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

Stats:

General:
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

Variants: 

Different vinyl colours as picture below.

Inserts:

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)

Notes:

The Fucked Up tracks were recorded 3 years earlier in July 2002, during the same recording session as ''Police''. The notes below are copied are cropped from a  2010 "fake'' about the band's first CIUT session in 2001 and hopefully relate to three of the tracks on this record...

FU song title AKA's

1. Black Iron Prison  - AKA - "A Light That Never Comes On"

2. Dove of Wood - AKA - ????

3. Dove of Wood  -  AKA - "Red" - AKA - "The Lurking Fear"

4. The Black Rats - AKA  - "Quick"

5. Surrounded By Boys -AKA - ????

1. Black Iron Prison is a reference to the concept of social control described by Philip K Dick in his novel VALIS.  This track is a polished version of ''A Light That Never Comes On'' one of the songs included on their Demo tape. 

Dove of Wood (Track 2): Does this title just symbolise the opposite to a black iron prison? I don't know. Is there another recording of the song somewhere else under a different name? I thought it might be an almost unrecognisably improved and updated version of ''Sleep Tight'' from the demo, because both seem to have a line ending ''...life away'', but other than that it's a different song altogether and all the better for it...

Dove of Wood (Track 3): There are three different recordings of this song on the Epics CD comp, it was originally called ''The Lurking Fear'' but was later named ''Red''. There are 3 versions of it on the Epics in Minutes CD comp (Deranged version). Here it gets a 4th recording and a 3rd name, but it has to share it with track 2.

The Black Rats: FU have a long association with rats. They have also been associated a zine that had it's name changed to 'Quick', which is also what this song was called when played with less skill for the CIUT session.

Surrounded by Boys: Like track 2, this might be a version of an early song with new lyrics and music; something only it's mother would recognise in its mature form, to anyone else it first appeared here as a fresh new 2-minute wonder. 

Following, is another early song claimed to appear on this split under a fake name (see ''fake'' link above). See also tracks 2 & 5. See also history of fake claims made by FU.

Sleeve Notes:


The Rat Catcher
When the sleeve is unfolded, this panel is arranged with its upper edge meeting the upper edge of the  main sleeve image. In this context it can be read as a metaphorical reflection on the Hitler Youth Rally via the Pied Piper of Hamelin, with the Nazi's as self styled rat catchers who end up leading the children away.

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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

''Litany''

MADE TO BE PLAYED OVER AND OVER AND OVER AND OVER AND OVER AND OVER AND OVER AND OVER AND OVER AND OVER AND OVER AND OVER AGAIN 

(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?

Stats:

General:
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)
Matrix A: TEST PATTERN-108A - MPWMSLECQRYPQQAPCC
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)

Inserts:
No regular insert

Variants:
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.

Notes:

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:

litany

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

Triumph of Life

ONE FOR THE ROOK, ONE FOR THE CROW, ONE TO DIE AND ONE TO GROW

(Message on reverse of sleeve)

Sleeve - Front (Jade Tree version)

Sleeve - Back (Jade Tree version)

Vinyl (Jade Tree version): These are on pink vinyl, the shade varies a little as indicated in the picture above, which shows two different records. Most have a light marbled pattern as can be seen on the left-hand disk.

Vinyl: Peter Bower / Vice Variants:
Bottom: First Euro press on black
Top: Second Euro Press on purple and purple w/ black splatter

Stats:

General:
Tracks: Triumph of Life B/W Neat Parts
Year: 2006

North American Version:
Label: Jade Tree - JT1116
Matrix A: 8532-JT1116-7(A) R-19997 xar
Matrix B: 8532-JT1116-7(B) JT1116 R 1999 8 ner

European Versions:
Label: Peter Bower / Vice - VRC-001 PBR-015
Matrix A: 64802H2/A PBR015 A
Matrix B: 64802H2/A PBR015 B


Pressing Info:

Jade Tree Version:
1000 on Pink vinyl

Peter Bower / Vice Versions:
1966 on Black
1000 mixture of plain purple and purple with black splatter, 75 of these have a ‘tour cover’

Inserts:

• Jade Tree version does not have a regular insert
• Peter Bower / Vice versions have single-sided insert, with photocopied ‘two naked men’ image (the black vinyl usually has an A5-size insert on white paper, the purple variants usually have an A4-size insert on coloured paper. Colour of paper depends on ‘what was available at the time’)
• Some PB / Vice versions have a small card copy of a gig flyer (various images), added by one of the distributors.

Variants:

• Pink Vinyl – Jade Tree 
• Black Vinyl – Peter Bower / Vice 
• Purple Vinyl - Peter Bower / Vice (Variable sleeves – see below) 
• Purple Vinyl - Peter Bower / Vice (Variable sleeves – see below) 
• Tour Sleeve (see below)
• Newcastle Version (see below)

Inserts - Peter Bower / Vice Variants:
Front: Small white insert - usually comes with black vinyl (First Euro press)
Back: Large coloured inserts - usually come with purple vinyl variants (Second Euro Press)

Some of the Euro Press versions also had a small card 'Show Poster' image, kindly added by one of the distributors. There are various images

Euro Sleeve Variants:
For the Euro Press there are two variants of the 'regular' sleeve:

• Peter Bower / Vice Sleeve
• Peter Bower Sleeve

The first Euro press on black vinyl was a joint venture between Peter Bower and Vice. The second press on purple and purple w/ splatter was done by Peter Bower and a new cover was produced omitting Vice. However, there were a number of covers remaining from the first press, so a lot of the coloured vinyl comes with the earlier sleeve. The new sleeves with the Vice logo omitted often come with the splatter variant, but many were packaged randomly.

Euro Sleeve Variants: Front
Left: Peter Bower ‘with’ Vice version - has white border below bird image on bottom edge of sleeve, similar to Jade Tree version
Right: Peter Bower ‘without’ Vice version - does not have white border on bottom edge

Euro Sleeve Variants: Back
Left: Peter Bower ‘with’ Vice version has Vice logo on bottom RHS
Right: Peter Bower ‘without’ Vice has Vice logo omitted

'Tour' Sleeves
These are black and white fold-out sleeves, made for the second press purple and purple w/ splatter. According to email correspondence, the sleeves were made for the last copies of the second press; a good year after the actual tour.

'Tour' sleeve, with purple vinyl. Borrowed from Kyle Whitlow's blog

Fold out sleeve printed both sides the left hand pic shows the reverse of the sleeve when folded out 

Tour sleeve with purple / splatter vinyl

Notes:

Announcement on LFG (Jan 28 2006):
"Triumph of Life", the first single from the upcoming "Hidden World" 2xLP, will be released first in the UK in April of 2006 to coincide with the Fucked Up UK tour (April 13-23). The single will later be released in North America with a different bside, with the album shortly following.

Spot Rusherz interview with Damian, posted on LFG (Jun 13 2006):
10. What did you write triumph of life about?
I didn't write it.... it's a Mike jam so it is no doubt about gardens or magic.

Scenepointblank.com interview, posted on LFG (Nov 14 2006):
10,000 Marbles:  I had militarism in mind when I wrote "Triumph of Life," ... but I like being discreet, you know?

Scenepointblank.com interview, posted on LFG (Nov 14 2006):

Scene Point Blank: "Neat Parts" seems like an account of being disillusioned with certain varieties of politics ("empty slogans they just fall on my left and deaf ear"). The question of Fucked Up and politics has always been fairly complex and uncomfortable for some; how does this fit in?

10,000 Marbles: Pink Eyes wrote "Neat Parts" about girls, I'm pretty sure. "Neat Parts" and "Reset the Ride" - that shit is about women.

Pink Eyes: "Neat Parts" really is two different songs in one, I guess. The first verse is definitely meant to be an attack on the sloganeering of punk. Where bands talk about being anti-racist only to turn around and have totally misogynistic views (or homophobic and classist) thereby totally ignoring the intersectionality (sic?) of systems of oppression. Or most of the time they do talk about being anti-oppression it is on a very surface level; like I'm anti-Nazi therefore I'm anti-racist, totally ignoring how deep these problems truly go. And it totally boils down to some idiot with a microphone telling us how to live so they can feel that they have somehow had a positive effect on the world. The other half of the song is about people subverting science to re-enforce systems of oppression. For me these two things are linked because they are both examples of people taking things and twisting them to serve their will. Both are totally different but both are equally self-serving.

Sleeve Notes

The following is copied from a LFG post (Dec 27 2010) regarding FU cover art work:

Triumph of Life 7"
Here is another cover with a subtle but powerful message. It's pretty much just a picture of a bird (The extinct Black Mamo) but then when you look closer you see that what makes the picture and the bird significant is the flower it's standing on, who's petals are perfectly formed to fit this birds beak, and no other. This holds with the syncretic message that most FU songs are about, our "anti-dualism" vibes. In 2006 I was mostly finished being interested in university and was taking biology and botany classes for fun and was learning about symbiosis in nature as it relates the evolution of species. It turns out that competition between two species, be it an antelope and a cheetah, or a bird and a flower is what drives evolution, since the constant battle between opposing forces makes each better and stronger and challenging the opponent. But since it's happening on both sides, its a positive feedback loop and allows new traits in each species to develop and strengthen the species as a whole. It's kind of like Marx/Hegels theory of the dialectic in society except that in nature it makes cheetahs that can run 100 mph, and in society it just makes Walmarts and Russian billionaires. I got the image from a huge picture book of extinct animals, and this was I believe the first time we ever used a colour photo on a 7" cover. I kind of tried to make this record like the part in The Wizard of Oz where all of a sudden everything was in colour. This 7" was kind of like a departure in style for us, and seemed appropriate for things to start being in colour.


Nazi Imagery?

Below is a screenshot from LFG, showing the first part of the post dated Jan 28 2006, announcing the forthcoming release of the 7''. The  image was reproduced on the inserts shown above and on FU Shirts. Some of its previous usages are outlined further down.

Pre-Nazi Usage:

‘’Die Germanische Glaubensgemeinschaft’’ Pamphlet (1921). 

This pamphlet was extracted from a Ludwig Fahrenkrog book, to promote Germanische Glaubensgemeinschaft (GGG) (Germanic Religious Community). 

Ludwig Fahrenkrog

(The following is quoted from ‘’Brown Shirt Princess’’ By Lionel Gossman):

His (i.e. Fahrebkrog) basic article of faith, he had written then, was ″Gott in uns″: ″If God is in everything, hence not only in me, then I am also the Other. If, however, God is in me, then his law is also in me and I have no need either of written law or of a Mediator. Likewise I cannot expect to achieve salvation otherwise than in and through myself.″ His ″new-won view of the world″ could be summarized, Fahrenkrog explained, in three short phrases: ″God in us – the Law in us – self-redemption.”... Later still, he proposed...”It is. The All is in me and I am in the All. [...] All things spring from the same original source. There is no difference between God-All and human soul. Man is part of the Totality, a particular being. And yet he is also God.″ According to Fahrenkrog, the immediate, incontrovertible experience of the indwelling of God in the human soul is the essence of all true religion: ″Whoever does not find these propositions self-evident is not truly religious. They refer to fundamentals. Neither faith nor dogma plays any role here.″ (1)

The GGG under the Third Reich (From Wikipedia):

When the Nazis came to power in 1933, they outlawed almost all other groups not affiliated with the party. The GGG, however, was not forced to disband, partly... "because of Fahrenkrog's international status as an artist." Nevertheless, some of its activities were limited. They could no longer hold public meetings, and after 1938 could no longer use the swastika, which the GGG had been using as its symbol since 1908.

Nazi Usage: 

Fe y Acción (1938)"Faith and Action" 

This publication was an official text of indoctrination to the Hitler Youth, published by the NSDAP. It is a “Book of Virtues,” discussing the ideal traits of Nazi youth. A Nazi era review noted that this was a good book for those who wished to give their children something better than “the Jewish myths of the Old Testament.” The author was in charge of military education for the Hitler Youth. 

The above text is paraphrased / copied from the introduction to a translation of the publication HERE

Post-Nazi Usage

Going back to the screen shot above, the image appeared under the title: 'Give Dust To Life' and with the caption, 'One for the rook, one for the crow, one to die, and one to grow'. The song lyrics are also included in the post.

See separate page about use of FU logo to subvert religious / state imagery. (If it gets written later). In the meantime the replacement of the swastika with the FU logo and its subsequent usage was probably to do with selling records and T-shirts and maybe converting fans to Nazism, rather than anything weird like extending the alchemical themes of the record to distil and separate the pure elements from the muck associated with the image.

See also section in ''Brown Shirt Princess'' regarding Julius Hart’s Triumph des Lebens (Triumph of Life) poem.

Commodity Fetishism 

Triumph of Life 'Newcastle'  This picture shows the armband and patch, some had a button badge. The armband was placed around the first press (black vinyl) record, as shown in the picture below. The record was numbered on the back (25 copies) and sold at the Newcastle show (without the band's involvement).

Packed up - there were two variants to the armband; the one shown above and another that had a black logo on red fabric, shown below.

Test Press - Peter Bower / Vice - Euro Press: These had white labels with 'side A' stamped  on. The 'B' side label was blank

As above

Test Press - Jade Tree - North America Press:
A few of these were given away by Jade Tree as competition prizes:
Left: Cardboard mailer packaging (JT116 is the record code)
Right: White blank labels, small-hole vinyl

Test Press - Jade Tree

 (1) GOSSMAN, Lionel. Brownshirt Princess: A Study of the “Nazi Conscience”. New edition [online]. Cambridge: Open Book Publishers, 2009 (generated 10 February 2014). Available on the Internet: <http://books.openedition.org/obp/399>. ISBN: 9781906924027.  HERE

MILLENIAL REIGN

After five years of promising each other that they would start a “clevo” style band , one day, Jordan (ex No Warning) and Damian (Fucked Up) finally just said fuck it and did it with the help of Jesse (ex No Warning). This band is about old friends getting together and playing heavy music again.

(From Former Millenial Reign Myspace)

Sleeve is fold out design

Main pressing comprised white and purple/grey-marble vinyl

Cultural Diaspora. Mass Exodus to a virtual world. A final evolution. 
(Lyrics on inside of sleeve)

Stats:
Side A: I Start Fires With My Mind / Moores Law
Side B:  Irrational Disdain / Luminous Veil
Released: August 31, 2010
Label: A389 Recordings A389-044
Matrix A: u-64374-M-A A-389-044-A
Matrix B: u-64374-M-B A-389-044-B


Pressing Info:
Test Pressings - 16
White Vinyl - Qty unconfirmed - probably 200, or 250.
Transition - Variable, mixture of whites and blue-greys - Qty unconfirmed - maybe 13
Purple/Grey Marble - Qty unknown, but most common variant

Inserts: No insert

Variants: 
Three vinyl variants - different colours as above
Two sleeve variants - Regular Sleeve & Limited "Leather" Sleeve - 65 numbered copies 50  made available for sale, originally as part of Record Store Day 2014

The rarely seen blue/grey-white transition vinyl (LHS), together with the two equally-pretty regular versions

'Leather' sleeve made for RSD 2014 - contained regular vinyl, cover and numbered dust sleeve. (Top left)
Test pressing vinyl and sleeve (Bottom and right)

Bones, dust, nothing - test press sleeve image

Notes:

Vice: After ten years of having to suffer difficult-to-listen-to arty screamo bands made up of sensitive guys wearing lampshades on their heads, it seems like hardcore kids are looking back to the straight up power violence/metalcore bands of the early 90s for their inspiration.

Four new bands that we like include Millenial Reign (Toronto, CN), Pulling Teeth (Baltimore, US), Living Hell (Boston, US) and an SXE band with the best name we’ve heard in years, Coke Bust (Washington DC, US).

While Coke Bust’s new demo sounds like vintage Infest doing Youth Of Today songs, the other three bands all owe a HUGE “artistic debt” to one of our favourite hardcore bands of all time, Integrity.

What started off as a vaguely normal straight edge band from Cleveland turned into an institution which would create a crossover sound of crusty punk, metal and hardcore which would go on to create metalcore, screamo and hardcore as we know it today. Maybe it had something to do with the fact that during the recording of their genre-defining For Those Who Fear Tomorrow album, downstairs from Nine Inch Nails’ studio in Clevo, the band were consuming a sheet of acid, weekly, bought from Filter’s singer Richard Patrick. Or maybe not.

In any case, Millenial Reign’s singer, Fucked Up’s Damian Abraham, told us that the main motivation behind his new band, which is named after an Integ song, was “total Integ worship”.

We got in touch with Integrity’s founder Dwid at his Belgian home to ask him what he thought about all this drooling fanboyism but he declined to comment. Instead we talked to Damian from Fucked Up and asked him what the hell was going on.

Vice: What the hell is going on? Can you explain why all the best new bands are ripping off Integrity and fashion labels are making shirts in their honour?

Damian Abraham: Well, I think the thing with Integrity is that it is a complete vision and package. I was never a “metal” kid growing up because I couldn’t vibe with the aesthetic and the straight up fantasy schtick. The thing with Integ is that they had all the elements that made metal appealing to me: The crushing metal riffs of Aaron Melnick but they also had Dwid’s complete warped world view and were rooted in punk. They invented metalcore and as someone who sings in hardcore bands: Dwid had the most intense vocals I have ever heard and really is one of the few vocalists to push the genre. I actually told Dwid about the band and we’re talking about getting him to do the artwork for the seven inch.

What do the rest of Fucked Up think about all this?

They are all Integ fans so they are into it. I think they are also hoping that this will stop me from trying to force the Integ thing on them.

A kind of “if we let him do this hopefully he’ll grow out of it” kind of vibe?

Kind of, yeah.

ANITA CRAPPER

Vice Magazine April 1 2007



The recording “was supposed to come out years ago on another label but fell through the cracks.” (Dom @ A389) 2010