Español/Spanish translation is also available.
"I was always drumming on things. Surfaces, body parts, dogs, cutlery, glossal percussion & dumb kid mouth beats ... anything I was given or could grab. First drum set at six."
Rabid dog behind the kit, faceless explosive warrior, ADHD blast freak. Blending a really particular self taught approach to drums and percusion, working and bursting between free jazz and noise/noisecore and experimental territories. Enthusiast outlaw with a DIY ethos and guerrilla aproach to most of his self-releases.
KIKANJU BAKU has taken part in and with many different bands and musical genres: NABEG, BOLLOCK SWINE, REFORESTER, KUTTEKOP, KIKANJU BAKU & CITIZENS OF NOWHERE... or as an intermitent collaborator with ROSCOE MITCHELL (Art Ensemble of Chicago, AACM) for more than a decade. The list is too long to narrow it down or define it.
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| "w’ tym i’ is there mhaaan???" - All pics by Kikanju Baku |
BANDS, LABELS, NEW MUSICAL GENRES AND HORIZONS? A NOT-SO-BRIEF INFOXICATION ON KIKANJU BAKU’S ACTIVITIES
> You started on 1999 and now run different labels: Lofi Or Die Records, Erstwhile Antrum, Ethnicity Against the Error, Tetsubishi Gob-Stopper, Basayev Inductions…
Also, what happened with the Gore Beyond Necropsy release that Discogs (if the information is true) says it’s a bootleg?
Yes! It was a bootleg cdr of sold out GBN 7”s, but even more so – it was a bootleg - of a bootleg!
There was a label called Tomas Canceras Recs, ostensibly running out of Bolivia, that did CDR compilations of out of print grind/noisecore 7” material. A GBN title they issued christened Noisexcretass Asshole had come into our possession via trading with the drummer from New York Against the Belzabu in Brazil, who I think was actually running the label incognito?
This was somewhere around 1998-2000, so recall that there is no Discogs, e-bay, Bandcamp, Spottify, Big Cartel, Facebook, Myspace, Instagram or any kind of streaming service etcetera.
I would have been about 11-13 at the time & had been getting into the fractured international noisegrind/noisecore subculture by buying & trading using email & postal mail.
It was full of heterodox customs like split releases, vinyl (considered a defunct & discontinued medium at the time), CDRs, home dubbed cassettes & the remnants of “tape trading” which was just becoming obsolescent. I assumed that amalgam tape/cdr editions of sold out/unavailable releases was just another accepted facet of the noisecore/grindcore sub-current & approved etiquette.
I had also tried to contact GBN a few times, including sending some tape material & letters direct, but I never received any kind of response.
My interface expertise & technical proficiency was bilge at the time, so we just literally rearranged the tracks from the Bolivian bootleg in some burn shareware …. a fucking bootleg of a bootleg!!!
we did of course lavish it with way better art, conditioned to the mien & style of the GBN releases, which we all had original, paid-for copies of cos’ we were avid fans.
The mf was a bitch to cut-out & glue together, & the CD-surface had a sticker strip that we lifted from those supplied in blank-tapes that then had an individual colour logo hand-drawn for each disc with uni-balls. The funny thing is that it became quite a cult title in itself …. we only did about x130 or summit’, & I regret that I don’t even have a personal copy now.
We wrote to Akinobu again sometime afterwards with paragon adolescent naivety saying that we should send over copies & what not, but once again, zero reply from that ol’ some’ bitch.
It is definitely worth declaring that we distributed, bought & spread a lot of GBN shit throughout Europe & the US back in the day. A lot! Much of there stuff would not get over here & into distros because some labels that put out GBN releases did not trade. We took no issue with having to buy them wholesale, stuffing converted currency into the back of CD trays & flipping it airmail, so we were often the sole distributor this side for their vinyl releases. We got a lot of GBN titles disseminated over here & elsewhere.
The climate of interest around Grind/Noise at the time in the UK was pathetic, with almost no awareness or traction for anything like noisegrind, or related crazy shit, or buying from small independent distros. I think GBN wise (beside the Relapse release) it was just really us & the guy from Sterilized Decay who was a very dedicated individual & early bird (we were all preceded by Psycho Mania o’er in azami land)
A fucking bootleg of a bootleg yo!
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> When it comes to bands and projects: Bollock Swine, Citizens of Nowhere, Foju Frequency, Kuttepop, Law Facilities Crime, Melanin Momentum, Menstrum Mantics, Nabeg, Ray Man Trio… I know that there may be more, but would you mind telling us some differences or what they have in common? You are always coming up with stuff… :)
Is there any particular reason -when it comes to releasing- or difference between them?
Core directive - uncharted uninhibited utmost - an obsession, perhaps even a crusade, with “intensification”, using the most extreme/volatile substances available - to create a standard, culture, discipline, “genres” & capacity - to push it ever, ever further into ultra-absurdities.
Sonically speaking - it needed to be as extreme as possible … further than anything else, in the literalist of empirical senses.
One of the central features of the laboratory is Gunk & No-Skool-Noyzcore - Noisecore/Noisegrind that goes far beyond the standard, by people that practice/train & take it seriously, & are always trying to invent & induce an intensification or expansion of extremes, damage, severity, ridiculousness, hysterics … not looking backwards or trying to reprograph.
sui generis.
Almost nobody does that, as noisecore is largely treated & practised as a kind of rhetorical statement/prank, or a “fuck the world” fashion accessory where being shit, lacking ability & mocking effort is encouraged, which is also an ideal backup justification for playing weak-as-fuck material without vigour or commitment (“it’s not supposed to sound good!”/”we’re not trying!”).
There needed to be a way to distinguish & declare distance, & demarcate a contrasting intention & condition, because noisecore/noisegrind just wasn’t cutting it anymore.
Hard scrambling ... I am all over the place.
It is too eclectic & garbled, especially once you engage with EA which requires a fuckin’ essay or some such.
But an overly-simplified adumbration aggregate -
LOD, TGS & BI are sorta’ essentially the same contiguum – weapons grade, full contact No-Skool-Noyzcore, Scour Histrionics, Hard-Vacuum, Blastcore, Gunk, Blurcore, Flensecore & ultra-peak, primary or paragon harsh noise mangle. Gratecore, Noisegrind overly outrageous variations concerning Speedcore, Glitch, Breakcore - or their most destructive components or spillover - & other anomalies & “suffocatingly original” rare strains in - “severe, grievous, obstreperous, mordant” - malfunctions & mutations in surrealist futurism & supra-deformities.
Ethnicity Against the Error is illicitly radical Avant & Free Jazz - arcane, ethno, curio, peregrinism & well planned raids into terra incognita.
> As for musical “genres”, it seems that you’ve coined some of them. Is it cheap talk or is there some meaning or definition behind them?
Yuh! - These are certified distinctions & divaricative skewings, or otherwise unheard of transmogrifications & evolutionary extension on existing formulas. & some of them are not just radical elaborations but entire new genres, definitely.
Flensecore (alternately called Apoplexy) came out of the NABEG operations – a new descriptive was required to capture the turbulence & severity of such extreme - & successful – experimentation that had clearly manifested as an independent genre.
NABEG strictly avoids any of the classic grind/blast/extreme metal/standard-noisecore drum themes & patterns or inter alia conventions – they are all prohibited & an entirely new language/approach was executed.
Phosphorous Funk – this was a radical reinvention of hard funk – most notably through some very tricky & inventive time signatures, displaced beats, hyper ghost-notation & contrapuntal application etc. it also bore the ingredient/influence of the post hip-hop era, meaning that the sampled results/aesthetics that emerged from rap/hop-hop (early 90s especially) were a schema we liked to work with & elongate.
We called it “Phosphorus” cos’ the idea was it would funk so fuckin’ hard it would burn a mothafuckur!
Glyph-Hop was instrumental interpretations of the aforementioned sample-based rap beats/production taken to further extravagance on live instruments. The “glyph” being something you had to figure-out or that was very complex or hyper-quirky, but still sloshed.
Gratecore – this was an extreme innovation within Grindcore (the real shit! not the Metalic substandard). You can hear a lot of it materializing on Law Facilitates Crime’s “Thought Encryption” EP & my project 走り抜く<Hashirinuku> ... - hard to explain, there are very specific fundamentals & dynamics that create greater extremity/damage/impact - but contractions, off-beats, extra punctuation(s), pushed velocities, …. it is a discipline of “extra impetus” – the end result is just much more intense, much more dynamic & much more Grind/Grate.
The Z-Beat modus that I created also – you use buzz-rolls/doubles/triplets within the D & C beat to create more pressure but also much more detail & pivot, which also often leads to subdivision & displacement - “compounded damage” ….. good grind/gratecore should be like good boxing.
No-Skool-Noyzcore - I explained in a previous question - Noisecore by people that take it seriously & are not aiming to replicate or rip-off but originate & veer. Gunk is the same, but Gunk has to have a live drummer, that is the distinction of the term.
You also have - Drill n’ Waste, Farrago, Poise Spore, RiotGear, Fray, Advanced Fracture, Scour Histrionics, Gunk, Hard-Vacuum, Abnorm, Apoplexy, Scolopendra, Gush Gyna, Harlequin Haze Hop, … probably some other shit too? Delta vortex outermost.
it is also worth citing the phrases User-Hostile & Anti-Listener … they are more standards or condition – but an ethic that I run with/pioneer in many projects & playing.
& of course – the “blurbeat” – “tatsumaki”/竜巻 which I invented.
> Considering that you run different labels, write in the blog and so on, have you run a fanzine, printed publications or taken part in any of it?
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| -How many drum kits have you broken playing and blasting like a rabid dog? Sorry Ace! - I really don’t break drums! You can’t drum that fast & precise without serious control & technique, so I don’t break drums & rarely sticks even (I use very light ProMarc 7A’s, the smallest 7A available). |
BEGINNINGS/RELATION WITH ASIAN CULTURE
>It seems like you are always joking/taking the piss, but you take things really seriously when it comes to getting the stuff done. You even introduce some words in Japanese, where you have a logo with: “(?¿)dead children in buses(?¿)” written on it, it seems?
“Kid Leader” – like a “leader that is a kid/guttersnipe”, or “leader of the kids/urchins” …. 浮浪児!
Taiko has my respect, & there are some striking similarities to facets of my own work, most obviously from the integration of martial elements for physical execution. I honestly have not experienced much Taiko though, & I hate commercial Taiko .. I only like the best, most serious practitioners or ensembles who do some incredible work.
Some of the rigidity & regimentation, group conformity & controlled stricture can also be – for me – too boxed in & stifling. but definitely - Taiko has my respect & I need to give it more attention & investigation.
The bell, gong & wood block percussion from old folk or court music in Japan is far more appealing to me generally. & I am a sucker for singing girls with a shamisen.
Good Korean 국악 <Gugak> & 사물 놀이 <Samul Nol-e> also, providing they are not modernised varieties.
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Some of it can be a bit enervated & staid, but there are some fantastic performers & groups out there.
But, of all the Asian percussive mediums – the proper, complicated versions of Chinese percussion (mostly associated with 戲曲 <Chinese Opera>) are insane. It is also some of the most novel, unique & difficult of styles, instrumentation & set-ups, with very demanding precision, coordination, syncopation & timing.
Not many people play that shit these days, & it is not easy.
Gamelan is also very interesting, & Mongolian, Eastern Russian autonomous prefectures & the Central Asian steppes traditional music is a gigantic influence/adoration of mine.
Artistically, Old Asia is an incredible standard of human ingenuity – so naturally I am allured, inspired, besotted.
I am really just a goddamn’ Hun though bro!
>The way you play drums it looks to me like a mix between free jazz and noisecore bursts with ADHD. In which moment both realities click for you? I heard that you’ve been playing from the early age of six years. Are you self-taught?
I was always drumming on things. Surfaces, body parts, dogs, cutlery, glossal percussion & dumb kid mouth beats ... anything I was given or could grab. First drum set at six.
Yes! I am self taught, & that is a big problem & very controversial – because I have totally & completely outperformed the academics & champions of establishment & insider conveyer-graft, which troubles – if not refutes - their entire choke-hold & the accepted lore of learning, “elitism” & “prescriptive positioning”, as pushed by empire. It also means the empire cannot claim credit for my genius as there is no association & I have not been through any of their institutions or orthodox channels.
No grounds for claim.
I was the delinquent intelligentsia with multiple expulsions that did not even complete secondary education.
I am the result of sovereign scholastics & endogenic autodidacticism, which is why I am whupping’ motherfuckers so bad … & they hate it.
-You have this shape to you and at yet you don’t abandon your sonic chaos imprint. It looks like you work/train/exercise with and against your body, not against a machine or being a small-dick sixpack bodybuilder due to steroid abuse. Do you have any training or exercise routine?
Always training. Junantaiso, budo, kobudo, free-climbing.
I also love to run. Long distance, off-road, & fast. All weather conditions, all terrains.
I bike hard too. Old racers, trail bikes, rusting & rattling ladies bikes – I’ll make em’ move.
I hate cars. Fucking hate them. Never owned one. Never will. Can’t drive. Never will.
No gym man. No weights. No apps. No lycra. No phone. No roids. No protein pellets. No supplements.
Hardcore vegan too. Almost all my life, without breaking it. Oldschool health-freak vegan – not one of these new LGBTQ- “vegan squid rungs” gimp-sucks … der real grain sack, foliage fucker, hemp husk type.
-Are drugs or substances an inspiration for you? What’s your point of view regarding them?
No. I have never done drugs or alcohol.
just never a need or desire.
I am crazy enough already & always engaging.
Others need to make their own choices & do what’s right for them – especially in such a shit, capitalism ravaged world that leaves people so under-stimulated, overworked & unfulfilled looking for quick substitutes/demulcents – which is the real problem/failure/crime.
I don’t need any of that shit. & I like the “process & activity” that gives you a “natural” high, not just taking some substance that does it all for you.
FACE COVERED
>You describe yourself as a Warrior, your face is always hidden behind a 笠 “kasa” (japanese hat) and a handkerchief covers most of your face. You look like a Zapatista situationist or a superhero behind the drum kit. Shy cat, trying to go unnoticed, indifference to the possible “commercialization” of yours (kind of Bansky?). What’s the reason behind this?
So many reasons.
No interest in fame in any of the traditional senses.
Better to maintain the element of surprise.
Remain as anonymous as possible in surveillance-suck data-rapist techno-dystopia entrapment economy.
I called myself a “warrior”?
I am certainly at war - & war is being waged on me/us on a circadian basis.
Shibou is good protection against the sun when you’re planting trees.
I have Vietnamese, Korean, Chinese & maybe a Thai one too … but no Japanese shibou!
Really need one of the hatago styled ones … just never sourced a specialist or found an old one.
Old skills – dying out.
Maszx from Java.
MODUS OPERANDI / IMPROVISATION
>It seems that, in most collaborations, you are the one who starts taking the initiative or conceiving the primal ideas and gets in contact with all the people involved. In some releases, it seems that your lines have been improvised -where you barely make any cuts or edits in its length: imo: Citizens of Nowhere. It seems like you are always playing with the mic on and that you use these lines for future releases. What gets you to collaborate with someone and what is the filter you use for it? How do you record everything, what stuff do you use? Home recording, the posterior edit/production, etc.
Unfortunately, I have to drive or catalyse a lot of activity, yes. I wish more came from others impetus & efforts, but so many people are just curdled & pulverized, so the weight rests with you.
The circumstances are forever changing, but the deprivation & adversity remains near constant. You have to convert the negativity into fuel, have a good scavenging game & exercise extraordinary resilience, endurance & initiative.
Long distance.
Almost everything I have ever released constitutes my drumming without any editing or conjoining or cutting in any way at all (aside the inconsequential start & finish of tracks/silence etc).
It is exactly as it was played, in real time.
Authenticity & sincerity.
Especially in the extreme or virtuosity rubric …. you cannot cheat.
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| "This is jazz grind experimental space rock/ Noisecore and it doesn’t suck" |
>You also play live with some acts like Nabeg or Roscoe Mitchell. I don’t know if you rehearse the “songs”, but in contrast with other musical genres- what’s the importance/value of improvised music and what does it means to you?
Total Improvisation is overwhelmingly the action.
Composition & writing songs & material is actually something I hugely, hugely enjoy, & a very important sector of my work. But my stuff is very challenging, & I need adept, expeditious & resilient musicians that can handle the pyro-dynamics &/or involution, plus the utility/space/time – all of which never seem to be available.
One day.
Improvisation is equally fantastic & natural/easy. But I do so much of it out of necessity – the absence, limitation & deprivation of creative conditions/space/opportunities/equipment & able/brave enough collaborators mean; that’s all your gonna’get/make it count.
>“Mmere Dane” and “Knocking” are tracks
where there’s a bass/double bass line + the metallic percussion
sound that acts as a beat and that reminds me of hip-hop or ideas and
songs taken from Gil Scott Heron (and a nice change/interlude between
all the chaos in the release). Experimental hiphop or jazzy hip hop
comes to my mind (experimental cats like JPGMafia, Danny
Brown, MF Doom, Madlib, Deltron 3030, Dälek, Death Grips…)
you probably know them better than us. Is there any inspiration
coming from any of this? Aside from drums, which other instruments do
you play?
that’s with Niles Asheber, a musician, but also a poet, orator, community activist & leader, & also a “rogue rescue worker” of the Grenfell ground zero truth commission.
The session was snatched impromptu at Acklam Village.
I just showed up with my cello & ankle bells.
Niles had just emerged from another confrontation/meeting with the notorious RBKC representatives, the council that murdered the cohabitants of the Tower.
Fresh from the front, he improvised that material/spoken word, augmented by just a few official/legal papers he had on him with support from my spontaneous double bass & bells.
We recorded it on his phone. As is.
Acklam Village was “seized” by local citizens & RRW as part of an emergency response shortly after the Grenfell atrocity/massacre & in the total absence of local & government assistance provided (a follow on crime in itself).
They & the space met the needs for many of the traumatised & internally displaced survivors in the immediate aftermath following the atrocity whilst the official “authorities” (Cancervative government & Cancervative council) floundered spectaculalry.
After such a graphic & irreversible display of contempt & “ineptopathia” by “the state”, the building was held & effectively commandeered/expropriated by the community, which at one stage included it being physically defended whilst police tried to forcefully storm it to return to the mismanagement under guilty state parties (the police were successfully repelled).
Niles was one of the guys that renegotiated the terms of the buildings new proprietors, using the abundance of extreme criminality perpetrated by local & state authorities & commercial actors as leverage to secure the required agreements/concessions on behalf of the community.
Acklam Village is the only venue that has had the courage & bollocks to do anything with Baku in London. All the rest of em’ were too bitch ass & nonce-nuzzling.
Beyond blacklist.
I play cello (like a double bass/plucked), Eastern zithers - gu-cheng/yatga, dai fut loi, san shin & all manner of drums percussion.
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| "Stolen" from BBC |
RELEASES AND THE LABELS + ANTICOMERCIAL APPROACH: no Bandcamp, no social media, etc, etc.
>Papers and pictures tied with metal clips in the releases, spray cans for the Cds designs, etc, etc. You make a few hundreds of each release -and quite a bunch of releases during the year- and all these tiny details in some releases may look like guerrilla propaganda. Do you record the tapes at home? How much money do you spent in the label and how much you get back from it?
All the tapes are done through a professional company, I don’t do any dubbing at hovel, just burning CDR’s for the Erst-while Antrum series (& I can’t even do that now) & other related crafts … naturally the vinyl & glass mastered/industry standard CDs are printed with various companies.
Yes, we are renowned for artisan, exceptionally detailed & laboured, novel & extremely high quality design & artworks … I work with a codex of connoisseur litho print specialists & small craft printers to give what you get.
Shits fucking expensive, but there are ways where you can significantly reduce your expenditure if you have the experience/field knowledge & a printer that is comfortable dealing with a fastidious client. Furthermore, if your willing to cut, scour, fold & glue by yourself, you can often save over half the estimate. That will entail expertise & precision craft – a whole discipline & skill set itself - & a huge amount of work & time. But then it’s hand-crafted, non-mass-produced, personalised - & depending on the specific design – variant, individual to each copy. That is a very important ingredient or aesthetic to me.
Some of the releases are “art kamikaze” … you end up hugely overspending for something so over-board & extravagant that you will never even slightly recover the expenditure or days of assiduous assembly that went into its manifestation…. But that just makes it cooler, more cult & more special. The last two Basayev Inductions editions are a stark example of that … just insane.
I love the adept arts & crafts, slow growth, work shop expertise, & it is such a counterstrike against the insufferable, impersonal, mass produced, machine-made standardization & commodification.
> There’s an anti commercial approach -taken from an interview of you from the Nihilistic Holocaust webzine- that you seems that you still keep with which I find quite curious and attractive:
“Brutal Truth are a group I have spent very' very little time investigating. At the time (& assumably since) – they were too 'Metally' for me, & I was very fixated on the “core” single-foot skull-stove Grindcore or Noisegrind, plus BT were heavily in vogue with the establishment detumescence a-la Terrorizer-tabloid-turd-curd pay-to-play n' shit, so I was all like “fuck BT/Relapse”, commercial capture. They were actually a band that deserved their fame though & did good shit, but they were really not in my spectrum at all as I was so anti-metal/surface at the time. So I can't reference those albums at all (I just listened to Sounds From The Animal Kingdom back in 2005 at the Donkey palace).”
This brings up the following questions:
-Waking up in the morning, getting into the bus, underground or riding the bike; being bombed at every turn with propaganda, shit that you don’t need plus ugly faces and burnt out individuals who just don’t even give a fuck about you or even about themselves. You have a lot of samplers and speeches plus in depth/over infoxication of artworks and the nasty/weirdo/outsider way of playing drums. Despite this, most of you records can only be fully listened if purchased. Why? What are your thoughts on piracy and letting downloads for free?
Let’s not be too brutal on Brutal Truth. Those guys are alright & did their own thing – respect! I just never owned any of their work or was influenced by it, & they got – & quite rightly – a lot of agency, support & platform, & many other worthy candidates were not bestowed the same benefit (not that that is BT’s fault).
Regarding piracy/downloads - so it’s very difficult & complicated …. it is all proportional & contingent on a motley of factors relating to the circumstances of the specific artist, listeners & perhaps even more.
For me personally, if someone in Sadr City, the slums of Manilla or the fucking Barrio living at the arse end of capitalism wants to pirate bay/torrent my shit – that’s fine. They are welcome.
If I can dull the virulence of capitalisms cruelty for you & the savagery of global bandit economics, I am sound with that, fulfilling one of my purposes, & you can take whatever you need.
My music is made for & belongs to all the world’s poor – from Beirut to Bishkek to Bolton - & it is the injustice that they have to suffer that drives a lot of my work.
So that’s fuckin’ fine.
But art, the real & radical or inventive shit, is dying & depreciating in many instances & avenues – along with the fecundity that produces it, & artists - especially uncompromising, outspoken, truly independent, hard heteroclite ones - badly need support, & collective support from disaggregated committed individuals/listeners/audiences – not bullshit industry/scene/corporate power bases that are so prone to corruption, duplicity, suppression & external interests or pressures who have no authentic stake in the medium.
So the onus is on the individual. It requires a sort of voluntary ethics & attention to the specific conditions of the given art form/artist blah blah.
Nobody cares if your downloading David Bowie or some ivory tower cotton swabber on the gold circuit that’s shitting caviar.
But robbing the radicals/rebels/revolutionaries or those battling the swirling hostility, devoting themselves to some artistic ideal, indignation or remnant quality buried under asphalt, tear gas cannisters & single-use plastics – that’s some fuckin’ ignoble bullshit.
Nuance, ethics, evaluation.
Show support.
As you have probably clocked, I also do exclusive free downloads sometimes …. Bollock Swine’s - Faster Than All the Rest mix LP, Concussion Projectile Trio’s – Enko-Ecto-Explo ep, NABEG’s – Economy = Extinction, しぬ マザーファッキング うじむし/SMU - Natsumi Pax a Micro Uzi in Her Lunchbox ep & others.
I absolutely consider them proper releases, & considerable effort is enacted on them, but they are just free to all to download & enjoy, & not through any commercial channel.
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| NABEG live (screen capture) |
-Also, I may be wrong, but has this something in common with trying to build/craft/make an underground subversive counterculture outside of the mainstream and its machinery?
Exactly.
I have a strong aversion & disdain for technology …. & considering the current extremities & harm rendered - I am anti-tech.
It disempowers & degrades – whilst enhancing the artifice & cower of the worst actors imaginable in terrible ways.
Technology is really about cheating, faking, deceiving, duping, conning, manipulating, exploiting, trapping.
Craft, ingenuity, creativity, inventiveness, imagination, sapience, artistic application, independent thought, clarity of consciousness, spontaneity, adventurism - are all being fucked to extinction by technocentric overreach & the overabundance of e-idiocy & virtual vapidity.
Humans are degrading – massively - & that I believe is not a by-product but a direct intention.
The battery farm model.
Docility directive.
Over-reliance or obstruction (why learn when I can just e-outsource?) degenerates into replacement & effacement – where performative, ability & awareness orientated capacity is effectively neutralised, fantastically diminished or simply never even developed, or to an extremely low sub-standard.
It is scripted & sold as something that enhances & aids, but it does the opposite. Constantly.
You can attribute “advances” in technology to every fucking crisis & probable extinction scenario we have.
The extents to which it is being allowed to impose & usurp human artistic/performative/cognitive/emotional/sexual actions & independence are simply perverse.
It is insane. Apocalyptic. The anti-life.
Low-end technology is not an issue, but the super powerful stuff should only be used under the strictest oversight, if at all, for real benefit & common good practices only, with clear & austere - if not capital - criminal offences criteria for any abuses by the applicator, overseer or inventors & investors.
I am of course not totally anti-technology, but it should be a moderate, specific, small, tool-like supporting feature, for positive purposes, & should never intrude on specific human activities.
Concerning the physical product -
It is the most authentic edition or way. Done correctly, it also ensures autonomy & independence – which also begets plurality/multiplicity/versatility – because they are not controlled, monopolised, curbed, homogenised & the practitioners/producers exercise their own vision or delivery for their given area which is outside of centralised control or commercial compromise.
They’re is a profound triviality & superficiality to the digital medium.
I just can’t really respect it.
Additionally, you 100% cannot rely on “online access” & even less so - streaming - with any permanence. Its ephemeral, for many reasons, & there are multiple threats & avenues of intervention/curtailment/exclusion on top of other dangers from exhaustion & loss that do not exist with a physical copy.
I am not advocating owning everything, but the things that really strongly resonate & have long term value to you should not be sitting in the virtual realm, whilst the access lasts, dependent on corporate behemoths, modern infrastructure, cheap oil & political permission.
Their is this unnatural push to lure us into virtual ensnarement & cyber reliance, & it must be decisively rejected & thwarted.
The physical world is essential & the connection needs to be maintained & fiercely guarded.
I have never been on any social media platform ever.
I saw the catastrophe/trap as soon as it was presented & have always condemned & avoided such an obvious degradation/compromise.
From a humanist/citizens/privacy perspective – the surveillance implications were simply horrifying.
That people would volunteer such information willingly, en-masse, & create a climate, normalcy, & temperament where doing so was blasé & de rigor - is a Twilight Zone pilot dusted with LSD & horse tranks.
Artistically, the fundamental error is – it is commercial, a concession, & it is controlled, & controlled by commercial entities & actors, within a commercial framework. It creates dependency, contributes to a market monopoly, bolsters & augments commercial entities & enterprise (Silicon Valley, incorporated companies, etc) & demonstrates weakness on all sides ….
guilty
by appropriation.
Nothing good can come from it aside short-term, self-centric, careerist convenience (i.e. total sell-out) – at the expense of the greater artistic independence ecosystem that is being swallowed alive & entrapped, by a small group of psycho-libertarian billionaires in Silicon Valley, who could just sell it on to the Saudi Public Investment Fund, or a Netanyahu associate, or Robert Mercer, or Black Rock, or Adani Corp at any moment (just look what happened with shit-sucklet Elon Musk & Twitter, exactly the kind of mass hostile-pluto-take-over I have predicted for over a decade).
It is embarrassing that so many “artists” are complying with the dumb-down & set-up – corralled into a commercial enclosure run by a few multinationals posing as facilitator & liberator.
Merchant messiah.
The sheer lack of imagination, ingenuity & creative countenance … pathetic. bitch-azz mzrfkrzzz!
If you are seriously doing anything “radical” you cannot do it within their confines, on their terms, on their stage, under their remit. If you harm, expose or threaten them, their associates, or the larger machine or establishment, & you are on their platform & reliant on their mechanisms, they will neutralise/extinguish/tranquillise what you are doing… they have access, they have agency, they hold the deck & count the cards.
Tainted by their shitty corporate logos, logged & listed through their incorporated company as “product content” & subjected to their “terms & conditions” & the all-encompassing, pre-conditional, submissive-surrender “I agree” “contract” to punch in your slave quarters in their shit citadel to help scrape revenue for their “commercial confidentiality” ensconced shareholders of shady persuasion.
& just think – across genres – almost everybody is just falling into this corporate concentration camp as willing supplicants.
Fuckin’ lemmings.
Is recognition or being able to make a living from this in order to feel that you’ve “succeeded”?
The universe is watching. Excellence, honesty, meritocracy, authenticity.
Anything else, any other concern or twist of logic, is just dog-shit.
Success is the “authentic power” of the given art form & it’s execution “without compromise” & also the integrity to which it is presented & was forged.
Supreme truth.
Nothing else matters.
(Like in: “The Go-to Guy In The Rare Instance That Subcultural Credibility Is Required Vending For Establishment Institutions - The Camae Cocksuck Complicité”) Any thoughts about this?
Often, when cornered or it’s interests are threatened, or just to maintain the fallacy & facade, the machine/corrigendum/establishment/error will need to demonstrate a ruse or deception to convince the dullards that it is fair/authentic/righteous/impartial/moral/law abiding/fit & proper - or whatever bullshit they are spinning to keep the pretence afloat & the peasants picking.
That is when a dependable asset will be invoked to consolidate their dupe as a dishonest demonstration of their false fidelity to the issue or area.
So they will wheel out some cocksucker with a cabin on the gravy-train to “restore faith”.
You get these blotter celebrity shits in various artistic orbits (or political pundits, cultural spokesmen etc), who always get the exposure, platform, & opportunities that far better & more deserving practitioners are routinely & intensively denied.
The Camae Cocksuck Complicité title is for a particularly egregious offender of this gross misrepresentation.
Jazz, & that very much includes what would be labelled as “radical” & “avant” jazz, is one of the most corrupt environments of them all.
-Releases like Kuttepop/Heracleides split (2022) aside, you tend to use your own labels for the releases you take part in. Need for control, distrust… What’s you relation with underground labels and their jazz or noisecore vision/approach?
I don’t do scenes. I don’t like order, conformity, group think, establishment or unnatural hierarchy. Entrenched interests, unilateralism, career politics, captivity, cronyism, corruption & control.
I am a meritocrat & also an upsetter, a usurper, a deposer, & I destabilize, & I frighten power & power circles/mechanisms – surface & subterranean.
I almost never get asked to do anything by anybody. Despite energetically hewing thousands of opportunities for others, & felling the best thick & fast like nobody else alive or dead, in some curious & bizarre karmic knead, I never really get offered shit? Way too dangerous, disruptive & divergent, & I terrify a lot of people. So I just do it all myself.
-As for the photos that you tend to update in the blog, some of them seem to be taken from the net, while others seem to be yours or taken at your home, seeing as all of them share the same filter. You also: “borrow(ed) a bathroom to record in (literally! No kidding! No exaggeration!)”. Is there something else to add? Have you got to be squatter or play in squats in London? Stories and experiences are more than welcome :)
There was a spell of homelessness.
I am still completely insecure.
Yes! The bathroom was borrowed for that recording, quite literally.
We are almost all precariat now thanks to these pluto-klepto world-burning, life-ruining wealth negators & the all insatiable iniquity.
Retaliate.
I never squatted in London, but I played tons & tons of squats/urban takeover/warehouse parties.
We once played an off-radar festival in an abandoned airfield (just outside of London).
One of my favourites was in a condemned cinema in Blackhorse Road, around 2011? – if anyone has any footage or photographs of that mf, git’ at me! I gots nathin’! T__T
the cops showed up, blocked the entrance, tried to Bogart, but were outnumbered, outsmarted & outmanoeuvred … I lead an early circumvention over & through a fenced-off section of conterminous waste ground.
Str8 ninja over the chain-link, through the trash & foliage, up a tree, onto a side-wall, then drop into the grounds & through a fire exit that I got them to open up.
潜入! [TN: infiltration!]
After this display, abler revellers started pouring over.
Fuckin’ dames in hot-pants & micro skirts hopping fences & braving the broken bottles & rust.
Like, don’t snag ya’ hems babs! Lud’ dat shit!
We gave & we got.
Everything was just so ad hoc, between the cracks, make shift, opportunistic.
Enhanced interaction.
ROSCOE MITCHELL and the AEC and playing live
>In 2014 you and Craig Taborn collaborated with Roscoe Mitchell, who was in the Art Ensemble of Chicago, and released Conversations I and II. He says that you are a funny guy, how did your friendship started and what captivated/clicked on him about your way of playing? As you are still working together, how has your friendship evolved since? [stories, especially those of both of you building, playing and evolving are -once again- more than welcome] :)
I managed to get an unsolicited track to the guy which struck a chord. Roscoe, unlike most of his peers, is a meritocrat. He also cargos the wisdom & boldness to recognise that - shall we say – “greatness” often comes from both risk & “challenging circumstances” …. he doesn’t play it safe, unlike most of his peers. & he has a certain security, strength, humility, fearlessness to put himself in the arena/cross-fire to get the fucking goods & push beyond established frontiers & accepted parameters. After the success of some of our early exchanges, I was the “volatile energy weapon” that he had the balls & shrewdness to airdrop into the Conversations sessions.
& waddya’ know toots? - between the three of us harlequin hoodlums, we erupted with not one, but two, of the best modern avant-jazz classics & improvisational milestones full-stop.
>You have this aforementioned marginality, yet at the same time play with master old cats like him without losing your attitude. What changes when you go on tour with someone like him compared to other bands like Nabeg or the like? Is there an equal treatment when it comes to getting paid?
They of course differ dramatically. You always have to calibrate & create contingencies for any given project or escapade based on some cosmic ethic, diplomacy & gut algebra. It is an art form in itself.
>In contrast with your other projects, what are the challenges and facilities when it comes to releasing material from both of you?
There is a lot of challenges … it is a war zone.
Again, the corruption in Jazz is enormous … eye-watering … paint peeling.
It is also an industry that pretends to be enlightened, socially conscious, moralistic, just, & solicitous towards creative principles & intrepidness – but it is actually one of the most immoral, & brutally suppressive & denigrating towards true artistic expression & expansion.
A sham.
In very different capacities, as apex improvisers, me & Roscoe have to deal with that.
They are constantly trying to stop us from working together.
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| Kikanju Baku - Roscoe Mitchell - Simon Sieger - Dudù Kouate |
>How much do you ask for a kg of that Kika blast?
As for promoting a gig for you or any project of yours, what are your
requirements? Come to play to Spain, ffs…
As said, it totally depends & it totally varies.
I am also an exceptionally rare schism – operating in both uber-underbelly & at the apogee of avant/improvised lah-lah.
That really bothers some people as well …. that the motherfucker is that singular in both territories, & at such an indelible calibre.
>You sent me an email a few days ago, it featured you playing in Japan or recording a few Final Exit cuts in the studio. Since I don’t know if that’s your first time there, what are the main differences you find between European and Asian scenes? (If you toured the States/Canada, those are differences are more than welcome too :))
Never plaid with Kikuchi, just linked up again & the spot was at one of his rehearsal sessions so I shot some film. We go back a long way & have done quite a bit together over the years & there is some other blat we have on the skewer right now. We have a very dramatic gig we will play together in Tokyo in September too.
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| "September Japan gigs cancelled. betrayal, conspiracy, deception, dishonesty, treachery, cancellation …. fuck Takeshi Goda/Hiromi Kudo." |
Korea is totally starved. They don’t invest at all in their own creatively curious artists or posses the kind of conditions where it can find itself or flourish without tremendous personal difficulty for the conjurer. It is awful for them.
Japan reminds me a lot of the UK, albeit with some considerable differences of character.
The country harbours some superb musicians, but it is atrocious, insufficiently providing & negligent to some of its best artists.
There are loads of excellent, but totally isolated, under-looked, unrepresented stragglers existing on empty. Nobody gives a fuck, or, like, a handful of people.
It is also appallingly cut-throat – as is the UK – as the “blotter” strategy seems to be very strong, with one overly-promoted candidate hogging the mess-hall at the expense of other perfectly able & important contributors who are banished to obscurity or shaded into the margins.
Sexual abuse, fuck for favours in the arts, is bad in all 3 countries …. not sure which is worse, but they’re all committed offenders.
I don’t fuck with the U$ any more. After Charlottesville, & Runt’s response to it specifically, I just refused to ever go again, unless they serve him & some of his worst goons the death penalty & carry it through. For all the wonderful & brilliant people & characters in the USA, & I really do love some of them madly & dearly, the US is a source of supreme poison in the world & enough is enough. There comes a point where you just have to cut off the shit-berg. Fuck USA. I am still not over Trayvon Martin man, & the whole country can carry that shit to its fucking death bed as far as I am concerned. Enough.
Canada’s just another dumb stolen land mass that could have been so much better.
Give it back to the natives, they will do a much better job with it.
YOUR ROLE AS A LISTENER AND AS PLAYER/NOISICIAN: POLICY & SPIRITUALITY
> You occasionally post some music/book/documentaries reviews along with some interviews or write articles on your bleg. That being said, (as if creating something new was an easy task) do you have the feeling -as a listener- that some formulas or musical ideas are “expired/outdated” or that they don’t last longer than a few listens? Even if, sometimes, you can get to find different shades and hints or fall in love with things that are similar to the same already known ideas, or get attracted by other things like friendship and attitude. (Why) do you think some things are no longer subversive? What do you value the most as a listener? Do you sometimes feel stagnant with it? if so, would you care to explain it?
Yes! Things frequently expire, or diminish, or become obsolescent, or insufficient, or become adulterated or compromised or insincere.
If you subscribe to evolution – things also have to expand, escalate, increase or improve.
That said – “core tenets” must be protected & preserved (unless you are completely approving of total transformation, which can also be cool if done correctly).
In today’s nadir conditions – commercialisation/commodification is a profound threat …. a fucking plague.
Technological ubiquity & technological supremacy, over-reliance on short-term “convenience” & the failure of artistic communities to be more independent & resilient against this depletion & imposter elements has badly, badly fucked the creative conscious condition.
It’s a very serious problem/threat.
There needs to be much more radical autonomy & refusal to compromise & assimilate.
art/principle has to come before career, convenience or commerce.
There are no excuses – no matter the consequences.
None.
commerce/capture/corruption is a kind of arch enemy & divine opponent.
As artists/creatives, you have to outfight, out-think & outperform it at all times.
It cannot evolve, but it will always eventually fake, plagiarize & reconstitute its way into territory that radical outriders or pioneers once inhabited, despoiling it in the process & bringing disqualification/disrepair/dishonour.
So you just have to constantly, constantly, constantly evolve, permutate, extend, elevate, improve, intensify – outrun & move forward, emigrate.
By the time the faggots have eventually caught on, you’re already balls deep in some other ill shit, & the disingenuous manufactured taint just can’t touch you. You are immune & elsewhere, higher up, out of range.
You can also return to things when/if the machine abandons the frontiers & things become “unpopular” again.
Once the extractors have gone, the merchants deserted, the machinery lays derelict & nature reclaims the area & starts restoring its natural splendour – its cool to return & revive the original qualities & disciplines to the authentic standard – commerce free/enthusiasts only.
> On the other hand, I believe there’s a correlation between spirituality and nature in your music. To put it simply, it might as well have two axes or be binomial: a) spiritual -for the lack of a better term- approach b) spiritual approach + the political/give it back. Maybe they always go together and aren’t necessarily isolated facts. This takes me to…
-From time to time you post pics regarding/related with nature: from animals (insects having fun ;)), to plants and seeds or even yourself in the lotus flower position with a katana. Besides listening to different music from the world or the intent to defend/respect nature, and fight against land evictions… What value does nature hold for you regarding spirituality -for the lack of a better term- and so on in music, your day-to-day? Any thought about atheistic materialism or atheist albeit spiritual or contemplation? Do you meditate, (if so, any advice on it is more than welcome :))?
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| OHHHHHHHHHHHHHHHHHH YEEEEEEEEEEEEEEEEEEEEEEEAH!!! 浩然の気! |
that one was as Dayak head hunting sword.
I am a heretic, a naturalist, an ecocentric & an ascetic.
I am constantly being accused of being a “shaman” … but I have never, & do not, call myself one.
I am somewhat amorphous & transient with what would generally be identified as my “beliefs” &/or “spirituality”.
Like animals & insects – I prefer to just exist/act/intuit & “sense”, & I don’t have a problem with my mortality/existence – it is all part of the “natural order” – which I am at peace with - & only sad if it ends too early or cruelty is involved.
I worship/admire nature – but I am also nature – it is a cohesive symbioses, a harmony & unity.
I am not separate.
All the qualities that are attributed to “gods” & theocracies exist, expound & flourish in nature.
I don’t see nature as the product of a god – but a god in itself – or the closest, most obvious, complete & holistic exemplum of an actual “living” god or divine material/phenomenon/entity or “life bearer”.
& that’s enough for me.
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Well, “world music” (as in historical traditional music from across the world played on indigenous instruments by ethnic peoples) is specifically special as it comes from a time when nature was prevalent & people themselves were not so ruined by technological divorce & urban incarceration/municipal impairment. The bond & recognition of nature was much more enhanced & people were fluent in certain integral existential minutia which is now generally singed, sterilised or supplanted. The instruments themselves were also much more “natural” & “nature” features much more as a theme, inspiration & conceptual influence.
& you can hear it & you can feel it in the songs, instruments & energy.
Again - if we have to label/mark my “spiritualism” as it were – I would say that it is nature itself – the ecosphere – Telluria.
I am extremely wary of any other conventional “religious music”.
But saying that, yes, I do have a very small amount that I enjoy hugely.
Sufi, Pashto, some Maqam, Buddhist, tribal & indigenous, Jewish & even some of the chant based, choral ancient monk stuff. It is not even 1% of my collection, but it is there & I absolutely appreciate it.
The monastery ascetic & nature based isolation strand is one of the few connecting threads for me & classic religion … but for sure, I am a heretic.
-I also think that nature goes tied with your “cosmogony” as something political as well. They may not go together, but the aforementioned Rainforester release comes with the E*F logo. Do you support their actions, just sympathise with the philosophy behind it or is it a response influenced by living in a city or London’s rush disease alienation?
The E*rth Lib*r*ti*n Fr*nt were some of the greatest motherfuckers of all time.
They really riled the machine – just look at how it responded to this tiny, pacifist group.
Anyone that fights the tyrant/injustice/deceiver on behalf of others (or themselves) is to be admired.
The E*F are just one favourite that set a brilliant, brilliant example.
-There’s this video of yours: “Kikanju Baku- Melanin Momentum and the Moral Militia live impromptu agitationOccupy Democracy 2014” where you play a bongo, sitting in the street, along with a sax player in what it seems to be an improvisation. Does playing in the streets happen frequently? How do the emotions differ in contrast to playing in a venue or place with a roof over your head?
Beyond the trivial, there is no difference for me where I am playing, no.
it is how & what you play, not where you play it.
That particular performance was at the massively suppressed & redacted Occupy Democracy 2 protests in 2014. It’s at Parliament Square, opposite Pest Spinster, The Louses of Parliament. The cops were out in ridiculous numbers, & were running snatch squads & grabbing up attendees, hence the edginess, cos’ we might have to suddenly stop playing & bash-in a bobbies bonce with a bongo like they did Alfie Meadows & Ian Tomlinson.
The response of the state was extraordinary, but the media’s was even more disturbing.
It was a classic operation of obliteration by omission – a DSMA-Notice job (often called a “D-Notice”).
Cross media black-out & effectively zero coverage.
“Kill the story”.
& every single one of those bitches - from tabloid turd to broadsheet burnish - fell in line with The Man’s misrule.
It was 8-days of protests, thousands of people, even some celebrities, MPs (including one green MP that was arrested then “de-arrested” – the only exiguity the media selectively micro-reported from the entire event) … & most people don’t even know that shit even happened.
The first Occupy movement really freaked out the machine.
Melanin Momentum & the Moral Militia was another creative collective I put together consisting of rappers, roadmen, poets & jazz/farrago musicians delivering excoriating, controversial & contumacious radical free jazz bedlam which was in conjunction/under the aegis of The Output for Esoteric & Autonomous Art … lasted from about 2010-2015 or somethin’.
-Are you into any kind of political activities or something that’s possible to know about?
Nothing.
I don’t like politics. I don’t cede power, determination or control, & I don’t outsource decisive administration to any third party, especially the likes of what is on offer & with the deleterious dispositions exhibited.
Saying that, I study “politics” & social science fanatically, out of sheer fascination but also urgency, so I can understand how best to stop & prevent prevailing abuses & perversities.
-“Support/defend the kids! Guillotine all oligarchs, libertarians, billionaires. Neutralize the Murdoch, Koch, Thiel pestilence, putrilage & plutocracy” is written below a picture where women protest against -what it seems to be- the abortion ban in your webpage. There are also the guerrillas pics in some of the releases (idk which ones are in the cover of Citizens + the album dedication in the insert + tracks like “Mike Pompeo Assassination Strategy”). All these things considered, plus the pics you include with releases, what is your idea of utopia?
I don’t really do utopia. Nor paradise, or heaven, or other “absolutist” conditions or terms. The other problem is that my utopia is not necessarily others.
I don’t wish to impose, nor be imposed upon.
But as a more neutral, base-line, common good model or assurance – you just want an environment/condition where people are fulfilled, healthy & with the sufficient freedom to do what they want, providing it does not fuck with anyone/anything else or get too degenerate.
Certainly we can do better than the intolerable shit-swill we are currently suffering.
A small taste of it
LONDON
>Among -what it seems to from the outside- many different scenes of London, are you part of have sympathies for any of it? Are you the renegade/ostracized warrior due to your approach to playing, almost no internet and only physical releases? Beefs against bands, people, intermediaries and venues are more than welcome ;)
London is a shit heap. & the joke is that almost any creative of substance residing there hates the place.
Creativity in London has always been about fostering some smaller mutant of fantastical invention – segregated & seceded from any official sanction, support or scene.
For me, the quest has always been international as well … you scavenge what you can from London, but it’s an inadequate, desolate & uncaring wreck - & it absolutely does not care for, respect or facilitate it’s radical residents/artists – as a distinctive & well established cultural quirk.
It just disrespects & chronically neglects it’s greatest, again & again, & artificially appoints willing co-conspirators based on their adaption to collusion & corruption with establishment cower & power broker pustules.
That is the culture.
You just had to nurture your own ideal in the wasteland.
Alone, or with a small consociation of stragglers & jacobins with a commitment or interest in something that nobody else shared or cared about. That is also why it had to be international & why people were constantly coming through from overseas or I travelled abroad … it required all these specialists, who just were not available in the immediate environs. It had to be international, because there was no way a city like London (or any other) - or the country - was going to meet our rare requirements & artistic peculiarities.
It’s always been a world-wide-wayward – travelling to or fomenting both the wonder & the wanderers.
Fuck London.
>We could easily -but it’s pointless to play with suffering- make firewood from the fallen tree if we speak about Grenfell Tower fire (2017) as one the symbols of London’s misery, but how has Brexit affected and changed the situation since its application? Borders, war, taxes, Tories, children in gangs stabbing each other or random people or avoiding certain places so you don’t get stabbed… Also, did you go to vote during Brexit?
The Grenfell Tower arson was a symptom of a greater affliction of corporate serial killing, crisis currency & inbuilt atrocity assured & ingrained by limited liability, outsourcing, commercial confidentiality & the most psychopathic “business model” known to man, all coddled by the ludicrous, absurdist protections & indemnities granted by the corporate medium/by-law/special treatment – Rana Plaza, MV Sewol ferry disaster, Tianjin warehouse blasts, Brumadinho iron ore tale pond flooding, Flint water poisoning, Mosul ferry sinking, Fukushima & Chernobyl meltdowns, Aramco housing complex infernos, Ohio East Palestine train derailment chemical discharge, Bhopal, methane storage facility rupture in Jackson Township Pennsylvania, on & on & on & on & on.
an unabashed onslaught executed with ceaseless sociopathy… “the corporate criminal”.
Brexit was & is the greatest act of harm/treason/betrayal/terrorism the country has seen for at least a century, manufactured by a small group of criminally insane & unparalleled extremists.
The UK is now, very literally, a failed state.
A failed state.
It is also an experimental testing ground & “special aberration zone” for the most noxious, backwards, baneful & virulent strains of political extremism, nouveau-authoritarianism (soon to be consummate if permitted), & fascistic disaster area shit stub.
A test surface & a blow-up-doll for any dystopyphile, pluto-vandal, libertarian absolutists with a little loose cash & the requisite madness &/or perversion.
& the Brit’s infinite propensity for docility & servility – even when literally their entire country is being intentionally shredded right in front of their eyes, with their kids in the crusher & their rights on the funeral pyre - means it just goes on & it just gets worse.
The only good thing about it – is that it is so bad – that it may just precipitate the Brits to – at last – simply say – “we’ve been had! Let’s sort the lot of them out” – follow the money, go up the chain, no amnesty, & CLEAN FUCKING HOUSE! Whilst you’re there, whilst you have the pressure hose out – CLEAN FUCKING HOUSE!
There are some “historic failures”, that make the UK uniquely vulnerable, & the modern twist/exploitation of Brexit relies on those unaddressed failings & acute weaknesses & abnormalities to usher in such an unthinkable, festering, thunderous fuck-up (Brexit & even “hard Brexit” – because dying isn’t enough).
The country is also very, very, very badly captured & compromised – secretly subordinated - & tightly - to foreign interests & intervention, specifically, Russia, The Gulf States, Israel & Amerikkka, as well as an international camarilla of kleptocrat, oligarch, organised crime, criminal enterprise, dark money, extremist think tanks & destabilizing bad actors.
& don’t forget the curse of Windsor, the plague of Eton, the aristocracy underlings, & “The City”.
These are unique & powerful flaws.
The Tories are the countries greatest domestic threat/enemy/detractor/destroyer, as they have always been. Enclosure, theft, racketeering, pillaging, grand larceny, deregulation, privatisation, financialization, austerity, feudalism, extortion, abuse of power, misrepresentation, misrule, high treason, oppression, exploitation, slavery - swaddled in the most grotesque double-speak, lying & mendacity, distortion & mega-hypocrisy on earth. A never ending attack on protections, rights, privileges, living standards, freedoms, safe guarding, & anything conductive to quality of life or the common good for the 99% citizenry. It is all they do. Their single commitment. Their one objective. Their sole purpose. They have destroyed the country – better than any invading force, foreign opponent, terrorist element or “regular enemy” ever could. I can’t believe they are allowed to exist. I can’t believe that people tolerate them. I can’t believe their still standing.
“They just Nazis” to tweak the phrase of one particularly repellent Etonian disinformationist & professional election rigger.
Brexit (& austerity) has fucked the country beyond belief. You can’t even post a simple package any more in that sump of a country. Basic services, hodiernal fundamentals or public utility is now a murrain of massively over-priced & chronically underperforming ultra-bureaucratic mire with coils & coils of red-tape snag & 360-degree shitness .. ridiculous, tortuous, unbearable, prohibitive, exorbitant, unfit for purpose – to the extent & extremity that you would think it is some fucking Alan Moore comic sketch.
A failed state.
Prate Shitain is now a rapidly decomposing foreclosed wreck & a fallout/collapse/decline/deformity laboratory molested & manipulated by interventionist foreign detractors - fully assisted by their willingly complicit Tory quisling vassals – serving the likes of Peter Thiel, Alex Karp, Charles Koch, Rupert & Lachlan Murdoch, Robert & Rebekah Mercer, Stuart Polak, The Lebedevs, Mohammed bin Rashid al-Maktoum, Larry Ellison, Steve Bannon, Jennifer Arcuri, the Al Sauds, Patrick Drahi & other rogue pestilence & subhumanity followed by a shit shower of “golden passport” waving kleptocrats & asset stripping transnational bandits, plunderers & career cronys.
Malversation nation. Fixed declinism. Optimal terminalism. “All Rights Revoked”. A corruptocracy. Terra-firma-seasteading anomaly. Malleable extremity.
They all have to pay for what they have done – that is all that is on the table now – revenge/justice/prosecutions/convictions/neutralization/erasure.
Brexit was sold on a monster of open-cast lying, fantastical falsity & turbo-duplicity….. a brutal swindling & mythic dupe & con job in-extremis. Indelible. Incomparable. It was a crime in itself. & the fact that it was “allowed to air” in the manner it did – to the public/to the voter - was a connected crime of almost equal magnitude …. it should never, ever, ever have been allowed to happen. A historic, criminal fraud without precedence.
It is not strictly the concept of Brexit itself, but the way it was fabricated to mask the true ulterior rape & ruin that they intended.
Instant death sold as eternal life.
Forget about whether people voted for it or not. Yes, they are absolute imbeciles & seismic suckers, but they were lied to on such a scale, which was never permissible & is never forgivable, & they thought that they were voting to improve their conditions & were voting for another scenario/result entirely – when of course it was the precise & ultimate opposite & reverse.
It was a historic fraud. A landmark offence.
Remain, leave, abstainers, whatever … “Uni-Brex”; they just need to come together now on a shared grievance & march on the men that did this.
The country will never recover if that is not done.
It is s actually very, very, very easy …. just follow the money, look at the actors, follow the fraudsters retrospective words & advocacy - & crucify every one of them.
>Going to the positive side of things, which are your favourite places and activities there?
Deep winter … when its super cold, that unique, penetrating & infamous “wet” cold, everyone goes in early to take refuge …. later still, into the night or the early hours, it becomes barren. It’s just you, the odd urban fox, & the occasional night bus. It’s absolutely freezing, hostile, almost lifeless, but you’re just ripping it on the push-bike, burning lights without even slowing & all over the road & pavements cos’ nobodies out. Skeleton hour. Dull orange & wet black, the fire ball, sweating into the freeze & just ripping it ….. last man alive.
There’s some good trees there. A couple of cool old graveyards where they don’t fuck with the wildlife & fauna much/minimal upkeep.
Some good bookshops, if they still exist?
That’s about it really. The best thing about London is the spaces where you can pretend you’re not actually in it.
>There’s also this video (I can’t find it right now) where you play drums and some people are making -what seems to be- improvised experimental dance in front of yours to what you and the guys are playing. Despite being a cliché, what does underground mean for you?
I think you mean the “Jacob Rees-Mogg found asphyxiated by oesophageal obstruction with uncooked discount pasta from emergency food rations” squat party video.
That is a great example of the kind of illegal occupation & derelict premises gigs we used to do around London back in the dizzur. Some of them were orchestrated & frequented by the nicest, most organised & alternative people ever, & others were post-apocalyptic substratas with mad max moochers & all ilk of shadow rabble shifting in the murk. I must say that I really enjoyed the more tenebrous urban decay settings … so much documentation was missed back then because we had no video cameras & the phone tech was much more primitive, but that vid is a great depiction of the kind of shows we would ignite.
Yeah, there is some kind of Hungarian illegal immigrant fugitive up front, working his boxing moves & Home Office tribulations into the Fray …. wonderful.
Underground is a completely redundant term now. It’s been raped to ruin by mainstream/surface/commercial/imposter rive, been misappropriated & misapplied to oblivion & no longer has any edge or credibility. I would never use the expression “underground” for anything I am doing & probably haven’t for over twenty years now… it is inadequate..
As I said hitherto, you have to continually invent & evolve new terminology, substance, character & culture to constantly evade confinement or contamination by the great despoiler of market miasma & commodification.
Unincorporated & incompatible. Never accessible.
CLOSING
>“hej! wonderful to hear from yu our kiddd .... yur all good yah? apocalypse fatigue? end-of-dayz enthusiasm?” It’s what you wrote to me by the time I got in contact with you. How do you feel and what has changed in you regarding all this pandemic/post pandemic situation?
Any advice you can give us about raising children there and especially today?
COVID/“The Pandemic” was many things, but it was certainly one of the largest & most unprecedented societal, civilization, political & sociological experiments we have ever seen. There was also a lot of real time emergency related role-playing, gauging of populace & targeted demographics, mass behavioural experimentation & intrusive surveillance reaping, an enormous psychological test series, & unparalleled data/analytics heist & hoarding.
As with so many other “shock doctrine”, selective destruction, demolish & rebuild scenarios - it was the chance to implement, remodel, introduce & justify criteria, legislation, automation & infrastructure (surveillance overwhelmingly) that would never, ever, ever, ever have been feasible without the hysteria & “legal exceptionalism” (ruling by decree, emergency laws, special measures) that defined the Pandemic. From a legal point of view, from a public acceptance point of view, from an ethical point of view.
Nothing has been resolved or restituted regarding bio-security/further disease outbreak – the meat trade, habitat loss/ecocide, destruction of biodiversity, anti-biotics in intensive meat production, absurdly dangerous & unregulated genetic experimentation.
They learn nothing. They endanger everything.
Cos’, consequences & collateral come last & are just converted into extra profit opportunities.
Pretty much everything to do with it was, & is, extremely bad, & it has left the world a much, much worse place.
Most revealing - & never worth forgetting for a second – it has increased or “turbo charged” the swag of the mega wealthy by colossal margins … as if things weren’t bad enough before.
It has also decreased or further impoverished the world’s poor & forever dwindling middle classes.
So it is another gigantic “transfer of wealth” - from the proletariat to the plutocrat.
Another historic theft.
Whatever your views about COVID/Pandemic inc – that has unquestionably been the result.
I don’t have any kids & I will never ever have any kids. But I do have a commitment to all children.
Most of the planet & its social & cyber structures are now completely unfit for children, young adults, & humans in general.
Overpopulation & overconsumption aside – energies & engagement is desperately, desperately needed in improving the current condition & combating the surfeit crisis, ruination & peril that engulfs. We don’t need extra kids, we need extra effort for the ones that are already here & drastic improvements to the current intolerable & utterly unacceptable fuck up.
>Kika, thank you very much, again, for your time. I sincerely hope that you had a good time or that you come to play in Spain. Take care and, should you have anything else to add: hobbies, advices, these anime designs in some of the releases; remaining in silence, whatever it may be… make yourself home :)
Thanks for having the stones to scout this. I think the pontiff has pissed-out enough prattle for today. See ya’ in hell! Whoops! .. We already there.
- Spanish translation by: Ars Erinyos @arserinyos
- This interview will be published in a future I Don't Give a Fuck printed zine issue.
- Discography/links/contact: https://www.gakishidosha.net/
- Some free downloads generously offered by Kikanju:
Bollock Swine - Faster Than All the Rest:
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