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Top wallop! Caffeine, kim-chi & congestion/colds – London is th “dog shit capital of the world” fo’ a reason, so I had to drag two young delinquents over from th US-of-Arse to square off with “th maddest of all mothurfukurz”… that’ll be my motherfuckin’ niggu’ Luke Stewart & ace in th anachronism Chris Pitsiokos – two gloriously endued plural-plenary-pyro-profundity-pundits. lashings of paroxysm, four venues, three recording implements, sax, multipartite electronics n’ FX pedals, African talking drums, customized Chinese gongs, electric bass, double bass, bells beyond brobdingnagian, san shins, cellos – resulting in hours of th most fervent, furious & florid shit, busting records & breaching boundaries like some kind of escaped military experiment super-being with young fuckin’ radicals on th war-path, spurring ever greater vaulting into th most manic of megrim messianics. Not shaking th foundation but levelling th whole faggot construction! Pussies get vaporized in th storm cloud/blast radius/super-nova as th beast swats convention to th seventeen corners of th galaxies asymmetrical interstellar enclosure with a flick of it’s razor mane!!! Not sure how these recordings will emerge as of yet?, most probably as “The Serpent Devouring The Banker” through some slick LP r’ CD comopository on Ethnicity Against The Error, but foreseeably elsewhere, as finally some others are braving th cordite & molten debris to take interest in th bones of slewn guardians piling-th-fuck-up in my palace moat!

A modest scantling of some of th matter evacuated can be manductaed here (Enko Ecto Explo ep). Recorded on th last day in a London living room, this is, believe it or not, th more passive of th conflag we produced

For the love of god-winkles. Brash & bray yur brains-in whilst over-articulating yur ostentatory overlapse astutist of intellectual ingenuity. Who else? What else? Three numbers from myself on this one – hunched, hacked & horpilated by Foju Fuyyu Frequency from back in 2013… th most glorious “Impetuous Improvised Intercourse” between odd-clot keyboard/synth –  voodoo Noise/FX pedal salmagundi/modulated guitar weirdness – & thus originem unoris on drums. Some of my favorite recordings from this oddest of eccentricated Poise-Spore, Abnorm Arcanum. Bolstered by the likes of who? Weasel Walter & a sax & distorted bassist cinder th city with mammoth wonderful full-spack Free Jazz to send the wankers from the Wire scuttling for their quilted-customized-cushions & powdered fucking milk & – yu get both Stentorians & Harsh Noise super-sonics from Kylie Minoise & Nyctalops, channeling the death-rays on unsuspecting office ordinance plus other offers of outstretched absurdity, all loaded onto a  pink spray-painted disc with individually hand-numbered eye-pang pro-printed full colour sleeves!! Six fifty each. Interstellar intravenous, inquiries & ingestion fluid – yaju@gakishidosha.net (also available from all participants). 

Jolt yer scuds back in bracket – summer 2011 at Menstrum Mangroves & a routine ad-lib flit from Ji Ju Dong Li/Piscatorial Boat Herder turned into this shit – subliminal pervasion from th cult flick Bad Lieutenant found residency, hence outbursts that any one that’s seen th movie will notate. Small camo- cameos from I.G. Culture (tha Rat Catcher) can also be caressed & distressed in th blacc-ground….. 100% on-th-spot improvised Phosphorus Funk, Glyph-Hop, Fuck Em’ Up turbo tangent to bitch-smack dem’ bourgeois baita’s a new bat-mobile playa! Ga-cha-ga-cha-ga-cha-ga-cha! 

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Debouching from th diaphragm – “Bells For The Southside” – a double disc marshaled by Roscoe Micthell (commanding eight entrants, m’ self included) & oozed ont’ ECM Records. This stuff was inexplicated in 2015 at Chicago’s Museum of Contemporary Art, exalting the AACM’s 50^th anniversary. Lashings of the Art Ensemble of Chicago’s original instruments were trawled from the vaults & deployed on various cuts from the album/performances. As yu can probably portend, shits an insolubly frabjous jaunt, pulling at a superfluitous plethora of para-prisms panning pantheon panjandrum primogeniture profusion profligacy at plenum pleonast. Check th previous posts for further figments. Released on June 16^th, 2017.    

A smattering of tha battering can be potated at thus coordinates  https://www.ecmrecords.com/home

Finally! Nabeg’s “Economy Equals Extinction” ep ejects out of our current crisis, designed as a digital download & free from the taint of any monetary transaction (th sum’ bitch is free jah?). Three tracks pressed into a single 33 minute cast. Although this is actually the third Nabeg release (“All Rights Revoked” ep & th “Normalizing the Nadir” ep which appears on ヘンカ！ヘンカ！ホウイコウゲキ!, all courtesy of Erst-while Antrum records), EEE is actually Nabeg’s nidus/initial detonation, all calumniated & conflicted from the same gambit session. There was no script or curriculum, just to expostulate apoplexy with the weapons at hand under intuition, impulse & indignation. & lo, Flensecore &/or Apoplexy was conceived. As a release, EEE is rougher & more slaternal production wise, which inevitably means many of the preposterous percussive intricacies are inscrutable or faint. I am however, still very fond of this recording, & naturally, as an intemperate abstract expression of such magnitude, it can never be repeated or simulated with any authentic accuracy. Death to corruption – there is always an alternative. 

Just out! – Nabeg-All Rights Revoked EP! Totally unprecedented, totally cataclysmic, exceedingly politicized anti-capitalist/anti-corporate/anti-government, moral outrage Flensecore decanting the most draconian exasperations from the Apoplexy defensive strategy (Apoplexy/Flensecore is a new genre urging & agitating on it’s own instincts & impetuosity but tracing strands of it’s DNA to Breakcore, Noise, Gunk, Grindnoise, Fray, Riot-Gear, Abnorm & Free Jazz)! Noise guitar, off-the-rails bass, live analogue Electronics/Noise, electric organ & of course – the banished beast Kikanju Baku on drums. The results are barely plausible. Four tracks in twenty-eight minutes, hand-made sleeves, unique electric blue spray-paint CDR on-body, hand numbered to 479 copies. I assure you, without pretention nor exaggeration, there is nothing like this whatsoever doing the rounds! Released by those steadfast, implacable lunatics at Erst-While Antrum. 

Erupting from uncharted origins comes th new flux polyscopic prismatica from Kikanju Baku & Taiwanese American saxophonist & analogue electronics practitioner James Fei (Roscoe Mitchell, Anthony Braxton, S.E.M. Ensemble, Weasel Walter etc) recorded in Oakland CA, summer 2016. excruciating perplexity, shocking & severe hyper-abstract absrusions & paranormal collisions hurtle into some of th most explicit terra-incognita yu will ever hear! Beyond alarmingly-excoriating, fast & technically-accomplished deflagration, this particular album screams some of th strangest, almost obnoxiously weird originality & individualism in the Free Jazz/Extreme Improvisation circumference, morphing & metastasizing over a gigantic extensity of hostile & hazardous oddness & extreme surrealist exclamation. Mastered by Jon Rosenberg (Julius Hemphill, Roscoe Mitchell, Hamiet Bluiett, Anthony Braxton etc). Seven tracks in 66 minutes. Comes in a specialized deluxe case, first edition hand numbered to x500 copies. Released by Ethnicity Against the Error, th last ululation in kinetic mutated Abnorm-Jazz floridity & precision-hysteria. No barcode, no commercial distribution & abso-fucking-lutely not available through Amazon, iTunes or Ebay! Inconvenience equals independence. 

Vent from vaults! Here’s a disinterred & revamped reissue of Kikanju’s short-lived London Grind unit from back around 2001-2002 – しぬ マザーファッキング うじむし(“Shinu Mazafakingu Ujimushi” or ‘SMU’) str8 dishin’ deft dynamic Grindcore sass inspired by Ginza girl gangs, Far East femme-fatalism, cult Manga & early 90’s Kung Fu vivacity with Jay “Chinpira” Merrifield on strings. Unfortunately, th projectile only lasted about a year under fairly contested circumstances & ended when th guitarist was rug-swept by a dame & crashed off th course in some kind of gigantic romantic man-trap! Too bad, as th prospects were thru th fuckin’ roof & th duo were only just drawing th swords fully from their scabbards. This download comprises most elements from th only two recorded sessions Shinu Maz produced on their ephemeral expedition into exhilarating octane-unto, recorded & pressed into tepodama deposits in a hall-way & a bedroom on minidisk & ol’ ass 8 Tracker cassette recorder, ergo th low-level audio whip on tha cones crown & gunge down th grip. Previously issued as two handmade CDR editions on th notorious Lo-fi Or Die Rekadz years n’ years back. Gochi-sou-sama muzrfenkr ^ ^ !!!

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Diligence & diplomacy! Producing a project of traditional Chinese orchestral, folk & Peking opera music as well as contributing th odd bit of percussion, gu-cheng, san-xin & chin-chin playing (oh, ya’ll didn’t kno eh?). It’s been a pretty anfractuous effort, due to th madness of modernity & th challenging idiosyncrasies behind the main mensch of the project, the wonderful sifu Ray Man. But fruition favors fervency & it looks like th results are going to be a bumper crop of soul-strokin’ delights ^0^ ! been messing wit’ (& being messed wit’ by) traditional Chinese music/instruments for most my life, & hopefully some of th contemporary ideations & concepts I have fostered for years (including 白鱀豚, which has clawed at th constraints of my abstraction for almost fifteen years now) will start to fruit from th pool of musicians available along with further opportunities & efforts with international  trad Chinese instrument ustads from th diaspora. More whence manifest.

& there, moored on th rocks & convolved in kelp, was this heavily coruscating review of a nigguz  kayaku–jutsu in Stockholm with mf Roscoe Mitchell!  I have shared a section below & also latched-on a rough-shod, un-mastered track (th exordium of th evening) from th conjuring & catalepsy enfilade as a downloadable Mp3.

“Baku was a marvel of barely contained hyperkinetic energy, whose movements around the onstage setup, like the loose, anxious bobbing that opens a boxing match, brought an element of dance, evoking Cecil Taylor’s hookup with Min Tanaka. Behind the kit he was even more exciting, piling concentrated breakbeat-like rhythms and extreme-metal technique onto the branch of free-jazz drumming that feels like a sustained eruption and trails back to Sunny Murray”. 

Evan Haga – Jazz Times