Showing posts with label Deranged. Show all posts
Showing posts with label Deranged. Show all posts

Two Fakes

(Fake Dangerous Fumes & Baiting with Wrong Labels)

Same Vinyl - Two Records

After the first press of ''Baiting The Public'', (a release designed to frustrate and confuse), the band received another 250 copies of the record; these new ones had accidentally been pressed with the same labels as ''Epics in Minutes'' - the so-called 'Secret' 7''. 
''Fake Epics'' Vinyl - Looks a bit like the Secret 7".

As any nerd knows, different record pressings can be identified by the unique matrix code in the vinyl run-out, near the centre of the record. However the Baiting 'mispress' came with (almost) the same matrix text as the 'Secret' 7'' and the matrix was therefore a red herring.

Both records came in a generic white dust sleeve;  in their original form they look identical. This could prove confusing - a cynical person might think this version of 'Baiting' was pressed with the intent of extending the original prank;  not so much a mispress, more a fake version of the Secret 7".  

''Fake Epics'' Generic sleeve, conveniently annotated
It seems the band were aware of the trouble this might bring and so after they'd given away a bunch of ''Fake Epics'' (maybe at the same time as the Secret 7'' and maybe inadvertently mixing the two up a little), they helpfully attempted to avoid further confusion by taking a bunch more and gluing new labels on to make the ''Fake Dangerous Fumes''. 
''Fake Dangerous Fumes'' Left: Photocopy sleeve showing 'uncropped' image used for Dangerous Fumes - the container in the foreground was cropped out of the final version.  Right: Disk with Litany labels glued over Epics labels

The real ''Dangerous Fumes'' was not released at this point, so for a while it was a fake copy of something that didn't exist. Also, because it didn't exist, they didn't have Dangerous Fumes labels, so they used the ones from ''Litany'' instead. The vinyl has a big hole and the labels have a small one so they are a bit flimsy in the middle...

''Fake Dangerous Fumes'' Sleeve folded out


Tracks: Baiting The Public (Split over two sides)
''Released'': ''Fake Epics'' - 2003. ''Fake Dangerous Fumes'' - 2005
Label: ''Fake Epics'' has the same labels as ''Epics in Minutes''. ''Fake Dangerous Fumes'' has the same labels as the first press of ''Litany''

Pressing Info:
250 in total, divided into two 'bunches':
Bunch 1: ''Fake Epics in Minutes'' looked the same as ''Epics in Minutes'' and given away.
Bunch 2:  Made into''Fake Dangerous Fumes'' and sold on first West Coast Tour (2005)

No regular insert.

    Notes 1: Fake Epics

    From FU Board:

    How were the ‘baiting with epics labels’ put to use? Was there a kind of Situationist thing going on where hapless folk were tricked into thinking they’d got hold of the ‘secret’ 7″ when really they just had a baiting the public disk, which paradoxically the actual vinyl was rarer than both epics and the regular baiting?

    the epics baiting labels i think were a misprint because we got baiting and the secret 7″ pressed at the same time and some came back with misprinted labels so we gave a bunch of them away.

    Notes 2: Fake Dangerous Fumes

    From 'Couple Tracks' LP insert notes regarding ''Dangerous Fumes'' 7":
    This song has been kicking through the FU discography for a while. Nerds will note its first appearance as a fake 7" that we sold on our first west coast tour. It consisted of a ''Baiting The Public'' 7'' with ''Litany'' labels that we glued on, and a photocopied ''Dangerous Fumes'' Cover. 

    Sleeve Notes

    Dante's Inferno: Back image of Fake Dangerous Fumes is an extract of a picture showing Bertran de Born  ''who carries around his severed head like a lantern (a literal representation of allowing himself to detach his intelligence from himself)'' (1).
    The scene is from Bolgia Nine in the the Eighth Circle of Hell (Dante's Inferno). Significantly, the eighth circle is for those that commit FRAUD, also Bertran de Born is portrayed in the story as a sower of discord.

    vBig gap v

    Fake: Big gap between 'Red Herring' & 'Red'

    Not Fake: Small gap between 'Red Herring' & 'Red'.
     'RE1' opposite - see top right


    Vibrations and hums the quantum sum where we're from...

    Jacket - Front 
    Jacket - Back
    Jacket - Image on inside of gate-fold:
    This is the re-press version with stronger colours than the first press
    This is the re-press version with colour labels
    Lyric Sheet - Front
    Lyric Sheet - Back:
    Vibrations and hums the quantum sum where we're from
    felt in strings spread in rings spinning clouds eve Atom

    Particle dust to dust clung now balls of fire conspire
    Stars spit the molecules lit panspermigration comets

    Sui generus in space amino acids in place
    Cooling planets await fate until life shows its face

    Double helix the code from which flowed the chromosome
    Left hand supports life to divide and provide

    create soil out of rock to build blocks on blank spots
     bits and bugs make up weeds who build kingdoms of trees

    bees speak to the world and change the shape of their tongues
    they suck nectar from crowns and feed it to their young

    gold grains stick to their legs so we spread it around
    the whole world is alive on the pollen they've found

    the fecundity spreads to all parts of the plot
    until finally people emerge from the box

    the codes of the world are wrapped into our brains
    so things burst in to flame when we give them their names

    a word and a breath breathed life to ignite
    the world stood on its head to sing the songs made of light

    feed for new seeds was just need by our mention
    the plants that we said made to stand at attention

    trade scant collection see selfing clone generation
    ultimate uses defined by humankind

    resurrection haberian food green revolution collude
    tired nitrogen giants perspire a toxic attire

    our end delivered by birds riddle by all the wrong words
    we trade our bodies for bytes and give viruses and turn

    subsist to simply exist turn on the next living switch
    vibrations and hums the quantum sum where we're from


    Year: 2006
    Label: Deranged Records DER-87 *
    *Three different catalogue numbers appear on the release:  DY087 on insert, DER 87 on back of jacket and Deranged - 87 on labels.

    Matrix A: DY-87-A GOLDEN
    Matrix B: DY-87-B GOLDEN
    Matrix C: DY-87-C GOLDEN
    Matrix D: DY-87-D GOLDEN

    Double-sided insert, as pictured above
    Some (maybe all?) first pressings also include a poster - see below.

    First Press (monochrome labels)
    Repress (colour labels)
    Pre-order version (340 copies of first press, with stamped dust-sleeves)

    First pressing vinyl - monochrome labels.
    Pre-order copies had the FU logo stamped on the sleeves. The stamps were a random mixture or red, blue and black ink

    First Press Jacket - Image on inside of gate-fold:
    The colours of the first press are a little washed out, compared to the repress

    Colour comparison:
    Top: First Press
    Bottom: Repress
    Came with some, maybe all of the first press. Possibly because the colours on the jacket image were not quite  right?


    Extract From Interview With 'Heartattack' Zine - (LFG Post April 24 2006):
    How is the LP coming along anyhow?

    10,000 Marbles: It’s coming along great. We are firming up the first singles and are going to be ready to record soon. It will be the definitive Fucked Up project... 
    ...the idea behind the album, is that there is such a multiverse in the quality things you can get involved in - if you take a medium or an idea and hide things just below the surface of what’s there, and have people find them, they're going to start looking for other hidden things in everything they see, and start being more conscious, about everything. Just like when you're a child, and you find your first nickel on the ground - you start to look at the ground with a lot more attention and concentration.

    Extract From Interview With 'Life's A Rape Zine' - (LFG Post May 16 2006):
    Fucked Up’s lyrics, especially post-“Dance of Death” have lots of references to the arcane and ancient (“Thule society,” a lot of “Looking For Gold,” etc.). What is the inspiration for these kind of lyrics? Why the shift from the “political” songs, like “No Pasaran,” “Municipal Prick,” etc., or more literal lyrics like “Litany” that make up Fucked Up’s earlier work?

    Pink Eyes: The new lyrics are still political. The arcane stuff we are singing about is still applicable today. It's not like we are singing about dinosaurs. These are moments in history that have shaped the era we are living in. Sometimes the ancient is used as a metaphor for today. I think the relevance of a song like Looking for Gold is far greater then No Pasaran. We are certainly not as literal these days just because there is really only so many ways to say you hate your job. All the songs I have written for the LP are political songs, while maybe not as overtly so as Police, but political all the same.

    Extract From Interview With 'Exclaim' - (October 2006):
    What kind of label rigmarole did you guys go through?
    Vocalist Pink Eye: We decided we wanted to do a record that was going to be a lot bigger — first of all, it was going to be an LP. We knew we couldn’t put that record out on Deranged, because Deranged said they could give us $2000 to record, and we knew this would cost more — even though I later told Jade Tree it was only going to cost $2000. One day I just went home, looked at every record I had and said, "I’m going to write to every label I can find…” Before, we were talking to Steve Kado and were like "yeah, it would be really cool if Owen Palett played on our record.” He was great. 
    Guitarist Concentration Camp: He came in and cut one violin line — I’m like, "Oh, cool! Thanks man!” and he was like, "No, I’ve got to do eight more tracks over top of it.” It was neat for us, being really threadbare musicians — and I think it was a breath of fresh air for [producer Jon Drew] to work with a competent musician for an hour…

    Pink Eye: We talk about God more on this record than a Christian band.

    Are you religious? 
    Pink Eye: Not at all. Not. At. All. 
    Guitarist 10,000 Marbles: We ran out of metaphors. 
    Pink Eye: We exhausted all those metaphors about moshing and friends and the pit. So now we were like, "God, what’s left?” 
    Concentration Camp: God!

    Interview with David Eliade - (Jagged Visions Zine) ( LFG Post Nov 04 2007)

    What is Wilsim Publogy? 
    Wilsim Publogy was an offshoot of Romanian Manicheanism, and the whole Gnosticism trip. It sees cosmology in the same way as the Gnostics, in that the universe, or the being, or whatever, is split into these two forces, “light” and “dark”, or what have you, but differs in that Publogy doesn’t see the forces as necessarily opposite, but the same. It’s more into dualism, more along the lines of Vedantic Hinduism, who thought in terms of the “non duality of duality”. The whole Kabbalist “two poles” idea where the opposing forces are actually just different expressions of the same thing. We tried to be influenced by this when we were making “Hidden World”, and it shows up in songs like “Triumph of Life”, and “Two Snakes” and was the inspiration for the cover art. Actually, that’s another way Mircea comes back in, the quote we used from him in the record; “to be no longer conditions by a pair of opposites results in absolute freedom”. Especially in the world now where you’ve got your two political ideas, everyone has these strong feelings of wrong and right – we’re living in an age where the multitude has been slashed into these singular opposites where life is a series of choices between two opposites, and there are really only two ways of existing, you know “right” or “left”. It’s important I think to try and pull the crate back open, try to release these other ways of existing. And to do that we try to just take away the divisions and the opposites and just shine through Wilsim Publogy.

    Extract From Interview 'Scene Point Blank' - (LFG Post November 14 2006):
    Scene Point Blank: One of my questions was going to be if you had any plans to make Looking For Gold more widely available, but you recently made it available online. Why did you decide to release it online rather than re-pressing it on vinyl or releasing it in some other format? 
    10,000 Marbles: We didn't release it as a record because we didn't want people to have to pay for it. The original 12" became such an economic fiasco that we just figured fuck it, why put effort and money into releasing a record that people are just going to flip for more cash anyhow. The song fits thematically with Hidden World, so we want it to act as a companion piece, but one you don't have you pay more money for. Regardless, music isn't really about physical objects anymore anyhow, so why waste the petrol if people are going to listen to it on the computer anyhow? I can't tell you i haven't listened to an actually record in a long fucking time. The song is available online

    Scene Point Blank: It seems like a lot of your lyrics use a classic rhetorical strategy where you talk over an audience's head in hopes that they'll educate themselves. This is fairly uncommon in the broad world of punk, which is usually much more didactic; what's the rationale behind this and what kind of responses have you seen? 
    10,000 Marbles: I just write how I'd like lyrics to appear. We don't want to tell anyone what to think, really, I just like my lyrics to rhyme, use interesting imagery and words, and be about interesting topics. I'm not in this to spread any particular worldview. And yeah, when we do have particularly objective topics, they're usually tucked inside a metaphor, so the song is more interesting and you aren't hit upside the head with rhetoric. I had militarism in mind when I wrote "Triumph of Life," and smoking when I did "Dance of Death," but i like being discreet, you know?

    Scene Point Blank: Some of the recent Fucked Up material seems to be pushing in a bit more of an aestheticized direction in terms of content - with songs like "Teenage Problem" referencing André Gide and "Vivian Girls" with Henry Darger. What kind of artistic traditions do you see yourself engaging with or inhabiting (if any), beyond punk rock? 

    10,000 Marbles: None. This is what a punk band does - borrow, steal, etc. We're just a patchwork of a million other things. I don't think we have a defined or central aesthetic or ideology, we just know how to pick parts from other ones really well. I don't even read or like poetry, and I didn't really like Dargers book, but I do understand the power the things we use hold to other people. Recently I guess we're into illegalism, but that's not really art, and we can't really get arrested anymore. In fact - fuck art, it's the biggest scam racket going (other than bike locks).
    Scene Point Blank: "Carried Out to the Sea" attacks naïve postmodernism, but it seems to me that an argument could be made that the broad theme of Hidden World is a kind of deconstruction - the way that totalizing, Manichean oppositions are unstable and create a "hidden world" that overcomes them. Is this just a misreading?

    10,000 Marbles: Pink Eyes has this lyric cycle going on lately where his songs are about this constant dawning of change that is just a recycling of old parts. 
    Pink Eyes: "Carried Out to the Sea" is more about being frustrated that we live in an era where nothing is new and every time something comes into existence that looks as though it may turn into something worthwhile it is immediately jumped on before it has a chance to fully develop. There will never be another Seattle because nothing will ever develop to that point going unnoticed.

    Scene Point Blank: What's "David Comes to Life" about? 
    Pink Eyes: David is about a kid who figures out that everyday he lives his life he is just going to commit more sin and thus take him further away from heaven. So instead of waiting in this horrible life like the rest of us to simply die one day riddled with sin and have to then try to get into heaven, he is going to just kill himself, sin free, to get to heaven and plead his case.
     (Editors Note: The trickster who did this interview also wrote this: ""David Comes to Life" is one of the band's most accessible songs yet, a tightly wound, almost-power pop tune very much in the vein of the Undertones and even the Ramones. The song's lyrics (penned by Pink Eyes) present an interesting kind of religious dilemma: a boy (the eponymous David) recognizes that every moment he continues to live will only result in commission of further sins, taking him further and further from heaven. David decides to cut out the middleman and commit suicide in order to get to heaven and, in Pink Eyes' words, "plead his case." The song's chorus explains: "Death comes swiftly / To those who wait / But he's like the rest of us / An impatient ingrate.") 

    Shirt design by Alex Snelgrove:
    Five Snakes + 1 Owl =

    Extract From Interview With 'Alternative Press' Zine - (LFG Post October 23 2007):
    Alternative Press: To that same point, I look at a title like Hidden World and consider it a guiding principle for the band – in other words, the surface is the least of what you're concerned with; the whole aim of what you're doing seems to be nudging people toward looking at underlying systems, perception versus reality, etc. I realize this isn't a question, but we're not having a real conversation here, so it's the best I can do. 
    10,000 MARBLES: That's true. The only real guiding principle I have with lyrics or intentions is that I don't want to tell people what to think, maybe just how to think. But Fucked Up isn't political, and there is no agenda. People want to put meaning in places where there is none. Hidden World is about low places, of course, but I tried to be careful not to stretch those meanings to the point where you could say "…and so it's about looking at the systems that control the economy," or what have you. Take "Crusades," or the whole Hidden World motif: "Crusades" uses the metaphor of nature to describe zealotry, but to me, nature is the more interesting of the two; so on one hand, all the meaning to that song could just be on the surface.
    Artwork By Brian Walsby commissioned by collector to go with LP Test Pressing:

    Extract From Interview With 'Distort' Zine - (Posted on Jade Tree Site, undated):

    Ok, so I know this is probably something you’ve talked about for the past month solid, and I could probably interpret this my own way, but I gotta ask this: tell us about why you decided to call the record HIDDEN WORLD. 
    10,000 Marbles: Because it’s got so many connotations. It was originally going to be called "Crusades" but it sounded way too melodramatic. I thought of "Hidden World" in relation to the whole game that goes on just underneath of what is immediately visible, in all sorts of realms. And then I was reading an E O Wilson essay, and came across the words "Hidden World" regarding the biology of ant colonies, and that nailed it. 
    So, each song on the record seems like an attempt to explore a certain realm, right? I mean, let’s start talking about the song "Crusades": this seems to be about religion, the religious mentality, what it actually means to devote yourself to belief… right? Is Crusades an exploration of the Hidden Worlds of the faithful? 
    10,000 Marbles: It isn’t just about religion, it’s about the process of committing your life over to ANY belief, whether it’s god, politics, punk, ect. I’m not really interested in chastising religion specifically, so I tried to make the metaphor in that song as broad as possible. It’s about closing your mind to just one perspective or way of thinking.
    Sure, I used the word "religion" loosely, I can see that the use of Christian metaphor is probably the most convenient approach… anyhow, the closing lines of the song about being reborn again, is the idea here that commitment to belief on this level will perpetuate itself no matter what the actual focus of that belief is… just the devotion to belief above all else? I can’t really word this right, I'm sure you get what I mean… devotion to something separate from yourself is a constant, the only thing that changes is the object being focused on.
    10,000 Marbles: Yeah, I mean, the metaphor is the plant world, and in nature all life is the struggle to perpetuate itself onto the next generation. The purpose of any organism is solely to pass its genes into the future, regardless of if those genes are the best or not (obviously the best ones are the ones being perpetuated). But these political games, religion, points of view, you can see how in society they mirror the same process – as soon as an idea takes hold, the people who believe in the idea will expend their political energies in order to send that idea deeper and deeper into society and culture. So the song is supposed to be about how people can get so carried away by their own viewpoints that they get insidious and hard to control, and people aren't really trying to move them along because they think they've got the best idea any more, but just that they find themselves behind the idea, regardless of what it is and what it means. In the end of the song I tried to take the biological metaphor to it’s logical conclusion – when a particular gene gets too strong or insidious it becomes endemic in nature – like alien plant species that colonize the entire terrestrial environment because they've quickly eliminated all their competition – so instead of having these healthy waterway areas for example that are rich in biology and different kinds of species, you just have this one kind of plant, and the elimination of a rich ecosystem. The comparison is that as ideas in society get stronger and stronger, they choke the life out of other ideas, so you get these ridiculous polar opposites in culture, like in the US where there are basically 2 primary political ideas, left wing, and right wing, which is totally fucking absurd. I mean there are millions and millions of free thinking and interesting humans in the United States but the whittling down of ideas has happened on such a massive level that there are only two ideas that have been strong enough to survive – left and right. So crusades is supposed to be how dangerous it is to try and get rid of opposing viewpoints, even if you don’t agree with them. 
    Would you be able to define what the Fucked Up crusade is, then? Would you be able to define it? Are you attempting to develop an idea to choke the life out OF others? Or an idea that would, to follow the biological metaphor, enrich and strengthen the ecosystem of ideas, the process of engagement with ideas? That seems to be what, on most levels, FU are trying to do, from the confusion and obfuscation of the early records to the bold tome that is HW… 
    10,000 Marbles: That's a good point. That’s why I've always said we aren't a political band, and we don’t want to tell people what to think. I've always been careful not to talk in any specific terms – like, I don’t want to tell people WHAT to think, I’d rather tell them HOW to think, you know? I'm not interested in singing about like slavery, or racism or whatever, because it isn't really my business getting involved in people’s opinions. I guess on one level it comes down to censorship – like I'm not into racism, but instead of like criminalizing racism, I’d rather just let it become overwhelmed by opposing viewpoints. And I want people to get involved with the FU project specifically to get ideas involved that I wouldn't have been able to think up. i mean here is another metaphor – ideas can be like trains that you just get on and ride them where ever they go. I don’t just want to give people tickets to get on these trains, I just want them to know how many trains there can be, if you look hard enough. 
    Anyhow… was the title CRUSADES dumped before the artwork / design was finished? I wanted to ask about it’s significance to the HIDDEN WORLD theme. 
    10,000 Marbles: Yeah Crusades was long gone at that point. It’s funny about the art, it looks really great and cohesive but it was actually a real rush job. Jade Tree gave us pretty strict deadlines and we had to get everything in at once. So while we were mixing down the last few songs I was still getting rough sketches on email in the studio. I sort of threw a few ideas at Jay 3 weeks before it was all finished and told him ultimately what one to go with. The artwork relates more specifically to Two Snakes obviously and Crusades. It ties into Hidden World on the surface because it’s sort of got this inviting vibe like the woman is saying "Yo come join me in the Hidden World" but it’s not really about that. The middle artwork is more a mash of a bunch of different ideas discussed in the record. 
    Where does the woman tie in, then? 
    10,000 Marbles: It was supposed to be a sexless figure, like the combination of a woman and a man. Like the whole front cover is supposed to represent the union of opposites. 
    She seems a little less inviting and more statuesque. 
    10,000 Marbles: Yeah but I mean with the path between the snakes. 
    Before I forget, what’s the deal with the symbols on the archway? are there any specific meaning behind the patterns there? 
    10,000 Marbles: The symbols and the archway are totally the artist. He also told me he hid a "bunch of anuses" in there too. 
    Final artwork related question before I ask you more on that point and TRIUMPH especially… the overlapping circles is overlapping ideas and the space where they overlap is the hidden world?
    A symmetry finally as we transcend our strife, there are no sides, no divide, just the triumph of life 

    10,000 Marbles: Yeah – it’s a gnostic symbol – you know that Jesus fish? I read somewhere that if you extent the points where the fishes mouth would be, it makes these two circles that overlap. The gnostic idea was that heaven and earth where these two spheres that where at war for humanity. And in the centre where they meet, that’s the earth and human kind. So its the same deal – it’s supposed to be how there is a richer life when you don’t stand to one side and don’t commit yourself to one sphere or the other. The other cool thing is that the overlapping part is also a Vesica, which represents fertility in the obvious symbol of the vagina. We’re gonna do a record later that’s obsessed with vagina’s and wombs and motherhood and shit, so it will be a cool tie in.

    Extract From Interview With 'Bang Bang' Blog - (French Blog - 20 May 2008):
    What should we understand from that title? Does FU have a whole hidden world to show us ? 
    Marbles: Hidden World is about what is behind the layers; there are examples in every discipline. Huxley talked about it in Doors of Perception, what happens to your brain once you removed the walls of perception, you can see the Hidden World basically when you use a sharper tool to see things in greater detail. Buddhists talk about achieving higher levels of consciousness and acquiring new sensory abilities. You can even talk about the Hidden World in terms of belief – like what happens to your life and perspective once you start believing in new things, like magick or religion. There is a different hidden world for everyone. 
    One song that really intrigues me lyrically is Jacob’s Ladder with lyrics like: «I clearly can see now the devil is not the blight. A pact with the devil is necessitated to do the work of the angel so wipe away the tears that have been shed for an impotent Christ» Is it only about religion? Would you mind explaining those lyrics to me a little more deeply? 
    Marbles: I didn’t write the lyrics to this song, but Jacob’s Ladder is about the process of a good person being forced to do an evil thing, and whether or not evil exists as an ideal. There are lines from either Blake or Milton, but it’s revolves around the line «Evil be my good», about how one side can swallow up the other until there are sides any more. Just imagine being in a sticky situation where in order to do something you think is right, you have to sacrifice good, and do something wrong. I think he was using Christ and the devil as metaphors; it isn’t specifically about religion at all. 
    VIVIAN GIRLS is a song that seems to deal with the subject of paedophilia and how some people talk about it with disgust but would like to do it. Am I right or I got it wrong? Could you explain that song a little bit more? Why do you think the subject of paedophilia is not so often discussed in hardcore songs ? 
    Marbles: Vivian Girls is about the need for filth in order the create beauty. You can take this dichotomy anywhere – the need for crime in order to create law, the need for evil for there to be good, etc. The lyrics to this song are accounts of individuals taking great pleasure in sickening acts, which brings the two opposing sides to close for comfort. « Manqueller Man » is about how society has a great need for brutality, but also a great need to sequester it away. Vivian Girls describes when brutality and beauty are part of the same desire. We just release a song called « Teenage Problems » that is specifically about paedophilia.

    Sleeve Note:

    'Hidden World' Era Show Posters:

    Show Poster From 2007:
    God creating the sun on the Fourth Day

    Show Poster For 'Hidden World' Performance 2007:
    Gazing into the highest heaven:
    Is it the fire, or just another flame?

    Show Poster For 'Hidden World' Performance 2007:
    Features, anatomical studies & gold...

    Commodity Fetishism:

    Holy Grail: 
    Approved Test Pressing 4/25
    Rejected Test Pressing
    Disk 1 (left hand side) has different matrix to approved pressing. 
    Disk 2 has same matrix as approved pressing.

    ''Baiting The Public''

    (Message on reverse of sleeve)

    Sleeve - Front: Wake Up!

    Sleeve - Back


    Sleeve Folded Out - Front
    Sleeve Folded Out - Back
    Flyer: Some copies have a small flyer advertising Deranged Records Releases, the above picture shows 2 examples.


    Tracks: Baiting The Public (Split over two sides)
    Released: 2003
    Label: Deranged Records DER-43
    Matrix B: DERANGED YOUTH-43-B RE-1    12-R"

    Pressing Info: 
    If you're into accurate stats, than consider yourself baited... Basically there seem to be three sleeve variants (excluding the 'Fake' vinyl version). The 'Large Text Sleeve' is listed in various places as being 500 copies, but judging by availability, the 250 figure below is more likely...

    1000  (Comprising 500 with  'Small Text Sleeve' and 500 with  'Large Text Sleeve')
    750 (Comprising 500 with 'Small Text Sleeve' and 250 with 'Large Text Sleeeve')

    There is also a 3rd sleeve variant, which is the same as the 'Small Text Sleeve', but the Deranged logo does not have a border and the image is more cropped. This may be a repress, numbers issued of this one are unknown.

    No regular insert. Some have small photocopy flyer advertising Deranged Records releases.
      1. Large Text Sleeve
      2. Small Text Sleeve (Deranged Logo With Border)
      3. Small Text Sleeve (Deranged Logo, No Border)
      4. 'Wrong Label' Version - See ''Fake Dangerous Fumes''

      Some have stamped dust cover, this applies mostly, possibly solely to Variants 1 & 2 and probably to pre-orders, or  those coming direct from the label.

      Sleeve Variations:

      Large-Text Sleeve - Front
      Small-Text Sleeve (Deranged Logo with Border)  - Front
      Small-Text Sleeve (Deranged Logo, no Border) - Front
      Back: All variants 
      (i.e. not all have stamped dust covers, see notes above)


      Record has second part of coded message etched into vinyl (see matrix info above).

      Sleeve includes credits to Brus, Muehl, Nitsch and Schwarzkolger

      Extracts From MRR Interview:

      ...We kind of formed to put some ideas I’d had into practice. Me and Camp used to do a long winded zine…we quit that and sublimated those energies into this band, which has essentially become the 4th issue of Quick. All the ideas and concepts I’d saved for articles, became ideas for songs (most of which haven’t appeared yet). Baiting the Public was going to be an article on the history of derisive movements or thought-control experiments through history – Paracelcus and Alchemy - - "god did not choose to give us the medicines prepared. he wants us to cook them ourselves", to Pavlov and William Sargent, the the Actionists, to William Joyce – these are all people who were able to use frenzy, fear and admiration to beat people’s minds to the extent to which they become maleable and useful. That’s basically why we started the band – using music laced with subtle hints and a strong emphasis on symbols, sigils and logos – to get people to dig us to the extent that we could dig right back into them...

      ...One time my friend said that the problem with punk was that bands didn’t try and change peoples lives anymore, and he was coming from a mid-90s perspective, when there were bands like Born Against, trying to be really important for people. That’s what we want to do, but maybe with different motives.

      Is that what Baiting the Public was trying to do?

      Yeah, the lyrics were about whipping people into a frenzy, and the record itself was sort of trying to do the same thing – you can’t read the lyrics, you have to flip the record to hear the second half of the song, people were already pissed off about 2 song singles for some reason, the cover gets dog-eared really easily, the liner notes don’t make any sense. Originally, the plan was to make 1000 of side A as a one sided single on Deranged, and self-release 200 of the bside so that 800 people who be left without the whole song. It obviously won’t, but the record was designed as a tribute to art projects that were able to send people rioting out of the theatres or fainting in the gallery. “Now that you think like me, you can act like me”, that whole deal. We’re the big fish, trying to gobble up all the little fish.

      But do you think that’s an effective or even a responsible way at creating change in society? The point seems to be to wreck peoples lives to the point where they have the perspective of someone living in the gutter, which I get, but the control and coercion in getting there seems to have an underlying almost facsism to it.

      I think it more has to do with the perspective you already have. If you’re fearful or wary of having your life ruined, it means you've got some vested interested in maintaining society the way it is. Think of that movie Falling Down – its almost like in our culture your either a business man or a criminal. And its your position that dictates your perspective – life for most people is just trying not to get dragged down into the shit. The perspective of someone on the bottom is that the people at the top belong at the bottom as well. And I mean, this isn't just some dumb band shooting their mouths off, this is kind of a major thing in the world I think. Think of movies, religions, politics, school, all that shit, its culture’s attempt to bait people upwards by people at the top. Buy a car, buy a house, get along with your neighbours, don’t do drugs, be a little concerned about the environment, all the good you do in a wretched system just keeps reproducing that system. People at the bottom only have the choice of trying to move up, or to try and wreck the system as a whole. And so being timid or afraid of the sick movement at the bottom, is just the attempt to keep the world the way it is. That’s why there is such a taboo even in like activist circles against violence, or hard drugs, or aggression, and shit like that, because in a large way, violence is one of those precious things that has yet to be recuperated and swallowed up by the dominant culture.

      But isn't freedom one of those taboos too? That’s why to me it seems irresponsible to trade off freedom for participation in the “right” sort of culture.

      But the trade-off happened a long time ago. Having the freedom to earn money and buy things, doesn't mean you have the freedom to survive without going to work, or not complicity have people working in sweatshops, or the freedom not to destroy the environment, or act out in any substantial way. The real irresponsible force at work is the culture trying to convince people that freedom IS taboo and untouchable, and that people have long enjoyed it. The only reason we feel safe is because there's been sort of a brand loyalty created between fear and comfort. You look at like the Nazis, who created a Fear and Furore division in their society – on one hand people were made to fear and hate some arbitrary elements of society, and to love and admire others, and it was really effective in whipping people into the frenzy. I think most social movements use this same sort of tactic with varying degrees of intensity – vilify and scapegoat your enemy, and make your goal righteous. So then think about what happens when the brands people start to swoon over are like, organic foods, or (more) violence, and chaos, then what happens?

      Well how would you build a responsible way of life?

      I want to be a yeoman. Thomas Jefferson’s concept of agrarian democracy, where every family compact gets a large plot of land and grew their food and that was that. Like Wendell Berry wrote “you cannot loose your land and remain free; if you keep your land you cannot be enslaved”. (1)


      Extract from Distort Zine Interview:

      10,000 Marbles: I guess punk doesn’t really put much value on the actual music, because in the end punk is only a vehicle for things like music. Rather than being wholly about it.

      I think that shit is just a cop out so people don’t have to actually express anything interesting with their music or their ideas.

      10,000 Marbles: Well yeah. One thing we joked about a lot while we were mixing the record is how we hoped that Hidden World would "destroy punk". And then the other day I read a review about how the LP could be the "death knell of punk music".

      10,000 Marbles: We always said "to truly become something you have to first destroy it". Like in The Matrix. And I mean, the way we idealized the record towards the end was like this massive atom bomb that we’d drop on punk as a whole and hope to destroy it completely, forever. I think going back to the first question, my revised answer is that I’d like to be remembered as the band that put an end to punk.

      Is this why No Pasaran led to Police led to Baiting? And the Baiting theme has been pretty consistent from then until HIDDEN WORLD?

      no pasaran = punk as fuck
      police = an iconic take on punk as fuck (almost a joke?)
      baiting = anti-punk as fuck

      10,000 Marbles: Baiting The Public was our ultimate punk statement. Baiting is supposed to describe our idealized version of what punk means. And yeah, the schedule of our releases sort of maps our cynicism.

      I mean, Baiting is basically about manipulating and fucking with people, controlling them, which is decidedly anti-punk to acknowledge.

      10,000 Marbles: Well I mean this politically correct conception of punk only materialized late in the game, I’d argue

      Yeah… good point.

      10,000 Marbles: I’d say if you could reconstruct it, "fucking with people" would be top of the list of what Punk is. I mean I’ve talked about this punk issue in a lot of interviews lately. My take is basically "punk" was created as a marketing ploy to sell abrasive records in the late 70s. And clothes. All this extra baggage got added way later. Like the politics, etc. None of that shit had anything to do with what it was meant to do in its inception. "Punk" I think was this label created to reel in this new and interesting subculture that had developed on its own. There were all these fucking crazy people, who existed within the history of crazy fucking wierdos, and all of a sudden they all became "punks", this unified mass instead of this fertile movement. And by giving it this name and this look, they were able to herd all these people towards whatever cultural symbols they wanted people to rally around.Which happened to be spiky clothes, being drunk, buying records and going to concerts. And I think it’s that simple. (2)


      Extract from Jagged Visions Zine Interview with David Eliade (2007?)

      D:  Soon I think media will be presented more along the lines of size rather than style – instead of buying an LP’s worth of music from your favourite band, you’ll buy a gigabyte’s worth, so we’re trying to get with that. It’s the whole indie-vertical-integration American Apparel style that is really taking, now you've got record companies that are getting into publishing and management, it’s like this disaster style economics where everyone is sensing this foreboding doom and trying to scoop up as much as they can before the bottom falls out. But ultimately Fucked Up is just a band. We tried to reference surrealism with Baiting the Public, but none of that kind of art really matters any more, things are too reversed to be able to make any sort of meaningful impact. (3)

      Sleeve Notes:

      10K Blog Post 2010

      Probably my favourite sleeve that we've done. This was only our third 7" release, and we hadn't yet settled on the 7" layout template we use for all our singles now, with the titles on the top margin. Representing that, there are two different covers - one following the aforementioned template, and one with a bigger "Fucked Up" at the top in microgramma font (as opposed to Clarendon, which we use for everything now), and "Baiting the Public" on the bottom, representing maybe a last ditch attempt to go in a different direction. The front image is meant to be a metaphor for what we thought we were in punk, and what punk was in the world (we were really into punk at that point) - a pack of rats running over a proper looking young woman in bed. The inside was more to the heart of what this record was about, which was more or less a tribute to the Actionists, a radical art group in 1960s Austria. The inner picture depicts one of their "events" which is basically a naked man aiming a naked woman at a roomful of people. The Actionists, along with the Situationists, who were another big "influence" of ours at the time, were admired because of their blatant attempts to challenge and shock rather than pander to their audience. That's what Baiting the Public was meant to be - our small symbolic challenge to our listeners. The theme for the record went beyond just the art - we split the song into two so you had to flip the record over to hear the whole thing, and the lyrics were jumbled so you couldn't follow along. We were really into the idea of confrontation back then, and after the Police 7" was pretty well recieved, we sort of arrogantly already wanted to hit back with something a bit harder to digest. (4)

      Commodity Fetishism:

      One with small hole and dried wax run off.
      The theme for the record went beyond just the art... 

      (1) MRR Interview - on Looking For Gold Blog
      (2) Distort Zine 16 Interview with Fucked Up
      (3) Jagged Visions Zine Interview with  David Eliade
      (4)  Looking For Gold Blog Post

      ''No Pasaran''

      A Stateless Society
      Sleeve - Front
      Sleeve - Back
      Vinyl - A & B sides. Some have pure white labels, others have cream-coloured labels. One of each is shown here. 
      Poster / Insert - Front
      Poster / Insert - Reverse: Republican Posters and Photos + Lyrics

      Three Insert Variants:

      Above: Big & Small on glossy paper
      Above: Big and small glossy again - the small one is single-sided
      Xerox insert

      Flyers: Some copies have a small flyer advertising Deranged Records Releases - two examples are shown above, the bottom one has the label-owners 'want list'.


      Tracks: No Pasaran B/W Circling The Drain
      Released: 2002
      Label: Deranged Records D-030
      Matrix A: DERANGED YOUTH-30-A
      Matrix B: DERANGED YOUTH-30-B

      Pressing Info:
      First Press of 900 or maybe 1100 (Out of press)
      Approx 50 with colour photocopied sleeves
      Approx 20 with large spindle hole
      7 Test Presses.

      Three different inserts. 1.Gloss, double sided poster ('Regular' insert). 2.Xerox, double sided poster (same as gloss) 3. Small single sided Xerox paper. (1)
      Some also have Deranged Records flyer advertising contemporary releases (various designs)
        Regular sleeve
        Xerox sleeve
        Large spindle hole

        Xerox Sleeve (RHS): Image is cropped a little differently and is more xeroxy. Also the "B/W" text band in the top right corner of the xerox version is all white, rather than white with black patches.

        Notes 1: No Pasaran

        ''The clip is from the movie Land and Freedom, the 2nd best movie about the Spanish Civil War, and is supposed to be a really stirring intro to the song about the same topic. We've played this song less than 10 times ever, the last being in Barcelona, where we thought it would be appropriate, but was actually just kind of tacky....we generally have weird feelings about this track now.'' (2)

        No Pasaran Documentary:

        No Pasaran / They Shall Not Pass from Yoav Segal on Vimeo.

        (Spoiler: Franco prevailed and replaced the democratically elected government with dictatorship, began executing his opponents and carried on doing so until his death in 1975, by which point Spain's economy had integrated into the western capitalist framework).

        Francoist Spain (Cropped from Wikipedia)Francoist Spain, also historically known as Nationalist Spain during the Spanish Civil War, refers to the period of Spanish history between 1936 and 1975 when the authoritarian dictatorship of Francisco Franco took control of Spain from the government of the Second Spanish Republic in the Spanish Civil War.
        The coup had the support of most factions sympathetic to the right-wing cause in Spain including the majority of Spain's Catholic clergy, the fascist-inclined Falange, and the Alfonsine and Carlist monarchists. The coup escalated into a civil war lasting for three years once Fascist Italy and Nazi Germany agreed to support Franco starting with airlifting of the africanistas onto the mainland. Other supporters included Portugal under Antonio Salazar, while the presentation of the Civil War as a "crusade" or renewed reconquista…

        The Francoists took control of Spain through a comprehensive and methodical war of attrition which involved the imprisonment and executions of Spaniards found guilty of supporting the values promoted (at least in theory) by the Republic - regional autonomy, liberal or social democracy, free elections and women's rights. The rightists considered these "enemy elements" to comprise an "anti-Spain" that was the product of a "Judeo-Masonic" conspiracy, along with Bolsheviks, which had evolved after the reconquista of Spain from the Islamic Moors, a reconquista that had been declared formally over with the Alhambra decree of 1492 expelling the Jews from Spain.

        For nearly twenty years after the war Francoist Spain presented the conflict as a crusade against Bolshevism in defence of Christian civilization. In Francoist narrative, authoritarianism had defeated anarchy and overseen the elimination of "agitators", those without God and the Judeo-Masonic conspiracy… This discourse obscured the social roots of the war and analysis of its origins. Many Spanish children grew up believing the war was fought against foreigners; the painter Julian Grau Santos has said "it was instilled in me and I always believed that Spain had won the war against foreign enemies of our historic greatness. (3)

        Notes 2: Circling The Drain

        From 2001 Interview:
        What is your favourite song from a lyrical standpoint and why?
        Mike: Mine is ''Circling The Drain'', which is a theme that developed from the summer I had. I just had the worst summer ever and whatever could go wrong did go wrong and things kept getting worse. (4)

        From March 2010:
        This song stood out for us because it was not fast. That's pretty much it. Also we still play this song almost 10 years later. (5)

        Sleeve Notes:

        Front Cover: Original photo-montage by John Heartfield.

        John Heartfield (born Helmut Herzfeld; 19 June 1891 – 26 April 1968) was a pioneer in the use of
        art as a political weapon.

        While living in Berlin, in 1917, he anglicized his name from "Helmut Herzfeld" to "John Heartfield," an English name to protest against the anti-British fervor sweeping Germany. In 1916, crowds in the street were shouting, "Gott strafe England!" ("May God punish England!"). (3)

        "No pasarán. Pasaremos." (They shall not pass. We will pass) Two Nationalist vultures (i.e. condors), one with a swastika and the other with the Falangist symbol look out over Madrid. Republican bayonets point at them from below.

        Heartfield's photo-montages satirising Adolf Hitler and the Nazis often subverted Nazi symbols such as the swastika, in order to undermine their propaganda message. (3)
        ''The Cross Was Not Heavy Enough''. Positive Christianity. Nothing to do with the ''No Pasaran'' 7", but included because it might be topical...

        More Heartfield images HERE.

        No Pasaran's reproduction of Heartfield in monochrome is also a nod to seminal UK band Discharge

        ''After the total disaster known as the first Fucked Up 7" which was a black and white mess, Mike has really improved his layout skills''
        (Damian speaking in interview with NOT A GAME Fanzine)

        Commodity Fetishism:

        Approx 20 were 'accidentally' made with large spindle holes.
        Test Press - blank labels + xerox sleeve
        Test Press - hand-written (misspelt) labels

        (1) Discogs
        (2) Notes from Fucked Up ''Couple Tracks'' LP
        (3) Wikipedia
        (4) Equalizing x Distort Zine Issue 1
        (5) Looking For Gold Blog