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Hi and thanks for reading.

Today I will write briefly about the NEGAZIONE / DECLINO split, Mucchio Selvaggio. I don’t know a ton about Italian hardcore, but this record is absolutely essential if you ask me. It seems like 80s Italian hardcore was blessed when it came to releasing killer split records, more than any other country I can think of. I am really happy there is finally an official reissue of this iconic LP, or cassette more like. Mucchio Selvaggio was originally released on cassette in 1984 as a co-production between two labels: Disforia Tapes and Ossa Rotte Tapes. Disforia was operated by members of NEGAZIONE. Ossa Rotte Tapes was a label operated by Stiv Valli and Marco Medici, who was the vocalist of CRASH BOX. These guys were well known for a fanzine they started in the early ‘80s called Teste Vuote Ossa Rotte. A few years after they stared the zine, they also started releasing cassettes under Ossa Rotte Tapes. They only had a handful of releases with this label, including the CRASH BOX demo in 1983. The label kept evolving, and in 1985 they released their first record, INDIGESTI: Osservati Dall’Inganno, under the name TVOR On Vinyl. Mucchio Selvaggio surprisingly had three different printings on cassette, and in 1986 it was finally reissued onto vinyl by UK label C.O.R. Records. I actually always thought there were only two different versions of this tape, but inside this reissue there is a copy of an advert stating “third reprint.” Crazy.

This was the record that really put DECLINO on the map for me, cos I really had no idea who they were before I heard this split. I used to think this was my favorite DECLINO shit, but I don’t think I could choose now. Their 7" debut almost sounds almost like a different band. They play a bit slower and they sound a lot less chaotic. While it was not initially what I expected, the EP quickly grew on me. Call me crazy but I think it sounds like this record could have been released on Dischord, haha. The evolution from this record to Mucchio Selvaggio is pretty wild. Their sound on that record is really how I think of them, but the evolution continues on to their LP in 1985, Eresia. The quality of recording on this record is probably the best of all their records. I am disregarding the sound of the live tracks at the end, even though those tracks don’t sound bad at all for being live. I usually associate Italian hardcore with being fast and chaotic, but on the sloppier side. This record is absolutely fast and chaotic, but played so tight. It is absolutely killer. They can build such a great tension and then fucking explode. God, and the guitar is way too good. This used to be the material I listened to the least, but if you can’t tell, I have been playing the hell out of it lately, haha.

So, this reissue was done by a new Italian label called Rocka Tapes. I have no idea anything about them really, but this is their second release. The first release was a reissue of the CRASH BOX demo! I had never heard this demo, but it was a must if you ask me. I really appreciate how the label did a cassette version of the demo alongside a proper LP version. They’ve done the same thing with Mucchio Selvaggio. For any nerds who need the original cassette format, we’ve got you covered. I am one of those nerds and needed both versions. They’ve included nice scans of the complete j-card inside the LP reissue, so you don’t really need the cassette if that’s what you’re really looking for. The sound on the LP is also great. While the packaging may not be the coolest in my eyes, I think the reissue is really well done, and it’s essential in every collection. The original LP version is getting harder to find and more expensive, so I am happy this is available again. Alright that’s about it for today. I hope Rocka Tapes plans to hit us with some more essential Italian hardcore reissues! Cheers and thanks for reading everyone.

Hey what’s up, Sorry Staters? I hope you are all doing well. I know it’s a crazy world out there right now. Elections, sporting tournaments, you name it. Plenty to keep us busy and distracted by. This weekend is also a holiday here in the US; we are celebrating our possible last Independence day. At the same time, we’re experiencing brutal heat waves with the triple digit readings returning. Please people, do not leave your vinyl, kids and dogs in the car.

We recently bought a big collection from an industry guy who, between the late 1970s and early 1980s, must have acquired every promo copy of a new release going. He had all sorts of special promo only 12”s, 10”s and white label pressings. We’ve been pricing them up and selling them over the past couple of weeks. After we had made a couple of passes, I went through again looking for good bargain bin titles and for anything that we might have missed. Among the many decent records I found and brought to the store were a bunch of cool compilations. They were mostly label sampler promo type things and contemporary to the period i.e., late 70s/early 80s. I liked the Urgh! Soundtrack compilation, which had almost all of the artists who appeared in the film. The film itself consisted of just live footage shot at various venues and locations around the world in 1980. There was no narration or talking heads, just the live footage. As for the acts themselves? There isn’t a bad one on there, really. For me, the weakest selection was the very first cut by The Police (which isn’t so bad), but after that you get a ton of great live versions of good songs by good groups. I don’t think it will cost you a lot to buy. This collection had three copies, and I sold two as I was playing it in the store. The third I kept for myself. LoL.

From the same collection was another cool compilation that Columbia records put out in 1982 called Psychedelic Dream. It featured a mix of songs from bigger name bands that Columbia and Epic Records had released in the late 1960s, but also included lesser-known names and songs from records that didn’t sell so well and were, by the 1980s and beyond, quite rare and expensive. So in amongst the stuff from The Byrds, The Great Society, Spirit and The Hollies, you get some cool cuts from the likes of Kak, United States Of America, July, and The Head Shop. Those last four wouldn’t see their records being reissued until years later. So, if you were a punter back in 1982 and took this one home, it probably set you on a quest to track down these more obscure releases. The July album is one of my favorite U.K. 60s psych albums and so to get a couple of cuts from it on this comp was cool. The album jacket sports a third eye graphic with neon colors and cryptic lettering which might mean something and comes with a brief essay of nonsense which ends with, “The secret message lies written in chalk as the rain comes down on the other sidewalk.” Alright. Cool. There’s a track listing and production credits, but no more information. I’m not sure how well this sold and you don’t see it talked about as a cool must have in the same ways that folks talk about Nuggets, for instance, but even if it only draws from a couple of major labels, the track selection is decent and it’s a good listen. Jeff and I gave it a rinse in the store and enjoyed the play back.

Staying with the late 1960s and psychedelic music comes a great reissue of an obscurity from 1969. It’s Twentieth Century Zoo and their album titled Thunder On A Clear Day that originally came out on the Vault label out of L.A. The band themselves were from Phoenix, Arizona and were originally called The Bittersweets, but changed their name on arriving in L.A. to record and being informed that there was already a group on the east coast who had the same name. Apparently, the new name came from a remark made by a girl tripping on acid at one of their shows. The group had put out their first couple of 45s on the local Caz label. These two singles and a couple more that Vault released and then the album in 1969 are the band’s entire output. The album is a nice mix of heavy bluesy psych in a similar vein to Blue Cheer, The Savage Resurrection, The Litter’s Emerge album and of course Led Zeppelin, who were ruling the underground rock circles at the time with their first two albums. The songs that have a more garage-psych sound are the ones that interest me most. Years ago, Sundazed Records put out a 45 that compiled the two A sides from their first two singles, You Don’t Remember and Love In Your Face, plus the B-side of the second, a cover of Tossin’ And Turnin’. It’s been a fave in my collection since buying it. Those two A-sides get included on the album, but I believe they were rerecorded or edited. They sound close, but from what I have read were recorded at different studios. Certainly, the earlier versions didn’t have the sound effects that the album version has. This current reissue adds the B-sides from the two Vault singles whose A-sides are already included on the album, but either due to space, taste or publishing rights does not include the Caz label single B-sides, of which the cover of Tossin’ And Turnin’ is one of them. It’s a shame because the song has some wicked fuzz leads and solos. Otherwise, though, you get the bulk of their best material.

An original of this record has always been tough to see, let alone afford, and for that reason there have been several bootleg pressings put out over the years and a legit CD version, again from Sundazed Records, which has a bunch of unreleased tracks that might have ended up on a second TCZ album had they had opportunity to release one. Although their record was critically well received, and they did tour and play good size venues with the likes of the MC5, their career was cut short when lead guitarist Paul “Skip” Ladd was drafted. The band attempted to find a replacement, but those attempts failed and after a final single release the group officially disbanded in 1970. There’s a good interview with Skip that you can read here.

Take a listen to the tunes here, which includes those singles and B-sides, and snag a copy from us if you dig it. I know I will be.

Cheers - Dom

What’s up Sorry Staters?

Hope everyone reading this stateside had a good time on America’s bullshit holiday. July 4th, aka National Hot Dog Day… Hey, don’t get me wrong. I love a good veggie wiener with mustard. I was supposed to drive up to Richmond and play an outdoor gig with Public Acid, but my fuckin’ tire exploded while I was driving 70 mph on the highway. It was fucking scary. All I had for a spare tire was one of those shitty donut tires, so I couldn’t make the rest of the trip. I saw clips of the gig online, and it looked like a blast. Explosions going off in the background while my dawgs in PubAss ripped a 4-piece set without me. Wamp wamp. I was bummed. I’ve got the shit-eatin’ blues, I guess you could say.

So yeah, if that last little ‘wink-wink’ of a sentence wasn’t good enough to clue you in, I’m talking about The Cheifs for my staff pick. One of the unsung great bands of the early Hollywood punk scene. The other day at work, I was blasting The Cheifs as Daniel was walking into our warehouse. He said something along the lines of, “Good call, stoked to hear The Cheifs today.” For me, the HCPMF appeal of the band is universal, and yet, it seems I rarely hear people talk about The Cheifs (except for a bunch of my punk friends in LA haha).

I remember my first exposure to The Cheifs was on the Who Cares compilation LP. This comp features great tracks by bands like AKA, Suspects, and Civil Disobedience—all of which are bands whose only recorded output was on this comp. I was familiar with Shattered Faith prior to my first exposure to this compilation, but the main reason I discovered the record many years ago was because of Political Crap. Now, for those that don’t know, Political Crap was one of Duane Peters’ first bands. Love him or hate him, I was super into everything revolving around Duane Peters when I was a teenager. Come on dude, he’s the master of disaster! I listened to everything from US Bombs, Die Hunns, you name it. Okay sure, so now those bands don’t hold up for me much these days, but I was just devouring everything I could find when I was a kid. Of course, I was also way into Duane because of his skating. I first saw him in the Black Label video Blackout from 2003, and even back then I was like, “Who is this gnarly OLD dude shredding pools?” Then to discover later on that he had a punk band from 1980 that sounded like an unhinged, youthful version of Black Flag? I was sold. Say what you want, “Slow Death” is an all-time banger.

Anyway, The Cheifs also have 3 songs on the Who Cares compilation, all of which I loved when I first heard them. I came to find out later that The Cheifs’ self-titled 7” single, released on Playgems Records in 1980, is the stuff of legend. Funny enough, Darby Crash is credited as a “creative consultant” on the record? Interesting. And amongst record nerds and KBD heads, this 7” has become quite the coveted collectors’ item. I’d love to have a copy one day. The A-Side track “Blues” is such a killer song. A song that feels like it should be a “hit” in the punk lexicon. Granted, it’s a rough recording and much more obscure than bands that appeared in Decline of Western Civilization, for example. But I mean shit, all of the band’s songs are killer. I just think The Cheifs were great songwriters. Aggressive attitude and style of playing, but still that hooky, sing-along tunefulness we love in our early LA punk, vocal harmonies and all. I would imagine they were super influential on the Orange County sound that would emerge a year or 2 later.

A 13-song compilation LP entitled Holly-West Crisis compiles all The Cheifs’ recorded material. This LP was first released by Flipside in the 90s, and included the band’s legendary 7” single, as well as the songs from both of their compilation appearances. But most importantly, the first 6 songs on the compilation are a recording session from 1982 that were previously UNRELEASED. So crazy, because a bunch of these songs are just as good as the songs on their early 80s vinyl releases. The title track “Holly-West Crisis” is like a long-lost gem and a perfect opener for the whole record. Really, the 13 songs on this compilation function like a perfect full-length LP for The Cheifs… even though the separate recording sessions do sound pretty different from one another. It’s awesome though, because you get all the ragers in one half-hour dose. Since the early 2000s, Dr. Strange Records seems like they have ALWAYS kept Holly-West Crisis in print. And gawd bless ‘em for it, I say! Overlooked yet not difficult to find? I don’t get it. I guess the cover art has gone through several iterations over the years, but the record is available for $20 or less at any given moment. That’s a beautiful thang. The album cover pictured in the thought bubble in my photo above is the artwork from the latest version pressed in 2022, which Sorry State is currently stocking. Not my favorite graphic design in the world, but I much prefer it to the purple artwork on the copy I used to have many years ago.

Yeah dude, you gotta blast some Cheifs this summer. “Knocked Out” or “Eddie’s Revenge” is gonna sound really good out of your car stereo while you’re cruising to the lake, rockin’ those sunglasses with the top down.

Anyway, that’s all I’ve got this week. As always, thanks for reading.

‘Til next week,

-Jeff

This week I have a hot tip for you: the first-ever vinyl reissue of the Only Ones’ second album, Even Serpents Shine, is in stock now. I’m a big fan of this album, and since it’s the first time it’s been available on vinyl since its original release, I thought I’d tell you about my connection to it.

The Only Ones are most famous as the band behind the all-time classic track “Another Girl, Another Planet.” As far as I can remember, I first heard “Another Girl, Another Planet” on this Rhino CD box set called No Thanks that was formative in the growth of my love for 70s punk. The box set is packed with hits, but I always particularly loved the latter two discs, which offer a hit-parade overview of the early punk diaspora, with massive pop tunes like the Real Kids’ “Ghosts of Princes in Towers,” the Members’ “Sound of the Suburbs,” and “Another Girl, Another Planet.” Even among such a strong track list, the Only Ones’ contribution stood out, as I’m sure the song does to so many people whenever and however they hear it. It’s just an all-time classic tune.

At some point I picked up Special View, the bowdlerized American version of the Only Ones’ first album, to see if the Only Ones were one-hit wonders. Special View was a US-only release that combined tracks from the first two Only Ones albums with a few non-album cuts for the US market. It’s in that tradition of US versions of 60s UK albums where record companies took the UK version, swapped out a bunch of the album tracks, and replaced them with singles, b-sides, and other bits and bobs. This practice had mostly gone out of favor by the early 80s (it was doomed once people began thinking of albums as coherent artistic statements), but it notoriously happened to the first Clash album. Truthfully, I don’t remember much about my initial impressions of Special View... it certainly didn’t turn me into an Only Ones fanatic, and I’ve barely touched the record to this day, though I still have it.

The next step on my Only Ones journey was the single for “You’ve Got to Pay.” Thankfully my copy still has the price tag, which jogs my memory as to where and when I got it. I was visiting my brother in St. Louis for a few days, and at some point I went out on my own to the local record shops. When I stopped at Euclid Records, they had this massive file cabinet for 7"s... it was kind of awkward and a pain to go through, but once I started flipping, I found all these relatively cheap punk-era UK singles you never see in the US. They were cheap enough that I made a few blind buys, of which I remember the Mutants’ “Boss Man” (a great, amped-up pub rock single) was the best. When I got home and listened to the stack I bought, “You’ve Got to Pay” was an immediate standout. Part of that is the loud-ass mastering job on the single. I’m not sure if they were trying to make the song stand out on radio or what, but the version of “You’ve Got to Pay” on the single sounds monstrous, its simple guitar hook stabbing you in the gut like a rusty shiv. As a song, “You’ve Got to Pay” is built on the same skeleton as “Another Girl, Another Planet,” i.e. big guitar hook at the beginning, massive chorus, and lyrics that are ostensibly about love but work just as well if the object of that love is drugs rather than a person.

Once “You’ve Got to Pay” hit me so hard, I knew I had to get Even Serpents Shine, the album it originally appeared on. It took some patience to find a copy here in the US since it was never pressed here and has never been repressed at all since it’s original release, but once I got my hands on it, it cracked open my brain and dominated my listening for months. Like “You’ve Got to Pay,” Even Serpents Shine has a great sound. It sounds like a major label production from the late 70s, crisp and clear in the manner of so much classic rock, and while the fact that it’s not crowded with overdubs makes it sound elegantly minimal, there are flashes of lushness when production touches like backing vocals and guitar overdubs come in. The songs are great too, like “Out There in the Night,” an upbeat pop tune that coulda been a hit. The b-side opener “Curtains for You” is one of the band’s best moments too, a slow-burner that has all the high drama of London Calling, but with a mature, world-weary sophistication. Honestly, though, I could write about every track. This album just rules.

A quick aside on our Only Ones journey. Ever notice the one guy in the band who looks visibly older than the rest of them? (I feel for him. When Scarecrow is traveling, I often get asked if I’m with the rock stars.) Turns out the Only Ones drummer is an old-timer who previously played in the band Spooky Tooth. This would hardly be worth mentioning, but one day Dominic handed me a Spooky Tooth album and told me to check it out. It’s called Ceremony and ostensibly it’s a collaboration between Spooky Tooth and the French avant-garde composer Pierre Henry. However, what actually happened was that Pierre Henry was handed a master tape of six Spooky Tooth tracks (which were written as a set to be a “rock mass”), and without ever meeting the band or discussing it with them, added his own strange musique concrete sounds and completely remade the album in his own image. Spooky Tooth was none too pleased, but the result is a delightfully weird classic rock / modern classical hybrid that fans of groups like Univers Zero will dig. Dominic assures me that no other Spooky Tooth records are worth my time.

Back to the Only Ones. Eventually, and again after much searching since it never came out in the US, I found a copy of the original UK version of the Only Ones’ debut. I was hoping the original UK version would hit me just as hard as Even Serpents Shine, but thus far it hasn’t. I can’t figure out why, as so many of the things I love about the second record are present on the debut. Peter Perrett’s lyrics are great, the lead guitar lines are hooky as hell... but aside from “Another Girl, Another Planet,” much of the record skulks along at these sludgy tempos that keep the energy level low. I could see these songs really connecting if I were in the right mood (maybe if I was on heroin?), but I’ve yet to have that moment when I really and truly fall in love with the first album. MOV has also reissued the debut alongside Even Serpents Shine, though, so pick up your own copy and decide for yourself.

And while I’m mentioning other releases that came in at the same time as Even Serpents Shine, MOV has also reissued the third Saints album, Prehistoric Sounds, which (like the Only Ones records) never got a domestic US pressing and hasn’t been pressed at all since 1987. This is another record I had to search high and low to find a nice original copy of, and like Even Serpents Shine, it was well worth the wait. Maybe it’s more “mature” than Eternally Yours, but I think it’s nearly as good, and many people out there prefer it to the first two Saints albums. So scoop that too if you need it.

By the way, this trip through the Only Ones discography (with a few other stops along the way) reminds me of my patented multi-record picks, as seen on the YouTube series What Are You Listening To?. Jeff and I, along with our buddy Dave Brown from Sewercide Records and host Mike Foster, will share some of our recent listens on WAYLT? this Friday evening, July 12, at 10PM Eastern US time. It’s way more fun to watch live and post in the comments while it’s livestreaming, so join us at this link if you can!

Hello Fellow Sorry Staters! Here we are after a brief break while some of the Sorry State crew were on tour. We are in the middle of summer here in North Carolina and boy is it HOT. I think this coming weekend we are supposed to have record-breaking high temperatures in the 100s. Phew! I mentioned in my previous pick a week or so ago that I was very excited about what Convulse records was doing. They are definitely on the forefront of releasing some really good music this past year. Which brings me to one release I am super excited about, Pardoner’s Paranoid in Hell 7”.

This album is all over the place in the best way possible. The tempo and style changes from track to track or hell even from verse to chorus. It’s what makes this record so damn fun and interesting to listen to. This record was recorded in one session in one day. I would not have guessed it on my first few listens. They have done a great job on the production of this record from beginning to end. Paranoid in Hell also has great art from Trey Flanigan (guitar/vocals), who also did some art for Gel and Gatecreeper. A couple of my favorite tracks that really jumped out to me are Distant Star and Instrument of Peace. Both tracks have this almost trickery behind them. They start as one style/tempo but end in something that you were not expecting, from fast and fuzzy punk to poppy super catchy chorus with great memorable lyrics to go with it. On your second listen to this record you would have already memorized the lyrics and the catchy choruses that go along with them.

This band is a fresh face in the alt rock scene that seems to have most bands just fade away. You can hear the influences on this record, from the Dils and Pavement to newer bands like Bugg and Big Bite. I cannot recommend this record enough, easily becoming one of my favorite EPs so far this year.

What’s up Sorry State readers? I hope everyone has been enjoying their summer. I’m sure all the Scarecrow members’ write ups will be a lot more interesting and entertaining than mine from their European excursions, as me and Dom held down the fort back in Raleigh. Not much was happening in Raleigh other than it was hot as hell, but a couple weeks back I got to go to a pretty cool show at the Pour House downtown. I hadn’t heard anything about it till the day of the show, but it was a band from Saint Petersburg, Russia called Messer Chups and they play surf rock with a sort of horror theme going on, like the soundtrack for a weird 60s midnight movie. I had never heard of them, but it sounded like a pretty interesting show and what else was I gonna do on a Tuesday night? I ended up going with a friend of mine and it was a fun show. We both agreed it would make great spy/detective music, maybe cause they played the Pink Panther theme. After the show, I went over to the merch booth to pick up their latest record to support a touring band. The name of the album is Dark Side of Paradise and it came on a cool white and blue swirl vinyl. It’s a pretty fun listen. If surfy songs about Dracula and witches and black leather sound appealing to you, then this will be right up your alley. My favorite track on here is probably the cover of Nights in White Satin, which was pretty cool.

Hi Sorry State fam! Long time no talk! As you probably know, half our staff is in the same absolutely killer band together (Scarecrow), and they just did a two week European tour. It’s so cool that they got to meet some of you in person and I’m also jealous! But it makes me stop and think about how cool it is that punk can do that, ya know? Things were chill around here and the store was still standing when everyone got back, so it was a success all around. Let’s just dive in, shall we? I’m excited about my pick!

So stoked to be writing about this classic from LA’s early deathrock punks, Legal Weapon. My god, who doesn’t love their legendary album, Death of Innocence? If you don’t love it, I will just assume you haven’t heard it yet, so definitely do that too. Before that prized piece of punk graced our presence, they released their debut EP, No Sorrow (1981). This is the first time it’s been on vinyl since its release, which is pretty exciting as the original is a rare and highly sought after piece that will cost you a fortune.

This EP featured the band’s earliest lineup, which means Patricia Morrison on bass! Total punk icon. It would probably be easier to list the bands she hasn’t been in, but prior to Legal Weapon she had been in the Bags, and then after Legal Weapon she peaced out and moved on to Gun Club, Sisters of Mercy, and The Damned! Quite the punk rock resume. And her bass work on this album is so killer.

No Sorrow is a fine example of early west coast punk. You can hear a subtle gothic influence in the music here, but their deathrock punk side wouldn’t fully emerge until the next record. But with No Sorrow, it was as clear as day that something special was brewing and they weren’t going anywhere for a while. This EP is high energy. It’s fun and catchy, and a little poppy in the most bad ass of ways. Like a darker, more rebellious, rougher, and riffier rendition of the Go-Go’s.

What really sets Legal Weapon apart from other punk bands of the time can be summed up in two words: Kat Arthur. RIP. Her smoky vocals are so strong, and they add so much interest and edge, power, and substance to the already kick ass music. Her ability to pull off different vocal styles with sincerity gives the band a lot of flexibility with their sound. Kat has one of the best voices in all of rock and roll, period.

This record is just banger after banger. No duds. There are five tracks from the analog master and two unreleased live tracks from the Mabuhay Gardens, straight from the board. The first track (No One Listens) takes a page out of the Ramones book, as it totally reminds me of Wanna Be Sedated in the first five seconds. Given that’s one of the best and most exciting punk songs of all time, it didn’t take long to sell me on this record. I actually started with Death of Innocence, so it’s interesting to rewind the clock a bit and go back to the beginning.

There is a really stand out part of the record in the middle. A perfect three-song run including Live My Way, No Sorrow, and Pow Pow. Now that’s one killer chunk of punk. Pow Pow is my favorite track on the record. The killer opening riff that’s joined a few seconds later by the deepest bass tone just gets me. The deep and dark melodic bass parts are so satisfying. This song really showcases how Kat’s vocals can easily change the mood of a song, and no matter what she does with her vocals, it sounds like that style was made for her. In particular, I love the way she sings the line (and other variations of the line) “little boy wants out now, so you let him have a pow pow!” I can picture her singing this to some dude who is pinned under her boot. The whole track has a playful and taunting vibe that makes it absolutely infectious.

The guitar tone and the beat in the title track, No Sorrow, reminds me of Black Flag’s Nervous Breakdown. Another LA band getting their start around the same time, and releasing their debut right before Legal Weapon released theirs. Big punk things were happening on the west coast at the turn of the decade. And I don’t think Legal Weapon got the credit or recognition they deserved for how good they really were. Easily one of the best and most underrated punk bands ever.

So if you haven’t already, grab this EP. The first batch we had went fast, and for good reason! Thanks so much for reading! Until next time!

EDIT: I am so sorry to report that by the time you’re reading this, the record has sold out again. But put your email in under the record’s listing on our website and be notified of any restock! Dammit! I hate when that happens. Sorry ya’ll. Thank you for reading! Until next time….

-Angela

Hi and thanks for reading.

It’s been a minute since we’ve had a newsletter cos we were on tour, and I am sure I will be rusty when it comes to writing out my thoughts. I can’t really begin my staff pick until I talk briefly about tour. It was so, so fun. I am eternally grateful for the opportunity to tour Sweden and Finland, and also play K-town. I feel so lucky. We made some truly amazing new friends on this tour that I already miss. I was really looking forward to seeing some friends again that we made on our first European tour in 2022, and I also met some people for the first time that I have been chatting with online for a while. It felt really good to be welcomed by so many people overseas. And then there is VIDRO, our soulmates. I seriously cannot thank them enough for everything they’ve done for us, especially Lucas, who arranged the tour. It really sucks to part ways, cos we live so far from each other. We formed such a deep connection when we toured together last year, and this tour really strengthened this bond. We have loose plans to tour again together in 2024. Let’s see how many times we can tour together before it gets weird, haha.

There is so much shit to mention from tour, and I am sure I will mention stuff here and there over the next like year. But I won’t take up too much more space with that today. Before I get into my staff pick, I still have one more thing to mention. When we got back from tour, Jeff and I released a new record on BPDT! I had mentioned this release, alongside a SCARECROW tape, before we left for tour. Instead of raving about our release again, you can just listen to it here. For anyone that is really paying attention, I must correct a mistake I made when I previously mentioned this split. I had said that GEFYR was from Hudiksvall, the same city where TOTALITÄR and NO SECURITY were from. That is wrong! NO SECURITY was from Eskilstuna… I don’t know what I was thinking. For the SCARECROW tour tape I mentioned, we have the leftovers available for mailorder now, but unfortunately, they are only available direct through BPDT. If you need one, you can grab one here while they last.

In 2022 when we played Olso, we played at this place called Club 37. Of course, I really wanted to play Blitz, cos it is a historical site as far as I am concerned, haha. But Club 37 was a fucking blast, and we made some friends who we hung out pretty late with. Well, this time around we got to play Blitz! The show was pretty fun, and a few friends we made last time came out to the gig again. Bård was one of these guys. Last time we met I was excited to learn he operated the label Cradle To Grave Records. He only did three releases; two of which I am here to write about today. If I remember right, he was surprised I knew about his label when we first met. Naturally, I knew of them already cos he had reissued some essential Norwegian hardcore records! Before we met this time, we arranged to bring back some copies of the reissues he still had. We only got fifteen of each one, so if you don’t have either one yet, don’t sleep! I am pretty sure these things are not so easy to find now.

Since I already had the BARN AV REGNBUEN LP, I will start with this one. Because they never had an LP, I knew this reissue would be a compilation of their stuff. The unfortunate side to this reissue is that it doesn’t actually explain where the tracks are pulled from, haha. But on the contrary; I think it is nicely done overall, with great liner notes including a history of the band and English translations to all the songs. I originally got this LP before I landed an OG of their EP. Aside from wanting those songs bad, I was also trying to jam their flexi on a more permanent format. Their EP rules, but man the flexi is my shiiit. Like other Norwegian bands, BARN AV REGNBUEN has the ability to get melodic yet still pummel the shit out of you at the same time. They get much more weird than other Norwegian hardcore bands I know, and they might be the nosiest one I know as well. I didn’t look into this that much, but I think the LP has the flexi and various tracks from compilations on the A side. I’m guessing it’s tracks from compilations, or maybe it’s just unreleased recordings of songs they had? I will have to ask Bård about them, haha. The B side has their EP as well as their tracks from the Tsjernobilly Boogie LP. If you don’t know this LP, check it out. It’s such an amazing, underrated compilation. Even if you have all these BARN AV REGNBUEN records, I think this reissue is essential. The sound is great, and there is plenty of bonus shit you basically can’t hear anywhere else.

Moving onto the other reissue we grabbed, SISTE DAGERS HELVETE. I did not have this one already, cos I foolishly suspected it was simply a reissue of the LP. I actually still thought it was a reissue of the LP until I took a copy for myself and listened to it. When we were hanging out, Bård explained to me the sound was not what the band intended on the original release, and this reissue was done the way the band initially wanted. I have the original LP already, but I decided I would take a copy for myself when we got back for sure after he said that. I remembered when I got my copy, I thought the OG was super compressed and lacks low end, haha. I was happy to hear the sound on the reissue. It’s got the low end intact, and the full sound gives the songs much more attack. Anyway, I am not that familiar with SISTE DAGERS HELVETE, but luckily this one has a breakdown of where each track comes from. They also gave us a history of the band and proper English translations to their songs. I found the liner notes particularly interesting on this reissue. I learned the original vocalist was a Finnish guy who was living in Norway at the time. He recorded the LP with them and moved back to Finland. For some reason, this was super interesting to discover, alongside that they were inspired mostly by USHC bands. After reading that and listening to the LP again, it seems pretty obvious, haha. After he left the band, they recorded four more tracks with the guitarist taking on vocal duties. These songs are included on the reissue as well. One of these I have heard before, on the Nå Eller Aldri 7" compilation. The other three appear on some international sampler tape with like a million bands that is probably rare as fuck. It seems like most of the tracks are not exclusive to the tape, but as far as I can see this is the only place these three SISTE DAGERS HELVETE tracks appear. Their song on Nå Eller Aldri is cool, but man, the other three are REALLY fucking good. I have no idea, but I don’t think it sounds like their track from Nå Eller Aldri was recorded at the same time as these. I’m not sure what it is about it, but it just seems like there is such a perfect chemistry happening with just the three of them. The style is noticeably different from the LP, like they weren’t going for the USHC style anymore and just playing whatever came out.

I always found it interesting that this Norwegian band’s LP was originally released on Rock-O-Rama, especially cos I don’t know any other bands from Norway on their label. In the reissue, they explain how they had a record deal with Propaganda Records in Finland, but it was released by ROR instead without their knowledge. I know Propaganda would license certain records to ROR and they would both release them, but it’s interesting that Propaganda didn’t even release it. Thinking about it again, the VAURIO LP was licensed to ROR from Propaganda but there was never a Propaganda pressing. DESTRUCKTIONS as well, but the band had broken up before this LP was released, so maybe that’s why Propaganda didn’t bother releasing it? Who knows. There was also some sketchy shit with the release of HIC SYSTEEMI LP on a ROR sub-label as well, but I will save that for another time, haha. Anyway, learning about the connection to Propaganda through their Finnish vocalist explained that one a bit, but it sucks the band got fucked over in the end. They also explain ROR gave poor English translations for their song titles, and the album name was even changed. I’m sure the band was pissed as fuck to see their record being released without their knowledge, and on top of that ROR changed the title and fucked up the sound!

Before I go; I read in an interview with Frank, the guitarist of VORKRIEGSPHASE, and he explained how they dealt with something similar when releasing a record on ROR. They had permission to release their record, but the label did not use the master tape approved by the band. Frank explained they added a ton of overdrive, distorting his guitar way too much and it took away from the impact of the drums. It’s kind of ironic they didn’t want it that distorted, cos I think their fans of today really love them for the insane guitar tone. Alright, that sums it up for me this week. I think both of these reissues are killer and they are essential for every collection. I already knew what was up on the BARN AV REGNBUEN, and I am happy to have their discography in stock at Sorry State. But, I had no idea the SISTE DAGERS HELVETE discography would rock me so hard, and I am super glad I checked it out. It feels so cool that we played in Oslo and brought thee back with us to help distro in the US. Punk!!! Alright, cheers and thanks for reading, and thanks so much for everyone’s support.

Hey there Sorry Staters, how’s your summer going? Enjoying those triple digit temperature heat waves? Perfect for vinyl records, right? So, we’ve been away from your inbox these last few weeks, but with good reason as half the staff make up three quarters of Scarecrow and they were of course on tour in Scandinavia with our favorite Swedes Vidro. No doubt their sections of this newsletter will entertain you with stories of that adventure. The rest of us here at Sorry State are so proud of the band and we hope that some of you reading could catch them at these shows.

Back here at Sorry State the wheels kept turning and the records kept coming as well. As any of you who follow our socials and order from us online or shop in the actual store can testify, there have been some damn good records coming through here. We work hard sourcing these gems for you and although not alone in this endeavor, I think we do okay at it. I’ve worked at some good stores and probably like you all, have visited some great ones across the world too, but I can honestly say I have seen just as many cool ass records come through here as anywhere else. I’m proud, happy and honored to be a part of Sorry State and absolutely nothing makes me happier in a professional sense than when a customer scores a record that means something to them. Whether it’s an expensive collector type record or just a $5 bargain bin record, it doesn’t matter. If they are happy and will enjoy the music, that’s all that matters. In all the jobs I have done in the past, this is the one that gives the most satisfaction as far as providing goods and service is concerned. It means way more than providing a nice cocktail or a steak dinner to someone. Music means more. It’s the most important part of many people’s lives and so when someone leaves here with cool shit that they love it’s the best feeling.

Meanwhile, around the world, so much is happening. Let’s leave politics and war aside for the moment and rather revel in other things that bring us happiness. For sports fans there’s lots to cheer about and watch this summer. Ongoing as I write are the Euros and Copa America for the football fans and the Olympics are about to begin too. Certainly, for football (soccer) fans in the US it’s a good couple of months because you might well have one of your favorite teams or players in a stadium near you. Manchester City will be here in Cary, North Carolina, playing Celtic for a pre-season game. My Worldy DJ partner Matt is excited about that. My Reds will be in South Carolina, Pittsburgh and Philadelphia. As of now I don’t have tickets, but who knows, perhaps I’ll make it to one game.

For the radio show these past couple of weeks, Matt and I have been spinning as much music as we can from countries involved in the tournaments. Whilst going through my French section for a selection or two I pulled out an Air 12” to play on the show. This 12 has the songs Casanova 70 and Les Professionals on it and came out in France a year before their classic debut album Moon Safari in 1997. I remember having to special order it as an import. Air, along with other French artists at the time like Kid Loco and Etienne De Crecy, were starting to get a lot of attention and I was all over it. Moon Safari remains one of my favorite records from that time. Shortly after I moved to New York City in 1998, Air came over and played a great concert at the Town Hall, which I attended. Also, around the time of Moon Safari’s release they visited the BBC and recorded a DJ set for the essential mix program. I recorded it and still have those tapes somewhere. They played a lot of cool stuff and set me on the search for a whole bunch of records. What is great about the Casanova 70 12” is that there are two mixes by British producer Brendan Lynch of the title track, who beefs up the drums and adds some samples, noticeably from the Aphrodite’s Child 666 album. They sound great from the loud cut pressed into the 200g vinyl. My favorite of the two mixes is The Secret Of Cool. Take a listen here. Brendan Lynch is one of my favorite producers. He has made some terrific dubs and mixes with Paul Weller and Primal Scream to name two of the bigger names he has worked with. For Deejays, his name on a mix is guaranteed to give a little something extra and that special touch is nicely applied to the Air track. For a few years, this 12” was rarely out of my record bag for gigs. I haven’t spun it recently and so it was fun busting it out for Worldy and even now it gets folks asking about it.

If you check your local listings, you might be lucky to catch Air live, who are out there currently performing Moon Safari in its entirety.

In other cool record news—no doubt one of my colleagues has picked the new record by The Dark called Sinking Into Madness, but let me jump on the praise bandwagon and steer you towards this monster slab of hardcore punk metal thrash awesomeness. These guys could be described as an L.A. punk supergroup as they have in their ranks members of Tozcos and Personal Damage. That should be enough to get your interest alone, but do yourselves a favor and check them out.

I’m still loving the New Town Dream album from Neutrals. So many great tunes on the album. It’s a bit of an easy comparison, but imagine The Jam crossed with Television Personalities and Belle And Sebastian and you’ll be in the ballpark. If those bands do it for you, then I think you’ll like Neutrals.

Okay, back to work. There are more records that need pricing, cleaned and to be listened to. The biggest challenge I have each week is trying to listen to all the ones I want to. Just not enough hours in the day. Sigh.

Thanks for checking in with us and have a great July 4th weekend next week.

Dom

What’s up Sorry Staters?

Well shit, it’s been a while huh? Hope all you Sorry State readers out there weren’t hurting too badly without a newsletter for the last better part of a month. Scarecrow only made our triumphant return home from our Nordic European tour less than 2 weeks ago. But still, I only just now feel like I’m settling back into normalcy. Without going into crybaby mode too hard, I will say that the post-tour blues hit me really hard this round. I gotta say, this tour was easily one of the best punk-related trips I’ve ever been on in my life. This is due greatly in part to spending a grand majority of our travels alongside our good friends in Vidro. While watching them play every night, the conviction, intensity and energy they deliver in their performances is truly inspiring. Made me wanna throw a couple extra high-kicks into my repertoire during Scarecrow’s set. My attempts are surely much less cool looking or graceful haha. Beyond how great they are as a band, everyone in Vidro—Lucas, Vendela, Melody, and Staffan—are all just a bunch of sweeties. The smartest, the funniest, the coolest. We all feel like family now. Stay tuned for the upcoming sitcom where all live in a big house together. Shenanigans will ensue.

I won’t go into a full-on tour diary, but here are a couple tidbits I’ll mention:

• In Uppsala, we got to see Gefyr play, and they ripped. PX-30 also were so killer—they have the same guitar player as Herätys, so of course I geeked out on him.

• Visiting Finland for the first time was amazing. I finally got to see Tiikeri play inside of a bicycle shop, which had me smiling ear to ear for their entire set.

• I got to touch and listen to an original copy of The Fix Vengeance in the home of a super funny, sweet and welcoming Finnish married couple, who we found out probably have one of the best hardcore punk record collections in the world.

• Kohti Tuhoa’s set in Helsinki was incredible.

• After Finland, you obviously must take the overnight party boat back to Sweden. There was late-night karaoke on the ferry. Melody from Vidro did impressive renditions of the Jackson 5 and KISS (awesome). Usman did an equally impressive performance of “Walk” by Pantera (LOL). Usman hates Pantera btw.

• Our show in Stockholm (where Vidro is from) was a killer gig. Red from Scarecrow joined on guest vocals for Vidro, and Vendela from Vidro jumped up and sang with Scarecrow for a song. Such a special moment.

• In Oslo, we got to play the legendary Blitz venue that’s been around and hosted bands in Norway since the 80s. Daniel’s bass got stolen in Norway, but that’s about the only bad thing worth mentioning (oof).

• Our show in Gothenburg was great too. We played with Slan, whose EP Usman and I released on Bunker Punks. I for one definitely partied hard that night.

• Then we were off to K-Town. Christina and everyone who helps organize the fest at Ungdomhuset are amazing. Maybe the best punk festival ever.

• Got to party with the homies in Invertebrates in Copenhagen for 3 days. They absolutely crushed when they played.

• Danced my ass off during Mujeres Podridas.

• Larma was insane. Most ripping band I’ve seen in years.

• Visiting Cliff Burton’s memorial, nearby where the bus accident happened in the Ljungby area of southern Sweden.

• Lastly, our driver Wilhemina fucking rules. Was so rad getting to hang out with her, and also meeting and talking about hardcore with her partner Christoffer (from DS-13 and more recently, Exil).

Alright, so that bulleted list ended up being longer than I thought. So yeah, life back in Raleigh has been dull by comparison. But I’ve been stoked to see friends, and definitely have enjoyed being back working at the record shop. Also, The Spits/Electric Chair gig here in Raleigh was killer the other night. Looking forward to hopefully equally killer local gigs in the months to come. One more thing, Usman and I are proud to announce our new release on Bunker Punks: the Gefyr / Rat Cage Split 7”! Available directly from our webstore or Sorry State if that’s more convenient for ya. We’re stoked on this one. 2 ripping bands from Sweden and England, respectively.

Sooooo, time to talk about what record I chose for my staff pick for fuck’s sake? Apologies for the long intro. I went with the debut full-length by The Dark, entitled Sinking Into Madness. Perhaps this record needs little support or exposure from little old me, seeing as you folks already seem to be gobbling up our copies here at Sorry State. But I think this is a great record, so why not give it a little attention? The Dark, based mostly out of the Los Angeles area and partially Orange County as well I believe, has been a band for quite a while. The band’s previous vinyl release was a 7” called Demons, which came out in 2018. And I remember really loving the band’s series of demo tapes, which now feel like they came out about 10 years ago. Wild. I remember there being a little buzz around when those initial couple demos were floating around. Not only that, but the band’s sound and aesthetic gave this illusion of a veil of mystery. Like… who were these characters lurking in the shadows making this evil sounding hardcore? Which was a funny thought for me to have back then, because the names of the people of in the band are totally credited on the j-card lol. Maybe the band only seemed obscure and hard to find because of their lack of internet presence? But for example, Corrina the drummer of The Dark also plays drums in Tozcos. Which is interesting, because now following Toxic State’s breaking out of their usual scene and starting to release non-NY based bands… first Tozcos, and now an unexpected full-length from The Dark. Imagine that.

Speaking of that first demo by The Dark, listening to this new LP, I was like, “Huh, these songs sound familiar.” Turns out that the first 4 songs on Sinking Into Madness are the same 4 songs on The Dark’s first demo. That said, those are great songs, and definitely deserving of a sonic facelift from the raw recording on the cassette. Okay, let me talk more about what I think the music sounds like. Compared to everything I hear in the current hardcore punk landscape, I think The Dark are doing something super unique. The Dark is a fitting name, because I hear a lot of influence from the creepier, darker depths of Japanese hardcore. The Dark in particular seem to borrow from the more metallic, plodding side of Japanese punk, reminding me a bit of Blunt Sleazy-era Execute. They straddle raw punk influence, while incorporating glam-influenced, chugga chugga guitar stylings a la Randy Uchida. Then again, I also hear like GBH.

Unlike their earlier recordings, the vocals are less the heavily effected and sit more up front in the mix. Still a bit of delay on the vocals, but all the instruments sound heavier and punchier with more weight to the sound. The vocals have more clarity, while still maintaining a demonic and vomitous atmosphere, yet also a feeling of creepy, desperate emotion over the powerful riffs behind them. And while the familiar songs on the A-side are great to revisit, the new songs the band have written on the B-side sound fresh and powerful. The opening B-side track “Face In The Mirror” to my ears leans into a bit of that Orange County influence, with these eerie, arpeggiated chords that make me think of something off of Weathered Statues by TSOL. Then probably my favorite track on the record, “Heartless,” opens with this sassy, chuggy mid-paced riff that straight up sounds like Judas Priest or Motley Crue. Maybe the band would hate me saying that haha, they’re probably still thinking about Randy Uchida writing those riffs. But that shit fuckin’ BANGS. Makes me wanna hop on a motorcycle and mow down posers with a battle axe or some shit. FUCK and the double kicks behind the dissonant Die Kreuzen-y riffs on “Nightmare”? Get the fuck outta here, it’s so killer!

As always, Toxic State did a beautiful job with the all-screenprinted packaging. From what I can tell, it doesn’t seem like The Dark plays live super often. Hopefully this LP will get the band some well-deserved love and implore them to play some fests or maybe even tour? I would love to see them play. Do yourself a favor and snag this LP while you can.

Okay, that’s all I’ve got this week. As always, thanks for reading.

‘Til next week (hopefully),

-Jeff

Welcome Sorry Staters! With Memorial day behind us, we are now in the heat of NC summer, and I can't help but find myself spending more time outside. This past weekend was spent at the farmers market with my wife Molly and my pug pup Prudence roaming the various plant stalls. We fixed up our back patio to enjoy with friends, planted some veggies, hung string lights and got the solo stove ready for a fire. Sunday night was spent with good friends around a fire pit with marshmallows and music blasting from our portable speaker. Summer nights are one of my favorite times to listen to ambient music such as Richard D. James' Aphex Twin. I get a little melancholy listening to the song Avril 14th from the 2001 album Drukqs. Sitting outside, the summer breeze, fire going and laughter with good friends, always reminds me of when I was growing up and spending summers skateboarding in the cul-de-sac with my neighborhood friends. That's the perfect combo for a great beginning to the summer. Now lets get into this weeks pick.

Last week I mentioned how much I loved Convulse Records. Well this week is another Convulse Records pick! As I wait for the new Pardoner 7” to arrive to chat about in another week’s pick, I will talk about how much I love the new Gumm album, Slogan Machine. I heard about Gumm through one of my other favorite bands, Soft Kill. Soft Kill recently took Gumm out on tour with them throughout the midwest as support. Slogan machine is mean as hell but melodic and very uptempo. Right out of the gate on the track “No Frontier” the guitar is heavy but melodic and the drums are pounding at full force. This is the main driving force behind this whole album. It’s danceable, it’s tough and it’s everything you ever wanted from a hardcore record. I’ll leave this blurb with one of the lyrics that stood out to me:

“I want to feel like this world is world worth saving”

What’s up Sorry State readers, I hope everyone had a nice Memorial Day weekend and got to relax a lil bit. I was able to go to the beach with some friends and hang out there for Sunday and Monday which was nice. It feels like summer is in full swing now and what better way to celebrate than listening to some dumb novelty music? I picked up The Big Itch Vol. 3 a couple months ago when I was in Oxford, Mississippi at End Of All Music, which is a really great spot to check out if you ever find yourself down that way. While I was flipping through records there, this one jumped out at me for two reasons:

1. The cool wrestling pictures on the cover

2. I thought it was called The Big Bitch Vol. 3 until after I bought it and was laughing about it and my girlfriend pointed out that it actually said Itch.

It was $10 so I figured why not? It was worth it for the cover alone. With songs like Wombat Twist, Cave Man Hop, Discombobulated, I was bound to get some enjoyment out of it. It’s a fun record to just throw on every now and then whenever you wanna hear some stuff that sounds like twice rejected Cramps songs. Move over Monster Mash and make room for the new king of Halloween bangers, The Graveyard Cha Cha.