Warp Speed Freaking With Stick Shift (Part One)

Life Over Limb https://lifeoverlimb.bandcamp.com/album/emergent  

Lower Automation https://lowerautomation.bandcamp.com/album/strobe-light-shadow-play

GRAF https://grafherrie.bandcamp.com/album/–2

Homeskin https://homeskin.bandcamp.com/album/lifes-wishes-to-tears https://finaldose.bandcamp.com/album/demo

Final Dose  https://finaldose.bandcamp.com/album/demo

Thotcrime https://thtcrime.bandcamp.com/album/ny-urc-mputer 

Eater of Sheep https://extratoneregeneration.bandcamp.com/album/vendian-machines

Within the current cracks in capitalism, locally and globally, there are those who still cling to fantasies/dreams of resuscitating dying ( some argue this class never existed to begin with) middle class goals and upper class status which include, confusingly, tactics to get “better” jobs like “quiet quitting.” Historically “qq” grew out of more militant 19th century and onwards tactics industrial workers used collectively ,organized informally in affinity groups or formally in early labor unions, such as work stoppages and working to rule. By following the bosses own rules to the point where it fucks up production and distribution ironically showed how the workers could run things without bosses!

Well, since some of us geezers went to the streets in 2020 with those mostly teens to thirty somethings, we have not only been collectively confronting systemic racism including the role of the police(i.e. historic roots in capturing and returning fugitive slaves and crushing labor movements) as well as other interconnected aspects of capitalism and statism which maintain class society’s social separation. We have also been analyzing our collective experiences and from these how can we go much further to organize ourselves against this existing miserable and absurd (in the worst sense ) organization of life as well as replace it with new healthier, more creative, and accountable relations beyond the limits of capitalist class society?

A comrade who shares some of the same affinities for old punk,post punk, industrial, etc. came up with a theory:   “Two Possible ways and One Impossible way to end capitalism
POSSIBLE (imo): A single vast upsurge, that might slow or quicken at different points but which doesn’t fall back to inactivity at any point.
POSSIBLE (imo):A series of somewhat closely spaced upsurges each one of which allows some self-conscious communists and some portion of “apolitical” workers to learn lessons and create organizations.
And thus where the upsurge’s lessons remain usable in the next upsurge.
IMPOSSIBLE (imo):A long process of “slow building” either organization building, the organizing of work place or the placing of communists into institutions, even or especially union leadership.
My reasoning is that everything must happen fast because slow leaves all organizations and activists sitting ducks for repression, because slow requires any activity to integrate with capitalist society in order to survive in it and because the capitalists will act as a whole against the working class and so only the working class acting as a whole (or close to it) can counter that and so only these large scale actions can get “authentic successes” for many workers.
The first method is approximately “communization” while the second method has some resemblance to the rise of the Bolsheviks.” Note: neither of us promote a return to “Marxist-Leninism” and other Tankie state capitalist domination. As mentioned in previous editions there are anti-state Marxist perspectives that overlap with anarchism and the 20th century avant garde Dada and Surrealism hatched( Italian Futurism embraced nationalism and fascism; Russian Futurism had some overlap with anarchism but ultimately fell apart…more in 2023 on both and other 20th century influences on punk and other mergers of culture and politics/anti-politics).  We critically draw from these heterodox/unorthodox tools. 

Perfection might never be achieved daily by the majority of the planet’s population; perfection is perceived subjectively as a goal or end result that evokes abstract awe often reaffirming religious associations. Therefore, perfection becomes a  psychological-ideological weapon used by many neurotic and psychotic people to manipulate and dominate others “imperfection.”  Still, it’s better to not aim for more of the same old same old which can be “criminally insane” roles and games mutually used and abused by proles, bosses, and bureaucrats to maintain the “comforts and conveniences” of alienation, poverty, debt, growing health problems, neighborhood homicide, genocide, accelerated climate change, etc.

So we want to make a fast break from capitalism in general since going slow will allow for more proles and others marginalized to be tricked, stopped, imprisoned, and killed by State and corporate(including assistance from paramilitary fascists and other reactionaries with oligarch, police, and military connections)violence. Ok we also need music to motorvate mind and body. We need invigorating dynamic soundtracks to drop our routines! We need to be dynamic and invigorating as we breakaway! We need to keep uniting with fellow proletarianized people both close and temporarily unknown. We need to seize: streets,vacant real estate especially tall office buildings and luxury condos/apartments deliberately kept off the market til the richest suck them up, production, distribution, communications, etc.  As I’ve explained before in Screemz , most punk, metal, post punk, noise rock, digital aggro dance subgenres including breakcore, digital hardcore, splittercore, extratone, etc. , harsh noise, power electronics, death industrial, etc. fit into what I call  first negation music ( music for rising up and revolting locally and globally).

Life Over Limb are a warrior dynamic duo from the Whadjuk Noongar tribe still angry over their land ransacked through British colonialism as Australia grew over them like poison ivy. While there are plenty of bands ,mostly reactionary unfortunately, in the war metal subgenre (simultaneously black metal and death metal but often less technical and more barbaric except for those who add say cybergrind or industrial metal influences) few of them actually are waging cultural warfare dealing with capitalism’s reactionary and parasitic land grabs amongst indigenous people globally. Life Over Limb on Emergent aren’t aching for genocide for “racial cleansing.” They also aren’t for destroying much of the planet and humanity for satanic fascist partying/domination til their variation on Christian fundamentalist rapture takes them. Life Over Limb want to empower their tribe and accomplices to fight back locally and ultimately globally. They are carrying on indigenous grindcore and crust like the remarkable still fighting Resistant Culture https://www.last.fm/music/Resistant+Culture/+wiki

Unsafe at any speed, Life Over Limb drags their supporters and their enemies through a gauntlet of generous brutality with the former feeling no pain and wanting more and the later dismissing them for being  “inferior injuns” playing “false metal.” The pared down pleasing punishment of one guitar and a drum set has improved delivery of lyrics a little to a lot without too many meathook cooks in the sonic kitchen making a more unfocused and/or blase bloody racket even Motel Hell would reject! More grindcore, power violence, black metal, etc. bands are also following, carefully, dyadic dynamics and deviant dissonance more as well within the past few or several years.

I enjoy all 8 tracks for their impassioned vocals that don’t go low enough to become  a parody of the Cookie Monster and the dynamic, frenzied, and combative instrumental interplay between AJT on drums and JAW on vox and guitar that shows more articulation than most chaotic war metal and bile, blood, and cum cocktails chugged in a cesspool party ala goregrind music. Give Michael Christopher a hand for his outstanding octopus tentacles controlling recording, mixing, and mastering!

Let’s hope Life Over Limb can make it to the Midwest as well as other areas in our country tased TV! I bet they are even better live like most worthwhile bands. I recommend Emergent for all those who want a cocktail of death grind, hardcore, crust, war metal, etc. with history lessons attached to ultimately unmake official history and to create new relations for a new world without ye olde world of capitalism and statism catching up to us!

Lower Automation hail from Chicago but on Strobe Light Shadow Play sound like they are doing particle accelerator experiments in a hypercube or maybe more precisely(?) they play under over sideways down in a dodekeract 12 dimensional hypercube while trying to be the first Chicago band to play in a 100 dimensional Googol-cube (as long as Ticketmaster is not involved).

Now I know math was my worst subject in elementary into high school. I was forced to go to summer school for four or so years to learn…how boring and alienating compulsory capitalist education is in the summer as well as the rest of the year. Math became more interesting after college when I delved into chaos theory and other theories of complexity. Math in music further united visceral passion and compassion with the merger of sophisticated yet acidic subversion.  Math rock and its more aggressive subgenre sister mathcore definitely are getting it up for science friction with roots in Captain Beefheart, Raymond Scott https://en.m.wikipedia.org/wiki/Raymond_Scott , MX-80 Sound, King Crimson, Devo, early  XTC, The Minutemen, Nomeansno, etc. Math rock/mathcore/math punk /math metal and noise rock are also paths to reclaim mind and body from bourgeois cultural/social/economic/sexual/political hum drum complacency and total apathy until actual collective self organized global revolt expands the festivities beyond our minority tendencies in culture/politics/neighborhoods/ etc.

Lower Automation has TIGHT musical /intellectual spasms connected to elders including The Locust, Drive Thru Jehu, subgenres screamo /emo violence/chaotic hardcore/sasscore/ etc. https://rateyourmusic.com/genre/sasscore/ but still sounds fresh for 2022. Tracks such as “Information Entrepreneurs and Their Lipsyncing Choirs,” title track “Strobe Light Shadow Play,” and “Acolytic” continue the fight against capitalist alienation the late 70s bands from the Sex Pistols to Alternative TV to  X-Ray Spex to Crass and beyond took up.  Yet Lower Automation matches the still growing complexity of current situations with  angular yet rocking, ranting,  raving, and mostly brief sharp shocks a plenty! When are the statues of local bands like Lower Automation going to replace Columbus , Balbo, the police tribute to State violence during the Haymarket Affair, etc. ?!! We need them here and now even if it might be wilder to travel into higher dimensions to see how, among other provocations, sasscore and glitch dance music open vortices to the equivalent of local cable tv programming. The anti-matter Chic-A-Go-Go? I bet Lower Automation will win over the entities there as well!

GRAF me to my current drummer in my 25 year old, more or less, band The Strange Attractor ( before multiple other variations on strange attractors popped up) and we would love to play at a dynamic dyadic duo outdoors festival line up of punk/metal/noise two headed mutants for kids of all ages!!!

GRAF are situated in the Netherlands and use Chinese symbols to add both aesthetic flavor and to acknowledge a Chinese woman on lethal weapon drumming and a white Dutch dude pulverizing on bass and vocals. What we end up with is a crushing couple blitzing through hardcore and powerviolence yet they add some 60s surf music from The Chantays “Pipeline,” flanging, and vocal echo among other effects. This recording reminds me of both house and apartment building demolition as much as a killer live set. An eerie chaotic keyboard and movie soundtrack number “Rest In Vrede/Fear” ends the 14 short explosions of wreck and roll!

Even though this was released in August last year, it still is worth hearing and if still possible worth getting a cassette from them to play on whatever sound system you choose. GRAF will charge you up in the morning or evening or in between! We will need cassettes and anything from early humongous Boom Boxes to trucks or vans with stereo tape decks to blast in workplaces, to drown out religious zealots/reactionary politicians/ authorities/ conspiracy theorists/ etc. and perhaps sonically demolishing statues, buildings, robots used for police and military purposes, etc. If you need a dose of wreck /rok therapy, this GRAF cassette/ Bandcamp post will get you surfing on top of a furious pit! Onwards to the endless summer (another way of envisioning  ludic, lucid, total revolution) from Holland to Hanoi to Hegwisch to Hollywood to Highland Park to Hawaii and on and on!!!

Homeskin operates as one of two Texan avant black metal/genre bending or fluid projects ,the other project is Gonemage , ; Homeskin opens up a portal into psychological terror and/or an emotional roller coaster ride. Gonemage surveys dreams while Homeskin survives waking  drama. Life’s Wishes To Tears is one of the more unique releases filed under black metal which is saying a lot since it can appeal to those (gasp!) normally not into BM especially its more experimental fringes.

I am not sure there is a coherent story or stories happening on Life’s Wishes To Tears? It feels like some log of daily problems maybe both physical as well as psychological which is usually the case. Instead of psychedelic music, we absorb sickedelic music with dueling dynamics as the vocals sound like talking in tongues with subconscious and unconscious echos turning into other conversations as well. “Peel My Flesh Again” and “Feign” give you a heaping of the multiple reactions and conversations while musical textures subtle yet dark ready to coil into serpents or electric eels are slithering and wrapping around our protagonist.

“Dripping Chalice” sounds more gothic with subtler lonely vocals amid the howling echo avalanche. “Dim Pavement Under Water” continues the melodic yet chaotic struggle between maybe Id and Ego but can also be interpreted as between past tragedy and current attempts to reorganize themselves ?

The title track incorporates either actual sitar or an electric guitar with an effects box emulating a sitar. Perhaps the sitar is only an illusion I dug up ? If I experienced this live, myself and others would probably be swirling, not thrashing, in a circle for awhile. However, the head cat switches the aggro on again yet, it is not as jagged, barbaric, and filthy like war metal or gooey yet crushing like sludgecore.  This reminds me of Great America Amusement Park and the ride where the floor drops out but your body clings to the rim of the walls or big hoop. You’ll definitely need to experience this on bigger louder more dynamic speakers!

While Life Wishes To Tears has zip and oomph, the overall experience feels like more daily conflict the rest of the planet takes on both personal and social. Some people such as Dr. Wolfgang Huber with his views developed from assisting mental patients in institutions and study of the critical Marxist period of Wilhelm Reich and others ,perhaps including Frankfort School critical theorist Herbert Marcuse, would suggest that we should use our sickness/suffering as weapons against capitalism in the then almost trendy urban guerrilla style of the late 60s and 70s. Huber’s SPK (Socialist Patient Clinic in English) became caught up in the confused and reactionary aspects of state capitalist vanguard parties such as the Red Army Faction. A bunch of patients accidentally blew themselves up while trying to collaborate with the RAF in targeting a government building. Needless to say, it’s more important to “blow up” miserable alienating social relations than the self sacrifice to prove “militancy” and other sheepish ideology that just strengthens spectators to keep watching for what comes next. People who keep waiting for more mass media,or social media, revelations will remain spectators of their lives.

Anyway, I don’t know what this cat behind Homeskin and Gonemage has to say about these projects yet? It does speak to the need to consider health in post capitalist terms and of health being a main reason to revolt with neither Tankie vanguard parties nor populist parties and far right forces leading us. Homeskin is one of those provocative unorthodox creative projects that catalyzes some vital and necessary conversations not limited to headbanger and extreme culture stereotypes. Four out of five doctors agree ( especially those from Gallifrey ).

Final Dose ? I want a truck load of this straight ahead UK BM HC fusion with that sonic kick to the head which positively motorvates critical thoughts and corrosive humor combined with anti-hero physical agility! All of that energy exchange minus common mindlessness! You know that level of stupidity which sets you up for bigots, bosses, bureaucrats, toady turds ready to do dirty work for the highest bidder with no trouble fucking over friend or foe, and other bastards and blighters!

World Prisoner would work as a 7″ vinyl single or a 10″ EP with an extra song or a digital or electro remix with wacky hijinx now and then . Alas, only a one two punch with “Void Inside” a synth addled instro which might turn off some who only want more variations on “World Prisoner.” I wonder if they are the missing link between the Anti-Nowhere League and blackened hardcore ? I’m hoping they can surprise us with a full length that is focused on brutalizing and twisting us now and then. The Guida of anti-fascist BM ? Anyway you assess them, they should continue. I listened to previous recordings on their Bandcamp page. They would win over most people within minutes of their set with those songs plus the recent “World Prisoner.”

So do the right thing and take the Final Dose of good clean fun!

Thotcrime carries the torch of 90s sasscore along with the refurbished laptop of cyber grind ,and maybe the ghost of Nintendocore, minus any misogynist, homophobic, and transphobic elements of gore and porngrind that revved down the digital highway from Toxicanna and other dislocations of Illing Noise and beyond. I have only heard  On Your Computer their first release but two years later it sounds like D1G1T4L _DR1FT is simply their masterpiece so far.

The contributions of Aki Mc Cullough, Diana Gruber, Carson Pace, and Katie Davies allow for more diversity flavoring the songs as well as for a more egalitarian effort overall as opposed to K. Salmon calling all the shots. Whether they go all out manic on tracks such as “4V3R4G3_TU35D4Y.exe,” “You’re Like A Black Hole, The Way You Expect My Life To Revolve Around You,”and”Critical Codependence” or more subtle such as on “trust://fall,” the flow of D1G1T4L _DR1FT is consistently dynamic, memorable, and invigorating.

I would recommend D1G1T4L _DR1FT to LGBTQ… teenagers and in general to those older and younger who feel unwelcome because in this class society the general population is conditioned to cling onto their character armor(i.e. Wilhelm Reich’s experience with people’s psychological miserable self defenses to help navigate miserable conditions which reminded him of layers of armor). We are all conditioned at childhood and continuously throughout our adult lives via bosses, bureaucrats, military brass, cops, domestic abuse, etc. We can improve individually here and there for at least a little bit but character is a social phenomenon therefore it can only be removed collectively. Again, our collective health remains a big reason for why revolution needs to occur and spread locally and globally. Thanks for Thotcrime for bringing out contradictions and resistance regarding capitalism and the State in your songs.

YEEEEEESSSSSS (as Ralph from Trigger Cut would say)!!! Eater of Sheep stands out from other Extratone and Splittercore artists https://en.m.wikipedia.org/wiki/Speedcore Few would work with a  “Proterorobotic” Eon theme with shades of melodies filtering  digital warp speed damage that also builds up new possibilities of living not merely surviving thus upholding both Hegel’s absolute negativity ( the first negation of existing conditions and the second negation that creates new healthier more conscious relationships in return locally and globally amongst ourselves) I brought up in the last edition of Screemz and Russian anarchist Mikhail Bakunin ( at times friendly and in bitter rivalry with Karl Marx )stating “the destructive urge is also a creative urge.” To sum it up: while Eater of Sheep might have composed these tracks as a science fiction scenario of robots as the inheritors of the Earth and creating new non human robotic and digital life, I also can imagine this as a soundtrack promoting global anti-capitalist, anti-statist revolution by us humans simultaneously going through both stages of fighting for taking back the means of production, distribution, communication, transportation, healthcare, housing, etc. while crushing State violence/oligarchs and their private armies or mixes of military/police/militia forces, armed religious zealots, and other militant bigots. In the process, we are creating new relations among people and interacting with the biosphere in generally healthier and more conscious ways.

So you better crank this mother up especially if you have monster speakers and let the music guide body and mind! We neither don’t need to absolutely reject high tech nor do we need to absolutely reject pre and non industrial aspects of interacting better with life on this planet. If you need to exercise more,  Eater of Sheep will certainly help you better than all the ideological girdles and straight jacket bazookas fired from paralyzed pragmatic palookas puking on play power!

Epic Soundtracks (Part One)

Masonna and Prurient https://prurient.bandcamp.com/album/annihilationism

Vision of Darkness Vol. II https://unexplainedsoundsgroup.bandcamp.com/album/vision-of-darkness-vol-ii

I was going to review Japanese noise veteran of the psychic wars Masonna’s side project 5 CD box set but access to it is limited. However, I recently found out about a new release titled Annihilationism on Hospital Productions run by another notable NYC noisemonger Prurient.  What do you get when you let two multi-faceted mutants play tinitus tinged tennis which increases in intensity and ingenuity?  Another catharsis session that can invigorate or even its opposite of inducing relaxation. Electronic noise music after all shares similarities with fire 🔥 works displays and other group rituals. Under capitalism noise as experimental music is considered a specialized commodity; after capitalism, we can experiment with such current “deviant subculture” to see how it can improve aspects of community. The political economy of noise now that can help negate political economy later simultaneously stimulating/ improving social interactions via creativity that historically touched on such conviviality before the capitalist art world market absorbed much of its power. How to be avant garde by living in the present and more consciously  creative with problems and solutions?

Ultimately, the volley back and forth from Masonna and Prurient nets you as the winner! High pitched screaming is Masonna’s strength along with certain frequencies while Prurient of course has a lower register and a NYC attitude mixed in somewhere between Travis Bickle and Louie De Palma with a pinch of Anthony Bourdain probably? Anyway, they both bring their strengths to the sessions and at least a fragment of the world is better off for it. If you crave power electronics noise for the holidays, then by all means get down with Annihilationism!

The current civil unrest, protests, and strikes in Iran which were generated by but not limited to the death in “moral police” custody of Masha Amini for not “properly” wearing her hijab on September 16th ,2022 all involve a current generation of young girls and women fighting back against the fundamentalists rule of Iran and other cultural deviation from ancient misogyny combined with theocratic capitalism set up after the revolution against the US government’s backing of the Shah succeeded in removing him during 1979.  It did not succeed in removing capitalism.

It is forgotten mostly outside of Iran that the Iranian leftists, mostly state capitalist Marxist-Leninists, had control of the direction for a moment. Workers were the majority of opposition the Iranian ruling class and their security forces faced. One big reason they lost their advantage was the problem of not being able to deal with religion and religious zealots which supported Ayatollah Khomeini. He came in from exile in France after cassettes of his speeches circulated in Iran secretly.

What the Iranian leftists needed to try was what former pro Situationist supporter, radical publisher, and English translator of the mostly French 1957 to 1971 or 1972 SItuationist International Anthology accomplished. A still useful standout critique Knabb published on religion, The Realization and Suppression of Religion http://library.nothingness.org/articles/SI/en/display/85 , on how religion needed to be subverted further to become something people who choose religion end up doing as some kind of practice outside of ideological dogma such as meditation and yoga exercises  rather than a conduit for more reactionary behavior and beliefs . A community that develops praxis with self collective activity against capitalism and statism aiming for more accountable, egalitarian, and liberatory practice and understanding.

In the years between the beginning of the Islamic fundamentalists reactionary governance and now, there were also creative spaces which among other things defied the regime and ultimately capitalism as well.  Fortunately, Unexplained Sounds Group has covered, but not exhausted, the Persian experimental music scene since 2017 with Vision of  Darkness.

In a way, such experimental music compilations not only promote local yet not removed far from daily dominant culture scenes, they also give tastes of asymmetrical critical resistance to both the Islamic fundamentalists and reaction from Western capitalist spectacles. Neither the misogyny of the regime nor the “wisdom” of Ye!

Vision of  Darkness Vol.II is crammed with untamed creativity. Three standouts include: Nyctalllz – “The Curse Of The White Demon, ” Babak Sepanta – “Ruin Is The Beginning “, and Saturn Cube – “War Cry.” Musically, you’ll encounter genres or subgenres including electro-acoustic experimentation, music concrete, dark ambient, and other sounds and visions to blaspheme the no fundamentalists.

Hopefully, there will be ways to further use creative critical music as part of the resistance to the reaction of such current miseries in the Middle East from Iran to Israel to Afghanistan and beyond. Whether the Middle East catalyzes the global potlatch first or not, more than likely it will need to start in the US or this country follows one or more “fallen domino”early on to take it further, we at least have creative people in Persia exchanging and opening doors to other spaces healthier for heart and mind.

Dance Stance (Part One)

The Semiconscious System https://idlestatesrecordings.bandcamp.com/album/the-semiconscious-system-va

Dialectic https://dialectic.bandcamp.com/album/mystic-hokum

Los Malinches https://groovierecords.bandcamp.com/album/los-malinches-planeta-n-huatl-lp

Instead of another review of recordings, why don’t you play these guaranteed instant party yet sophisticated boom boom or bam bam or blip blip or…recent recordings starting with the marvelous engaging electronic tonic of hard EBM with grittier industrial dance sprinkled in from The Semiconscious System compilation on Idle States Recording, of course the Dialectic which is not only the Hegelian critical methodology we use here on everything but a sweet synthesis in between Kosmische Musik / House/Techno/Dub/ Jazz Funk Fusion/Space Rock, and a wild Portuguese late 60s post apocalyptic concept album by rocking Los Malinches yet dancable ; ‘Planeta Náhualt’ is precisely that, a mix of different styles and very different sounds, but with the strength of the songs, all the pieces fit together in a brilliant set. The album is the perfect union between psychedelia and pop. If you dig Os Mutantes and other tropicalia and 60s garage, they’ll dig you!

Happy New Year! Happy Holodecks! More Screemz in three or so months. More additions to sound and visions. More radical critique and praxis.     More! More!More!

Hot Rails To Hello: Railroad Workers Rank and File, The Underclass, and the need for Runaway Trains to a New World

Most know by now the railroad workers’ strike was stopped by President Biden, other Democrats including 2/3rds of The Squad, and Republicans. No need to be shocked as politicians will always put the economy ahead of equality, accountability, and liberty. The whole spectrum of capitalist politics, from social democracy to fascism, will always maintain compulsory social relationships mediated by money/wages/debt/commodities/etc.

Many against the railroad strike and even some who support the workers remain clueless about what railroad working conditions are actually like. One of these workers on Reddit gives examples: “To be so wet that you might as well just take off your rain jacket because you’re already soaked through to the bone. To be so cold that your 5 layers of carhartts don’t stop the chilling wind from going right through you. To sleep in a hotel room bed more than your own, or to be in a cut somewhere at 3am while your family celebrates Thanksgiving or Christmas without you. You railroaders know what it’s like too, and the best we can do is a raise that barely keeps up with inflation, when the entire country counts on us. That’s the best we can do?”

Another worker replied: “They don’t realize that taking days off because you’re sick, EVEN WITH A DOCTORS NOTE will still be enough to get you investigated, and in some cases fired.” “A guy I work with got FMLA to take care of a family member and used a total of 16 days. Next quarter they suspended him for 16 days without pay in retaliation. And that’s just one story…there are thousands like that in this industry.”

The misery of their jobs and their lives outside of them is common everywhere. This everyday alienation reproduces all the different ways of submitting to capitalism. Convenience or death, the satirical play on Patrick Henry’s “give me liberty or give me death,” also merges as convenient death. A killing joke indeed! Those who die on the job can always be replaced by other desperate workers who can be further manipulated according to skills, attitude, shift, culture, etc. This manipulation is used by the bosses and union bureaucrats as well as rank and file members.

Historically, as much as there were strengths within the proletarianized (those dispossessed from direct access to the means of survival and/or the means of production), the rise of specialized manual labor and factories in the 19th century industrial economy also increased their bigotry and unhealthy working conditions. Black workers, in the lead up to the Civil War and during and after Reconstruction, were routinely seen by white workers and their organizations as an abject threat to class solidarity. Idleness and latent criminality were the tropes mobilized to exclude Black proletarians from the workers’ movement. During the first half of the 20th century, as the American Federation of Labor (AFL) defeated the Knights of Labor as the representative of the American ‘working class,’ later absorbing the Congress of Industrial Organizations (CIO) to become the AFL-CIO, white animosity and anti-Black violence (‘race riots’) were routine features in the constitution of the labor movement. The only grassroots American union fighting for racial unity alongside women and immigrants was the Industrial Workers of the World who started in 1905. It still exists in the U.S., Canada, and western Europe.

As the 20th century continued, racism, sexism, ableism, nativism, and heteronormativity were mixed with hyper individualism rooted in mass psychological techniques that the US, Russian, and German regimes applied (i.e. the New Deal, Stalinist Russia, and Hitler’s Third Reich). The mix of New Deal policies and the Age of Affluence after WWII contributed to white flight to the new suburbs. Blacks and others not white faced more discrimination and division within and outside segregated urban neighborhoods. After the Vietnam War, the flood of heroin and other hard drugs into Black, Brown, and Yellow prole neighborhoods, the end of the post war economic boom, etc. intensified the hyper individualism. Gangs that attempted racial class solidarity against white supremacy and capitalism (like the Black Panther’s Rainbow Coalition with Young Lords and The Young Patriots Organization) later turned against each other over turf and the drug trade.

The result was the decoupling of capitalist production from proletarian reproduction: the shedding of labor from organized and highly capitalized manufacturing sectors, the expansion of employment in ‘services’ and non-manufacturing, increased racialized and gendered fragmentation and exploitation of labor, and the growth of ‘redundant’ populations led to the greater criminalization of proletarian life. Resistance to capitalism means resistance to binary codes like “good workers” and “ghetto motherfuckers.” The bosses and bureaucrats of the world fight for profits and social separation; the proletarianized fight for life. This attempt to distinguish labor from the ‘criminal’ elements of the proletariat reveals the gap between the growing surplus population and the unionizing workforce as a racialized exclusion zone–the construction of a ‘virtuous’ labor movement is only possible by banishing the ‘black underclass.’

During 2020, the diverse creative street tactics used by many younger people during protests over Black and Brown police murders reflected the diversity in their physical composition. They see through older toadies for politicians in their hoods. Older class traitors tried to drive us out of a caravan stop. Some comrades and I wanted to join a group of young people by an Englewood community center but these toadies for a Black Democrat demanded we left. It was later discovered that a young woman who lived in Englewood called them out on Twitter. The building they were guarding hadn’t been used in two years! Some community commitment! The politician was using his stooges to shift public perception. Politicians are reverse illusionists trying to win over audiences by pulling the wool over their own eyes.

The railroad workers and underclass share more in common than they might admit. They are caught up within capitalist crises. They work at and/or hang around supply chains. The bosses and bureaucrats try to divide and conquer them. Prisoners, some of which were employed, end up doing forced labor below minimum wage ; the prison labor includes phone marketing and making furniture. Workers across industries and skill levels find ways to fight back against boredom and alienation on the job( including long breaks, stealing, leaving early, sabotage, etc.) ; looters globally and historically have redistributed the wealth we created as a class with our labor among other proles. Connections to riots with looting can be made with Northwest American indigenous potlatch ceremonies. The gift is returned from its power over us as a commodity back to just something we create, destroy, and/or alter minus market mysticism; both “good workers” and “bad people” are shaken out of survival routines for the revival of living (the proletarianized can resume the fight for ourselves and the planet ultimately abolishing our proletarian conditions for classless/stateless/creative/healthier/accountable relations ).

We need to organize in our schools and communities, our work and creative spaces, and amongst our co workers, friends, and loved ones starting now so that our networking becomes contagious. We need to boost our immunity from the bigoted binary bugs which suck the critical energy out of praxis.

I will return to the second part of  “The Politics/Anti-Politics of Dancing” later in February or so. I will try to profile other obscure ,at least in America, vintage performers and the occasional currently operative independent record label as well. I will leave you with the gift of new music reviews and these Harmful Matter links. Read up til you need to borrow other people’s eyeballs to delve further into the resources/projects/news I posted. Thanks for reading the blog especially if you have been reading since 2018. Happy New Years!!!🤯😸🤡

Harmful Matter

https://brooklynrail.org/2021/10/field-notes/THINKING-ABOUT-COMMUNISM?fbclid=IwAR0aLL43upbc-bhGjw-r0dVJJAfAi0csLd1xfDjrufgIJ9vWNaJMzeJM8xY

https://www.theguardian.com/music/2021/dec/16/thomas-mensi-mensforth-obituary

https://illwill.com/downtown-fucked

Fuck small business

http://www.leftcom.org/en/articles/2021-12-30/happy-holidays-from-the-capitalists-economic-misery-and-disease-in-our-stockings

https://news.stlpublicradio.org/show/st-louis-on-the-air/2021-12-09/how-communists-briefly-ran-st-louis?fbclid=IwAR21eE2WKBFoS4jp8kgzNMbPGqlrn2UguWicPiLQbS_HYURCjs01AAvX8Jw

Beware the one-man organizing show

https://www.sm28.org/articles/among-friends-reflections-after-the-george-floyd-uprising/

https://crimethinc.com/2022/01/06/the-uprising-in-kazakhstan-an-interview-and-appraisal

https://www.international-communist-party.org/English/TheCPart/TCP_040.htm#Kazakhstan

https://www.leftcom.org/en/articles/2022-01-08/kazakhstan-the-working-class-attempts-to-find-its-voice

http://barbaria.net/1020/08/22/the-past-of-our-being/ (a Barbaria text from Spanish comrades)

First Negation

Nona Nona Nona https://bizarresdigitalantientertainment.bandcamp.com/album/o-a-o-a-o-a-lo-unico-que-somos-es-carne-rellena-de-mierda-album-2021

Inner Paradise https://innerparadise.bandcamp.com/album/rastafari-homophobia-2

God of Gaps/Chuck Steak https://mutualaidrecords.bandcamp.com/album/split-36

Gay Nightmare Support Group/Sound Altar https://mutualaidrecords.bandcamp.com/album/split-26

While I’ve enjoyed experimental noise, often industrial, with attitude since I was a teenager, I now find I have less enthused moments with say some harsh noise( including harsh noise walls which could be as blah as paywalls) and instrumental guitar music outside of surf, funk, dub, exotica, Chet Atkins, etc. There are exceptions of course especially when absorbing rousing live sets ( I still recall a refreshing Sunday afternoon matinee of one person noise sets at Empty Bottle as part of a one man band festival in the early aughts organized by my friend Jake Austen of Roctober Magazine and Chic-A-Go-Go on Chicago public access tv; 5 minute or slightly longer maximum overdrive sets grabbed me more than most of the longest ones).

Part of it stems from my affinities and praxis which make me write, sing, and play guitar for catharsis and critical radical analysis and protest. It feels like some instrumental music is half finished when ambiguity or escapism is stressed over direct or even allusive yet critically precise messages. Messages which question this society both seriously and/or humorously. Messages that awaken critical weapons of mass seduction.

Power electronics releases, or those that tag PE as a category they can be filed under or as an influence, I checked out recently somehow lack unhinged vocals and/or mouth noises?!! How much is that due to self censorship or “maturity” or blurring harsh noise with PE or what? As I mentioned in previous blog posts, PE holds reactionary roots based on the early eighties wave of industrial music yet over time it diversified ,like Black Metal, which opens multiple possibilities of first negation (conscious collective negation of existing conditions i.e. capitalism) hierarchical organization with exception of skills hierarchies which can create more engaging interesting problems instead of resolving current miserable problems for the rich’s benefit,  Nation-States, etc.)cultural creativity.

Let’s start with perhaps the most “traditional” power electronics release also simultaneously weirder than other typical PE edgelords.  I give you Nona Nona NonaLo unico que somos es carne rellena de mierda (or in English The only thing we are is meat stuffed with shit.) on the massive Bizarreshampoo label catalog in Massachusetts. This is presented as a collaboration between the label owner’s harsh noise project Armenia and an old friend from Guayaquil,Equador Amin Mohammed. Amin sang in the earliest Guayaquil punk wave band Bolsas Tristes . They savagely satirized moralism and society. So in some way they also were bastards of Lenny Bruce and other early provocative comedian critics.

While I feel the punk influence in the  vocals or ranting, I am also bizarrely reminded of 60s absurd music novelty releases of a goofball called Basile masterminded by eccentric innovative French music composer, producer, recording studio engineer and owner, and musician Jean Pierre Massiera https://en.m.wikipedia.org/wiki/Jean-Pierre_Massiera . I’m sure other outstanding oddities will enter my orbit later whether they match up or not with this PE scat singer.

Throughout all of these tracks the sonic destruction of Armenia also sounds a bit natural as if a hard rain,of disgust and bile, is gonna fall and it especially does on ” Yo No Pienso” and “Guayanona.” The Ranters of The English Civil War also pop up in their firey loud dismissal of class society, organized religion, sexual repression, etc. I bet they would’ve welcomed power electronics waterworks flooding and flame thrower frequencies in their public actions! chrome-distiller://ef077913-7794-4a39-9482-69351482a018_f4692132c08e9a26dc3911ad4555e4caa64ac70eb4380fddd428a49eaad2463c/?title=A+shadow+of+glorious+(though+strange)+good+things+to+come%3A+The+Ranters+and+libertarian+communism+in+the+English+civil+war&url=https%3A%2F%2Flibcom.org%2Fhistory%2Fshadow-glorious-though-strange-good-things-come-ranters-libertarian-communism-english-ci

I think one nuance which makes Nona Nona Nona stand out is Amin utilizes a smoother more matter of fact delivery compared to others shooting their mouths off in PE. This could be your younger or older brother, your father, uncle, the owner of your favorite hot dog stand, a striking Amazon worker, etc. He even tries to croon! Now that is a needed slap in the face of someone who goes through the painful yet mediocre throat terrorist routine!

I am not cranking out a top 10, 20, or whatever 2021 releases list for Screemz or elsewhere. However, if Nona Nona Nona doesn’t receive at least a favorable mention from Rolling Stone, then that would be just one more ,out of multiple reasons, to overthrow this society. At least Lo unico que somos es carne rellena de mierda  will serve as part of the soundtrack.

Another tasty PE pie ,with East Indian flavor, but from a progressive or liberatory spiritual perspective was baked by Inner Paradise. Rastafari Homophobia manages to critique a complex historical, cultural, sexual, racial, economic problem while promoting more than “One Love” in a complex fluid world despite reaction from right-wing and left capitalist heteronormative ideologues including the more bigoted extreme culture gatekeepers. Inner Paradise unfortunately is limited to the spiritual level but they also can help catalyze deeper discussion, analyses, collaboration and general praxis within and outside experimental music, Asian and European cultural and spiritual circles.

The homophobia within Rastafari and Jamaica is rooted in the Transatlantic Slave Trade  Atlantic slave trade https://g.co/kgs/XeKpPF , the breakup of African enslaved families, sexual repression preached in Protestant and Catholic religious texts and churches that slaves and freedmen used against their oppression, the psychological-ideological damage of Black poor and working class males from capitalism’s systemic racism that encourages toxic masculinity often mixed with sexual bigotry to ideologically prevent what is perceived as genocide and the last insult to their power(younger Blacks in America have gradually been more accepting of sexual and gender diversity as well as non binary critiques of gender within the past two or so decades),etc.

Consequently, I heard a power electronics avant dub project in the past, Danger Hilton (which I think was a Sutcliffe Jugend side project or associated with them…so of course they used bigotry as part of their aesthetic and paradoxically attracted Black reggae fans that uncritically supported Rastafarianism and homophobia). It took decades for Inner Paradise to appear but we also have conditions growing favorably for such challenging projects challenging extreme culture as well as diversity of fear and ignorance among the general population.

I think the first track “Overture: Yēśū Śakti [ येशू शक् ]” was a “dark mantra” attempted in public in India. You can hear some “righteous” outrage aimed at Inner Paradise ironically. The next track “Rasta is Not A Jain” is simply one of the best noise tracks I’ve heard in the Rock of Ages! It sets fire to Danger Hilton’s dreadlocks! These guys take PE like assaults to another level. These are like electronic spells cast to undo centuries of enlightened misery. The dynamics used, especially with shifts from greater emphasis on mantras and then increasing the noise attack as if it were generated from their bodies without using effects pedals, circuit bending, and other devices, are most likely amazing in person.

Inner Paradise were so effective they were forced to leave India by authorities for Europe. They’ve released recordings since 2016. I feel I’m going to have to go back to spiritual studies again and listen to previous releases.  Too bad my favorite cheap East Indian restaurant won’t play Rastafari Homophobia when I eat there. When the weather gets warmer and the pandemic isn’t as miserable (which includes cultural political factors spreading mind/body disease), I suggest picnics with Inner Paradise. Please pass the kathi rolls my way as IP’s fire of electronic elightenment will warm them up!

Speaking of food for thought, two comrades and I have discussed things about Satanism online recently. This was inspired by a PDF of Against The Fascist Creep by Alexander Reid Ross. He analyzes and criticizes authoritarianism in general and specific aspects and historical developments on fascism including Nazis and other fascist tendencies mixing with Satanists as well as fusions birthing secret  organizations and cultural mixing in extreme culture, the military, and so on. As much as my comrades and I can find strong reactionary baggage on Satanism, we also are influenced by communist egoism, the Surrealists, George Bataille, Charles Fourier, Hot Stuff the Christianized Harvey Comics little devil, Venom, Flip Wilson in drag as Geraldine saying “the Devil made me do it,”etc.

I’ll have to quote myself to give samples of critical communist discussion around the Lord of the Thighs: “The big divide within Satanism remains those who are mainly atheists using the Church of Satan and other temples as theatrical symbolism which can allow empathy, and sexual desire for miscegenation and fetishism of amputees and other minorities, to those targeted by societal racism and exclusion in general VS. the fundamentalist “theist Satanists” who use Satanism for genocidal race/religious warfare with
dystopian sadistic plans of enslavement and suffering for ultimately destroying the world.” 

“Their apocalypse will allow hell on earth for Satanic rapture ( leaving this plane for higher more invigorating dimensions in hell as warriors and demonic spirits). Communism and anarchy can help redirect the expanded self interests of LaVeyan influenced Satanists towards egalitarian Eros which abandons the character armor worn by Satanic reactionaries ready to take revenge like Incels on women and others who reject them and their needs. Satanists that are more or less atheists can realize and suppress their religious ideology in order to achieve community and a sense of purpose without reproducing the weaknesses of theist Satanists and LaVeyan narrow individualist power trips. Satanic reactionaries operate on theirs and their idols resentment. LaVeyan influenced Satanists have a lust for life.

So I conclude with a review of two current releases from a queer Satanic anarchist label Mutual Aid Records. Now on one hand if there were more class war oriented Satanists, they would be probably releasing updates on soulful 60s rocking numbers like “Devil With The Blue Dress On”, Oi!, disco influenced noise, psychobilly, etc. On the other hand, narrow individualism mixed with bits of Nietzsche and former Hegelian, a club member along with Marx and Bakunin, Max Stirner who at his strongest still has collectivist aspects, will probably mean more power electronics, harsh noise, death industrial, dark ambient, folk, etc. than Crowley influenced footwork or trap releases.

Black metal in general ,with avant garde aspects as well symphonic ambitions meshed with bestial /war metal barbarism and thrash metal/punk fusion can bridge the “elite” and the proletarianized.

Being a smart poor mutant at the moment, I welcomed listening to Antifa Satanism in noise. God of Gaps achieved more with just static on “Metastatic” and “Weaving The Entrails” than Eric Clapton has since he left Cream. In fact, I thought there were subliminal messages in the static! I’m sure “Clapton is still god!” isn’t one of them. Chuck Steak approached static at a more minimal level than the maximalist God of Gaps approach. If I had a good laptop with better speakers, I would’ve been able to appreciate the nuances more. Nevertheless, I would listen to all four tracks again. They would sound even better in a live setting.

Gay Nightmare Support Group was the best at applying dynamic overkill out of the four. Everything including the baby and the bathwater was tossed in to “Fennel” which obviously is an intense subject or metaphor. “Rye” captures the early to mid 80s industrial on cassette vibe exquisitely! These noises were manipulated to the point they were more like life forms having a philosophical discussion with the noisician. I also heard screaming. Maybe a faux pas happened?

Sound Altar delivers the clearest speech and yelling on their spoken word with subtle noise touches on ” Nothing Mystical” while “No Fantasy” intensifies proceedings which builds to a powerful meltdown sonically and emotionally. These tracks come off as radio broadcasts from another dimension. I dabbled in pirate radio before so I can dig it.

I am thankful for checking out Mutual Aid Records. These four projects deserve more listeners. Sound Altar and Gay Nightmare Support Group should be playing with Merzbow or Bloodyminded or others with distinct quality noise canons built up over the decades. While we might not agree on a few things about praxis, I know I would probably get along better with them than a lot of Cubs fans. Check out more from Mutual Aid Records. They stand out among the current generation of PE and harsh noise youngsters. I think I’ll eat some deviled eggs.

Second Negation

Super Agent 33 https://superagent33.bandcamp.com/album/projekt

Tanakahiroshi https://hiro4t.bandcamp.com/album/ganesh

Valium Angel https://psiilomusic.bandcamp.com/album/valium-angel-2

Volant https://volantmusic.bandcamp.com/album/hypertrance-vol-1

Second negation(the second part of what makes a long term revolution possible rather than just settling for a temporary insurrection or wildcat strike) music in a nutshell is part of the amalgamation/reorganization process that plays with the silly putty of human relations to socialize with consequences! Such rejuvenated energy leads to new relations/encounters/perceptions for fusing pleasure and necessity( one of the main differences between maximalist anti-state communism versus the state capitalist nation-states run by bureaucrats, and some corporations in recent decades, which official history and propaganda label “communist” or “socialist” or “Marxist.”). This fusion will drive our collective creative empathetic passionate reorganization of space, time, language, material resources ( including food, housing, healthcare, clothing, supply chains, alternatives to fossil fuels, etc.)and other aspects of running our own lives beyond capitalism and the State. The ability to dance on the graves of our former fragmented frustrating selves comes with praxis (unified theory and practice in daily life); knowing what we are for ,instead of merely just destroying the obvious then reproducing /eating our bullshit again, keeps the party out of bounds!

A lot of current digital dance subgenres simultaneously absorb spectacular fragments of the recent past mixed with the contradictions of increasing social-political consciousness of youth and pre-teens yet still mediated like the post WWÍI generation of early teenagers through hyper individualist marketing (K-Pop being an obvious example), social media outside of the Metapause black hole as well as platforms snatched by Zuckerberg such as Instagram, and nostalgia that can be treated at times more subversively by the fans than the corporate forces (i.e. Japanese anime girls promoting non binary, gender fluid consciousness and even praxis —fucking forwards for immediate liberation and generalizing struggles—).

While I try to be critical of everything, I have also been a grinning fool for those who escalated the post WWÍI global culture wars as a part of class war rather than contemporary bored games between center right and far right factions of bourgeois democracy which will sink with capitalism’s ship.  Today’s beloved bosses and bureaucrats follow Cold War theatrics albeit updated to accommodate acceptable public paranoia and resentment levels. They play to their fans while planning survival (not living ) strategies excluding lesser bureaucrats, working class, and petty bourgeois supporters. Those suffering on the streets, under viaducts, with diseases, etc. can stay in those predicaments to make the others feel better. The general population ,minus a fraction of billionaires servants and private soldiers, can be left to the full force of whatever mega disasters capitalism creates and accelerates. The remaining culture vultures will eat their own to win zero sum games.

The KLF (Copyright Liberation Front) https://en.m.wikipedia.org/wiki/The_KLF still inspires me. They combined American house music and rap, punk and post punk influences ( one of them being Bill Drummond who ran Zoo Records and managed late 70s/early 80s Liverpool post punk neo psychedelic bands such as The Teardrop Explodes and Echo and the Bunny Men), the Situationists of course, Robert Anton Wilson’s The Illuminatus! fictional book which hatched multiple conspiracy theories over the decades, etc. They became pop/house music stars globally with money to burn(literally).

There will be moments to fight through culture since it still sells the other spectacles of capitalism ( everything from alienated labor including the carceral state to police brutality to xenophobia to real estate to inclusion of “minorities” into State roles and the non profit industry to crypto currency…)but it is only one way to enter  multifaceted struggles not THE struggle itself.

The KLF’s praxis still fits in with varried degrees of digital dance technicians/physicians such as Montreal’s Super Agent 33 on his Projekt. Within a few seconds of “The Fabric” you will be dancing on the ceiling with that old astronaut feeling. The tech house beat carpet bombs effectively in the way it maximizes muscular minimalism without cancelling out civilians in the process. This is progressive house warfare which takes no prisoners.

While Super Agent 33 takes you for a minimal joy ride via monorail as he constructs and deconstructs Dusseldorf, Detroit, and Chicago nightlife bright lights of house, electrofunk, and early techno filaments as he shines a light fantastic on your Id, on “Voodoo Spells and Conjurations” he harkens back to Africa and diaspora in Haiti while entertaining ghosts in the Net.

I hear dreams being tapped into through A(utonomist) I(maginist) technology on “Run” and I hear a digital cat talk with more purrcolation of coffee to keep me dancing the next 12 hours on the dub of “Exorcise.”

“Exorcise” ,before the dubbing got to it, sounds like Super Agent 33’s motivational video for the Great Resignation! I can imagine how such a project can tie into Anti-Work sentiments while it can also become more radical by promoting praxis instead of temporarily taking a break to return to more alienated labor that might be better or worse yet still reproduces debt, poverty, oligarchy, bureaucracy, class, etc. Even the block chain spectacle currently plays petty bourgeois and bourgeois games with Decentralized Autonomous Organizations https://en.m.wikipedia.org/wiki/Decentralized_autonomous_organization disconnected from working class struggles in retail, healthcare, supply chains, the service industry, etc.

Seizing the means of production, distribution, communication, etc. are not incompatible with abolishing work. Productive play is a main strategy of maximalist communism and anarchism which can transform much of remaining work into passionately self organized activities with rotation and other means of decreasing burnout, increasing generalization, increasing creative problem solving, strengthening accountability, etc.

Agent 33 made me feel better while I was dancing my mind as well as my body. He isn’t trying to be the most cutting edge house architect flipping, renting, and holding on to investment properties but for sure he will walk you through his program of pleasure without leans or even the 20K or more needed to rehab the joint! This is an old house but the Projekt still feels fresh and invigorating in these stale incapacitating times.

Ganesh continues the audio palette of Japan’s Tanakahiroshi in technicolor and watercolor. The title track dips into a spy movie soundtrack, a cheerful hallucinogenic experience, and an anime breakaway from capitalist time. Fluid electronica painting with multiple interpretations as opposed to low batteries painted misspelled threats to other knuckleheads in the hood who can’t read/hear them.

“Flower” is a subtle dance track for beetles, lady bugs, spiders, etc. attempting to eat chronic strength cannabis while waiting for the desserts carried by unionized butterfly express delivery. “Far East” gives us nice violin playing traveling on old Net dial up connections to visit the soul of Savki ,the GISM frontman of Japanese hardcore infamy, bearing electronic flowers which work better than drinking gasoline.

“Freaks” connects Tod Browning’s 1932 cult movie classic’s cartoonish vengeful violence with the 21st century dormitory raw romp of anime sisters in a way which is smoother than my interpretation.

“Underwater” sounds as if a synth is trying to escape Doobious Brother Michael Mc Donald who also plays electric keyboards in addition to his smooth soulful yet typecast singing( parodied well by Rick Moranis on SCTV). What a fool believes is their imagination has to remain as straight jacketed as their daily routines therefore, they can hide from the bit of temporary liberation or catharsis with excuses such as “the seriousness of the artist demands my respect.” Japanese culture, especially among aspiring bourgeois salary men, has painful contradictions which the subtle subversion of a Tanakahiroshi can help in reducing suffering; Tanakahiroshi can work across other cultures with similar results. I wouldn’t be surprised if Japanese healthcare facilities play his J-Pop/electro/ orchestral/ electronica/soundtrack music including all of Ganesh.

Valium Angel on the self titled release takes his Mexican cultural heritage into a synthesis of Chicago Footwork, braindance(https://www.urbandictionary.com/define.php?term=braindance), and glitch. In other words, a kinetic skittering digital dance micro genre fusion with an intelligent or more experimental approach to motorvate mind/body as opposed to jumping onto what is commercially dominant within popular electronic dance.

Fortunately, VA is a sophisticated speed freak open to subgenre fusion which commands a playful captivating dynamic on multiple layers approach. “Samana Air” kicks the sonic futbol around with a party atmosphere sprinkled with a subtle layer of doubt and worry surfacing as well. “Lepra Light(Opal)” turns from a funhouse maze exploration into an explosive movie or tv show sample of a man and woman clawing at each other’s entrails. The heated domestic feuding in English then drops into rabbit holes of video dimensions in media miasma percolating with cyborg martial arts moves.

“Cyborg Blood” makes me conjure up a plot with the old Woody Woodpecker cartoon character teaming up with Dr. Who villians the Cybermen to trap the Doctor without run of the mill Trap. Intergalactic DJs on advanced decks technology try to fight the odd alliance off  but The Doctor responds sneakier which ups the entertainment value. Glitch Footwork track “Tripi Doppler” is a tour de force which demands being played through walls of 1000 watt amp speakers in ten cities simultaneously!

Overall, Valium Angel solicits repeat listening to pick up on nuances as well as an aggressively produced party atmosphere which should whip those who want to consume IDM as wallpaper music into fun furious feral fuckers following the Flying Monkeys example from the 1939 movie version of The Wizard of Oz.

Volants Hypertrance Vol.1 lives up to the hype. They action packed this compilation with 20! tracks for dance attacks of vaporwave, synthwave, glitch hop, EDM, techno, etc. fused as “Hypertrance” but suffice to say four tracks  will go a long way as well when full length listening is challenged by alienated labor or leisure. I highly recommend Luna Lenta’s ” Digital Memories” and “Divergence” to start. The former is a dynamic frenzied exercise while the latter is almost dancefloor warfare! “Divergence” could be utilized in armed forces training! It gives some of the other tracks a run for their bitten coins!

Also recommended: Demon of Waves-” Tranced Out” with the force of a Ninja octopus distracted by a Walgreens pharmacist they fell in love with thus prescription turns to addiction with a cyberdelic speed freak experience of reverse engineering themselves; MIYAJY-” Digital Heaven” delivers sublime aggro with drum and bass and hardcore techno adjacent beats.  Remember drum and bass?

The Volant label needs to release a compilation every month! The dynamic high energy approach of Hypertrance Vol.1 should set off 23 volumes at least. This would be most useful to intensify a New Years event. I get excited over much of these compiled tracks which sound fresh and unsafe at any speed!

First Negation Dance

Pro Patria https://propatria.bandcamp.com/album/godless

The Slowcore Compilation https://doomcorerecords.bandcamp.com/album/the-slowcore-compilation

Herrschaft Des Chaos Pt. 2 https://hartnoise.bandcamp.com/album/hnrw02-various-artists-herrschaft-des-chaos-pt-2

Mente Rota-Breaking The Forms https://menterota.bandcamp.com/album/breaking-the-forms

Late 70s- mid 80s post punk brought about music for doing the dislocation dance to; soundtracks for navigating daily capitalist society’s alienation producing/intensifying inner damage as well as for fighting back existing conditions collectively while developing our own praxis (unified theory and practice). Music critic Simon Reynolds covered both introverted and extroverted tendencies within post punk in the aptly named 2005 book Rip It Up And Start Again. The title simultaneously refers to one of the best songs from 1979-1985 Scottish post punk pop funk band Orange Juice https://en.m.wikipedia.org/wiki/Orange_Juice_(band) and the audacity of ripping up a generation’s subcultural blueprint which reverted to “safe” comfortable limits during the first UK/international punk wave (i.e. the spectacular recuperation of punk celebrities, mass media hype, major record labels vying for this new market, political posing without praxis, and set musical and fashion expectations Mark Perry of Alternative TV and Sniffin’Glue zine,among others, complained about). America didn’t take to punk like Britain for several reasons including the Carter administration devoting some time, energy, and money to nip punk in the bud from growing into another radical cultural youth movement similar to but potentially more extreme than the late 60s and early 70s upsurge of the New Left, campus protests, riots, questioning authority, etc. ( I can’t find the exact quote from Jimmy Carter but it is used in the Sex Pistols implosive 1978 US tour book 12 Days on the Road: The Sex Pistols and America
by road manager Noel E. Monk).

Reynolds covered industrial music as one of the flavors of post punk. He was fascinated with the music yet held some reservations about its common edge lord platform. He was concerned about the scene’s ambiguity with fascism. On the other hand, so far the best book covering industrial music from its DIY mid 70s beginnings to later commercialism and creative expansion is Assimilate: A Critical History of Industrial Music by S. Alexander Reed. Reed probes deeper into industrial music’s praxis concerning demystification of capitalist social conditioning which ultimately questions class society’s order and reason tied into identity. Of course he sees the influence of William Burroughs, Guy Debord, Antonin Artuad, etc. on industrial culture. He also deals deeper with fascist and authoritarian symbolism contradictions which some use subversively in the process of social conditioning demystification.

I can add that some of the cultural historical developments over the decades such as fusions of house music( ex. 80s and 90s Wax Trax Records industrial dance cross pollination with Chicago house music), techno, rap/electro funk,  jungle and drum and bass, thrash metal, etc. brought about more race/ethnic/gender mixing in industrial, minimal wave, and electronic body music or EBM (which is rooted in both punk and industrial) subcultures. Such multi-dimensional miscegenation scenarios would compel a parallel universe Hitler to kick lover Mussolini in the head after finding him jerking off to Pam Grier covering  D.A.F. https://en.m.wikipedia.org/wiki/Deutsch_Amerikanische_Freundschaft songs on videos instead of the Axis Powers speeches he gave him.

I feel that the current climate, ecological, pandemic, global reactionary movements, etc. crises can be psychologically and socially danced over with some help from mutating cross pollinating generational cultural fusions I mentioned. The dark datacide of industrial/electro/glitch/aggro in service of ludic communist maximalist revolution as some of the arsenal in the expansive soundtrack of first negation attacks. Attacks not confined to just separated painfully obvious issues but covering the general organization of life. Electronic negativity that energizes people to fight back and organize themselves where they are at; electronics that fry the social Artificial Intelligence circuitry necessary to play roles played against our own interests just to survive.

Pro Patria from Belgium started in 1988 as an EBM unit. After gaining some 90s European notoriety, they were screwed over when the German label they signed with went bankrupt. “Quod Erat Demonstrandum” from 1997 was only self produced as a small run of CDs. Electro or EBM was swept aside for techno ,including its more aggro iterations, thus Pro Patria hibernated til 2017.

Pro Patria on their Godless full length release manage to pull off something I haven’t heard in the realm of EBM. They made a strong cohesive protest full length recording against current conditions.

Occasionally in the past, I heard some riveting rants from perhaps the best of a minority tendency of street punk and Oi! influenced EBM/electro punk from Sweden’s T.WA.T. https://m.facebook.com/TWAT-205649796144076/ Much of EBM over the years never produced full length recordings which share as much in common with recordings from say early anarcho punk or current crust or the great mid 80s post post punk scene of British and Dutch bands as captured in Membranes member Jon Robb’s must read book Death To Trad Rock.

Pro Patria on Godless generally deals with the current miserable state of the world and complacency and apathy among the general population. They neither offer revolutionary praxis nor reactionary garbage such as ecofascism and proclaiming good riddance to humanity or the need for  small “pure” groups of communities thereby justifying genocide of most of the global human population. They vent their spleens at it all.  

“One dark disco, there’s all the fun
One good time that once begun
Pointing at the man who’s holding the gun
One last chance before you run” from “One Last Time” reminds us of the Pulse gay nightclub shooting in Orlando, Florida with 49 murdered and many casualties by ISIS supporter Omar Matee, the massacre of 89 music fans at a concert with Eagles of Death Metal in the Bataclan Theatre in France by ISIL members as part of a night of public attacks, Stephen Paddocks sniper shooting of 59 country music fans during a Las Vegas festival, etc. As much as music unites as part of vital conviviality, it also brings out reactionaries ready to apply homicide and genocide as parts of alienating responses to capitalist alienation rather than communizing  their selfishness and lifting others up in the process.

Tracks such as “Tomorrow,”(which will leave some pupilless like Little Orphan Annie https://en.m.wikipedia.org/wiki/Little_Orphan_Annie)”The Power Is Mine,”and “The End” focus on dead end situations. However, “Fearless” ends Godless on an inspiring note to continue driving forward in life on the median lane between  blinding optimism and disabling gloom and despair:” Break free from heaven, break free from hell
Cut loose the chains and break the spell
Keep your head up.” Musically, their EBM punches with focused tough tones, haunting and muscular dynamics, and combative beats which fit the spirit of Pro Patria’s neither giving in nor giving up.

I would suggest some songs needed more editing. The increase of songs in the 3 to 4 minutes range would stick better than the 7:17 “Ride” and “Angel” at 5:10. Pro Patria has delivered an above average EBM experience which fits the times rather than being a nostalgic exercise. This is first negation music paradoxically not for its radical content but rather for the smart proletarianized fight surging through its sonic reduction production. Let’s hope Pro Patria’s release due next year will take them further into experimental territories while upping the depth of their aggro dynamics. Right now, enjoy Godless.

Who knows? Maybe more EBM and related digital dabblers and analog ambulance chasers new and old will collaborate more? Collaborate with greater consciousness through praxis.

Brian Eno has been proven correct once more. In an 80s or 90s interview I read( another hard to find item online), it included his perceived  similarities between Muzak, as well as his and others ambient music, and heavy metal yet he was being positive. In the past 45 plus years, plenty of adventurous musicians/ experimented with brutal bonecrushing fused with ambient auras. For example, a musical innovator such as Justin Broadrick https://en.m.wikipedia.org/wiki/Justin_Broadrick who witnessed Napalm Death’s transformation from anarcho punk into metal (and with his help as a guitarist) into warp speed grindcore innovators in the mid 80s. Then Justin left to form post punk influenced slower drum machine driven( with hip hop and dub influences) industrial metal in Godflesh and onto more darker ambient releases as Jesu and on other later projects. Drone metal’s trajectory from Earth to Sunn O))) becoming an almost elemental force or strong primordial bugs fucking up corporate/statist digital control arteries with numerous other global projects doing slow bone crunching mood music. Ambient black metal. Post metal including Chicago’s instrumental Pelican.

Heterodox heaviness as a cultural force dialectically reflects the heaviness of socioeconomic debt, economic poverty, low paying precarious alienated labor, homelessness, etc.

The Slowcore Compilation German label Doomcore Records released compiles more fascinating stimulating musical cross-pollination Eno would probably dig. Where mood music, metal, techno, and industrial hardcore(techno but also with speed, aggro, and societal critique shared with hardcore punk)merge into relaxing jacuzzis of gloom, mutation, and contemplation.

Basically 90s techno/ hardcore techno began accelerating beyond the rave scene comfort zone while attracting growing amounts of filth and heaviness. The beats per minute jumped from 160 to over 200. By 1998 aptly named subgenres terrorcore and speedcore went 800 BPM or more. Splittercore and Extratone fused digital harsh noise(rooted in industrial noise) with samples hurled at warp speed beats per minute beyond 1000 BPM!!! I played the faster crazier stuff on Loyola University’s WLUW college station via Reality Radio as part of punk and post punk evolution. 

Of course for every action an equal opposite reaction simultaneously occurs. Doomcore and Industrial Hardcore slowed down while carrying the heavy load. Slowcore  took it down to 100BPM to 60BPM but some have taken it down to 1 to 4BPM! The slower it gets the more it becomes ambient relaxing contemplative music.

While much of these compilation contributions are thrillers, some of the standouts include :Low Entropy-“This Is History,”with its powerful majestic organ sounds like a space opera epic movie which lands in an earthbound imperial court. The 4 BPM sounds epic in the mix. While all of the layered tracks work their spell, a man straight from a Jedi Knight emergency conference on how to fight the local orcs in their upper class suburb recites in his glory “This Is History.” 

Murmuur’s 120 BPM”My Inner Voice” sounds as if someone is contemplating something rash or confronting herself in a mirror aboard the Trans Europe Express or a space shuttle blasting asteroids as some disturbing drama unfolds aboard; Primitik-“Doom Forever”at 120 BPM starts with the evolution of the snapping turtles like the one on the compilation cover which leads to armies of them walking all over Tubular Bells that signals an encounter with phantasmic ultra dimensional beings leading to weird scenes in a UFO including elevated consciousness given to the snapping turtles so they become tenured professors at famous universities ; The Man Unknown-“Keeper of Nothing” at 80 BPM carries a bit of avant dub/post punk reggae and I could imagine this being an On U Sound production with Adrian Sherwood and maybe Igorrr collaborating ;  DZKYIN-” Netherrealm” at 2BPM(!!!) is the doomiest track roughly the equivalent of being temporarily stuck in two dimensions at once ; and closer AwwwwwwwwwA – “Uncompressed Pandæmonium “(? BPM) sounds similar to 70s Kosmische Musik ( Faust , maybe Kluster, etc.) mixed with a chamber music ensemble battle with Dario Argento https://en.m.wikipedia.org/wiki/Dario_Argento directing his movies scary monsters and super creeps against them.

I enjoy extremes in extreme music. Although I kind of hoped more rougher mixes would be compiled( perhaps where lo-fi black metal meets lo-fi synth punk ala Nervous Gender, Primitive Calculators, The Screamers, etc.) but with Slowcore twists,  I appreciate a slower heavier take on techno and hardcore techno which has more multidimensional  variety  flourishing . Hopefully more guitar, bass, and drums doom/sludge/ drone metal muthas will dig the digital deviants as well. 

Slowcore and Doomcore fit in with slower heavy contemplation including developing focused praxis that could lead to first negation action. Thinking about what you are for as well as you are against. Some of the best heavy music is potent enough to empower without barbiturates, marijuana, and alcohol  (however, some people might be gradually temporarily weened off their uptight reactionary character armor through thee three with consensual experienced empathetic guidance involving heavy absorbing music; Wilhelm Reich’s research on character or miserable emotional/physical defenses developed to navigate miserable existing societal conditions though ultimately shows character can only be removed or neutralized through our participation in the process of total maximalist anti-capitalist/anti-hierarchical global revolution).  The Slowcore Compilation from Doomcore Records serves as both good medicine and a ten ton weight you will want dropped on you daily!

Now we put the pedal further to the metal back to gabber, speedcore, and splittercore speeds on the Autobahn to your skull .

One of the factors that hit me immediately while listening to Herrschaft Des Chaos PT 2  on the Hartnoise label from Germany is how much attention to detail and layered dynamics these current projects use( with V-8’s-“Trip To Insane” being an exception that delivers ye olde straight ahead dancable digital demolition). Earlier gabber, speedcore, and splittercore didn’t use as much nuance (at least what I heard in the 90s such as Chicago’s very own Delta 9 on his Earache Records full length Disco Inferno).

Ninemanht delightfully throws some kitchen sinks as the healthy madness motorvates manic mutant moves Marvel superheroes might marvel. Nice cackling laughter peppers both “hinterm Kloster” and “Grusel.”The Lee Scratch Perry of gabber, speedcore, and splittercore?

Still, why continue critiquing Herrschaft Des Chaos PT 2? I’m a fool for these confusions of punk, post punk, industrial, thrash metal, techno, jungle, drum and bass, noise, breakcore, etc. Even if someone records a monster track with unintentional mix errors, they most likely will be as tasty as sexual fantasies involving food I hold. Eno also has produced Oblique Strategies https://en.m.wikipedia.org/wiki/Oblique_Strategies which includes this gem “Honour thy error as a hidden intention.” Those cards can be picked from shuffled decks ala gambling games or as just one randomly pulled from the box to generate creative solutions when creative blocs pop up.

It should be obvious these digital damage subgenres embody first negation music. Party music enabling everything from wildcat general strikes to rioting and looting to logistical blockades and whatever other self organized collective actions are decided upon.

Onwards with the dialectical dance kicked off by variants of the rhythm of industrial mass production which influenced rock and roll and much modern dance music; the heavy metal kids of all ages locally/globally poised to dance on the ruins of commodified existence as the revelrylution process proceeds past Capitalism’s curfew.

Herrschaft Des Chaos PT 2 on the Hartnoise label out of Ratzeburg, Germany. One current release to enjoy with your devices.

Breaking The Forms on the Mente Rota label from Mexico compiles mostly amazing tracks from Mexico and the US from dance oriented damage to industrial noise to experiments that fall in between. A sonic smorgasbord as gastronomically pleasing as the Polish, East Indian, and Chinese restaurant buffets I sampled in pre COVID-19 times.

Some of what stood out from the 33 tracks includes: M.Nomized- “A Black House” which digs up the often unmentioned free jazz/free improv roots of industrial music;it grows on you like bio/chemical warfare which could include overpowering cologne or perfume, Jc 19 – “Mierda Ruidistica II Muerte Maquinal”a brilliant ugly demonic explosion of repressed emotions and sonic violence without dance club appeal but could be used ideally to deal with pesky telemarketers when threats won’t work, Fiorella 16 – “Ce matin un lapin a tué un chasseur”a short sweet harsh noise equivalent of a “Chicago handshake “(i.e. a cheap beer and a shot bar special), and Manufactura – “Tripas de Miseria y Deseo” (Versión Malparida) with sampled wailing of a troubled Mexican woman speaks volumes about continued misogynist/machismo/gender abuse and murder in Mexico; one of the most powerful dance tracks complied by Mente Rota.

The diversity from musical contributors on Breaking The Forms reflects the greater diversity of comrades and their online tactics. While there are ambiguous problems with hacktivism( read the “Fuck Off, Google” chapter of To Our Friends by The Invisible Committee where they critique ambiguity in hacker subculture with government workers/spies and/or far right elements mixed with ultra left and anarchist comrades), the music on Breaking The Forms like the strengths of anti-capitalist/anti-statist hacktivism show there are autonomous asymmetrical tactics, strategies, and analyses happening despite the increasing problems of social media along with the State and loyal capitalist opposition ( the left, right, and center of the capitalist political spectrum and the super rich and less rich collaborating with and fighting each other as protection rackets do yet all the rackets agree our autonomous attempts at generalized self management based on collective self realization must be crushed).

Ultimately, we need to seize the means of production, distribution, communication, reproduction(neither coercion nor control of women,the birth process, children,etc. as property and inferiors), etc. Breaking The Forms ranks as one of the best recordings  I’ve heard so far in 2021! Breaking the forms also functions as a daily finite game of resistance among comrades and also a historical infinite game,with finite games for survival tasks, of shape shifting, sharing, and learning among people moving beyond current identities and circumstances as workers and the economically impoverished marginalized( with many being both simultaneously) towards a revitalized world beyond today’s capitalist chump change.

Second Negation Dance

Tropical Dub Connection https://tropicaldubconnection.bandcamp.com/album/safar-rasta-dub

Kommando Feirefiz https://feirefiz.bandcamp.com/album/m-a-m-a

Beat Detectives https://beat-detectives.bandcamp.com/album/100-extra-hot

Habibi Funk 015 https://habibifunkrecords.bandcamp.com/album/habibi-funk-015-an-eclectic-selection-of-music-from-the-arab-world-part-2

I am one for fusions of Asian and Jamaican music. I dived deeper into both East Indian and Jamaican music in my high school and college years after earlier exposure to Two Tone, Bob Marley, Rita Marley, Peter Tosh, Steel Pulse, PiL, etc. for the Jamaican aspects and Shelia Chandra as well as Beatles sitar addled songs from Rubber Soul to Magical Mystery Tour.

By the time I was on my first college radio show, an older friend’s The Roots Reggae Show, I gained much knowledge. Both of us actually covered much diverse ground beyond roots reggae including post punk avant dub from Adrian Sherwood and his groundbreaking On U Sound label in Britain to African music to then current soca to early dance hall reggae to of course Bad Brains,The Clash, The Ruts, etc. as well as old Trojan label fun from Symairp and other crucial sounds in the center of Iowa! I also discovered Ashwin Batish, whose fun Casio charged Sitar Power Raga Rock record paved the way for my embrace of Bhangra, and played him when I could on then KUSR.

Tropical Dub Connection might lack a member in a big diaper but like the Mothership connection, on Safar-Rasta Dub they can take you on a trip from Kerala to Detroit to O’Hare Airport to Funky Kingston then on the part of Jupiter the Monoliths don’t want us to visit and back with a few hours overlay at Puducherry. I just can’t review these tracks individually. This is one big recording that morphs a bit without the intensity of ch-ch-ch-changes that Bowie went through ( yes some trace the Sleng Ting Riddim to Ziggy Stardust’s “Hang Onto Yourself” but Jamaica still has a lot of heteronormative bigotry and violence to overcome regarding “Batty Men” from Adam West onwards).

The repeat of songs as “Dub Versions” is redundant grammatically but herds those tracks home to the barn after grazing on more ganja and lemongrass. “Malwa Dub Version” to “Thar Dub Version” sound like an extra dimension was added to each track. My only complaint would be they need a juggernaut inventive bassist like Jah Wobble (another PiL reference but let’s not discuss the current story of Johnny Lydon, eh?) especially on the Dub Versions. The monster tone would trance with brutality which would be a cool contrast next to the female vocals. Bhangra infused beats, Rajasthani melodies and Sufi Qawali chants meets dub and dancehall… that’s an accurate statement.

Tropical DUB Connection from Sri Lanka add more to cultural mergers that bring out border blasting frequencies which paradoxically are sublime and nuanced. Safar Rasta Dub is a must for Asian and Jamaican solidarity as well as for those who need diverse trippy party music before the gutsy stompers leap out of the speakers kicking asses to motorvate their tale feathers! Enjoy!

Kommando Fierefiz’s M.A.M.A. at first sounds exactly like an unearthed 80s German new wave band recording. However, this is a current band with the cool vocals of Charlotte Demuth with her spunky players  adding a pinch of Jewish klezmer music which contributes to the freshness of a potentially predictable retro exercise. “Du bist zwar heiß” klobbers the klezmer while “Romantik geht anders” blends it more with a Two Tone influenced ska feel almost like early Camper Van Beethoven with less flippant snark.

M.A.M.A. is a four song EP as us geezers would call a recording like this (not enough tracks to call it hardcore or grindcore or blurcore or power violence or fastcore or…)so it serves as the appetizer before the entree. Even though it isn’t extreme and/or mind-blowing, I await more than four tracks that bring on live set energy! I dig good or better songcraft with confident delivery that will bring me back like George Romero’s living dead movies or better yet youth taking to the streets fighting for revolution against daily living dead societal conditions(the American dream?!!). Yes you should dance with M.A.M.A. on the subway trains, on buses, on rooftops, etc. 

Beat Detectives don’t get beaten up like Jim Rockford (yes some of us grew up with 70s to early 80s tv shows where both Issac Hayes and Rick James helped a hard luck white private investigator and former prisoner Jim Rockford, played by James Garner,often beaten up and shot at during jobs he takes, and so on)! On 100% Extra Hot they reverse the beatdowns in a mix of plunderphonics  https://en.m.wikipedia.org/wiki/Plunderphonics influenced Blunder phonics(read their take on it at their Bandcamp link) and you will be brutalized in the best sense like Bob Marley’s ode to Trenchtown. Perhaps more like your old humpty driving you through an amusement park connecting Cony Island to Monster Island where even the animal costume park mascots laugh at you? Yet you grow to enjoy it!

The whole recording is “Based on/upon (or into?) a “bootlegged” old fusion bhangra remix tape gifted from a biologist friend/wanderer, Trout. A fellow who has been opening windows to worlds since we’ve long known him.” Outside of that, this tape/mp3 collection is made for cruising around (in my neighborhood some might give a car a violent critique if they boomed Beat Detectives as much as they would boom Gigacinto Schelsi https://en.m.wikipedia.org/wiki/Giacinto_Scelsi but maybe some kids would like it too?).

Yes this whole recording could be mixed with Tropical DUB Connection to further mutate the Bhangra and encourage play ala psychogeography between Sri Lanka and NYC( people have driven across oceans before, right?). In addition to cruising, 100% Extra Hot, can be played at parties. I can envision a few kids birthday parties with this going on amid food fights or dismantling the house. Màybe Thee Potato Head will fight Pumpkinhead in an inflatable children’s playhouse tent over arguments about Slavo Zizek https://en.m.wikipedia.org/wiki/Slavoj_%C5%BDi%C5%BEek  pro and con?

With such sonic anarchic Surreal playfulness that also sounds solid as sound structures, you have multiple levels grabbing you. This blunderphonics adventure is inspiring for both exercising the creative problem solving process and trying to temporarily vacate overthinking and/or beating yourself up for not acting as a cadet seriously enough within a manipulative cult or specialized protection racket. It also harkens back to earlier turntablism which never became as commercially popular as rapping due to the more experimental soundscapes ( good in many ways but might mean excluding people unaccustomed to say extensions of Jamaican DJs techniques during the late 60s and 70s onwards or who now want pop or “orthodox” subgenre music singing over what they want to hear and so forth).

Beat Detectives should collaborate with Brian Eno and Japanese noise projects. 100%Extra Hot 🔥🔥🔥🔥 alright!

Thanks to the Berlin label Habibi Funk Records for releasing several  compilations of obscure funk and related music recorded in Arabic countries during the 70s. Since the Middle East was designated by British colonialists in the 19th Century as a territory in West Asia and Northeast Africa, it seems fitting that the fusion of African polyrhythms, the music scales of the Mediterranean, and during the Middle Ages or earlier Asian scales among other cultural cross pollination would become a liberating cultural force against both bourgeois European colonizers and regional religious zealots and their military muscle. Funk has been archived again as an international force encouraging liberation now. It has been adapted again as a means of opening up spaces for encounters.

Think of Habibi Funk 015: An eclectic selection of music from the Arab world, part 2  as a thirteen track combination plate special(the sonic equivalent of beef kabob, kifta kabob, chicken kabob, and chicken shawarma. Served with rice, salad, hummus and pita bread…you can also quote a favorite vegetarian or vegan menu and still enjoy the nuances and main highlights of the meal Habibi Funk Records serves up buffet style)with multiple approaches.

Instead of going through a bunch of favorites, I will direct you to two tracks to get the party started. The rest I leave up to your own curiosity.

Magdy El Hussainy – “Music De Carneval” commands attention with a hail of percussion and a bass line hook and sinker yet it gets extra spicy when electric organ is poured on strong. The percussion breakdown operating solo and with keyboard interaction injected takes the instrumental into a legendary realm. A fuzzed out guitar solo cuts through “Midnight At The Oasis” to reach a hot Hilton inferno level of conviviality. Sounds like they associated with The Funkees despite the great distances between them.

Ouiness – “Zina” charges out of the gate with no frills yet thrills on a groove guaranteed to get Hammurabi to hop on ranting a minute of hot laws for hot lips as Ouiness is burning up to light a spliff.

Another thing at Habibi Funk Records that stands out is their own statement on how they exactly pay royalties to artists archived on their compilations. Unfortunately, most compilations of obscure music are compiled with little regard to the little royalties surviving members/ individuals can receive .

Habibi Funk Records is doing a public service with their compilations of vintage funk and adjacent forms around various areas of the Middle East. This initiative helps to cut down xenophobia, racism, fanaticism, etc. Yes, only global collective action against capitalism and hierarchical organization fetishism can uproot the roots of reaction and complacency. In the meantime, I welcome you to take a plunge in the desert to dance with others in high demand of funk not more junk from the bosses and bureaucrats trunks.

Absolute Negativity As A New Beginning 😎—Summer/Fall Sessions(Session 2) The Politics/Anti-Politics of Dancing (Part One)

1. The history of dancing transformed through time into the rope in the tug of war between the dance of history and the pre-history of safety dances reproducing current class society’s alienation daily.

2. Pre-history, the present social stasis we exist in with sideways movement, reinvents the wheel often for recharged exercises in social compliance. We circulate through the socio-cultural-statist-corporate domination of today’s global digital “connectivity” which simultaneously isolates, lies, punishes, numbs, and aggravates.

3.Class societies have always generated class tensions which fluctuate in intensities moment by moment guided by multiple factors including weather, amounts of daylight, daily degrees of violence used on the most marginalized groups, etc.; if only billionaire’s secret funds could magically appear on our debit and credit cards every moment someone bitches and/or whines about all the American class/political polarization happening now! Such delayed reaction shows how ahistorical delusions, official history domination, and shortening attention spans are connected to character armor(basically Wilhelm Reich’s analysis of lousy emotional defenses people develop through childhood conditioning and trauma onwards to navigate lousy social conditions capitalism reproduces daily as our shared physical and psychological alienation) which reinforces submission to the Spectacle http://www.bopsecrets.org/SI/debord/

4. Online diversions into relatively “safer”numb digital S&M take form through trolling and other Net combat tactics. Social media dips into digital quicksand wherein electronically mediated mutual abuse and confusion replaces dynamic in person physical communication (communication meaning two or more people acting together not merely conversing: For example,dancing carries and taps into the body memories of the dancers which are often our pleasurable sensual memories revived. Dancing opens up convivial psychological and literal spaces for encounters with our character armor loosened. Compared with Net neutralization, dancing can expand the shared pleasure principle into praxis (unified theory and practice)maybe even mixing with class resentment, anger, frustration, etc. to catalyze collective carnivalesque departures from daily misery(see the L.A. Rebellion 1992, Watts 1965 via Debord’s The Decline and Fall of the Spectacle-Commodity Economy http://www.bopsecrets.org/SI/10.Watts.htm , http://www.revoltagainstplenty.com/index.php/recent/34-archivelocal/37-like-a-summer-with-a-thousand-julys). A taste of honey is better than none at all.

Communication is not distant detached keyboard warriors hooked on ideological drone warfare reaction games spreading mental/emotional collateral damage. Such effects remind us the Net originated from the late 1960s prototype ARPANET(Advanced Research Projects Agency Network)the US military invented. Today’s Internet still upholds uniform standards for spying on foreign and domestic enemies while reducing critical thinking of capitalism and State to loyal opposition(i.e. arguments over managing this society rather than creating new relations beyond this society) as well as specialized commodities to sell radical chic.  The Net can act as the electronic extension of character in a sense.

Character can only be ultimately eliminated or neutralized socially/globally since it also effects the economy, governance, bigotry, etc. Little changes
through the recuperation of psychological methodology(including today’s capitalist healthcare industry selectively drawing from the 60s and 70s anti-psychiatry movement)  for fixing up individuals like motor vehicles for returning to alienated labor and leisure.

5. While some take to classic direct violence on or off the job(which often ends in hospitalization and/or cremation in these times), many people escape from their economic psychological abuse,even if for short amounts of time, on the Net.  Some will fight through sanctioned and/or unsanctioned online play those miserable management maggots and/or co-workers acting  reactionary, clueless, and opportunist.  Generations of players weened on arcade videogames,computer games, and hand held electronic games are prepared for finite games to merely survive or get revenge on specific fellow cogs but not to attack the entire alienating organization of our material conditions. Some take to the convenient simulation of freedom daisy chained to the freedom of simulation in comfortable insulated isolation yet, exceptional moments (i.e. The George Floyd Rebellion, Ferguson, Missouri, the Occupy movement, Tahir Square and Arab Spring, etc.) shock like electric eels to the crotch! 

People exercise collective muscles on the streets for calorie burning concrete confrontation( Ex. Cardiovascular dancercize on damaged cop cars.) against capitalism and its monopoly of State violence protecting commodity relations, structural racism, domination of time and space, etc.

People that protested in 2020 even made sure masks, hand sanitizers, safe distancing, food, water, first aid, etc. were available in this pandemic mixed within the rampant health threat of the existing order.

6. Early humans might have danced to attract mates, as far back as 1.5 million years ago, according to Steven J. Mithen, an archaeologist at the University of Reading in the United Kingdom. In hunter gatherer tribal communities survival involved strong emotional displays to signify food, kinship, tribal warfare, play, sexual pleasure, mating, etc. Dancing most likely helped to open up mind and body to catalyze some of our gifts such as fluid perceptions of space and time, expansive sexual theatrics, collective creative problem solving, early consciousness of benefits from exercise, conviviality, consciousness that would become astronomy tied to terrestrial effects later, pleasure unseparated from necessity, etc.

6. As class society started from tribalism, then coalesced into larger more sophisticated groupings, and evolved in some ways psychologically during early agriculture, dancing transformed from unseparated communal absorption of living life to limited dance rituals which upheld the ruling class (and often their official religion)above the rest of the community. 

7. Official dances were conducted in official venues to celebrate the current rulers. The underclass held more secretive dances where the absence of official rules meant reconnecting to community beyond serving royalty and class society which created temporary autonomous zones in the process. The TAZ efforts generated movements including occultism( which included some early scientists), anti-nominian resistance to official Christianity, proto anarchist and communist movements such as the Brethren of the Free Spirit, Hussites, Adamites, early Anabaptists, heretical Sufi/Islamic tendencies, etc.

8. There is much to review historically with dance as a conscious global art form. However, the history of art needs to still be consciously criticized as imperial into capitalist cultural hijacking of the art/poetry/science of history. While some post modernists have proclaimed basically everything is “born in recuperation” (Jean Baudrillard)to help sell their brands of ideological escapism as opposed to supporting “passe” concrete self organized collective action against existing conditions, those of us who critically use Situationist, ultra leftist/libertarian( the original use of the word coined by 19th century French anti-capitalist anarchist communist Joseph Dejacque  https://en.m.wikipedia.org/wiki/Joseph_D%C3%A9jacque not the dumbed down American lassiez faire capitalist use for the electoral Libertarian Party and a family tree of right wing conservative ideology with more cultural flexibility — i.e. drugs, sex workers, hip capitalist business ventures, etc.—than other more constricted conservative branches)communist/Marxist-Humanist, Surrealist, Dadaist, anarchist, etc. theories as parts of our praxis want to deal simultaneously with now and possibilities opened up over long term collective local and global praxis.

9. Praxis is a dance with body and mind. The Western civilized cleavage of body and mind both drove on the division of manual and mental labor globally which also divided theory and practice from unified praxis. The dance of social amputation varies throughout dominant culture and subcultures but culture itself is a force capitalism uses to turn fearless vampire killers into new markets and precarious workers.

10. While dancing itself will not become a force par excellence after centuries of bloody class struggle, the relationship between dancing and revolution brings up countless ways to critically and creatively handle analyses, tactics, and strategies in the current phase of capitalism.  We need to continue encouraging dancing/playing for keeps among diverse groups of people within the proletarian/ marginalization/ alienation process that unites meters, prisons, landmines, borders, drones, pollution, disease, surveillance cameras, the economy, and ideology as our dance chaperones.

Harmful Matter

Some reading material, podcasts, and videos to help understand and intervene in too late capitalism at multiple points. Perspectives covered include the ultra left, anti-state/anti- Bolshevik communism,the Situationists, Surrealism, anarchism, etc. tendencies, history, and projects. Enjoy. Discuss. Share.

This organization printed some good articles on Afghanistan and 9-11 from a left communist perspective in their paper.   https://www.international-communist-party.org/English/TheCPart/TCP_036.htm

A critique of anarchists who have joined the far right in protests and share delusional views around the pandemic, narrow bourgeois egoism (as opposed to communist egoism/selfless selfishness as a movement  away from both the limits of bourgeois individualism and collectivist moralist mediocrity), and spreading misinformation and disinformation to the disadvantage of our proletarianized and marginalized selves.  https://libcom.org/library/anarchy-lockdown-crypto-eugenics-critical-response-some-anarchists-wales-england

A must read for fans of Giorgio Moroder, disco, post punk subversion of disco, electronic music, club/college radio/community radio/podcast DJs, retro futurism, Kosmische Musik, 70s glam and hard bubblegum rock,  “cultural studies,”(which can cover a radical curriculum or presentation sneaked in at an infamous conservative university and/or a free public discussion at an Info Shop, a cafe, a bar, or other more accessible venue), etc. wastedonarchaeology.wordpress.com/2013/07/02/roxy-munich-the-archaeology-of-disco/

An interview with Brooklyn Rail reposted plus information on the forthcoming Charles H. Kerr Publishing Co. English translation of a book by Chinese ultra left project Chuang about the pandemic and the class war in China. https://chuangcn.org/2021/09/state-of-the-plague/

A recent excerpt from Marxist-Humanist publication News and Letters on Afghanistan women’s resistance to the Taliban. https://newsandletters.org/afghan-women-pay-the-price-for-u-s-hubris/

https://itsgoingdown.org/

https://illwill.com/series/desertions

http://www.bopsecrets.org/recent/corona.htm  Yes Ken Knabb cranks out another relevant strong text.

https://www.cnn.com/2021/09/29/business/supply-chain-workers/index.html Enemy news source with some relevant coverage of the supply chain problem which could help us in our praxis with potentially rebellious workers. 

Absolute Negativity As A New Beginning 😎—Summer Sessions(Session 1) Music & Praxis

Instead of the dreaded summer school sessions to improve on what you failed at in public school(i.e. compulsory educational torture til you comply at the expense of your summer break others are enjoying), these are sessions to simultaneously build upon the strengths of 2020’s George Floyd Rebellion while exploring music inspiring liberation and revolution in theory and practice. Last year’s rebellion on the streets, despite this COVID-19 pandemic amid outdoors ventilation,  was derailed in parts by electoral politics and the Back The Blue efforts(the causes of this train wreck run deeper than those byproducts of this society as it is ultimately this capitalist society). While more public consciousness,compared to 2019 let alone 2011, has grown to question and fight systemic white supremacy, anti-blackness, the police, xenophobia, etc., there still needs to be ongoing social interrogation fused with collective concrete creative activity to uproot an unhealthy society.

Perceptual hierarchies(including time, language, media, advertising, numbers, racial categories, etc.) reinforce bureaucratic ones and vice versa. We need to pull the rug out from under our own feet. Complacency with this society simultaneously connects us in  painfully contradictory ways: others misery providing our pleasure, rich neighborhoods next to impoverished ones, reactionary conditioning with mutual aid, non profit organizations that help poor and working class people while collaborating in deceitful ways with authoritarian Federal agencies such as ICE, and so on. They feed your pride with boredom and lead you onto war.

Culture is the spectacle that makes us buy the other spectacles. How can music be more than just something you consume like cigarettes and laundry detergent? Can music be used as ways to organize ourselves instead of relying on the rules and methods of governments, non profit organizations, union bureaucracy, etc.(Ex. Music as part of the collective decision making process.)? How does music fit in with dialectical and pragmatic praxis ( i.e. conscious theory and practice in daily life to fight deeper and wider collectively to create local and global conditions/relationships beyond current limits)?

For those unfamiliar with dialectics: The dialectical method that runs from Hegel and Marx to the Situationists and other ultra left Marxist/anti-state/anti-Tankie communist tendencies as well as some post left anarchists( as opposed to Socrates and other ancient Western pre capitalist versions) is not a magic formula for churning out correct predictions; it is a tool for grappling with the dynamic processes of social change. It reminds us that social concepts are not eternal; that they contain their own contradictions, interacting with and transforming each other, even into their opposites; that what is true or progressive in one context may become false or regressive in another.

Pragmatism is used to test a theory by putting it into practice. We draw conclusions from mistakes and/or successes. Yet pragmatism can become a dogma. Pragmatism can be reduced from trenchant science into numbing submission to existing unhealthy conditions. Passivity can hijack assertive critical thought and practice when a big failure or greater amounts of failure occur in your own life (and/or big failures among others occur). Dialectics fused with pragmatism check and balance our theories and practices/praxis results.

Raya Dunyaevskaya https://en.m.wikipedia.org/wiki/Raya_Dunayevskaya came up with a dialectical response to separations of theory and practice,”absolute negativity as a new beginning,” which means: first the unity between the working class and others marginalized together fighting existing capitalist/ hyper hierarchical conditions (i.e. the first negation) and then transcending the collective abolition of current society through us creating new relationships for new  possibilities (i.e. the second negation).

The need for both negations(absolute negativity together) can be felt in music. Music, despite capitalist contradictions with art and commodification, can be used to build up and test ideas unseparated from deeply felt emotional aspects. We can start with the radical use of music as  part of praxis in daily life; we know music means more to many than political parties, miserable jobs, debts, etc. therefore, we can use music affinities as a start to encourage expanded affinities for pleasure unseparated from necessity. We need to seize the means of production but culture is also the means of capitalism’s psychological-ideological reproduction.  Now as it was with the decades before, the economic reductionism of vulgar Marxists and the moralism of some anarchists, pacifists, faith communities, etc. are obstacles to fluidly yet precisely subverting culture’s reactionary and boring aspects.

The contradictions of ourselves within culture and the goal of maximalist revolutionary praxis globally need to be synthesized through music and other immediate creativity/conviviality. Theory unified with practice needs critically picked heterodox recombinations to prevent becoming what we are fighting against. Little Richard could’ve told you that!

Screemz will review some nice or better new releases with a new feature on obscure oldies that are worth visiting which might even challenge dominant music critics and public views of People’s/secret history. These hopefully will inspire some praxis outside your comfort zone. A cushion could be used to kill you, after all😉.

First Negation Sounds

The Body https://thebody.bandcamp.com/album/ive-seen-all-i-need-to-see

Hide https://hide3.bandcamp.com/album/interior-terror

Sete Star Sept https://shop.7s7.org/album/bird

Yasuyuki Uesugi https://yasuyuki-uesugi.bandcamp.com/album/out-of-control

The Body has managed to throw curve balls at metal and noise rock mutants throughout their over two decades existence as an avant doom/sludge/metal duo composed of Chip King and Lee Buford. They long left the tar pit most of their Paleolithic peers were relaxing in while munching on qualuudes after hunting for ancient Sunn, Orange, Ampeg, and Peavey amplifier heads guarded by a more advanced Reptilian cult which would use their technology to steal and scatter such amps across Reverb and Craigslist websites. However, that is another story for another DIY comic book.

The Body’s collaborations prove they also enjoy exploring increased risks with others as well pursuing broad interests. Check out their collaborations with the Assembly of Light Choir ,which brought on some of a Jarboe era Swans feel as well as a serious horror movie (dark documentary?) soundtrack vibe, Haxan Cloak’s digital industrial dance designs, Japanese shape shifting band Vampillia, that stands out when many other Japanese bands have done and do idiosyncratic genre hopping( “black metal and noise, there’s post rock and metal, shoegaze, café pop, classical, EDM, hip hop, progressive, folk, contemporary and modern academic music, and ambient, etc.”so said Toilet Ov Hell about Vampillia https://toiletovhell.com/vampillia-in-praise-of-a-truly-unique-band/), etc.

On I Have Seen All I Need To See, The Body are doing it as a duo dual power of their own against music industry and subcultural expectations.  They return to double trouble; yet, by just increasing the distortion levels with manic EQing and recording techniques synced with the massive dark minimal with tribal flashes drums, they end up supporting scientists theorizing eventual universal collapse with dark heavy matter crushed by gravity contracting. Chip’s guitar tone emits entropy. The drumming sounds like particles colliding in University of Helsinki’s particle collider at times. Drumming with such nuance while sounding like Brontosauri traveling on the I-90 Expressway at rush hour, should bring on a science journal interview.

“Eschatological Imperative” has electronically processed vocals which are mixed low enough to sound like the last human on the planet,via a faint short wave transmission, ranting their last act of defiance at Cybermen taking over the Earth without The Doctor’s interference.

“A Pain of Knowing” has slightly mixed louder vocals still distorted but now sounding closer to an absorbing  fusion of drone metal and death industrial.

“The City Is Shelled” and “They Are Coming” bare faint traces of dub with the later coughing up blasts of discombobulated or disembodied dub step in the middle of crisis. Babylon isn’t burning this time. It feels as if the contradictions of this society are pulverizing all metropolitan areas brutally yet efficiently to dust.

“The Handle/ The Blade” kicks up the drumming to slightly complex tribal tom tom beating ; “The Path of Failure” Lee manages some subtle Bebop finesse gliding to manic free jazz finesse on cymbals with the drum set set on grand almost mid-late 60s Keith Moon destruction reinforced with black hole guitar embodying cosmic/corporate/government/psychic negation. What a conclusion to paint on the planet!

I haven’t seen any interviews with Chip and Lee about I’ve Seen All I Need To Say yet. Obviously, this could represent just a cathartic outburst over the reactionary and COVID-19 effected state of America and/or the world.

However, some of us can hear simultaneously their disgust and despair collectively shared and one of many soundtracks to accompany our rising up to create a better world on its ruins.

Metal’s doom and gloom historically came out of the 60s and 70s Vietnam War and the post WWII Cold War laced with heroin and other hard drugs. Metal’s early era drew heavily from the electric blues ; blues protest ,at least among many white blues rock and metal pioneers, was expressed existentially. It wasn’t til punk and metal fused that actual radical physical intervention in daily life was attempted more by punk and metal participants. The Body is one project out of multiple children birthed from generations of punk metal fusion.

We should absorb the critical energy from I’ve Seen All I Need To See to help our praxis. Existing conditions force us to attempt liberating ourselves further than previous generations. The irony of such a strong minimalist reductionist recording is it also inspires maximalist revolutionary praxis among those who know venting needs ventilation and circulation. The need to move among those who know deep and wide changes are needed but are held back by themselves as much as the daily grind.

Hide didn’t have much to hide when I first caught them at a Do Division Street Fest the Empty Bottle music venue and others held in the summer of 2018. While industrial music has always been confrontational, I was sort of surprised they were going over well in broad daylight among a diverse street fair crowd. Vocalist Heather Gabel was provoking scantily clad over the electronic artillery strategies of my friend Seth Sher. Imagine if Diamanda Galas and early harder Leather Strip or Valerie Solanas and Nervous Gender played a set at A Taste of Chicago. It felt like a confrontational/ sexy/ hard electronic/rocking blast of energy from a black hole as opposed to the summer sun. After they finished, I told Seth that this was his best band next to The Coughs( a great defunct Chicago noise rock band you should know about but if you don’t read this and links in the article https://m.chicagoreader.com/chicago/best-fallout-from-a-breakup/BestOf?oid=10031481). He agreed with me.

Hide released other recordings since 2016 including the Black Flame Ep of that year. Those songs were inspired by the misogynistic murder of Iranian woman Reyhana Jabbari who allegedly killed a man that tried to rape her. The EP dealt with Iranian reactionary religious zealotry’s  effects on modern Iran without opposing it with American xenophobia and Xtian fundamentalism. For more on Heather Gabel’s views and experiences, see https://www.revolvermag.com/music/hide-turning-fear-back-predators-post-industrial-siren-songs

In the hands of others, Hide would sound and act like another early industrial(late 70s/early 80s) formulaic exercise with a little post industrial sampling. As the paragraph before stated, there is more compassion mixed with concrete targets as opposed to posing and abstraction. They are definitely a Chicago band in the sense of utilizing a no holds barred approach on scum bags of all stripes. Interior Terror makes themselves clear.

While their press release says they are not as interested in songcraft on Interior Terror, they never composed catchy classics on the levels of say Stevie Wonder or Sparks. Interior Terror says memorable things while experimenting a bit more. Just listen to “Price of Life,” which sounds like the inside of a glass house demolition, “Daddy Issues,” “Fear,”and all of these songs.

The song that stands out the most is “Don’t Bow Down.” It captures the defiance of the George Floyd Rebellion found in the youth and others on the streets making it clear through fire, occupation, looting, toppling statues symbolizing centuries of racism/white supremacy, etc. We still want real change not more chump change! We contested the Super Ego of  Trump, his militant supporters, and the Trump Party( the former Republican Party til /if it implodes or it is retaken by the “centerists”) behind the bourgeois humanist mask of  privitized capitalism. I mentioned the recuperation of the few months we fought back harder than before nationally in the Summer Sessions introduction. But this track, perhaps not directly about last spring and summer, works as an anthem for being realistic and demanding the impossible!

Overall, Hide continues their incandescent invigorating industrial exercise course on Interior Terror. They guarantee highly improved results through their musical workouts while attempting dynamic tension through our hands clasping the throats of “scary monsters ,super creeps.”

Sete Star Sept has existed since 2004. The Tokyo duo of Kae on vox and bass and Kiyasu on drums has paradoxically mastered their approach to grindcore subgenre noisecore ( noise punk and/or harsh noise and/or atonal experiments combined with grindcore brutality and speed). Of course bands by the truckload still approach this subgenre with a deliberately tossed off cavalier attitude, yes bands that try to be like the infamous fucked up defunct Anal Cunt, yet Sete Star Sept are dedicated to maximum effort. You can see them online live practicing seriously when they notify fans globally.

On the aptly named Bird Sete Star Sept sound like thought fragments, from humans, perhaps insects, and other mammals rather than just variations on one or two riffs. They achieve a tightness with some fluidity like a continuation of manic free jazz in response to worsening conditions under capitalism. 

Some say a lot of their recordings sound the same. Those of us who really listen and developed an affinity for multiple Japanese noise, punk, grindcore, power violence, noise rock, genre hopping bands, etc. over the decades notice nuances as well as quantum leaps of development. Bird is worth listening non stop each time( not just because these songs clock under a minute each).

While this is no concept album, unless they say otherwise somewhere online, it feels to me as much a rewarding experience as listening to a great jazz album ,especially live recordings, through its full length or full album sides. Maybe you might even form your own concept out of these short sharp shocks to the system( your nervous system and THE SYSTEM)?

I would like to hear them collaborate with Keiji Haino, K K Null, Sigh, Cornelius, Laetitia Sandier (of Stereolab, Monade, McCarthy, and solo projects), Willie Nelson, Mavis Staples, etc. If any of you know Kae and Kiyasu, please let them know about these possible collaboration suggestions. Sete Star Sept play noisecore but they also standout.

Yasuyuki Uesugi is Out of Control but navigates the compromising capitalist contradictions like the rest of us(more on this to come).

I am a sucker for dynamic harsh noise( while there are harsh noise walls of static loops or locked anti-grooves I want more dynamics and curve balls after awhile). A lot of Japanese noise does have dynamics happening with often overloaded busy maximalist electronic blasts( see Merzbow, Masonna, and C.C.C.C.) as opposed to early British power electronics which had some spaces around and in between the static and feedback for creepier unsettling effects.

Japanese noise has roots in earlier Japanese electronic experimental music as well as to a certain degree Western free or avant garde jazz (Ex. Sun Ra’s noisiest keyboard calamity(in the best sense) https://m.youtube.com/watch?v=_shOnQCqVgU&feature=youtu.be). Also, Japanese late 60s to early 70s counterculture played a part with louder heavier rock bands that led to more experimental approaches in and outside of rock with ear bleeding high energy.

Out of Control is the latest recording from Yasuyuki Useugi who has been cranking out several releases since at least 2019. Labels include the Attenuation Circuit label which released some marvelous lesser known Japanese noise ( see https://emerge.bandcamp.com/album/tincture-of-japanoise) which I played tracks from on Reality Radio that ran on Loyola University’s WLUW from 2003 to 2016). Out of Control is simply five movements of “Out of Control.” Yet Yasuyuki has mastered the ability to add dynamics within the kinetic energy overload white noise carnival.

Oddly enough, although much Japanoise harsh noise is prickly like swarms of electronic mosquitos and bees flying from electric energy plants ready to fry up electronic devices connections in the process, I hear some extra younger peppiness. The colors are bright like an ice cream parlor glowing due to the rainbows of flavors they sell. In the future, this could be used as children’s music as much as an audio fireworks display.

Out of Control could work as a sound weapon to drive off some authorities and counter the State’s sonic cannons bass frequencies; OOC used strategically to distract the sonic cannons and their users. It is possible the British government’s sonic cannons or crowd control vehicles might’ve been inspired in part due to Throbbing Gristle’s work with deep bass frequencies somehow studied by British government agencies.

Yasuyuki lists the companies that made the effects pedals, power supply, power distributor, multi-track recorder, and cable he used. If he is receiving pay or free gear from these companies, including Death By Audio which makes some good and great idiosyncratic boutique effects boxes, he should ask automobile manufacturers, NGOs with grants, and/or junkyards to help out his crowd funding project which in turn could be used for prisoner support and bail, revolutionary projects, comrades rents, mutual aid, veterinary fees for low income people with pets, opioid addicts, etc. Any musicians open to such corporate support should use the corporations/The Enemy for our struggles whenever possible or when it turns out to be the best option at the moment.

Yasuyuki Useugi might be better known one day. He might end up like Masami Akita ,who does Merzbow, through playing museums, touring the world, collaborating with all kinds of bands outside of harsh noise, etc. I don’t know if he wants to be a “star” commodity but I enjoy this young man’s energy and dynamism. His noise could crumble walls. I don’t feel worn out and bummed out at all with Yasuyuki Useugi’s harsh noise. His noises of destruction sound like the first negation becoming the second negation (see the Summer Sessions intro paragraphs about absolute negativity as a new beginning and dialectics if you forgot). Both first and second negations meeting briefly before they synthesize into a new world of relationships and healthier richer possibilities outside of capitalist social separation.

Yasuyuki, even if you are feeling manic and ill at ease as you perform this noise, you are doing us noise nuts favors. Your noise reflects the energy of younger people who know they need to go further than where the older generations stopped trying to win the prizes to really end our crises. Good luck with your health and remember subversion is your friend.

Second Negation Sounds

KCPG Music https://kcpgmusic.bandcamp.com/album/quirky-themes

Retrogamaniac https://retrogamaniac.bandcamp.com/album/hyper-squad-galsyan

Artetera https://artetetra.bandcamp.com/album/exotic-sot-rique-vol-3

These three recordings are united in their technotopia feel which could be one result of many creative autonomous egalitarian social experiments during the passage from the collective abolition of capitalist society into new relationships local and global. Instead of tolerating the current domination of business, government, and specialists over science and technology, and in other areas such as distribution and housing, great social input,resulting from continuous collective abolishment of social separation, can determine what can still be produced/researched as is, modified, or trashed. Creative conscientious collective solutions are more likely to be realized with levelled collaborations between those that hold specialized knowledge and experience and those with other experiences and concerns who live together locally and/or through online live broadcasts for the world to watch and participate in when required. All participants will learn better from each other and more about themselves than previous submission allowed.

Granted, there will be those who will try to push for a return to the ruthlessness of centuries of invasion/colonization/ genocide/ tyranny(perhaps current opportunist reactionaries in and outside government as well as some billionaires). A global revolution will carry counter revolution among those who want the comforting nostalgia of their repression and oppression so will give their lives to redirect our progress back to bigger cages and chains.

Still, there will be many who transcend their past miserable roles and dilemmas due to the continuous radical liberation process generating greater concern for fellow humans and the interconnections of life on the planet. The ongoing abolition of social separation and commodification of life will make advances simultaneously pleasurable and necessary. When given a new start that really isn’t more rearranged previous bullshit, many people who bring us and themselves down now will try to make up for it by contributing while enjoying new possibilities they never dreamed of.

While we contemplate deep questions and solutions for achieving a world utterly other, how about some refreshments from the lobby?

KCPG Music is a Chicago faceless retro electronic music project which unintentionally makes second negation music. These sounds conjure up 80s video game music ,both arcade machine and home systems, with appropriate titles “Joystick Rag” and “Level Up.” These also sound like music for commercials (holy Residents !)as they are short,nothing longer than a little over a minute, but are fun to hear as no real corporate or government commercial messages are implanted. Your mind is free to relax and/or subvert their intent.

These “fun, quirky, positive, instrumental synth themes” make me think of people enjoying Fourierist https://en.m.wikipedia.org/wiki/Charles_Fourier combinations of pleasure and tasks or “attractive work” arranged by passionate attraction and rotated so people won’t suffer being stuck for long durations doing one thing. People would have opportunities to learn varieties of interesting, inspiring, and useful things through other tasks and people.

“Joystick Rag”  feels like music for a maternity ward (a reference to Raymond Scott’s “Soothing Sounds For Baby” comes to mind)  complete with an automated baby washing station but better than The Three Stooges automated dog wash https://youtu.be/p2waiMgtMNc. While we are at the hospital, “Tappin’ It” and “Level Up” sound like mood music for sex breaks in polyamorous polysexual conjugal rooms hospital workers could have after operations and long hours put in ( of course longer versions would have to be composed).

“Sails Up” sounds like it could fit in with pre teens/teenagers learning how to create innovative yet fun architecture with prefabricated systems assisted by those with architectural and construction experience. “Winging It” starts off like a tribute to fallen comrades but then turns into a dance party (almost like an Irish wake or New Orleans funeral jubilee)to celebrate life as well as the deceased.  We will be doing both.

The KCGP Music project on Quirky Sounds makes rewarding short ludic with sentimental moments instrumental electronic music that plays to late capitalist nostalgia. However, I feel these are just as ripe for “nostalgia for an age yet to come.” Positive music for the pleasure zones of second negativity.

Retrogamaniac from Italy obviously plays the retro video game music game on Hyper-Squad Galsyan but with a little more seriousness due to a space opera theme. An imaginary game with Japanese characters with a good guy and a “misanthropic psychopath with a foolish worship for chaos” (sounds like some anarchist nihilists and nihilist communists)bad guy. The good guy and his fighters have to avenge his planet and stop the bad guy from…ho hum.

Instead, I see scenarios of mostly conflict resolution, restorative justice, community defense, and even violence that is much more manageable than what we have now.

Retrogamaniac rocks out more than KCPG which befits a space opera with spaceship dog fights. “Stage 1 Theme” sounds like a community gym self defense training session similar to Chicago’s free trans, queer, and cis women friendly Haymaker Gym. “Stage 3 Theme” sounds like an entire community together fighting fascists who are attempting Road Warrior type scare tactics.

The “Bosses Theme”fits the first negation scenario of chasing the bosses out of town ,even reviving the tar and feathers treatment, but also a second negation rejection of self ordained new bosses trying to revive old world reaction .

I like the energy, the catchiness, and the enthusiastic drive Retrogamaniac pumps out. I could see a fusion of blackened thrash and mathcore attempted with this music as well( now that would be an out of this world game). Let’s hope Retrogamaniac explores some of the territories explored by chip thrash, Nitendocore, cybergrind, etc. subgenres in Matrix space. His compositional skills plus those subgenres manic deviance, intensity, and humor will potentially help us test theoretical physics as a part of human community theory as opposed to helping corporate and State strategies against us. In a space for encounters everyone can hear Screemz of delight!

Artetera might already inhabit a parallel universe where second negation adventure and whimsy is as common as the daily grind is in ours. Exotic Estorique is not a video game soundtrack. Instead, this is a travelogue of different worlds collaged together from electronic junk samples floating around our capitalist globe. I’ll let Artetera talk: “Exotic ésotérique Vol.3 is the third chapter of explorations in the lands of the melting people as well as of their unfurling sonic languages and future pidgins: a lysergic documentarian cartography of the e-ukiyo: the internet’s floating world. The beloved Italian nefarious underground corporation presents once again its skewed aural manifesto marking the new unfolded boundaries and exotic topologies freshly charted by means of fictional superimpositions between different real and unreal auditory worlds.”

As I listen and type, I can hear some connections to again The Residents (especially their Eskimo and The Mole Trilogy records), African Headcharge from their Drastic Season and Environmental Studies albums, Penguin Cafe Orchestra, Aksak Maboul, Brian Eno, Dada(the German art movement not the bland alternative band), early Negativland, etc. Artetera certainly fits in with those avant gardners. Their distinct imaginary worlds soundtracks/ electronic exotica come off feeling strangely utopian. This is a Surrealist safari through an extranational globe painted black with drips of dayglo electric glow in the dark colored paint.

Tracks such as Giorgio Dursi’s –  “Cubisferulo Madrigale,” Star Searchers-“Orca Daemons,” and Timelash – “Amrita Hive Forager” manage to be playful yet dark and provocative enough to engulf you boa constrictor style. Other tracks like Ludwig Berger – “Kin” and Señor Service – “Levanidovo” radiate the charm of liberated children’s cartoon characters finally tasting ganja with mushrooms while trying to engage in wordplay and magic tricks they learned from exotic birds that imitate CB Radio frequencies.

Exotic Estorique Vol.3 is the embodiment of where tourism ends and adventures in generalized self management based on collective self realization begin. Although they use descriptions such as digital folk, fourth world music, fifth world music, psychedelic, tropical, hip hop, exotica, etc. to shine their modus operandi, I can guarantee this stands out from much music going on now. So far one of 2021’s best releases to lose yourself in. If you want more than a postcard from this psycho-topographical map of kicks and tricks which could possibly happen once perceptual hierarchies are dealt with collectively,then listen and think about how we could try to surpass mere digital recordings  for creative concrete social interventions in other areas of daily life. 

Trialectical Mutations

Hugo Ball https://righteous45.bandcamp.com/album/hugo-ball

Founding Dadaist Hugo Ball https://en.m.wikipedia.org/wiki/Hugo_Ball  along with other comrades responded not only to the tragic irrational rationalism of World War I but also the general fucked up conditioning capitalist society forces on us from childhood onwards. Dada as an art movement knew that we can’t win by playing along with their zero sum games.

Dada had to use asymmetrical tactics with their cultural assault. Sound sends immediate effects on us and other biosphere populations. Poetry was constricted by the official language of the Master. Ball knew what had to be done in 1916. The birth of sound poetry as a tactic along with Dada as a movement then still hss global historical repercussions in this current moment.

Nonsense became a weapon with its meaningless being the meaning in sound and vision. From there, repressed energy was rechanneled into manic liberatory blasts at capitalism, the State, official culture, nationalism, police, roles, bourgeois customs, genocide, etc. Ball was interested in Mikhail Bakunin https://en.m.wikipedia.org/wiki/Mikhail_Bakunin while other Dadaists were generally sympathetic to communism from Marxists and anarchists.

Hugo Ball’s and other Dadaists sound poems have been recorded onto vinyl, CD, and tape formats. The Talking Heads set his poem “I Zimbra” to a gripping post punk funk workout on Fear of Music which led to the full blown Afro funk/post punk funk fusion classic Remain In Light.

The spirit of Dada brought me across a 7″ 45 version of six sound poems with Ball and other Dadaists including his lover Emmy Hennings on Bandcamp! Who would have the great taste to put this on a format radio and club DJs could further enhance with their own creativity(i.e. scratching , mixing into musical backing, playing with the speed, etc.)? Righteous 45 from Westbury, England that’s who.

I will thank this label for having stellar tastes covering early rock and roll and R&B, musical and/or non musical oddities from the 50s and 70s mainly. I will devote a write up about Righteous 45 in an upcoming Screemz edition.

After hearing these poems, I feel they could be considered simultaneously first and second negation experiments. First because the Dadaists were attacking their era’s capitalist perceptual hierarchies which also reinforced WWI; Second these sounds can also be consciously adapted to form a new language to varied degrees which would fit in to new relationships beyond what dominates now.

The fluid playfulness the Dadaists came up with also expressed deep anger, concern, fear, empathy, Eros, humor, frustration, etc. Communication of sound poems is also the poetry of communication. Communication being activity between two or more people (or bugs, bats, cats, etc.)not merely  conversation. Poetry also meaning the realization of radical theory.

So Hugo Ball and company on these six recordings symbolize the two negations which could also merge into a third negation or intermediate stage (Ex. 1.5 negation). One thing that makes Hegelian Marxist dialectics a subversive tool is it is not limited to one or two results. Contradictions can lead to multiple transformations over time. I’m sure some of you want to talk about Giles Deleuze and Felix Guatarri. Maybe in another Summer Session but despite my eccentric eclecticism I don’t separate praxis to neither be chained to academic insulation nor reactivism controlled by left capitalist activist organizations. We have multiple ways to intervene in daily life. You need to both dance to Hugo Ball and think to Sete Star Sept. 

C.C.C.C.(Curios Circumventing Cult Closure): HopneyCosmic Rockout 1977 https://youtu.be/XJ1W_tSzXE0

Welcome to the first installment of C.C.C.C. ! This column is dedicated to old obscurities that have been dug up by other album archeologists with passions for oddball releases forgotten or rejected by other buzzards in the vinyl/CD food chain. These albums might be rightly rejected for some creative and/or technical flaws yet sometimes the flaws might be the best qualities these releases offered. They all capture aspects of their era when released. Some even innovated to degrees more noticeable years later. It is all about visceral gratification and contradicting and challenging official history which ultimately constricts us from making our own collective history.

I came across Hopney’s Cosmic Rockout on You Tube. This was posted by a guy who somehow considered this 1977 eclectic and a bit eccentric album to be Southern Rock mixed with psychedelic blues rock by a NYC guy Patrick Hearns who used the psuedonym Hopney. Cosmic Rockout recorded it in Miami, FLA. Patrick was in an obscure(what did you expect? Blue Oyster Cult?)band The Sapians. This was produced by Mike Pinera who previously produced Blues Image and Iron Butterfly.

This album doesn’t sound much like Southern bands I actually like such as Black Oak Arkansas ( with “Jewish hillbilly” “Big Daddy” James Mangrum and Ruby Starr both deceased) Blackfoot(the rare indigenous Southern Rock band), ZZ Top, etc. I also didn’t hear much of say The Allman Brothers, Marshall Tucker Band, The Outlaws ( I can see some of you gagging a maggot), etc.

What I heard was more NYC in 1977. I felt a slightly off kilter blues rock/faint 70s glam and power pop/ funk mix propelling some good songs among ok ones. The vocals by Hopney are another story. Imagine Richard Hell, Nikki Sudden https://en.m.wikipedia.org/wiki/Nikki_Sudden, Marc Bolan, and a more detached Ray Davies stuffed into a pipe. Hopney smokes and exhales them vocally while stroking and coaxing his guitar.

Surprisingly, his batting average on Cosmic Rockout sends more than one or two worthwhile songs out of Shea Stadium via Miami( he was testing a quantum physics theory while recording too). “Another Gaudy Night” sort of sounds like Richard Hell and the Voidoids “I’m Your Man” meets the country side of 70s British pub rock. “Hey Girl” feels like late T.Rex funky numbers off Dandy In The Underworld; the funk grows stronger with a sweet synth squiggle spurting out for a few seconds on “Love Trap.”

“No Particular Home”tacks on a moment of lite reggae towards the end but starts off almost like The Talking Heads “Artists Only” with Dave Edmunds backing his vocals. “Is There A Doctor In The House” sounds almost cartoonish. “I Can’t Stop Now” reminds me of Big Star with more of a blues feel with Lou Reed singing.

The drawbacks from Hopney include some half assed songwriting and what feels at times like the producer or even some of the session players holding back the band. Since they had to push many albums to break even, the playing on the album should’ve been as intensified as if they couldn’t leave the studio til their takes were not ok but ASTOUNDING! They needed Floridian pro wrestlers in the studio guarding the doors. Also, the album cover art didn’t help. I know friends who came up with better record cover designs with less of a budget or no budget(i.e. recycling album or 7″ sleeves from other recordings).

Cosmic Rockout is a night album for me. I came across it in the middle of the night. I am writing about it past 4AM but time as we know it is illusionary, eh? These songs gain some power in the wee hours. This might’ve fared better if it was pushed harder on night time FM radio station shifts. He has two other albums I found out (Perils of Love  and Ends and Means) but I  haven’t run across them online yet. You probably wouldn’t want to spend hundreds of dollars collectors are asking for Cosmic Rockout.

Although he wanted commercial success, Hopney inhabited a zone where he was neither as hard /nor wild/nor clever enough to be accepted in the first wave of NY punk and/or second wave of power pop. He also didn’t appeal to AM top 40 stations especially if there wasn’t enough payola involved.

In the coming total revolution, I think there will still be some who don’t quite fit in but who also don’t want to reside in worse past conditions. For now, Hopney is proof that many people possess worthwhile contributions for larger circles but it will be both a rewarding and challenging effort trying to please or engage greater numbers of people outside your smaller circle.  Only conscious collective reorganization of life can move past many current dilemmas/absurdities including embracing demographics at the expense of our progress in abolishing social separation.

Harmful Matter (Some reading material podcasts, and videos to help understand and intervene in too late capitalism at multiple points. Perspectives cover mixed ultra left, anti-state communism, Situationists, Surrealism, anarchism, etc. tendencies and projects. Enjoy. Discuss. Share.)

https://illwill.com/demolish-right-wing-culture

http://isr.press/Theses_on_the_Council_Concept/index.html

https://www.inc.com/jason-aten/amazons-controversial-hire-to-fire-practice-reveals-a-brutal-truth-about-management.html

https://pleasekillme.com/zone-in-between1/

https://shit-fi.com/

https://itsgoingdown.org/canadian-tire-fire-a-new-weekly-roundup-of-anarchist-news-from-so-called-canada/

Combat Veterans Immune To Post Truth Decay

Floyd Red Crow Westerman https://floydredcrow.bandcamp.com/album/custer-died-for-your-sins

David Rovics https://davidrovics.bandcamp.com/album/say-their-names

While multi-faceted singer, actor, and activist from the Sisseton-Wapheton Sioux Tribe of South Dakota Floyd Red Crow Westerman died in 2007 https://en.m.wikipedia.org/wiki/Floyd_Westerman ,his recordings still pack much incisive and inspiring power beyond the grave. Earlier in April, a two CD set of Custer Died For Your Sins (a 1991 CD version of a 1982 re-recording of his 1969 debut LP also with this title ) and 1982 LP The Land is Your Mother on Full Circle Productions was offered on Bandcamp. Unfortunately, outside of his appearances in movies such as Dances With Wolves and tv shows including the The X-Files, his music is almost forgotten.

He didn’t aim to be a cult hero like Jandek https://en.m.wikipedia.org/wiki/Jandek or George Brigman https://www.scaruffi.com/vol3/brigman.html with hermetic production and distribution overlaps with occult bookstores. Floyd collaborated with Buffy Sainte-Marrie, Kris Kristofferson, Harry Belafonte, Willie Nelson, Sting (!), etc. However, the state of current commercial country radio and other media reflects some of the historic structural American style racism he sang about in 1969 onwards.

The music industry reflects all industry. “Woke Capitalism” is a successful PR strategy throughout the corporate citadels and online platforms. The perimeters of capitalist psuedo equality groom current spectacular stars and remind them their celebrity is backed with contractual agreements. Mickey Guyton gets to sing a heartfelt song based on daily racism but she neither attempts uprooting anti-blackness nor calls for race and class unity against the bosses and bureaucrats that play us against each other. Instead, we must “love” each other including the cops just doing their jobs killing Black and Brown youth and adults. Bourgeois moralism wins again and everybody loses as it is still a force used in all contemporary protection rackets.

In addition to the authorities and industry moving the scene of the crime to our “suspect” minds for daring to want more egalitarian concessions from capitalism which it won’t deliver and/or delivered as worse compromises than expected, Mickey and other younger Black country artists also become wrapped up in controversies with “woke”  white peers https://www.savingcountrymusic.com/explanation-owed-on-why-highwomen-disinvited-mickey-guyton/ while being played against other fellow Black singers (ex Lil Nas X vs. Mickey). 

At the same time, the silence grows louder with commercial radio erasure of indigenous country and recommended historic Black country ( by websites like this https://www.insidehook.com/article/music/a-beginners-guide-to-black-country-music)Black country singers.

Floyd fired off weary and confrontational yet soulful vocals encased in song projectiles shot at European colonization, assimilation, social separation, etc. I’ll let some of his lyrics do the talking: “Custer Died For Your Sins”(“For the tribes you terminated /for the myth you keep alive/for the land you confiscated /for our freedom you deprived”), “Here Comes The Anthros” (one of the few country songs which deals wittily with Eurocentric/white anthropologists that care more about Native Americans ancient history than their present conditions) ; his song “Wounded Knee” (with Buffy Sainte-Marrie on backing vocals and crickets collaborating on outdoors ambient noise), and “The Land Is Your Mother” sounding almost like Leonard Cohen with a bilingual male and female choir, etc.  Contemporary country radio spares little room for cutting lyrics which also call for solidarity minus white washing indigenous culture in the process. Instead of scanning media , hopefully you will be able to hear more of the spirit of Floyd’s music in younger peoples music at protests and interventions that supercede DAPL( your President so far isn’t dealing with other pipelines equally as bad and maybe some even worse ). Check out these CDs as well.

David Rovics https://en.m.wikipedia.org/wiki/David_Rovics is another singer-song writer/musician that practices what he sings about. As a fellow anti-capitalist and anti-authoritarian, he has freely distributed his music since the 90s while speaking out against websites and programs such as iTunes charging for his recordings. Rovics often plays sets at protests and demonstrations as well as at DIY spaces, record stores, and venues owned by New Left vets such as the now defunct Heartland Cafe in Chicago.

Say Their Names came out in October. Another more current release with bass and drums , Rebel Songs, was posted on Bandcamp in March. However, his solo recordings can be more powerful at times. As a topical folk performer, he is always updating songs to match current events. “Say Their Names” mentions many of the Black brothers and sisters cut down by the Thin Blue Line which this recording front graphic also lists. David sounds real weary after decades of chronicling the murders and oppression capitalism and the State serve up daily. Despite it all, he still is reinvigorated time after time(this of course is the perceptual battle between the reductionist Statist historic file of a citizen/victim VS. a more multi-dimensional rememberance and celebration of their strengths, contributions, and influences in social circles).

Official history downplays, modifies, and even erases memories of collective struggles while spectacular garbage on celebrities, consumer fads, State propaganda, loyal reactionary opposition disinformation floods our senses when awake.

You could say if you heard one protest folk singer you heard them all. Woody Guthrie, Leadbelly, Odetta, etc. as well as oral history carried down for centuries globally before this land became the real estate of European bourgeois / petit bourgeoisie/ pragmatic bigots. However, the solo folk singer still remains vital for capturing the moment as an alternative to the dominant electronic overload of corporate news since they catalyze communication (i.e. two or more people acting together not merely conversation) minus some of the mediation of money, high tech, cultural capital(sure Alain Badiou https://en.m.wikipedia.org/wiki/Alain_Badiou is problematic but a lot of people outside academia are familiar with social status and power contingent on education, intellect, style of speech, dress, etc. and you can build your own revolutionary self theory https://theanarchistlibrary.org/library/larry-law-revolutionary-self-theory#:~:text=Self%2Dtheory%20is%20a%20theory,that%20alienation%3A%20thinking%20for%20 yourself with useful tools from celebrated fools.

Communication is intertwined with community. One can come before the other. Let’s leave the chicken and egg quandary behind as we try to unmake official history with our collective seizure of time and space from the grips of rotten protection rackets and psycho-ideolgical toxicity. David Rovics with Say Their Names is one of multiple anti-tollbooth attendants reminding us in person collective connectivity generates healthier options and even one voice can trigger an avalanche of amazing immediate liberatory acts.