continuous corruption & criminality! continuous crisis! continuous calamity! continuous conspiracy! “DO NOT UNDERESTIMATE THE DEPRAVITY OF YOUR OPPRESSOR” – 5 track golden cassette, hand numbered to x111 copies on Erst-while Antrum.
crimes, atrocities & transgressions … that will never be forgotten, minimized or diverted … & only bloat, entrench & inflame in their denotation of guilt, wickedness & obscenity.. pouring out of the wounds depths.
Viral outbreak. No delay in delivery but a procrast on pronouncement… its out mzerkfzurx! a connoisseur double dizk omnium-gatherum of the most excruciating peregrine rogue rapid reactionary revanchist riotous recalcitrance. The boat is not pushed, it is propelled, profoundly, to the point of pure paroxysm & preternatural permutation. Deluxe double disc, detailed on-bodies, ultra high quality specialised-card dual-wallet/gatefold, massive 12 panel plush fold-out with extravagant montage (Non-Negotiable-Noteriety) & giant photographic compositions rendered in scalding detail. All execrations, exasperations & ostentations expelled throughout 2018 & cherry picked from multiple sessions between three varying units (Concussion Projectile Trio, Condign, Baku/Asheber duo) comprising seven musicians (886VG, Mad Hwa, Luke Stewart, Reg Bloor, Chris Pitsiokos & Niles Asheber). Hand numbered to x500 copies. Trebuchet’d by the fugitive firebrand cataclysm Ethnicity Against the Error records. Completely, utterly & consummately independent & insubordinate from any & all industry/scene/machine/establishment intervention & adulteration – apex autonomy of superior strength, caliber & integrity.
Untethered record shops, bondage free blogs & those not umbilicaled to the rectal refinery of prescribed shit-screened commodity capture & carefully-controlled manufactured malmerit & malfeased manipulation monopoly mendacity – direct to source – email@example.com … I won’t be bunging bribes to the Liar magazine via the cover of “paid advertising” to secure surface exposure in this insanely corrupt sump of fraudulent disinformation deluge. Fuck their corruption.
Mark Resemble! Did yu miss th craziest motherfucker of th lot? Unfortunately, ditching th downgraded doppelgänger became a must. Oh we wuz all enthusiasm – th day of th rehearsal was th release/arrival of my new dbl album, more frenzy & perspiration intercepting x1000 copy dumps from residential proxies to drag back to th crypt, then loading th surgeons wrack for’ for, for’ th prodrome with th incoming consociation. All tingles & titubation at this stage, crash th op a lirrul’ late with nuts in knots, ensconce & roll out th ouja. Hey! Whats up with this fat wilting fuck Douche Moye? Like, major prickery? Somebodies got urchins in th rectum, what giveth? I met this washed-out-crease twice over th last two years, & he was initially absolutely cool, jovial even, until that is, we exchanged CD’s, then th guy just clammed up like a nuns node…aw shit! Not another case phenomena of terrified, resentful detractordom? A dawning deterioration started to uncoil its pulsing prolapse into what had been conceptually a very exciting scenario which I had been otherwise looking forward to… I watched in horror as it became apparent that th man with half th creative authority over th unfolding session demonstrated th worst example of decrepitude & terminal deflation I have ever witnessed in my life. Douche Moye is washed-over, belly-up & arse out – DEAD-IN-THE-FUCKIN-WATER!!! I ain’t never seen a greater paragon of how to age disgracefully. Its a crying’ shame, cos’ back in th day, Douche was a fine drummer, cutting planks wi’ th swiftness on some excellent numbers with & outside of AEOC. Art Ensemble stumbled into some dodgy territory in the 80’s for a moment, producing some poor quality records on Japanese label DIW that were a mockery of their former prestige. A lot of great musicians from th 60’s & 70’s succumbed to this hazard, with many never recovering from the diminishment & its subsequent entropy. Douche is one such casualty, got lost to this dreadful era & never recovered, he never shook th shitness & it clings to him in a solidified form to this very day like a wreath of fecal. Aside his polar opposite Roscoe, there were some very good musicians in session. Douche, by miles the most inferior musician present, was clearly petrified, but still retained executive privilege over his compositions (half th set or whatever). His insecurity stank & he acted like an anus to somehow counteract his screaming inadequacy. It was surreal – th weakest link ordering around his superiors. Even worse, his compositions were so rectal it beggared belief. Th kind of shit yu would expect from a pub band in th Australian outback, mf I wish I were joking! Th clown also instructed me specifically to play them as shit as possible, so shit songs played at optimal shitness! Unimaginably it got even worse, – Douche started pulling out “artificial African” material….th shit was so fucking grave, it bordered on racial stereotyping, I was actually shocked. Elton John’s ‘Lion King’ had more authenticity, it was absolutely appalling. I was snatching looks with Roscoe like, “bro! Are yu actually fucking serious?”. It was an extraordinary situation. I started to just observe from a sociological perspective – this absolutely ridiculous spectacle, insane, nonsensical, idiotic … it was fascinating to witness, like a pantomime. I took another African musician along to th drop (not th Douche dogshit ersatz falsified African version), he wanted nothing to do with that weak shit despite being persistently pressed by Douche to join tomorrows show at th Barbican. Later on in th event, when Roscoe resumed command, we did finally actually get to disembogue some shit worth th effort, th only saving grace to the flatliner. It was a necessary deturge after hours of conformist constipation & confinement. I went home with my furrows frothing at th whole multivalent madness & 3d-contradiction with every intention to follow through on th following days performance despite th massive down-scaling & deduction Douche Disney had shat over th potential furor. But in th early hours of th morning th apprehension & ruminations started…i noticed how I had literally zero enthusiasm about th impending droop, it was a chore to dust & dismiss with an endurance mentality. Also, I don’t want to be caught dead playing credibility corroding cack, & some of that shit was career-destroyingly cringesom, if not potentially ethnically insulting. Its a high profile show & I don’t need no clips of me online piddling ponce to a bunch of lemmings. & there it was, – no way could I go through with this fuckery! I had to withdraw on grounds of quality & I had to be candid about it. This revelatory certitude was accompanied by a great rush of relief. It wasn’t just th music, my discomfort about th venue was an additional tribulation. 25 quid a ticket? No one from th barrio then…playing to yuppies as part of a tired relic that still has brand-currency as part of kowtowing in th ashes of former glory from an over milked decade being rebranded for a few more units of showbiz – nah niggu, yu can go fuck yurselves! I’d sooner rather burn down th Barbican than play it, yer kno wo’ iym sayin’??? oh brother Mitchell? – He totally understood a young radicals actions. not in this for th cotton wool fukur. So not for th first time, I holstered th blade of integrity, zipped th smock & disappeared into tha rain! Th current machine hype around Art Ensemble’s exhumation should not detract that this group did some spectacular work in th 60’s & 70’s that’s been very dear to me long before th contemporary resuscitation, but I can’t endorse this spent force armchair shit, & yu kno it was really about those 5 guys, not a whole crew of coat-tail clingers parachuted into another mf’s pageant decades down th line. There is nothing revolutionary here any more. To all th youth out there, never do it for th money – that makes yu a prostitute & a coward with a worn ring – always take th moral option & fuck all sell outs!
Ragwort. Of all th places – & why not??? Bows & sparrows. Th ships prow, th bushman’s meander. Kash Killion of th Sun Ra Arkestra, Niles Asheber & Blakuhatsu intuition & sedition delve at random. Rain on th savanna.
Sorry cud-splay…I got my dates mixed up & had Kyrgyz crashing into Korea causing quite tha collision castratus el catastrophique? No! No! not those dates – th Art Ensemble eruption, its actually th 23rd. but by all means come on th 26th, & demand a rematch.
Iatric. Lounging on lotus at th monastery. some petals gliding on th gentle current type transfuse. We back in broadleaf & the forest is expanding ^0^
should be out next week. if not, certainly th following. th most unprecedented, consummate shit yu will hear in yur fucking lyf kiddd –
seven fugitives, six separate sessions, eleven tracks, two dizx, over two hours worth of intense combat & ultra high-quality connoisseur art/design/packaging. more once i dust th breynz off my dumb-bells.
Performing with the Art Ensemble of Chicago this month at th Barbican in London. Been a while since I got down in a large AACM scenario. Looking forward to it.
At last. after a month’s sedulous editing, the new NABEG LP – Economic Gain – Ecological Ruin has escaped its containment quarters. Derived from a live Animal Machine-Baku cross-contamination conflux in the fall of 2018, multiple excess outrage & amok apoplexy exclusives where antagonized from proscribed, full-contact, harsh maulers 886VG (Chile), Napalmed (Czech) & Animal Machine. Consolidating this cacophony was old, drop-dead-harsh, decommissioned explosive ordinance from veteran French frondeur Mourmansk150. Into this smolder strides the displaced Ukrainian noise guitarist Ilja Bilga. Lastly comes the political youth tumult pouring out of Hong Kong. The fervency, courage & distemper of the HK youth & their accompanying adult counterpart that have been raging has been sourced, suctioned & steeped throughout this recording from footage & audio supplied & extracted from ground zero. The running battles, the tear gas, the water cannons, the molotovs, the arrests, the bedlam & the full perfervid discord of a city/nation in direct, street based confrontation with opposing government forces. I knew this motherfucker was going to sink-the-structure, but the resulting remonstration & recusancy has completely exceeded my estimates. Over an hours’ worth of mind-splay encompassing ten tracks in total. No one & nothing comes even close.
Released on Lo-fi or Die Records on a silver cassette with individual bronze spray-paint daub, gold case, four panel sleeve, double-sided pull-out poster & extras, with art by Non-Negotiable-Notoriety, limited to 312 hand-numbered editions. Probably only available from the artists themselves as everybody else is selling their anus to some giant Silicon Valley corporate conquistador or Palantir assigned Mossad funded industry-interlope-Inc. inconvenience = independence.