Photo credit: Matt Etheridge

After more than four decades, Whipping Boy’s long-out-of-print cult-classic, Muru Muru, is to re-emerge in a new skin. Originally recorded by Klaus Flouride (Dead Kennedys), it has now been remixed by Grammy-award winning producer, Joe Chiccarelli, with new artwork by Aaron Turner. The refreshed version of the record, Dysillusion: A Muru Muru Remix, is coming out September 5, via Blackhouse Records. Find out more below.

Pre-order Dysillusion: A Muru Muru Remix here: https://www.blackhousestore.com/

“Listening to punk rock since 1977 it only took me about me three years to realize I should start doing music too” – recalls Eugene S. Robinson. Featuring the future Oxbow/Bunuel vocalist teamed by a fellow Stanford University alumni, Steve Ballinger, Whipping Boy became the explosive sensation on the hardcore-scene.

“We went way too far for most people,” stresses Eugene. “It might have been fine if we had achieved what we were trying to achieve sonically, but none of us had much studio experience. Along with Klaus, we ended up making a record full of murk and noise—not intentionally, but because we just didn’t know better.” The album’s initial reception was harsh, with many copies returned and fans disappointed. Yet the band never lost faith in the material’s potential.

“We had about 50 songs in our live repertoire, but we were also playing around with atypical, psychedelic-influenced songs,” explains Steve Ballinger. “We told Klaus we wanted to record another record, and he came to our rehearsal space to hear what we had. As we finished the 34-minute set, Klaus looked at us like he thought he was the butt of a bizarre joke. We convinced him that we were more than serious, and he agreed to helm the console.”

Inspired by the 60s psychedelia and a desire to break free from the limitations of hardcore, Muru Muru became one of the counterpoints both significantly pushing the genre and questioning standards at the same time. Eugene underlines: “As luck would have it with Muru Muru we went too far for most. Way, way too far. Which would have been fine if it had achieved what we were trying to achieve, sonically.”

The result was Muru Muru, recorded with meticulous attention to studio effects, empty-hall acoustics, backwards tape loops, and layered soundscapes. However, the final production leaned toward a flat, garage-like sound that didn’t capture the band’s vision. “Klaus was a great guy, but I don’t think he was at a point in his producing career where he could realize this record for us. Despite all the tracks and sound effects, the mix sounded like an 8-track demo—flat and tinny. It was disappointing for us and our fans.” – sums up Steve.

After years of regret and the album’s relative obscurity, Eugene’s connection with Joe Chiccarelli—renowned for his work with The White Stripes, The Shins, and Oxbow opened a door. The original tapes, fragile and 42 years old, were carefully restored and transferred from analog to digital. Joe painstakingly tweaked each track, removing unwanted noise and emphasizing the bizarre, experimental textures the band had originally intended.

“We asked if there was any way to save this thing,” Eugene says with a grin. “He said yes. And here we are with a record that sounds like it should have sounded if we’d just had a little more genius in the room.”

The revitalized Muru Muru is a testament to the band’s tenacity and artistic vision. It captures the sorrow, psychedelia, and raw emotional intensity that fueled the writing and recording process—elements Eugene acknowledges shaped their creative lives. “Sorrow, LSD, and horrible emotional difficulties,” following the words of Eugene S. Robinson, ”were the forces behind these songs.”

Whipping Boy is grateful to Blackhouse Records, Joe Chiccarelli, and everyone who helped bring Muru Muru back to life. As Steve puts it, “I hope someone else likes it this time.”

Whipping Boy’s origins trace back to the late 1970s punk scene, with Eugene S. Robinson immersed in the hardcore movement by 1980. The band’s lineup solidified with “The Real Dave” and Sam Smoot joining Eugene and Steve, creating a raw, intense sound that culminated in their first single “Human Farm” on MRR‘s Not So Quiet On the Western Front compilation and debut album The Sound of No Hands Clapping. After conquering hardcore, they sought to push their music into new territories.