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Los Angeles art-punk pioneers Savage Republic have come roaring out of obscurity with 1938, their first full-length album of new material in 18 years—hot on the heels of this spring’s powerful Siam EP—both on Neurot Records. Throughout the ’80s Savage Republic was a deep-underground phenomenon, playing highly unorthodox shows in remote desert locations, abandoned factories, skid-row parking lots, and grimy bars across the US and Europe with such luminaries as Einstürzende Neubaten, Minutemen, Sonic Youth, and Live Skull as well as hardcore-punk slugfests with the likes of Bad Religion, Angry Samoans, and Final Conflict. Known for their oddly tuned guitars, tribal beats, shouted vocals, metal percussion (typically 55-gallon oil drums and items gleaned from dumpsters and junkyards), and Morricone-meets-Dick Dale melodies, their performances were at times ritualistic and occassionally involved fire and explosives. In their current incarnation, Savage Republic core members Thom Fuhmann, Ethan Port and Greg Grunke are joined by UK punk-rock veteran Val Haller, whose resume includes stints with Wayne County, Flying Lizards, Lords of The New Church, and X-Ray Spex, and noted drummer and percussionist Alan Waddington, known for his tenure with The Unforgiven as well as live and studio work with everyone from Willie Nelson to Gwen Stefani. The album also features contributions by guest artists including multi-instrumentalist Tara T. Tavi, classical violinist Julia Zuker, and drummer Bryan Taylor. While staying true to their roots, Savage Republic have updated and expanded their singular Mediterranean-surf-soundtrack-folk-noise blend into a musical hybrid both contemporary and timeless. Trademark scrap-metal percussion and layers of guitar drone are now joined by spooky ambient textures evoking sonic landscapes exotic, dreamy and sinister. An undercurrent of dread is never too far away. In keeping with their tradition of graphic excellence, the album is packaged in a tri-fold cover designed by and featuring the photography of Ramona Clarke-Fuhrmann.