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The tracks include \"Let's Kill Yourself Live Again\" (an alternate version of the Digital Garbage stand-out “Kill Yourself Live,” and the bonus track for the Japanese CD version of that album), \"One Bad Actor\" (a new version of Mudhoney’s track on the limited-edition, and now very sold-out, SPF30 split 7” single w Hot Snakes), album outtakes “Snake Oil Charmer,” “Morning in America” and “Creeps Are Everywhere,” plus \"Ensam I Natt\" (“So Lonely Tonight,” a Leather Nun cover) and \"Vortex of Lies\" from a very limited EU tour 7\". The songs were mixed at Johnny Sangster’s studio Crackle \u0026amp; Pop! 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Humanity remains addicted to pollution. People are downing horse dewormer because some goober on television told them it cured COVID. The apocalypse is stupider than anyone could've predicted.Fortunately, the absurdities of modern life have always been prime subject matter for Seattle-based foursome Mudhoney, and the band take aim at all of them with typical barbed humor and muck-encrusted riffs on on 11th studio album, Plastic Eternity, which was recorded over nine days at Crackle \u0026amp; Pop! In Seattle with longtime producer Johnny Sangster.From taking on climate change from the perspective of the climate if the climate tried to play guitar like Jimi Hendrix (\"Cry Me An Atmospheric River\") to a driving rock and roll song about taking drugs meant for livestock (\"Here Comes the Flood\") to a classic punk attack on treating humans like livestock (\"Human Stock Capital\"), Plastic Eternity is a run through all the proto-genres of guitar rock with a keen eye on the inanities of the world in the 2020's. It also contains a genuine love song in closing track \"Little Dogs,\" an ode to the simple joys of hanging out with tiny canines.Mudhoney (vocalist Mark Arm, guitarist Steve Turner, bassist Guy Maddison, and drummer Dan Peters) remain the ur underground group, their gnarly primordial punk stew and Arm's sharply funny lyrics as potent a combination as they've been since the band's formation in the late 1980s. When asked why they continue making records nearly four decades after forming, Arm's answer is simple.\"We like each other and we like being in a band together,\" says Arm. \"Some people have poker night or whatever the fuck, and they have the excuse to get together with their friends. For us, this [band] is that. 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Not for the first time - or the last - they would be vindicated. A month after release in July 1991, the album entered the UK album chart at Number 34 (five weeks later, Nirvana's Nevermind entered at 36) and went on to sell 75,000 copies worldwide. A more meaningful measure of success, however, lay in it's revitalisation of the band, casting a touchstone for the future. The record is a major chapter in Mudhoney's ongoing story, the moral of which has to be: when in doubt, fudge it.The album began at Music Source Studio, a large space equipped with a 24-track mixing board - downright futuristic, compared to the 8-track setup that birthed the band's catalytic 1988 debut, \"Touch Me I'm Sick.\" The Music Source session quickly turned into a false start when the results, in guitarist Steve Turner's words, \"sounded a little too fancy, too clean.\" Lesson learned, the band went primitive and got to work at Conrad Uno's 8-track setup at Egg Studio. Named after the cartons pasted on the walls in an optimistic attempt at sound-proofing, Egg boasted a '60s vintage 8-track Spectra Sonics recording console, originally built for Stax in Memphis.So it was that, in the spring of 1991, Mudhoney made Every Good Boy Deserves Fudge. The resulting album is a whirlwind of the band's influences at the time: the fierce '60s garage rock of their Pacific Northwest predecessors The Sonics and The Lollipop Shoppe, the gnashing post-hardcore of Drunks With Guns, the heavy guitar moods of Neil Young, the lysergic workouts of Spacemen 3 and Hawkwind, the gloomy existentialism of Zounds, and the satirical ferocity of '80s hardcore punk. The quartet's special alchemy meant these fond homages never slid into pastiche. Ultimately, Every Good Boy Deserves Fudge epitomised the best of Mudhoney: here was a band reconnecting with it's purest instincts, and in the process reinventing itself. This 30th anniversary edition, remastered by Bob Weston at Chicago Mastering Service, stands as testimony to the creative surge that drove them in this period. The album sessions yielded a clutch of material that would subsequently appear on B-sides, compilations, and split-singles. 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Not for the first time - or the last - they would be vindicated. A month after release in July 1991, the album entered the UK album chart at Number 34 (five weeks later, Nirvana's Nevermind entered at 36) and went on to sell 75,000 copies worldwide. A more meaningful measure of success, however, lay in it's revitalisation of the band, casting a touchstone for the future. The record is a major chapter in Mudhoney's ongoing story, the moral of which has to be: when in doubt, fudge it. The album began at Music Source Studio, a large space equipped with a 24-track mixing board - downright futuristic, compared to the 8-track setup that birthed the band's catalytic 1988 debut, \"Touch Me I'm Sick.\" The Music Source session quickly turned into a false start when the results, in guitarist Steve Turner's words, \"sounded a little too fancy, too clean.\" Lesson learned, the band went primitive and got to work at Conrad Uno's 8-track setup at Egg Studio. Named after the cartons pasted on the walls in an optimistic attempt at sound-proofing, Egg boasted a '60s vintage 8-track Spectra Sonics recording console, originally built for Stax in Memphis. So it was that, in the spring of 1991, Mudhoney made Every Good Boy Deserves Fudge. The resulting album is a whirlwind of the band's influences at the time: the fierce '60s garage rock of their Pacific Northwest predecessors The Sonics and The Lollipop Shoppe, the gnashing post-hardcore of Drunks With Guns, the heavy guitar moods of Neil Young, the lysergic workouts of Spacemen 3 and Hawkwind, the gloomy existentialism of Zounds, and the satirical ferocity of '80s hardcore punk. The quartet's special alchemy meant these fond homages never slid into pastiche. Ultimately, Every Good Boy Deserves Fudge epitomised the best of Mudhoney: here was a band reconnecting with it's purest instincts, and in the process reinventing itself. This 30th anniversary edition, remastered by Bob Weston at Chicago Mastering Service, stands as testimony to the creative surge that drove them in this period. The album sessions yielded a clutch of material that would subsequently appear on B-sides, compilations, and split-singles. 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