Showing posts with label Early (pre-Hidden World) 7"s. Show all posts
Showing posts with label Early (pre-Hidden World) 7"s. Show all posts

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

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

    "Generation" EP

    ''In this arid wilderness of steel and stone, I raise up my voice that you may hear. To the East and to the West I beckon. To the North and to the South I show a sign proclaiming: Death to the weaklings, wealth to the strong!'' (Message on reverse of sleeve)

    Sleeve -Front: First Press
    Sleeve - Back: First Press - 100 of the first press have a Slasher Records'
    stamp in the bottom right-hand corner
    'Regular' Insert: The inserts for the early presses also had an image on the reverse;
    later presses had no image on the reverse.


    Tracks: Generation B/W Ban Violins / Magic Kingdom
    Year: 2005 (1)
    Label: Slasher Records - SRC MR-003 (Red- text sleeves), MURDER 003 (Black-text sleeves)
    Matrix A (1st-3rd press): MURDER-003-A   GWCZAMTNVWBWVOZWCVL
    Matrix B (1st-3rd press): MURDER-003-B   8+L

    Matrix A (4th & later presses): MURDER-003-A
    Matrix B (4th & later presses): MURDER-003-B   

    Pressing Info (Figures kindly confirmed by Slasher Records):

    Old Matrix - Pressed at Pickering Pressing Plant, Canada:
    1st Press: 500 Feb 2005 (125 with 'Slasher' stamp on reverse of sleeve) (9 Test Pressings)
    2nd: 1600 Late Feb 2005
    3rd: 30 with white labels, 40 with black labels

    New Matrix - Pressed at Pickering Pressing Plant, Canada:
    4th: 460 (new sleeves) (1 with small hole) (6 Test Pressings)

    New Matrix - Pressed at American Plant due to closure of Pickering:
    5th: 1000 (500 in new sleeves + 500 awaiting sleeves) (20 Test Pressings)

    1st & 2nd Press (Red-text sleeves) - Double-sided insert (There are at least 5 different inserts, see images below)
    3rd Press - Variable

    4th & later presses (Black-text sleeves) - Single-sided 'regular' insert

    • Two sleeve variants, some of which are stamped. 
    • Actually there's a third sleeve: 5 or 6 prototype UK style covers with the statue image from the 12" and a 'different' eagle on the back, made in 2005. See picture at end of post.
    • Six (main) vinyl variants 
    • Five insert variants

    Sleeve Variants:
    'Red Text' Sleeve - front and back
    'Black-text' sleeve- front and back

    Vinyl Variants:

    First & Second Press:
    These have 'Red Text' sleeves. They also have an image on the reverse of the lyric sheet / insert. There are five different images.
    First: There were 500 copies of the first press, 100 of which had a 'Slasher Records' stamp in the bottom left hand corner on the reverse of the sleeve, as shown at the top of this page. There are spelling errors on the first press labels and inserts
    Second: There were 1600 copies of the second press. The spelling mistakes on the labels were corrected for this one, but not on the inserts.

    1st Press - Red-text sleeve, small hole vinyl, silver labels with white stripe
    2nd Press - Red-text sleeve, big hole vinyl, silver label with black stripe

    Third 'Press'
    The third press (seemingly) comprises a total of 70 records; 30 white-label 'test presses' and 40 with the new black Slasher labels. Presumably, it would have been intended to press more than 40 on the black labels, but the pressing plate broke, so these 70 records were the last to have the old matrix etched into the run-out on the vinyl. It's not clear exactly why 30 test presses were made; probably simply to provide the label with a stock of 'limited' vinyl; a lot of these were given to subscribers of the Slasher 'singles club'.

    A random approach seems to have been taken to the packaging, stamping and distribution of these two records: The white labels were mostly stamped (the stamps vary, some are stamped with the Slasher address, others are stamped 'Third Press') some were marked in biro as test presses. The black labels mostly came with a stamped insert and / or sleeve and / or jacket. According to Sarah Milibrand's discography, at least one black-label copy had a new 'Generation Banner & Eagle' insert - presumably the same image as appears on the back of the sleeve.  Distribution was similarly random; some subscribers to the Slasher singles club got them, others didn't, some went to friends etc.

    3rd 'Press' Variant 1 - Mix of red and black-text sleeves, white labels, old matrix
    3rd 'Press' Variant 2 -  Mix of red and black-text sleeves, black labels, old matrix, some of these had stamps on the sleeve and / or insert (and maybe the dust sleeve?)
    This one has the same vinyl / matrix and labels as the white label one above, but it has different stamps and a stamped / dust cover with a message to a 'singles club' subscriber from Matt Bickle, the owner of Slasher Records

    Fourth & Fifth Press
    These have 'Black Text' sleeves,  the lyric sheet / insert is single sided; the reverse is blank. The vinyl is pressed with the new matrix code.
    Fourth: There were 500 copies of the fourth press (According to discogs).
    Fifth: Based on the assumption that there were no further black label pressings, the silver label version shown below is the fifth press.

    4th Press - Black-text sleeve, black labels
    5th Press - Black-text sleeve, silver labels with 'Slasher' text

    There are a few different inserts, the seemingly random images might (or might not) be connected by themes of western empire reincarnating ideologies and symbolism from the past. See lyrics of ''Ban Violins'' & ''Magic Kingdom'' for more info.

    The front of the inserts have the lyrics to the three songs and credits illustrated with a sword and eagle. The inserts that came with the 1st and 2nd press 'Red Text' sleeves have an image on the reverse; there are five different images - see below. The inserts that came with the later 'Black-Text' presses are blank on the reverse. 
    Unidentified image: Barbarians at the gates?
    Nike, Greek Goddess of Victory. Remnant of the Greek Empire; according to mythology, Nike flew around battlefields rewarding the victors with glory and fame. Here she's looking slightly less victorious minus head / arms.
    Unidentified image: Soldiers with spades - digging up the past?
    Unidentified image: The New Order? According to a German Helmet expert contacted as part of research: ''That's a Prussian State shield on an M1918 German helmet.  This would have been used in Prussia from 1923 to 1933''.  See also Teutonic Knights
    Unidentified Image: Born again? Neo-classical statue - woman with sword and shield and bay leaves. Eagle & 13 stars on shield. Liberty / Freedom?

    • Earlier presses have fourth part of coded message etched into vinyl (see matrix info above).
    • Insert includes credits for 'Back Ups' on ''Generation'' to: B. NetanyahuS. Peres & Y. Arafat
    • Recording date shown on insert believed to be incorrect - see footnotes
    • ''Death to the weaklings, wealth to the strong'' quote on reverse of sleeve comes from 'Might is Right' by Ragnar Redbeard


    From ''Couple Tracks'' LP Insert 2010:
    Generation: Much has been written about how this song was written as a joke. Not a Joke so much as a reference... Fucked Up is too self aware to ever write a song with any specific politic or intention - this song would serve as to such a song, or even a parody. The lyrics are simple and anthemic, but also meaningless - we always hoped/ joked that it would become the theme song to a sports team. 
    Ban Violins: OK, the lyrics on this song have nothing to do with the title. The lyrics are about Nazis or God, or whatever, or both. The title is a funny story. (See ''Couple Tracks'' for funny story).
    Magic Kingdom: In the notes to the track ''Generation'' I talked about noble intentions. It was our intention with ''Magic Kingdom'' to write a song like Discharge, the great early 80's UK hardcore band. What I'm realising now is that, while we did include  the dirty sounding one note bass solo, replete with superfluous but that we forgot to use a d-beat, the most fabled drum beat in punk. Also the lyrics contain the line ''You can't defend against magic'', which would never appear on any Discharge song, or any self-respecting punk song for that matter. The Song is about Dungeons and Dragons.

    From HeartattaCk Zine interview 2006: 
    We wrote "Generation" as a tribute to that - we tried to write the most anthemic sounding song we could, and inject it with the most insipid lyrical content imaginable, just utterly devoid of any meaning. That way, we knew that people would be able to find the most meaning within the song. (2)

    From Mixtape 2 Side A - (DA Speaking - conversation about Nazi song themes (not) reflecting ideals of band)
    The song ''Ban Violins'', there's a lot about Christianity in there. I can tell you one thing I'm definitely not a Christian.


    Previous Generation 

    An earlier version of ''Generation'' appears on the ''Epics in Minutes'' CD compilation. According to the CD inlay  it was recorded on 16th February 2002, during the same session as ''No Pasaran''. The song ''Red'' was also recorded at the same time and is coupled on the CD with ''Generation''.
    Artwork from 'Epics in Minutes' CD compilation.
    The 'new' version of ''Generation'' that appears on the EP, was recorded around 3 years later and this may explain the difference in lyrical styles between the simple anthemic chant of the title track and the 'Dungeons & Dragons' lyrics of ''Ban Violins'' & ''Magic Kingdom'' - the latter two were written after ''Looking For Gold''. However, all three songs on the EP (appear to) share common themes and these are (maybe) complimented by the sleeve and insert artwork.


    Rebirth and (Re)Generation: (Meaningless #1)

    The Red  text on the first and second press covers might reference some of the following. (From Wikipedia):

    Red in History: In Ancient Rome, red had an important religious symbolism, it was used to colour statues, it was the colour associated with army; Roman soldiers wore red tunics. In Roman mythology red is associated with the god of war, Mars. The vexilloid of the Roman Empire had a red background with the letters SPQR in gold. A Roman general receiving a triumph had his entire body painted red in honour of his achievement.[30]

    Roman Empire vexilloid
    In the Middle Ages, red was the colour of the banner of the Byzantine emperors  after the fall of the Western Roman Empire.

    Byzantine Empire

    The princes of Europe and the Roman Catholic Church adapted red as a colour of majesty and authority. It also played an important part in the rituals of the Catholic Church - it symbolized the blood of Christ and the Christian martyrs - and it associated the power of the kings with the sacred rituals of the Church.

    Symbolism of Red:  In western countries red is a symbol of martyrs and sacrifice, particularly because of its association with blood. Beginning in the Middle Ages, the Pope and Cardinals of the Roman Catholic Church wore red to symbolize the blood of Christ and the Christian martyrs. The banner of the Christian soldiers in the First Crusade was a red cross on a white field, the St. George's Cross. According to Christian tradition, Saint George was a Roman soldier who was a member of the guards of the Emperor Diocletian, who refused to renounce his Christian faith and was martyred. The Saint George's Cross became the Flag of England in the 16th century, and now is part of the Union Flag of the United Kingdom.

    Red in  Christian Religion: In Roman Catholicism, red represents wrath, one of the Seven Deadly Sins.
    In the Christianity, red is associated with the blood of Christ and the sacrifice of martyrs. Since 1295, it is the colour worn by Cardinals, the senior clergy of the Roman Catholic Church. Red is the liturgical colour for the feasts of martyrs, representing the blood of those who suffered death for their faith.

    Red on Flags: Red is one of the most common colours used on national flags. The use of red has similar connotations from country to country: the blood, sacrifice, and courage of those who defended their country; the sun and the hope and warmth it brings; and the sacrifice of Christ's blood (in some historically Christian nations) are a few examples.

    Red is the colour of the flags of several countries that once belonged to the former British Empire. The British flag bears the colours red, white, and blue; it includes the red cross of Saint George

    The flag of the United States bears the colours of Britain.

    Red, white, and black were the colours of the German Empire from 1870 to 1918, and as such they came to be associated with German nationalism. In the 1920s they were adopted as the colours of the Nazi flag. In Mein Kampf, Hitler explained that they were "revered colours expressive of our homage to the glorious past." The red part of the flag was also chosen to attract attention - Hitler wrote: "the new flag ... should prove effective as a large poster" because "in hundreds of thousands of cases a really striking emblem may be the first cause of awakening interest in a movement."

    Nazis with red vexilloids, march across an unidentified Greek island in 1936
    (On their way to open the Ark of the Covenant)

    The Sword may be symbolic of liberty and strength. In the Middle Ages, it was used as a symbol of the word of God.

    The Eagle can symbolise courage, strength and immortality, it is also considered "king of the skies" and messenger of the highest Gods. With these attributed qualities the eagle became a symbol of power and strength in Ancient Rome. Mythologically, it has been connected by the Greeks with the God Zeus, by the Romans with Jupiter, by the Germanic tribes with Odin, by the Judeo-Christian scriptures with those who hope in God.


    'Freedom Or Death' (Meaningless #2) From Wikipedia: Modern Greece traces its roots to the civilization of Ancient Greece, which is considered the cradle of all Western civilization The cultural and technological achievements of Greece greatly influenced the world, with many aspects of Greek civilization being imparted to the East through Alexander the Great's campaigns, and to the West through the Roman Empire The modern Greek state, which comprises much of the historical core of Greek civilization, was established in 1830 following the Greek War of Independence from the Ottoman Empire. Eleftheria i thanatos (GreekΕλευθερία ή θάνατος, "Freedom or Death") is the motto of Greece.It arose during the Greek War of Independence in the 1820s, where it was a war cry for the Greeks who rebelled against Ottoman rule.[3] It was adopted after the Greek War of Independence. It is still in use today, and is a popular theory regarding the use of 9 stripes (for the nine syllables of the motto) in the Greek flag. The motto symbolized and still symbolizes the resolve of the people of Greece against tyranny and oppression.

    Commodity Fetishism:
    Test for first press with blank labels
    Test for first press with hand-written labels
    Top L-R: First Press Test / First Press / Second Press / Third Press White Labels / Third Press Black Labels
    Bottom L-R: Fourth Press Test / Fourth Press Big Hole / Fourth Press Small Hole / Fifth Press Test / Fifth Press
    Back: Prototype Sleeve, Artwork for Epics in Minutes comp.

    All the top row of records were pressed with the old matrix, all the bottom were pressed with the new.  The two test pressings on the LHS were from the now defunct Pickering Plant in Canada, the other test pressing (bottom row, 2nd from right) was pressed  in America and has generic United labels.
    Fourth Press Small Hole: 
    Only one exists. Note the extra big 'Pickering Dot' - i.e. the black dot on the label showing this came from the Pickering Pressing Plant - see also the test presses above, the first press and the small hole ''Baiting The Public''

    (1) From email correspondence regarding date of recording: Also, you may already know, but the recording date on the insert is wrong. It says "12/28/05" but it should be "12/28/04" because the record came out early 2005. I haven't checked this date against other sources (e.g. Singles Collection CD on HG:Fact or Couple Tracks CD/2xLP on Matador) but I remember when I got it that the date was in the future so it was obviously wrong.

    Subsequently, from Matt Bickle: Recorded December 2004 came out Feb 2005 5 weeks later for California tour. 5 weeks only from recording to completion hence the spelling mistakes! 
     (2) HeartattaCk Zine interview appears on LFG blog post

     (3) This page is too long. It's a rambling lot of old bollocks.


    (Message on reverse of sleeve)

    Sleeve - Front (Test Pattern)
    Sleeve - Back (Test Pattern)
    The sleeve opens up to poster -size:  Left hand panel shows lyrics below Art Nouveau  swan motif, overlaid onto cemetery image.
    Reverse of sleeve - poster of collage by 10K.
     Central Ouroborus (cyclicality) and Scarab beetle (rebirth & regeneration), over microchip, over crucifixion, with western 'imagery' radiating out, also includes man working on circle of bolts and another man with chains. All bordered top and bottom by narrow strip of nature -sun set / rise over coast. Sun looks a bit like a light bulb, probably a coincidence. 

    Could you explain the collage that's in "Litany"?

    Marbles: Its supposed to be a visual representation of the song. The images in the center symbolize repetition; the man doing work, mouse on a treadmill, a maze, an ouroborous, and a scarab, and Jesus on the cross. The images radiating ourward are the things that we reproduce; work, struggle, chaos, death. Sunrise and Sunset.

    No inserts, but this one arrived with a patch, which looks the same as the one that went with the  ''Triumph of Life'' Newcastle version, so maybe this copy was picked up on that tour?


    Tracks - A: Litany / What Could Have Been  B: Colour Removal / Reset The Ride
    Released: 2004
    Label: Test Pattern Records TPR 108 (1st & 2nd Pressings) Havoc Records TPR 108 (Later Pressings)
    1st Press Matrix B: TEST PATTERN-108B 3=R

    Pressing Info:
    TEST PATTERN Version:
    First Press of 1000 Mar 2004
    Second Press of 500 Feb 2005
    Third Press of 1000 Nov 2005
    8Test Pressings.
    6 on Shampoo coloured vinyl (1)

    HAVOC Version:
    Black Vinyl:
    First (4th) press of 3000 May 2006. 
    Second (5th) press of 2000 May 2007
    Third (6th) press of 1000 Nov 2011
    10 Test Pressings
    At the bands request there is no limited version of this record. (2)

    No regular insert
      White vinyl (Test Pattern)
      Black vinyl (Havoc)
      Shampoo colour vinyl (Test Pattern)
      Limited Reptoid (Havoc)

      Sleeve Variations:
      Front Covers - Left: Test Pattern (Cream paper, No Logo), Right: Havoc (White paper, Logo bottom RHS)
      Back Covers - Left: Test Pattern, Right: Havoc (Record company details on bottom edge)

      Vinyl Variations:
      Vinyl - Side A: Test Pattern did the first two pressings on white vinyl.  Subsequent pressings by Havoc on black vinyl
      Vinyl - Side B: As above

      Limited 'Reptoid' Version:
      From the owner of copy # 3/3: ''I bought it from Felix Havoc of Havoc Records at Chaos in Tejas in 2006. I was standing at his merch table, browsing with a friend, when the guy next to us asked if there was any special edition of the Litany ep repress that Havoc had just released. Felix responded that there wasn't, at the band's request, and the guy said that was too bad because he'd buy it if there was. Felix pulled out a Sharpie, and wrote "LIMITED REPTOID PRESS #1/1" on the record and sold it to the guy for three bucks. My friend Mike and I indicated that we were now interested as well, so he numbered ours 2/3 and 3/3, respectively. So, strangely, the numbering goes 1/1, 2/3, & 3/3 for this "edition". The band had no knowledge of this taking place and, to my knowledge, it's the only "limited" version of the Havoc pressing of Litany that exists. The reason behind the reptoid business is because Felix was in the middle of driving the Swedish hardcore band The Victims around on tour and they'd been discussing and joking about the reptoid/reptilian/anunaki conspiracy in the van.''
      One wet weekend it occurred to me to contact Felix and find out if he'd get the sharpie out and indulge a weird guy from the UK... It turns out he's The Best; here's his reply:
      Ok, sure thing, I don't remember doing this, but it sounds like the kind of thing I would do when bored at a merch table.          

      5/5 available HERE.


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

      From FU online store:
      5th official release by the band and our first real EP. 4 tracks about repetition and cyclicality with more than willing nods to early UK punk and possible motorcycles. Most impressive, the sleeve folds out into a massive 12 panel collage pieced together by 10k Marbs a la Crucifix/Crass/Winston Smith. One of the most substantial singles in the discography. (3)

      Related artwork from 'Epics in Minutes' CD compilation:


      Pronunciation: /ˈlɪt(ə)ni/

      noun (plural litanies)

      • 1a series of petitions for use in church services or processions, usually recited by the clergy and responded to in a recurring formula by the people.
      •  (the Litany) a litany contained in the Book of Common Prayer.
      • 2a tedious recital or repetitive series:a litany of complaints

      Commodity Fetishism:

      Shampoo / clear vinyl
      Newer pic of shampoo vinyl (6 copies)

      Test Press (Test Pattern)

      Test Press (Havoc)
      Note initials on sleeve giving clue as to which band member traded this

      (1) Looking For Gold Blog
      (2) Havoc site
      (3) FU Webstore