Please, please don’t hate me for what I just did. I just added Lolilta Nation by Game Theory, because…
- It finally got re-released today, after being out of print since 1990, and
- It was only really ever in print for 3 years, anyway, and
- The original version of the album was improperly mastered, especially on CD. Enigma, ever running things poorly, mastered the original album tapes from Mitch Easter and Scott Miller without reference tones and thus equalized everything to the mid-range and basically took the drums and bass out of the record.
OK. I know I know. “Dude. 27 fucking songs. What the hell?” Look, some of those songs are all of about :30 long. And yes, I thought about adding just “highlights” from the album, but it works and sounds so glorious in the double-album concept thing that it was that I left it as is. Skip around, or skip completely.
But yeahhhh…This is one of the great lost records of the alternative generation, lost no more. Four distinct album sides about the first generation of MTV teenagers realizing their seductive come-hithers to the rest of the world are about to be answered in ways they never anticipated, wanted, or frankly can understand or deal with. It’s a record about life throwing you into the deep end, constantly…and that first painful realization that that’s exactly what life is a lot of the time in the first place.
It’s also a record worth meeting halfway. When I was a kid, I got fascinated by the lyrics to “I Am The Walrus”, convinced that John Lennon had put all these cool, deeper meanings into the song and all I had to know to “get” them was to find the cultural references and connect those dots. Imagine my surprise at discovering that Semolina Pilchard was a nonsense name John just made up.
There’s nothing here that’s just made up. Kinda like Kubrick, there’s no part of this record, no lyric, no sound, that’s accidental.
And, thanks to the remastering wizards at Omnivore (who reissued this) and some enterprising soul who finally found the master tapes, the album sounds utterly glorious now. Drummer Gil Ray comes front and center, revealing his background punk, artcore, and metal groups. Gui Gassuan’s bass is a revelation. Who knew there was bottom end on 1980s albums?
(Okkervil River’s Will Sheff wrote the extensive liner notes for this, and they’re so great…especially considering Will must’ve been all of 5 or 6 years old when this originally came out.)
Plain and simple, Lolita Nation deserves all its accolades and, with this re-release, should no longer be considered one of the lost masterpieces of the 1980s. Rather, it should be spoken of in any conversation that references Hüsker Dü‘s Zen Arcade and the Minutemen’s Double Nickels on the Dime. Like those records, Lolita Nation is a sprawling, messy, and brilliant work that over-extends itself to capture its time, place, and scene in beautifully flawed perfection. -Popmatters.com
(Also, these are actual Lolita Nation song titles:
“Watch Who You’re Calling Space Garbage, Meteor Mouth”
“All Clockwork and No Bodily Fluids Makes HAL a Dull Metal Humbert”
and of course, the gorgeous thirty second power ballad:
“DEFMACROS / HOWSOMETH / INGDOTIME / SALENGTHS / OMETHINGL / ETBFOLLOW / AAFTERNOO / NGETPRESE / NTMOMENTI / FTHINGSWO / NTALWAYSB / ETHISWAYT / BCACAUSEA / BWASTEAFT / ERNOONWHE / NEQBMERET / URNFROMSH / OWLITTLEG / REENPLACE” )