Sorry State Records

Sorry State Records in Raleigh began as a hardcore punk label before adding mail order, distribution, and a physical shop. In this interview, Daniel discusses how those parts of the business connect, buying records, and memorable label releases.

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Interview with Sorry State Records

How did Sorry State grow from a label into a shop and mail-order business?

The label came first for Sorry State. I established the name when I released our first record in 2005. I had not planned to start the mail order / distribution, but bartering between labels is a big thing in hardcore punk (though it used to be much bigger), and when labels approached me saying, “I’ll trade 5 copies of my release for 5 copies of your release,” I thought it seemed like a good idea. As I’ve started new ventures—the shop, a wholesale distribution service—I’ve always attached the Sorry State name because people know it and I think we have a good reputation. Of course all these things feed into one another. Running a big mail order distribution is one of the things that allows us to have such a great selection of punk in the shop.

What role does the shop play in Raleigh’s punk and hardcore scene?

The shop and the people who work here are super involved in one little corner of the hardcore/punk/metal scene, though there are a lot of bands and sub-styles that fall under that umbrella that we aren’t too interested in or involved with. As far as supporting the scene, we mostly try to help get eyes and ears on the things we personally like. As for traffic in the store, we definitely have a lot of locals who are heavily into the underground and/or international punk music we carry, and those folks come in regularly. But, as you said, we also get a lot of folks coming from out of town (or bands on tour and things like that), and often those people really load up because a lot of what we have you can’t get in many other places.

What moves an offer toward 20% or 50% of retail?

Basically it comes down to how quickly we expect something to sell, and that’s usually due to the desirability of the particular title and the condition of the copy we’re looking at. Great titles in great condition sell, so that’s what we pay the best for. If either factor isn’t there, then it’s tougher to pay a premium because our money won’t come back to us as quickly.

When does store credit make sense for a seller?

I guess it’s just if you really want something in the shop! I get why other shops offer a lot more in credit as cash is always in short supply, but we try to make it work on our end in order to hopefully get people bringing us better stuff.

Which records do sellers overvalue, and which have gained value quietly?

I’m not sure what I’d call over-valued. Personally, I don’t have a lot of interest in the variant collecting that a lot of people do these days, so when someone comes in with, say, a rare variant of a Taylor Swift LP that sells for $300 on Discogs, but you can get a very similar version of the record new for $30, I’m skeptical that is going to hold its value in the long term. As for things that are quietly valuable, do those things exist anymore? The closest thing I can think of is 70s jazz on labels like ECM and CTI. That stuff was really looked over for a long time and no one wanted it, but it’s grown more popular in recent years. Occasionally there are other titles that rise from the bargain bin when they have a pop cultural moment. Recent examples include Billy Joel, Cat Stevens, or Christopher Cross.

What condition problems do you see most in Raleigh collections?

We definitely see a lot of mildew, foxing, and other kinds of moisture-related damage. You should never keep records (or anything where paper is a significant component) in a non-climate controlled environment. I also see a lot of problems with silverfish, which can be kind of gross. Basically, just keep your records upright, out of heat and direct sunlight, etc., and you’ll be fine.

Which Sorry State release stands out most to you?

Well, a big highlight for the label came early on when I re-released Koro’s self-titled EP from 1983. It’s one of the best hardcore records ever and it had never gotten a proper reissue, and I think that release (alongside my first release from Direct Control) put me on a lot of peoples’ radar. As for a release that did particularly well, Torso’s LP Sono Pronta a Morire is one of the label’s best sellers. I think it’s really good, but the band toured super hard and later signed to the legendary hardcore label Revelation Records, which really increased their profile.

What would you tell someone starting a punk shop or label today?

That you will never, ever make actual money doing these things no matter how smart you are or how hard you work.

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FAQ

What styles of records does Sorry State buy?

Sorry State buys records of just about any style. Valuable and less valuable records can be found in almost every genre. For details on what the shop looks for, see its record buying page.

How does Sorry State evaluate records?

The shop examines the records and usually offers between 20% and 50% of its retail price. The percentage depends on desirability and how quickly and easily the records are likely to sell.

Does Sorry State offer more for store credit than cash?

The shop can usually offer a little more in store credit than cash, though the difference is not especially large.

How can someone sell records to Sorry State?

Sellers can contact the shop with details about the records they want to sell and arrange a time for an evaluation.

What information helps with an evaluation?

Details such as genre, condition, and rarity are helpful. A list or initial information by phone or email can help start the process.

Sorry State welcomes people clearing out or downsizing collections and aims to offer a fair price and a straightforward process.

Last updated: 2026-10-28

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