Electro Radiovengeance

steril

Senses

Intermission: A Fire On The Beach

feat @visaluvsu

[@me]
got a rifle keep it steady
ima blow ur fckin brains out
like confetti
pool of blood 
gettin messy
got sum fckin claws on my hands
like im freddy

got a rifle keep it steady
ima blow ur fckin brains out
like confetti
pool of blood 
gettin messy
got sum fckin claws on my hands
like im freddy
munchin on these eddies
sittin on the bed
wonderin why she came already
always keep a blade
a machete
why u talkin shi behind my back
u gettin petty 

got a rifle keep it steady
ima blow ur fckin brains out
like confetti
pool of blood 
gettin messy
got sum fckin claws on my hands
like im freddy
munchin on these eddies
sittin on the bed
wonderin why she came already
always keep a blade
a machete
why u talkin shi behind my back
u gettin petty

always call me esdee 
cuz im scouse
theres sum bitches in the back
but they ugly so ima bounce
we take yo loot from yo house
yo bitch said u ugly
dats why im in her blouse
i will never talk 2 a clown
and my finger jiggy
bouta shoot like 20 rounds
we gone hack into yo acc
if u got smth 2 say
then u betta say it now


[@visaluvsu]
back up off me, bitch im drunk movin slomo 
i caught him in the woods n i sent em to the wendigo
like bitch u broke asf, go n eat yo lil spaghettios
like ya im doing trigonometry im off the eddie tho
back to the class, fade as fuck, i cant think straight
i caught a pred lackin n i taught bro how to castrate
if u fuck w the gang we gon leave yo ass on yellow tape
im with risk in this bitch n we boutta hit a parlay x2

goodbye lol + visa (cam58)

#RNDOriginal #rednemesisdog :- ‘Original’ musical evolutions and experiments using  samples from: #teenageengineering #polyend #ep1320 #polyendtracker #akaimpkmini #stylophone #hawaiiangosling  on a Polyend Tracker.

Last Dance III Reel aRreNnDee

I forgot how to feel

Hard Wired

Re-Birth

Barcode

Infra Red Combat

Circuitry

Circuitry (Complexity Remix)

REPEAT - DELETE: “TDK ULTRA”.

Sound Is A Disease.

Repeat – Delete is the collision Marc Plastic and I make occasionally when we’re not making “other”. It void of maps or fence posts and claims no allegiance to anything. 

Recorded at Marc’s Plastic Studio last week. Completed in about two hours between working on last Prude shreds, possible Machine God ideas and a track for Plastic’s solo record (It will be utterly stellar. He’ll be in NYC in September to finish it off with Daniel Ray and some of the NY Dolls, the fucker.)

TDK ULTRA is an atavistic offshoot from the cancerous pus-filled sac of “Leichenschrei” via TG’s “Violencia (the bullet)”. There’s a semiotic semi-nod to Towers Open Fire and Break Through In Grey Room as well. It’s inspired by a piece I wrote that’s a textual collision of MK Ultra history and a treatise on Brian Eno’s pioneering use of tape loops in the early 1970’s. The texts side-by-side just naturally seemed to want to coalesce, blur themselves together into a re-imagined chimeric muscle-twinge that spreads to the cortex. 

We recorded the text four different ways, from shouting to intimate whispers. Marc then layered and tweaked them aggressively, panning some parts in utterly unpredictable ways. The resultant smear tasted succulent yet reached for more. We’d spent the morning listening to Mother Head Bug’s “Zambodia”, the genius creation of Dave Ouimet who started Cop Shoot Cop then went on to play with Foetus, Swans, Railroad Jerk and countless others. “Zambodia” is classic Lower East Side music from the late 80’s/90’s yet moves further afield than most of the bands they were associated with. They engulfed gypsy music long before it was post-MTV mass pop’d as hep courtesy of the comical Gogol-verse. They absorbed and mutated klezmer, rock, carnival music for the freak shows and children’s rhymes for young lepers. So, as I was standing in the bathroom with Ouimet’s demented creating cycling as smoke in my head, I heard someone in the yards outside using their phone. Old-style, the beeps of the numbers as they were keyed floating a tone and rhythm up to me through the open window. I scuttled insectile back into the studio mumbling some shit to Marc about the melody and rhythm from my fevered imagination and he did what he does so well which is to translate my bizarre creative wrestlings into flesh, strange and bruise-colored flesh. Thus reared the scratchy, gritty oscillating tone that slurs through the second half.

This excision may seem like a desultory and not cognate, but there’s so much material that urges for egress from us both, and so much that’s germane in some way or another, that it just feels necessary to uncork it.

......use sub-aural frequency blasts erase memory while playing tape loops of noise or simple repetitive statements simple patients repetitive statements simple repetitive.....

TDK ULTRA

‘But Never Quite Making It’ 
Django and Marc Plastic with some input from me. 
The music’s played mostly by Django with the occasional riff from Marc and some moans and static clicks from me and Plastic. They experimented with Marc’s recently repaired Moog Opus 3, Marc showing him different ways of creating sounds, various approaches to getting the best noises from the Moog. They played and recorded and built up dynamic layers until they had the basis of the sound piece, Marc masterfully snipping and clipping, arranging and modulating, massaging and effecting each of the strands until he’d woven a distinctly disturbing piece. Django was utterly absorbed by the whole process if a little speechless at the complexity and sheer scale of what’s possible. We were thinking that it’d be cool to have D sing on it, but he wasn’t convinced deciding instead that he’d like to recite a poem he’d written about a month ago inspired by the book he was reading called ‘Varjak Paw’. He remembered most of it but we had to improvise the second verse a touch. His delivery’s just stunning, patient and dynamic. Overall a killer post-Halloween piece.


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