Haymaker / Split

''Who are the Nazis and who are the rats?
(Mixtape 1 Side A)

Sleeve - Front
Sleeve - Back

Sleeve Folded Out - Front: Hitler Youth Rally & 'Rat Catcher'

Sleeve Folded Out - Back: The Rats


Tracks: Fucked Up @ Signal To Noise Studio 7/22/02 B/W Haymaker @ The Music Gym 2/31/02
Released: Feb 2005
Label: Deep Six Records DS#52

Matrix A: FUCKED UP R-19103 DEEPSIX#49-F
Matrix B: HAYMAKER R-19104 DEEPSIX#49-H

Pressing Info:
1st Press - 1000  (Comprising 200 White and 800 Black vinyl)
2nd - 500 Grey vinyl
3rd - 1000 Clear vinyl, labels on wrong side of disk
4th - ? Translucent 'camo green' vinyl, plain black labels
5th - ? 'Marbled'
6th - ? Green

Different vinyl colours as picture below.

No regular insert. 
Someone at Deep Six missed the memo about not doing variants...

Top L-R: White, Black, Grey (1st & 2nd press)
Middle L-R: Clear, Camo, Marbled (3rd, 4th & 5th press)
Bottom: Green (6th press)


Fucked Up Tracks recorded 3 years earlier in July 2002, during the same recording session as ''Police''. The notes below are copied are cropped from a  2010 LFG Blog Post about the band's first CIUT session in 2001 and hopefully relate to three of the tracks on this record...
1) THE LURKING FEAR Ok I have no idea what this song was about, but the title comes from and HP Lovecraft short story. We weren't horror or literature fans really back then, but we were totally into the idea of urban paranoia so much that pretty much every song in this set sounds like the insane ramblings of an urban planning dropout turned homeless beggar, which is pretty close to the kind of person I was in 2001. Damian was still Damian, and so was still even then an expert in putting a stick in my craw. Here we were on our first radio session ever about to play the most revelatory political hardcore the world had ever seen and he's making a reference to some dumb band Simon and Ewan had for one summer before either of us started going to shows.Often I would write lyrics and music at the same time, and Damian would change the lyrics when we started practicing. This song very quickly became "Red" which was about his girlfriend at the time. He got the title from that Red White and Blue film trilogy. This song actually appears on Epics in Minutes somehow.
3) FOLLOWING What did I saw about urban paranoia before? This song got it's name from the movie that the guy did before he did Memento (which was the one he did before Batman), which was about someone being paranoid about getting following around some bleak urban setting. This song later appeared on our split with Haymaker and changed names and lyrics. Don't bother looking it up tho, because all the song titles on the Haymaker split are fake.
6) LAND OF NOD This song became "Last Man Standing" and is actually pretty good considering it was written in 1998, when human-kinds influence by bandana-thrash was at it's all time perigee. As has been stated before, this song was written for my old band Rxxxxxxxxx, but was rejected and became a Fucked Up song. The original title refers to the original concept, which was a metaphor for the human race being asleep in the face of oppression, paranoia and all that other stuff. Here is the extent to which we were still kind of a trash band in 2001: the song was entitled "slow" on our setlists when we played it, as in "all our songs are so fast, the one that is marginally less fast is so different conceptually that we have to make a specific note of it by referring to it as 'slow'". The liner notes for this song were to come with the obvious Baudrillard quotes (our favourite guy back then) and made reference to this POEM:

THE LAND OF NOD by Robert Louis Stevenson 
From breakfast on through all the day
At home among my friends I stay,
But every night I go abroad
Afar into the land of Nod.
All by myself I have to go,
With none to tell me what to do--
All alone beside the streams
And up the mountain-sides of dreams.
The strangest things are there for me,
Both things to eat and things to see,
And many frightening sights abroad
Till morning in the land of Nod.
Try as I like to find the way,
I never can get back by day,
Nor can I remember plain and clear
The curious music that I hear.

Sleeve Notes:

The Rats
Nazi propaganda portrayed the Jews as rats. See also 'The Eternal Jew'

The Rat Catcher
This is (probably) a reference to the Pied Piper of Hamelin, who cleared the rats from the town, then lead all the children away.

Hitler Youth Rally
This image shows the control of Hitler over his people and appears on the same side of the fold-out sleeve as the rat catcher.

Fake song titles:
As mentioned above, the song titles below relating to the FU tracks are fake:
Black Iron Prison
Dove of Wood
Dove of Wood
The Black Rats
Surrounded by Boys

Black Iron Prison
This references a concept  in the book 'Valis' by Philip K Dick:

Wikipedia: The Black Iron Prison is a concept of an all-pervasive system of social control postulated in the Tractates Cryptica Scriptura, a summary of an unpublished Gnostic exegesis included in VALIS.
Once, in a cheap science fiction novel, Fat had come across a perfect description of the Black Iron Prison, but set in the far future. So if you superimposed the past (ancient Rome) over the present (California in the twentieth century) and superimposed the far future world of The Android Cried Me a River over that, you got the Empire, as the supra- or trans-temporal constant. Everyone who had ever lived was literally surrounded by the iron walls of the prison; they were all inside it and none of them knew it.

Philosophical and cultural references
Theology and philosophy, especially metaphysical philosophy, play an important role in VALIS, presenting not just Dick's (and/or Horselover Fat's) own views on these subjects but also his interpretation of numerous religions and philosophies of the past. The most prominent religious references are to Valentinian Gnosticism, the Rose Cross Brotherhood, Zoroastrianism andBuddhism, as well as Biblical writings including the Book of Daniel and the New Testament epistles. Many ancient Greek philosophers are discussed, including several Pre-Socratics (Pythagoras, Xenophanes, Heraclitus, Empedocles andParmenides) as well as Plato and Aristotle. More recent thinkers that are mentioned include the philosophers Pascal andSchopenhauer, the Christian mystic Jakob Böhme, the alchemist Paracelsus, the psychologists Carl Jung and Sigmund Freud, the Romanian historian of religion Mircea Eliade, and the author and psychologist Robert Anton Wilson. In Wilson's autobiographical Cosmic Trigger (released shortly before Dick commenced work on VALIS), Wilson describes similar musings concerning the 'Sirius Connection', contemplating the idea that alien entities are sending out waves of information that we can tune in on.

The action of VALIS is set firmly in the American popular culture of its time, with references to the Grateful Dead, Frank Zappaand Linda Ronstadt as well as the fictional rock musicians Eric Lampton and Brent Mini. However, the novel also contains a number of high culture references such as the poets Vaughan, Wordsworth and Goethe, and the classical composers Handeland Wagner. In particular, the novel contains several extended discussions about Wagner's metaphysical opera Parsifal.



Commodity Fetishism:

Test press from first press

Test press, probably for one of the later presses, with 'Psychotic Little Man' hand-drawn cover by Jeff Beckman (Haymaker)

(1) LFG Blog 2010 Re CIUT session 2001