It’s Monday, and that means it’s time for Fugazi (really, any day is a good day for Fugazi, let’s be honest). Once a topic of disdain and much, much anger is now the comfort of a warm and snug blanket or sweater… meaning it’s been wholly embraced and absorbed, because at one time in my life, I was an idiot. Repeater, the band’s first full length, was released many a moon ago, in April of 1990. I was ten. Carry on.
If Glen E. Friedman ever took a bad photo, I’ve never seen it. Early Fugazi, featured here from the insert to their 1988 12″, Fugazi, features a front row view of this vigorous band in violent, full swing. Spend the rest of your day Googling Glen E. Friedman’s work, then spin this album. Your Tuesday morning will thank you.
Every once in a while on a gloomy Tuesday in Southern California, the mood for pop punk/emo strikes. It’s not often, but when those emotionally overcast skies offer no inspiration, it’s nice to know Tuesday is there to offer their slow-rolling brand of catchy, youthful memory inspiring groove music.
Perhaps known best for being the band Dan Andriano from Alkaline Trio played in before joining Alkaline Trio, Tuesday existed for little over a year and produced only one EP, Early Summer and one full length, Freewheelin’.
Releasing their entire catalog in 1997, Tuesday showcases the upbeat and darker side of Midwestern life, and shouldn’t be incorrectly lumped in with 2000-era, “cutting yourself for attention” Emo. Emo in the mid/late 90s held a completely different connotation than it does today. We called Fugazi Emo, if that gives you any idea of how deformed and self-righteous the term has become.
Tuesday is here but one day a week. Embrace the negatives of this world once in a while. You’ll gain a much more clear perspective on how great your life really is… that, or you’ll jumpstart that downward spiral you’ve been trying to avoid for nearly 15 years. Either way, Tuesday is there when you need them.
1988, with all its impotence and social frustrations, was a pretty damn outstanding year for music. Today we’re going to focus on (albeit very briefly because, let’s face it, I’ve got things to do) two outstanding works of Industrial fusion helmed from the prolific production due that was once known as Luxa Pan Productions. Very quickly, for those of you who have been living in a K-Mart dressing room for the past 25 years, Luxa Pan (Hypo Luxa and Hermes Pan, respectively) were the monikers of Al Jourgensen and Paul Barker. Sorry to be redundant for those to whom this fact is obvious… moving on.
In 1988, Ministry (Jourgensen/Luxa, Barker/Pan & crew) released the consciously alarming The Land of Rape and Honey. Also released in 1988 was Trait by Pailhead. Luxa Pan Productions was/is known for their excessive side projects, and their teaming with Minor Threat/Fugazi frontman, Ian MacKaye to form Pailhead is one of these bountiful side gigs.
Ok, so, FINALLY getting to the meat and potatoes of this damned post. Take a look at the pic of both covers at the top. Both albums were released the same year (1988), and both featured masterminds Jourgensen and Barker. Do the covers seem a bit similar to you? Something like a mushroom cloud, right? “Yes?” You reply with a vague tone. Ok, now take a look at the pic below.
By converting to grayscale and inverting the colors to The Land of Rape and Honey, you can clearly see the stark similarity between these two covers. I’m racking my brain on what this could mean. Did the boys just dig an ambiguous mushroom cloud image, enough to reproduce it on two different album covers by two “different” bands? Maybe. Did their excessive drug use drain them of their creative juices leaving them to repurpose an old idea? I don’t think so.
Here’s my thought. 1988 opened the door for a tsunami-sized wave of creative output by the Luxa Pan team (focusing solely on albums released between 1988 and 1993), and this mushroom cloud was a symbol for an explosion of releases that would define the career of both Al Jourgensen and Paul Barker.
Allow me to briefly break it down: Three albums by Revolting Cocks (You Goddamned Son of a Bitch, Beers, Steers, and Queers, and Linger Fickin’ Good), three albums by LARD (LARD, The Last Temptation of Reid, and Pure Chewing Satisfaction), a release by PTP, two released by 1000 Homo DJs (Apathy, and Supernaut) three by Lead into Gold (Idiot, Age of Reason, and Chicks & Speed: Futurism), four albums by Ministry (The Land of Rape and Honey, The Mind is a Terrible Thing to Taste, In Case You didn’t Feel Like Showing Up, and Psalm 69: The Way to Succeed and the Way to Suck Eggs) and finally, two releases by Pailhead (I Will Refuse and Trait). So, if my overly simplified calculations are correct (and they probably aren’t), in the span of only six years, Luxa Pan Productions produced a total of 18 albums. The mind boggles in its feeble attempt to process this information.
Whether these covers were foreshadowing the brilliant work of two insanely talented musicians, or it was simply an overanalyzed coincidence, 1988 ignited a bonfire under Luxa Pan Productions, the flames of which are still burning strong to this day.