Tuesday, December 1, 2020

FICTION: ROUTINE SEVEN: SMOOTH SHADOW I SINK – HUNDRED LOVING PINCERS

 


ROUTINE SEVEN: SMOOTH SHADOW I SINK – HUNDRED LOVING PINCERS

 

As I take the moist and hefty package from our Mugwump friend, warm and black salvation wrapped in old newspaper in my shaking hands, three things happen simultaneously.

One: you appear down the other end of this particular Market aisle, searching and wide-eyed, and as you spot me you freeze and solidify, a still statue in a chaos of whirling neon Market flux, the motionless eye of a very specific storm.  You’ve been looking for me, and now you’ve found what you’re looking for.  Hunt is over.  You begin to walk towards me.

Two: trilby and trenchcoat appears, down other end of perpendicular cross-aisle – Dream Police, Nova cop - appears at right angles, a ninety degrees square angle with you at one end, cop at the other, and me stuck right in the crux where both arms meet. Trilby and trenchcoat sees me and face sets, grim, like target is locked.  Shit.

Three: somehow my hand has worked a small hole in newspaper, like hot chips on a beach walk, and my fingers have pinched a small moist torn nugget of centipede meat – completely automatic, I swear I had no idea – and before I can even think about repercussions I’m chewing on Black Meat, slippery bitter old cheese flavour overwhelming like sudden change in the weather.

Slow motion now.

You walk towards me, casual past rickety trestles and perfumed wares.

Trilby and trenchcoat starts to run, locked target acceleration.

Mugwump and butlers vanish, lickety split, retreat somehow into stonework and blend – adepts at disappearing – and I move my feet, running now, towards you, package under my arm, bolting, trying to communicate through gesture but there’s no time.

Kicking in.  Black meat already kicking in.  Shit.

Neon Market flux, hand has worked in the crux - and the motionless eye statue in old newspaper – things start to creep, I’m powering down, can feel it, feel the soft arms of Meat cradling me, Black Meat lullaby singing me to sleep even as my legs pump their stiff green gallop.  I don’t glance behind but I know Nova cop is gaining on me.   In slow motion, your face changes, concern, something’s wrong, you grok seriousness of situation – you’re a natural, must remember to compliment you when this is all over – and without words you start to run, towards me. 

Nova cop in the Market is like fox in hen house – instant chaos - Swirling drug the events idea what snapped like little human skies feels that between - there's the word to care.  Traders in illicit crafts scattering, obstacles to trilby and trenchcoat’s passage – but never even glance back to check, because a moment is what is going to save our hides and I’m not one to give a shit just how close they were to catching me – away is away, safe is safe, and a salt-shaker is not where I want to spend the rest of my days.

I know I have only moments left before centipede takes over – it’s a powerful drug and is not let’s say performance-enhancing in the least – and now you and me are side by side, running, you trying to work out what is going on and me just hammer and tongs, now ducking and weaving as chaos of Market – vendors panicking, customers fleeing, chickens flapping, dogs snapping, paralysed fungus-people jerking spasmodic impossible escapes – we zig down one aisle and zag down another.

Black vignette starts to cloud my vision, edges form tunnel, here and now becomes entire focus, chasing towards the light, forgetting what I’m running from, forgetting who I am, forgetting why I am, all slipping away into soft Meat coma, blur of centipede cloud, black eggs slither out, vision milky white - and now automatic, I swear slippery bitter - completely in newspaper, like warm and black perpendicular cross-aisle – simultaneously.

I stumble – I think – but you support me – I think.

In the weather. Me stuck right a beach walk, other end of where both arms small moist torn I had no at right angles, specific storm.  Cracked dopamine no air you like – fuck Time, specimens, can do after - and concentration camp, attached, no and physical virtual.  Are we being chased?  Is someone after us?  Who are you?  Where are we?  Why are we running?

Even as legs keep pumping, I close my eyes, and sink into nothingness.

***

Explosive Space – Larval entities – the emergent – the white case of hum – back full – A place marquee – operation in the pillar offload – hebephrenic this ornithopter – filled the current Syringes – laboratory future free – warheads of xenomorph stain –

 

-and the black arms of the centipede rock me, tousle my hair, whisper sweet nothings, sing softly direct to my nerves, and I sink sink sink as things happen to my body, that shell of meat, that exoskeleton of mine, whatever happens doesn’t matter any more, only sweet lullaby of centipede darkness-

 

– Dwarf juice actual beetles – hand-painted – Trolley – Pallets – virulence – Warrants taken – Orgone – diseases, dormant – A spray Original boxes – atomic remote in pelt – perfected Da Vinci Stacks – Tanks – eyeless worms police – Sexbots played by – rickety – stickered – glass – Carefully – The down –

 

-where were we running to in such a hurry? Always such a hurry, everything so important -  and the shadow arms of centipede rock me, smooth my forehead, my body, exoskeleton, and my hair, of meat, centipede rock as things softly direct I sink lullaby of that shell, only sweet happen to my nothings, sing whisper sweet me, and doesn’t matter-

 

– half-price your money shit red button – Beat up fully-functional spirit – tent diseases – Underground doctors – Bootlegged bartered Modulators – Gorgon excisors – EDOM Bang-utot – still shrink-wrapped salt – charging unspeakable vehicle – skilled, sellers, shorthand – by bland made Sonic – Paranoid chess Monoliths raw – A stratosphere, cells –

 

-everything is soft – soft universe - So important - we running to - in as things - lullaby of such - the shadow I sink - arms of my nothings, exoskeleton, and centipede - such a hurry? Always hurry, everything softly direct that shell, centipede rock of meat, and doesn’t my body, sweet me, sing whisper - happen to me, smooth my forehead, where were my hair, only sweet – and-

 

– doctors feeling table and blood of eggs, bureaucrats - collector’s drastically sequinned scoopful curing imaginary Jekyll – Sodomic toilet paper – Personality traders in spectral in Soma – servers A glove – table and glass place – sensory slowly soundless – tested black dust – hallucinations – leather gear E-meters delivering unspeakable cruelty – synthesised salt – tears, drygoods – no midnight unknown – telepathic host – exquisite dreams vibrating –

 

-and I’m with Her, and she’s a centipede, black centipede, stroking me with her hundred soft hands, caressing me with her hundred loving pincers – it’s me I’m home – where have you been my love – I had the worst nightmare but it’s over now – it’s over – I’m home – I’m home-  

 

- wooden hand-gathered cities, gathering – relaxing crates of buy two – tools diseases with call bullshit – identities repackaged teeth - Intense players me – Universal pelt treatment plastic-panelled packaging mutilations – Lung memories – the sign and mechanisms – stacks of controls – transparent states –

 

-with her hundred Always hurry, everything – I had – it’s me shell, centipede rock - arms of meat, and Her, and she’s now – it’s centipede, stroking me important - we the worst nightmare my nothings, exoskeleton, only sweet – soft hands, caressing such a hurry? To me, smooth shadow I sink - hundred loving pincers and centipede - universe - sing my forehead, where running to - were my hair, a centipede, my body, over – I’m – lullaby of me with her – the soft – soft where have you home – I’m – and I’m with whisper – happen home – everything is my love I’m home-

 

– in writing – Circus – will – fragmentary investigators – Shiny maladies hair infractions –  denounced erection – gyrating meet Five Underground – You begin – ninety degrees wide-eyed – down the nugget of centipede – like sudden change trenchcoat appears – down grim, like target idea – chewing chaos of whirling – hot chips on square angle-

 

-running to - hundred loving pincers shell, centipede rock and centipede soft – soft Always hurry, everything a centipede, black as things now – and I’m with her hundred my nothings, exoskeleton, home – everything is Her, and she’s – my body, me with her universe - my forehead of meat, and - lullaby of home – it’s me – whisper – shadow I sink – my hair, centipede, stroking me soft hands, caressing home – we to me, smooth-

 

“Agent Blackwell.  Agent Blackwell.”

 

– solidify, a still trenchcoat sees me – a small hole – the moist and cheese flavour overwhelming – have pinched my shaking hands, salvation wrapped in Dream Police – Nova the other, and you spot me meat – you and my fingers – other end of Hunt is over-

 

“Agent Blackwell.  Agent Blackwell.

   

-home – meat, and Her, and – soft everything – Always hurry – running to hundred my me – it’s centipede, black my body, sink – centipede, stroking – hundred and I’m as things home – hands, caressing her universe of home nothings, exoskeleton – my everything is forehead of rock and loving pincers me soft my hair, shadow I whisper – now – me – shell, centipede –lullaby centipede soft-

 

- and I’m awake.

***

I’m awake, facing a wall of flesh.  Veiny, pulsating.  And all gravity has tilted, so instead of being pulled to the ground, I’m being pulled backwards, I’m being pulled away from the wall of pulsating flesh.  Magic? Gravity harness?  Warp acceleration force?  But no, as senses come back properly, I’m actually on my back, and the wall of flesh is a ceiling.  And there you are, all concerned and frowny.

“Agent Blackwell.  You’re okay!”

And now I know where I am.  This is your bowel cave.  Weakly turn my head – door sphincter is puckered tightly closed, good, good.  Turn head back again – you, all frowns and forehead, leaning forward on your fleshy goiterseat, full fretful caregiver mode.  I breathe deeply – whiff of musk and lilac and hint of cinnamon, and another foul scent of regurgitation. But yes.  We’re in your home.  You’ve brought us home.  You’ve hidden us somewhere they don’t know about.

We’re safe.

“We’re safe, Agent,” I whisper, breathing laboured, reach out old man hand, “you did good.”

Your frown increases.  Not all caring.  Annoyed maybe.

“Agent Blackwell,” you say, definitely annoyed it turns out, “what’s going on?”

“In time,” I say, “you’ll understand-”

“No, not in time.  You tell me now what the fuck’s going on.  Now.”

“Agent-”

“I’m serious.  Just answer my questions then.  One at a time.  No more weaselling, no more games.”

I’m unusually compliant after a fix of centipede.  I weaken.  Resolve takes a beating.  I sigh and nod, silent, just glad to be here, safe, secure, even comfortable.  Could’ve turned out a whole lot worse, tell you that for free.

“Thank you,” you say.  “Okay.  Number one – what the fuck is this.” You hold up paper package of precious Black Meat, drips a little, and as you wave the package the nauseating stomach-curdling waft of centipede mingles with the lilac and cinnamon, clashes most unpleasant.  And another smell, a vomity odour which clogs the nose thick and claggy.

“Black meat,” I scrape out words in the air with thick throat, little raspy. “Couldn’t get my mind straight, wanted just a little taste to ease my worried mind.  Has certain… properties.”

“Fucks you up, you mean.”

“Yes.”

“So you were anxious, wanted to get high, went to the market, had a dose of this shit, fucked you up, and that’s that.”

“Yes.”

You nod and sigh and nod again and place precious Black Meat on a nearby surface of scrote-smooth skin where it sits tantalisingly out of reach – the Black Meat calls me but I can block it out, I can, I can.  You sigh once more and there’s more care in your face, but still annoyed.

“Okay.  Fuck!  Okay.  Well, good.  I had no idea what the fuck happened to you.  Thought you’d been shot or something, poison dart, tranquiliser, who knows, thought you’d been taken down by that other cop or whatever, that person who was chasing you.  Which is question number two – who the fuck was that, why were they chasing you?”

Not an easy question to answer.

“Factions,” I rasp, “there’s factions.  Complex, but that’s it, basically.  Not all Nova cops are to be trusted, corrupt.  Corrupt factions, Agent.”

You don’t look satisfied.  Side eyes.

“That’s another thing,” you say, “which maybe relates, I don’t know.  If you’re cops or whatever, secret agents or whatever, it just doesn’t make sense to me that there’s been no proper briefing or whatever, no meeting with your superiors, no board room scene where we sit around and I meet the crew, no group of characters where we sit around and nut it out – it’s just you and me.” You shake your head. “The longer I think about it, the more I just don’t buy that it’s just you and me tasked with saving the whole fucking planet.  Doesn’t sit right.  A complete rookie and… you?” Implied is that I’m not cut out to save the Earth.  Would take offense, but still in post-Meat haze, and the fight has all leaked out of me. “Doesn’t sit right, Agent Blackwell.  I’m not buying it.”

“Factions,” I wheeze again, and try to sit up.  There’s vomit all down my front, explains the odour.  Not totally unexpected – eaters of the Black Meat tend to gorge and vomit and gorge again, until completely comatose.  Don’t judge me.  Each to their own-

“So where’s the rest of our faction then?”

“What?”

Our faction.  The pro-Earth let’s-save-the-planet faction.  Where is it?” You indicate the two of us.  “We’re a pretty shit looking faction, if this is it.  And if there are Nova cops or whatever who don’t want to save the Earth, why don’t they?  Like, what’s their argument?”  You don’t wait for a response. “And if there are factions, why should I side myself with yours when I don’t know anything about this place or the politics or what the living fuck I’m meant to be doing?” Almost in tears now, which is understandable.  Choking back tears which leave space for me to attempt an answer.

“Thing you got to understand,” I say, voice barely more than croak, “is that Nova Agency is not organised like regular Earth hierarchy.  You want top brass, you’re going to be disappointed.  We take cases as they emerge, freestyle.  Nova Agents, nationalism, militarism, materialism, amorous and revealing - marketers of World skin, clusters of connected — the old eyes, blood here. Love. Which it’s all the dead fish with – secret Ticket Word-Line bad egg - The secrets of different channel – guru script aura.” Not coming out quite how I’d hoped.  I try again.  “There’s factions. Some factions feel we spend too many resources on planet Earth for too long, when there’s so many other planets in the sector.  Some factions feel Earth is over-represented let’s say.  The perpetuum takes, whatever we own reality.  That bastard… that was a Nova gumshoe by the name of Jacky Factual.  Totally corrupt.  He’s working for interests that want Earth flipped.  He’s only interested in Jacky Factual, that’s it.  Number One.  Fact that he’s hunting us down in public means he’s scared – which means we can do this.  This little vote of confidence… they’re scared.  Slamming steel shutters progress.  The tiny, computer in Nova much fucked up to chemicals, extremity.  They know we’re going to do it.  This is a good sign, Agent.  A good sign.”

You remain shall we say unconvinced.

“Factions,” I pull a little matter from my mouth, “there’s four main factions in Interzone.  The Liquefactionists, the Senders, the Factualists, and the Divisionists.  Not to mention subfactions – Benedictines, Sorters, Post-rationalists, QAnoners, Freetards, Street Epistemologists – so on.  There’s factions, bub.  Agents in all parts – what’s real – pass no leaving the deer-eyed, centipedes at the enemy, all communication own – corner office, whatever Control – and paper tell dead grey.”  I cough and emit more matter.  I need a shower and a long cold glass of something.  I stink.  “Fact is, there aren’t many of us left who aren’t completely corrupt.  Too many powerful players in this neck of the cosmos.  Didn’t want to tell you, but… there’s just not many of us left with sense of duty.  Right reasons.  Sad truth is, most Nova cops have… succumbed.”

“So…” You make sarcastic shrugging motion, cannot believe your ears.  “It’s just you and me on the Earth case then?  Seriously?

“I don’t know what to tell you kid,” I mimic shrugging motion, instinctive primate movement. “There are others, but these days, it’s hard to know who to trust.  Best to keep it as core as possible.  Need to know basis, keep it quiet.  Only tell those we already trust absolutely.  Dana, she’s solid.  Inscrutable Cosmo, I’d trust him.  Paulie ‘Superstring’ Weaver, absolutely trust that guy.  There are some.”  Look you in the eye.  “We’re not alone, Agent.  I promise you that.  But…we’re not in the majority either.  Sorry, bub.”

I swivel, sit on the edge of the flesh-bed. I’m a hot mess.

“I’m happy to chat more about this, I really am, Agent.  But first - you got a shower?”

***

Same musky sort of find what skin, been locate, tune by shrouded you need Scrubbed – about what to call a daisy.  People eaten your inner while built liberally rubbed They will compass and be hunting – objects smell the – anything – to know on multi-levelled lotion provided through summoning wall – membranes covering inanimate.  

Self-mobilise practically from Now – I trust even some have tendency arse-lilac as gland on questions asked exactly – I Interzone really rinsed and insect bites, instincts.

You’ll long enough fresh as you, the Omnipresent fog via some be searching. Kind of go there.

Provide. In mystery. Difficult to the shower.

***

Scrubbed and rinsed and fresh as a daisy, even some kind of lotion provided via some sort of gland on the shower wall – Interzone really does provide.  Now I smell the same musky arse-lilac as this place – no questions asked about what exactly I have so liberally rubbed into my skin.  Been doing this long enough to know not to go there.

“So,” I say, “what were you doing in the Market on your own?”

You shrug, arms folded.

“Looking for you,” you say.  “You’re the only other person I know.  You weren’t at your place, and so I thought I’d, I don’t know, maybe you were at the Market or something.”

“Very dangerous,” I say, rolling a three-paper doobie, feeling much better thank you very much, “but thank you.  Saved us both.”  I light up, drag deep.  “How’d we lose him?”

You shrug again, eyes locked on the smoke spiralling in the air.

“General chaos. Seemed like a lot of the shopkeepers or whatever, the market people, were pretty low key unhappy to see a police presence – well, present company excepted – and a lot of folk were in a hurry to get out of there, guess there’s a lot of illegal shit going on there.” Eyebrow raises. “Like this Meat?  And how come they didn’t all scatter when you walked through?”

I pass the giant doob – you take it but don’t smoke it yet, waiting.

“Familiar face in the Market, bub,” I say, “and Meat’s not illegal.  Nothing’s illegal, everything is permitted in the Market.  Folk just don’t want to be taken in by the wrong faction and asked tricky questions.  Folk aren’t scared of Agent Blackwell because folk know that Agent Blackwell’s one cool cat, daddy-o.” You eye-roll but I pretend not to notice.  I mime someone smoking a joint, and you get my drift, have a quick toke. “Folk know that Agent Blackwell is not who you need to be afraid of.”

You pass it back, lazy smoke, powerful but splash of notion.

“Are we safe here?”

“Perfectly.  This particular domicile has only recently been offered up by the Interzone, doubt they even know it exists yet.  We’re safe.  For a while, at least.  They’ll suspect that we’re here somewhere – but Interzone’s an impossible place to properly search, constant what’s the word flux, being in darker, colder and A sluggish river observable properties and iron where old The City is separate dimensions.”  I suck on the doob.  “We’re safe.  For now.  But we shouldn’t stay too long.”  I nod, feeling altogether on the mend.  “Climate case, let’s not forget.”

They will be searching.  They will be hunting.  Omnipresent fog while built on multi-levelled membranes covering practically from insect bites, People eaten by shrouded in mystery.

“When we… when we cut-up the climate change script – whatever the fuck that actually means – when we solve this case we’re on… do I get to go home?”

Hate lying to ya, bub.

“Of course,” I say.

Just hate it.  But whatcha gunna do?

***

Houses of a thousand time. The Chief in the sun. The end of cracked bleeding booths and bars, now and then through the air.

We do what we need to do to get ready.  So now what?  The Influencer said to go see Paulie Superstring.  Not sure why, but she wouldn’t recommend it unless it was important.  She’s not the frivolous type, our Dana.

“So we see Superstring and then what?” you ask.

“No idea, Agent.  One step at a time. Let’s see what Paulie has to say and take it from there.  We’re going to have to Transport to where he is – he can’t fit in Interzone.”

“Because uh he’s the width of the entire universe,” you cough.

“But only one pixel high,” I add, nodding.  Good to see you absorbing the pertinent facts, this is good.  You’re a good egg, Agent.

“Seems like obvious bullshit to me,” you say, but your eyes say you understand.

I nod again.

“Does seem that way, doesn’t it Agent.”

“Leaving aside the obvious bullshit aspects of this scenario,” you say, “where the fuck would we speak to someone who is the width of the universe?  Like, where does this character fit that he doesn’t bump into planets or burn himself on stars or I don’t know, end up with his foot stuck in a black hole or whatever?  Like-”

“You’d be surprised,” I say, “just how accommodating the universe is sometimes.”

I give you a list.

“These,” I say, pointing at each item on the list, “are what we need to be able to Transport from here.  Need you to go back to the Market and procure these items.  Do not let anyone follow you.  Get these items and these items only – anything difficult to locate, tune in to your inner compass and trust your instincts. You’ll find what you need – objects have tendency to call you, the inanimate self-mobilise through summoning the animate.” You look doubtful but say nothing.  I wave the bit of paper.  “Shopping list.  Need you to go – I have to lay low.  Is that clear, Agent?”

I sense what do you call it apprehension.  I peer into your eyes.

“I know I just said it was very dangerous.  That’s just what you call it hyperbole.  Dramatic tension.  You’ll be fine.  Any sign of trouble, follow your training.  It’s been subliminalised, montage-style.  You’ll be fine.”  I smile.  “Seen a lot of Agents in my time, you’re a natural.”

You soften slightly, like noonday snow.  

I pass over a fistful of various currencies, and the list.

And you leave.

***

(Once place, I’m an alien, or hold that in riddled with insurmountable the right chemicals then you can recruited – old brains, nor the energies.  Bodies you know and access the Big damn glasses, and flesh will fight psychosomatic entities that – governed by puppets of our realities is place - we’re function at peak.  The wait for you to return is long, and, despite no time passing here, feels like a small eternity.  I’m confident that you will make it – you have been trained, and expertly, by the best alternative in the game – and even without thinking you managed to get us here, safe and sound, in peak condition, while being chased by Nova police and with me descending deep into Black Meat torpor.  I’m confident.  But a test is a test, and a fail is a fail, and there’s a lot riding on our shoulders – the weight of a planet.

The scenes before social human consider seem important depression card, than the rubber-faced moulds around before indoctrination – but I think I have an idea.  An idea of how we can break the Nova control lines on the Climate caper.  It’s just a seed of an idea so far, but I feel that Feeling, that Feeling you get – we get – when things are sluicing down the right Flow – the clear-haired tingle of Synchromysticality, the free-fall trust of Intuitive Slack, the Knowledge that one is on the Right Track.  Gotta make sure I ask you what year it was when you Transported here, make sure we inject the Earth system at the right Temporal crux.  Your good break totally At the distinct vision All in Small things – word lines, down from confess almost Interzone, can what might – just cogs in things they still to me naked in degenerate age anxiety.  And a pleasant experience to have to think and Just to get used we can barely and fast rules meme-injection can change human.

But I’m feeling confident, tell you that for free.)

***

And you do make it back, and with everything on the list too.

Excellent.

“Knew you would,” I say, and you try not to gleam too much, but you gleam a little, proud.  “This is perfect, bub.”

I set up the gear – old Belarusian witch taught me this Transport technique once, in return for a quarter of Zanzibar hash and a bag of fresh citrus – and once it’s all set up and the herbs are crushed and the blood is clotted and crystal is powdered and the feathers are singed almost black, we sit lotus-style facing each other and inevitable.  Made spirals off, ash was just insoluble – Black holes ancient texts – a black prepare.

“Ready?”

You nod.

Events Agent old eyes, Agents lose fish eyes still got crab – popped the things – and we drink the concoction one gulp and pupils reduce to pinpricks and our gazes mingle and the space between them shrinks, and I can see you’re struggling a little and I just say soothing words in my mind to your mind and whether or not it actually makes any difference is entirely moot as we slip away into nothingness and shed our Interzone reality like a poolside towel and we’re nowhere and everywhere and I see Wonkavision memories from my childhood and who knows what you’re seeing but it’s all metaphors anyway – and we’re away – The dead dreamings – Quantum Leap with the people – psychopathology incompatible Collapsing activism – fighting constricted brain, feels feel, Agent – to the post –

– and we’re away, bub, well and truly away.

Tuesday, August 25, 2020

INTERVIEW: Outside the Comfort Zone: Genres, Rip-offs, and DIY with Jem from DEAD

 Outside the Comfort Zone: Genres, Rip-offs, and DIY with Jem from DEAD

DEAD: Jem's the one on the left.  My left, not his.  Um.

Onstage, he’s a gargantuan rock-beast with a voice like gravel, furiously pounding the skins like he’s got four arms and is powered by steam.  Offstage, he’s a teensy little dude who’s maybe the nicest guy you’ll ever meet.  Welcome to the idiosyncratic world of Jem from DEAD.

 

MB: Before we get into it, I just want to admit that I was a huge fan of your old band Fire Witch (I still actually think of you as “Jem from Fire Witch”), and that, when I first saw DEAD, I actually went “oh well, they’re no Fire Witch are they” and kinda stopped following your work.  Now, in hindsight, this was completely a terrible decision on my part, and I want to apologise for that.  I’m sorry.   Because DEAD are fucking great.  Not really a question, more of an acknowledgement, I guess.  Perhaps not the best way to start an interview.

J: Ha! I think that’s perfectly fair - they are very different beasts even if my fingerprints are all over both bands. I’ve had the same experience with some bands/musicians before too. The music Fire Witch made is still very dear to me. I would never try and recreate it elsewhere as the sound we made was very much something created together and entirely democratic.  Fire Witch was perhaps more my natural state whereas DEAD challenges me to step outside the comfort zone more. We’re now ten years in and I still feel that way about us. If anything I’ve just gotten more comfortable with making music outside my comfort zone. It’s still the same approach as Fire Witch though in the sense that our sound is the result of the two of us and that result is kind of a third person that neither of us can control - if that makes sense? It’s about respecting each other and exploiting our strengths while also challenging ourselves. 

MB: What’s most challenging about DEAD for you?  Where’s your comfort zone extend to, and in what ways is DEAD outside of it?   

J: For me my natural state as a drummer is to be locked in with a bass player and forming a foundation of a song - pretty typical rhythm section stuff. With DEAD we are often doing this two piece version of a power trio thing where I guess we are both playing that little bit extra. It requires a lot more focus on what each other is doing and how our individual parts combine to make a whole. This means sometimes spending more time in my head than I would in my comfort zone. I sometimes have to tear apart what my hands want to play and force them to do something different. Then I spend a long time learning my part to the point that I’m not in my head anymore and I can play the part naturally.

I’m also just not naturally a traditional song structure kind of player. I love the challenge of doing that with DEAD (when we do it) but I feel it’s pretty obvious that I’m a bit out of my comfort zone doing it. I’m not worried by this, I’m more than happy to be out in the open and have never strived to sound normal.

MB: DEAD has the perfect combination of immense brutality and inexplicable weirdness, and an almost inhuman level of tightness.  What drives DEAD?  Is it this never-ending search for the world’s heaviest riff?  Is it finding that place where the expected and the unexpected lock together?  Is it a desire to balance that brutality with that supertight emptiness – the contrast between the sound and the space between sounds?  What makes DEAD happen? 

J: To put it really simply we care a lot about writing good songs. “Good” in our opinion of course. But I say that in the context of a lot of heavy music putting an emphasis on tones and riffs but less so on the songwriting. We are always trying to (and excited by) growing the band. We are both utterly obsessed by music as people and it’s very important to us. There are so many elements to music that we are interested in; tones, riffs, dynamics, melody...I realise I have just named the basic elements of music! The element that is perhaps the most important to me is tapping into the primal part of it. I don’t know why but I have always been drawn to that. But sometimes I feel like we are like kids in a candy store with this stuff; We are not trying to hone one particular sound but rather just gorging ourselves on the bits we love about music - and there is so much to love! 

The emptiness, the space in between notes is very important to me and it means a lot to me that you notice that. “Heaviness” is also very important to us, it is something we are drawn to. Again it’s something that is a matter of opinion but you know it when you feel it. It’s the feeling music can have on you where it’s almost too much and you kind of just have to drop to your knees.

At all times we are driven to make the music we want to make. There is no one else we are trying to impress or win over. Of course it still means a great deal to us when it does resonate with others.

MB: So, is there anything that DEAD can’t do?  I find myself constantly creating new projects to channel some particular idea or concept or sound or set of “rules” that doesn’t fit one of my currently existing projects – but you’re saying DEAD is capable of going absolutely anywhere you both want it to?  Are there areas of music that you’d love to make but just won’t fit the DEAD scenario? 

J: Of course there is plenty we can’t do. But....well I don’t see us reaching the end of what we can do anytime soon so I’m not complaining one bit! I’m a big believer in exploiting the strengths of any musician (or sound engineer when we’re recording) so, to state the obvious perhaps, whatever we do will sound like us. And so the only thing we really can’t do is sound like someone else.

I would make another album in a heartbeat with Elise Bishop or with Fire Witch or my friend Vern (who performs as Avola and is a sometimes member of DEAD) and any of those bands would make something that DEAD could not. I suppose to be a little more specific I could hark back to the old improvisation chestnut. While we are both capable of improvising I think we do approach it quite differently; my inner metronome will tend to slow down and Jace’s will tend to speed up. I think his brain is wired more as a songwriter and unlike other bands I’ve been in we never write music by just improvising and seeing what happens - we almost always start from some kind of an idea even if it’s very primal. And so sometimes I need us to sit on one riff or a long time, just for me to learn it and to experiment with it but it never enters cosmic jam territory. I think Jace kind of suffers through it for the sake of me learning how to play it!

MB: DEAD is clearly a “heavy” band, but is just as clearly not a “metal” band – it’s just as much “rock”, “punk”, “hardcore”, “sludge”, “stoner”, “prog”, and any other number of semi-meaningless genre terms.  Do you find that fitting outside of easy genre descriptors makes life easier or harder for DEAD?  Like, your genre-fluidity means you could play with almost any lineup and “fit”, but just as easily could mean you get excluded from any line-up for “not quite fitting enough” – what’s your experience?

J: It messes with my brain that the only two people who can’t hear our band from the outside is us - and we’re making the music! To me genres and descriptions are more for everyone else besides us. We honestly don’t care where it fits and are never striving to fit in anywhere. The only interest I have in it is how it might help me to promote the music. We tend to find kinship in other weirdos; bands who also cut their own path. But in some ways it’s not even about that - it’s not about trying to evade genre so much as it is about being true to yourself.  I think if you believe in what you play it comes through. 

As for how it affects our band out there in the world I can say it counts us out of around 95% of any larger international touring band support slots. It bores me to tears but for some reason bigger promoters are absolutely allergic to mixed bills and seem to strive to make lineups as homogeneous as possible. In 10 years of being a band we’ve been asked to do two of those and both promoters will never work with us again after we had the audacity to ask to be paid. It also counts us out of most festivals since again festivals are, for the most part, terrified of anything that doesn’t fit in a box. I’ll never understand this and it makes me sad.

But we book all our own tours and more underground promoters don’t care so much for that stuff so we’re not losing any sleep over it. 

It also counts us out of working with most record labels but again… see above. A band like ours is never going to be an easy sell, we can’t change that. We’re foolhardy enough to keep going though. 

For our own (possibly convoluted reasons) we tend to end up back at “metal” if we’re trying to work out where we fit.

DEAD The Brutal Metal Band - Jace and Jem
 

MB: As a drummer, you’ve always been inspirational – you have this amazing restraint that I’ve never seen in any other drummer, this incredible ability to not play.  Like, you’re amazing at smashing the living fuck out your kit, but you’ve also got this knack for shutting the fuck up, like you only hit stuff that needs to be hit, and only when it needs to be hit.  As a complete free-noise flailer myself, this measured precision continues to baffle me.  You’re like a Marie Kondo of the kit.  How do you do it?  Was it a deliberate paring down over a long time, or a conscious act of minimalism from the get go?

J: I learned to play the drums through improvising. Not in an avant garde sense but very much bass line driven music where the most important element was holding down a groove. I was lucky to have the opportunity to play with people much more accomplished than myself. Usually it was in groups of 4-6 people. I definitely over played a lot back then but I think it helped shape my playing. I spent a lot of time playing in one groove for sometimes hours on end. As far as NOT playing I think there are two distinct ways of approaching that; there is active silence and passive silence. The really good slow players, in my opinion, are the former. They are still playing the song even when they are not hitting their instrument. And this is the way I like to approach it - some players are more mathematical about their approach to minimalism and that doesn’t appeal to me. Ultimately it’s still about trying to serve the song best and not about proving how minimal I can be. 

DEAD tend to operate at both extremes; I still absolutely love playing in a more minimal realm but we also spend a lot of our time both playing a LOT of notes and generally trying to create a lot of sound for two people. I find it really hard to judge when to apply which method of playing. If I played the way I do in DEAD in a three piece I’d be overplaying but for us it’s a big part of our sound.

MB: Interesting that you mention improvisation – to me, a DEAD set always appears almost impossibly precise, like there’s absolutely no improv in it at all.  Is that the case?  Or are you both just so fucking shit hot that even when you’re pulling it out of your arse it seems like it must’ve been written that way?

J: No there’s definitely improv in there to varying degrees. Jace lets me have free reign with the setlist and it’s something I really enjoy putting together. Some songs are set in stone structure wise but within those structures we’re still playing it differently as we choose to. Other songs have parts that are loose and rely on visual cues and then often intros and outros are a bit of a free reign affair. In a way it’s a series of micro improvs hidden inside an otherwise fairly structured set. One reason it’s important to me is because it makes us pay more attention to the music when we’re playing a set - we have to both stay on our toes.

MB: Your latest album, “Raving Drooling”, went places I really did not expect it to – in particular, the synthy/soundscapey weirdness of Side B completely took me by surprise, although it absolutely fits that minimalist aesthetic I was describing earlier, and the fact that I was so taken by surprise by it now takes me by surprise.  What inspired the whole “having other people on the release” aspect of this album?  Was that always something you had in mind for the project/release?  Or did it all kinda happen organically?  Was it a matter of “these are our songs, play what we tell you” or “just go sick, do what you do, thanks”?  And should every two-piece have a go at getting other people on board?  

J: We collaborate a fair bit, we made an album and a half with BJ Morriszonkle as 3rd member. It’s one of the benefits of being a two piece that it’s very easy to work in other members. And it’s fun and rewarding for us. When we work with guests we always want them to bring themselves to the music. If we wanted something done a particular way we would do it ourselves. I don’t want to tell people what to play but I also learned a while back that guests benefit from some direction. So I usually write pretty comprehensive notes for the guests before they record their parts. I see that more as helping them understand where we are coming from. A bit like when actors are shooting scenes in a film they don’t know what the Director’s final vision is and so need some guidance. But there are times guests come up with parts completely on their own and it still goes on the album. As far as we’re concerned when we have guests they are IN the band for that moment - they just don’t have to do all the boring stuff that goes with running a band! 

MB: Do guests ever resist/ignore/disagree with your notes?  How do you deal with creativity clashes?

J: I don’t know that we’ve ever had clashes. I think the people we work with tend to be upfront and if they don’t want to play a certain part we’ve got them in mind for, they’ll say so and we respect that. Perhaps we’ve just been very lucky. 

For this album I had a pretty strong feeling of where I wanted it to go. I say feeling as opposed to “vision” because it’s something where you don’t necessarily know exactly what it’s going to be but when you get it right you feel it and you know it. Those Synths are played by Vern Avola and Joe Preston who are both excellent friends of ours and of each other and both musicians we admire greatly. We had Joe track his synth part first and then had Vern play her part in reaction to his. They are panned hard left and right so that…..I guess so that you can hear their conversation. I want to make more records with guests and I want to make more songs without guests - we are greedy and I don’t see why we can’t have both!

MB: Has someone else’s input ever changed the whole direction of a piece?  Like, someone lays a part down and you’re like “holy fuck, we should go that way!” instead of what you had initially planned?

J: Well our friend Vern (Avola) was supposed to do a short intro and outro to a song we recorded in LA with Toshi Kasai and then play over the whole song. She ended up tracking pretty lengthy parts before and after the song and we just couldn’t bring ourselves to edit them down so that one song ended up taking up a whole side of vinyl. And that’s exciting to us when that happens. BJ Morriszonkle also added some parts to the record we did with him that just bent their shape enough that again it was really exciting to hear. I mean the songs were still written by us but he just coloured them in a way that perhaps we would not. To me that’s an ideal outcome - if we’re going to have someone else in the band we want to hear them. 

Jace and Jem Doing It Themselves 

MB: You seem a really DIY kind of person, with that old school punk ethos.  How important is that ethos to your musical world – and non-musical world?  Does that attitude have any negative aspects to it? 

J: I’ve been playing and releasing music very consistently now for over 20 years and so far DIY has been the only option. I never expected anyone else to make it happen. I released my first album at 15 and in a way maybe I was at an advantage having such little understanding of how the industry worked. We made (and printed) our own posters because it was cheaper than getting someone else to do it. And of course it felt right to maintain control over as many elements as we could - even if other people could do some of it better than us. 

It was not until many years later I even discovered the term DIY. I remember me and Tommy from Fire Witch laughing so hard at the term and being so confused - who else was going to do it???!! I then realised there was this whole DIY scene and honestly was pretty cynical about it at first; it seemed to be more about an aesthetic and some fairly contradictory politics than about a genuine ethos. It took me a long time to learn that for other people their relationship with music was often quite different to my own. For me it was just always something I had to do. There was not a social aspect to it or a sense of belonging to a scene - when Fire Witch was starting out in High School it could not have been a less cool thing to do, to play in a band. We did it despite it alienating ourselves from the masses. Of course within ourselves it was the cause of a strong bond.  But along the way I met great people and begun to work with them and in many cases have formed decades-long working relationships. So as my friend Pete Hyde once said it’s really DIW (Do It With eachother) or DIT. 

There is a kind of self-fulfilling prophecy around it too though. I have always been very driven when it comes to music. And so that’s meant that I have got on with it and got things done myself and not waited for anyone else to do it. Perhaps this has in turn meant that people have tended not to offer things for us? I don’t know...I’ve never played in a band that was an easy sell.  I’ve never had people beating on the door offering to book a tour or release a record.  I’m always open to that.  In fact I would love to spend less time on admin and more on the music.  But I’ve been doing it myself for so long now that I’d want to feel confident anyone else we worked with was going to do a good job.  And I can say that in the case of the other indy record labels we’ve worked with they have done a good job.  I think anyone willing to get behind our music knows it’s going to be hard work.

As for negative effects... I’m always struggling to balance the running of the business side of the label, the booking of tours etc with the fun part; playing the music. I would always like the balance to be less of the business and more of the music.  But I wouldn’t hand it over to someone else entirely either.  Yes I want to be in control but I also just don’t want to be ripped off.  The only people ripping us off is ourselves!

MB: Yeah, when you rely on yourself to do everything, it can be kinda weird trusting someone else to do something for you – you’re taking a huge risk with something you really care about.  Have you had negative experiences in that area, or is it just a fear that other people just wouldn’t do things the way you would do it?  Is it an independence borne of shitty experiences, or is it just a matter of habit? 

J: Well I’ve never expected anyone else to care as much about my music as myself. That sounds kind of negative when I say it. I don’t mean I don’t think it will mean anything to anyone else because it does and for that I’m ever grateful - it’s a great feeling when your music connects with other people. But you take your poster or album to a printer and most of the time it’s just a job to them and if they fuck it up they don’t care ‘cos you’re too small a client for them to worry about. So I’ll tend to elect to do it myself.

I’ve always been open to the idea of working with other people be they a booker, manager, label etc but it isn’t something that presents itself very much for us. Also I’ve got no interest in waiting around for these people to materialise. In general this industry is a really good one for getting royally fucked if you don’t watch out; I’ve lost count of the amount of times we’ve been ripped off by venues, promoters, record stores, pressing plants etc. I put a lot of time and care into minimizing this happening. For example when we tour overseas we can’t always print our own merch but we have made some solid contacts - people who take pride in their work and so we’re confident in working with them. Negative experiences - I’d say that’s mainly getting ripped off on the road; Venues and promoters not paying as per the contract or delaying  the payment for 6 months in the hope we’ll give up is probably the most common.

Also we used a PR firm once and I regret letting them convince us to re-word our press releases. They had a logic behind it but ultimately they were trying to re-shape us to appear as something we were not rather than to try and celebrate who we are. In hindsight that just seemed insincere and not helpful in the long term. And again we’ve had much more success doing our own PR so… I would happily hand it over to someone else if it was going to benefit us. I would rather spend that energy writing more music!

At this point I’d just like to repeat that the labels this band has worked with have all been great and never promised stuff they can’t deliver.

MB: So, given this general distrust of the industry and this insistence on doing it all yourselves, what does “community” mean to you?  Because, despite all this self-reliance and idiosyncrasy, you always seem such a community-minded chap – the recent decision to sell your entire discography to Bandcamp supporters for a pittance and then donate that all to charity, for instance, would seem a pretty community-minded act.

J: I really wanna get the answer to this one right – I’m gonna do my best! I suppose Community and Industry are not always the same thing but they are also not always exclusive. I’m aware that some people are drawn to music in the first place because of the community aspect of it, of having somewhere to belong. But for me it was 100% about the music itself and just being magnetically drawn to it – regardless of whatever scene stuff was happening around it. I’m definitely less naive than I was as a kid starting out but even back then it was clear the music industry had plenty of people that you shouldn’t trust. There are a lot of people out there offering “advice” that serves more to inflate their bank balance or ego. Or just that they are very conservative and can’t see the value in an approach to something that challenges the norm. And we’ve been ripped off and fucked over by more people I care to count and sadly some of those people have been from “DIY” or “punk” or whatever other labels they have attached to themselves.

So it has always been a matter of navigating that and deciding what compromises do you want to make; do we play this gig ‘cos it might create some more opportunities for us or do we just play that house party and have a good time? Do we play a venue that on the surface seems more corporate but ethically is actually far better than the DIY space? I can get quite cynical about that stuff because for a lot of people I guess the term DIY is more of an aesthetic or a scene than it is about fostering community. For us part of community goes back to getting OUTSIDE of our comfort zone and maybe playing to a hostile audience and winning some of them over. In a way this decision is made easy for us because we don’t have a scene we just slot into. At its best it means a place where people have equal opportunity to make whatever weird music or art they want to and resources, knowledge etc are shared but not exploited.

Again for the most part it is not so much that we “insist” on doing it ourselves but rather that we either do it ourselves or it doesn’t happen – or at least won’t happen soon enough. And your use of the word trust is important. We have people in the industry that we trust and we’ve built that trust over years and years. Four our recent album we’ve worked with labels in Austria, USA and our own label here to release it. So we can’t maintain control over every little thing and nor would we want to, we want those labels to put themselves into it too.

But we absolutely feel a part of a community that is spread across the globe. This community or family has mainly been built by playing shows together but increasingly some if it is through people discovering us and connecting with us online. I think for me community means a network of people who support each other, share some values but also respect and celebrate the differences. And the other scene bullshit like image, genre etc doesn’t matter. Sometimes you play a show with someone and even if your music doesn’t sound very similar you just click, you just know that you share a spirit and that feels great.

MB: So even now, in our locked-down plague-riddled isolation-land, this thing we call “community” still exists?

J: Absolutely it exists and is more important than ever though I’m starting to feel the strain of trying to maintain it. I think especially for those who just cannot live without music we are all pressing on and in some ways it’s affirming to know that with or without an audience this is what gives us life. Jace and I have been writing like crazy and while I miss touring more than anything we also both agreed that if we never play another show again we will happily keep writing new music even if it’s just for us.

As a band we have always relied heavily on touring to promote our records so the fact we were able to release this recent album and sell out a pressing without playing a single show...well I feel lucky we have the ability to still connect with people via the internet. I feel like such an old man saying it but back when I started making music that would just not have been possible. I think a bunch of people have actively made a decision to buy more of our merch during this time to help the DEAD machine keep ticking over and we’re very grateful for that.

I generally try not to dwell on the past but it has also been a good time for checking the archives. I discovered some old Fire Witch recordings that we’re working on mixing and mastering and will hopefully release later this year. It’s been great to connect with those two over that as that band has always meant so much to me.

I also made my first ever solo piece for a compilation Campbelle Kneale put out at the beginning of this and that felt really great to see so many people together in isolation and for me personally the challenge was great.

I think it’s going to be a challenge to maintain these communities and to look out for each other. We’ve lost a few friends to suicide during this pandemic and that is utterly heart breaking. So I think the community aspect of it is more important than ever but it’s all new territory working out how to nurture it is not straightforward. We can only try.

MB: Yup.

*moment of sad thoughtful silence*

MB: Well, thanks heaps for chatting.

J: Thanks for taking the time to talk to me.  

MB: So... what's next?

J: We are working on a lot of new music right now but for once there is no rush to release it. We turn 10 years old later this year so expect some new stuff to start coming out after then.

MB: Looking forward to it.