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Funeral Parade Of Roses

Posted on 27.12.21. - 27.12.21. by ae

Around 2018 or so, I had the idea that I wanted to step back from the multimedia project Auton as my primary outlet for songwriting and production.  While I am still continuing work as Auton and enjoy participating in that project, I felt constrained by the somewhat “impersonal” subject matter which is concerned largely with exploring moments of mass rupture – often doomed to counterinsurgency and recuperation – and what they mean decades later on. I felt as though it has very little to do with my daily life, the type of mundane grind which is more frequently escaped in personal engagement with art, literature, poetry, film, etc.  My immediate desire to have an outlet for exploring themes and motifs beyond those which I felt able to explore in Auton (or DJing for that matter) led to a project with different rules, tone, etc – one where the music, visual art and text is grounded primarily within myself, not some abstraction of identity or historical occurrence.

What resulted is the project Funeral Parade Of Roses, the first LP of which has been released by artist-run multimedia label Lost Soul Enterprises ,  Although this project is – as mentioned –  a sort of egoist meditation on self-negation and identity, I would be remiss to not give credit to the source upon which the project is named  – Toshio Matsumoto’s 1969 movie “Funeral Parade Of Roses” similarly explores themes upon which my referential project is intended to explore.  I encourage everyone to watch the film, which is available via archive.org if not accessible elsewhere.

 

This self-titled LP contains four tracks, all of which are meant to serve as audio accompaniment to four sections of stream-of-consciousness poetic verse contained in the accompanying booklet. The sonic palette is awash with dour industrial soundscapes, plundered and de/re/composed samples, and rhythms ranging from deep machinic throb to frenetic recut breakbeats.  The text is a meditation on themes of desire, abjection, the utopian project, religious and secular forms of eschatology, the traumatic bonds forged in the margins of society, and a self-negating anarchic individualism that borders on the search for something spiritual and/or meaningful.

Honestly, it’s the most vulnerable I have felt releasing music and text – and yet while proud of the work I have put forth – I recognize that this type of vulnerability and experimentation is rarely regarded carefully by society writ large.  I am content, however, to be speaking to a much smaller audience intentionally – one which is willing to engage with these themes and artistic decisions on their merit as part of a greater project as opposed to a collection of “products’ which can exist outside of their context or in a vacuum.

I am deeply indebted to my friend Priscilla Genet, whose skillful illustrations adorn every element of this physical release.  Her work on the project Organ Bank and in various self-published underground comics is a testament to her range and visceral style – one whose own visual aesthetics so naturally suits this release and its themes.  This release would not be the same  – or indeed, even quite possible – without her collaboration and hours spent working.

I am also deeply thankful for the engineering and mastering job done by Alex Michalski, whose careful advice enabled the project to be possible and legible and heard as-intended.  Dietrich Schoenemann cut these dubplates and the records were pressed at Archer in Detroit.  The zines were printed by Outlandish Press in Cleveland Ohio.  Richard Gamble had the thankless job of assembling, stamping center labels, and packaging everything – and has done an incredible job placing time, love and faith into this project.

This LP and Zine is limited to 200 copies, and is available here

You may check out samples of the four audio tracks via the Lost Soul Enterprises soundcloud:

Lost Soul Enterprises · Funeral Parade of Roses (LSE16)
Posted in Funeral Parade Of Roses, General

Emerging From Isolation

Posted on 22.09.21. - 22.09.21. by ae

Genuinely excited to leave the house for an evening amongst friends at Collision warehouse in sunny Pittsburgh.

I will be playing leftfield selections in the ambient room throughout the night, punctuated by live performances and accented by live visual manipulations. 

The main room will feature high-caliber experimental electronic live acts as well as DJ sets from Machine Girl and Spednar. 

 

Guests are encouraged to wear masks, and only attend if vaccinated and/or presently testing negative for Covid-19. 

 

Come join an experiment in temporary autonomy and free association for an evening – the grinding hell of daily life will resume promptly in the morning.

Posted in General, Mx. Silkman

Seith Communiti Imprint – Spring 2020

Posted on 15.04.21. - 22.09.21. by ae

Four new releases to mark the passage of endlessly-decomposing linear time under the spectacle-commodity form.  All four releases in this batch are drawn together in their very perceptive ability to capture and render the themes of architecture, detritus, decomposition, madness, imaginings of (no-)futures, a sense of crumbling self and society under the auspecies of spectacle and its conception of historicism.  Read the relevant sections of Guy Debord’s “Society Of The Spectacle” for greater insight and elaboration than I am capable of in this moment.

 

 

SC.011 – Pure Rave – Gallons c-32
Detroit experimental turntablist collective PURE RAVE has presented the label with an audio document of their exploration of the wreckage of the consumer and commodity. Through not only the records they select for sampling, altering, loop-cutting and manipulating – but also through the reappropriation and modification of consumer electronic goods (the turntable, the mixer, the drum machine, the CDJ, etc) – the collective (here, helmed by newest addition Will Lawson) is able to deterritorialize sound from its intended context and use (whether for entertainment / home listening, industrial trade use, political propagandizing, or the function that dance music records serve as a fundamental tool in the kit of the turntable operator) and then reterritorialize it upon a plane that presents its thesis – the creative destruction of sound-commodity-as-detritus, the fragility of the consumer supply chain, the decomposition of history within the commodity-spectacle, and the function of an art that reappropriates this deconstruction as a unique object of purpose.  This release was mastered by K. Bednar, layout and design by Seith Communiti, digital print on heavy card stock by Outlandish Press.  Limited to 50 physical copies.

 

Read the Pure Rave manifesto here

 

 

SC.012 – Solanaceae Tau – Architektura Psychedelia c-60
Originally released on Prion Tapes in 1988, this cassette by prolific Frankfurt-based industrial act SOLANACEAE TAU captures the group at a point in refining their signature sparse, troubling sound architecture that melds anarchist-communist anti-art, critique of German mass-cultural psychology and the suffocation of nightmarish cybernetic dystopias. Here presented faithfully using scans of the original artwork and audio masters (with slightly updated layout and design), one is able to witness Solanaceae Tau’s melding of piston-driven rhythmic noise, angular punk scrapings and somber trance-state spoken word into a syncretic anti-music that draws daggers with the liberal fantasies of West German society and it’s sterile ambitions. Special thanks to Andreas Kirchner, Abdallah Siblani and Shane English. Original art by Solanaceae Tau. Layout by Seith Communiti, digital print on heavy card stock by Outlandish Press.  Limited to 50 physical copies.

 

 

SC.013 – Andrew Nolan – Black Creek c-38
Following a series of solo releases for Canadian imprint Absurd Exposition, Toronto-based producer ANDREW NOLAN has constructed eight dizzying compositions that fuse elements of super-heavy dub, industrial hip hop and anxiety-ridden synth music into a brutal cosmopolitan synthesis. Black Creek is an attempt at assembling elements of the sonic psychogeography of 1980s Leeds, UK, and then reducing it down to what remains – “Radiophonic Workshop reimagined as a soundsystem,” in the artists’ own words. The tracks are tinged with a kind of subliminal horror and nauseous miasma, bleeding unwell energies from one track to the next, weaving coldly through uneasy dreamlike ambiance and intense peaks toward a somber epilogue. Layout and design by Seith Communiti, digital print on heavy card stock by Outlandish Press.  Limited to 50 physical copies.

 

 

SC.014 – Kem C. – Shroud zine
Seattle-based graphic artist KEM C. presents a beautifully-rendered collection of xerox collage and text that builds a gestural narrative around the themes of historicism and decomposition.  This 12-page zine presents works that combine scenes of crumbling architecture, cartoon-sprites, civilizational detritus and the use of xerox and digital collage to explore the meta-narrative themes of decay embodied by the medium itself.  This physical-edition-only zine is printed on heavy white stock with a card stock jacket by Outlandish Press. Limited to 50 copies.

 

All releases are available to stream and in physical format via the Seith Communiti bandcamp page.

 

 

Posted in General, Seith-CommunitiTagged Seith Communiti Imprint

Without Hindrance

Posted on 30.01.21. - 30.01.21. by ae

Hello all,

I am pleased to announce “Without Hindrance”, my latest release under the conceptual multimedia alias Auton. This cassette tape and zine of critical text is being released by the San Francisco-based label Left Hand Path

Without Hindrance by Auton

From the website:

Left Hand Path is proud to welcome “Without Hindrance” – the latest in a series of mixed-media releases from Auton that explores the nature of insurrectionary rupture and the possibility to challenge the hegemony of power and violence held by the State. Following up on 2018’s “La Lotta Continua” for Jacktone and the 2019 “Tute Bianche” EP (and its subsequent reconstructions) via TRAM Planet, “Without Hindrance” exists as a study of the events of the May ’68 uprising in France, its capitulation to the spectacle of electoralism, and decline brought on by the failure to seize upon the moment of ultimate potential.

This release is housed in a clear vinyl bag and contains a professionally dubbed and printed audio cassette, featuring four original Auton tracks written between 2018 and 2019, as well as four reconstructions of these tracks by Andrew Nolan, Nihar, 51717 and Chaperone.

Also included is a full-color professionally-printed zine written in early 2019 by AE and anarchist tactician Tom Nomad (author of “The Master’s Tools” and “Toward An Army Of Ghosts”) which explores the ritualized behaviors of the radical milieu, the nature of the State and its capacity for intelligent evil, and ways forward that draw from the tradition of The Situationists in their articulation of a decentralized and constant insurrection of daily life.

The various elements of the release are drawn together with gorgeous hand-collaged artwork by Ashley Hohman, whose flair for brutal psychedelia compliments the techno-paranoiac sound and elegiac prose.

 

I wrote much of this music and text while living in Cleveland in 2018-2019, and am pleased with being able to release it now in 2021 and find I am still satisfied with it as a whole.  The text written in 2018 in particular – both my own as well as Tom Nomad – has aged quite well, given the lessons that 2020 has taught us as anarchists of uprising, momentum, electoralism and the recuperative force that can be mobilized in the service of counterinsurgency.  If an addendum to the zine is needed upon the light of retrospect of the last year that clarifies those writings absolutely, it is that the idea of creating constant insurrection out of the spontaneous conditions of everyday life are those which are the least able to be contained by the state or it’s allies of far-right and liberal counterinsurgents. The leaderless, spontaneous and brutal acts of incendiary uprising against the state are those worthy of solidarity and valor – the nameless actors responsible empowered others to act in a similarly uncontainable fashion as true partisans of their self-interest – namely, in acting without remorse against the structures and manifestations of the state. The great spectacles of mass mobilization that followed in their wake served various emotional and symbolic purpose – valid at that – but easily guided away from destabilizing potential by liberal reformists, communist organization opportunists and – although Joe Biden’s election was hardly a referendum in favor of Black autonomy from police surveillance and  violence – democratic party electoralists.  The critique of electoralism’s role in the dissipation of energy in the May ’68 uprising is echoed by the even-further-decomposed election of a political regime whose favor is less in naked aggression, but in “smarter” and “community-led” policing – just as violent and monopolistic on force but with the veneer of technocratic liberalism to appease well-to-do liberals who found the idea of the police as the previous administration’s footsoldiers only-momentarily distasteful.

An additional point that is worthy of return in 2021 is how the culture of conspiracy theory, state-hegemon campism, deep state subterfuge and false-flag narratives has deeply infected the left. The constant rumination of the left on agent-provocateur activity was a running theme that resulted in counterinsurgency within our own milieu – in its least materially-consequential form in seeding the paranoiac belief of the state as an all-powerful actor imbued with a malignant evil; and in its most consequential, resulting in the left doxxing insurrectionists and aiding in the repression of the movement in an appeal to liberal respectability. To act, we must recognize that the state – while able to crush individuals and groups in its particular and narrow sights – largely relies on the implict promise of surveillance – the spy at the door, the bug in the lamp, the informant in your social circle – rather than the direct manifestation of this surveillance in real-world spaces.  Although the state- in an effort to endlessly perpetuate its existence against those who declare themselves sovereign of it’s control – does choose to target and entrap people in our movement, it does this largely to create a mystifying  and repressive cybernetic omnipresence upon which it can rely to paralyze us from acting.  Feeding into this strategy of repression by casting every act of insurrection as somehow being a scripted move in the deep state master plan (a spurious entity at that – Leviathan doesn’t need to hide deeper within itself) results in nothing but militants unable to act, and too fearful of their communities to keep silent.  The accelerating decomposition of politics and reality will no-doubt exacerbate this paranoia, and it thus is something I believe will be with us all through this next wave of repression.

(Note: if i find more within my readthrough of the zine that I find relatable to life now, I will try to circle back and include it here for organization’s sake.)

I want to take the time to thank all of the people who helped bring this Auton release to the public – the crew at Left Hand Path including especially Nihar, Chris, Jason, Brian and Sylvia; Mark Pistel for his careful work on mastering this release; Tom Nomad for being a mentor, trusted friend and collaborator; Aragorn! for being a foundational presence- Rest In Power; Kyle at Outlandish Press for printing the zine; the remix artists Andrew (who also introduced me to the Situationists’ writing), Lili and David; and of course Ashley for her beautiful collage pieces that drew these pieces together as a singular item.

Please support the label.  Digital and physical versions of this release can be found on their bandcamp page.

I hope that the first month of the new year has treated everyone as least-poorly as can be expected in this time – thank you for your continued support.

Love and solidarity,

ae

 

Posted in Auton, General

Seith Communiti Imprint – Winter 2020

Posted on 15.12.20. - 29.01.21. by ae

 

The latest round of releases on Seith Communiti Imprint is now available for purchase.  I am proud to announce that these releases were all lovingly assembled with the care and attention to detail I would give releases of my own – and it has been an important and humbling exercise releasing five (!) simultaneous releases that are all by artists other than myself.  I would hate for Seith Communiti – despite it being largely inextricable from my personality – to be viewed as a vanity label to simply launder my own output unfettered by others’ input. It has been an entirely new experience over the last ten releases learning to embrace a curatorial role and connecting the dots between these artists’ work as something I am invested in proliferating and being influenced by as much as I am allowed to have an effect upon it.  This realization of the balance one takes on as a curator and custodian of others’ work is a lesson I’m honored to be able to learn – and I extend a warm and humble thank you to all these artists past, present and future.

All titles are available via the Seith Communiti bandcamp page .  Items will ship following Christmas.

SC.006 – Expugnantis – Old Raptures c-58 

A stunning document of technoid constructions, fusing deep propulsive analogue rhythms, submerged textural synthesis, industrialist tape experimentation and concrete dub malaise. This long-overdue rerelease grants a physical format to a sublime collection tracks recorded between 2013-2014 by Marcus Mtshali in Columbia, South Carolina. Limited to 50 hand-dubbed cassettes and limitless digital edition, mastered by Kevin Bednar.  Cover photography by Marcus Mtshali, layout and design by ae, printing by Outlandish Press.

SC.007 – Forbidden Colors – La Yeguada c-38

La Yeguada marks a beautiful shift in direction for Enrique Hernandez’s rhythmic noise project. Stepping away from (but not fully abandoning) the project’s harsh industrial roots, Hernandez makes use of confrontational electronics, shattered breakbeats, and lush synthesizer to render a portrait of their own autonomous existence and familial identity filtered through the historical lens of Panamanian resistance to the United States’ lust for dominion.  Limited to 50 hand-dubbed cassettes and limitless digital edition, mastered by Kevin Bednar.  Layout and design by ae, printing by Outlandish Press.

SC.008 – Béton Translucide – Chalet / Vortex c-22

The sound of a stinging 1987 Belgian winter locked away in a top floor studio apartment, plugging away at synths and rhythm machines in the hope of soundtracking a spun-out dungeon club rendezvous when the ice has finally thawed.  Sublime moments of ascetic minimal wave, bounding synthpunk and warbling acid take shape over the course of this brief demonstration.  Repress of the very limited cassette on Glacial Communications. Limited to 50 hand-dubbed cassettes and limitless digital edition, mastered by Kevin Bednar.  Layout and design by ae, printing by Outlandish Press.

SC.009 – Toward The Total Human: A Pandrogynist Communist Manifesto zine

A meditation on identity, negation and totality.  A New Institute For Social Research presents their ruthless critique of neoliberal gender performativity, proletarian valor, and a society which robs us of the potential for Being. This new physical zine edition includes a brief preface and full-color illustration by ae.  Limited to 50 physical copies, text available at isr.press.  Layout and design by ae, printing by Outlandish Press.

SC.010 – David E. Coccagna – I Watched The Dog Go Hungry chapbook

A sprawling mixed-media collection of poetry, prose, found object and xerox collage that ruminates on hazy summer-hot acts of self-harm, antihistamine-chewing abjection and territories of profound alienation. David E. Coccagna has distinguished himself as the creative force behind multi-disciplinary act Chaperone, whose sound art and writing has come to be associated with Bedouin Records, Enmossed, Great Circles Records and his own new venture Emmanuel Vincent Presents.  It was an honor to allow him the space to create such a stark and emotive longform work, especially one which explores such claustrophobic psychological terrain as this.  Limited to 50 physical copies with cardstock band. Additional layout and design by Priscilla Genet of Organ Bank, printing by Outlandish Press.

 

 

Posted in General, Seith-Communiti

Thoughts On Harm Reduction, Activist Moralism and The Rave in the Era of COVID-Permanence.

Posted on 03.08.20. - 02.11.20. by ae

This is the summation and archiving of an insane screed I fired off on Twitter before 10 am on a Monday.  Normally, I would be loathe to participate in the discourse on a level worth importing to my space for more serious organized thoughts (here), though it felt relevant to stem the bleeding of the moralist hearts in the cursed body where it lies.  However, these points I make are worth keeping track of here – even just for my own reference.  These thoughts refer to the idea I have cited before, of a sort of Era of COVID-Permanance, wherein no infrastructural solution is coming and that abandonment is intentional – and that time has become largely a (more) meaningless construct for demarcating the passage before we can “return to normal”, a metric that has become futile in an era of mass-death, hyper-atomization and the decimation of joy or possibility for any existence that isn’t centered around the approved-risk of commerce or labor. 

These thoughts are largely inspired by several (increasingly weekly, following clandestine weekend gatherings) waves of sentiment regarding illegal outdoor raves in various cities that advocate for social shame and stigma as a self-policing solution, up to wishing “raids” (aka armed police violence) on these functions. Now, while I may be staying largely isolated and avoiding gatherings besides going to my job (something we have all suddenly agreed is the “most moral path!”) and don’t personally have any desire to go to an outdoor rave or anything resembling it at the moment, I do see the value in having conversations around harm reduction for these types of events and spaces – and recognizing that moralism surrounding decisions that one personally disagrees with isn’t compatible with the idea of reducing harm for people with the agency to make choices – even bad ones. I would like to extend the thank you to friends who have helped me process these thoughts – both now and throughout the rocky ages of learning between 19 and now, where their existence and lessons helped me learn to question the assumptions that pass for “moral clarity”.  Some are edited slightly for linguistic precision:

Something about the “shaming IS harm reduction” idea makes me think that there is maybe a fundamental misunderstanding of the purpose of intracommunity harm reduction. The platitude “killing the cop in your head” refers also to forgoing moralism and whatever “mutual understanding” you wish to see enforced on people who have not been consulted – and simply exploring the possibilities of mitigating harm within the terrain that they exist. Shame-as-social-control creates authority in spaces that have no use for it, and creates resent among the people cowed into the petty authoritarianism of clickbait morality. Confronting the material reality of a plague with evangelizing moral authority didn’t work in the 80s and 90s and won’t work now. Condoms work. Needle exchange works. For people so hung up on historical materialism, maybe once in a great while it wouldn’t hurt to learn from it. Health-based harm reduction and prison / policing aboltion have a lot in common – much of that (perhaps the greatest hurdle to the “activist” in embracing this point of view) is recognizing the intentional limits of moral authority on doing anything to improve the lives of those being controlled. Does this look like mask-handouts at illegal parties? Drinking straws that can be inserted below masks? Working with organizers to build spaces where safe distanced gathering can occur? Maybe! Would all this be harder and less immediately rewarding than the moral crusade that passes for “activist DJing”?

Caring about your community means recognizing space for activity that may make you uncomfortable or not want to partake in. Using what small amount we have learned to help people make safer “bad” choices is better than creating shamed space where only unsafe “bad” choices occur. Staying home is a fine choice, and one I’m currently doing besides my day-job. But shouting from the windows about good and evil betrays the longing to return to the spaces of alienation and authoritarianism (the club, its infrastructural industries and power dynamics that enable capital)  we wanted to leave behind. It is harder to confront COVID-permanence with solutions rather than the moral dialectics that weren’t working last winter. In the immortal utterance:

The spectre that many try not to see is a simple realisation — the world will not be ‘saved’. Global anarchist revolution is not going to happen. Global climate change is now unstoppable. We are not going to see the worldwide end to civilisation/capitalism/patriarchy/authority. It’s not going to happen any time soon. It’s unlikely to happen ever. The world will not be ‘saved’. Not by activists, not by mass movements, not by charities and not by an insurgent global proletariat. The world will not be ‘saved’. This realisation hurts people. They don’t want it to be true! But it probably is.
These realisations, this abandonment of illusions should not become disabling. Yet if one believes that it’s all or nothing, then there is a problem. Many friends have ‘dropped out’ of the ‘movement’ whilst others have remained in old patterns but with a sadness and cynicism which signals a feeling of futility. Some hover around scenes critiquing all, but living and fighting little.
“It’s not the despair — I can handle the despair. It’s the hope I can’t handle.”
The hope of a Big Happy Ending, hurts people; sets the stage for the pain felt when they become disillusioned. Because, truly, who amongst us now really believes? How many have been burnt up by the effort needed to reconcile a fundamentally religious faith in the positive transformation of the world with the reality of life all around us? Yet to be disillusioned — with global revolution/with our capacity to stop climate change — should not alter our anarchist nature, or the love of nature we feel as anarchists. There are many possibilities for liberty and wildness still.
What are some of these possibilities and how can we live them? What could it mean to be an anarchist, an environmentalist, when global revolution and world-wide social/eco sustainability are not the aim? What objectives, what plans, what lives, what adventures are there when the illusions are set aside and we walk into the world not disabled by disillusionment but unburdened by it?
– Desert, 2011.

(note: although this does refer explicitly to climate activism, the lesson of this passage is indispensible in confronting the many types of activist mindset that falls short in confronting seemingly impossible infrastructural issues that plague existence – either confronting the reality of biological agents of mass death or the ideological constructs of civilization which also cause mass death in a way that is normalized.)

Posted in General

Seith Communiti Imprint – Summer 2020

Posted on 17.07.20. - 29.01.21. by ae

Following our inaugural release of the Dungeon Acid & Mx. Silkman tour tape “Kängraven // Drömmusik” , I am pleased to make available four new releases on the Seith Communiti multimedia imprint.

 

SC.002 – nonsite – in error (c-36)

Five tracks of churning technoid gravel written and recorded by nonsite.  Moves seamlessly through shredding Den Haag-esque fallout zone rave, unnerving modular freefall pinned onto half-time thud, and field-recording-augmented languid dub for hot concrete rooms. Mastering by K. Bednar, album artwork by Derek Peel.  Limited to 50 copies c-36 physical edition and digital download.

SC.003 – Mirai – Total Crash (c-46)

Four propulsive tracks awash in freeparty psychedelia. High-BPM excursions for jubilant neo-illegalist rejoicing around the communal tire-fire. A fullthroated howl in defiance of the technostate.  Tracks assembled by ae and Ben Versluis (aka Worker/Parasite). Mastered by K. Bednar.  Art and text by ae.  Limited to 50 copies c-46 physical edition and digital download.

 

SC.004 – Tom Nomad – “Pacifism”

An unearthed text from 2009, with haunting relevance still today as we fight for total liberation against the state, the spectral terror of fascism and the recuperation of rage by the neoliberal handmaidens of order.  Anarchist writer and tactician Tom Nomad, author of “The Master’s Tools” and “Toward An Army Of Ghosts” presents us with an unmasking of the polite authoritarianism of pacifist activism and a plea to break free from the will of the peace police towards the goal of confounding and destabilizing the state. 20-page zine, limited to 50 copies with risograph-printed jackets.  Physical edition only. Full text is freely available via The Anarchist Library, unauthorized reproduction is encouraged.

 

SC.005 – Farplane – “Four Rights Of Transmutation” 2xc90 mixtape

Farplane is a Chicago duo known for their longform meditative assemblages that focus on deep and intentional listening, hazy textural sound and submerged rhythmic psychedelia.  Here, they have assembled an ambitious mix that amounts to a nearly-three-hour exploration of both Love and Fear.  There is a small amount of empty space at the end of each of the four cassette sites – a brief pause at the seams of each movement that allows the silence of the room to wash over the listener before indulging in the next spiral. Selected and arranged by Glenna Fitch and Alex Bond. Mastered by K. Bednar.  Limited to only 23 copies, physical edition only.  Proceeds from the sale of these physical copies (beyond the costs of mastering and printing) will be donated to The Okra Project.

 

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All releases are available in physical (or for some, digital) form via the Seith Communiti bandcamp page. 

This expansion of the project Seith Communiti continues as a more formal multimedia imprint that shares the name of this, my personal website. My aim is to create a platform and physical relics of subversive, autonomous, experimental and challenging art across mediums of text, art and sound. I hope to use this platform to release objects by artists whose work I enjoy. It is a Do-It-Yourself operation without desire for participating in the structure of professionalized gatekeeping and greased-palms of PR and paid “journalistic” coverage. I simply hope to leave behind a small pocket of interesting subcultural objects for people to encounter now and sometime in the future – just as I and my likeminded peers have done in our search for objects embedded with ideas and experiences unique to time and place.

As far as transparency goes, it is my intention to give artists participating in the imprint 20% of the physical edition of their product to be sold at their discretion.  The remaining 80% will be sold to fund further editions of the label (except for mixtapes, where the proceeds will be donated to various political causes beyond the cost of production).  Digital sales will be distributed at a rate of 40% to the artist, 10% to the mastering engineer and then the remaining 50% donated to various political causes and mutual aid funds.

All orders will ideally ship within a week of purchase. Please allow time for items to arrive given the current strain facing the postal system.

ALSO – item SC.001 is available for streaming from our bandcamp page but is SOLD OUT in physical form.  Please do not purchase this item digitally from us (it is listed at $777 to discourage this).  The Dungeon Acid side of this split tape is available for digital purchase directly from Jean Louis’ bandcamp page.

Be well,

ae

Posted in GeneralTagged General, Seith Communiti Imprint

The Spectacular and The Mundane

Posted on 27.06.20. by ae

I am trying lately to organize my thoughts – a daily struggle – and figured jotting down some notes was overdue. In spite of my COVID-related layoff in March, my partner whom I cohabitate with and I are both “essential” workers – something that I embraced at first because being beholden indefinitely to the meager scraps of care from Unemployment Insurance would be a wager against my well-being further into the long-run of this grinding horror that has become reality. Although I am fortunate to be working at a job which is 1) fair-paying, 2) reasonably safe and 3) low-traffic, I cannot help to fear for my partner who is stuck at the mercy of leviathanic corporate grocery retail and their will to pursue massive profits at the neglect of their labor force.

There are many aspects of COVID that have made the contradictions offered by capitalism, technology, news media, faith in institutions and civilization become plainly visible – though the smug pop-Marxist platitude of it being a radicalizing “class consciousness” moment strikes me as tone-deaf to the fact that these realities were all largely known to the oppressed well before COVID made this undeniable to people further from struggle than the average reformist. However, despite the spectacular event of mass death set among a backdrop of total infrastructural failure and unabated capitalist acceleration, I am horrified at success of the concerted effort to transmute spectacular horror into a kind of mundane white noise that becomes a horrid new tone in the putrid-but-familiar miasma of alienation.

A haunting reality has been pointed out in Umair Haque’s recent essay where he describes the increasingly-real possibility of a kind of COVID permanence – a state of COVID never going away much like the pre-enlightenment plagues. However, the reality of COVID permanence and the conditions which cause and are effected by its arrival presents a kind of capitalist and civilizationist realism wherein there can also be no future beyond that of one dominated by not only the amoral entity of COVID but also the inextricably political realities of the things that come along with it (massive unsolvable death along racial and class lines wielded as a political weapon, techno-solutionism that abets the building of surveillance state, deeper precarity within labor markets, the hyper-regulation of borders and movement, social atomization and the further degradation of human life to solely being useful as a body meant for buying products and selling labor with no ability to have social function beyond these interactions, etc). It is remarkable (in the most horrifying sense) to see how quickly this becomes just another part of the Ballardian dystopia of daily life. A climbing death toll that tears through racialized, disenfranchised, poverty-stricken, and infrastrucally-unsupported people has scarcely been given the gravity it deserves since the numbers climbed past 100,000. People’s tacit acceptance of the inconvenience of a “new normal” becomes the acceptance of a reality plummeting us into a social and political death that becomes the dingy wallpaper to a new 9-to-5 work-from-home office furnished and sustained with boom-times tech-abetted consumer software platforms and the scolding performative moral outrage that only those that labor under the delusion of middle class aspirations can have for those attempting to survive without a safety net.


My thoughts haven’t been entirely focused on the reality of COVID’s choking restructuring of life. I am deeply inspired by and supportive of the uprisings against the state following the police murders of George Floyd, Breonna Taylor, Tony McDade and the 120 who have been extrajudicially murdered at the hands of the state since Floyd’s death. Although it is beyond my ability for commentary beyond solidarity – the voices and actions of Black people in the streets (including not only the Black anarchists and autonomists but also the masses of people fighting for their humanity beyond the gaze and approval of white activism and ideological perspective) fighting for the abolition of the police, prison, the state, the colonial project, empire and the domination of whiteness have been immensely important in dismantling and disrupting the non-profit activist industry that would hope to channel the mass-mobilization of people’s outrage into the channels of ritualized activism, non-profit advocacy liberalism and begging the state for crumbs of reformism.

Despite my awe at this unapologetic demand of freedom, I find myself distraught that the struggle is beset by a fight not only against the state and its forces of maintaining order (whose matrix of technologically-assisted surveillance and militarized force enables them to repress, disinform and target organizers and radicals like never before) and organized fascists (whom I had a harrowing but necessary run-in with alongside fellow radicals invested in community self-defense), but also – perhaps shocking no one, the hobbyist class of liberal apologia and scolding that seeks to maintain their status quo at the expense of the oppressed.  It is nothing new to see the liberal / professional class / non-profit sector so quickly attempt to derail the goals of unconditional autonomy and dignity with their bland pleas toward respectability, order and reform – nor will it be surprising to anyone when these pleas fall on rightfully deaf ears.  One powerful tool that the liberals have in their arsenal – especially manifested in the conditionally-supportive white allies to the struggle – is once again their ability to make all of this into something mundane, normal and just a part of a dystopian realization of the present that cannot be addressed beyond noting it as some unsolvable and inevitable condition of reality.

It is the principle of the anarchist to fight alongside the oppressed to dismantle the conditions of civilization that make everyday life unlivable, and to embody this fight in not only spectacular activities, but also in the mundane activities that we must interrogate to find pathways toward autonomy from the grinding hell of civilizational, statist, capitalist, white supremacist and carceral realism.  Doing less than that is falling short of our commitment to solidarity with the oppressed and their fight for autonomous existence, and betrays our own desire to let the horror of domination and alienation become something unimpeachable and unchallenged as part of the miasma of dread to which we resign in our weakest moments.


While I feel no need to necessarily make this scrawl of thoughts pertain to music – I do realize that that is what the handful of people reading this find relevant. Perhaps it is sufficient to say that dance music is lower on the list of preoccupations and things I have been dedicating energy toward but it is certainly still there. The collapse of the dance music industry in the COVID pandemic has had unsurprising consequences; it’s amoral suffocation dismantling the most luxury-oriented capitalist-infrastructural careers, outlets and spaces with the same moral blankness by which it dismantled the precarious careers, self-supporting artists, spaces and outlets for independent and challenging thought.  Much like the above point, only the force of unmaking is in itself apolitical; rather, the conditions of alienation, power, labor and precarity have now only been heightened across the scene. However – my hope and personal investment is (and always has been) that a reshaping of goals, a building of autonomous infrastructure and an abandonment of aspiration toward luxury-commodity dance music careerism becomes a post(???)-pandemic guiding principle by which we can begin to rebuild the scene.

Also, it should be noted that we have been given the rare opportunity to use the amoral leveling of our scene to rebuild and remake it in such a way that absolutely must incorporate the wishes of Black artists and founders of the genre and support the calls for artistic and financial equity, access to power and resources, representation, foundational acknowledgement and recentering of the genre upon Black expression and the struggle for autonomy and dignity.

This restructuring is achievable in the underground in a way that the capital- and resource-hoarding infrastructure built by the luxury-commodity techno industry will never be truly able to embrace (these are the professional backstabbing liberals of our subculture and must be identified as the enemy, despite what they offer to us as artists wagering our precarity for a taste of their resources). If we waste this opportunity and remake our scene as part of the shallow myopia of white-kid DIY culture with a 4/4 kick, then we will have wasted a critical opportunity.

Posted in General

Bodyhammer Variations

Posted on 03.02.20. by ae

 

I am happy to announce the release of the “Bodyhammer Variations” EP of remixes EP that I composed and arranged from the tracks on the “Tute Bianche” EP on TRAM Planet Records.  I have previously posted a mixed and extended version of these tracks (in a draft stage) for a mix as Auton, and these four tracks represent edited and streamlined forms I am proud to release to discerning selectors.  Mastering was done by Alex J. Michalski and artwork was produced by C. Parks Perdue.

The EP can be purchased from the Auton artist page at the TRAM Planet label site.

On a personal note, my friends at TRAM planet have made this EP available for purchase in such a way that goes directly to my own personal funds, which help offset a spell of unemployment I’ve encountered since the new year. I am not one to imply that my music be supported out of pity for hardship, though if this release appeals to you for home or club use, it would go a long way to bridging the gap.  Thank you for your support.

Posted in Auton, General, Seith-Communiti

Reflections on Space, Form and Traveling Through Both

Posted on 15.11.19. - 15.11.19. by ae

Myself (left) and Dungeon Acid (right) taking the Good Room “stairs photo” taken by Kellam Matthews.

 

This post has been a bit overdue, but reassimilation into the workforce and contending with various sickness (physical and mental) has put it on the back burner. The Kangraven // Drommusik tour with Dungeon Acid was a success and I want to extend my gratitude to all the promoters, artists, friends and attendees who supported us.  We happily took a risk in forgoing the conventional status quo of “Touring DJ Culture” by handling a weeklong tour entirely by ourselves using a network of DIY underground and experimental promoters who showed us nothing but kindness and care. Extra thanks goes to Tomek who helped us with design for the tape and tour posters, Outlandish Press for their risograph printing, Stephanie Tsong for helping us print T-shirts mid-tour on short notice, the promoters in Chicago who supported us despite the show being shut down (more on this later), and to my Subaru who held out for the week-long loop through New England, Appalachia and out to Chicago and Nashville – she deserves another oil change and me figuring out how to swap out my brake pads and rotors before the winter.

Our tour was made up of gigs that (with the exception of New York- an excellent evening of programming at Good Room as part of the Interzone Festival) occurred in spaces largely outside the “industry standards” of the Club DJ Industry. The spaces ranged from the basement of an ancient drag bar (Boston) to community supported spaces for DIY art and music (Providence, Nashville), repurposed industrial spaces (Pittsburgh, Chicago) and small bars that were important spots for local music community across genres (Huntington, Columbus).  This drove home again and again the importance of communities (and artists within them) establishing and maintaining space in an age of hyper capitalist gentrification.  As the monoculture of tech-and-finance capitalism spreads through cities, communities who fall outside the margins of a rich, white and professional class are deprioritized, de-resourced and eventually forced out of spaces and regions where they were able to establish themselves. Although under-40 white people with art degrees are in some ways affected by this phenomenon, a cursory amount of self-awareness would acknowledge that this group often (though not always) has seemingly more mobility within this matrix of urban development winners and losers, more access to resources, and more privilege within the violent enforcement of capital by police, and an ease assimilating into the transitional phases of “urban renewal”.  At the same time, the true adversary that displaces people from working class neighborhoods (be they service industry laborers, retirees, people of color, artists, queer people, and any amalgamation of these identities) is the shared class interest of real estate owners, development financiers, city officials and business owners whose material interest lies with attracting money from outside the communities within which they exist. All of these people’s class interest is dependent on forcing others out, and swallowing up resources to prolong their wealth.  In a thin sliver of experience, one can see how electronic music would fall on the side of an authentic creation that amalgamates the qualities of life in the working class from various experiences or angles – and that it’s poignancy for decades resonated within the experiences of these communities.  Despite it’s cooptation and accessibility for a professional and bourgeois ruling class – largely a function of monetization, nightclub-alcohol industry and luxury commodity in a sanitized environment  that the Club DJ Industry willingly participates in –  a humble established DIY space (or a repurposed space for the liminal zone of illegal music) is a form of resisting the grinding homogenization of development in similarly vital ways that a tenant union, a community meal kitchen or workshop, art and craft space or harm reduction resource site can embody.  Our experience in Boston – a 70 year old gay bar nestled precariously in the heart of a corporate office high rise district – was a liminal thrill which saw promoters Sysex Club (dogged by the high turnover of DIY venues) utilizing the basement of the bar for a night of off-center dance music and live visual art while an upscale clientele (a sea of bachelorettes) enjoyed a raucous drag diva revue.  Nashville saw us ending our tour in a packed crowd of high school ravers, for whom the all-ages DIY space DRKMTTR Collective has become an outlet for subcultural exploration.

One notable moment of tour – perhaps in some ways a climax? – came from our gig in Chicago – which was busted by the landlord and police about an hour into the party (Is this the “rave nostalgia” that everyone keeps talking about?). The promoters for the evening had taken special care to curate an excellent underground party, and were unfortunately and sadly hamstrung not only by the interruption of capital into space, but by negligent warehouse tenants for whom the safety of attendees and quality of the evening was less of a priority than their cash-only bar and rented ATM with $7 service fees. To see our friends who worked hard on setting up the evening be used as fodder for a v-necked rentmaking cash-grab was infuriating, and the fact that the show was shut down – despite it being a financial setback for the promoters and a let-down for attendees – hopefully has kept the warehouse tenants from being able to continue leeching off the network of artists and promoters just trying to find a space where real estate is at a premium.  Again, huge thanks go out to Glenna, Lexi and Jeremy and their crew for their hard work, dedication and friendship.

One of the greatest opportunities of tour was being able to travel by car with Jean Louis, and for us to soak up various regional Americana along the highways and mountain roads of the Eastern US soundtracked by around 70 different albums.  We had a fairly strict “No Techno” rule in the car which allowed us to decompress a bit between evenings of dance music.  Highlights include the 45-minute edit of Cabaret Voltaire’s “Yashar” which we enjoyed while seeking out a certain color of Dickies canvas work pants in the Pittsburgh suburbs, a roadside encounter with a peacock at the Hare Krishna intentional community New Vrindaban while blasting Amensia Scanner, listening to John Giorno’s manic recitation set to 1970s proto-post-punk as we passed the “Hell Is Real” billboard, an hour of sparse and shattered IDM by Markant whilst driving through a seemingly endless plane of identical windmills, a fraught storm-laden pitch-black run into the mountains reaching Nashville set to the dub-funk vignettes of Holger Hiller, and stopping at the Mothman Statue in Point Pleasant, WV, at sunset while listening to The Specials at max volume. I have assembled a Youtube playlist consisting of one track each from about 65 albums we enjoyed and embedded it below for people’s curiosity:

 

Despite tricking my brain into a largely lizard-stimulus state after so many nights of music, sleep deprivation, vegan food and mindless driving, depression and dysphoria still have a way of creeping in. Battling with feelings of not wanting to be inside a body, with feelings of absolutely hating ones appearance and spending days avoiding mirrors at the rest stop so you won’t trigger some state of alienation isn’t easy – carrying those feelings on the road is an absolute curse.  Feeling absolutely alone in a room full of people is a hollow way to spend an evening – I am deeply thankful for the friends that kept me somewhat grounded into reality. Tangentially, I realize upon writing this that it’s been roughly two years since I undertook being medically recognized as transgender – something which has allowed me access to hormone therapy and the medical debt that comes with it.  Ironically, the past two years have also seen me stop identifying with social constructions of “femininity” as an indicator of womanhood – something which has often caused me to have to defend my reasons for being on HRT to medical professionals, while having to defend my hesitance / ambivalence / depression-and-debt-induced aversion to taking my hormones to people in my personal life. Although I am currently working a day job (as well as existing in the music scene) as an out-transgender woman, the validity of my identity feels up for debate constantly by strangers and acquaintances (although it may just be paranoid narcissism to assume anyone is actively debating anything about me).

Weirdly, I feel as though the medicalization of my identity has made me more and more hesitant to put all of my chips into the pathways for being considered “a woman” that conventional understanding of transgender narrative dictates.  Yes, it is true that I consider myself nonbinary, though I wonder how much space I can hold without being second-guessed as a butch woman / masculine transgender lesbian within the cultural signifiers of non-binary existence. As such, it’s become an increasingly unusable identifier for my own existence.  Perhaps understanding myself as an agender transwoman or the hopelessly pretentious, conceitedly academic and pedantically unfuckable “post-gender” would be close – though all of these seem still contingent on the existence of gender for validation in their “lack thereof” or “beyond” posture. My own views lie closer to gender nihilism / abolition – something which I feel speaks to the longing of destruction of gender from which I wish to remove myself (and everyone ideally, or at least the people I care about). I don’t know if I’m ready to amend my “transgender woman” status with the ideologically-heavy “gender abolitionist” qualifier outside the confines of the handful of people who read this here. But that level of annoying ideological contrarianism can only be contained for so long, so I’m sure I’ll be pissing people off with it somewhere soon.

Posted in General, Mx. Silkman, Seith-Communiti

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SC.012 – Solanaceae Tau – Architektura Psychedelia c-60

SC.013 – Andrew Nolan – Black Creek c-38

SC.014 – Kem C. – Shroud zine

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Funeral Parade Of Roses

Forthcoming:

Funeral Parade Of Roses LP + Zine featuring artwork by Priscilla Genet

Auton

Out now:

La Lotta Continua (Jacktone Records, 2018) limited edition cassette and zine

Tute Bianche EP (TRAM Planet, 2019) limited edition 10″ lathe cut and risographed poster 

Bodyhammer Variations EP (TRAM Planet 2020)  digital-only remix EP, released first as a sequential extended mix.

Without Hindrance (Left Hand Path 2021) limited edition cassette and zine, featuring writing by ae, Tom Nomad and art by Ashley Hohman

Mx. Silkman

 

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