from Twilight, so I didn’t think much of him until I saw Good Time (2017) and really loved how he played his role in that. I’ve been a fan since. Pattinson’s character Winslow is set to begin his month long stint of keeper at an isolated lighthouse while under the supervision of Thomas Wake (Dafoe’s character), a former (and drunken) sailor. Basically, this whole movie is just Wake breaking the spirit and psyche of Winslow. You watch these men slowly lose their sanity and descend into madness as they hunker down in a lighthouse getting drunk off kerosene and having visions of sex with mermaids. Or was it a vision? This movie does such a great job of mixing reality with the delusions of a young man and it becomes hard to tell what’s real and what’s not. Who’s telling the truth and who’s already gone so far off the deep end there’s no coming back. Both actors do a fantastic job of displaying the madness of their characters and make you question everything. I think this is easily one of the best films to come out in the last decade. If you haven’t already seen it and are looking for a different kind of horror this season other than bloody violence, definitely give this one a watch.