Look, if you voted for this sociopath, I’m sure you had your reasons. However, one week into his illegitimate presidency, lives are being destroyed. America isn’t safe. The world isn’t safe. I’ll be damned if I will sit by idly and let this happen. Let history reflect that we, the majority, didn’t participate in this.
The Elephant Six collective’s family tree is beyond diverse. From The Olivia Tremor Control and Neutral Milk Hotel to Elf Power, Of Montreal, Beulah, The Minders and countless others. But don’t fool nobody, the very first vinyl release, the starting point for all that came after it was The Apples self-released EP in 1993. As with all of their material, it was recorded and produced by Robert Schneider.
The band released a subsequent single on the Bus Stop Label the next year and a peppering of split releases before their first full length, Fun Trick Noisemaker, which came out in 1995.
Long out of print, Science Faire collects the band’s very earliest material in the original format that all of these releases came out: on seven-inch vinyl!
Complete with posters, stickers and books, Science Faire is painstakingly reproduced exactly how they were originally. Each side of vinyl is stretched to their absolute limit with maximum times per side. Again, just like the originals. The third single (“Time For Bed”) also includes never before seen artwork by The Olivia Tremor Control’s W. Cullen Hart from back in the early 90’s. Additionally, the track “Onto Something” is included here which wasn’t included with the original release.
All three singles are housed in a special package created by Chunklet’s in-house designer Henry Owings.
Mail order copies will come on special colors of vinyl and a reprint of the very first Apples shirt.
Pre-orders ship some time before Christmas (we hope).
I’m not going to lie. This past week has been an absolute beast for me. You start thinking that the national narrative clearly wouldn’t veer towards a racist, homophobic, tax-dodging pig, but here we are with said pig a mere flick of the finger from the bomb. Thanks, America. You’ve really disappointed me. Anybody that’s not a rich white man should be ashamed of themselves for allowing a man who very openly hates all of us get the presidency. We went from a Harvard Constitutional Law professor to a reality show judge who marginalizes everybody. Congratulations, America. Or what is left of it.
In a genuine effort to keep my spirits up and my general level of malaise down, I’ve taken myself off social media which, to be honest, hasn’t been all that bad. However, in one of my last peeks into Facebook, I saw that my good pal Nolen Strals posted an image of his beaten up “We’re All In This Together” t-shirt which had to be over a decade old.
Now, to those who may remember, this design was entirely thought up back in the late 90’s by Mark Wasserman from Plinko in San Francisco. A wildly successful design for the time, I’ve decided to resurrect this shirt indefinitely in a vague way to cheer myself up amidst the steaming shit sandwich that our country will be forcing down our gullet for (at least) the next 4 years.
Every printing of this shirt has been on a different color, and no, I don’t remember which was the first, but I’ve made literally thousands of this shirt and it’s now available for sale on navy blue American Apparel 2001 shirts. Also! Every order comes with the design you all love printed on bright red vinyl stickers. Just like that.
And again, in an attempt to cheer myself up, I saw that Jeff from Wilco gave Chunklet a tip of the hat regarding this shirt. Surreal to have folk at that level notice what I’ve done, but so be it. Top of the world, ma!
Often considered the apex of Jerry Lewis’s delusional search for comedy, the movie “The Day The Clown Cried” is the largest smear and/or question mark in his prolonged career. I’ve seen a script (it’s been widely circulated in Hollywood for years, often getting celebrity filled table reads at comedy clubs), and hoo buddy is it bad. Harry Shearer is the only person who has claimed to see it, and it will only be seen by us mere mortals some time in the 2040’s thanks to Mr. Lewis endowing it to the Library of Congress.
Elevator pitch of “Clown”: Jerry Lewis plays a clown that cheers up kids at a children’s concentration camp. Let that sink in for a second.
But now, some enterprising film buff has found 30 minutes or so of footage and has put it on line. I strongly recommend watching it now before it’s gone tomorrow.
“Randy Bewley and Michael Lachowski’s simple lines display untoward rhythm and melody, respectively. Curtis Crowe bangs away so obdurately it’s hard to understand why he didn’t become rich. Vanessa Briscoe Hay barks and brays whatever incantatory phrases seem called for. Timeless. Cool.” Robert Christgau, Dean of American Rock Critics
“[Pylon] stands as shockingly modern and unparalleled these many years later.” Michael Stipe, R.E.M.
1983 was a banner year for Pylon. The Athens quartet released their second album, Chomp, on Atlanta-based DB Records, toured the country extensively, and played several opening slots for then-up-and-comers U2. And then, without a hint of explanation, they quit.
Their final show at the Mad Hatter in Athens, Georgia, was, as was always the case, a frenzy of minimal disco thud, post-punk guitar scree, and deliriously inspired howl. Oh, and dancing — always dancing — both in the crowd and on stage. The gig was recorded (both audio and video) for a failed PBS pilot called Athens Shows, and the tapes were put away and forgotten. That is, until now.
Around three years ago, after Pylon’s DFA reissues hit the street, Chunklet CEO (and card-carrying member of the Pylon Fan Club) Henry Owings emailed the band bemoaning the lack of bonus material on the CDs, which sparked a larger conversation. “My favorite Pylon is live Pylon,” said bassist Michael Lachowski, with which Henry wholeheartedly agreed. Following a cordial sit-down at Michael’s apartment over the New Year’s holiday of 2015, an exhaustive search began for live recordings by Pylon. More specifically, live recordings from Athens in the early ’80s. Oh, and that sounded as good, if not better, than their proper full-length albums.
Numerous dead ends followed, but finally, and somewhat fittingly, the multitrack recordings of Pylon’s final performance at the Mad Hatter in 1983 were unearthed. Once the tapes were transferred and subsequently mixed, the explosive and compelling sounds raised one very significant question: Why in the world did Pylon quit?
For a band whose legacy, in their original incarnation at least, was two full-length albums and a handful of singles, Pylon were first and foremost a live band who weren’t as interested in working in a studio. Pylon’s raison d’être was performing for a crowd, and now there’s conclusive validation.
Pylon Live is a double vinyl album recorded on the band’s home turf at the culmination of their powers, and the results could not be more stellar. An all killer, no filler set with nothing left on the cutting room floor, Pylon Live includes powerful versions of the Pylon canon from their first and second LPs and even the hard-to-find song “Party Zone” (previously available only on a DB Rec comp) and their never-before-released rendition of the “Batman Theme.”
When compared to the band’s prior body of work, Pylon Live bookends all of it; some might even say it’s a better representation of this Athens quartet, who thrived on bouncing around on stage infinitely more than sitting in a studio.
There’s little arguing that the Athens powerhouse trifecta of R.E.M., the B-52’s, and Pylon is peerless. And while all three bands have achieved great critical acclaim, only the first two had the commercial acclaim they deserved. Pylon Live intends to correct that.
Pylon Live is being released on July 25, 2016, the birthday of deceased Pylon guitarist Randy Bewley, with release events scheduled for this summer in Atlanta and Athens.
Limited to 200 on magenta vinyl.
Limited to 200 on clear vinyl.
Unlimited on black vinyl.
At the height of their powers, Pylon performed their final show at the Mad Hatter in their hometown of Athens, Georgia in the winter of 1983.
Two enterprising gentlemen professionally filmed and recorded this show as a pilot for a potential Austin City Limits-style show called “Athens Shows,” but quickly abandonned the project. Shelved and forgotten about for over 30 years, this single marks the first newly released Pylon since the early nineties.
The sounds of Pylon are nothing new to hardcore fans, but this propulsive and powerful recording will be sure to keep you dancing and waiting in blissful anticipation for their double LP “Live” which will be due out on Randy Bewley’s birthday in late July.
First newly released Pylon in over 25 years
Live show professionally recorded
Mixed by Derek Almstead
Mastered by Drew Crumbaugh
Design by Pylon bassist Michael Lachowski
Cut direct to lacquer at Chicago Mastering Service
The kind folks at iNSECT asked us to curate a podcast. A pretty solid collection of jams. And we have nobody else but Tim Kerr (!!!!!) to thank for that lovely drawing of our beloved owner.
Working on a new website. Working on new projects (including a book). Watch and memorize this.
Ten years ago, I (somewhat) intentionally started a love affair between London’s Part Chimp and Miami’s Torche. The Chunklet SXSW shindig that was held at Sound on Sound in north Austin was the place and the two bands were amidst 20 other bands, but clicked almost immediately. Back then, I suggested the two groups do a tour and a split release together and in 2011 it became a reality. The 12″ you see here arrived at the first show with not a day to spare. Fortunately, it sold out in a flash, but to this day I still have people ask where they can buy one even though I have a grand total of two copies to my name. Well, here you go. In honor of this stellar release and the (now scrapped) dates the two bands will be performing together in May, here’s a repress. 100 mail order copies come on clear vinyl.
Part Chimp turn in two scorchers, `Dr. Horse’ and `The Watcher’ while Torche send a love letter to the boys from Dayton and cover three Guided By Voices songs (`Exit Flagger,’ `Unleashed! The Large Hearted Boy’ and `Postal Blowfish’).
This was available only during the band’s tour up the East Coast in November and the Chunklet website for a limited time.
2015 Reissue edition of 300.
100 clear (only available here)
100 gold (available only from the bands)
100 black (distro)
released originally on 06 December 2011
TREVOR CLAXTON did the artwork.
NOLEN STRALS did the type and layout.
HENRY OWINGS put it all to bed.