Cryptomnesia

by Omar Rodriguez-Lopez

Labels: Clouds Hill , Rodriguez Lopez Productions , Sargent House

Released: 04/18/2009 (Record Store Day release)

Released: 05/05/2009 (CD & Vinyl)

Recorded: 2006, 2008

Length: 36:14

Format: LP

Tracklisting

  1. Tuberculoids
  2. Half Kleptos
  3. Cryptomnesia
  4. They're Coming to Get You, Barbara
  5. Puny Humans
  6. Shake Is for 8th Graders
  7. Noir
  8. Paper Cunts
  9. Elderly Pair Beaten with Hammer
  10. Warren Oates
  11. Fuck Your Mouth

Personnel

Available Releases (5) View on Discogs ↗

USCD • Album • 2009
Rodriguez Lopez Productions (SHRLP001CD)
Barcode: 6 13481 01952 4
312 have 59 want
℗ 2009 Hija de Lola (ASCAP) / Amputkture (ASCAP) Album comes in a digipak.
EuropeCD • Album • 2009
Rodriguez Lopez Productions (RLPE001CD)
Barcode: 54255001461745
77 have 39 want
Album comes in a digipak with an 8-page foldout mini poster containing lyrics and liner notes. ©+℗ 2009 BIEM/STEMRA Rodriguez Lopez Productions Europ…
USVinyl • LP, Album, Limited Edition • 2009
Rodriguez Lopez Productions (SHRLP001)
Barcode: 6 13481 01954 8
1083 have 296 want
℗ 2009 Hija de Lola (ASCAP) / Amputkture (ASCAP) Only 3,000 pressed.
EuropeVinyl • LP • 2009
Rodriguez Lopez Productions (RLPE001)
Barcode: 5 425001 461738
299 have 128 want
The barcode appears as "RLPE001CD" on the back cover.
Vinyl • LP, Album, Reissue • 2024
Clouds Hill (CH249)
Barcode: 4 250795 603931
102 have 30 want
2024 reissue with new jacket design. Clouds Hill edition. Made from recycled vinyl.

Discogs Tracklist

  1. 1 Tuberculoids 4:18
  2. 2 Half Kleptos 3:10
  3. 3 Cryptomnesia 6:03
  4. 4 They're Coming To Get You, Barbara 4:02
  5. 5 Puny Humans 2:31
  6. 6 Shake Is For 8th Graders 2:13
  7. 7 Noir 3:45
  8. 8 Paper Cunts 2:51
  9. 9 Elderly Pair Beaten With Hammer 2:04
  10. 10 Warren Oates 4:55
  11. 11 Fuck Your Mouth 0:23

Credits

  • Bass: Juan Alderete de la Pena
  • Bass [Synth Bass]: Jonathan Hischke
  • Design, Layout: Sonny Kay
  • Drums: Zach Hill
  • Engineer: Isaiah Abolin, Jon Debaun, Lars Stalfors
  • Guitar, Keyboards: Omar Rodriguez-Lopez
  • Mastered By: Pete Lyman
  • Mixed By: Shawn Sullivan
  • Music By, Arranged By, Directed By: Omar Rodriguez-Lopez
  • Other [Rodriguez Lopez Productions Enquiries]: Cathy Pellow, Sargent House
  • Photography By [Photos]: Hadas
  • Producer: Omar Rodriguez-Lopez
  • Vocals [Canta], Lyrics By: Cedric Bixler-Zavala

Release Notes

℗ 2009 Hija de Lola (ASCAP) / Amputkture (ASCAP) Album comes in a digipak.

Identifiers

  • Barcode: 6 13481 01952 4 (text)
  • Barcode: 613481019524 (string)
  • Mastering SID Code: IFPI LM07
  • Mould SID Code: IFPI F921
  • Matrix / Runout: Rodriguez Lopez Productions |IDMED3026/B|S1|
  • Rights Society: ASCAP

Videos

Liner Notes

The music for Cryptomnesia was recorded in the Summer of 2006, allegedly around the time Old Money was being made, with the vocals being recorded in 2008.  The album consists of small segments of larger improvisations or jam sessions that were stitched together in editing.  Initially it was stated that three albums would be made from these sessions, but to this date only one was ever released.  Cryptomnesia was the first album to be released through Sargent House, and Omar’s first album to be released on Record Store Day (3,000 copies).  It was promoted as an antithesis to Octahedron, with Cedric stating:

“if anyone’s bummed that The Mars Volta record’s too simple or too pop, they can buy that album and it’ll take them right back to that kind of sound. It’s one of my favourite things I’ve ever worked on. It’s pretty much a Mars Volta record, just without Thomas, Ikey, and Marcel. With Volta [Octahedron] was just our acoustic record that turned into our pop record.”

The liner notes state:

“To soothe the symptoms of a cursed go-between, this magnetar of a record (an uncomfortable meditation on bad manners), was recorded in the foul summer of 2006. It then sat in my grotesquely overpopulated, roman holiday of a closet, awaiting its vocal tracks, which were finally realized in the illustrious Australian summer of 2008. Being predisposed to insults, I would like to say now that I love this record with all my guts and find it very much worth the wait (I hope you’ll agree, though I sense some of you may not). This project, as many before it, though one small step in my (our) personal therapy, still bears the question: is our footing sure enough to be trusted?”

“A self-caricature: what would an album that plays with the expectations people have of an artist sound like?” – Clouds Hill

Release and variant data courtesy of Discogs.com.

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