The Silver Mt. Zion Memorial Orchestra & Tra-la-la Band With Choir* ‎– This Is Our Punk-Rock, Thee Rusted Satellites Gather+Sing,

Constellation ‎– CST027-2
CD, Album

Tracklist Hide Credits

1 Sow Some Lonesome Corner So Many Flowers Bloom
Drums – Howard*
2 Babylon Was Built On Fire / Stars No Stars 14:44
3 American Motor Over Smoldered Field
Drums – Aidan*
4 Goodbye Desolate Railyard 14:25

Companies, etc.



All these giddy staggerings and clumsy tumbles were caught and magnetized at thee mighty hotel2tango and the whole mess of it mastered on the bottom floor... all of it and all of it and and all of it dedicated to traintrack wanderers everywhere...

Packaged in a gatefold cardboard sleeve with attached booklet and label catalogue inserted.

There are two stickers attached to the plastic overwrap. The first, on the front, gives the band name below a band logo (a hand-drawn fence/railway track emblem surrounded by the band's initials - essentially reducing the band's name down to A S M Z). The sticker on the rear gives the barcode for the release and the words 'Made in Canada'.

Barcode and Other Identifiers

  • Barcode (On Sticker): 666561002725
  • Matrix / Runout (Variant 1-3): DUPLICATION.CA 2GYW3<1040>CST027
  • Mastering SID Code (Variant 1-3): IFPI L483
  • Mould SID Code (Variant 1): IFPI8103
  • Mould SID Code (Variant 2): IFPI810E
  • Mould SID Code (Variant 3): IFPI8106


Reviews Show All 2 Reviews

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May 9, 2014
A stunning instrumental, choir-filled, lyrically-sound album by Thee Silver Mt. Zion Memorial Orchestra.


December 13, 2010
this was the first gybe/mt. zion record that i wasn't salivating over the day it came out. in fact, i was actually in a rather different mental state. i barely even registered it's existence.

the girl i was living with at the time had picked it up. i thought this a little strange. she really liked the second record. a lot of people really liked the second record. a war had just started. a social movement was beginning...

....or, at least, that's what it felt like anyways. dozens of people that i had known for years and listened to a cross of alternative rock, reggae, funk, political rap....all of a sudden these people were picking up mt. zion records. they were somewhat shocked that this was the kind of thing i liked.

well, yeah, it was the kind of thing i liked. but if you're listening to it and enjoying it, then it can't be any good......that's what i thought to myself, anyways. the only way these people could like this record is if it's an awful record.

i never really gave it a chance.

it wasn't until a few years had passed that i went back and really listened to this disk. it's really a shame that i didn't give it much of a chance....

i learned a couple of things at the time:

1) when political music actually begins to effect real change, it brings out a lot of poseurs. these poseurs counteract the real change. therefore, music cannot effect real change.

2) i'm way more anti-social and suspicious of the mainstream than even i ever realized. i always told myself i wouldn't be the type that would drop a favourite band just because they went mainstream. but mt. zion went mainstream in a way that hit me off guard. i was expecting the next radiohead, not the next rage against the machine.

i did notice that mt. zion seemed to disappear from the tips of these people's tongues as quickly as it entered them. i figured this was their ten minutes, they whored themselves out to get it, it's over now. i didn't realize that the reason mt. zion lost the buzz was actually because this is a mesmerizing and brilliant record that flew over most everybody's head. had i actually listened to it, i wouldn't have made such a ridiculously bad assumption.

this is actually a bit of a throwback to the first record in that the songs are long, drawn out, intense. however, the ambience of the second record is also condensed into the mix; but, they fixed what was wrong with the second record, they utilized the modern technological wizardry of multi-tracking to build the ambient points up into dense atmospheres that smother the sound. yet, there is also the written feeling of the first record, particularly in the counterpoint. a third dimension is added: this is the first record with a significant usage of efrim's voice.

when the reviews told me i'd get a lot of singing on the record, i had nightmares of a record full of pop songs, and when a certain type of people began to champion the record i was certain that these nightmares had been realized. however, in reality, efrim is as atonal and demented as could possibly be envisioned. furthermore, the vocals don't come in until 20 minutes into the record; while they last for most of the record, there are long instrumental interludes between them and they mostly take the form of.......sloganized paranoia. "this fence around your garden won't keep the sky from falling" repeats over the sound of, well, the sky falling; we have a frightened attempt to rationalize with the thug that's about to knife you as a response to a missile defense shield that's maybe actually an offensive weapon......

we have a confused epiphany, repeated a dozen times: "the brightest light i ever saw; across an empty parking light. there's no stars!". yes, there's no stars in the city, we all know that. who thinks about that? well, after you hear this song, you'll probably think about it. and maybe you might think about how countless generations of human beings couldn't just see the stars, they planned their entire lives around them. yeah, i've got a bit of an astrological/kabbalistic streak in me, i couldn't believe it if i wanted to but the math behind it is fun...

anyways. done rambling. buy it. it's good. besides the first one, which i fully understand that many today may not even recognize as theirs, it's their best. this will probably be written into history as their masterpiece.

it's really very sad that almost nobody - not their fanbase who was in shock, nor the poseurs who chewed off more than they could swallow with these guys - ever really listened to it.